Main Currents in Nineteenth Century Literature - 6. Young GermanyBrandes, Georg
History
Main Currents in Nineteenth Century Literature - 6. Young Germany
Brandes, Georg
Literature, Modern -- 19th century -- History and criticism; Naturalism in literature; Romanticism
The fact of Börne's being born without the pale of Christian society
did not produce in him any excessive sympathy with his co-religionists;
but the severe discipline of his joyless childhood, the coldness of his
parents, the aversion aroused in him by the cupidity, cowardly caution,
and other vices generated by oppression which he observed in those
around him, all contributed to forge a spirit that could never be bent,
softened, or broken--a character on whose adamantine firmness neither
flattery nor threats made the smallest impression. The severity of this
character of ermine-white purity, a severity born of the burning love
of justice, at times clad itself in the garment of humorous irony, at
times in that of scathing ire. As a writer Börne was for Germany much
what Paul Louis Courier was for France, that is to say, a political
tribune, as satirical and as liberty-loving as the Frenchman, less
clear-sighted in matters of the day, but with more feeling, more
imagination, an all-round richer nature.[5]
For in Börne's case firmness of character did not preclude gentleness
of disposition. The weak, always rather sickly boy, who grew up
in a sunless street, shut off from fresh air and from nature, was
tender-hearted. The germ of tenderness in his nature was perhaps first
developed by reading that German author who exercised most influence
on the formation of his opinions and his style--Jean Paul. It is from
Jean Paul, his best comforter in the dark days of his youth, that
Börne, the author, is directly descended.
To him Jean Paul was the poet of those who are born in obscurity. He
loved him as the spokesman of those who suffer wrong. He saw in him
a priest of justice, an apostle of mercy. His famous commemorative
oration gives us some idea of his youthful enthusiasm, and at the same
time shows what it was in Jean Paul's style that he endeavoured to
make his own. Real emotion makes itself felt through the artificial
antitheses in such a passage as this:--
"We will sorrow for him whom we have lost, and for those who have not
lost him. For he did not live for all. But the time is coming when he
will be born for all, and then all will mourn for him. He stands with
a patient smile at the gates of the twentieth century, waiting till
his lagging people overtake him. Then he will lead the tired and the
famishing into his city of love."
And there is clever character-drawing in such lines as the following:--
"In countries the towns only are counted; in towns, only the towers,
the temples, and the palaces; in houses, their masters; in nations,
parties; and in parties, their leaders.... By narrow, overgrown paths
Jean Paul sought out the neglected village. In the nation he counted
the human beings, in towns the house-roofs, and under every roof each
heart."
Public-domain text, read in full here on John Shaqi.
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