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FRIEDRICH SPIELHAGEN
Storm Flood. Translated by Marion D. Learned 14
THEODOR STORM
The Rider of the White Horse. Translated by Muriel Almon 225
To a Deceased. Translated by Margarete M?nsterberg 343
The City. Translated by Margarete M?nsterberg 343
The Heath. Translated by Margarete M?nsterberg 344
Consolation. Translated by Charles Wharton Stork 345
WILHELM RAABE
The Hunger Pastor. Translated by Muriel Almon 353
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Theodor Storm 220
Wilhelm Raabe 352
EDITOR'S NOTE
KUNO FRANCKE.
THE LIFE OF FRIEDRICH SPIELHAGEN
BY MARION D. LEARNED, PH.D.
Professor of Germanic Languages and Literatures, University of Pennsylvania.
The struggle for liberal institutions, which found expression in the Wars of Liberation, the July Revolution of 1830, and the March Revolution of 1848--with visions of a German Republic, with bitter protest against the Reaction, with a new hope of a regenerated social State and a renovated German Empire--marks only the stormy stages of the liberalizing movement which is still going on in the German nation. Since 1848, radical revolt has taken on forms very different from the dreams which fired the spirits of the Forty-eighters. The sword has yielded to the pen, the scene of combat has shifted from the arsenal and the battlefield to the printed book and the Council Chamber; while the necessity of an active policy of military defense has saved the German people from the throes of bloody internal strife.
In the transition from the armed revolutionary outbreak of 1848 to the evolutionary processes of the present day, the novel of purpose and of living issues has played an important part in teaching the German people to think for themselves and to seek the highest good of the individual and of the classes in the general weal of the nation as a whole. In the front rank, if not the foremost, of the novelists of living issues in this period of social and economic reform was Friedrich Spielhagen, whose novels were almost without exception novels of purpose.
The sea with its endless variety of moods and scenes opened to him the secrets of his favorite poet Homer. He says: "I count it among the greatest privileges of my life that I could dream myself into my favorite poet, while the Greek original was still a book of seven seals." Following the steps of his great German model, Goethe, he tested his talents for the stage both at home, where he was playwright, manager, stage director, prompter and actor, all in one, and later on the real stage at Magdeburg only to find that he was not called to wear the buskin.
The next semester Spielhagen went to the University of Bonn, wavering between Law and Medicine. The landscape of the lower Rhineland was not congenial to him. He longed for his Pomeranian shore with its dunes and invigorating sea life. In Bonn he met leaders of the revolutionary party--Carl Schurz, "le bel homme," and Ludwig Meyer. The portrait he sketches of Carl Schurz is an outline of that which the liberator of Kinkel rounded out for himself in his long years of sturdy citizenship in America. Spielhagen warned Schurz at that time that his schemes were quixotic.
During the following vacation, on a foot-tour through Thuringia, Spielhagen witnessed the effects of the revolution and the ensuing reaction. He arrived at Frankfurt-on-the-Main just after the close of the Great Parliament. He was deeply impressed with the violence done to Auerswald and Lichnowski, and witnessed the trial of Lassalle for the theft of the jewel-casket of the Baroness von Meyendorf. His attention was thus fixed upon th
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