Main Currents in Nineteenth Century Literature - 2. The Romantic School in GermanyBrandes, Georg
History
Main Currents in Nineteenth Century Literature - 2. The Romantic School in Germany
Brandes, Georg
Literature, Modern -- 19th century -- History and criticism; Naturalism in literature; Romanticism
Kleist has drawn on his imagination for the picture of a great man, a
great leader; and he at once successfully impresses us with his hero's
greatness by showing how much depends upon him, upon his life, how
thousands upon thousands look up to him as their ruler and only saviour.
The great adventurer, Robert Guiscard, son of Tancred de Hauteville, is
lying with his army before Constantinople, which city he has vowed to
take and keep. But fate is against him; the plague has broken out in
his camp and is committing terrible ravages.
Kleist himself had encountered just such overwhelming misfortune on the
path of victory which his imagination had painted; and his delineation
of a hero struggling against an overpowering destiny which he has long
borne consciously within himself is grand. For Guiscard himself is
plague-stricken; the mortal sickness is raging in his intestines; its
poison is consuming his very bones. He who till now has been everywhere
victorious, the conqueror of Southern Italy, of Rome, of Venice, and
of Greece, knows, feels, that his end is at hand. A crowd of Normans
are besieging his tent, calling on him to lead the army away from this
terrible camping-ground, where they feel the poisonous breath of the
plague blowing in their faces. A rumour that he is ill has already
begun to spread, but as yet the truth is not to be divulged; Guiscard
is too proud to let any one know what he is suffering.
His tent is thrown open, and the man in whose breast a consuming fire
is burning, whose throat is parched with unquenchable thirst, and whose
hand is so weak that all through the night he has not been able to lift
it, steps forth erect and proud, and shows himself to the crowd. So
strong and gay and masterful does he seem, that even those who before
were certain of the worst, no longer know what to believe.
And there is profound meaning as well as grandeur in this conception of
Kleist's. This Guiscard, who stands there erect and unflinching while
mortal disease is gnawing at his vitals, who is he but Kleist himself,
his whole unhappy life long? He himself is the great genius whose plans
are foiled by the pestilence without and within him.
Public-domain text, read in full here on John Shaqi.
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