Theodor Fontane. Von CONRAD WANDREY. Munich: C. H. Beck. 1919. 8vo. 412 pp. 15 M. Theodor Fontane: A Critical Study. By KENNETH HAYENS. London: W. Collins Sons and Co. 1920. 8vo. 282 pp. 78. 6d. Dr Wandrey is already known to us as the admiring critic of Stefan George. His conception of literary criticism, its aims and methods are those of Gundolf. It is hence not surprising to find him in close sympathy with Fontane. The task he undertakes is that of destroying existing misconceptions and giving us a faithful likeness of the novelist. It is absurd, he tells us, to talk of a writer's life and works.' His life is his works, and vice versa; the two things are inseparable. True to this theory, Dr Wandrey shows us Fontane's literary evolution as a kind of work of art in itself. The prelude begins with Vor dem Sturm, and closes with Schach von Wuthenow; the artist's maturest works, Irrungen, Wirrungen and Stine, form the culminating point of the development; finally comes the epilogue in which Fontane's powers decline. Effi Briest towers above the other works of the third period, like the dying glories of a sunset. It is with these novels that Dr Wandrey is chiefly concerned. However, most of Fontane's productions find no place in his scheme of classification. The external events of the novelist's life, his character, his journalistic writings and books of travel are dealt with in the first three introductory chapters. Such novels and stories as Graf Petöfy, Unterm Birnbaum, Unwiederbringlich, etc., are relegated to the end as failures. Fontane's work as a war correspondent, his autobiographical and critical productions are regarded as mere bye-products of his genius, and the poems are adequately discussed in the closing chapter of the book. An excellent bibliography is added. With Fontane's masterpieces Dr Wandrey has no fault to find. They are to be reckoned, in his opinion, among the greatest achievements of German literature. In technique, subject-matter, in every respect, they are the last word in realistic art. Like the author himself, he declares himself prepared to swear on the consecrated host' that the old conceptions of morality are threadbare, antiquated and absolutely hypocritical. At the same time he hastens to assure us in a note (p. 390) that, unlike Paul Heyse and Spielhagen, Fontane was an artist of an irreproachable moral standard. On the whole there is much to be praised in the book. Although the style tends to become pompously didactic, and the author is overfond of vague generalisations, there are many illuminating passages on Fontane's technique, on his views of life and so on. Such a phrase as 'der Dichter des beredten Verschweigens," as applied to Fontane, is admirably expressive. Mr Kenneth Hayens has been compelled by stress of circumstances to restrict himself to Fontane as a writer of prose fiction. This is unfortunate, because British readers would have been much interested to hear something about the ballads and the books of travel. It is also undeniable that Fontane's letters, journalistic essays and biographical productions throw a great deal of light on his novels. The finished work of art can be judged as it stands, but only partially; unless we can compare the first conception with the actual achievement, we cannot estimate the precise nature and extent of a writer's creative powers. It was natural that Fontane, after his journalistic beginnings, should make countless allusions to current events in his earlier novels, and to a certain extent in the later ones too. Mr Hayens tell us that Kessin is Swinemünde, but he is silent about the real episodes on which L'Adultera and Effi Briest were based. One feels inclined to doubt whether old Briest's philosophy is really identical with Fontane's. The former shelves all difficult questions. His 'Das ist ein zu weites Feld' is final. He expects little of life, is easy-going and a trifle weak. Not so Fontane, whose philosophy is well-defined by Dr Wandrey as 'ein heiteres Weltvertrauen...gesunde irdische Weltfreudigkeit.' Briest's attitude to life is only one aspect of Fontane's. The latter was inclusive, not exclusive. His motto was 'Sowohl als auch.' Himself an optimist, he had little respect for those who are content merely to drift. Fully conscious of the sorrows and disappointments of life, he counselled measure, restraint in joy, resignation to the blows of fate, renunciation of the impossible. Yet his nature was not solely passive. He firmly believed that every one is the architect of his own fortune. His biography is that of a courageous man who acted when occasion required, however carefully he avoided useless effort. This criticism also applies to Mr Hayens' statement (p. 120): He has little belief in man carrying out his own destiny, and would have people strive to make the best of what the gods have given them.' Surely such characters as Lene, Waldemar and Instetten are free agents; if they do not achieve their destiny, it is their own fault. Mr Hayens considers that the Dörrs are unnecessary to the plot of Irrungen, Wirrungen (p. 217). Apparently this and other similar considerations have led him to state that Stine is a better constructed novel than its immediate predecessor. The Dörrs are part of the milieu in which Lene lives; they form the background. They are just as necessary as Kurt Anton. We cannot know Lene without obtaining some knowledge of her circle. If she were a bourgeoise her neighbours would have judged her in a very different light. Moreover Fontane purposely contrasts Frau Dörr and Lene in order to define the latter. They differ in speech, temperament and attitude to life. How differently they speak of their lovers! Frau Dörr is just as effective a foil to Lene as Gieshübler is to Crampas or Geheimrätin Zwicker to Effi Briest. The disappearance of Hulda in Fontane's masterpiece is to be explained on similar lines. She was part of Effi's gay, innocent youth. Hence she does not return when the heroine's youth is past. The superiority of Stine to Irrungen, Wirrungen is a disputable point. Is Stine's brevity due to concentration, or has Irrungen, Wirrungen a broader basis? The size of the canvas matters little. When all reservations have been made, it must be acknowledged that Mr Hayens' book is the result of much painstaking and thorough investigation. His criticisms are invariably based on a close acquaintance with Fontane's novels and with modern German literature in general; and his conclusions are always carefully considered. JAMES M. CLARK. GLASGOW. MINOR NOTICES. Studi danteschi, diretti da Michele Barbi (175 pp. Florence, Sansoni, 1920. L. 12.50), form the first volume of a new series of Dante studies, to be issued at free intervals, at least twice a year. The opening is certainly propitious, every article and note being in its degree of value and interest. In the longest article, 'La questione di Lisetta,' Professor Barbi himself rehandles the problem of the sonnet Per quella via che la bellezza corre, the problem to which he first called the attention of Dante students, and which is now complicated by the sonnet (from the well-known Oxford manuscript) Con plu sospiri avanti costei vegno, which appears to associate Lisetta' with the supposed poetical correspondence between Dante and Giovanni Quirini at a later date. Two articles deal with the peculiarly fascinating theme (for an English reader) of Dante and the Arthurian legends. Niccolò Zingarelli contributes a study of Dante's treatment of the Lancelot romance (Le reminiscenze del "Lancelot " ), supplementing the researches of Dr Paget Toynbee in the same field; Pio Rajna discusses the precise significance of ambages, in the phrase employed in the De Vulgari Eloquentia: Arturi regis ambages pulcerrime.' In 'Guido Cavalcanti e Dante di fronte al governo popolare,' Michele Barbi investigates the real attitude of the two poets towards the Ordinances of Justice and the democratic government of the Secondo Popolo. The alleged new portraits of Dante in the recently discovered frescoes in San Francesco at Ravenna form the subject of an article by P. L. Rambaldi (Ancora un ritratto di Dante?'), who takes a sceptical view of the supposed discovery. The volume includes documents concerning Dante's father and other members of his family (Francesco Alighieri and Cione di Bello), and a small body of 'chiose e note varie,' concluding with bibliographical and other announcements. The series promises to be a most welcome addition to Dante literature, and we wish it every success. E. G. G. The Story of a Swiss Poet: A Study of Gottfried Keller's Life and Works, by Marie Hay (Berne: Ferdinand Wyss. 1920. 20 fr.), is addressed to the general public in English-speaking countries. The book is illustrated by translations of extracts from Keller's prose works, but the Middle High German poetry in the chapter on Hadlaub, e.g. the first verse of Walther von der Vogelweide's song Unter der linden, is left untranslated. The authoress is inspired by a genuine enthusiasm. the people, the political institutions and the literature of SwitzerShe has undoubtedly studied Keller closely and possesses sympa thetic insight into his inner life, but she lacks a clear conception of what literary criticism is. She cannot quite make up her mind whether the technique of Der grüne Heinrich is really bad, and if so, whether this is an unqualified defect. We are rather surprised to read that in Seldwyla is portrayed the Zurich of a hundred years ago.' In Die Leute von Seldwyla Gottfried Keller depicted, in a vein of gentle satire, life in a small country town, whereas for centuries Zurich has been an important intellectual and political centre. The Zurichois could never be accused of parochialism; they are, if anything, rather too cosmopolitan and too open to external influences in the opinion of many of their countrymen. J. M. C. We have pleasure in announcing the foundation of a quarterly Revue de Littérature comparée, edited by Professors F. Baldensperger and P. Hazard, and published by M. Éd. Champion, 5, Quai Malaquais, Paris, VI®. The Review, which will contain articles, notes, reviews and bibliographies, will be restricted to literature since the Renaissance. The first number, which will appear before the end of the year, will include the following articles: F. Baldensperger, Littérature comparée le mot et la chose; P. Hazard, L'Invasion des littératures du Nord en Italie; E. Eggli, Diderot et Schiller; P. H. Cheffaud, Une consultation sur le cas de l'Atlantide. The annual subscription is fixed at 40 francs; but it is hoped that readers desirous of showing their active sympathy with the enterprise will be willing to increase their subscription to 100 fr. It is also proposed to form a society of Amis de la Revue de littérature comparée' based on a donation of at least 500 francs. Prospectuses may be obtained from the publisher. 6 At the instance of the Committee of University of London, University College, steps are being taken to arrange for the celebration next year of the Sexcentenary of the death of Dante. The death of Dante took place in September 1321, but it is proposed that the Celebrations should be in May 1921. These will include (1) Public Lectures on Dante to be delivered at University College, London, and as far as possible at the other Schools of the University of London providing teaching in Italian. It is understood that there will also be Public Lectures delivered under the auspices of the Learned Societies interested in Dante. (2) An Exhibition of Books, Manuscripts and Works of Art relating to Dante, will be held at University College, London, early in May. University College already possesses a fine Barlow-Dante Collection, and it is hoped to obtain important loans for the Exhibition from Public Bodies and private owners in this country and abroad. (3) A Dante Memorial Volume will be prepared and issued by subscription. A small editorial Committee, consisting of Professor A. Cippico, Professor Edmund Gardner, Professor W. P. Ker and Dr Walter Seton, has been appointed. Communications with respect to the forthcoming Celebrations should be addressed to the Honorary Secretary, Dante Celebration Committee, Dr Walter Seton at University College, London. M. L. R. XV. 30 NEW PUBLICATIONS. June-August, 1920. GENERAL. CRANE, T. F., Italian Social Customs of the Sixteenth Century, and their Influences on the Literatures of Europe. New Haven, Yale Univ. Press; London, H. Milford. DAVIES, T. H., Spiritual Voices in Modern Literature. London, Hodder and GRAF, A., Prometeo nella Poesia. Ristampa. Turin, G. Chiantore. L. 8. MADAN, F., Books in Manuscript. 2nd ed. London, Kegan Paul. 58. SMITH, L. P., Little Essays drawn from the Writings of G. Santayana. London, WARSHAW, J., The Epic-Drama Conception of the Novel (Mod. Lang. Notes, WEDEL, T. O., The Mediaeval Attitude towards Astrology, particularly in Year-Book of Modern Languages, The, 1920. Ed. by G. Waterhouse. Cambridge, Univ. Press. 15s. Mediaeval Latin. ROMANCE LANGUAGES. BELLISSIMA, G. B., Il latino della Biccherna : saggio di studi sul latino medioevale. Siena, Bernardino. Gesta Romanorum, nach der Übersetzung von J. G. T. Graesse, ausgew. von H. Hesse. Leipzig, Insel-Verlag. 24 M. SAVJ-LOPEZ, P., Le origini neolatine, a cura di P. E. Guarnerio. (Manuali Hoepli.) Milan, U. Hoepli. L. 10. TRAUBE, L., Vorlesungen und Abhandlungen. Herausg. von F. Boll. iii. Munich, C. H. Beck. 35 M. WALTHER, H., Das Streitgedicht in der lateinischen Literatur des Mittelalters. (Quellen und Untersuchungen zur lat. Phil. des Mittelalters, v, 2.) Munich, C. H. Beck. 25 M. ARFELLI, D., Il Canto della divina foresta e di Matelda commentato. Ravenna, Nazionale. 11 Classicismo nel Pascoli. Rocca S. Casciano, L. Cappelli. L. 2. |