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 KARL GUTZKOWS SHORT STORIES 
 A STUDY IN THE TECHNIQUE OF NARRATION 
 
 BY 
 
 DANIEL FREDERICK PASMORE 
 
 A. B. Albion College, 1913. 
 A. M. University of Illinois, 1914 
 
 THESIS 
 
 Submitted in Partial Fulfillment of the Requirements for the 
 
 Degree of 
 
 DOCTOR OF PHILOSOPHY 
 
 IN GERMAN 
 
 IN 
 
 THE GRADUATE SCHOOL 
 
 OF THE 
 
 UNIVERSITY OF ILLINOIS 
 1917 
 
KARL GUTZKOW'S SHORT STORIES 
 A STUDY IN THE TECHNIQUE OF NARRATION 
 
 BY 
 
 DANIEL FREDERICK PASMORE 
 
 A. B. Albion College, 1913.^. 
 A. M. University of Illinois, 1914 
 
 THESIS 
 Submitted in Partial Fulfillment of the Requirements for the 
 
 Degree of 
 
 DOCTOR OF PHILOSOPHY 
 
 IN GERMAN 
 
 IN 
 
 THE GRADUATE SCHOOL 
 OF THE 
 
 UNIVERSITY OF ILLINOIS 
 1917 
 

 PREFACE 
 
 The author has been actuated during the preparation of this work 
 by the beUef that there is a definite place for a critical survey of Karl 
 Gutzkow's short stories and he modestly hopes to draw some measure 
 of attention to this writer's less comprehensive but still deserving ef- 
 forts. He is desirous also of expressing his gratitude to Professor Otto 
 Eduard Lessing of the University of Illinois under whose guidance the 
 work was done; to Professor Julius Goebel of the University of Illinois 
 for numerous suggestions and valuable assistance; and to Professor 
 Lawrence M. Price of the University of California for reading the manu- 
 script and for offering many helpful criticisms. 
 
 D. F, Pasmore. 
 Southwestern College, Kansas. 
 
 June 1918. 
 
TABLE OF CONTENTS 
 
 Page 
 
 Introduction v 
 
 The Novelle 1 
 
 1. The Theory of the Novelle 1 
 
 2. The Novelle Prior to 1835 8 
 
 The Young German Movement 12 
 
 GuTZKOw's Position in Literature 19 
 
 Purpose of the Dissertation 22 
 
 GuTZKOw's Literary Theory 24 
 
 Contents of the Short Stories 30 
 
 The Point of View 43 
 
 Motives 46 
 
 Subjectivity 63 
 
 Means of Characterization 68 
 
 1. External Characterization 68 
 
 2. Inner Characterization 75 
 
 a) The Character Sketch 75 
 
 b) Minor Actions 78 
 
 c) Contrast 80 
 
 d) Peculiarities of Speech 83 
 
 e) Opinions of Others 85 
 
 Environment 90 
 
 Plot 101 
 
 Conclusion 115 
 
 Bibliography 118 
 
INTRODUCTION 
 
 The short story, or the novelle, is a form of literature which has been 
 widely cultivated in Germany within the past century. Within this 
 space of time it has risen from obscurity and literary vagabondage to a 
 recognized genre with respectable connections and reputable sponsors. 
 From Goethe through Kleist, Tieck, Storm, Keller, Meyer, and Heyse, 
 as well as a host of less known authors, the upward journey has taken 
 place. 
 
 Karl Gutzkow, whose noveUen are to be considered from the stand- 
 point of a study in the technique of narration, was a prominent author 
 for many years and in many forms of literary endeavor. He is indis- 
 solubly associated with the group known in German literature as "Young 
 Germany," and is in more ways than any other the most representative 
 writer of the number who composed this unique coterie and also the 
 most gifted of its members within Germany. 
 
 Before proceeding directly to an analysis of his technique as ex- 
 hibited in his novellen, a resume will be given of the development of the 
 theory of the novelle, a summary of its characteristics as seen in the 
 works of certain of its leading exponents prior to 1835 will be undertaken, 
 an outline of the nature of the "Young German" movement will be pre- 
 sented, and Gutzkow's relation to this revolution in the world of letters 
 will be considered. 
 
 Following these introductory portions Gutzkow's hterary theory as 
 found in certain of his writings upon this subject will be briefly dis- 
 cussed, after which the analysis of his noveUen will be taken up under 
 numerous headings, with the object in view of discovering the position 
 which should be accorded to him as a writer of this species. 
 
CHAPTER I 
 
 The Novelle 
 
 1. The Theory of the Novelle 
 
 The short story, or the novelle, as the German name for this genre 
 is, is commonly designated as a product distinctively characteristic of 
 the nineteenth century. The acceptance of this general statement does 
 not preclude an acknowledgement of the existence in earlier centuries 
 of stories which by all canons of criticism must fall within this classifi- 
 cation, nor does it claim for the writers of this period the discovery or 
 the invention of a new literary form hitherto unknown, but it does carry 
 with it the conviction that as a recognized form and one that has been 
 cultivated, ennobled and perfected the novelle is in a pecuKar sense a 
 nineteenth century production. Between those who would urge that 
 the novelle is in no wise a modern ty^t of narrative and their opponents 
 who maintain that it is a form absolutely new, there is a mean which 
 sees in all ages the presence of the short story but perceives that the 
 century now past was one justly remarkable for great attainments in 
 the popularity, perfection of technique, and wide development of this 
 species. This is the view which is held by the writer. 
 
 In the preceding paragraph the terms short story and novelle have 
 been used as though they were synonymous. In reality they are not. 
 The term novelle is broader in scope. To mention but one distinction, 
 the American short story is rigid in its demand for extreme brevity and 
 compactness. The German critic, less severe in his demands, readily 
 classifies as "novellen" many stories that the American terms "long 
 short stories" and is embarrassed as to where to place. Unless stated 
 otherwise specifically the more comprehensive meaning will be consid- 
 ered as applying to both terms. 
 
 While admitting the presence in all literatures and at all times of 
 narratives possessing some and in rare cases many or indeed all of the 
 quahties now considered essential to the short story, perceiving in fairy 
 tales, moral stories, anecdotes, jests, and the like forerunners which 
 extend far back even to the Middle Ages, in many instances being handed 
 down from generation to generation by oral tradition, nevertheless it 
 was reserved to the nineteenth century to produce, define, and bring to 
 its full recognition and rightful inheritance the artistic genre in question. 
 As a conscious type of literary product the works of such writers as Keller, 
 
2 KARL GUTZKOW'S SHORT STORIES 
 
 Storm, C. F. Meyer, and Heyse differ essentially from the collections 
 extant prior to the year 1800.^ 
 
 In German literature it may be freely asserted that the novelle is 
 one of the youngest literary forms. The name, itself of foreign deriva- 
 tion, underwent a process of naturalization extending from its use in 
 1523 in the Italian form novella by Pamphilius Gengenbach until the 
 latter part of the eighteenth century when it began to be used as a Ger- 
 man word. Early references to the term emphasize the element of 
 novelty contained in its meaning. Lessing coined the word (1759) 
 nonvellenschreiberin in his "Briefe die neuesten Literatur betreflend, 
 53, " with reference to a French writer, Mme. Gillot de Saintonge. He 
 is also the first to employ it in the singular in German, and from him 
 appears to date as well the first indication of the close relationship be- 
 tween drama and novelle, a point emphasized so highly by many modern 
 theorists.^ 
 
 Wieland in 1764 speaks in his "Don Sylvia von Rosalva" of the 
 "Arabischen und Persianischen Erzahlungen, und die novellen und 
 Feenmarchen" and appends a lengthy explanation of the term, showing 
 that it was not in familiar usage. When in 1805 he again uses it in his 
 "Novella ohne Titel, " he offers neither apology nor explanation. To 
 Wieland also we owe the first considerable attempt at a definition of 
 the term roman and novella. To the latter he ascribes a "simplicity of 
 plan" and a "small compass of fable" (kleiner Umfang der Fabel), 
 which is indeed promising, but after all fails to arrive anywhere since 
 he concludes lamely by speaking of the novella as "this sort of short 
 novel." The difficulty which Wieland experienced in his attempts at 
 definition was precisely that which all critics of the last quarter of the 
 eighteenth century were confronted with. They failed to see in the 
 novelle a distinct t>'pe. They thought that the difference between novel 
 and short story was purely a quantitative one. The truth is that 
 neither form had yet secured a place for itself, and that prose fiction 
 occupied a position of so low esteem that it had scarcely attained the 
 dignity of being ranked as literature. The chap-books and folk tales, 
 Meissner's "Skizzen" (1778-96), and Goethe's " Unterhaltungen deut- 
 scher Ausgewanderter " (1795), which the modern student of literature 
 
 ' Fiirst, R. Vorliiufer der novelle im achtzehuten Jahrhundert. 
 
 ^ The writer is greatly indebted to Dr. McBurney ISIitchell's dissertation entitled 
 "Paul Heyse and his Predecessors in the Theory of the Novelle" for the historical 
 sketch given of the theory of the novelle and desires to acknowledge this at once without 
 specific reference to each point thus obtained. 
 
KARL GUTZKOW S SHORT STORIES 3 
 
 regards as very evidently containing the beginnings of the German 
 novelle were simply ignored by serious critics. 
 
 There was then no theory of the short prose tale developed in Ger- 
 many up to the close of the eighteenth century. The term novella was 
 used exclusively with reference to foreign literatures and only infre- 
 quently. The term erzdhlung covered all prose fiction except the novel 
 and the only distinction perceived by critics between roman and novelle 
 was that of quantity. 
 
 The first attempt to set off the novelle as an independent literary 
 genre and to formulate for it a definite theory came with the Schlegels. 
 In the ''Athenaeum Fragments" (1798), A. W. Schlegel strikes the key 
 note in the demands made upon this species, the same demands which are 
 made in substance in Heyse's theory and held to be valid by the best 
 productions of the present day, when he requires that it be novel and 
 striking. 
 
 Strangely enough also the Romanticists, characterized though their 
 Hterature is generally by a lack of attention to matters of external form, 
 nevertheless did the novelle good service on the strictly technical side. 
 When they turned away from things modern and directed their gaze 
 toward the Middle Ages, which they found more congenial to their 
 fancy, they very fortunately rediscovered the novelle as it was revealed 
 in its highest development as the expression of the genius of the two 
 masters of mediaeval romance, Cervantes and Boccaccio. The clear- 
 cut, conscious technique of the "Decamerone" was in striking contrast 
 to the looseness of structure then prevalent in German literature and 
 represented at its fullest development in the works of Jean Paul. It was 
 precisely the needed antidote. Romanticism was searching for a new 
 outlet of expression. The Romantic movement and the Romance 
 novelle had one quality in common, a love for the miraculous and the 
 marvelous. This proved sufficient to draw the two together altho the 
 manner of treatment which each employed was different, the Roman- 
 ticists preferring to treat their subjects subjectively and lyrically, the 
 Romance novelle on the other hand, with its predecessors back to the 
 days of the Pharaohs, being essentially epic and objective. This dis- 
 tinction, however, was not felt by the German Romanticists. The 
 affinity of both for the miraculous, the unusual and the unique, over- 
 shadowed all dissimilarities of literary technique. 
 
 Hence it was that Friedrich Schlegel was able to proceed to an analysis 
 of the ItaHan novella without departing from his principles as a thorough- 
 going Romanticist. His criticisms along this line are the embodiment 
 
4 KARL GUTZKOW'S SHORT STORIES 
 
 of his belief in the subjective in art. His contribution to the theory of 
 the novelle lies in his attempt at a definition. He demands that the 
 story shall itself be new or else that the telling shall be done in a novel 
 manner. Whether the plot be old or new, novelty either in subject or in 
 treatment is a prime requisite. The reader must at all events be inter- 
 ested and the story must be in a form adapted to that end. A second 
 point of technique discussed is the presence of paradox or contrast, which 
 Friedrich Schlegel considers a necessary feature, and which has indeed 
 characterized tales of this genre from the days of Boccaccio to our own 
 day. The distinction between roman and novelle he left untouched as 
 had also earlier critics. Both forms existed for him only as vehicles for 
 the expression of the poet's subjectivity. 
 
 A. W. Schlegel in his " Vorlesungen iiber schone Literatur und Kunst " 
 set§ forth his conception of the office and function of the novelle. It is 
 that of describing the remarkable occurrences, of which he says our daily 
 Hfe is full, which are treated neither in political history as such nor in 
 poetry with historic background, and yet which by virtue of their being 
 at once typical and out of the ordinary deserve being recorded in some 
 fashion. Prose must necessarily be the medium employed, poetry being 
 unsuitable for dealing with actuality, which is the subject of both roman 
 and novelle. 
 
 A. W. Schlegel emphasizes also the relationship existing between 
 novelle and drama and mentions capability of dramatization as a test 
 that might be applied. Dramatic structure, definite turning points, 
 concentration of treatment that permits of no leisurely development of 
 character, these are ear marks of the novelle. 
 
 The manner of relation which he holds to be the ideal of style for the 
 novelle is that of the cultivated raconteur. In this he is in agreement with 
 the view of his brother, Friedrich Schlegel, and also with the practice of 
 Boccaccio in his "Decamerone" and of Goethe in his " Unterhaltungen 
 deutscher Ausgewanderten. " 
 
 Goethe's famous definition of 1827, "Was ist die Novelle anders als 
 eine sich ereignete, unerhorte Begebenheit, " is the first contribution 
 of importance to the theory of the novelle following the work of the 
 Schlegels. This brief statement is, however, the result of an investiga- 
 tion extending back apparently as far as 1795.^ At that time in the 
 definition of the erzdhlung which the Baroness gives in the " Unterhalt- 
 ungen deutscher Ausgewanderten" we have the essentials of the later 
 
 ^ Cf. McBumey Mitchell, Goethe's Theory of the Novelle. The Publications of 
 the Modern Language Association, June 1915. 
 
KARL GUTZKOW S SHORT STORIES 5 
 
 Statement. He demands for the erzdhhmg a unity approaching that of 
 a poem and also that the form of the story shall be such as to show that 
 we are in good society. The high social origin of the novelle is thus 
 opposed to the more vulgar source of the scbwank and the fabliau. In 
 the two tales which follow the Baroness's speech, "Der Prokurator" 
 and the " Ferdinand-Novelle, " Goethe has given examples that con- 
 form to his definition, at the same time that he elevated the "moral 
 tale" and the Familiengemdlde from the low estate to which they had 
 fallen. Lack of psychological penetration had been perhaps the greatest 
 defect of these two types of stories. Goethe broadened and deepened 
 this aspect of these two novellen and thus added immensely to their 
 artistic perfection. He pushed aside also the old and mechanical division 
 into good and bad and showed that a character although bespotted by 
 sin may nevertheless be worthy of our consideration. 
 
 The first of Goethe's works to appear with the title Novelle was the 
 story of "die Wunderlichen Nachbarskinder, " which possessed that as 
 a subtitle. Finally in 1827 " die Novelle " was given to the public. Both 
 of these conform to the requirements of the famous definition. The 
 latter, Goethe unable to find a suitable name for, concluded to allow to 
 stand bearing the name of its genre as an exemplary novelle, a proceeding 
 that he had earlier paralleled in the "Marchen" in the "Unterhalt- 
 ungen." The elements of novelty and surprise, and of contrast and 
 paradox, all within the realm of reality, are perfectly illustrated in this 
 example of its sort. 
 
 The technical discussion of the novelle is next continued by Ludwig 
 Tieck. Like his predecessors Tieck finds that the novelle must center 
 around an unusual theme. This theme must be thrown into sharp relief 
 by a clearly marked turning point, which brings the story to an unex- 
 pected, but under the given circumstances, perfectly natural conclusion. 
 The conception of the turning point is fundamental for Tieck's thought. 
 Both for setting the novelle apart as a genre and for keeping individual 
 stories separate in the reader's mind it appealed to him as a technical 
 device of the first importance. Aside from this Tieck makes no strict 
 demands as regards form but permits the author to mold the structure 
 according to whim or caprice, a backward step in technique. 
 
 On the side of content Tieck approached realism. He deemed the 
 present worthy of poetic treatment, saw in the world of his own time 
 the element of the wonderful and the miraculous which the Romanticists 
 sought for in past ages, and was rather modern in his attitude toward 
 the world. In this and in his discussions of themes poHtical, social, 
 
6 KARL GUTZKOW S SHORT STORIES 
 
 religious, and esthetic, in his criticisms and polemics, he joined forces 
 with the "Young Germans." Dialogue in the form of discussion and 
 debate plays a large part in his own novellen. The question of the 
 aflfinity existing between the drama and the novelle, which A. W. Schlegel 
 had treated, was not considered by Tieck. He believed the gulf between 
 the two forms to be impossible of bridging. Tieck's final importance 
 lies in his being the first among critics to raise the novelle as a literary 
 form to a pre-eminent and independent position in Hterature. 
 
 With Theodor Mundt there was added a most valuable contribution 
 to the theory of the novelle, viz., a sharp distinction between the novelle 
 and the roman. The principal points of difference as developed by him 
 were as follows: the novelle is, he finds, only an episode from the novel 
 of life, an incident taken from a succession of incidents, complete and 
 rounded in itself. The novel consists of a chain of incidents, the novelle, 
 on the other hand, is the circumference of a circle, issuing from itself, 
 and returning to itself, and existing for itself only. The conclusion of 
 the novelle is one predetermined from its beginning, one that proceeds 
 organically from the arrangement of the material. The novel is more 
 free in its ending. The conclusion is only one of a number of incidents. 
 Whereas the interest in the novelle lies mainly in the outcome, in the 
 novel it is found to lie in the progress and changing circumstances of the 
 action. The novel begins from the beginning and builds up, the novelle 
 plunges into a situation at a tension, and proceeds to the catastrophe or 
 to a satisfying conclusion. 
 
 The matter of bulk is considered by Mundt to be unessential. Defi- 
 nite advance in criticism is to be found in his figure of the straight line 
 and of the circle drawn about a given point. He contributes definitely 
 also at another angle, viz., he contends that the characters of the novelle 
 are fixed, those of the novel are developing. 
 
 Thus for Mundt the novelle was a species separate and apart from all 
 other literary genres. Built up around a central theme, it is rounded 
 to a definite close, which is organically inherent in the central theme 
 and determined by it. It deals with a single, self-centered situation, 
 which it brings to a definite conclusion at the close, and at this point 
 differs essentially from the novel, which deals with a series of situations 
 and closes as it may. Mere bulk has nothing to do with the essential 
 nature of the story. The relationship of novelle to drama and the element 
 of paradox contained in the novelle, questions which all his predecessors 
 had considered, Mundt failed to take into account at all. His theorizing 
 
KARL GUTZKOW S SHORT STORIES 7 
 
 represents, however, the best statement of the nature of the novelle 
 made up to that time. 
 
 Laube, another member of the "Young Germans," also attacked 
 the problem. Four times he attempted to define this species, whose 
 innate realism strongly attracted him, but each time he failed to find a 
 definition adequately covering all its forms. The lack of form in the 
 products of his contemporaries he could not see or acknowledge and hence 
 he suffered from confusion. Aesthetic standards he is common with 
 those of his group did not hold to be binding. Willingness to sacrifice 
 form to content if the latter were only in accord with the spirit of the 
 time hindered clear visualization of the nature of the novelle. 
 
 Other writers not connected with "Young Germany," viz., Grill- 
 parzer, Hebbel, Wolff, Georg von Reinbeck, and Hermann Hettner, 
 continued the discussion until 1850. The latter two possessed definite 
 and clear views upon the nature of the novelle but added nothing new to 
 the discussion although their direct criticism is refreshing in the period 
 of uncertainty and formlessness which prevailed during the "Young 
 German" regime. 
 
 Gutzkow's contribution to the theory of the novelle is not great and 
 will be discussed elsewhere. 
 
 Spielhagen presents two criteria as outstanding for determining 
 whether a work is a novelle: (1) capabihty of dramatization, (2) the 
 characters must be fixed and not developing characters. 
 
 With Paul Heyse's discussion the latest and most authoritative 
 statement that has yet been reached is probably attained. The demands 
 which this critic and most exemplary writer of the novelle of recent years 
 makes comprise the following. (1) The right of the author to treat 
 his main theme as an isolated case without involving human standards 
 in general and moral standards in particular. (2) While the content 
 may be what it may, the bounds of reahty must not be overstepped. 
 (3) The ugly and the hateful must not be introduced. (4) All means 
 used must serve one definite end. A single and central theme must 
 receive intense concentration in all its "onesidedness and isolation." 
 (5) The use of the catchwords "silhouette" and "falcon" signifying the 
 idea of an isolated, well-rounded structure possessing a definite central 
 theme. (6) The psychological element is strongly stressed. (7) The 
 manner of telling is that of the cultivated story teller in pohte society. 
 (8) Objectivity is a major demand upon the novelle. (9) Because the 
 novelle is essentially realistic, prose is its proper medium of expression. 
 
8 KARL GUTZKOW'S SHORT STORIES 
 
 The absence of any discussion of the relation of drama and novelle 
 and of the importance of chance (Zufall) is noteworthy in Heyse's criti- 
 cisms. 
 
 Thus the theory of the technique of the novelle has passed through 
 a century and more of critical development. Starting from very vague 
 and shadowy conceptions which confused novelle and roman and dis- 
 tinguished between the two only as to differences of bulk, it has closed 
 temporarily with the novelle occupying a unique position, a clearly 
 defined genre, treating a specific central theme, and taking its basis 
 from reality. 
 
 2. The Novelle Prior to 1835 
 
 In practice the German novelle as it existed during the closing years 
 of the eighteenth century and the first third of the nineteenth embraces 
 a wide range in both form and content. The transgression of virtually 
 all the canons of Uterary criticism that have been deduced by critics of 
 this genre and conformity in marked degree to the same are both to be 
 found. The writers whose works are outstanding and show clearly 
 the characteristics and progress of this form as a literary type in the 
 years preceding "Young Germany" are Goethe, Schiller, certain of the 
 Romanticists, Kleist, and Tieck. 
 
 Briefly the novelle as thus exemphfied shows three fundamental 
 forms depending upon the purpose of the authors, a three fold division 
 that is still considered by all critics, viz., that of character portrayal, 
 the effort to obtain emotional effect, and the desire to instruct. In 
 other words the three tj-pes are the psychological, the story of mood or 
 atmosphere (Stimmungsgeschichte'), and the didactic. 
 
 Goethe, Kleist, and, to a certain extent, Schiller, as is to be seen in 
 the "Verbrecher aus verlorener Ehre," are chiefly concerned with the 
 development of psychological problems and of interesting characters. 
 Both Goethe and Kleist followed the direction indicated by Boccaccio. 
 A very noticeable characteristic of the former's (Goethe's) novellen is 
 the almost painful exactness and the detail with which psychological 
 changes are estabHshed. The action and the thoughts of the characters 
 are thus explained. For Kleist also the psychological problem furnished 
 the center of interest. External happenings are always pressed into the 
 aid of character development. Situations serve to reveal the characters' 
 real selves. Each novelle deals with its definite problem. 
 
 The Romanticists looked to Boccaccio and Cervantes for their 
 models also, and their greatest service lay in their ardent advocacy 
 
KARL GUTZKOW'S SHORT STORIES 9 
 
 of these foreign writers as proper examples for imitation. They them- 
 selves were not in a position to follow closely those whom they so highly 
 regarded owing to the subjectivity of their school, which mitigated 
 against adherence to any given form. Jean Paul's "Romantic Irony" 
 tended to estrange them also in their practice from any devotion to 
 compactness of form. Unlike Goethe they showed no desire to make 
 characters and human beings the end and aim of their art and they treated 
 no psychological problems. Their domain was rather that of the fairy 
 tale, which made no strict demands but permitted the play of fancy and 
 was not dependent upon the law of cause and effect. Lack of inner co- 
 hesion and of unity in both action and characters is characteristic of 
 their stories, a few notable exceptions being Achim von Arnim's "Der 
 toUe InvaHde auf dem Fort Rattoneau," Bretano's "Geschichte vom 
 braven Kasperl und dem schonen Annerl, " and Eichendorff's "Aus dem 
 Leben eines Taugenichts. " The latter two are what are known in 
 German as " Stimmungsgeschichten. " The novellen of E. T. A. Hoff- 
 mann are also essentially Romantic, if the aim of that school be considered 
 as an effort to produce moods, to give free rein to the author's subjec- 
 tivity and permit him to place his fantastic dream world above the world 
 of reality. Everything is dominated by his personaHty, and his peculiar- 
 ities and idiosyncrasies show clearly in his works. Double characters, 
 persons at war with themselves, are common. Supernatural powers 
 play oftentimes roles of importance. His characters view the world 
 in an unusual way and are themselves regarded as dreamers or as in- 
 toxicated. The wonderful and the impossible enter frequently. Sus- 
 pense is obtained and held in a remarkable degree, in this way recalhng 
 the methods of eighteenth century storytellers. Hoffmann's primary 
 object is not to portray character development nor to depict interesting 
 human relationships but rather to appeal to the emotions of fear, dread, 
 and anguish, less frequently those of joy and freedom. 
 
 As a form of art that dealt with a problem, that considered the 
 present, and that held to a rigid form, the novelle was thus led astray 
 by the Romanticists. In introducing the element of mood and empha- 
 sizing that, they did, however, exert a marked influence upon later 
 writers as Keller and Storm. 
 
 The real progress of the novelle is to be found, however, in the works 
 of two writers who stood in a certain opposition to the Romanticists, 
 Heinrich von Kleist and Tieck during his later years. 
 
 The novelle as it developed under Kleist proceeded along the lines 
 pointed out by Goethe and Boccaccio. As previously stated Kleist's 
 
10 KARL GUTZKOW'S SHORT STORIES 
 
 art was both psychological and dramatic.^ The center of interest is 
 always the psychological problem, and all action is made to reveal 
 character. Each novelle shows clearly by its rigid, dramatic, composition 
 that the author was a dramatist. The introduction, made rapidly in 
 a few lines, leads directly to the action which proceeds smoothly and 
 without digressions to the climax and thence to the conclusion.' All 
 superfluities are strictly excluded by this dramatic unity of structure. 
 Observations of the sort common in " Wilhelm Meister" and descriptions 
 of nature as in Rousseau and " Werther" are absent. Direct character- 
 ization is found to an exceedingly limited extent. Objectivity, repres- 
 sion of the author's individuality, reality, mark Kleist's novellen and 
 sharply separate them from those of the Romanticists. 
 
 The latin classic writers and Goethe are even more clearly and con- 
 sciously the models whom Tieck follows. His words upon the theory 
 of the novelle point this out." The form which he attained to differs, 
 however, greatly from that reached by Kleist. 
 
 Tieck resembles Kleist in his desire to treat definite problems. In- 
 stead, however, of treating psychological problems of universal human 
 interest, he concerns himself rather with the abnormal, the half patholo- 
 gical, and imparts to his discussions a philosophical trend. He did not 
 depart completely from Romanticism. His characters suffer from h}-po- 
 chondria, fanaticism, and are otherwise not normal. Following Cervan- 
 tes, for whom he had a special liking, his novellen possess didactic ten- 
 dencies, contain criticism of his time, views upon aesthetic, religious, 
 social, and political movements, and attacks upon tendencies which 
 he considered to be either sickly or harmful. Thus the decadent Roman- 
 ticism and the authors of "Young Germany" are objects of his satire and 
 enmity. 
 
 The importance of the turning point for Tieck's novelle composition 
 has been told.^ Chance, miracle, intervention of supernatural powers, 
 play a role oftentimes in the denouement of his stories. The dialogue 
 is of the utmost value also for Tieck's technique. It serves two main 
 purposes, first, to furnish the characterization, as when various persons 
 discuss another of the characters, or speech mannerisms are employed, 
 or the characters express opinions which betray what manner of persons 
 
 <Cf. p. 15. 
 
 ' Henrietta K. Becker. Kleist and Hebbel. A comparative study. The Novels. 
 Dissertation. Chicago 1904. 
 
 « J. L. Tieck. Schriften, 20 Bde., Beriin 182S-40, XI (1829), pp. Ixxxiv-xc. 
 'Cf. p. 10. 
 
KARL GUTZKOW'S SHORT STORIES 11 
 
 they are. The second task performed by the dialogue is that of stating 
 the problems to be discussed and in many instances conducting what is 
 virtually a debate upon such questions. At times these discussions go 
 far afield and the result is a disruption of the form of the novelle. The 
 final outcome of Tieck's efforts is a deterioration of artistic form. 
 
 The novelle of later times shows the influence of all the novellen writers 
 of the first third of the century. Tieck's influence especially is to be 
 observed in the works of the "Young Germans." When, however, the 
 novelle reaches a culminating point in its development, it shows a close 
 relationship to the novelle of Kleist. This does not imply a direct in- 
 fluence from him but since he is responsible for placing the short story 
 in the domain where it properly belongs involuntarily and from the laws 
 of inner necessity it must approach the norm set by him.^ 
 
 * Karl Ewald, Die deutsche Novelle im ersten Drittel des 19. Jahrhunderts. Diss. 
 Rostock. Gottingen 1907. 
 
 The view held by Theodor Storm concerning the novelle might well be mentioned 
 here for the sake of comparison. "The present day novelle," he says, "is the sister 
 of the drama and is the most exacting form of artistic production. Like the drama 
 it treats of the deepest problems of human life; like it it requires for its perfection a 
 central conflict around which the whole is organized, and in consequence of this the 
 most compact form and the exclusion of all non-essentials is necessary. It not merely 
 permits of the greatest demands upon art but it imperatively calls for them." — 
 Koster Albert. Briefwechsel zwischen Th. Storm and G. Keller. Anmerkungen s. 
 249-250. 
 
CHAPTER II 
 
 The Young German Movement 
 
 The "Young German" movement as it is known in German literature 
 of the nineteenth century was at its most intense phase during the years 
 1833 to 1835. At this time the writers who composed the group were 
 more closely in agreement with one another and the ties which bound 
 them together — the union was never a formal or organic one — were 
 more numerous and tightly woven than at any later period. 
 
 The beginning of "Young Germany," the source of its inspiration, 
 is to be found in the French Revolution of 1830. The triumph of liberal 
 principles in France, the resulting overthrow of Charles X, and the 
 establishment of a government which recognized the people as the 
 source of its authority, reacted profoundly upon Germany, and especially 
 upon the great number of Uberals who had looked forward ardently to 
 the inauguration of the reforms which had been promised to the German 
 states by their sovereigns during the wars against Napoleon. Though 
 these hopes had been bitterly disappointed, they still cherished dreams 
 of greater democracy and even under the regime of Metternich and the 
 Holy Alliance dared to beheve that the advantages which their western 
 neighbor possessed might some day come to be theirs. 
 
 This attitude toward France and enthusiasm for Uberalism is ex- 
 pressed at its best in the domain of German letters by Heinrich Heine 
 and Ludwig Borne. Both of these Jewish writers, journaUsts of note, 
 transmitters of French ideas and culture, took up their residence in 
 Paris, and from this capital city sent back to their countrymen transcripts 
 of the Ufe they there found, colored by their personal devotion to the 
 ideals which they beUeved to be incorporated in the French system of 
 government. The influence exerted by these writers upon the German 
 pubhc and the rising generation of authors in their native land was 
 immense. 
 
 Among those who looked to Heine and Borne as their models and 
 stood deeply in their debt for many of their ideas were Ludolf Wienbarg, 
 Karl Gutzkow, Heinrich Laube, and Theodor Mundt. These young 
 men had been stirred to the depths by the July Revolution and had 
 become impregnated with liberal doctrines. They deplored the unfor- 
 tunate, depressingly reactionary position assumed by Germany in mat- 
 ters of politics and statecraft, were eagerly alive to all social and semi- 
 political, semireligious movements which showed themselves at that 
 
KARL GUTZKOW'S SHORT STORIES 13 
 
 time, and were especially prone to take up with new and revolutionary 
 phases as these manifested themselves in literature. The severe censor- 
 ship imposed by the German Diet and by Prussia was particularly irk- 
 some to them and more than once did they come into conflict with it. 
 
 Thus on the part of Heine and Borne in Paris there was an ardent 
 enthusiasm for France and hberahsm, coupled with a hatred for the 
 despotism of the countries of Germany that was not unmixed with 
 contempt for the passive endurance of their countrymen, and on the 
 side of the youthful journahsts of the home land there was a strong leaven 
 of sympathy for the principles of democracy and freer government and a 
 marked tendency to take up all new appearances of the day, social, 
 aesthetic, religious, and political. The former, secure in a foreign land, 
 were able to express themselves without restraint; the latter, lacking such 
 protection, felt all the rigor of governmental persecution and were obliged 
 to exercise a degree of caution not required by, the former. 
 
 Out of these common sympathies and strivings there developed a 
 more or less conscious connection between these writers and they came 
 to sustain a sort of intellectual relationship to one another that might 
 have developed still further but for the decree of the German Diet that 
 followed the publication of Gutzkow's "Wally," and the bitter attacks 
 of Wolfgang Menzel upon the same. This brought the works of Heine, 
 Gutzkow, Wienbarg, Mundt, and Laube under the ban and the decree 
 was applied not only to all previously published works but also to any 
 which they might write in the future. "Young Germany" was thus 
 suddenly checked and in later years its various members came to attack 
 one another often with great bitterness. The name, however, has 
 remained and is now recognized as a distinctive catch phrase applying 
 to this group. 
 
 The political significance of this movement must, however, be neither 
 overestimated nor misunderstood. It was not poUtically revolutionary 
 in nature, it did not contemplate the use of force against the govern- 
 ment, it had no connection with the "Young Europe" organizations of 
 the times, but was rather concerned with Uterature and the desire for 
 greater liberty of the press. It was liberal, frankly desirous for many 
 reforms, but not subversive to the existing regime. 
 
 On the social and aesthetic side the "Young Germans" were icono- 
 clasts who fought against the traditional and the conventional. Saint 
 Simonism, emancipation of the senses, emancipation of women, the 
 rights of sensual beauty, were topics exploited by them to an extent that 
 their service in other directions has often been greatly ignored. These 
 
14 KARL GUTZKOW'S SHORT STORIES 
 
 measures which they thus advocated were, however, only a further 
 treatment of themes previously handled by Goethe, Heinse, Schlegel, 
 Tieck, and Schleiermacher,^ but they were ardently advanced, strongly 
 championed, and usually presented in their baldest, most unattractive 
 features, and hence appeared more dangerous than they really were. 
 For their immediate inspiration in these matters as well as in liberal 
 ideas upon government the "Young Germans" were greatly indebted 
 to Heine. Indeed the latter was very truly the father of the whole 
 movement and is to be considered as its intellectual sponsor. 
 
 The church and orthodoxy were viewed only as a portion of that 
 which had come down from the past and the authority which reUgion 
 claimed was felt to be tyrannical and antagonistic to the liberty of the 
 individual, a form of slavery whose shackles must be broken. Accord- 
 ingly the church became an object of attack, and skepticism, ever a 
 distinguishing trait of this group of writers, came to a place of prom- 
 inence. D. F. Strauss's "Leben Jesu" was a powerful illustration of 
 this tendency of the time and influenced the "Young Germans" strongly. 
 Saint Simonism, which as has been previously mentioned was a part of 
 the propaganda, also possessed elements of opposition to the existing 
 theology. 
 
 Moreover the "Young Germans" stood in clear alignment against 
 Romanticism and Classicism. They indicted the latter with having 
 led Germany astray from the present and reality in a one-sided struggle 
 for beauty and an effort to revive the spirit of the ancient Greeks. It 
 is scarcely necessary to point out their error in this accusation and to 
 show that Goethe and Schiller had, in truth, presented universal human 
 ideals in their works, that they had given them an ideal content that 
 must be recognized as valid for all time, and that the form in which they 
 clothed this ideal life content is such that each age must believe in its 
 reaUty.^ 
 
 The strongest opposition of the "Young Germans" directed itself, 
 however, against Romanticism. The only real vocation of the poet, 
 according to the belief of these would-be reformers, was to submerge 
 himself in the poUtical and social problems of his time and bend all his 
 efforts toward their solution. Literature must put itself into the service 
 of public life and politics. The Romanticists had done the extreme oppo- 
 site of this. They had fled from the world of reality and had taken refuge 
 
 1 Goethe's "Wahlverwandschaften," Heinse's " Ardinghello, " Friedrich Schlegel's 
 "Lucinde." etc. all handle essentially the same problems as those dealt with by the 
 "Young Germans." 
 
 -Biese, A., Literaturgcschichte. (Jung Deutschland) 
 
KARL GUTZKOW'S SHORT STORIES 15 
 
 in a world set up in its place by the imagination, a world that was not 
 illumined by the bright light of day but by the twilight of the moon, 
 a wonderland of fairy tale and saga that extended even into a "third 
 world" of premonitions and dreams, spirits, ghosts, spooks, kobolds, 
 elves and water sprites, and that was not a part of their own times but 
 was located in the dark and distant Middle Ages. The present had 
 seemed too narrow for them and the realm of fantasy had become their 
 retreat. The later Romanticists in particular had become separated 
 from the age in which they lived, they had reached an artificial, un- 
 natural, unhealthy condition, which possessed an oversatiation of fantasy 
 that produced a feeling of nausea and disgust. Although the period of 
 Romanticism had been national in tone, nevertheless a deep rift had 
 developed between literature and Hfe. It was to protest against this 
 Romantic world conception (Weltanschauung) and to bridge this gap 
 that the " Young Germans " took up arms actively against the philosophy 
 and literature that had held undisputed sway during the first quarter 
 of the century. 
 
 In this revolt against the prevailing system "Young Germany" 
 bore a decided resemblance to the earlier "Storm and Stress" period. 
 Both were uprisings of young spirits against the intellectual tyranny of 
 a preceding generation of writers. Both were stormy transition periods, 
 both were eras of bitter negation of former Uterary values. The roots 
 of the first "Storm and Stress" period lay in part also in the existing 
 pohtical and social conditions, in the deep contradiction between the 
 "enlightenment" and the ideals of the ancients as spread by Winckel- 
 mann on the one side, and the distressing, narrow conditions of life for 
 the individual upon the other. It consisted to a large degree of an up- 
 rising against the hmitations of the civilization (Kultur) then in vogue 
 and of convention. Its catchwords were expressions such as "nature," 
 "originality," and "genius."^ 
 
 The case was somewhat different with the "Young Germans." 
 Their slogans varied from those of the preceding revolutionists owing to 
 changed political and social conditions. Genius and individuaUty 
 were not so strongly emphasized. They were, in fact, often contested. 
 The effort was made to co-operate rather than to achieve alone. " Liber- 
 alism," "freedom," and "realism" became the watchwords. This 
 was the first side of the democratic element in the "Young German" 
 literature. The second was the thoroughgoing attempt to work upon 
 
 ' Schweizer, Viktor, Ludolf Wienbarg, p. 29. 
 
16 KARL GUTZKOW'S SHORT STORIES 
 
 the masses. Out of this developed modern journahsm with its immense 
 power, a force which was influenced in its progress and aims to a con- 
 siderable degree by the lines followed by French and EngHsh journalism. 
 
 The positive contribution which the "Young Germans" set up in 
 place of the Romantic conception that they desired to destroy was the 
 modern view of the world and of life. As expressed by Richard Haym it 
 is as follows: "Not to live in cloudhke illusions, in arbitrary and strange 
 modes of thought, in wishes pointing backwards to the past; not that, 
 but rather to recognize with sober understanding and manly resolution 
 the might and the needs of reality, to progress with thoughtful and pa- 
 tient mind, this constitutes correctly for us moderns the imperative 
 demand of the time in whose service we are placed. "^ 
 
 That the "Young Germans" did not succeed in attaining to the 
 goals which they had set up lay in the Umitations always present in a 
 transition period. They were obliged to combat within themselves the 
 varying Romantic elements which they desired to destroy. The influence 
 of the Romanticism under which they had grown up was too strong to be 
 broken at once. 
 
 In this modern world view, this union of art and life, they set forth 
 the goal of all their efforts. Laube expressed this when he said: "Truth, 
 the whole truth, only refined and unified in the sunshine of (good) taste, 
 in the workshop of the beautiful, is the one and all, that we desire, and 
 whoever loves, desires, and furthers that, is one with us. "^ 
 
 Thus the realistic tendency is the modern element of the "Young 
 German" movement, a tendency, which though it often went astray 
 was nevertheless ever desirous of bringing life and art into more intimate 
 contact. 
 
 A second characteristic of "Young Germany" was the aim which 
 its members possessed of reforming life by means of art. They desired 
 that the conception of Hfe and the world should be an artistic one. 
 Wienbarg is especially the representative of this idea, which is in itself 
 nothing new but rather an inheritance from the classical writers and 
 from the Romanticists. The latter, it is true, had gone far afield in 
 their practice from this idea, but it is the artistic practice of the youthful 
 Goethe and the theory taught by Goethe in his later years which fur- 
 nished the basis upon which the "Young German" set out to build 
 further.^ 
 
 * Haym, Richard, Die Romantische Schule, p. 4. 
 'Laube, Heinrich, ]\Iodern^ Charakteristiken, 11, 239. 
 •Wienbarg, Ludolf, Aesthetische Feldzuge, XXI-XXII. 
 
KARL GUTZKOW'S SHORT STORIES 17 
 
 The rift between the Romantic practice and actual life has now been 
 sufficiently indicated. The "Young Germans" were not the only ones 
 who recognized this unfortunate situation and deplored it. Two others, 
 who were prominent and produced works the importance and influence 
 of which can scarcely be rated too high, were also keenly alive to the 
 low state into which Uterature had fallen in Germany. Paul Pfizer's 
 " Briefwechsel zweier Deutcshen" and Wolfgang Menzel's "Deutsche 
 Literatur" clearly demonstrate this. 
 
 The former with reference to the then obtaining conditions said: 
 "A similar state is present in German Uterature as well. There is lacking 
 here, as is true of the German people, a genuine center of Hfe. It is 
 a periphery without a center. . . . The German poetic Uterature con- 
 sists of nothing but arabesques and ornamentations, and real poetry 
 is more and more becoming silent, since it lacks in Ufe any object for 
 observation of an inspiring and perfected nature by which it can uphold 
 itself. The purely spiritual (innerUch) materials and motives are ex- 
 hausted, everything dissolves, blows away like dust, disappears, and often 
 leaves a nauseating sediment behind. Instead of a proper mixture of 
 elements, instead of a permeation of real and ideal elements, there is 
 here a cloudy vapor in which one can no longer distinguish the hazy 
 figures, there, on the contrary, nude insipidity and vulgarity proudly 
 glorying in its nudity, because we have lost genuine reaUty, the real 
 center of Ufe."^ 
 
 Another quotation supplements this picture: "The German is a 
 stranger in his own country. He Uves, the better (German) at least, 
 no longer in life but outside of Ufe. He has nothing but his inner world. 
 His existence has become a thoroughly artificial one. . . . The chasm 
 between him and reaUty increases."* 
 
 A third quotation demands a decided break with Romanticism and 
 states Pfizer's ideal of the writer: "A genuine poet cannot join himself 
 too closely to life, and his work will be so much the more poetical and 
 deep in accordance as it possesses more of this basis and exhibits Ufe in 
 its relation to the world, for Ufe and poetry are of one sort, and the 
 latter is only one expression of the former. Nothing that is separated 
 from the former and is but a mirror of fancy can be independently 
 portrayed."^ 
 
 ' Pfizer, Paul, Briefwechsel zweier Deutschen, pp. 115-116. 
 
 * Pfizer, Paul, loc. cit. 
 
 ' Pfizer, Paul, loc. cit., p. 117. 
 
18 KARL GUTZKOW'S SHORT STORIES 
 
 Some citations from Menzel serve to show that he, too, felt com- 
 pelled to take a similar attitude toward the Uterature of the time. Thus 
 he makes the following charges. "Poetry is no longer linked to life, 
 the most perfect blossom of the same, but is rather opposed to it, as the 
 dream is to the awakening. "^° 
 
 And again: "Even up to the present most scholars Uve in their 
 grottoes of books, and simultaneously lose with the sight of nature the 
 sense for the same and the power to enjoy it. Life becomes a dream to 
 them, and the dream becomes their life. . . . Far from reaUty, far 
 from nature and life, these poets study everything only from books, 
 draw all their ideas and images from paper only in order to again put 
 them into a cofl&n of paper. They pursue the shadow eagerly in order 
 to again outline it."^^ 
 
 Thus it is apparent that the serious discrepancy between Uterature 
 and life was widely felt, and when Wienbarg, the aestheticist of this 
 school issued his " Aesthetische Feldzuge" (1834) with its clarion call 
 for a return of the younger minds in Germany to the principle of a closer 
 union of life and literature, and demanded a new aesthetics that should 
 restore the severed connection, he was not entirely unique but was acting 
 in the capacity of spokesman for a numerous constituency, which in- 
 cluded not only "Young Germany" but even those who like Menzel 
 later became its bitter enemies. 
 
 " Menzel, W., Deutsche Literatur, Bd. II, p. 61. 
 "Menzel, W., loc. cit. 
 
CHAPTER III 
 
 GuTZKow's Position in Literature 
 
 If, as is commonly asserted, Borne was the inspiration along political 
 lines for the "Young Germans," Heine the source of their ethical-aesthe- 
 tic-social views, and Wienbarg the promulgator of their aesthetic pro- 
 gram, Gutzkow was the foremost practician of the members of the group 
 who remained in Germany. He was possessed of greater talent, more 
 ambition, and less timidity than the others who figured in this reform 
 movement, and he incorporated the principles of the new literature into 
 his works in greater degree and with more striking success than did any 
 of the others. A brief summary of his life and activities is here given. 
 
 He was born in Berlin, March 17, 1811. In 1829 he entered the 
 University of Berlin, enrolling first in the philosophical faculty, later 
 transferring to the theological faculty, and thence returning to the 
 philosophical. The winning of a scientific prize from the University in 
 1830 interested him less than the news of the outbreak of the revolution 
 in Paris, which he heard at the same time. His words uttered then are 
 significant of his career throughout life. " From this day on science lay 
 behind me, history before me," he said, speaking of this event. 
 
 His first attempts in journalism took place during his university 
 days. "Das Forum der Journalisten" (1831) clearly indicated his 
 critical bent. Wolfgang Menzel, the author of the widely read "Deut- 
 sche Literatur" and editor of the " Literaturblatt " in Strassburg, exerted 
 a strong influence upon him and invited the youthful author to assist 
 him upon this publication. Gutzkow accepted, and went to Strassburg 
 where the two worked together harmoniously for some time. During 
 this period Gutzkow published his first volume of short stories, the 
 political satire "Briefe eines Narren an eine Narrin," and the "pur- 
 pose" novel "Maha Guru." Gradually the relationship with Menzel 
 grew less intimate, and a new one with Heinrich Laube sprang up. 
 After a trip with the latter through upper Italy, Gutzkow settled down 
 at Frankfurt, where he started a new pubUcation, the " Phonix, " in which 
 he gave ample expression to the leading ideas of the new literature. 
 
 The appearance of his novel "Wally, die Zweiflerin" (1835) created 
 a veritable storm of criticism and resulted in placing not only Gutzkow's 
 ov/n works, those already written and any future productions, under 
 the ban, but also those of Heine, Laube, Wienbarg, and Mundt. In 
 addition Gutzkow received a month's imprisonment. His plans for an 
 
20 KARL GUTZKOW'S SHORT STORIES 
 
 imposing literary magazine, "Die Deutsche Revue," were also com- 
 pletely shattered by this event. Two works, "Zur Geschichte der 
 Philosophic" and "Ueber Goethe im Wendepunkte zweier Jahrhun- 
 derte," he very nearly completed while imprisoned. After his release, 
 for a time in Frankfurt and later from Hamburg, he was the guiding 
 spirit in the editing of the "Frankfurter Telegraph," and in this he was 
 associated with Dingelstedt, Goedeke, Levin Schiicking, Geibel, Eichen- 
 dorff, Hebbel, and others. 
 
 The period spent in Hamburg was of the greatest importance for 
 Gutzkow's development. He rapidly gained in literary strength and at 
 this time he completed the significant development from short story 
 writer and journalist to dramatist,, and acquired so thorough a knowl- 
 edge of Germany and so deep an appreciation for that country's intel- 
 lectual growth that his later panoramic novels are historically accurate 
 and valuable. 
 
 In 1839 he made the leap to the drama and the next fifteen years 
 witnessed a long succession of plays, many of which proved popular. 
 The most important were the three comedies: "Zopf und Schwert" 
 (1843), "Das Urbild des Tartufife" (1847), "Der Konigsleutnant" 
 (1849), and the tragedy, "Uriel Acosta" (1849). The last is the most 
 poetical of Gutzkow's dramas. Unlike the greatest part of Gutzkow's 
 works, which are marred by didacticism and treat problems of only 
 temporary interest, this deals with a conflict that is eternal and hence 
 has aged much less than the rest of his productions. 
 
 In 1846 Gutzkow became theatrical critic at the court theater at 
 Dresden, which position he held until 1848, when in consequence of his 
 (temperate) participation in the revolution of that year he gave it up. 
 His period of residence in Dresden extended, however, until 1861 and 
 according to H. H. Houben Gutzkow at this time reached the zenith 
 of his influence. In 1849 and 1850 he wrote his first great novel, "Die 
 Ritter vom Geiste," from 1852 until 1861 he published the periodical, 
 " Unterhaltungen am hauslichen 'Herd," in 1857 he began the great 
 counterpart to his first long novel, "Der Zauberer von Rom." The 
 severe criticism of Julian Schmidt and Gustav Freytag, the editors of 
 the "Grenzboten," did much to embitter the later years of Gutzkow's 
 stay in Dresden. 
 
 For a short time he was the general secretary of the Schiller Founda- 
 tion in Weimar. At this time he became mentally overwrought and 
 possessed by the delusion that he was being constantly persecuted by 
 his enemies and attempted suicide. He was placed in an institution for 
 
KARL GUTZKOW'S SHORT STORIES 21 
 
 the curing of nervous diseases and fortunately restored to health. Soon 
 after he was given a sum of money as a gift by a grateful public which 
 had at length come to recognize the services which he had rendered as 
 a writer. Again he set diligently to work but the former strength was 
 now greatly weakened. Among the productions of this period were the 
 novel, "Hohenschwangau" and the autobiographical "Riickblicke auf 
 mein Leben." He died December 16, 1878 in Sachsenhausen, being 
 suffocated by a fiire which had broken out in his room. 
 
 His life was thus one of utmost activity. In the words of his bio- 
 grapher and most thorough student and critic: "Whoever possesses a 
 view of his activity cannot picture him otherwise than as standing at 
 his desk and with rapid hand guiding his pen. In a life of sixty-seven 
 years he wrote more than Goethe. That, in itself, is appalling. . . . 
 Gutzkow's works are a diary of the history of his time. There is scarcely 
 a question which he has not approached, scarcely a literary personality 
 of any significance with whom he has not had relationships, either 
 personal, literary, or critical. Gutzkow's biography will not permit of 
 being written without a thorough knowledge of all the intellectual cur- 
 rents of the century. It represents a history of the years from 1830 to 
 1880. . . . The entire life of Gutzkow is a confusion of strife and 
 polemic."^ 
 
 ' Houben, H. H., Gutzkow Funde, VII. 
 
CHAPTER IV 
 
 Purpose of the Dissertation 
 
 Having thus sketched the outUnes of the "Young German" move- 
 ment, and indicated sUghtly the vast range of the field of literature in 
 which Gutzkow was a striking figure, we take up for specific investiga- 
 tion the domain of the short story in which Gutzkow was thoroughly at 
 home and to which genre he contributed freely throughout the whole 
 of his career. This is a subdivision that has been very sparingly studied 
 and is comparatively unknown. The revival of interest in the "Young 
 German" school which has been in progress for several years has thus 
 far failed to throw much light upon this side of Gutzkow's activities. 
 Research has, indeed, been carried on further in the case of some of 
 Gutzkow's compatriots than it has vnth regard to the leader himself. 
 The extent and the diversity of his labors have thus far prevented a 
 successful survey of his works in detail. Thus it happens that amid the 
 efforts that scholars such as Brandes, Dresch, Proelss, and Houben, have 
 put forth in the effort to restore the writers of "Young Germany" to 
 their proper place of merited recognition, Gutzkow's short stories have 
 been neglected, and his name brings to but few minds any memories 
 beyond those of "Wally," "Die Ritter vom Geiste, " "Der Zauberer 
 von Rom," "Uriel Acosta," and "Zopf und Schwert." 
 
 Hence it has been with the aim of discovering Gutzkow's character- 
 istics as a writer of the novelle that the present study has been prosecuted. 
 It divides naturally into two parts: first, an attempt to ascertain the 
 author's theoretical views upon literature, i. e., his conception of the 
 nature of the poetic art; and second, an endeavor by means of a detailed 
 analysis of a number of his short stories to observe how these theories 
 work out in a practical application. 
 
 For the first of these objects no large amount of material was avail- 
 able and the sources which have been used consist of an article in "Die 
 Deutsche Revue" entitled "Literature, "^ an extract "Wahrheit und 
 Wirklichkeit "2 published in connection with "Wally," the chapter 
 
 ' Deutsche Literaturdenkmale des 18. iind 19. Jahrhunderts, No. 132. Die 
 Deutsche Revue von Karl Gutzkow und Ludolf Wienbart 1835. Herausgegeben von 
 J. Dresch, pp. 22-39. 
 
 -First published in the Phoenix," July 25, 1P35. Republished in connection 
 with "Wally," August 12, 1835. 
 
KARL GUTZKOW'S SHORT STORIES 23 
 
 "Kunst und Literature" in "Die Siikularbilder, "* the various prefaces 
 to the "Ritter vom Geiste, " and a discussion by Gutzkow of the nature 
 of the roman, the novelle, and the erzdhlung in "Vom Baum der Erkennt- 
 nis."4 
 
 Nor were all of the author's short stories available for this analysis. 
 Those which have been considered are to be found in volumes two, three, 
 and four of the Costenoble edition of Gutzkow's " Gesammelte Werke " 
 and in the volume of H. H. Houben's edition of Gutzkow's works en- 
 titled "Kleine Romane und Erzahlungen. " The longer novels of Gutz- 
 kow, including " Wally," which has been well analyzed by Eugen Wolff, 
 have been excluded from the present study. 
 
 ^ Gutzkow's Gesammelte Werke, Vol. VIII, Chap. X. The Sakularbilder ap- 
 peared in 1837 under the title "Bulwers Zeitgenossen," later republished as the "Saku- 
 larbilder" in 1846. 
 
 ^ Karl Gutzkow, Vom Baume der Erkenntnis. Denkspriiche, 2, Aufl. Stuttgart 
 1869, 209 ff. (1. Aufl. 1868). 
 
CHAPTER V 
 
 GuT7Kow's Literary Theory 
 
 It has been seen that the lack of a vital connection between life and 
 literature which existed during the first third of the nineteenth century 
 was felt by many of the keenest minds in Germany to be most deplorable. 
 A return to a more reaUstic literature was widely desired as a remedy 
 for this condition, and from this period date the beginnings of the later 
 realism which spread so widely and passed through many phases until 
 it culminated finally in the excesses of Naturalism during the decades 
 of the 80's and the 90's. 
 
 The attitude of Wienbarg, Menzel, and Pfizer toward this revolt 
 against literary tradition and convention has been clearly indicated, 
 and it may be added that among those who championed the new doctrines 
 there were none more throughgoing than the author whose literary 
 theory is now to be discussed. Thus in "Die Deutsche Revue, "^ a 
 magazine which was founded by Gutzkow and Wienbarg in 1835, but 
 which was suppressed before the first edition was published, the former 
 expresses views upon contemporary literature and upon the mission of 
 literature that are in strict accord with those of the above mentioned 
 critics. Literature must, he says, mirror the nation's life and it must in 
 addition to this stand in the service of ideas. It is not sufficient that 
 existing conditions be depicted, that happiness or unhappiness be des- 
 cribed. The time for this has gone by. Literature must do more than 
 instruct the shoemaker how to reckon his accounts or the citizen to elect 
 his representatives. The genius has two goals toward which he works: 
 the deed and the idea. Existing conditions render the attainment of the 
 former impossible. The latter remains open. Hence he must work 
 for that. In other words, literature becomes purposeful and thus a 
 connection with Hfe is established. Poetry is to be used for the advance- 
 ment of a definite program. 
 
 That Hterature be popular, however, is not demanded by Gutzkow. 
 He fears a hterature which flatters the masses more than one which is 
 aristocratic. Both hterature and criticism of a high order can neces- 
 sarily have but a hmited circle of intelligent readers. When the at- 
 tempt is made to expand this circle greatly, the quality must unavoidably 
 suffer. 
 
 ' Deutsche Literaturdenkmale des 18. u. 19. Jahrh. No 132. 1, 32-5. 
 
KARL GUTZKOW'S SHORT STORIES 25 
 
 He recognizes that the poet must pass through a process of develop- 
 ment in attaining his ideal. Goethe and Schiller reached the truth 
 toward which they strove only after repeated trials. So in the French 
 literature of his own day did Balzac and George Sand. Their later 
 works were vastly better productions of art than their earlier ones. 
 
 In "Wahrheit und Wirklichkeit " (1835), Gutzkow divides the world 
 of authors and the world of readers into three domains. The scale is 
 an ascending one ; actuality (Wirklichkeit), probability (Wahrscheinlich- 
 keit), and truth (Wahrheit). The first division includes the productions 
 of that group of writers who attempt to reproduce what goes on in the 
 world about them without adding or detracting in any way, a process 
 of imitation only. Here, as in "Die Deutsche Revue," this is bitterly 
 condemned. The second class is composed of productions which may 
 or may not be based upon actual happenings, but which are not unnatural, 
 and fall within the range of probability. This is a second step, but still 
 a low one. Finally the realm of truth is made up of those writings which 
 it matters not whether they be true or not, whether they could possibly 
 be true or not, they possess an inner truth which is invisible and Vv^hich 
 places them above and beyond all contradiction. Readers corresponding 
 to these three classes are respectively designated as shallow minds, gifted 
 minds, and free minds. 
 
 This threefold division is not unlike the classification employed by 
 Goethe which he designates as simple imitation of nature (Einfache 
 Nachahmung der Natur), manner (Manier), and style (Stil).^ Goethe, 
 however, while representing these as three ascending stages of art, sees 
 in each a perfection of its own. Gutzkow does not. The classification 
 employed by Otto Ludwig is also threefold: naturalism, ideaUsm, and 
 poetic realism.^ The first is based upon historical evidence, the second 
 is ideal only, the last possesses all the elements of possibility but lacks 
 authenticity, thus being a form compounded of the former tv/o with the 
 loss of certain qualities of each. It represents the highest type of art 
 to Ludwig, and is the only type to secure his endorsement. 
 
 The position and nature of the m.odern novel is discussed in the 
 " Sakularbilder. "'* The novel, Gutzkow says, stands in the forefront 
 of present day literature. It combines the epic, the drama, and the 
 
 -'Goethes Werke. Weimar Edition, Vol. 47. Schriften zur Kunst. Einfache 
 Nachahmung der Natur, Manier, Stil, pp. 77-83. 
 
 ^Otto Ludwig's Gesammelte Werke. Herausgegeben von Adolf Stern. Vol' 
 V, 458-462. 
 
 * Gutzkow's Gesammelte Werke. Vol. VIII, p. 436. 
 
26 KARL GUTZKOW'S SHORT STORIES 
 
 lyric. An actual occurrence or at least something probable must lie at 
 the basis. This must not be so common as to be daily or matter-of-fact, 
 but must rather be suggestive in its appeal. Love must form the lyrical 
 element, ambition, fate, or some powerful passion must contribute the 
 dramatic note, and all must be enclosed in a fitting setting. This is the 
 traditional conception of the novel.^ 
 
 It is in the prefaces to his "Ritter vom Geiste, " however, that Gutz- 
 kow's theories reach their culmination. In these he announces a new 
 phase of the novel and sets forth his doctrine of the " Nebeneinander " 
 which he contrasts with the ''Nacheinander."^ The older novel, or 
 form of novel, Gutzkow claim , in these prefaces, is false, it fails to 
 reflect life, it is arbitrary, and it lacks the proper perspective. The 
 new novel must take account of all phases of society, of all forces which 
 are operative at any time, it must be comprehensive and not arbitrary, 
 and it must mirror reality more truly. It must present a cross-section 
 of life in all its interrelations at a given time rather than by selecting a 
 limited circle of characters and following a chronological order neglect 
 forces that are of equal or even greater importance than those chosen 
 and thus distort the picture which is given. It is a bird's-eye \-iew which 
 the modern novel must place before the reader, a complexity, however, 
 in which the author must not permit himself to become lost, but above 
 which he must be able to raise himself so that he can overlook the whole 
 and inject into it unity. 
 
 The influence of the French writers, particularly of Eugene Sue, is 
 apparent here. Gutzkow, ]\Iielke tells us, abstracted his concept of the 
 "Nebeneinander" from Sue's sensational novels, "Die Geheimnisse 
 von Paris," and "Der Ewige Jude."^ Balzac also influenced Gutzkow 
 in his views on the novel. Gutzkow approved of the novels of Sue and 
 Balzac and also of those of George Sand.* 
 
 The theory of the novel which Gutzkow thus stated finds in the works 
 of Karl Postl perhaps its best exposition. This writer, in the words 
 of S. Lublinski, "comprehended in the mirror of his novel writing entire 
 peoples, and in his presentation^he exhausted all the political, social, 
 
 ' See J. Dresch, Le Roman social en;Allemagne?(1850-1900) p. 19 for discussion 
 of Gutzkow's definition of the novel. 
 
 « Preface to the first edition of "Die Ritter vom Geiste." 
 
 'Hellmuth Mielke, Der Deutsche Roman, p. 174. 
 
 * J. Dresch, (Gutzkow et la jeime /Vllemagne, p. 174;^Le Roman social en Alle- 
 magne, p. 277. 
 
KARL GUTZKOW'S SHORT STORIES 27 
 
 historical, and climatic conditions, the entire and infinite atmosphere 
 in which these peoples Hved. '"•* 
 
 According to Rudolf Fiirst Postl " may lay claim to the merit of being 
 first to regard his time with the gaze of a sociologist."^" And again, 
 still speaking of Postl as a pioneer in this line, he says: "These novels 
 (Postl's) with their many changing scenes demanded a new technique. 
 . . . The new novel of the " Nebeneinander, " which made it possible 
 to lead the reader now here, now there, now into the hut and now into 
 the palace, was created to assist so that in addition to discussing questions 
 purely of art, it could serve political and social aims, and in the hands 
 of "Young Germany" it became one of their trusty weapons."" 
 
 Just how far Gutzkow succeeded in carrying his theories into success- 
 ful practice in his long novels will not be discussed here at length.^^ 
 Quoting once more from Fiirst, this critic makes the following assertions: 
 " 'Young Germany' produced works which come close enough to the 
 conception which we today call modern. In Gutzkow's 'Ritter vom 
 Geiste,' for example, this newly acquired technique appears surprising. 
 The enormous changes of scenes and persons required has been smoothly 
 mastered, and although one meets the Romantic frumpery and the sen- 
 sational element of French, especially of Eugene Sue's, origin, and 
 although the enmity expressed against all who wear better coats is rather 
 inartistic, yet the consideration of the classes of society may be looked 
 upon as a significant step. . . . Gutzkow is also the first writer to make 
 the now famous 'Hinterhaus' susceptible of literary treatment. "^'^ 
 
 Further than this it is sufficient to state that the demands which 
 Gutzkow made were probably too great to be entirely fulfilled in any 
 single work. Their major importance lies rather in their statement 
 as a program. In practice, as is usual with theories, modification 
 became necessary. In a preface to a later edition of the "Ritter vom 
 Geiste" Gutzkow states that after all the machinery of the novel is 
 not the thing of greatest importance. True to his early principles, 
 he says that the thought and not the form is for him the chief considera- 
 tion. He also restates his attitude toward realism in literature. Char- 
 
 ^ S. Lublinski, Literatur und Gesellschaft, II, p. 144. 
 
 '" R. Fiirst, Deutschlands Roman im neunzehnten Jahrhundert, 80-81. 
 
 " R. Furst, loc. cil. 
 
 "For estimates upon this point see (1) Friedrich Kummer, Literaturgeschichte 
 des 19. Jahrhunderts, p. 253, (2) H. Mielke, Der Deutsche Roman, p. 174, (3) Adolf 
 Bartels, Geschichte der deutschen Literatur, Vol. II, p. 165. 
 
 "R. Fiiist, Deutschlands Roman im neunzehnten Jahrhundert, 80-81. 
 
28 KARL GUTZKOW'S SHORT STORIES 
 
 acters must be real to the extent that they are persons of flesh and blood 
 and not mere abstractions, but any attempt of an author to reproduce 
 actuahty is a mistake. ^^ 
 
 In 1868 in "Vom Baume der Erkenntnis" Gutzkow discusses in 
 some detail the differences between the rofnan, the novelle, and the er- 
 zdhhmg, and although it cannot be claimed that he makes any contribu- 
 tion of definite value to the critical theory that touches upon these forms, 
 his discussion is important in that it shows his criteria for judging these 
 species. 
 
 The ro?nan, the novelle, and the erzdhlung have the one point in 
 common that they concern themselves with the presentation and un- 
 folding of human fate. They differ in manner of treatment. The 
 roman depicts human destiny as it is shaped by universal forces, such 
 as history, national customs, great moral codes, the currents of the times, 
 the claims of religion, of art, of social classes, or of family. The novelle 
 treats of the course of human lives when influenced by restrictions of 
 a special sort. The chronicle instead of history, local customs instead 
 of national customs, isolated fads instead of common usages, abnormal 
 conditions of the time instead of normal conditions, and the claims of 
 particular sciences instead of general science, affect the destiny of human 
 beings in the novelle. In the erzdhlung these external forces, both general 
 and particular, are excluded. Hum.an destiny is determined by its own 
 inner Hmitations. 
 
 Gutzkow ascribes to chance, or fate (Zufall), the leading role in the 
 novelle. The direction and end of earthly life rests, he says, upon chance. 
 The caprice of chance is the mainspring of the novelle, the cause of its 
 action. 
 
 In pursuing the difference between roman and novelle, he states that 
 there can be only art novels (Kunstromane) and artist novellen (Kiinst- 
 lernovellen). There are novels of manners (Sittenromane) but village 
 novellen (Dorf novellen). In other words, it is the size of the canvas 
 which the author uses and the nature of the surrounding conditions, 
 universal or particular, which determine the genre. 
 
 He devotes a few words to the relationship of these forms to the drama. 
 The erzdhlung, he asserts, is an objectively told drama. The roman 
 and the novelle can only with difficulty be dramatized and any attempt 
 to do this is dangerous. 
 
 "Preface to the third edition of "Die Ritter vom Geiste." 
 
KARL GUTZKOW S SHORT STORIES 29 
 
 The novelle and the roman are productions of a higher type than the 
 erzahbmg. They require artistic execution. The erzdhlung need bear 
 only the marks of authenticity and logical accuracy. Of the three the 
 novelle is the most difficult form, since chance must not operate within 
 it as a blind force. It must appear so to act to the characters within 
 the story but in reality it must be motivated and be inevitable rather 
 than accidental. Since this is true, Gutzkow draws the conclusion that 
 the task which the novelle sets for itself can be accomplished only through 
 the agency of humor (Humor), the highest gift of Hterary creative power 
 and one which even writers of note possess only sparingly. 
 
 It thus seems evident from what Gutzkow has written upon literary 
 theory that he desired a literature that should be elevated, which should 
 appeal to but a limited class of readers, an educated and discriminating 
 circle, which should aim to guide the masses rather than to flatter them, 
 which should possess elements of idealism and be more than a reflection of 
 the common, the sordid, and the everyday, which should have a basis in life 
 sufBcient to render its happenings probable but which should avoid any 
 thing approaching photographic reproduction. Thought, ethical content, 
 should receive the author's first consideration. Form, although import- 
 ant, should be subordinated to this. The element of instruction should 
 in the case of a conflict with the desire to please or entertain be regarded 
 as the weightier motive, that is, purpose, "Tendenz, " should remain the 
 principal objective of the author. He was bitterly opposed to Roman- 
 ticism and was a staunch advocate of the modern conception of the 
 world. His contributions to the theory of the novel are more valuable 
 than is his treatment of the novelle and the smaller literary genres. In 
 che matter of the " Nebeneinander " he is a pioneer and did work of 
 mestimable value but at the same time, as has been pointed out, he was 
 not the only one at work in this field. Karl Postl shares with him the 
 merit of producing works which show a thorough knowledge of its 
 technique and the ability to use it effectively. 
 
CHAPTER VI 
 
 Contents of the Short Stories 
 
 Before proceeding to a technical analysis of the stories a short sum- 
 mary comprising the essential details of the action in each will be given. 
 The order in which these summaries are presented is a chronological 
 one, based upon the dates as given in the author's collected works in 
 the Costenoble edition, June, 1872, and in the volume entitled "Kleine 
 Romane und Erzahlungen" of the edition pubUshed by H. H. Houben.' 
 
 1. Der Prinz von Madagascar. 1834. Hippolyt, heir of the native 
 royal family of the island of Madagascar, is captured by the French on 
 one of their numerous raids and taken as a hostage to Paris. With 
 Colas, his faithful servant, he lives there contentedly, becomes a lieuten- 
 ant in the army, and thinks little of his distant possessions until a dis- 
 appointment in love determines him to return and attempt to recover 
 his throne. Accompanied by Polyglotte, a professor of languages, whom 
 they have secured to act as interpreter, he and Colas set sail. They 
 land at St. Mary's, a small island just off the coast of Madagascar. 
 Before Hippolyt is able to devise a plan for regaining control of his 
 kingdom, he is captured one day by a band of dusky natives from his 
 own islands, taken to the interior of Madagascar, and sold as a slave. 
 With the aid of Araxata, a princess but also a slave, and of a native 
 woman who claims to have been Hippolyt's nurse before he was kid- 
 napped and carried to Europe, Hippolyt makes his escape to his friends. 
 The nurse sacrifices her life to ensure his safety, being killed by a pur- 
 suing band of natives. Hippolyt, Polyglotte, Colas and Araxata leave 
 on the first ship for France. Araxata is unable to endure the sea voayge 
 and dies in mid ocean. Hippoh't mourns the loss of Araxata whom he 
 had come to love, gives up all pretensions to the rule of Madagascar, 
 and resumes his position in the French army. 
 
 2. Kanarienvogeh Liebe und Leid. 1834. Matzchen, a simple 
 Thuringian canary bird, innocently falls in love with its image in the 
 mirror. The family cat recognizes the bird's mistake, derives consider- 
 able amusement from it, and finally disillusions Matzchen. Grief at 
 the disappointment causes the canary to pine away. Released from its 
 cage by the cat for a last look at its mate in the mirror, it is killed just 
 at that moment by its false friend. 
 
 ' H. H. Houben's Gutzkovv Fur.de contains a complete list of Gutzkow's works 
 in chronological order. Cf. pp. 543-554. 
 
KARL GUTZKOW'S SHORT STORIES 31 
 
 3. Der Sadduzder von Amsterdam. 1834. Uriel Acosta has been led 
 by his studies and investigations with regard to rehgion to question the 
 orthodox teachings of the Jewish belief. For this he is sentenced to 
 be excommunicated. When the decree is read all his friends, including 
 Judith, his betrothed, forsake him. For two months Uriel remains 
 outside the pale of the church. Then love for Judith causes him to 
 recant and be received again into the synagogue. Once more doubts 
 trouble him. He drifts further than before from the accepted doctrines 
 of his faith and is again put under the ban. For Judith's sake he recants 
 a second time, and this time he is obliged to submit to the most humilia- 
 ting of penances. Once more received into the church, he finds that 
 the sacrifice of his convictions has been made in vain. Judith has 
 married Ben Jochai. Desiring revenge for Jochai's treachery, Uriel 
 shoots, but by mistake kills Judith. He then kills himself. 
 
 4. Seraphine. IS 35. Seraphine is a teacher in a private school 
 for girls, later governess in the home of Frau von Magnus. Brought 
 up in straitened ckcumstances, she is obliged to shift for herself and in 
 the struggles is favored neither by fortune nor by love. Arthur Stahl, 
 her first lover, is an ambitious, ideally inclined, but pessimistic office 
 seeker. Seraphine's attitude toward him is one of affectionate resigna- 
 tion, and is featured by an intensely sentimental correspondence which 
 she carries on with him. Her second lover, Edmund von Oppen, is 
 the antithesis of Arthur, a receptive, yielding, tolerant, and injudicious 
 character. Toward him Seraphine's manner is abrupt and resolute. 
 A third lover, Philipp, a forester, is a rude, primitive type of man, some- 
 what superstitious and bigoted. Him she later marries. Meanwhile 
 in Herr von Magnus, whose wife is coquetting with Arthur and Edmund, 
 Seraphine finds another friend. This friendship she does not permit 
 to ripen into love. An accident to Herr von Magnus recalls the wife 
 to her place of duty at her husband's side. A duel between Arthur and 
 Edmund is prevented by the timely appearance of Seraphine. The 
 latter after a short and unhappy married life dies in giving birth to a 
 child. 
 
 5. Arabella, 1835. Arabella, the young widow of the Duke of Devon- 
 shire, is passionately desirous of captivating Ottokar, a handsome 
 Austrian nobleman. Unfortunately, she is unable to do this because 
 of her lack of beauty. The JNIarquis de Negro discovers her longing and 
 promises to render her most beautiful, if she will at the expiration of 
 three hundred days marry him. Arabella's vanity causes her to assent 
 to this proposition. A secret cosmetic preparation does all that de 
 
32 KARL GUTZKOW'S SHORT STORIES 
 
 Negro has claimed for it, and Arabella finds herself the centre of many 
 admirers, of whom Ottokar becomes the favorite. His proposal of 
 marriage follows naturally, but Arabella's agreement with de Negro 
 prevents its acceptance. Downcast at this rejection, Ottokar leaves 
 England and travels on the continent in an effort to forget his disappoint- 
 ment. Returning he carefully avoids his former associates and devotes 
 himself to his passion, that of gambling. Always successful in this, he 
 one day meets a stranger and wins from him all his possessions. Finally 
 the stranger, who is de Negro, reveals his identity, and offers to wager 
 Arabella, his betrothed, on the condition that should Ottokar again 
 be successful he would restore to him all his previous losses. Ottokar 
 agrees and again wins. The Marquis immediately conducts him to 
 Arabella, whom Ottokar finds far more beautiful than before. As he 
 soon discovers, however, certain metallic ingredients in the cosmetic 
 have had a deleterious efifect upon her system and Arabells has become 
 blind. Nevertheless, Ottokar remains faithful and pleads with her to 
 give up the use of the preparation. Her vanity will not permit the sacri- 
 fice. As a result her other senses are gradually dulled and destroyed 
 also until, inwardly wasted away, although outwardly beautiful, she 
 at last dies, a victim of her own vanity. 
 
 6. Schauspieler vom Hamburger Berge. 1839. This sketch relates 
 the history of two persons in theatrical life. Both are failures in their 
 profession, Albertine because of her uncontrollable temper, Heinrich 
 M. because he lacks all genuine dramatic talent. 
 
 7. Das Stelldichein. 1839. Graf Hugo, although married to a 
 charming wife and the father of a promising young daughter, dehghts 
 in carrying on petty love adventures. While riding one day in a public 
 cab, he finds a letter containing what appears to be a request from a lady 
 of high rank for a rendezvous with someone. He determines to meet 
 the appointment. Following the directions given, to his great surprise 
 he meets his own wife. It develops that the latter's maid has lost the 
 letter, and that the appointment in reality was with a noted artist 
 whom the countess had engaged to paint a picture of herself as a sur- 
 prise for her husband on his birthday. The count adroitly extricates 
 himself from an embarrassing situation and from that time on exercises 
 more caution in his love adventures. 
 
 8. Die Wellenbraut. 1843. Idahne, daughter of the prime minister, 
 is engaged to Count Waldemar, also prominent in official circles. At 
 a reception held in her honor by her uncle a gondola trip furnishes the 
 principal entertainment. Idaline's craft is managed by a young man 
 
KARL GUTZKOW'S SHORT STORIES 33 
 
 with whom she is unacquainted, but who nevertheless exercises a pecu- 
 liar domination over her. So strong is this that in response to a sugges- 
 tion of his, she throws her engagement ring into the lake. Later, at 
 an exhibit of paintings, she and Theobald see each other, and although 
 no further acquaintanceship develops, Idaline nevertheless becomes 
 conscious that Theobald occupies a place in her thoughts that should 
 be held only by her fiance. Count Waldemar. Theobald also has similar 
 feelings toward her. Neither, however, reveal their sentiments. Ida- 
 line and Waldemar marry. The count soon realizes that Idalines' 
 affections are not his to the extent that they should be. A summer 
 spent together on his country estates in Silesia will, he hopes, unite 
 him more closely with his wife. Duties of state, however, prevent his 
 remaining long in Silesia. Before he returns to the capital Idaline 
 hands him a written confession of her feeling toward Theobald as it 
 existed at the time of her marriage, but both husband and wife now 
 believe that time has effaced this feeling. Hence Waldemar carries 
 no sense of anxiety with him when he departs. A few days later a 
 stranger is injured by a fall in the mountains and by orders from Idaline 
 is taken care of at the castle. Recovered from his fall, Theobald, for 
 it is he, desires before leaving to express his gratitude to Idaline. The 
 sight of each other causes the former feelings to return. Instead of 
 leaving as he had planned, Theobald remains and the two pass the entire 
 summer together. Only when the coming of the count is announced 
 does Theobald leave. Oppressed by a sense of guilt, Idaline feels herself 
 unable to meet her husband, and at the moment of his arrival drowns 
 herself in the lake at the rear of the castle. 
 
 9. Die Konigin der Nacht. 1844. Rumors of a secret relationship 
 between Ladoiska, the leading court opera singer, and crown prince 
 Max, the heir apparent to the throne of a small principality, are per- 
 sistent, but appear to lack convincing proof. The princess Jucunde 
 whom Max is soon to marry hears these reports and desires to test their 
 truthfulness. The prince's answer however, is such that the princess 
 feels herself obHged to believe the truth of the rumors. During the 
 performance of an opera on the evening of their wedding day and in 
 honor of their union, the blossom of a century cactus which the prince 
 had obtained at great expense as a special token of his love for his bride, 
 mysteriously disappears. The princess, a skilled botanist, by means 
 of her sense of smell traces the lost blossom until after a considerable 
 search she finds it in the apartments of Ladoiska. The prince displays 
 embarassment during the last part of the quest, and the mystery of 
 
34 KARL GUTZKOW'S SHORT STORIES 
 
 the relationship which had existed between him and Ladoiska is solved 
 by the discovery of a secret door and stairway leading to the latter's, 
 apartments. Love for his bride, however, proves the stronger passion 
 and Ladoiska leaves very soon for an extended opera engagement. 
 
 10. Die Selbsttaufe. 1844. Gottfried Eberlin, candidate for the 
 degree of doctor of philosophy, a young man of good education and 
 brilUant intellectual powers, at a time of discouragement and disappoint- 
 ment makes the acquaintance of Agathe Wallmuth, a young woman of 
 good family, possessed of genuine feeling, but utterly lacking in brilliancy 
 and initiative. They become engaged. Agathe's father and sister 
 at first find no fault. The former's attempts to prescribe the relations 
 that shall obtain between the engaged couple, however, precipitate a 
 crisis that results in breaking off the correspondence. Later the two meet 
 in the city where Agathe has her home. Meanwhile Gottfried's cir- 
 cumstances have changed. Success beckons to him. He beheves that 
 each individual has the right to shape his own destiny so far as he is 
 able to, to decide his own place in society, to choose his own religion, and 
 even to elect the name that he shall bear. Acting upon this behef, he 
 has changed his own name from Gottfried to Ottfried. Under this 
 name he becomes an object of interest to Sidonie, Agathe's elder sister, 
 a young, wealthy, and attractive widow. Through her efforts Ottfried 
 becomes reconciled to the father and is looked upon with favor as a 
 suitor for Agathe's hand. Time and a closer acquaintance with Sidonie, 
 however, reveal to Ottfried that the older sister possesses the greater 
 attraction for him and is more nearly his intellectual equal. Whereas 
 he now feels that a lifelong companionship with Agathe would prevent 
 his own full development, he is equally certain that a union with Sidonie 
 would spur him to his best efforts. Sidonie is passionately in love with 
 Ottfried and also realizes this. An important diplomatic service that 
 is entrusted to Ottfried prevents his presence at a dinner where a formal 
 announcement of his engagement to Agathe was to be made. The 
 announcement is deferred and is never made. Ottfried remains in 
 Vienna whither he has been sent. A few months later Sidonie follows 
 him there. Agathe, bitterly disappointed and heartbroken, dies shortly 
 afterward. 
 
 IL Eine Phantasieliebe. 1845. Imagina Unruh's earh' life has 
 been spent partly under the care of nuns in a convent and partly among 
 the fields and mines of her native Silesia. She has lacked a mother's 
 care and has grown up a romantic, fanciful creature. A wonderful dream 
 of King Cobalt in his underground realm sending his young son. Prince 
 
KARL GUTZKOW'S SHORT STORIES 35 
 
 Wismuth, out into the world and taking from the devil as a pledge for 
 his safety from evil influences while there the seven deadly sins, makes 
 a profound impression upon her mind and forms a romantic background 
 for the story. From the time Imagina is thirteen until she is eighteen 
 years of age, she attends a boarding school in Breslau. Immediately 
 after leaving this she is married to the young count of Wartenberg. 
 Unused to the "high life" at the various resorts visited during the honey- 
 moon trip, she is unable to hold her husband's affection. He falls in 
 love with a PoUsh countess, Feodore Zaluska. A young man whom 
 Imagina sees at various times reminds her strongly of the Prince Wismuth 
 of her childhood dream. In a diary which she keeps for her own diver- 
 sion she interweaves a mass of facts and fictions regarding her surround- 
 ings and in this narrative Prince Wismuth, Otto Sudburg, plays a roman- 
 tic role in the writer's life. In the suit which Wartenberg soon brings 
 for divorce, this diary is produced as evidence of Imagina's infidehty. 
 At first Imagina contests the suit and Wartenberg is likely to lose, for the 
 fictitiousness of much of the diary soon becomes manifest. Later Ima- 
 gina meets Otto Sudburg in Italy, learns from him the story of his Hfe, 
 which bears a strange resemblance to her early dream, and in order to 
 save him from marrying Feodore, whom he has promised to marry and 
 provide for in case Wartenberg is unsuccessful in his divorce suit, but 
 who would be certain to ruin his own life, withdraws her defense and 
 permits the decree to be granted. 
 
 12. Der EmporUick. 1852. Ernst Oswald goes to a large city to 
 complete his preparation for the legal profession. There he becomes 
 acquainted with Ernestine Waldmann, the daughter of an old army friend 
 of his father. Although they belong to widely separated social classes, 
 they become close friends. Scharfneck's attempts to break off this 
 friendship by argument and by illustrations of the general low moral 
 standards of the common classes prove futile. Ernst is unconvinced. 
 Circumstances, however, adjust themselves so that the friendship is 
 twice interrupted. Ernestine's brothers have on several occasions 
 committed minor offenses against the law. Finally an offense so grave 
 has been committed by them that severe punishment awaits them if it 
 is discovered. Their only hope other than in flight lies in using the sister 
 as a tool to secure money from Ernst with which to conceal their thefts. 
 Ernestine has been taking private lessons from a tutor, Lude Wachter, 
 and this man fearing to leave his savings in his own room has placed them 
 in Ernestine's care. Lude Wachter, moreover, is anxious to marry 
 Ernestine, but her love is for Ernst. Now in order to shield her brothers 
 
36 KARL GUTZKOW'S SHORT STORIES 
 
 Ernestine gives them this sum of money, thinking to repay Wachter 
 in the only way possible, by marrying him as he desires. The next night 
 Wachter is mysteriously murdered. Owing to Ernestine's relationship 
 to Wachter, she is at once suspected of the murder. The real murderers, 
 the brothers and some of their friends, are soon discovered, however, 
 and Ernestine is liberated. Before Ernst is able to see her, she has left 
 the city. His efforts to find her prove unsuccessful. Returning after 
 several years as a companion and reader for a Russian countess, Ernst 
 again meets her. Diligent study and contact with good society have in 
 the meantime given Ernestine thorough knowledge in many lines and a 
 degree of refinement that enables her to present a good appearance in 
 any society. Her health, however, is undermined. Before the formal 
 engagement of the two can come to a happy termination in marriage, 
 Ernestine dies. Ernst remains true to her memory and never marries. 
 13. Die Kurslauben. 1852. Leontine Simonis yields to her parents' 
 wishes and marries Michael Herz, a rich broker, instead of Dr. Moritz 
 Sancho, a penniless poet and enthusiast, whom she really loves. Herz 
 is sufficiently keen to detect the danger in this former relationship, and 
 uses an element in his wife's character, greed, as a means of combating 
 her secret disloyalty. His efforts prove successful and Leontine's inter- 
 ests become practical instead of sentimental. For three years Sancho 
 makes no attempt to enter the family circle and the domestic situation 
 is untroubled. At the end of this period, however, he reappears sud- 
 dently, is welcomed by Leontine, and begins to plot to undermine her 
 in his wife's affections. Leontine desires to appear in a practical light 
 before Sancho, and in order to do this she dissembles her feelings and 
 pretends to certain interests long since outgrown. Meanwhile the exten- 
 sion of the electric telegraph has rendered the carrier pigeons employed 
 by Herz to procure advance information of market conditions valueless 
 for that purpose, and following Leontine's suggestion it is decided to 
 serve them as the principal dish at a dinner at which Sancho is to be a 
 guest. When Sancho arrives, he secretly hands Leontine a poem which 
 he has written upon the subject of her care of the pigeons in which he 
 expresses his own feehngs for Leontine in stronger terms than any he had 
 yet ventured to use. During the course of the meal, however, some re- 
 marks inadvertently made by Herz, serve to reveal to Sancho Leontine's 
 hypocrisy and her utter lack of genuine poetical feeling. He quits the 
 scene utterly disillusioned, leaving Leontine shamed by the consciousness 
 of her previous vacillating conduct, and Herz for the first time in full 
 possession of his wife's affection. Sancho later marries elsewhere and 
 leads a life of comfortable mediocrity. 
 
KARL GUTZKOW'S SHORT STORIES 37 
 
 14. Konig Franz in Fontaineblean. 1851. Blanche Naudet and 
 her lover, Firman Allard, in order to secure for the latter a position in 
 the royal armory at Paris, practice a deception upon King Francis. The 
 king in spite of his many >"ears and his feeble health desires to appear 
 more rugged and youthful than those about him. The courtiers indulge 
 him in thus. Blanche quickly recognizes the situation and persuades 
 Firman to masquerade as a cripple when he is presented to the king. 
 Very soon afterward, however, the deception is discovered and the king 
 is at first extremely angry, but relenting quickly he retains the two in 
 his favor and permits Firman to become foreman in the royal armory. 
 
 15. Die Nihilisten. 1853. The background of the story is found 
 in the milieu of the events of the Revolution of 1848. The NihiUsts 
 are a group of radicals who wish to substitute nature in the place of 
 law, and convention, as the guiding force in life, who desire absolute 
 freedom of thought and action, are sceptical of existing institutions and 
 authority, and hence are objects of suspicion to the government, which 
 banishes them from the capital, after which the revolutionary days with 
 their kaleidoscopic changes furnish the members of this group a test of 
 the strength and vaUdity of these principles. Eberhard Ott and Hertha 
 Wingolf emerge successfully from the trying ordeal, stronger and nobler 
 than before. Constantin Ulrichs, the former brilhant leader, fails to 
 measure up to the test and exposes a fatal weakness of character. The 
 result shows him to superficial and lacking in stabiUty. His conduct 
 stands in marked contrast to that of Ott. Twice material advantage 
 gains a victory in him over moral obligation. Twice he breaks his 
 plighted word, once to Agnes Planer, and again to Herta. Ott, a man 
 of solid virtues, entirely lacking in ostentation, at first a follower of 
 Ulrichs, is forced to leave him in order to remain true to himself. He 
 marries Agnes whom Ulrichs has deserted. Later, a widower, he mar- 
 ries Hertha. The latter has passed through the most striking develop- 
 ment in character of all the persons in the novel. From an ardent 
 advocate of greater rights for women and emancipation for the fem.ale 
 sex in the sense of George Sand's writings, she has become through a 
 severe refining process a woman of genuine nobility of character and soul. 
 
 16. Jean Jacques. 1854. Jean Jacques is an intim.ate psycholo- 
 gical study of Rousseau's motives in placing his children in a public 
 orphanage. The author aims to show that conviction and adherence 
 to principle were responsible for this act. Rousseau realized that con- 
 ditions in his own home were such that the proper moral and intellectual 
 environment was lacking and that even a state institution could supply 
 
38 KARL GUTZKOW'S SHORT STORIES 
 
 this better than he. Hence he considered the giving over of the care 
 and training of his children to the state as not only a sacrifice on his 
 part as parent, but also as a commendable act, a noble deed. The 
 story as a whole constitutes an excellent study of the influence of en- 
 vironment, especially as represented by conditions among the lower 
 classes of society. 
 
 17. Der PJefer-Matthes. 1854. Pfeffer-AIatthes is an inmate of an 
 insane as3-lum whose mania takes the form of making Christmas presents. 
 Known for years as the stingiest man in his native village, he has at 
 all times and especially at the Christmas season persistently refused 
 to give presents. In order the better to avoid this, he spends each 
 Christmas eve, when others are celebrating, at his wife's grave in the 
 churchyard. One extremely cold night he succumbs to the weather and 
 although rescued and restored physically is rendered mentally unbalanced 
 by the exposure. From this time on whether through fear at some vision 
 which he had had that evening or for some other motive, he is continually 
 desirous of giving Christmas presents and has to be removed to a hos- 
 pital for the insane. 
 
 18. Die Diakonissin. 1855. Oberst van der Busch, a Dutch official 
 in Java, while on leave of absence in Europe, becomes engaged to Natalie 
 Hartlaub. Accompanied by Gerhart Hartlaub, the brother of his 
 fiancee, he returns to Java to serve the few remaining years that are 
 necessary before he can retire from the colonial service and return to 
 Europe to claim his bride and take up a permanent residence. While 
 in London he takes out an insurance policy in the Equitable Society 
 in which he specifies Natalie as the beneficiary. Returned to Java, he 
 falls a victim to a malignant tropical disease which proves incurable. 
 Racked by suffering and despairing of securing relief the Oberst finally 
 commits suicide. In order to secure his sister in the possession of the 
 insurance money, Hartlaub conceals the circumstances of his friend's 
 death and reports it as occurring from natural causes. Thirty years 
 after this event he returns to Europe and finds his sister happily married 
 to a very wealthy merchant, Jacob Wisthaler. The fortune which this 
 man possesses had its origin in the dowry of his wife, the insurance 
 funds left by van der Busch. The latter's relatives, wealthy at the time 
 of his visit to Europe, suffered financial reverses at about the time of 
 his death. Left destitute in this way, they made several attempts to 
 secure the insurance left by van der Busch, but these proved unsuccessful. 
 A niece, Constanze Artner, at the time of Hartlaub's return to Europe, 
 
KARL GUTZKOW'S SHORT STORIES 39 
 
 is the only remaining representative of the family. A business enter- 
 prise undertaken by her father after dissolving a partnership with 
 Wisthaler resulted in failure and the daughter, shortly after bereft of 
 her parents, now intends to become a deaconess in a hospital. Wolmar, 
 a young doctor, without either means or practice, although deeply in 
 love with her, feels himself unable to aid her and rather ingloriously 
 permits circumstances to separate them. Hartlaub, back from Java, 
 learns these conditions, and realizes that the present flourishing state 
 of his sister and her family had its source in the insurance left by van 
 der Busch. He further realizes that Constanze has a moral claim to 
 this money, although she lacks all legal claim upon it. In the presence 
 of Freydank, Wisthaler's attorney, Hartlaub reveals to Wisthaler the 
 secret of van der Busch's death. Powerfully moved by the dramatic 
 recital, the rich merchant agrees to do for the daughter what he had 
 previously refused to do for the father. He agrees to settle upon Con- 
 stanze a sum equal to the amount of the insurance. This will permit 
 Constanze and Wolmar, whom Constanze still loves, to marry. The 
 doctor, however, before learning of this and while still unaware of Con- 
 stanze's feeling toward him, unexpectedly meets her, and overcome by 
 a sense of shame at the thought of his former weakness, is unable to re- 
 main in the city where he is apt to meet her frequently. A dangerous 
 epidemic is raging in a distant province, and the need of more physicians 
 is urgent. Wolmar leaves the city and hastens to assist in stamping 
 out the disease. Meanwhile Constanze receives her settlement. Wol- 
 mar's departure, however, causes her to revert to her original plan, and 
 she enters the deaconess hospital as a novice. Wolm.ar, who has per- 
 formed heroic service in subduing the plague, is himself after a time 
 struck down by it. He recovers physically, but mentally is affected 
 seriously by loss of memory. An interview with Constanze finally 
 serves to recall him to himself. Soon afterward, completely restored, 
 he marries Constanze. Freydank, meanwhile, has married his ward, 
 Frau von Emmen, and Hartlaub finds in Juliane, a sister deaconess of 
 Constanze, a bride who returns with him to Java. 
 
 19. Ein Lehensloos. 1856. Franz Gruner is a poetic example of 
 the fascination which the stage exerts upon all who come under its 
 sway. Owing to inability to adjust himself to circumstances, he^ loses 
 position after position until he is at length reduced to the necessity of 
 taking up dyeing and cleaning in order to gain a Uvelihood. But even 
 in the extremest proverty, he yet maintains his interest m the theatre, 
 and vainly hopes either to regain a place upon the stage as a director 
 
40 KARL GUTZKOW'S SHORT STORIES 
 
 or an actor, or else to be successful in publishing a work which he has 
 written upon the staging of a number of large operas. 
 
 20. Aus dem Schwabenland. 1856. The Holzenbauer's horses and 
 wagon are stolen from the Ravensburg marketplace while their owner 
 is enjoying the afternoon in the village tavern. Discovering his loss, 
 the peasant loudly and repeatedly offers a reward of ten crowns for their 
 recovery. Speidle, the constable, pursues the thief, recovers the stolen 
 property, but exhausted by his exertions, permits the thief to escape 
 when a little more efifort would have led to his capture. The thought 
 of the reward which is to be paid regardless of the capture of the thief 
 also contributes to this. When the farmer regains his horses and wagon, 
 however, he refuses to pay the reward because it has not been specified 
 in wTiting that he should do so. Speidle, condemned in his own mind 
 for allowing the thief to escape, is unable to collect the money. On the 
 other hand the Holzenbauer's conscience troubles him for not keeping 
 his word. Finally in order to make at least slight amends for this 
 breach of faith, he decides to present Speidle with a sack of his finest 
 potatoes. The latter, however, spurns the offering and throws both 
 gift and donor out of the house. The peasant enters a complaint and the 
 constable is obliged to pay a fine. Later Speidle captures the thief and 
 thus recovers his lost self respect. The Holzenbauer continues to suffer 
 qualms of conscience. 
 
 21. Das Opfer. 1869. Gabriele Berger has been happily m.arried 
 for three years to Justizrat Wenck. Nevertheless she still retains the 
 letters which she had received previous to that time from Hugo Ellrich. 
 The latter has since died, but the letters Gabriele reads very often. 
 Suddenly Elsbeth, her little daughter, is stricken seriously ill wdth scarlet 
 fever and her life is despaired of. The thought comes to the mother 
 that in keeping and reading these love letters she is guilty of a form of 
 disloyalty to her husband, and that the sickness of her child is a punish- 
 ment for this. She pledges herself to destroy the letters if Elsbeth 
 recovers. The mother overtaxes her strength in caring for the child, 
 and herself lies critically ill for several weeks. Recovering she finds 
 Elsbeth well and strong. True to her vow she makes the promised 
 sacrifice and burns the letters. 
 
 22. Das Johaimisfeiier. 1872. Ottilie Walch, a young, charming 
 widow, is in love with Heinrich Rother, a law>'er and in secret a poet. 
 In the capacity of state's attorney Rother is obliged to conduct a suit 
 against Ottilie to secure the reversion of her estates to the government, 
 or in lieu of this, the payment of a sum sufficiently large to seriously 
 
KARL GUTZKOW'S SHORT STORIES 41 
 
 affect her income in order to retain them. By accident Ottilie comes 
 into possession of a letter which reveals Rother's identity as the poet 
 Hugo Ubaldi and which shows furthermore that the slight demand for 
 his works has resulted in the sale of only a small part of the first edition. 
 Rother is ambitious to have a second edition printed, but of this there 
 seems little prospect. Meanwhile, as counsel for the state, he fails to 
 push his own case with Ottilie, something that is disappointing also 
 to her. Possessed of the above information, Ottilie purchases the 
 remaining copies of his works, and plans to secure an artistic revenge 
 upon Rother by burning them at a festival on the evening of Midsummer 
 Day. By so doing, Rother, she is confident, will feel himself drawn more 
 closely to her. When he learns that she has done this, the way will be 
 opened for a new edition, and the somewhat strained relations between 
 the two will be adjusted. Events justify her judgment. The books are 
 burned in a bonfire. Rother discovers that they are his own works, 
 realizes the motive that inspired the act, and acts as anticipated by 
 Ottilie. The same evening the engagement is announced. A new 
 edition of Rother's works is also soon to appear. 
 
 23. Der Werwolf. 1870. "Der Werwolf" is an historical 
 novel of the counter reformation period. The pecuniary embarrass- 
 ments of the imperial court of the days of Rudolf the Second are pic- 
 turesquely described. The principal incident of the story centers around 
 the meeting of the Reichstag in Augsburg. Sigmund von Landeck, one 
 of the emperor's bodyguard, while absent on a furlough, falls in love 
 with Placida von Burgess. His affection is returned, the parental 
 consent is given, and all promises well. Sigmund returns to his duties 
 expecting ere long to marry Placida. Soon, however, his letters unex- 
 pectedly receive no answer and all his efforts to resume a correspondence 
 with Placida prove futile, he knows not why. It later develops that 
 Wenzel von Fircks, a fellow member of the imperial guards, jealous of 
 Sigmund and anxious to injure him, has maliciously imitated Sigmund's 
 handwriting and written letters to Placida in Sigmund's name, that have 
 been deliberately insulting. Placida has been completely deceived by 
 the similarity of the writing, and the happiness of the two appears doomed 
 to be wrecked. When the Reichstag meets, however, Placida, who 
 still loves Sigmund, knowing that Sigmund will be at Augsburg with 
 the emperor's retinue, goes there with her father in the hope of seeing 
 him. In this she is successful, but the circumstances under which she 
 sees him are so mysterious and unnatural that both father and daughter, 
 
42 KARL GUTZKOW S SHORT STORIES 
 
 influenced by the current superstition of the time, are led to the con- 
 clusion that Sigmund is a supernatural being, a werwolf. Deeply affected 
 by this experience, they return home without having held an interview 
 with him. Some days later Sigmund appears, the mystery explains itself 
 in a humorous and entirely natural manner, the malevolence of Wenzel 
 von Fircks is disclosed, a reconciliation follows between Placida and 
 Sigmund, and very soon afterward their marriage is celebrated. 
 
CHAPTER VII 
 
 The Point of View 
 
 The point of view is the position from which the events of a story 
 are seen and then related to the reader. If the viewpoint be that of the 
 principal character of the story, or of some minor character, or if it be 
 presented in the form of letters, diaries, or other documentary evidence, 
 it is an internal viewpoint. If it be told as though by some omniscient 
 being who not only observes the outward manifestations of nature and 
 witnesses the acts of the characters but also can see into their minds and 
 analyze their mental processes, or by someone who possesses power to 
 divine the thoughts and motives of but one or more of the characters 
 and is unable to do this for all, or if the narrator tells his story from the 
 standpoint of a mere observer without delving into the minds of his 
 characters, the point of view is an external one. From one or the other, 
 or a combination of these viewpoints, with their varying possibilities, 
 do authors write their productions of fiction. Each has special advan- 
 tages accompanied oftentimes by offsetting disadvantages and the 
 author is obliged to choose what seems to best suit his purpose. 
 
 Gutzkow's short stories show the use of both the internal and the 
 external viewpoint in their construction with a preponderating amount 
 of the latter as might be expected since this point of view makes less 
 demands upon the author and also permits the Uberal employment of the 
 psychological analysis. It is also the one most largely used by the 
 majority of authors. 
 
 The "Prinz von Madagascar" is written as though by someone who 
 knew well the movements of those whose adventures he details, an 
 author-observant, who watched their acts and drew his conclusions as 
 to the motives which lay back of them. No philosophizing or analysis 
 of a psychological nature is attempted. The narrator is simply a keen 
 observer who draws his own deductions from what he sees. 
 
 In " Kanarienvogels Liebe und Leid," on the other hand, the point 
 of view is that of the omniscient third person. The philosophy of life 
 of both canary bird and cat are set forth in a detailed manner impossible 
 unless the relator of the story were able to peer beyond external ap- 
 pearances. 
 
 The same viewpoint is found in the "Sadduzaer von Amsterdam," 
 Uriel's mental make-up is minutely dissected, his thoughts and feelings 
 are laid bare before the eye of the reader. The same is true though to 
 a less degree of the characters of Judith and Ben Jochai. 
 
44 KARL GUTZKOW'S SHORT STORIES 
 
 "Ser'aphine" represents a combination of both external and internal 
 viewpoints. The novel, considered as a whole, is told from the stand- 
 point of an observer outside of the narrative, by one who speaks from 
 direct observation without the gift of omniscience. Within the novel, 
 however, two long dialogue divisions that are in effect separate parts 
 structurally and a third division in the form of the heroine's diary, are 
 illustrations of the internal viewpoint, that of characters within the story. 
 The change of viewpoints attained in thus shifting the narrative from 
 one actor to another aids somewhat in presenting the characterization 
 but the repetition involved in the retelling proves tedious and adds to 
 the lack of artistic form which this novel suffers from. 
 
 In "Arabella" the omniscient third person again relates the incident 
 and shows a deep knowledge of all the characters. The same viewpoint 
 is consistently maintained and the effect is pleasing. 
 
 The " Schauspieler vom Hamburger Berge" is the first of the two 
 examples of Gutzkow's stories which exhibit the use of the first person 
 throughout the whole of the story. The second instance is found in the 
 " Pfeffer-Matthes. " The two cases are similar in that in each the 
 author is a character in the story to whom a second actor relates that 
 which is the principal part of the story. The shifting of the telling of 
 the narrative from one person to another is a device frequently resorted 
 to by Gutzkow. 
 
 The "Stelldichein" reverts to the standpoint of the omniscient third 
 person as does also the " Wellenbraut. " The hterary device of intro- 
 ducing, letters written by one of the chief characters in the latter, Theo- 
 bald, to a friend otherwise not mentioned, results in a change of view- 
 points from the external to the internal on two occasions and provides a 
 means for revealing Theobald's mental struggles as the passion for Idaline 
 grows upon him. 
 
 The "Konigin der Nacht" opens with a passage from the diary of a 
 subordinate character. After this use of the internal viewpoint the 
 remaining part is told by the omniscient third person. The logical 
 turn of mind of the heroine, Jucunde, is developed in this story. 
 
 The analysis of the characters within the " Selbsttaufe " could not 
 be accomplished without the aid of an all-knowing observer. Combined 
 with this external viewpoint Agathe's letters supply an internal viewpoint. 
 The " Phantasieliebe " presents no new features but consists of parts 
 of narrative told by an omniscient third person, of letters written by 
 Madame Milde, a character who otherwise does not appear in the story, 
 and a composite diary and novel written by the heroine. 
 
KARL GUTZKOW'S SHORT STORIES 45 
 
 In addition to the viewpoint of the omniscient third person assumed 
 by the author in the "EmporbHck," the first person attitude is found 
 in the introduction of two stories told by Scharfneck, one of the principal 
 characters of the novelle. These interpolated stories are in turn pre- 
 sented from the viewpoint of the all-seeing author, thus exhibiting an 
 unusual complication of viewpoints. The change from one to the other 
 is easily made, however, and no confusion results from it. 
 
 The "Kurstauben" is a character study made with rare psychological 
 insight. The author delves deep into the inner life of his creations and 
 shows extraordinary ability in his portrayal of the souls of his characters. 
 He succeeds in doing this also without becoming wearisome, seeming 
 to divine just the proper place to desist from his study. The omniscient 
 viewpoint could alone be used to obtain such results. 
 
 "Konig Franz in Fontainebleau " is a return to the author-observant, 
 one, however, who was well qualified to interpret what he saw. He 
 does not employ the method of the "Kurstauben" and the "Sadduzaer 
 von Amsterdam" but is more closely restricted to that which is visible. 
 
 The "Nihilisten" is told by an omniscient being who understands 
 the philosophy of his characters, their mode of thought, and the mental 
 reactions with which they respond to various influences. 
 
 "Jean Jacques," primarily a study of one man in his relations to 
 those about him, presents a combination of the author's viewpoint as 
 an outside observer possessed of all knowledge with that of Jean Jacques, 
 a character within the story, who is humanly limited in his outlook. 
 Structurally it is the internal viewpoint which is presented. 
 
 The " Diakonissin " exhibits both viewpoints. The story as a whole 
 is told by the omniscient third person, but Constanze's diary presents 
 an internal viewpoint which in many instances impresses us as being an 
 expression of Gutzkow's personal attitude. 
 
 "Ein Lebensloos" and "Aus dem Schwabenland " present the view- 
 points of external observers who record what they see, drawing deductions 
 from these acts, but not delving into the psychological states of their 
 characters. 
 
 In the "Opfer" the narrative is for the most part told by an author 
 omniscient, who, however, relates events from the angle from which 
 the heroine, Gabriele, views them. Some letters from a former lover 
 of Gabriele introduce an external point of view. 
 
CHAPTER VIII 
 Motives 
 
 The chronological method which was pursued in presenting the sum- 
 maries of the short stories will be adhered to also in the following study of 
 their motives. 
 
 The "Prinz von Madagascar" belongs in the category of tales of 
 adventure. The events which it relates occur in widely separated parts 
 of the world and involve persons of greatly dififering civilizations. This 
 contrast of cultures, the European and the barbarous, is itself an important 
 motive. It is really composed of three parts. Paris is the center of 
 refinement and French culture. St. Mary's is an island outpost of the 
 French empire, small and desolate, but nevertheless presenting in minia- 
 ture a copy of European conditions, which appears very m^uch like a 
 caricature of the original. Madagascar, the third portion of this con- 
 trast, is a vast land, crude and undeveloped, possessing enormous natural 
 resources, but inhabited by a race of savages who still delight in bloodshed 
 and practice slavery. 
 
 The love of adventure is a second motive. This is the impulse which 
 brings about action in the first place. Back of Hippolyt's desire to 
 recover his throne and of Polyglotte's zeal for language study is the hope 
 of meeting with strange and unusual adventures. The unknown posses- 
 ses a strong lure for all three of the party. 
 
 The motive of love is present but occupies a relatively subordinate 
 position. The affection which the nameless savage woman manifests 
 toward Hippolyt is that of a devoted nurse, for the child for whom she 
 has cared, and is also mixed with the feeling of allegiance which a subject 
 has for his prince. It is a passion strong enough to cause her to sacrifice 
 her own hfe in order to save his. 
 
 The mutual love of Hippolyt and Araxata is of the conventional 
 type which authors usually attribute to the hero and the heroine in order 
 to satisfy the craving of a certain circle of readers to whom no tale is 
 complete which lacks this element. 
 
 Gottfried Keller's "Berlocken" in "Das Sinngediclil" presents a 
 somewhat similar contrast between refined Parisian society and the 
 Indian tribes of North America. Heinrich von Kleist also uses the 
 motive of contrasting races in "Die Verlobung auf St. Domingo. " 
 
 " Kanarienvogels Liebe und Leid " is an animal story which resembles 
 the fable in its evident satirical representation of human society. The 
 
KARL GUTZKOW'S SHORT STORIES 47 
 
 pursuit of an illusion, a rude awakening to the bitter truth, and the 
 treachery of a seeming friend are its principal motives. The moral is 
 drawn that unsuspecting innocence is very apt to be the victim of dis- 
 illusionment. The love which is exhibited is wasted upon a delusion 
 and the trust which is reposed is shamelessly betrayed. 
 
 The ''Sadduzaer von Amsterdam" touches for the first time in 
 Gutzkow's shorter stories upon motives that are of universal interest. 
 A deep, sincere note is here struck, which finds a ready response in all 
 hearts that have realized the oppression of imposed authority. The 
 strong plea which the struggles and the fate of Uriel contain for religious 
 toleration is the same plea which the author himself was making for 
 toleration in his controversies with the Berlin clergy. Uriel Acosta 
 and Gutzkow are the same person from one point of view. 
 
 A closely associated motive is that of scepticism in rehgion. The 
 problem of doubt constitutes the fundamental theme. What relative 
 values are to be placed upon the results of reason and those handed 
 down by tradition and theological systems? This question is one Vv^hich 
 Uriel finds himself unable to evade and his answer to it brings him into 
 conflict with the leaders of his church. Orthodoxy refuses to have its 
 tenets questioned and aims to suppress all heresy. 
 
 In addition to this intellectual phase, the element of love is introduced 
 so that feeling plays a part also. The two cannot be considered separate- 
 ly in the case of either Uriel or Judith. Had only one of these motives 
 been present the tragic conclusion could have been avoided. Thus if 
 the intellect had been accorded full sway in Uriel, he would have solved 
 the tumult within his mind by dispensing with church and orthodoxy 
 and becoming a thorough-going rationalist. On the other hand, if his 
 love for Judith had been dominant and unopposed he could easily have 
 quieted his religious doubts in which case the whole would have resolved 
 itself into a mere love story. It is the clashing of the two motives in 
 Uriel and the quite similar struggle which Judith undergoes in her at- 
 tempt to comprehend and accept her lover's beliefs which would force 
 her to break away from her childhood faith, that render the situation 
 natural in which Uriel vacillates and Judith finally withdraws from him. 
 
 For the first time in the stories under consideration the element of 
 rivalry in love is met in the opposition of Uriel and Ben Jochai. This 
 is cloaked by the latter, who, under the guise of friendship, pretends 
 to renounce his rights in favor of Uriel. Only toward the end does his 
 treachery become apparent. Then the motive which precipitates the 
 catastrophe enters, the blind, overpowering passion for revenge which 
 seizes Uriel and drives him to attempt the life of Ben Jochai. 
 
48 KARL GUTZKOW'S SHORT STORIES 
 
 The "Sadduzaer von Amsterdam" is comparable in its plea for re- 
 ligious toleration to Lessing's "Nathan der Weise. " Twelve years after 
 writing the short story Gutzkow made use of the same material for his 
 famous drama, "Uriel Acosta, " which is his best tragedy. 
 
 In "Seraphine" the motive of scepticism appears again, this time 
 in the treatment of the theme of love. Instead of suffering as Uriel did 
 from religious doubts, Seraphine is tortured by her inability to find happi- 
 ness in gaining a love which is satisfying to her. She is a tragic heroine 
 to whom fortune beckons often but never fulfills its promises. Arthur 
 Stahl, Edmund von Oppen, Philipp and Minister von Magnus are suc- 
 cessively drawn to her; part of the time she stands undecided between 
 the first and the third of these men, part of the time between the second 
 and the third. A stern sense of morality compels her to discourage 
 the advances of the fourth. Her character is not sufficiently strong 
 to enable her to retain either of her first two suitors. Philipp, whom 
 she finally marries, proves uncongenial and their unhappy marriage 
 is soon terminated by Seraphine's death. 
 
 Frau von Magnus, the other important female character in this 
 novelette, at times threatens to deprive Seraphine of her role as heroine 
 and to assume this for herself. She is of a similar type to Hertha Win- 
 golf in "Die NihiUsten" in this respect, that both take up the love 
 which others have renounced. Vanity is the predominating motive 
 for her actions. Her ambition appears to be only to attract attention 
 from men and in her conduct she shows little sympathy or consideration 
 for her husband. Strangely enough, the ones who are drawn to her 
 are, with the exception of Philipp, those who are also drawn to Seraphine. 
 
 The motive of jealousy is employed twice. Herr von ]\Iagnus is 
 irritated by his wife's neglect of him and the favor which she shows to 
 Arthur Stahl and Edmund von Oppen. He realizes keenly the humilia- 
 ting position in which he as a husband stands, and after his dismissal 
 from office begins an active campaign to recover his wife's affections. 
 His motive for so doing is jealousy. The other instance is found in the 
 rivalry of Arthur and Edmund for the position of precedence in the 
 good graces of Frau von Magnus. 
 
 Philipp is a man of limited intellect, and no refinement. He acts 
 largely from impulse and is unable to overcome the effects of his early 
 defective training. His brother Ferdinand is a sensitive, gifted person 
 of a type similar to E. T. A. Hoffman, a romantic figure who lacks con- 
 trol of himself. Music and drink are the passions of his life. Revenge 
 prompts him to the commission of his most significant acts, the bewitching 
 
KARL GUTZKOW'S SHORT STORIES 49 
 
 as it were of the church organ after his dismissal as organist on account 
 of drunkenness and his betrayal of his brother. 
 
 The political world contributes motives of a subordinate nature. 
 Thus the entrance of the crafty Jew into the government service and the 
 dismissal of the prime minister, Herr von Magnus, from his position 
 because of the utterance of liberal opinions, are such motives. 
 
 In "Arabella" the heroine's personal vanity is coupled with her 
 strong desire to captivate the man whom she loves. She lacks the 
 beauty which she must possess if she is to win him. De Negro, a myster- 
 ious nobleman whose appearance smacks of the diabolical, supplies her 
 with a cosmetic which has the power of rendering the user most attractive, 
 but in return for this Arabella must agree to marry him. Thus she 
 achieves one ambition at the expense of another. 
 
 This motive, the sale of oneself for the sake of material gain, recalls 
 the familiar motive of the Faust legend, Faust's contract with the devil. 
 The secret cosmetic with its magic properties is a variation of a theme 
 which is very ancient and widespread. The use of charms, potions, 
 enchantments, and the like is found from the earhest times. An illustra- 
 tion of the use of this motive in the first quarter of the nineteenth century 
 occurs in E. T. A. Hoffmann's " Elixiere des Teufels. " 
 
 Another motive is supplied by the fact that the charm obtained in 
 this way is illusory and is secured at the cost of the destruction of the 
 vital forces of the body. Arabella is after all pursuing only a delusion. 
 Throughout the sketch the author's satirical purpose is evident to the 
 reader. 
 
 The " Schauspieler vom Hamburger Berge " is a study from life. The 
 background of city buildings, crowded streets, busy wharves, and teem- 
 ing playgrounds is extremely realistic. The fatal lure of the life upon 
 the stage is exhibited in the lives of two people. Their infatuation for 
 this profession and later disappointment and disillusionment is the cen- 
 tral motive. 
 
 In " Das Stelldichein " the love of adventure leads Count Hugo to keep 
 an appointment with some one who is unknown to him. To his surprise 
 when he reaches the scene of the rendezvous he finds his own wife. For- 
 tunately for the husband, her surprise is as great as his own, and he is 
 able to present an explanation of the incident which although spurious 
 nevertheless satisfies his wife and allows him to conceal his real motive. 
 
 The same theme is found in Otto Ludwig's " Hausgesinde " and Kot- 
 zebue's comedy, "Der Rehbock. "^ 
 
 ' Dr. Richard Miiller- Ems. Otto Ludwig's Erziihlungskunst, p. 14-15. 
 
50 KARL GUTZKOW'S SHORT STORIES 
 
 The " Wellenbraut " introduces a new motive, the opposition of social 
 classes. This antagonism is one that has long been a favorite subject for 
 novelists and many of the best works of literature use it as their funda- 
 mental motive. Thus in Goethe's "Wilhelm JMeister" this class dis- 
 tinction is shown between nobility and bourgeoisie, in Immermann's 
 "Epigonen" the conflict is between agricultural interests and modern 
 industry, and in Auerbach's " Dorfgeschichten " it is between the villagers 
 and the peasants. Novels of today continue the use of the same motive 
 in depicting the struggle between the proletariat and the capitalist class. 
 
 The conflict in ''Die Vv ellenbraut " is still between the nobility and 
 the citizen class, represented respectively by IdaUne and the circle in 
 v.'hich she moves and by Theobald. Both Idahne and Theobald are 
 fully conscious of the chasm which separates them socially, and this 
 knowledge in itself is sufficient to prevent any attempts to form an inti- 
 mate friendship when they first meet. Later it succumbs before another 
 force, namely, the povv-er of love. This latter motive is combined with 
 an element of fate. Neither Idaline nor Theobald is able to deny the 
 impression v/hich their chance acquaintance has produced. Class dis- 
 tinctions keep them separated; nevertheless, each feels that the other 
 is his rightful complement. 
 
 The fact that Idaline is engaged to be married renders the situation 
 more complicated. Later, as the Countess Waldemar, she is seemingly 
 protected by the conventions of society. These, however, prove of 
 little avail. An accident to Theobald at this time when the husband 
 is obliged to be absent from his wife serves to bring the two together 
 again. The motive of the "elective affinities," which is the theme of 
 Goethe's " Wahlverwandtschaf ten, " operates to prevent their separa- 
 tion. ' Both attempt to free themselves but they are unable to over- 
 come the power of fate. The ring episode which occurs at the beginning 
 of the story and which casts a sort of spell over the whole of the narra- 
 tive, culminates finally in the suicide of Idaline, who thus becomes the 
 " Wellenbraut. " 
 
 Political life furnishes minor motives. Thus Theobald, who has 
 suffered imprisonment on account of the expression of liberal principles, 
 renounces all connection with the government when he realizes that it 
 exists for itself and not for the interests of the people, and among the 
 nobility themselves are to be seen the evidences of serious differences 
 between the conservative and the moderate liberals. 
 
 Another motive which is of frequent occurrence in the works of the 
 "Young German" school is touched upon slightly, the right of self- 
 
KARL GUTZKOW'S SHORT STORIES 51 
 
 determination. Idaline before her marriage questions vaguely the 
 correctness of the step she is about to take, but yields without any 
 serious struggle to the conventional. 
 
 The problem which is presented in "Die Konigin der Nacht" centers 
 around a wife's effort to supplant iier rival, a former mistress of her 
 husband. Thus it is a conflict between rightful affection and illicit 
 love. Tact and determination bring victory to Jucunde. An air of 
 mystery envelops the relationship between Prince Max and Ladoiska. 
 Certain of the trappings of the sensational novel such as hidden stairways, 
 concealed doors, and muffled figures, are used. The disappearance of 
 the cactus blossom and its recovery by Jucunde is a part of the same 
 atmosphere of mystery. 
 
 In "Die Selbsttaufe" the right of free self-determination appears as 
 the principal motive. Gottfried Eberlin expreses his belief in this 
 doctrine in very positive form v/hen he says. "Jedermann sollte das 
 Recht haben, sich in einem gewissen AJter liber seine Steilung zur Ge- 
 sellschaft, iiber seinen Stand, seine Religion, ja selbst iiber seinen Namen 
 entscheiden zu dlirfen. " He acts upon this conviction to the extent of 
 changing his name from Gottfried to Ottfried. Later he justifies his 
 desertion of Agathe upon the same grounds, but before he makes his 
 decision a fierce struggle has to be waged in his breast between ambition 
 and duty. The problem which is raised is a vital one, it is, how far does 
 one's duty to himself and to others extend? Where does the obligation 
 which one owes to his fellow men yield to that vv'hich he owes to himself? 
 
 Closely associated with the motive of self-determination is that of 
 love. Again Gutzkow places a human being in a position between two 
 others toward both of whom he is drawn by powerful forces. Duty 
 binds him to Agathe to whom he has plighted his troth. Physical 
 attraction and congenial intellectual qualities pull him toward Sidonie. 
 The younger sister possesses no external beauty and scarcely average 
 mental ability. The older sister presents a com.plete antithesis. Both 
 love the same man. This brings about the introduction of another 
 motive, namely, jealousy between the sisters. 
 
 Personal vanity and a disregard of the feelings of others prompts 
 the conduct of Wallmuth and Sidonie so often that this form of selfishness 
 may be considered the ruling motive of their lives, particularly does it 
 characterize their attitude toward Agathe. The contrast between the 
 
52 KARJ. GUTZKOW'S SHORT STORIES 
 
 complacency and selfishness exhibited by the father and the elder daugh- 
 ter and the resignation and humility of Agathe is itself an important 
 motive. 
 
 Class divisions occur as in "Die Wellenbraut. " Eberhn, the son 
 of a village pastor, is the representative of the lower classes. Wallmuth 
 and his daughters are of noble rank and possessed of wealth and position. 
 Here as in Goethe's "Wilhelm Meister, " education and individual worth 
 are the avenues that lead from the lower to the higher social level. 
 Eberlin becomes eligible for admission into the same circle with Wall- 
 muth and Sidonie as soon as he demonstrates his ability to conquer for 
 himself an honorable place in society. 
 
 The problems which Gutzkow treated in "Die Selbsttaufe" he later 
 dramatized in "Ottfried.' The novel and the drama are based upon 
 his own experiences at the time when he was wavering between his duty 
 toward his wife, Amalie, and the attraction which drew him strongly 
 toward Therese von Bacheracht. In his own life Gutzkow resigned and 
 remained true to his wife, in the novel the hero breaks his engagement 
 and chooses the one who appeals most to him, in the drama he deserts 
 his first love for a time but returns later and endeavors to make amends. 
 
 In "Eine Phantasieliebe " Gutzkow enters a new realm. He shows 
 that the fairy tale is not without interest for him. The dream which 
 Imagina has at the outset of the story introduces an atmosphere which 
 remains throughout. The fantastic elements of this dream are blended 
 with the realities of life and the heroine leads an existence compounded 
 of both. So closely united are the two that Imagina herself scarcely 
 realizes which is real and which is only fanciful. All that happens she 
 interprets in the light of this dream which thus exercises an influence 
 on her life very similar to the power of fate. Otto Sudburg, the myster- 
 ious stranger whose path so often crosses her own, is the personification 
 of this occult magnetism. He is regarded by Imagina as a victim of 
 destiny. 
 
 The environment in which Imagina lived as a child is a motive of 
 first importance in explaining her character. She lacked a mother's 
 care, spent several years within the gloomy walls of a convent under the 
 tutelage of nuns, lived withdrawn from all active association with the 
 world, and became very imaginative and susceptible to strange fancies. 
 The years following this period when she was in her father's home were 
 years during which she was under no discipline or training whatever; 
 she roamed the hills and fields at will, indulged her childish whims, 
 
KARL GUTZKOW'S SHORT STORIES 53 
 
 listened to the wild tales of the superstitious miners and believed im- 
 plicitly all that she thus heard. From this early environment she 
 received a definite cast of mind which made it impossible for her to 
 accustom herself to the prose of an uninspiring social life which pos- 
 sessed absolutely no charm for her. 
 
 The motive of love is more complicated in the " Phantasieliebe " than 
 in any of the earlier stories. Imagina is opposed by Feodora Zaluski as a 
 rival for her husband's love while she herself remains faithful to him but 
 cherishes a romantic feeling for the Prince Wismuth of her dream who is 
 represented in real life by Otto Sudburg. August is bound to Imagina 
 by the tie of marriage but is drawn much more strongly to Feodora. 
 Sudburg again is pledged to provide for Feodora but finds in Imagina 
 the ideal for which he has sought. The solution is found in Imagina's 
 voluntary resignation of her husband to her rival, a sacrifice which she 
 makes in order to save Sudburg from the unhappy life which he is certain 
 to lead if he marries Feodora. 
 
 The seven deadly sins which play a considerable role in the concluding 
 portions of the novelette are a part of the dream motive already dis- 
 cussed. The effect upon Imagina of the reading of the novels of George 
 Sand is a subsidiary motive. The emancipating influence of the literary 
 works of this French writer is touched upon slightly. The combining 
 of the real and the fantastic in the novel which Imagina writes is a 
 further motive. 
 
 The "Emporblick" is a study of life in the large city. The milieu 
 presented in many-sided and includes representative situations from all 
 the social strata that comprise the population of our modern metropolitan 
 centers. The antagonism of interests in this novelette exists between 
 the well-to-do middle class and the poor of the city. The nobihty occupy 
 no special classification but are included in the first division. This makes 
 the ahgnment of opposing forces a strictly modern one. More clearly 
 than in any earlier story the bitterness and animosity of the lower 
 classes toward the rich and the contemptuous disdain of the latter for 
 the former is expressed. Sketches of the life to be found in the salons 
 of fashionable society are interspersed with similar sketches of the life 
 led by the poverty stricken and the criminal. The tendency of the growth 
 of large cities to widen the rift between the rich and the poor is brought 
 out. 
 
 Environment is a force to be reckoned with in presenting a summary 
 of the motives in the "Emporbhck." The majority of the characters 
 are what they are because of the conditions in which they have been 
 
54 KARL GUTZKOW S SHORT STORIES 
 
 reared. There are two distinct sets defined by their surroundings, as 
 indicated in the preceding paragraph. Scharfneck is the best example 
 of one of these and Ernestine's brothers are typical members of the other. 
 No one of these persons possesses the ability to see beyond his class or 
 to sympathize with those of a different station in life from his own. 
 Ernst Oswald and Ernestine Waldmann are exceptions in that they 
 break the shackles of their environment. The former after a long and 
 vacillating course is finally able to accord first place to love and put class 
 prejudice away from him. The latter by dint of severe study and by 
 diligent improvement of her opportunities earns for herself the right 
 to be considered as the peer of those formerly her superiors. 
 
 Love is the motive which is introduced to offset the influence of 
 class difference and of environment. The struggle through which Ernst 
 passes is one in which it is his own aristocratic sentiments, and more 
 particularly those of his friends, which he has to overcome and not 
 the opposition of any rival, although such a rival does exist in the person 
 of Lude Wachter. Ernestine is obliged also to disregard the opinions 
 of her associates who look scornfully upon her efforts to rise in the scale of 
 culture and refinement. A sincere and deep affection is the bond which 
 holds firmly to the end. 
 
 The relations between Scharfneck and Ernst's sister are not com- 
 plicated by any conflict. It is merely a marriage between two persons 
 of similar tastes and social status, a happy and conventional union. 
 
 Parental influence appears as a factor of the opposition which Ernst 
 encounters in his love for Ernestine. 
 
 Among the remaining motives of the "Emporblick" the following 
 are important: the impulse to truth telling which characterizes Lude 
 Wachter and to which he remains faithful until his death, the special 
 inclination of Langheinrich, the detective, to ferret out crime and the 
 necessity under which he feels himself to pursue his researches without 
 regard for the consequences, the mysterious murder of Wachter and its 
 solution, and overshadowing these, the lesson of faith in the power of 
 the common people to work out their own moral and spiritual salvation, 
 a lesson which may be termed the principal teaching of the novelette. 
 
 "Die Kurstauben" deals with a situation that comes up in family 
 life. Michael Herz is confronted with the problem of retaining his 
 wife's affections and preventing the intrusion of a former lover who 
 threatens to become a serious rival. Leontine possesses a marked trait 
 of greed, and this her husband makes use of to combat her infatuation 
 for Moritz Sancho. His common sense methods prove successful and 
 
KARL GUTZKOW'S SHORT STORIES 55 
 
 the domestic peace is restored. The problem is handled with rare psy- 
 chological finesse and the climax is skilfully executed. 
 
 The motive of intrigue which is important in the "Kurstauben" 
 is found also in "Kiinig Franz in Fontainebleau. " Blanche Naudst 
 and Firm.an AUard, having observed the care with which the king's 
 courtiers minister to his vanity, attempt to secure a favor from their 
 sovereign, and in order the better to do this they practise deception 
 upon him. The fraud is accidentally discovered and the king's vanity 
 is severely wounded. In his chagrin he is about to give way to anger 
 and punish the offenders, but just at that instant the angelus rings and 
 this chance occurrence recalls to the king his own humble position in 
 the sight of God. His heart is softened and he permits kindness to 
 triumph over anger. The lovers who were at first influenced by ambition 
 and desire for advancement and then by fear, are finally filled with grati- 
 tude. 
 
 Beside the personal motives just mentioned and the intrigue of the 
 lovers, the historical coloring and the contrasting characterization 
 which are found in this sketch possess the value of motives. 
 
 In "Die Nihilisten" as in "Die Selbsttaufe" the right of free self- 
 determination is the principal motive and according as the characters 
 exercise this right or allow other motives to control their actions they 
 divide into two classes. Constantin Ulrichs and Hertha Wingolf repre- 
 sent the two attitudes. At first both believe thoroughly in the principle. 
 Ulrichs carries its application to the furthest limits without regard for 
 others and the result is a life externally brilliant but barren of any bene- 
 ficial effects, either for himself or for others. Self-interest becomes 
 the predominating phase of his character. Hertha, on the other hand, 
 begins as a staunch exponent of the same principle, but possesses an 
 element of feeling, and of conscience, which Ulrichs lacks. The con- 
 viction seizes her that there are obHgations which each individual owes 
 as well as rights that he should possess and acting upon this conviction 
 her attitude toward the world about her is changed from one of indiffer- 
 ence to one of active sympathy and interest. Eberhardt Ott is another 
 believer in the doctrine that each person owes certain debts to society 
 which he is bound to discharge. His acts are determined by this stan- 
 dard and hence he is opposed to the exercise of free self-determination. 
 
 The revolution of 1848 is a motive of nearly equal importance to the 
 one just discussed. Coming with such unexpectedness and overwhelm- 
 ing power it serves to bring about definite decisions that line up in- 
 dividuals clearly on one side or the other of the burning issues which it 
 
56 KARL GUTZKOW'S SHORT STORIES 
 
 raises. For a time everything gives way before the strength of this 
 uprising and the force of pubUc opinion. Radicalism triumphs in the 
 field of politics. Conservatives and moderate liberals joint the move- 
 ment or are disregarded, even persecuted. Then with equal suddenness 
 the reaction comes and the former illiberal state of affairs resumes con- 
 trol. The principle is reaffirmed that all progress is the result of a slow 
 and long continued application of forces and not of sudden, violent 
 cataclysms. 
 
 The motive of love is the subject of serious treatment. Two mar- 
 riages are based on considerations of wealth and social standing without 
 deep or sincere afifection being involved, those of Ulrichs and Aurelia 
 and of Hans von Landschiitz and Frieda. A third has an element of 
 love in addition to the advantages mentioned above, that of Wingolf 
 and Eugenie. Eberhardt Ott and Agnes Planer have a sincere respect 
 for each other, but sympathy for Agnes is the strongest feeling which 
 draws Ott to Agnes, and the latter's love is not unmixed with cunning 
 and the desire to secure a good match. Ulrichs and Hertha are held 
 together for a time by common views upon current questions and their 
 belief in the right of free self-determination. When Hertha 's convic- 
 tions change it becomes apparent at once that no real love ever existed 
 between the two. The love of Ott and Hertha is the one example of a 
 rich, full affection which has its basis firmly estabhshed in a mutual 
 concord of opinions and which possesses a stabihty and a strength not 
 at all dependent upon external circumstances. 
 
 As minor motives the following should be mentioned: the political 
 persecution of the nihilists and the surveillance exercised over the 
 university circles in order to check the spread of liberal views, the sym- 
 boHc significance attached by Hertha to Constantin Ulrichs' ring which 
 he had used as an engagement ring when betrothed to Agnes Planer, the 
 extremely conservative and dogmatic principles of Hans von Land- 
 schiitz and the lighthearted irresponsibility of Frieda. 
 
 "Jean Jacques" is a study in environment. It is the author's 
 answer to the question as to why Rousseau placed his children in a 
 public orphanage. The reason for this action is found in a detailed 
 investigation of the surroundings in which Rousseau was situated. 
 The effect which these had upon the philosopher furnishes the psycho- 
 logical explanation of his apparently coldhearted deed. Rousseau's 
 observations have led him to beUeve that the popular idea that the 
 world is becoming better and that the progress of the arts and sciences 
 
KARL GUTKOZW'S SHORT STORIES 57 
 
 is contributing to this betterment of society is false. Conditions in the 
 various social strata with which he comes into contact appear to contra- 
 dict this theory. He comes to the conclusion that the state owes to its 
 subjects the duty of protecting them from corrupting influences. Hence, 
 in order to save his children from degradation and a life of misery and 
 crime he suppresses his parental affection and permits his children to 
 become public charges. 
 
 In Gutzkow's treatment of this side of Rousseau's life he awards to 
 him the merit of sincerity in action, but at the same time he makes it 
 plain that the latter was a victim of his own sophistry. The events 
 related are told with historical accuracy. Rousseau is shown in the 
 milieu of actual life, struggHng against poverty and untoward conditions. 
 
 Two circles of society are contrasted. The one is that already 
 described whose moral depravity is so keenly felt by Jean Jacques and 
 which is best represented by Therese Lavasseur and Michael Labrousse. 
 The other is a world of high society composed of patrons of learning and 
 people of wealth, but not free from fads and foibles. Of this Frau von 
 Epinzy and Baron Grimm are members. 
 
 "Der Pfeff er-Matthes " is a sketch of the life within the walls of an 
 insane asylum. An explanation of the origin of the mania of one of the 
 inmates is given. Fear induced by the sight of what he deems to be a 
 supernatural appearance has changed this man from a most covetous 
 person to one extremely generous, so much so that he is mentally unbal- 
 anced. His condition is a sort of poetic vengeance for his past conduct. 
 
 In addition to this motive a pleasing picture of the home life in the 
 family of the attending physician is given. 
 
 ''Die Diakonissin" is a return to the active, busily engaged world 
 of the middle classes of society. The background of this story is com- 
 posed of various elements. Military, commercial, legal, professional, 
 and religious interests are closely interwoven. Psychological and exter- 
 nal motives combine to complicate the threads of the action. A chain of 
 cause and effect runs throughout. One central motive dominates; the 
 effect of one person's act upon the lives of others. The scriptural words, 
 "No man liveth to himself, no man dieth to himself," express the fun- 
 damental thought of the novel. The act of Oberst van der Busch in 
 taking out an insurance policy, making it payable to his betrothed instead 
 of to his relatives, and later committing suicide, brings with it a chain 
 of events that could scarcely have been foreseen. The complexity and 
 
58 KARL GUTZKOW'S SHORT STORIES 
 
 interdependence of modern society is sharply exhibited. One family is 
 ruined financially by this act, another is started upon the highway to 
 fortune. The consequences of this deed committed in far-away Java 
 persist for a lifetime in Europe. 
 
 A motive somewhat similar to that of the contrast of civilizations 
 presented in the "Prinz von Madagascar" is the contrast here given 
 between the island of Java and conditions in Holland and Germany. 
 The satirical purpose present in the "Prinz von Madagascar" is, how- 
 ever, absent from "Die Diakonissin. " There is also no attempt at 
 caricaturing. The contrast is introduced for the purpose of affording 
 local color and as an aid in strengthening the principal motive by showing 
 the relative dependence of all parts of the earth. 
 
 A further external motive is the contrast between the life within 
 the deaconess hospital and that without. 
 
 There are a large number of psychological motives in addition to the 
 external ones just given. Strong personal feehngs impel the characters 
 to the performance of certain acts. Thus Hartlaub and Freydank are 
 actuated by a desire to remedy a wrong unintentionally done to Con- 
 stanze. Wolmar is the prey of a conflict between the emotion of love for 
 Constanze and a sense of shame for a previous unworthy decision that 
 he has made which now prevents his free action. Constanze is painfully 
 distracted by an inward struggle in which her love for Wolmar and her 
 hope of a happy culmination of her wishes are opposed by a feeling of 
 despair at his inaction and her own reluctant decision to become a 
 deaconess nurse. 
 
 The conflicts which arise in connection with the motive of love in 
 "Die Diakonissin" are conflicts which occur between opposing emotions 
 within the individuals and differ from those in "Die Wellenbraut, " 
 "Die Selbsttaufe, " and "Die Phantasieliebe " in not being contests 
 between rival suitors for the love of a third person. 
 
 Strictly speaking the motive of class differences plays no role in 
 "Die Diakonissin" although Wolmar's relations to the wealthy middle 
 classes during the years when he is attempting to secure a practise for 
 himself approaches this. 
 
 At the conclusion of the novel the motive of temporary insanity with 
 its attendant cure furnishes a solution for the complicated relationships 
 of Wolmar and Constanze, at the same time that it provides a help-meet 
 for Hartlaub in the person of Juliane. The pathological motive is treated 
 skillfully and naturally. 
 
KARL GUTZKOW'S SHORT STORIES 59 
 
 In "Ein Lebensloos" there is a return to the motive which Gutzkow 
 employed in an earUer sketch, " Schauspieler vom Hamburger Berge." 
 This is the unfortunate fate of the one who is unable to adapt himself 
 to circumstances. Because of this trait of character Franz Griiner 
 suffers a succession of reverses in fortune. The lure of the stage with 
 its magic power of deluding its victims is clearly brought out. 
 
 That failure in the performance of duty is certain to bring punish- 
 ment is the motive upon which the sketch "Aus dem Schwabenland " 
 rests. Both Speidle and the Holzenbauer feel the scourge of an avenging 
 Nemesis. The former lapses from the path of duty temporarily and by 
 yielding to a sudden impulse. For this reason he is later able to redeem 
 his fault. The Holzenbauer, however, acts from motives that are 
 inherent in his character, and hence is unable to retrieve himself. 
 
 The motive around which "Das Opfer" is constructed does not 
 differ greatly from that of "Aus dem Schwabenland." Briefly stated 
 it is that sin brings punishment and that this punishment can be avoided 
 only by means of sacrifice. This general motive is associated with 
 the theme of love. In this case, as so often occurs in Gutzkow's stories, 
 one person stands between two rival loves. On the one side of Gabriele 
 is her affection and her duty to her husband, on the other side the memory 
 of her love for Hugo Ellrich persists and comes between her and her 
 husband. Elsbeth's sickness appears to the mother to be a judgment 
 from God upon her for her secret disloyalty. Hence her vow to sacrifice 
 her most precious possession, her love letters from Hugo, if thereby her 
 daughter's life may be spared and she herself may recover her sense of 
 innocence. 
 
 "Das Johannesf euer " deals with the experiences of a young couple 
 who are deeply in love. CompHcations result from the fact that Heinrich 
 Rother as state's attorney is obliged to bring suit against Ottilie Walch. 
 A struggle between his affection for Ottilie and his duty as a servant 
 of the government goes on within him, a struggle which threatens to end 
 disastrously for the mutual happiness of the two. Ottilie acts at first 
 purely from the motive of love. With this feeling she unites a willingness 
 to sacrifice. Rother's secret authorship adds a touch of the mysterious, 
 a quality which is rarely found in these stories. Chance enters as motive 
 in Ottilie's discovery of this secret and furnishes her with a weapon for 
 attaining a revenge both artistic and decisive. The narrative as a whole 
 is the account of a man's struggle between true love and a false idea of 
 
60 KARL GUTZKOW'S SHORT STORIES 
 
 honor and a woman's ability to take advantage of an accident to accom- 
 plish her desire. 
 
 The mutual love of Placida and Sigmund is the principal motive 
 in "Der Werwolf." A motive closely associated with this is that of 
 misunderstanding. This second motive is the result of Wenzel von 
 Fircks' desire for revenge upon Placida, and also of a mistaken inter- 
 pretation of a scene witnessed by father and daughter. The superstitious 
 belief in werwolves current at this time, and the historical coloring which 
 invests the story, are further motives. 
 
 The foregoing analysis reveals a wide range of motives. The three 
 domains from which, according to Goethe,^ motives may be taken, the 
 external or physical world, the internal or moral world, and the third, 
 a world of fantasy, presentiment, visions, chance and fate, are all laid 
 under tribute. The moral world suppUes the largest number of motives, 
 the external world the next largest, and the third world is entered least 
 often. 
 
 Taking up first the motives which occur most frequently, those of 
 the inner world, love is the one which is more often used than any other. 
 The elem-ent of attraction between the sexes is found in nineteen of the 
 twenty-three stories, the four exceptions being the " Schauspieler vom 
 Ham.burger Berge," "Der Pfeffer-Matthes, " "Ein Lebensloos, " and 
 "Aus dem Schwabenland. " The importance which is assigned to this 
 motive ranges from its use as a subordinate motive to its employment as 
 the principal and all absorbing issue. Frequently also it is one of several 
 conflicting elements of approximately equal significance. 
 
 Its use as a minor motive handled in a purely conventional manner 
 is illustrated in the "Prinz von Madagascar"; as a motive of primary 
 importance it occurs in "Seraphine," "Die Wellenbraut, " "Die Konigin 
 der Nacht, " "Die Selbsttaufe, " "Fine Phantasieliebe, " "Der Empor- 
 blick," "Die Diakonissin, " "Das Johannesfeuer, " and "Der Werwolf"; 
 as one of several conflicting forces it is found in many instances, as in 
 "Der EmporbHck" and "Die Wellenbraut" where it clashes with class 
 consciousness, in "Das Johannesfeuer" where duty appears to oppose it, 
 and in "Die Diakonissin" where shame for a time prevents love from 
 expressing itself. 
 
 * Briefwechsel zwischen Schiller und Goethe, Vol. I, p. 347. 
 
KARL GUTZKOW'S SHORT STORIES 61 
 
 The placing of a woman between two men who are rivals for her 
 affections or of a man in a similar situation between two women is a 
 favorite variation of this motive with Gutzkow. Sometimes as in 
 "Die Selbsttaufe" all are unmarried, again as in "Die Wellenbraut, " 
 " Die Konigin der Nacht " and " Die Kurstauben " one of them is not and 
 the intervention of the conventions of society contributes toward com- 
 plicating the matter still more. 
 
 A number of other deeply rooted human passions serve as motives. 
 Thus the desire of Uriel for revenge is the feeling which causes the tragic 
 conclusion of the "Sadduzaer von Amsterdam." The same motive 
 impels Ferdinand to betray his brother and to attempt the destruction 
 of the church organ in "Seraphine." Personal vanity appears in four 
 instances as a prominent motive, in "Seraphine" in "Arabella," in "Die 
 Selbsttaufe," and in "Konig Franz in Fontainebleau. " The desire for 
 exact justice and the impulse to truth telling are the motives which 
 actuate Langheinrich and Lude Wachter in "Der Emporblick. " Jeal- 
 ousy leads to a duel in "Seraphine" and to a quarrel between sisters in 
 "Die Selbsttaufe." Greed plays a role of importance in "Die Kur- 
 stauben," sacrifice underlies the whole story of "Das Opfer, " a man's 
 sense of honor and his devotion to duty are cardinal motives in "Das 
 Johannesfeuer, " and envy lies at the bottom of that which causes the 
 misunderstanding in "Der Werwolf." In the " Stelldichein " and in 
 the "Prinz von Madagascar" the love of adventure is a strong motive. 
 
 In "Die Wellenbraut," "Die Selbsttaufe," and "Die Nihilisten" the 
 problem of self-determination is taken up. Scepticism is the theme dis- 
 cussed in "Seraphine" and the "Sadduzaer von Amsterdam." 
 
 Motives are also freely taken from the external world. Thus the 
 environment is employed as a motive in the "Prinz von Madagascar," 
 in "Fine Phantasieliebe, " "Der Emporblick," "Die Nihilisten," "Jean 
 Jacques," and "Die Diakonissin. " 
 
 The class struggle as exemplified in the opposition of the nobility 
 and the common citizen, in the mutual antagonism of rich and poor, 
 and in the petty jealousies of peasant and villager, plays a part also as 
 a motive. These differences appear most clearly in " Die Wellenbraut, " 
 "Die Selbsttaufe," "Der Emporblick," "Die Kurstauben" and "Aus 
 dem Schwabenland. " 
 
 "Seraphine," "Die Wellenbraut," and "Die Nihilisten" contain 
 motives taken from the domain of politics and government. 
 
 The third world of which Goethe speaks is entered several times. 
 Chance or accident is a determining force in "Das Stelldichein," "Die 
 
62 KARL GUTZKOW'S SHORT STORIES 
 
 Wellenbraut, " and in "Konig Franz in Fontainebleau. " Fate is equally 
 important in "Fine Phantasieliebe. " The supernatural is an element 
 in "Arabella." The dream is a motive in the "Sadduzaer von Amster- 
 dam" and "Fine PhantasieUebe. " The pursuit of vain ambitions and 
 the disillusionment which follows is treated in " Kanarienvogels Liebe 
 und Leid," "Arabella," " Schauspieler vom Hamburger Berge, " and 
 "Ein Lebensloos. " 
 
 Insanity occurs as a motve in two instances, in "Der Pfeffer- 
 Matthes" and in "Die Diakonissin. " 
 
CHAPTER IX 
 
 Subjectivity 
 
 The attitude of an author toward his productions possesses two possi- 
 biUties. He may assume a personal interest in the story which he is 
 relating, comment upon the characters and the action, intersperse re- 
 flections of his own upon various topics, address his readers directly, 
 satirize persons or conditions either within or without his productions, 
 or in other ways incorporate his own personahty into his work. Or he 
 may carefully suppress all tendencies to allow his individuality as the 
 author to become apparent and relate his tale in a purely disinterested 
 and impersonal manner. According as he permits his own feelings and 
 viewpoint as the author apart from his characters to enter and claim 
 the reader's attention, or as he refuses to do this, his manner or tone of 
 narrative is subjective or objective. Jean Paul was extremely subjective 
 and introduced digressions and interruptions of a great variety of kinds 
 into his works. Goethe was much less subjective and remained generally 
 behind the figures of his characters. Tieck and Hoffmann were also 
 comparatively objective, and Kleist was more objective than any of 
 the preceding writers. 
 
 Gutzkow's attitude in this matter of subjectivity varies in the short 
 stories which are under consideration within a considerable range. In 
 the "Prinz von Madagascar" he enhsts himself actively in the advocacy 
 of his hero whom he speaks of as "unser Held," and upon several occa- 
 sions he addresses his readers directly in soliciting their interest for 
 Hippolyt and his companions. The use of both the first person singular 
 and the first person plural to designate the author is to be found. The 
 plural form sometimes refers to the author only, in other instances it 
 includes the author and the reader. Expressions such as, "we will 
 omit a detailed account of such and such" occur. Brief comment upon 
 situations within the story are inserted on a few occasions and a reflection 
 or generalization of the author is sometimes given followed by an illus- 
 tration of the truth of the statement. After describing a rather melo- 
 dramatic scene, the satirical observation is appended: "Grosser Gott 
 das nennen wir schon! Wenn Eugene Sue so etwas beschreibt, so les' 
 ich's gern; aber erfahren mag ich's nicht. " Underneath the entire 
 story the satirical tendency lurks, the desire to criticise the regime of 
 Metternich which prevented freedom of expression to young authors 
 just as in the "Prinz von Madagascar" the hero was prevented from 
 
64 KARL GUTZKOW'S SHORT STORIES 
 
 coming into his own rights. This purpose, however, as Proells has 
 pointed out, was probably too well concealed to become apparent to 
 many readers at the time that the story appeared. 
 
 In " Kanarienvogels Liebe und Leid " the use of the first person plural 
 to designate the author and the use of the possessives "mein" and 
 "unser" in connection with the chief character, is continued. An 
 exclamation addressed directly to the canary and an appeal to the 
 reader for confirmation of the correctness of one of the author's assump- 
 tions are further examples of a subjective strain. 
 
 The "Sadduzaer von Amsterdam" also makes use of the pronoun 
 "wir" on numerous occasions. The author's interest in his hero is 
 very strongly expressed. He defends the vacillations of Uriel, uses 
 argument to explain why these occur, and frankly requests the reader 
 neither to misunderstand the hero nor to withdraw his sympathy from 
 him. The story opens with a long apostrophe to the Jews setting forth 
 their fortunate condition in Holland as compared with that of their 
 compatriots in lands where persecution of the Jews was still prevalent. 
 Another departure from a straightforward narration is a paragraph 
 devoted to a sort of rhapsody upon the beauties of the spot which he, 
 the author, would choose as a trysting place. In describing this he 
 uses the pronoun of the first person singular. These passages of a sub- 
 jective nature harmonize well with the mood of the story and do not 
 constitute disturbing features. 
 
 "Seraphine" contains examples of the author's reflections upon his 
 own characters. Thus he comments upon Madame Lardy: "Man 
 sieht, Madame Lardy hatte doch Maximen, die beinahe an die Ideen 
 Rousseaus streiften." Again, of Seraphine, he observes: "So ist es 
 mit den Weltseelen. Sie vermogen vom Schicksal nichts zu ertragen. ' 
 The ideas contained in a number of the speeches of the characters are 
 "Young German" in their "Tendenz" and contain some of Gutzkow's 
 own views upon life. The concluding paragraph of this novel is the 
 climax of the author's subjectivity, however. Here he falls into a 
 soliloquy in which he mourns the fate of the heroine, deplores the mis- 
 fortunes which befell her, and declares the incidents and characters 
 belong not only to fiction but also to reality. Omitting this portion 
 and considering the speeches of the characters to be their owti rather 
 than Gutzkow's thoughts, "Seraphine" is possessed of few traces of 
 subjectivity, although the whole novel was the poetic presentation of 
 the author's youthful love for a young woman of BerHn named Leo- 
 poldine Spohn, 
 
KARL GUTZKOW'S SHORT STORIES 65 
 
 "Arabella" is one of a number of Gutzkow's stories that may be 
 classified together as being objective and containing no evidence of any 
 intrusion of the personahty of the author. Any observations, reflections, 
 or other interruptions such as have been classed under subjectivity of 
 the author, if they occur, are placed in the mouths of the characters, 
 and hence are no longer personal messages of the author. The remain- 
 ing members of this group are the "Stelldichein," " Kurstauben, " 
 "Konig Franz in Fontainebleau," " Pfeffer-Matthes " "Ein Lebensloos," 
 "Opfer, " and " Johannesfeuer. " 
 
 The device of having the ''Schauspieler vom Hamburger Berge" 
 told entirely by a character within the sketch prevents any expression 
 of a personal tone on the part of the author. The person depicted as 
 doing the relating does, however, make observations upon art and ap- 
 pends a moral at the close of his story. These are in both instances 
 similar to an author's asides to the reader. 
 
 "The "Wellenbraut," " Selbsttaufe " and " Phantasieliebe " contain 
 very few traces of subjectivity. The first refers to the characters as 
 "unser," and uses "wir" to include both the author and the reader as 
 is so frequently the case in Gutzkow's stories. In the second the author 
 betrays his sympathy for Agathe by his exclamation, "Arme Agathe." 
 The "Phantasieliebe" contains a very few generalizations. It must be 
 remarked, however, that the author presents the principal female charac- 
 ter in all three of these stories in such a way that the reader's sympathy 
 is strongly aroused in each instance in their favor and his own interest 
 in them is very apparent. 
 
 The "Emporblick" begins with a lyrical prose passage dwelling upon 
 the delights of a Sunday morning in the large city and then depicts 
 the loneliness of Sunday afternoons in the same environment for those 
 without friends or acquaintances. The form is that of the apostrophe. 
 The conclusion of the novelle is a direct presentation to the reader of 
 the purpose underlying the story, the expression of the hope that the rift 
 between the various classes of society can in some way be bridged over. 
 
 The "Nihilisten" contains examples of the use of such phrases as: 
 "wir greifen den Faden unserer Erzahlung wieder auf, " "wir miissen 
 auf die zuriickkommen, " and "wir entnehmen aus den stenographischen 
 Aufzeichnungen nur drei Stellen." Questions and explanations are 
 addressed directly to the reader near the opening of the story. He uses the 
 word "Leserinnen. " A long reflective passage upon the relation existing 
 between father and daughter extends over a page. A description of 
 the torture and the pleasure of an unconfessed love occupies nearly 
 
66 KARL GUTZKOW'S SHORT STORIES 
 
 as much space. The generaUzation followed by the specific illustration 
 occurs several times. The use of "man" in the sense of the reader is 
 found in the expressions: "man kann sich denken" und "man wird 
 kennen. " 
 
 In "Jean Jacques" the author's interest in his characters manifests 
 itself almost immediately by his use of the term "unser FluchtUng. " 
 Twice he apostrophizes his hero, "Armer Jean Jacques," and comments 
 upon him and his situation. Twice also he unites his viewpoints with 
 that of his reader and pursues a line of reasoning with him. 
 
 The " Diakonissin " contains repeated instances of the use of "wir" 
 and "unser." Generalizations occur also. Thus, "es ist eine gewohn- 
 liche Erfahrung, dass Menschen, etc." "Eine Witwe zu sein und dabei 
 jung, reich und schon, ist wohl der angenehmste Lebensstand, falls 
 der Verlust, den man zu betrauern hat, kein zu schmerzlicher gewesen, " 
 and "In edlen Naturen lebt ein Heroismus, der da Opfer bringen kann 
 liber Opfer, ohne die Mitwissenschaft irgend eines Zeugen, " are illus- 
 trations of this.. 
 
 The reader is addressed as "Lieber Leser" in "Aus dem Schwaben- 
 land," he is also spoken of as "Dir," and the author uses the pronoun 
 "ich" upon one occasion when referring to himself. 
 
 In the "Werwolf" the use of the first person both singular and 
 plural is found. Thus the author states, "Urkundlich habe ich heraus- 
 gefunden," and also "Wer etwa eine Geschichte der Hoflieferanten ' zu 
 schreiben und bei einem gesinnungsvoUen, nach Orden liisternen Buch- 
 handler herauszugeben gedenkt, dem bin ich bereit, aus meinen Studien 
 acht Grosshandler und sechsundzwanzig 'gemeine Kramer' namentlich 
 anzufiihren, die damals dem kayserlichen Hofe stattigs nachzuraisen 
 'pflegten.' " The use of generalizations is found in the "Werwolf," 
 e.g., "es giebt Menschen, liber die wir uns nie klar werden konnen," 
 "Allzeit angstlich sind die Gewissen, die in den Umstrickungen der 
 kirchlichen Gnaden- und Heilsmittellehre leben, etc.," and "Mitten in 
 den rauschenden Strudeln des Lebens, giebt es noch zuweilen Begeg- 
 nungen, die, etc." A parenthetical expression, an aside to the reader, 
 is given where the author after mentioning Sigmund's cleverness, states, 
 "die Klugheit floss aus seinem Herzen — das Herz ist immer kliiger als 
 der Verstand." 
 
 The preceding pages indicate that Gutzkow did not intrude his per- 
 sonality as the author to any considerable degree upon the reader. A 
 number of his stories are entirely objective. In others he contributes 
 
KARL GUTZKOW'S SHORT STORIES 67 
 
 occasional comments and displays a bias with regard to characters or 
 themes. Usually his attitude toward his puppet creations is clear. At 
 times he pauses to draw a moral or to drive home some lesson but gen- 
 erally he accomplishes any such purpose in more artistic ways. 
 
CHAPTER X 
 
 Means of Characterization 
 
 1. External Characterization 
 
 The amount of description which is devoted to the external appear- 
 ance of the characters in the "Prinz von Madagascar" is small. The 
 longest of these sketches consist of only a few sentences and the charac- 
 terizations are generally of the nature of caricatures. Thus "so weit 
 man von dem Prospect seines Riickens auf seine Figur schhessen darf, 
 ist Herr Culotte ein Mann von ausserordenthchem Umfange, und wie 
 der knackende Tisch verrat, von eben so grossem Gewichte." Again 
 "der Marquis le Poivre war eine lange, hagere Gestalt, mit trockenen 
 Mienen und abgemessenen Bewegungen." "Professor Polyglotte war 
 ein diinnes, schmachtiges Mannlein mit einem grossen Kopfe, der nach 
 hinten die Gestalt eines eckigen Wiirfels zeigte. Die schwachen kleinen 
 Beine, die hektische geformte Brust, die unruhige Bewegung des Unter- 
 kiefers und der Augen, die diirftige, aber doch reinliche und sorgfaltig 
 gelegte Kleidung und Wasche verrieten den armen Gelehrten, der nur 
 davon zu leben wusste, dass er sich noch immer manierhch hielt, um die 
 Leute, denen er seine Dienste bot, durch sein Ausseres nicht zuriick- 
 zuschrecken. " Colas is described as "ein alter, aber noch rlistiger und 
 munterer Mann." 
 
 The details concerning Herr Cochon are more plentiful. "Auch 
 Herr Cochon war eine iiberraschende Erscheinung. Ein Mann von 
 kleiner Statur, feinen Sitten und einer Grazie in seiner Bewegungen, die 
 selbst von seinem Embonpoint nicht gehindert wurde. Er trug das 
 Haupt gepudert, Schnallen an den Schuhen, kurz er war liebenswiirdig. " 
 The description of Heloise is poetically colored. "Heloise war eine jener 
 verbliihenden Gestalten, die den Verlust der Jugend eine Zeit lang durch 
 einen Anstrich von Schwarmerei und poetischer Resignation zu ersetzen 
 wissen. Sie hatte einen hohen, stattlichen Wuchs, die Taille einer 
 Gottin und einen griechisch geformten Kopf, aber das alles musste, als 
 sie jung war, schoner gewesen sein. " Araxata's appearance is set forth 
 in conventional terms in a single sentence. The few general adjectives 
 which are used in describing Hippolyt indicate only his age and descent. 
 
 The tendency in the "Prinz von Madagascar" is to devote but little 
 space to the description of the external appearance of the characters 
 and in accordance with the nature of the story to have the comic element 
 predominate in that which is given. 
 
KARL GUTZKOW'S SHORT STORIES 69 
 
 In " Kanarienvogels Liebe und Leid" the canary bird is described at 
 length. The beauty of its plumage and its form is compared with its 
 gentleness and its loving disposition. No such description of the cat 
 is given. 
 
 Uriel Acosta, Ben Jochai and Judith are the only persons described 
 in the "Sadduzaer von Amsterdam" except for picture hints furnished 
 by occasional words and phrases. In no case are the descriptions long. 
 Uriel's outward appearance is symbolical of the inward struggle through 
 which he passes. Thus he is "eine hohe, herrhche Gestalt, vom kraf- 
 tigsten und ebenmassigsten Gliederbau, das Antlitz dunkel und mit 
 vollem Barte beschattet, die Miene ernst und verschlossen, nur selten 
 von einem Zucken um die Mundwinkel iiberrascht, aber das Auge matt, 
 in sich zuriickgezogen. Das phantastische, ritterliche Gewand ver- 
 mehrte die edle Haltung und den Anstand, der seinem Benehmen ange- 
 boren schien." The scholar is plainly the type represented. "Ben 
 Jochai war jiinger als Uriel, kleiner von Wuchs, die Gesichtszuge waren 
 zusammengedrangter und orientalischer, in seinem ganzen Wesen lag 
 viel freiwillige Unterwerfung, vielleicht mehr, als hinreichend war, um 
 Vertrauen zu erwecken. " The role of traitor which Ben Jochai plays is 
 here indicated for the first time in his physical characteristics. 
 
 The description of Judith is given in a flattering and rather poetically 
 overdrawn picture. "With dark, flowing locks of hair, a majestic fore- 
 head, a dazzling neck, and countless charms she surpassed even the bold- 
 est representation of the Grecian goddess of love." 
 
 In "Seraphine" the number of times this means of characterization 
 is resorted to is also small. Twice the heroine is described, once in a 
 detailed account by the author and again m.ore briefly by Arthur Stahl. 
 Both descriptions are serious studies and supply characteristics of im- 
 portance. A humorous element is present in some instances. Thus 
 " der Tanzmeister erschien, die Violine unterm Arm. Es war eine kurze, 
 wohlbeleibte Figur, Krauskopf mit grellen Augen. AUe seine Bewe- 
 gungen schienen von einem inwendigen Orchester geleitet. Apoll und 
 Merkur zu gleicher Zeit, schwebte er in den Saal herein. " The Minister 
 von Magnus is "ein langer, hagerer Herr, der Noth hatte, seine Beine 
 (im Wagen) unterzubringen. Er schlug sie gewohnlich ubereinander, 
 auch die Arme, und senkte dabei den Kopf tief in diese kreuzweisen 
 Verschrankungen hinein. " The Israelite with his yellow skin and bent 
 back becomes a familiar figure as does Seraphine's father with his little 
 black velvet cap and his pipe of tobacco. Of the remaining persons we 
 learn very little with regard to their appearance. 
 
70 KARL GUTZKOW'S SHORT STORIES 
 
 In "Arabella" the physical traits of the heroine and the Markese 
 are given in quick, deft touches. Arabella's "feurige braune Auge, 
 beschattet von dunkeln und langen Wimpern, ihre Stirn, begrenzt durch 
 das hinaufgebundene Haar . . . Heiter, mild, wie ionischer Himmel" 
 and the later description, "Arabella war nichts mehr als ein hinreissendes, 
 wunderbar schones Antlitz" are vivid strokes. The Markese, like 
 Minister von Magnus in "Seraphine" is a "lange, hagere Gestalt" 
 with "blassem, damonischem Antlitz." Ottakar is not described by 
 this means. 
 
 An excellent example of description of this sort is that found in the 
 " Schauspieler vom Hamburger Berge." In two sentences the external 
 appearance of three persons is given with sufficient detail and also such 
 significance of choice as to throw the characters of all into clear relief. 
 "Ein phantastisch aufgeputztes Frauenzimmer mit geschminktem 
 AntHtz, blossem Halse, Schweizermieder, eine Seiltanzerin musste man 
 glauben, hing sich mit den wiederwartigsten Liebkosungen an einen 
 verstandig gekleideten Mann, der sich mit todtenblassem Schrecken 
 des zudringlichen Weibes zu erwehren suchte. Ein Hanswurst in kur- 
 zer Jacke, mit hochrot geschminktem Antlitz und grellen, aus dem Kopfe 
 quellenden Augen, mit einigen anderen Wesen in gleichem Aufputze, 
 suchte . . . das Frauenzimmer von dem erschrockenen Herrn zu 
 trennen, " 
 
 External appearances are neglected in "Das Stelldichein" except 
 for a very few purely conventional expressions such as "bildschon" 
 which is used in speaking of the Grafin. 
 
 In "Die Wellenbraut" long descriptions are lacking. IdaHne is 
 described as to her age. She is further characterized: "Die langauf- 
 geschossene, gazellenschlanke Gestalt, die schonste Hiille, die fiir das 
 Bewusstsein: Ich fuhle, ich empfinde, ich bin Mensch! nur gedacht 
 werden konnte, war die Tochter des dirigirenden Ministers." A sort 
 of majesty at all times characterizes her, an aloofness the result of birth 
 and training. Theobald is pictured thus: "Ein noch junger, doch, 
 wie es schien, leidend blasser Mann, war er; ein leichter schwarzer Mantel 
 umflatterte die ebenmassigsten Formen. Um den Mund lag ein Zug 
 der zwischen leisem Spott, Lacheln, and Schmerz eine nicht zu schildern- 
 de Mitte hielt." What we know of Graf Waldemar's appearance we 
 learn from a contrast between him and Theobald. "Theobald war 
 kleiner als Waldemar, sein Haar war heller, sein Wuchs and Wesen 
 zarter. Waldemar's Auge schien feuriger als Theobalds." The minor 
 characters are not described as to their external features. 
 
KARL GUTZKOW'S SHORT STORIES 71 
 
 In "Die Konigin der Nacht" the prince, the princess, the court 
 singer and the second lieutenant are characterized more as types than 
 as individuals. They have the bearing of the class to which they belong 
 and externals are taken for granted rather than specifically given. One 
 description however is worthy of note. This approaches a portrayal of 
 the mysterious and fairy-tale-like kind for which Hoffman is well known. 
 Thus, at the time of the theft of the cactus blossom, "Aus dem riesigen 
 Cactus, dem die Konigin der Nacht eben entbliihte, ragte ein wunder- 
 bares Weib hervor in einem langen schwarzen Gewande und gleichfar- 
 bigen Schleier, dicht ubersaet mit goldenen Sternen, das Haar aus dem 
 Schleier herausquellend und niedergleitend in die griinen Aeste des 
 Stammes, die wunderbare Erscheinung deutlich sich herauslosend aus 
 dem Gezweige, ja wie es Jastrow schien, aus dem Kelch der sich eben 
 erschUessenden Blume selbst. " This is the first appearance of anything 
 savoring of an attempt to produce an effect by means of the wonderful 
 in the short stories of Gutzkow. 
 
 In "Die Selbsttaufe" the description again is very sparse. Ritter 
 Wallmuth is posessed of a court uniform and wears a large number of 
 honorary badges, Sidonie is the expression of a rich, full womanhood, 
 Gottfried is a man of education and keen feeling, Agathe is a kindly, 
 pinched little person, but none of these are described by means of any 
 detail regarding personal appearance, either serious or humorous, except 
 the last, to whom the following brief description is devoted: "Sie stieg 
 aus; eine kleine behende Gestalt, mit dunkelschwarzem Haar, das einem 
 nicht schonen aber feinen Gesichtchen etwas Interessantes gab. Hande, 
 Flisschen, alles war ausserordentlich schmachtig an ihr. " 
 
 In " Eine PhantasieUebe " Imagina, Graf August, and Prince Wismuth 
 are well described. Thus Imagina as a child is "wie ein Bergmanns- 
 knabe in weissen Pumphoschen, mit einem saubern kleinen Miitzchen, 
 liber die blonden Locken, kraftigen Fausthandschuh an der Rechten 
 der zierlichen Hande, eine Laterne in der Linken," who plays about 
 the hillsides of her native Silesia. A detailed description is given of 
 Imagina and Graf August as they appeared upon their wedding trip. 
 The manner of dress and the general bearing of both are described. 
 
 The Prince Wismuth of Imagina's dream is a typical German student; 
 "Ein Jungling von bleicher Farbe, in schwarzem altdeutschem Kleide, 
 mit offenem Halse, ein Studentenmlitze von rotem Sammet und mit 
 silbernen Troddeln auf den langen braunen Locken, ein Jungling so 
 sanft, so liichelnd, so hoheitsvoU. " The first student whom Imagina 
 sees in Breslau is dressed in the same manner. 
 
72 KARL GUTZKOW'S SHORT STORIES 
 
 Otto von Sudburg is "ein junger, blasser Mann mit schwarzem Haar, 
 starkem Bart, eleganter, weisser Weste, in welcher er nachlassig die 
 Finger steckte." Feodora is "eine kleine schwarze Frau. " The char- 
 acters of Imagina's dream, King Kobalt, Minister Nickel, the prince 
 of hell and the seven deadly sins are also described, the first three in 
 some detail, the others by one or two characteristic qualities of each. 
 
 "Der Emporblick" makes a very free and skilful use of external 
 appearance for illustrating the characters. Ernestine is several times 
 described. The author depicts her as a person of admirable qualities of 
 mind and heart and as possessing a physique in keeping with this. Her 
 features are regular and pleasing, her dress simple and becoming, and 
 her manner graceful and easy. In the closing chapter, after relating the 
 struggles through which Ernestine has passed, he describes her appear- 
 ance at the time of her illness and approaching death, contrasting it with 
 her earlier beauty. Ernestine is one of Gutzkow's most attractive 
 figure?. 
 
 Lude Wachter is repeatedly characterized as "ein blasser Mann 
 mit einem v/eissen Hute. " Lute's father is "eine kurze stammige 
 Figur. Offenbar scheuen Blickes und eilfertigeren Ganges, als die Land- 
 leute . . . bestatigte sein Erscheinen schon des Sohnes Angabe. " 
 Gustav, Ernestine's brother, is "bleich wie die Wand, scheu wie das 
 bose Gewissen. " These examples show ability to express briefly and 
 by means of only a few traits a comprehensive characterization. 
 
 A longer description of Lude Wachter is the following: "Dieser 
 gebiickte, schmachtig gebaute, verdriessliche Mann mit blasser Miene, 
 stechenden grauen Augen, fast bartloser Lippe war ein halber Gelehrter. " 
 The appearance of Morbiller, Count Luchsifuchsi's valet, is humorously 
 portrayed. He is "ein Mann zu nennen, der zu seinem Leibrock eine 
 EUe Tuch mehr als andere Mitmenschen brauchte, eine behabiges 
 Doppelkinn hatte, das sich tief in seine leichtgeknotete Halsbinde ein- 
 wlihlte, einen roten Backenbart, Ringe an den Fingern, und Ringe in 
 den Ohren." 
 
 In "Der Emporblick" Gutzkow has attained a high degree of pro- 
 ficiency in the use of descriptions of physical traits, gestures, and reflex 
 movements answering to emotional stresses for purposes of characteriza- 
 tion. His ability in this respect here approaches an art. 
 
 The three principal characters in "Die Kurstauben" are described at 
 greater length with regard to their external appearance than is customary 
 in the earlier stories. The description in each case is detailed, is given 
 at the time when each begins to assume a position of importance in the 
 
KARL GUTZKOW'S SHORT STORIES 73 
 
 action, and is followed by a psychological analysis. The method of 
 prefixing a characterization in this manner is a new departure as is also 
 the summing up of all the general physical traits into one description and 
 then for the remainder of the narrative neglecting them almost entirely. 
 The effect is not displeasing. 
 
 The amount of characterization by means of external appearance in 
 " Konig Franz in Fontainebleau " is relatively small and is confined mostly 
 to general descriptive words and phrases. The king's physical weakness 
 and his efforts to conceal it are mentioned several times. Messire Claude 
 the king's physician, is repeatedly characterized by the adjective " buck- 
 lig. " Firman Allard is the only person who is described at length. The 
 picture which is given of him compares favorably with those found in 
 previous stories. He is clad in "einem leichten Lederwamms mit 
 gepuffeten Hosen, einem weissen Hute mit wenn auch kleinen doch roten 
 Federchen, wie ein junger Trompeter von den Musketieren desKonigs." 
 
 Almost without exception the physical features, the dress and the 
 bearing of the characters in "Die NihiUsten" are described at length. 
 Jean Reps and Hans von Landschiitz, two comic figures, the one a type 
 of literary vagabond and the other a hidebound Landjunker, contrast 
 strongly with the more serious characters presented. Hertha, Con- 
 stantin, Frieda, Agnes, Eberhardt Ott, all are painted in pictures which 
 give definite physical traits. 
 
 The external appearance is made to accord well with the conception 
 yielded by the other means of characterization employed. Thus Hertha's 
 stateliness of carriage is paralleled by her nobility of soul, Constantin's 
 attractiveness decreases with his sacrifice of principle, Frieda, "das 
 Kind Gottes, " is nature personified, charming in all her moods but not 
 to be controlled. Agnes, shows in her features the cunning which 
 is a part of her being. Eberhard Ott combines dignity of bearing with 
 loftiness of purpose. The comic figures by their personal appearance 
 also show deep rooted qualities of insincerity and hatred of progress. 
 
 A few examples will serve to show this method of characterization 
 in this novel. Thus "Hans war ein kurzer, dicker, stammiger Land- 
 junker. In seiner griinen, schnurbesetzten polnischen Kurtka mit 
 einigen liber die Schultern herabhangenden Troddeln konnte er hoch- 
 stens sechsunddreissig Jahre alt sein, aber er sass im Sopha, pushtete 
 und athmete er verdriessHch und stohnend, wie ein Sechziger. Seine 
 Schwester knopfte ihm die Kurtka auf, um ihm auf die Fragen, die man 
 an ihn richtete, wenigstens Luft zu antworten zu geben. An den Stiefeln, 
 die er ausstreckte, standen die Sporen in komischen Kontrast zu seiner 
 
74 KARL GUTZKOW'S SHORT STORIES 
 
 stammigen Natur, deren Heftigkeit unci zornige Gemlithsaiilage sich in 
 Icurzen, stossweiser Rede zu erl^ennen gab." 
 
 Agnes is described by a series of antitheses. "Sie war niclit klein 
 sondern gross. Sie hatte nicht blaue, sondern braune Augen, sie war 
 nicht blond, sondern briinett. Sie war nicht unsicher und gedriickt, 
 sondern von gewahltem Ton, zart zwar und von jener Zuriickhaltung 
 der Gefiihle, die jedoch etwas ahnen lasst und ein achtbarer heimlicher 
 Seelenleben in Aussicht stellt. " 
 
 A similar union of external description and direct characterization is 
 that which describes Eberhard Ott: "Er war ein jugendlich blickender 
 jSIann, aber schon nahe den Dreissigen. Von hoher Gestalt, gleichmassig 
 in seinen Formen, ruhig und mild in seinem Benehmen, musste er jedes 
 Herz gewinnen, vorausgesetzt, dass ein solches niehr fur innere Gediegen- 
 heit als fiir ein bliihendes Aeussere Sinn hatte. " 
 
 An effective bit of this sort of characterization combines a contrast 
 between Constantin, Aurelie and Hertha. ''Constantin blasse, verfallen, 
 offenbar krank, tief zerriittet, Aurelie gut und wohlmeinend in Wesen 
 und Blick, unschon jedoch, hager, durr, reizlos, trotz ihrer Diamanten 
 fern von jedem gefalligen Eindruck. . . . Nun erschien Hertha. . . . 
 Seit zwei Jahren war sie wie umgewandelt. Die Frische war sie und das 
 Leben selbst. Ihr Auge voll blitzenden Feuers, ihre Wange sanft 
 gerotet, ihre Gestalt erst jetzt entv/ickelt wie nach lang unterdrlicktem 
 Wachstum. Der Ernst von ehemals war gemildert. Leicht und gefallig 
 gab sich ihre Bewegung unter den ]Menschen." 
 
 Comparatively little description of the external appearance of the 
 characters in "Jean Jacques" is given. Rousseau is the only one 
 described at length. 
 
 The amount of such description in "Der Pfeffer-Matthes" is also 
 limited and is conventional in quality. 
 
 The same criticism apphes in general to the " Diakonissin. " Short 
 descriptions of the characters are of frequent occurrence, but long, 
 detailed accounts are found only rarely. The description of Guntram 
 furnishes one exception to the statement. He is thus described: "Der 
 kleine Mann mit weissen Locken ums Haupt, geroteten Wangen, klugen 
 braunen Augen, behend trotz seines Alters, Kamaschen an den Fiissen 
 und fast Grau in Grau gekleidet. " Another such characterization is the 
 following: "Justizrat Freydank war eine schlanke wohlgewachsene 
 Gestalt. Das Haar war auf dem Scheitel schon etwas umstandlich 
 
KARL GUTZKOW'S SHORT STORIES 75 
 
 geordnet, die Nase scharf und spitz, der Mundwinkel lachelnd, das 
 Auge scharf zusammengedriickt, mit emporgezogenen Brauen, doch 
 harmlos und sogar gutmiitig. " 
 
 These sketches compare well with those of the earlier stories in 
 definiteness and detail. This novel, however, in proportion to its length 
 contains much less description of this kind than is to be found in most 
 of the previous stories. 
 
 In the two sketches, "Ein Lebensloos" and " Aus dem Schwabenland " 
 there is almost an entire lack of this means of characterization. 
 
 Two long descriptions of the appearance of characters are found in 
 "Das Opfer. " The principal persons, Gabriele and her husband, are 
 the subjects of sketches which give detail as exact and complete as is 
 found in other stories of Gutzkow where the description is elaborate. 
 The remaining characters are described by general, conventional qualify- 
 ing words or simply by their profession or occupation. 
 
 The descriptions in "Das Johannesfeuer " are less valuable than in 
 the other stories. They lack definiteness, are conventional in form, and 
 tend to become bombastic. Especially is this true of the descriptions of 
 Rother and Ottilie; Edelmann is characterized much better. 
 
 The description of the characters in "Der Werwolf" is very similar 
 to the general method pursued by Gutzkow. Several long, detailed 
 sketches of the personal appearance of characters are given of which 
 those of Sigmund and Fircks are most important. Onuphrius von Bur- 
 gen and Zymmeran are parallel figures in their bearing and general ap- 
 pearance. Placida is not subjected to a long description, but possesses 
 merely the conventional traits of beauty and intellect ascribed to heroines 
 generally. Fircks, the villain, is cast in the proper mould to correspond 
 with his part. He arouses distrust in Sigmund by his physical charac- 
 teristics while as yet nothing ill is known concerning him. As a whole 
 the characterization is somewhat more realistic than in the "Johannes- 
 feuer. " 
 
 2. Inner Characterization 
 
 a) The Character Sketch 
 
 The extent to which Gutzkow employs the character sketch in his 
 short stories varies greatly. In the "Prinz von Madagascar" the hero 
 is described by this means at considerable length near the beginning 
 of the story. Short sketches are given also of Herr Cochon and of 
 Heloise. The use of a single sentence or of a few adjectives to denote 
 the principal characteristics of the various persons is common. 
 
76 KARL GUTZKOW'S SHORT STORIES 
 
 In " Kanarienvogels Liebe und Leid" the two animals are the subjects 
 of long sketches setting forth their distinguishing traits. 
 
 The Sadduzaer von Amsterdam" contains no long, direct characteri- 
 zation. Instead each of the chief characters has his soul laid bare by 
 a psychological analysis which is searching, thorough, and detailed, 
 but which is not carried to a point where it becomes wearisome. 
 
 An analysis of a somewhat similar nature is combined in "Seraphine" 
 with direct characterization. Emotions and actions are critically 
 scanned. Motives are mercilessly scrutinized. This is done for the 
 most part in the long dialogues or in the heroine's diary. The principal 
 characters frequently express at length their own estimates of themselves. 
 This is especially true of Edmund von Oppen and Arthur Stahl. The 
 author's attitude toward his heroine is noticeably lacking in sympathy. 
 
 The character sketch is not found in "Arabella," " Schauspieler vom 
 Hamburger Berge," nor "Das Stelldichein. " In so far as direct char- 
 acterization is employed it extends in most instances to the use of quali- 
 fying phrases and clauses only. 
 
 "Die Wellenbraut " contains more direct characterization than the 
 immediately preceding three stories, but no long, exhaustive sketches 
 are attempted. A considerable amount of detail is given, at the begin- 
 ning of the story, regarding IdaUne, but a study of motives, feelings, 
 and her psychological reactions to external influences are woven into 
 the description and prevent its becoming a simple narrative of the hero- 
 ine's qualities. The remaining characters are treated in a similar man- 
 ner. 
 
 Short sketches of the lives of Prince Max and of Ladoiska previous to 
 the events of the "Konigin der Nacht" indicate the characters of the two. 
 
 "Die Selbsttaufe" resembles "Die Wellenbraut" in its use of direct 
 characterization. All of the characters are described to a certain extent 
 in this way, but the tendency of the author to introduce other elements, 
 such as illustrative incidents, contrasts with other characters, or an ana- 
 lysis of the individual's motives and mode of thinking, wards oflF mono- 
 tony. 
 
 In "Eine Phantasieliebe" short characterizations are frequently 
 found. Phrases or clauses occasionally express in a few words the 
 principal traits. Thus Fritze, the gendarme, is "ein vollig aufgeklarter 
 und abstractdenkender Weltbiirger. " Andres, the coachman, is "ein 
 echtes schlesisches Landeskind. " 
 
 In "Der EmporbUck" a much more extended use of such short 
 characterizations is made. Scharfneck is "ein allbeliebter jovialer 
 
KARL GUTZKOW'S SHORT STORIES 77 
 
 Gesellschaf ter. " Hartmann is "auf den ersten einfachsten Kenner- 
 blick ein Tyrann, ein junger Mann voll Eitelkeit unci dem gefiihrlich- 
 sten Selbstgefiihl. " Langheinrich is described in brief, quick strokes 
 that strongly suggest Heinrich von Kleist's style. Thus, " Es war einer 
 der eigentiimlichsten JMenschen, die jemals einen griinen Rock mit 
 blauem Kragen und ditto Aufschlagen getragen haben." Again the 
 same person is "einer der edelsten und gefiihlvollsten Menschen, die 
 je in die schwierigen Collisionen von Pflicht und Riicksicht gekommen 
 sein mogen." Ernst Oswald is "ein junger zum Staatsdienst sich vor- 
 bereitender Rechtskundiger, Referendar, Ausculator, Accessit genannt 
 in unseren an Titeln so reichen und bei Stellungen, die nur Hoffnungs- 
 gebende sind, doppelt, reichen Vaterlande. " The pastor is an elderly 
 man who belongs to the "alte sachsische Vernunftsschule, " and the Land- 
 rath is one who sails with the wind which blows from the pious circles 
 of the "Residenz, " a theologian in his own way. 
 
 Direct characterization is not employed extensively in "Die Kur- 
 stauben," but a searching study of motives and psychological reactions 
 is made that recalls the same technique in the " Sadduzaer von Amster- 
 dam." 
 
 In "Konig Franz in Fontainebleau " the long sketch is no more to be 
 found than in the majority of these stories. Certain adjectives, however, 
 occur repeatedly which emphasize various qualities of the different per- 
 sons. Thus the king is either "der gute Konig" or "der machtige Kon- 
 ig, " and Blanche is " die schone Blanche. " 
 
 By comparison with the other short stories, there is considerable 
 direct characterization in "Die Nihilisten." Sketches of many of the 
 characters are given but such characterization is combined with an ana- 
 lysis of motives or else it follows a description of the physical traits of the 
 individual. 
 
 "Jean Jacques" also possesses an amount of direct character por- 
 trayal greater than is ordinarily the case. Rousseau is the subject of a 
 detailed study in which his mode of thought and psychological reactions 
 are minutely described. 
 
 The amount of direct characterization in "Der Pfeffer Matthes" is 
 small. 
 
 In "Die Diakonissin" the characters are all sketched lightly but no 
 exhaustive summaries of their qualities are given. The use of phrases, 
 clauses, or of single sentences only for this purpose is the usual method. 
 
 In "Ein Lebensloos" the direct characterization which is given in the 
 equivalent of a psychological analysis. 
 
78 KARL GUTZKOW'S SHORT STORIES 
 
 In "Aus dem Schwabenland " and "Das Opfer" suggestive words 
 take the place of character sketches. 
 
 "Das Johannesfeuer " is very similar to the remaining stories. We 
 learn concerning Ottilie that she had "eine geschickte Hand in Anordnen, 
 war Meisterin der Situationen, stellte Menschen und Verhaltnisse immer 
 an den rechten Platz." Ottilie is also repeatedl}^ referred to as "ein 
 praktischer Charakter. " Hipler is several times termed "der schone 
 Julius. " Such touches as these are comm.on. 
 
 In "Der Werwolf" the usual amount of direct characterization is 
 given incidentally. 
 
 b) Minor Action 
 
 Aside from the main action there are in most stories little incidents, 
 brisk situations, and responses to impulses made by the characters which 
 contribute materially to a better understanding of these persons. Some 
 of these lesser actions will be pointed out in the following lines and the 
 way in which they contribute to the characterization will be indicated. 
 
 Hippolyt's unfailing good humor is thus illustrated in the "Prinz 
 von Madagascar." In the scene with Culotte and the Marquis le 
 Poivre he appears as a boon companion. His ability in a social line is 
 shown upon the occasion of his visit to Herr Cochon. Finally the poUte 
 manner in which he explains to his captors that he is not in the habit of 
 arising so early as they have awakened him forms a climax in furnishing 
 proof of his imperturbable cheerful temperament. The estabUshment 
 of a bond of democratic friendship between Colas and Polyglotte after 
 the prince's seeming desertion of his mission is a clever touch designed 
 to show the kinship of humanity. The seriousness vath which the old 
 servant regards the trip to Madagascar comes out ver>' clearly when he 
 rebukes the professor for his frivolous remarks when the subject is first 
 introduced. Colas is unable to hear his favorite idea sHghtingly re- 
 marked upon. 
 
 Minor situations of this sort are not found in " Kanarienvogels Liebe 
 und Leid. " 
 
 "Der Sadduzaer von Amsterdam" possesses an extremely compact 
 structure. The action is rapid and continuous, as a result of which 
 the hero remains constantly in the foreground, and there are no minor 
 situations to aid in the characterization. Everything centers around 
 the chief action. 
 
 " Seraphine " is long, diffuse, and full of repetitions. The same events 
 and persons are treated in several instances. In each case, however, 
 since the viewpoint of the speaker is different progress results. Minor 
 
K.\RL GUTZKOW'S SHORT STORIES 79 
 
 episodes are frequent. The quarrel between Sannchen and Lenchen 
 not only introduces a comic element, but throws the characters of two 
 ridiculous old women into clear relief and reveals Seraphine in the role 
 of one who knows well how to profit by circumstances. Phihpp involun- 
 tarily prostrates himself when the host is carried past although he pro- 
 fesses to have become a convert to protestantism. He and Ferdinand 
 quarrel continually and betray lack of self-control. The interview 
 between the Jew and the prime minister is another minor situation that 
 aids in showing character. 
 
 The next live stories, "Arabella," " Schauspieler vom Hamburger 
 Berge," "Das Stelldichtein, " "Die Wellenbraut, " and "Die Konigin 
 der Nacht" do not make use of this means of characterization. 
 
 In "Die Selbsttaufe" there is a return to this kind of character por- 
 trayal. Wallmuth, Agathe, and in a lesser degree, Sidonie, have their 
 principal traits emphasized by actions growing out of their dispositions. 
 Wallmuth appears in his home as a petty tyrant, and as an utterly 
 heartless person where no reward is to be expected. His servant and the 
 sexton are only objects to him, not human beings with feelings. Con- 
 sideration for the welfare of others he makes entirely subordinate to his 
 own comfort. The minor situations in which Agathe is placed show her 
 to be an entirely different sort of person from her father. She is kind 
 and sympathetic. The servants all rejoice when she comes home and the 
 sexton not only receives his pay but also many kindly words. Situations 
 of a similar nature show that Sidonie is much more like her father than 
 she is like her sister. 
 
 Several characters in "Eine Phantasieliebe " have certain traits 
 either revealed or else emphasized by minor situations. The Landrath's 
 affection for his daughter becomes still more apparent by his efforts to 
 conceal it when he bids her goodbye and keeps repeating "Na, ich seh' 
 Dich bald in Breslau. " Imagina's domestic trend of mind is well 
 illustrated by the efforts which she makes to render her apartments in 
 the hotel more homelike. Fritz and Andres continually perform little 
 acts in keeping with their callings. 
 
 It is difficult to point out minor actions in "Der EmporbUck" which 
 serve to indicate character but are not related closely to the main action. 
 The entire content of the two stories told by Scharfneck aids in charac- 
 terization and appears at first sight to be only loosely united with the 
 principal motives. Closer study, however, indicates that both stories 
 possess importance as retarding forces in the progress of the love affair 
 between Ernst and Ernestine and also in the formation of a social milieu. 
 
80 KARL GUTZKOW'S SHORT STORIES 
 
 Owing to its closely knit structure "Die Kurstauben" is lacking in 
 characterization of this sort. Its use in "Konig Franz in Fontaine- 
 bleau," in "Jean Jacques," and in "Der Pfefifer-Matthes " is also neg- 
 ligible. 
 
 Minor episodes introduced purely for purposes of characterization 
 are found only rarely in "Die Kiakonissin. " Frau Angelika Meyer and 
 Frau Wisthaler have traits of jealousy and ficklemindedness respec- 
 tively revealed by incidents not strictly concerned in the main action. 
 
 There are no minor situations aside from the main action in "Ein 
 Lebensloos" and "Aus dem Schwabenland " which are used as aids in 
 characterization. 
 
 The parting scene in "Das Opfer" between Gabriele and her husband 
 when the latter leaves to attend his club is a situation that illustrates 
 the cheerful, contented character that these two possess. The nurse's 
 reluctance to call the doctor and her suspicions of his remedies reveal 
 her prejudice and superstition. 
 
 In "Das Johannesfeuer " the scenes in which Ottilie and Frau Munde 
 discuss Rother are of importance in showing the former's superior quah- 
 ties and her dominating position in the home. The older lady's im- 
 petuosity and lack of foresight appear at the same time. 
 
 The minor situations and actions of which there are several in "Der 
 Werwolf" serve to lend background and historical coloring rather than 
 as aids in characterization 
 
 c) Contrast 
 
 The use of contrasting figures as a method of strengthening the 
 characterization is to be found in many of the short stories. "Kanarien- 
 vogels Liebe und Leid " is the first example of this. Here the innocence 
 and native virtue of the bird present a stronger appeal than they other- 
 wise would because they are opposed to the artificial culture and acquired 
 polish of the cat. The contrast between the genuine and the false is 
 seen clearly because of their close juxtaposition. 
 
 Several instances of contrasting types are found in " Die Sadduzaer 
 von Amsterdam. " Uriel is high-minded and unsuspicious. He reveals 
 his thoughts with no attempt at evasion to the one he deems his confi- 
 dant. Jochai is of an exactly opposite nature. He is narrow-minded, 
 suspicious, secretive, and traitorous. Judith is a weak character who 
 is unable to support Uriel in his hour of need. The sister remains true 
 throughout the entire ordeal. 
 
 In "Seraphine" Arthur, Edmund, and PhiHpp represent opposing 
 types, although they can scarcely be considered as directly contrasted 
 
KARL GUTZKOW'S SHORT STORIES 81 
 
 characters. Seraphine and Frau von Magnus occupy a similar relation 
 to each other. All five are examples of familiar "Young German" 
 characterization and taken collectively they form a fairly accurate repre- 
 sentation of the ideas, tendencies, and figures of that group. 
 
 Contrasted characters are not present in "Arabella" nor in the 
 " Schauspieler vom Hamburger Berge. " 
 
 In "Das Stelldichein " the count and the countess appear respectively 
 as representatives of a restless desire for adventure and a peaceable en- 
 joyment of domestic happiness, of slyness and of innocent trust. 
 
 The contrast in "Die Wellenbraut" hes in the opposing attitudes of 
 Theobald and Graf Waldemar as liberal and conservative, as commoner 
 and nobleman. Beyond this it does not extend. 
 
 The two female characters, Jocunde, with her prerogatives of rank 
 and position and her clear-cut, positive personality, and Ladoiska, whose 
 circumstances are such that they prevent her from entering an active 
 rivalry with the princess for supremacy in the prince's affections, are the 
 persons opposed to each other in " Die Konigin der Nacht. " 
 
 Contrast is a most important means of characterization in "Die 
 Selbsttaufe. " Ritter Wallmuth and Sidonie are of a very different 
 type from that to which Agathe belongs. The cold, selfish, inconsiderate, 
 and at times almost brutal conduct of the father and the older sister 
 bring into sharpest rehef the natural kindliness and self-sacrifice of the 
 despised younger sister. This contrast is carried into detail throughout 
 the story. Gottfried is also contrasted with Agathe and his intellectual 
 life is shown to be far above hers and to possess a great deal more in 
 common with that of Wallmuth and Sidonie. 
 
 This means of characterization is equally valuable in "Eine Phan- 
 tasieliebe." Imagina is contrasted with nearly all of the remaining 
 persons. August von Wartenberg, her husband, is a man of the world, 
 accustomed to society, dehghting in the pleasures of fashionable resorts, 
 thoroughly selfish. Feodora is a type of woman corresponding to 
 August but possessing in addition qualities of craftiness and deception. 
 Imagina's father is rough and lacking in refinement. Madame Milde 
 commands a practical knowledge of affairs together with an understand- 
 ing of human nature that enable her to judge others correctly. 
 
 Imagina differs radically from all of these persons. She lacks the 
 experience of the fashionable set with whom she is obUged to associate 
 and receives little pleasure from their forms of entertainment. She is 
 frank and open in her manner of thinking and her habits of action. Her 
 feelings are sensitive and refined. The imagination is her most highly 
 
82 KARL GUTZKOW'S SHORT STORIES 
 
 developed soul-power. Hence she misunderstands those about her and 
 is in turn misunderstood by them. She is not one who knows how to 
 acquire a place for herself and the result is the tragic outcome of her 
 marriage with August. 
 
 There are numerous contrasts employed in "Der Emporblick. " 
 Thus the lower classes as a whole are contrasted with the middle classes 
 of society and within each of these divisions there are again opposing 
 figures. Ernst and Scharfneck run contrary to each other in their attitude 
 toward the common people. Ernestine struggles to uplift herself, Mal- 
 vine and her friends yield to the influence of environment and become 
 criminal 
 
 In "Die Kurstauben" Sancho and Leontine are enthusiasts. Herz is 
 a shrewd, practical business man. The conduct of the former two is 
 uncertain and subject to sudden impulses. The characteristic quaHty 
 of the last is his certainty in his acts. He plans definitely and moves 
 accordingly. 
 
 The element of contrast in "Konig Franz in Fontainebleau " lies 
 between the artificiaUty of the court and the simplicity of the lovers. 
 
 This means of characterization is used very skilfully in "Die Nihilis- 
 ten. " There are two general classes of characters; those who pass 
 through a stage of development which changes their view-point and 
 deepens their soul-life, and those who do not make this progress, whose 
 principles become fixed and dogmatic. Hertha, Wingolf, and Eberhard 
 Ott belong to the first division, Constantin Ulrichs and Hans von Land- 
 schiitz are members of the second. 
 
 The female characters are also contrasted. Hertha, Aurelie, Eugenie, 
 Agnes, and Frieda all represent differing types. 
 
 In "Jean Jacques" the philosopher Rousseau is brought into contrast 
 with nearly all of the remaining characters. His own life and desires 
 separate him widely both from his immediate circle composed of his wife 
 and her relatives and from the higher society, which he occasionally 
 enters. He fails everywhere in his search for congenial companionship, 
 and is continually subjected to disappointment. 
 
 No contrasted characters are found in "Der Pfeffer-Matthes. " 
 
 Gerhardt Hartlaub in "Die Diakonissin" represents simple, sturdy 
 manhood unaffected by the weakening tendencies which attach them- 
 selves to European civilization. He stands in a position of greater or 
 less contrast to all of the remaining characters. Strictly speaking there 
 are no directly contrasted figures. 
 
 "Ein Lebensloos" also lacks such an aid to the characterization. 
 
KARL GUTZKOW'S SHORT STORIES 83 
 
 There is a contrast in "Aus clem Schwabenland " between the military 
 class and the peasant but the persons who represent these two classes 
 are not contrasted characters. 
 
 Hugo Ellrich and the Justizrat Wenck as suitors for the hand of 
 Gabriele Berger are opposing figures in "Das Opfer." Auguste is also 
 placed in opposition to Gabriele. As a means of characterization, how- 
 ever, contrast is only of slight importance n this story. 
 
 In "Das Johannesfeuer " it possesses a greater value. Ottilie Walch 
 and Frau Munde are contrasted in both their physical and their mental 
 characteristics. Often, too, their opinions are at variance with each 
 other. An element of humor results frequently from this. 
 
 The use of contrast for purposes of characterization is to be seen in 
 "Der Werwolf" in the portrayal of Sigmund von Landeck and Wenzel 
 von Fircks, the former in a favorable light as the lover and hero, the 
 latter in dark hues as a jealous trouble-maker and villain, 
 d) Peculiarites of Speech 
 
 Peculiarities of speech are often used by authors as an aid in charac- 
 terization. Thus one character m.ay speak a certain dialect, a second 
 has his stereotyped expressions, and a third uses either a simple or a 
 bombastic style. This means of characterization is found in Gutzkow's 
 earliest story, "Der Prinz von Madagascar." Polyglotte speaks in 
 stilted phrases which reflect the influence of books and a lack of contact 
 with the everyday world. His manner of speech is purposely exaggerated 
 in order to add to the caricature of a certain type of learning which it 
 was the author's intention to lightly satirize. Hippolyt uses the exclama- 
 tion, "Soil mich Gott bewahren!" frequently to indicate strong emotion 
 and it never fails to impress the reader as being humorous. The Marquis 
 le Poivre very often finishes his chief's sentences for him and not infre- 
 quently anticipates his superior's thoughts and utters them before the 
 latter is able to. The effect of this is also humorous. 
 
 In "Kanarienvogels Liebe und Leid" there is no use of this method. 
 It is also not found in "Der Sadduzaer von Amsterdam" unless the 
 serious tone in which the priests pronounce their ban upon Uriel may 
 be considered as an example of this means. The fact that all of the 
 characters belong to the same social stratum necessarily prevents marked 
 differences of speech. 
 
 "Seraphine" marks a return to this means of characterization but 
 for the minor characters only. Thus Madame Lardy's conversation is 
 freely interspersed with foreign expressions and with sentences closely 
 
84 KAEL GUTZKOW'S SHORT STORIES 
 
 resembling in form and choice of words the various educational treatises 
 which she has read. Frau von Oppen confuses the words "stethoscope" 
 and "telescope." Philipp's mother is a little, dried-up old woman who 
 nods her head continually and replies to all questions with "Es wird 
 alles gleich fertig sein." The remaining characters speak a language 
 free from mannerisms. 
 
 In "Arabella" there is but one circle of society and hence no use 
 of this means. 
 
 In the " Schauspieler vom Hamburger Berge" the members of the 
 troupe of actors speak in short, hurried sentences. Contracted forms 
 such as 'mal for einmal and d'ran for daran are used to introduce a touch 
 of dialect. 
 
 "Die Wellenbraut " is similar to "Arabella" in not using speech 
 peculiarities for purposes of characterization. 
 
 In "Die Konigin der Nacht" Eugen von Jastrow is addicted to the 
 use of French phrases and frequent witticisms. The spectators at the 
 opera speak in short, broken periods. 
 
 Ritter Wallmuth in "Die Selbsttaufe" speaks a learned bombast. 
 
 "Eine Phantasieliebe " shows a more extensive use of this means than 
 is to be found in any of the previous stories. Andres and Fritze speak a 
 dialect marked by short, quick, exclamatory sentences, the omission of 
 articles, the use of contractions, and the substitution of pronouns of the 
 third person when the second person would ordinarily be used. In addi- 
 tion to these peculiarities Andres has his stock phrase, "Frolen, da ist 
 Einer. " He also confuses the words "conversation" and "conserva- 
 tion" very amusingly in speaking of the conversation hall. The Land- 
 rath uses frequent oaths and is blunt and soldier-like in his speech. He 
 also employs French occasionally. The virtuoso at Baden-Baden is 
 always eager for his " quatre mains Spiel. " French is always spoken by 
 the Russian noblewoman. 
 
 A few of the characters in "Der Emporblick" also have mannerisms 
 of speech. The peasant talks of the " Stadtminschen " and the " Buuers- 
 liiden." Hartmann uses his "He! Hola! Houp!" repeatedly and 
 intersperses French words among his German. He is regarded by the 
 common people with whom he has condescended to spend a day as an 
 "eigener" man. Scharfneck's attitude toward the proletariat is that of 
 disdain. He continually exhorts Ernst to look upward and to seek for 
 companionship among people of social rank and position. This, of 
 course, is more properly a characterization by means of the range of 
 thought interests of Scharfneck than it is a characterization by manner 
 
KARL GUTZKOW S SHORT STORIES 85 
 
 of speech. It is included here, however, because such a method is not 
 discussed separately. 
 
 "Die Kurstauben" and "Konig Franz in Fontainebleau " contain 
 no examples of the use of dialect or of any other peculiarities of speech. 
 
 The subjects of conversation in "Die NihiHsten" furnish a better 
 criterion for judging the characters than does the form in which their 
 thoughts are expressed. No attempt is made to employ unusual lan- 
 guage. 
 
 This means of characterization assumes no importance in "Jean 
 Jacques," "Der Pfefifer-Matthes, " "Die Diakonissin, " or "Ein Lebens- 
 loos." 
 
 In "Aus dem Schwabenland " the Holzenbauer repeatedly uses the 
 expression "Nehmen Sie's" in his conversation with Speidle. By so 
 doing he emphasizes the respect which he as a peasant has for the gen- 
 darme, the representative of the law. 
 
 In "Das Opfer" the nurse's "Engel sind in Himmel" shows the 
 practical turn of mind and unimaginativeness of that person. 
 
 An obvious attempt to characterize Edelmann by his speech is made 
 in "Das Johannesfeuer. " As a servant he speaks a less polished and 
 more colloquial German than the remaining characters do. 
 
 "Der Werwolf" neglects this means of characterization. 
 
 e) Opinions of Others 
 
 Characterization by means of the opinion of others is a very important 
 means. It matters little whether the judgments which are expressed 
 are strictly truthful or not, such characterization possesses value for both 
 the person described and for the speaker. 
 
 In "Der Prinz von Madagascar" Colas pictures Polyglotte before 
 the latter has made his appearance in the story as "ein charmanter 
 Mann, voller Gelehrsamkeit, gar kein Stolz, feine Sitten, alle Sprachen 
 der Welt, die sich nur denken lassen. " This not only shows the favorable 
 impression which Polyglotte has produced upon Colas, but it at the same 
 time reveals the old man's respect for the learned class. The speculations 
 of Culotte and of Marquis le Poivre concerning Hippolyt do even more 
 toward disclosing the mutual relations and feelings of the former two 
 than they do toward characterizing Hippolyt. Colas not only shows 
 a keen insight into his master's character, but also reveals his own love 
 and devotion for Hippolyt when he says: "Ich weiss, der gute Jiingling 
 ist leichtsinnig, allein man kann ihn lenken, er ist fiir gute Ratschlage 
 
86 KARL GUTZKOW'S SHORT STORIES 
 
 empfiinglich, und tut alles, wenn man es gern hat." Numerous other 
 instances of a similar nature are to be found in " Der Prinz von Madagas- 
 car. " 
 
 Characterization of this sort does not occur in " Kanarienvogels 
 Liebe und Leid. " 
 
 In "Der Sadduzaer von Am.sterdam" it is again prominent. Uriel is 
 excellently described by the members of his family circle, particularly 
 by his mother, Frau Esther, just before he enters the home. Judith 
 is characterized in the same conversation. The dream which is related 
 by Esther possesses value as being prophetic of the approaching tragic 
 conclusion. Ben Jochai is well characterized by Judith, but her estimate 
 of him as a friend of Uriel's proves to be a false one. 
 
 In "Seraphine," owing to the fact that two of the chapters are long 
 dialogues and a third is a diary, this means of characterization is used 
 extensively. The opinions and viewpoints of three persons are presented. 
 In addition to this general method of applying this means of characteri- 
 zation there are also special instances, as for example the excellent char- 
 acter study which Frau von Magnus makes of Seraphine when conversing 
 with the latter. 
 
 The conversation in "Arabella" serves dramatic purposes rather 
 than as an aid in characterization. 
 
 The characters in the " Schauspieler vom Hamburger Berge " express 
 judgments very freely with regard to one another. Thus the attendant 
 in the show troupe criticises Albertine, the innkeeper discourses con- 
 cerning Heinrich M, and this actor in turn comments at length upon 
 the virtues and the failings of Albertine. 
 
 In "Das Stelldichein" Graf Hugo is twice characterized by others, 
 once by his friends in general, no one is named, and again by an old 
 lady who is also unnamed. He himself passes an opinion upon his wife, 
 Auguste. 
 
 The use of the letter-form in several chapters of "Die Wellenbraut " 
 permits Theobald to reveal his impressions of Idaline and the circle in 
 which she lives. From these characterizations the reader derives not 
 only a knowledge of the persons described but he also discovers Theo- 
 bald's criteria for judging and from these he in turn revises his own views 
 of Theobald. Public opinion assumes the role of critic at one point in 
 the story and undertakes a general discussion dealing with Idaline. At 
 another time the heroine's motives and acts are sketched by a lady 
 who is not named. 
 
KARL GUTZKOW'S SHORT STORIES 87 
 
 Eugen von Jastrow keeps a diary in "Die Konigin der Nacht" which 
 contains a number of snapshot character hints of Ladoiska. 
 
 In "Die Selbsttaufe" Wallmuth expresses in a jocular manner his 
 preconceived ideas of Gottfried's appearance and bearing. Sidonie gives 
 a word picture of Agathe in a similar way. This conversation of father 
 and daughter is enhghtening as much because it reveals the attitude of 
 the speakers toward the ones whom they are discussing as because by 
 it Gottfried and Agathe are characterized. It occurs at the conclusion 
 of the reading of a long letter wTitten by Agathe in which the writer's 
 characterization of Gottfried also shows her own simplicity and natural 
 kindliness. 
 
 This means of characterization is resorted to very often in "Eine 
 Phantasieliebe. " An excellent analysis of Imagina's character is con- 
 tained in a letter written by Madame Milde to Imagina's father. Ma- 
 dame Milde does not appear actively in the story at any time but her 
 two letters reflect clearly her calm, practical, and yet sympathetic atti- 
 tude toward life. The conversation between Imagina and her husband 
 in which they discuss Feodora serves not only to characterize the Polish 
 countess but also to disclose August's ideals. The members of the group 
 at the resort discuss one another freely. Feodora bitterly attacks the 
 virtuoso, the latter defends himself from her innuendoes and in turn 
 criticises Feodora. In the diary which Imagina keeps Otto von Sudburg 
 is the subject of a romantic mixture of fact and fiction. 
 
 "Der Emporblick" contains numerous cases of this same means of 
 characterization. Scharfneck pronounces his judgments upon the lower 
 classes of society collectively, and also upon a number of individuals 
 who belong to these strata. Ernst and Frau von Wolmanny are likewise 
 subjects of his character sketches. Ernst describes Lude Wachter, and 
 Ernestine pictures the depravity of her brothers and their associates. 
 These are a few examples of the many which might be cited from his 
 story. 
 
 In "Die Kurstauben, " on the other hand, this means is very sparingly 
 employed. The only instance of importance occurs when Herz, more 
 in jest than in earnest, characterizes Leontine in the presence of Sancho. 
 
 The amount of such characterization in "Konig Franz in Fontaine- 
 bleau" is very small. 
 
 In "Die Nihilisten" it is again important. Judgments upon others 
 are freely uttered, often at considerable length. Since these reflect the 
 personal bias of the speakers and reveal their sincerity or insincerity 
 of purpose, they aid the reader in classifying the characters in the novel. 
 
88 KARL GUTZKOW'S SHORT STORIES 
 
 Thus Hertha's intensity of feeling and depth of character, Constantin's 
 conceit and superficiaHty, Frieda's lack of stability, Ott's standards of 
 life's values, and Planer's rugged strength are all vividly brought out 
 in the estimates which they place upon others. Each person of impor- 
 tance criticises and becomes criticised; in some instances this occurs 
 several times, and the importance of this exchange of opinions for the 
 characterization is great. 
 
 The minor characters in "Jean Jacques" are viewed mainly in the 
 hght of the attitude which the principal person in the sketch assumes 
 toward them. This attitude, however, is revealed more by the author's 
 analysis of the hero's thoughts and feelings than by the words of the 
 latter. As applied to Jean Jacques this method is of little importance. 
 
 In "Der Pfefifer-Matthes " the chief character is the subject of sketch- 
 es by the doctor, his wife, and the relater of the whole incident, who in 
 this instance is represented by the pronoun of the first person singular, 
 an unusual proceeding for Gutzkow. 
 
 "Die Diakonissin" contains long accounts of several of the characters 
 narrated by other persons. Freydank rehearses the history of VVolmar, 
 Artner and Constanze. He also comments freely upon the members 
 of the Wisthaler family. Constanze records not only her impressions 
 of deaconess life but also to a less extent her estimates of her friends in 
 the diary. The characterization which she thus suppUes is generally 
 correct and is also sympathetic and discerning. 
 
 Since "Ein Lebensloos" is limited to one character this means is 
 not available. The Holzenbauer and Speidle are judged by public 
 opinion and their own consciences in " Aus dem Schwabenland. " 
 
 In "Das Opfer" the letters of Hugo Ellrich to Gabriele contain the 
 only long examples of this means of characterization. The opinions 
 which are expressed in these are tinged with the enthusiasm of youth 
 and love and help to increase the poetical effect of the story. 
 
 A liberal use of the opinions of others for purposes of characterization 
 is made in "Das Johannesfeuer. " Thus Ottilie and Frau Munde freely 
 discuss Rother, and Rother and Hipler do the same with regard to the 
 former two. As usual these conversations serve the double purpose 
 of characterizing both speaker and the subject of the conversation. 
 
 In "Der Werwolf" this means is comparatively unimportant. The 
 opinions of the characters concerning one another are told generally 
 through the medium of the author and not directly. 
 
KARL GUTZKOW'S SHORT STORIES 89 
 
 The preceding study shows that Gutzkow employs a wide range of 
 means of characterization. External features such as physical attri- 
 butes, dress, and general bearing, as well as characteristics not visible 
 to the eye but revealed through the agency of the character sketch, minor 
 actions, contrasts with other characters, peculiarities of speech, and judg- 
 ments of the characters upon one another, contribute to the total im- 
 pression which is presented to the reader as a character in the short 
 stories. 
 
 From the earliest of these tales until the latest the use of external 
 appearances to aid in the characterization is found. The extent of 
 description so given varies from a few conventional strokes to a portrait 
 including many details. There seems to be no connection between the 
 time of the writing of any of these stories and the amount or character 
 of such delineations since striking differences may be seen in stories 
 appearing in the same year. The longer descriptions are usually found 
 in the longer stories. Many of the shorter ones lack such detail almost 
 entirely. 
 
 Long character sketches occur only rarely, but short, direct charac- 
 terizations are numerous, as are also psychological analyses of the charac- 
 ters. A single, definite characteristic often serves to mark an individual 
 apart from his fellows. 
 
 Minor actions and situations of importance for purposes of characteri- 
 zation occur frequently except in the shorter stories, where the main 
 action usually absorbs the whole of the narrative. 
 
 The use of contrast as an element in characterization occurs to some 
 extent in nearly all of the stories and is especially prominent in "Der 
 Sadduzaer von Amsterdam," "Die Selbsttaufe, " "Eine Phantasieliebe, " 
 and "Die NihiHsten." 
 
 Speech peculiarities are used frequently. These consist generally 
 of stereotyped phrases, favorite by-words, and the like. An elevated 
 or a humorous style is sometimes characteristic of certain persons. 
 Dialect is very rarely employed. 
 
 Characterization by means of opinions rendered by others is a com- 
 mon and effective means. It is found in all but a few of the shortest of 
 the stories. These judgments are usually pronounced by the persons 
 themselves. Occasionally, however, the author states such opinions 
 instead of having the characters express them. 
 
CHAPTER XI 
 
 Environment 
 
 A definite geographical location for the action of Gutzkow's short 
 stories is not given in every case. Thus the events of " Die Wellenbraut, " 
 "Die Selbsttaufe, " "Das Opfer, " and "Das Johannesf euer " take place 
 in city or rural curroundings or in both, but the exact location is not 
 set down. That they occur inside of a German environment is evident 
 but the scene is of the same degree of definiteness as the much employed 
 "residence" of the novels of that time. Except for the very general 
 bits of description which serve to indicate city life or country life no 
 attempt at exact location is made. 
 
 Others of Gutzkow's stories take place in parts of Germany which 
 are named and briefly described. Thus "Die Schauspieler vom Ham- 
 burger Berge," "Eine Phantasieliebe, " "Der Emporblick," and "Aus 
 dem Schwabenland " are given a "local habitation." The commercial 
 port of Hamburg with its busy wharves and its carnival grounds is a 
 section of Hfe faithfully depicted. The Silesian hills, mines, and the 
 peasants of this province, form a background for the "PhantasieHebe, " 
 a background not very clearly defined but nevertheless present and in 
 keeping with the type of story. In the "Emporblick" as in the author's 
 "Ritter vom Geiste" the life of Berlin with its shades and shadows is 
 not to be disguised. The scene of "Aus dem Schwabenland" is laid 
 in a village of southern Germany. Characteristics only are given which 
 are of general or t>pical value. Careful, minute, painstaking description 
 of the kind undertaken by the naturahsts in not attempted. What 
 details are given are realistic but not directly copied. 
 
 In several instances scenes are laid in foreign countries. The "Sad- 
 duzaer von Amsterdam" is located in Holland, in Amsterdam and 
 adjacent country, "Arabella" in England and upon the continent as 
 well, Italy is the scene of the concluding events in the "Phantasieliebe," 
 Paris is three times so used, in "Der Prinz von Madagascar," "Konig 
 Franz in Fontainebleau " and in Jean Jacques." Tropical lands are 
 twice the place of action, once in the very early "Prinz von Madagascar" 
 and again in "Die Diakonissin" of a much later period. African and 
 Dutch East Indian conditions are contrasted with European civilization 
 and culture. In the use of foreign lands as places in which to locate 
 the events of his novels Gutzkow's technique is similar to that in those 
 which have a German environment. The general and t)^ical is employed 
 rather than the specific and long detailed. 
 
KARL GUTZKOW'S SHORT STORIES 91 
 
 Uncivilized races are to be found but twice in the short stories and 
 in neither case is the treatment accorded them very copious. The 
 natives of the "Prinz von Madagascar" are wild, untutored savages. 
 Nevertheless one sees in them a satire upon the culture of the Europeans. 
 As has been pointed out before, the social organization of these primitive 
 people is an exaggeration of some ill-balanced features of Caucasian 
 civilization. Frankness, originality, or faithfulness of treatment in 
 depicting a lower race is not to be found. The author's inexperience 
 and the satirical motive with which he wrote both serve to explain this 
 lack. In "Die Diakonissin" the natives of the island of Java appear 
 only incidentally. They are servants and slaves of the Dutch military 
 authorities or else tribes of savages to be kept in submission to the higher 
 race or exploited for the benefit of the whites. None appear as indi- 
 viduals. 
 
 Descriptions of landscape features, natural phenomena, architectural 
 effects and such appearances occupy a relatively small space. They 
 are generally purely conventional and serve only to provide a knowledge 
 of the surroundings sufificient to enable the reader to understand the 
 action and to render the events probable. Occasionally the description 
 is made to harmonize with and emphasize the mood of a character, to 
 produce a distinct atmosphere and bring about a psychological effect. 
 Thus in the "Sadduzaer von Amsterdam" the lovers meet in a beautiful 
 garden during the quiet of a cheerful day and exchange their confidences. 
 The fearful shock caused by the pronouncing of the ban upon Uriel comes 
 at sunset when dusk is falling. Uriel's return to Judith and the former 
 happy condition occurs on a day when nature is in a most tranquil mood. 
 A similar accord between nature and the struggle in the soul of Uriel 
 is maintained throughout. 
 
 In "Die Wellenbraut" the unison of nature and the action of the 
 characters is not so carefully preserved, but the meeting of Idaline and 
 Theobald on the gondola trip on a calm, moonlight night is a part of this 
 technique. In "Die Selbsttaufe" the lyric note is distinctly struck. 
 The day which is to prove so bitterly disappointing to Agathe is ushered 
 in raw, cold and rainy. Agathe, cheerful, unsuspecting, full of love and 
 confidence, contrasts strongly with the external disagreeable surround- 
 ings. The reader has a premonition of what is to happen, Agathe has 
 not, and the sympathy aroused for her is greatly intensified by this 
 touch of atmosphere. 
 
 The best example of the use of natural surroundings to produce at- 
 mosphere and form an efi'ective setting is the opening chapter of "Die 
 
92 KARL GUTZKOW'S SHORT STORIES 
 
 Diakonissin. " The quiet moonlight night of the tropics which seems 
 to breathe the air of perfect innocence and peace and to be symboUca 1 
 of an all-pervading harmony throughout the universe becomes suddenly 
 the scene of a tragedy whose effects are felt by many in a distant portion 
 of the world for several decades. The pistol shot which in the novel 
 accomplishes this is almost as starthng to the reader as to the one who is 
 a witness of it in the story. The contrast thus introduced is extremely 
 effective. From this moment until the end of the story is reached there 
 is a constant interplay of forces and persons that have been set in m.otion 
 by this one apparently insignificant occurrence. 
 
 A definite chronological setting for many of the short stories is lacking. 
 The events in them might occur at almost any time in the nineteenth 
 century or the latter part of the eighteenth. Occasionally the mention of 
 som.e means of travel as the railroad or of some modern industrial phase 
 as the factory system serves to limit to some extent the time of the events 
 related. Thus "Eine Phantasieliebe, " "Der Emporblick, " "Die Kur- 
 stauben," and "Die Diakonissin" have no definitely stated time when 
 the events described are said to have taken place, but in each the features 
 of modern industry and transportation would indicate that the industrial 
 revolution was then already completed or else well under way. In 
 these stories and also in "Seraphine," "Die Wellenbraut, " "Die Selbst- 
 taufe," "Das Opfer, " and "Das Johannesfeuer, " the reader might well 
 imagine that the actions described were those of contemporaries 
 
 The few which lay claim to a particular place chronologically are 
 "Der Sadduzaer von Amsterdam," "Konig Franz in Fontainebleau, " 
 "Die Nihilisten," "Jean Jacques," and "Der Werwolf." The first of 
 these is located in the first half of the seventeenth century. Gutzkow's 
 source for this novelette appears to have been Llorentes' "Geschichte 
 der spanischen Inquisition" which contains the autobiography of Uriel 
 Acosta, "Urielis exemplar humanae vitae." Here the historical data 
 lay ready to hand. The problem, however, is not Umited to any age, 
 but is universal. 
 
 The reign of the Emperor Charles V is the time of "Konig Franz in 
 Fontainebleau." The jealousies of France and of the Holy Roman 
 Empire are briefly alluded to, the king is a knight of the days of chivalry, 
 and beauty and manly strength are personified in the two lovers. The 
 sketch possesses a tranquillity and an aloofness from the rush and bustle 
 of modern times which is charming. 
 
 Very different from this is "Die Nihihsten," which was written 
 shortly after the epoch-making events of the revolution of 1848 and which 
 
KARL GUTZKOW'S SHORT STORIES 93 
 
 presents a picture of those troublous times. It fairly bristles with sug- 
 gestions of the great questions which at that period agitated men's 
 souls. The repression exercised by the governing circles, their strenuous 
 attempts to suppress freedom of discussion, to uphold privilege and 
 "vested interests," to borrow a modern term, to conserve authority in 
 the landed and noble classes, the fear and suspicion of the liberalism of 
 university circles, all tendencies which characterized the days before the 
 March revolution in Germany, the period of Metternich's supremacy in 
 European statecraft, are present in the "NihiHsten." The revolution 
 itself is portrayed in its overwhelming power upon the minds of men. 
 The universal desire for the common good of the whole nation makes 
 heroes of all. Each stands in awe before the irresistible onrush of events. 
 "Man must be silent when the century speaks" says the author in de- 
 scribing the far-reaching effects of this titanic upheaval of primitive 
 forces. Changes of ministry occur with a frequency which is startling. 
 Men's lives are tested to the very core and in many cases radically 
 altered. It is a milieu of forces long held in restraint suddenly let loose 
 without proper guidance, a struggle of the blind to lead the blind. Then 
 comes the inevitable relaxation and conditions slip back largely into 
 the old ruts, but the memory of the past revolt and its chaos remains 
 to prevent the re-establishment of the tyranny of the previous regime. 
 The same hopefulness and confident belief in the final triumph of liberal 
 principles and the progress of humanity toward a higher goal which 
 Gutzkow expresses in his "Ritter vom Geiste, " he also shows here. 
 Each effort brings success a little nearer. 
 
 In "Jean Jacques" Rousseau's life is treated from the year 1750 
 until his death. The historical coloring is of less importance than the 
 personal relations which he sustains to those around him. The group of 
 learned men, such as D'Alembert and Grimm, who were among the 
 intellectual leaders of the day, play a minor part in the story. The period 
 as such is of no great consideration. 
 
 The " WerwoK, " on the other hand, the events of which center around 
 the meeting of the reichstag in 1582, owes much of its charm to its 
 historical background. Kaiser Rudolf the Second, his retainers, his 
 personal bodyguard, the financial embarrassments of the sovereign, the 
 broils between the citizens and the soldiers, these are elements of a 
 richly colored social organization which had come down through the later 
 middle ages and projected its shadow into modern times, feudahsm and 
 the Holy Roman Empire. The contrast which existed between the life 
 of the imperial court with its varied activities and its intrigues, and the 
 
94 KARL GUTZKOW'S SHORT STORIES 
 
 life of the simple country squire which lacked all of these is suggestively 
 portrayed. Amid the confusion of the picture afforded by the gathering 
 of the Reichstag in the city of Augsburg the love story of Sigmund and 
 Placida flows quietly along, a refreshing contrast. 
 
 The social milieu presented is wide and varied. The range of society 
 which is represented extends from the highest ofi&cial circles to the 
 criminal classes, includes city dwellers and country peasant, professional 
 classes and industrial workers, the high and the low, the rich and the 
 poor. To a large degree the whole gamut of social relationships is run, 
 though not all, naturally, are taken up with equal thoroughness of detail 
 and sympathy of treatment. 
 
 The state in one form or another, through its higher executive officials, 
 its courts, its ofi&cers of the law either civil or military, or by its attitude 
 toward political questions is an element of importance in several of these 
 stories. In the "Prinz von Madagascar" Hippolyt is a lieutenant in the 
 French army who resigns his commission in order to engage in his adven- 
 turous attempt. The home government figures only negatively in that 
 it declines to render aid to the pretender to the throne of Madagascar. 
 The colonial government at St. Mary's is the subject of caricature in 
 the persons of its officials. No serious part is assigned to the state or 
 to its agents. 
 
 In "Seraphine" Arthur Stahl is a government clerk, Edmund von 
 Oppen is the minister of foreign affairs, Herr von Magnus is the prime 
 minister, and the Israelite is a spy and a paid publicist for the govern- 
 ment. Liberal political principles are presented and their followers, 
 represented in this instance by Minister von Magnus, are dismissed from 
 office. The state is reactionary, a reflex of the contemporary conditions. 
 
 "Die Wellenbraut " illustrates very similar tendencies in the policies 
 of state. The official circles are composed of men of noble rank and 
 extremely conservative principles, jealous of their class privileges, opposed 
 to changes favoring democracy; Theobald has been the victim of this 
 governmental reaction and has served a sentence of several years' im- 
 prisonment on account of his poUtical activities. Renewed pressure of 
 public opinion suffices in this story to bring about a change of cabinet 
 which while not openly pledged to liberal principles is distinctly less 
 conservative. 
 
 In "Die Konigin der Nacht" the state as a poUtical or governing 
 body plays no part although its authority is represented by the prince 
 and to a lesser degree by Jastrow, the second lieutenant. 
 
KARL GUTZKOW'S SHORT STORIES 95 
 
 In "Die Selbsttaufe" Ottfried and his friend, Graf Schonburgh, enter 
 the diplomatic service. The Landrath von Unruh and Fritz, as sheriff 
 and gendarme respectively, are representatives of the law and preservers 
 of order in "Eine Phantasieliebe. " The detection of crime and the 
 administration of justice are the functions of the state in "Der Empor- 
 blick. " The king in "Konig Franz in Fontainebleau " is the personifica- 
 tion of the absolute monarchy of an enlightened type. The position of 
 the government in "Die Nihilisten" has already been discussed in this 
 chapter. Its position in this novel is much more imposing than in any 
 other of the short stories. 
 
 Governmental activity in the " Diakonissin " is limited to the use of 
 its military service for extending and safeguarding its colonial posse- 
 sions. In "Aus dem Schwabenland " it is again as the representative of 
 law and order and the punisher of crime that the state appears, and in 
 "Das Johannesfeuer " the state through its attorney, Heinrich Rother, 
 sues for the recovery of some of its property. In "Der Werwolf" the 
 emperor and the imperial diet represent the government of the Holy 
 Roman Empire. However as an active, operative force the state does 
 not enter. Rather its function is to furnish a more than ordinarily sug- 
 gestive background for the action proper. 
 
 The drawing-room of fashionable society, the salon, is frequently the 
 environment in which the incidents in the short stories occur. The kind 
 of life which was lived in such circles Gutzkow knew well how to describe 
 and earlier and later works alike make use of this social sphere. 
 
 In the "Prinz von Madagascar" and in " Kanarienvogels Liebe und 
 Leid" the tendency in keeping with the general tone of both productions 
 is to treat society satirically and to expose its foibles and positive evils. 
 Similarly in "Seraphine" the petty strivings and intrigues of Arthur and 
 Edmund in their endeavor to curry favor with Frau von Magnus and the 
 latter's strongly marked personal vanity do not present polite society 
 in a favorable light. 
 
 In "Arabella" and "Das Stelldichein " the characters belong to the 
 nobility. The atmosphere of the ball room prevails in the one, the other 
 is a domestic scene. No prejudice or favor on account of social standing 
 is expressed in either. 
 
 Those of noble rank in "Die Wellenbraut " are persons of intelligence 
 and worth but possessed of a distinct class consciousness. They move 
 in a world whose background consists largely of luxury and wealth. The 
 surroundings are those of the reception rooms of the rich, private art 
 galleries, and carefully cultivated country estates. The environment 
 
96 KARL GUTZKOW'S SHORT STORIES 
 
 in "Die Konigin der Nacht" is the conventional environment of the ruler 
 of the small principality. 
 
 "Die Selbsttaufe" paints a milieu in which rank, wealth and refine- 
 ment are not unmixed with selfishness, desire for adulation and actual 
 cruelty. The hght and the dark side of family life in the home of the 
 rich is exhibited. "Eine Phantasiehebe " describes another phase of 
 "high society," the life at fashionable resorts where moral standards 
 are permitted to become lowered and real virtue is at a premium. A 
 constant round of picnics, entertainments of all sorts, flirtations, gamb- 
 ling and the like make up the program of the patrons of these pleasure 
 and health resorts. 
 
 Of a more intellectually stimulating nature are the diversions of the 
 group who in "Der Emporblick" gather in Frau von Wolmanny's cul- 
 tured home for literary refreshment. The relation of the various classes 
 of society to one another is emphasized strongly, as has already been 
 pointed out, in this study. Both the higher and the lower classes are 
 treated sympathetically and with insight. 
 
 In " Die Nihilisten " private conversations and more formal receptions 
 are an aid in defining the characters of the persons concerned. The 
 circle of the rich and cultured in "Jean Jacques" is made up of many who 
 desire to appear as patrons of learning and thereby to acquire in some 
 measure a position among the learned themselves. The tendency of 
 this class to take up with fads is mildly satirized. 
 
 The ballroom is again the scene of social activity in " Die Diakonis- 
 sin. " The manifold obligations and distractions of the holders of wealth 
 as well as their amusements are described, the daily routine of the women 
 of this class is detailed, and the overestimation which they place upon 
 social duties is slightly criticized. "Das Johannesf euer " possesses the 
 conventional background of the leisured middle class where the necessity 
 for entertainment rather than the struggle for existence absorbs attention. 
 
 The professions which are represented are those of law, medicine, 
 and teaching. In "Der Emporblick" Ernst Oswald and his friend 
 Scharfneck are members of the legal profession and the latter appears 
 actively in the pursuit of his calling. Court-room scenes are introduced 
 and an air of realism results from this. In "Die NihiUsten" Eberhard 
 Ott, Constantin Ulrichs and Geheimrath WingoK are practitioners in 
 law. Here and in "Der Emporblick" the lawyer appears in his capacity 
 as advocate, in "Die Diakonissin" Freydank is a trustee, guardian and 
 adviser for his clients in civil rather than in criminal practice. 
 
KASL GUTZKOW'S SHORT STORIES 97 
 
 The doctor appears in two stories, "Der Pfeffer-Matthes, " and 
 "Die Diakonissin. " The first of these shows him as the head of a 
 hospital for the insane, the second traces in detailed and sympathetic 
 fashion the years spent by a young doctor in his efforts to secure a prac- 
 tice, treats these as typical of the struggles of a class, and shows a keen 
 appreciation of the service rendered by the medical profession to human- 
 ity. 
 
 The first study presented of the schoolman, Polyglotte in "Der 
 Prinz von Madagascar," is intentionally a caricature. In "Seraphine" 
 the school atmosphere is also that of pedantry and artificial learning. 
 Here and in "Eine Phantasieliebe " it is the boarding school which is the 
 educational institution. The former is not a serious treatment, the latter 
 introduces Madame Milde as an exponent of good pedagogical methods. 
 University circles as centres of academic freedom and also of liberal 
 views generally is the impression conveyed by the account given of the 
 university in " Die Nihilisten. " 
 
 Gutzkow's views upon education in general are found expressed 
 in his long novel " Blasedow und seine Sohne. " He opposed specializa- 
 tion and advocated in its stead the all-round development of the indivi- 
 dual. For this ideal he fought throughout this whole life. 
 
 Institutions of a pubhc or a semi-pubhc character appear twice as 
 elements of the environment. In "Der Pfeffer-Matthes " an asylum 
 for the insane is the natural background for the detailed account of a 
 hypochondriac's mania and its origin. In " Die Diakonissin " the somber, 
 somewhat depressing atmosphere of a Protestant deaconess hospital 
 gives a serious purpose to the story and hnks it more closely to life. 
 Religion and the art of healing work hand in hand, a union not altogether 
 approved by Gutzkow who highly commends the philanthropic features 
 of this sort of enterprise but dislikes the zeal manifested for proselyting. 
 The orderly, well-regulated existence of the inmates of such establish- 
 ments and the various aspects of their occupation are clearly depicted. 
 
 The criminal class of the large city is to be seen at close range in 
 "Der Emporblick" and in "Jean Jacques." The wickedness and vice 
 which are today associated with certain quarters of our metropolitan 
 centres are shown as already flourishing institutions. In "Jean Jacques " 
 ignorance, deception, petty thievery, and gross immorality go hand in 
 hand. Rousseau is a victim of his environment as well of his sophistry. 
 He commits no offense himself but is unable to rise above the low plane 
 in which circumstances have placed him. 
 
98 KARL GUTZKOW'S SHORT STORIES 
 
 In "Der Emporblick" the criminal element roots itself as in "Jean 
 Jacques" in the poverty-stricken and uneducated masses, but also has 
 its connections with the vicious and their supporters who are to be found 
 at the other end of the social ladder. Violations of the moral code both 
 flagrant and secret are revealed. Evil is pitilessly exposed. The ar- 
 raignment is not couched in the statistical manner of a vice commis- 
 sioner's report of the present day, nor are unsavory details introduced 
 and discussed with the unconcern which attends a surgical dissection, 
 nevertheless the same background is readily supplied by the reader 
 and the description of conditions is no less true and impressive. Theft, 
 blackmail, forgery, immorality, murder, are a part of this underworld. 
 Gutzkow does not, however, leave the reader with a pessimistic, dis- 
 couraging view. Even for the miserable "submerged tenth" he finds 
 hope. This lies in the abihty to rise above environment, and is illus- 
 trated in Ernestine Waldmann, who lifts herself by her own efforts 
 against fearful odds to a position where she is morally, intellectually, 
 and spiritually the equal of the so-called upper classes. Here in "Der 
 Emporblick, " in the field of social progress and world uplift, he preaches 
 again the same message of final victory which he proclaims in "Die 
 Nihihsten" to those who are struggling for political betterment. In 
 "Die Ritter vom Geiste" he combines both messages. 
 
 Instances of less importance in which crime is a factor occur in 
 "Seraphine" where Philipp is convicted of poaching and suffers a term 
 of imprisonment, and in "Aus dem Schwabenland " where Speidle 
 pursues the thief Jackl. 
 
 In Gutzkow's stories the criminal usually, although not always, 
 has to expiate his crimes. Much as in actual Ufe the clever criminal, 
 or the one best able to conceal his tracks, or the one with some sort of 
 influential connections escapes, so in these stories. The influence of 
 this sort of environment is admitted by the author to be very great but 
 he does not find it insurmountable. 
 
 Village Hfe is treated in two instances, once in "Seraphine," where 
 it is but one of the many elements of the novelette, and again in "Aus 
 dem Schwabenland," where it is the entire setting. The antagonism 
 of peasant and village dweller is present in the latter. The strife of 
 the brothers, Philipp and Ferdinand, rather than any feature, specifically 
 due to the village setting, is the theme of the former. 
 
 In "Der Sadduzaer von Amsterdam" and in "Die Kurstaube" the 
 surroundings are Jewish. The home life is well and sympathetically 
 
KARL GUTZKOW'S SHORT STORIES 99 
 
 described. The isolation of the Jews as a class and their close inter-de- 
 pendence is indicated. The synagogue and the home form the back- 
 ground in the former story, the counting house and the home the 
 background in the latter. An intimate knowledge of the Jewish milieu 
 is evident from the two stories. 
 
 A pathological element is introduced into the environment in "Der 
 PfefTer-Matthes " and "Die Diakonissin. " The former relates the 
 history of an insane man and discusses the origin and nature of his 
 malady. The latter describes a tropical disease in which a parasite 
 inhabits a man and produces a fearful, lingering illness for which no 
 cure is known to science. Temporary insanity, resulting from tropical 
 fever and accompanied by the loss of memory, is also taken up in the 
 same story. A cure is effected by means of a treatment consisting of 
 a period of quiet and retirement from all associations of an exciting 
 nature and the gradual introduction of the elements and persons formerly 
 most closely in contact with the patient's life. A similar restoration 
 to sanity is to be found in Immermann's "Epigonen," in the case of 
 Hermann. 
 
 The environment in the short stories is composed of many elements. 
 The geographical settings vary in definiteness from vague, undefined 
 regions which might be located in any one of numberless localities to 
 places distinctly named and well known. Both city and country, home- 
 land and foreign soil, are made the scenes of action. The amount of 
 description devoted to nature is small, but it harmonizes well with the 
 other elements. Conscious efforts to secure atmosphere and to use 
 description to heighten the effect of certain incidents are to be found. 
 
 Definite chronological settings are limited to five of the stories.^ The 
 historical coloring in three of these is excellent and of sufficient value to 
 be considered a motive.^ 
 
 A wide range of society is included. Rich and poor, nobleman and 
 commoner, professional man and factory worker, city dweller and pea- 
 sant, are represented. The state shows its influence through a throng 
 of officials. Fashionable society is depicted in the drawing room, at 
 pleasure resorts, and on country estates. Both family life and the 
 struggle for existence outside of the home are a part of the picture. Law, 
 
 'The five stories are "Der Sadduzaer von Amsterdam," "Konig Franz in Fon- 
 tainebleau," "Die Nihilisten, " "Jean Jacques," and "Der Werwolf." 
 
 2 The three are "Konig Franz in Fontainebleau, " "Die Nihilisten," and "Der 
 Werwolf." 
 
100 KARL GUTZKOW'S SHORT STORIES 
 
 medicine, teaching, and the stage contribute to give a coloring of pro- 
 fessional atmosphere. Commerce and industry aid in the formation 
 of a background and such interests sometimes supply the dominating 
 motives. Virtue and crime exist side by side as so often is the case 
 in real life. The public institution is inteUigently described and con- 
 ditions in the village are sympathetically treated. 
 
 In presenting this milieu Gutzkow is sufficiently definite in the amount 
 and character of the details which he gives to lend an air of reality to 
 his descriptions. His characters move in a world that actually exists 
 and is not a product of fancy. The reader feels that the events which 
 occur and the motives which prompt them are reasonable. To that 
 extent Gutzkow is a realist. He does not go to the extreme, however, 
 that the naturalists represent. He does not attempt to reproduce all 
 the details of the environment in which he places his characters. He 
 selects enough to produce an impression of reality and does not make 
 every incident or character dependent upon environment. Sometimes 
 as in "Jean Jacques" an individual succumbs to this force and again, 
 as in the case of Ernestine Waldmann in "Der Emporblick" he over- 
 comes this influence. Thus Gutzkow takes a position between realists 
 of the type of Otto Ludwig who use environment in a symbolic manner 
 and the naturalists who attempt to reproduce reality without selection 
 and make a person's surroundings determine the entire trend of his life. 
 
CHAPTER XII 
 
 Plot 
 
 The analysis which has thus far been made of these stories has not 
 undertaken to distinguish clearly between the various types as to struc- 
 ture or plot. The question of relative complexity of composition has 
 been deferred until the phases of technical study common to all forms 
 of narrative have been considered. The point has now been reached, 
 however, when it seems desirable to make such a classification. 
 
 The word plot means, when reduced to its simplest terms, that which 
 happens in a story. "It is the management of the continuous line of 
 action underlying the whole progress of the story. It concerns the 
 sequence of events."^ The etymology of the word implies a weaving 
 together, and it is the intertwining of the various threads of action, 
 the clashings of opposing forces, and the interrelationships of the char- 
 acters within the story that compHcate plot. The simplest form of plot 
 is that which traces one individual's experiences and development. As 
 more characters are introduced, each possessing his own viewpoint and 
 his own modes of combating circumstances, the plot gains in complexity. 
 Every increase of this sort involves more skill upon the part of the author 
 and demands closer attention from the reader. In many novels this 
 process is carried to great lengths and an enormous number of characters 
 is introduced. Hence it follows that plot may range from the flimsiest 
 thread that barely suffices to hold narrative portions together to a stout 
 network that possesses a bewildering confusion of strands and is a most 
 conspicuous part of the story technique. 
 
 As compared with the novel, the short story, the novelle, is limited 
 in the degree to which it may develop a complicated plot. It must pos- 
 sess a definite central theme and its structure is of necessity much 
 more compact. Nevertheless it often contains a number of threads 
 "of action and concerns itself with the fate of numerous individuals. 
 Many characters and many conflicting forces may be present but all 
 must contribute toward the unified impression which the novelle must 
 produce. 
 
 Gutzkow's short stories show a considerable range with regard to 
 plot construction. In some there is a complex, carefully constructed 
 framework, whereas in others the thread by which the story is held 
 
 1 E. M. Albright, The Short Story. 
 
102 KARL GUTZKOW'S SHORT STORIES 
 
 together is slight indeed. This variation in structure permits of a 
 primary division which is essential for this study, a classification of the 
 stories into novellen and non-novellen. It also permits of a further 
 division within these boundaries. Thus the following scheme is presented 
 as a classification based upon the internal structure of these stories. 
 
 I. Stories Not Included Among the Novellen. 
 
 1. Sketches — 
 
 (a)Kanarienvogels Liebe und Leid. 
 
 (b) Schauspieler vom Hamburger Berge. 
 
 (c) Jean Jacques. 
 
 (d) Der Pfeffer-Mathes. 
 
 (e) Ein Lebensloos. 
 
 2. The tale — 
 
 (a) Der Prinz von Madagascar. 
 
 3. The novel — 
 
 (a) Seraphine. 
 
 II. Novellen — 
 
 /. Those containing a single crisis with definite turning point — 
 
 (a) Arabella 
 
 (b) Das Stelldichein. 
 
 (c) Kurstauben. 
 
 (d) Konig Franz in Fontainbleau. 
 
 (e) Aus dem Schwabenland. 
 
 (f) DasOpfer. 
 
 (g) Johannesfeuer. 
 (h) Der Werwolf. 
 
 2. The analytic type — 
 
 (a) Eine Phantasieliebe. 
 
 (b) Die Konigin der Nacht. 
 
 3. The dramatic type — 
 
 (a) Der Sadduzaer von Amsterdam. 
 
 (b) Die Wellenbraut. 
 
 (c) Die Selbsttaufe 
 
 4. Longer novellen lacking dramatic form but possessing unity of 
 
 action or of emotional tone — 
 
 (a) Der Emporblick. 
 
 (b) Die Nihilisten. 
 
 (c) Die Diakonissin. 
 
KARL GUTZKOW'S SHORT STORIES 103 
 
 The further consideration of the structure of these stories will be 
 taken up under headings corresponding to the above classification and 
 in the same order. 
 
 1. Stories not novcllen 
 (a) The Sketch 
 
 "A sketch is a lighter, shorter, and more simple form of fiction than 
 the short-story. It exhibits character in a certain stationary situation, 
 but has no plot, nor does it disclose anythink like a crisis from which a 
 resolution or a denouement is demanded. "^ The five stories which 
 have been grouped together as sketches fulfill the requirements of the 
 above definition. Action is almost entirely absent in all of them and 
 is outweighed very considerably by other elements. 
 
 " Kanarienvogels Liebe und Leid" possesses in its setting and char- 
 acters much more important characteristics than the thin thread of 
 plot that holds the one incident together around which it centers. One 
 phase of a life is treated. The tone of the sketch is satirical and moral- 
 izing 
 
 The " Schauspieler vom Hamburger Berge" is related in the I-form 
 and acquires a certain unity from this which the series of incidents of 
 which it is composed would otherwise lack. The author is represented 
 as a personal observer of the scenes that he describes. He possesses 
 a very evident desire to paint a depressing picture of stage life and to 
 drive home a moral. The two characters, Albertine and Heinrich M., 
 and the setting are the foremost consideration of this bit of narrative. 
 
 "Jean Jacques " is a much more detailed character study. The author 
 is at great pains to make the psychology of his principal figure thoroughly 
 understood. External incidents and mental reactions together with a 
 slight biographical thread unite in a plot extremely loose and tragic 
 in tone. The feeling of sadness and of compassion for the hero is com- 
 municated strongly to the reader. The remaining characters are greatly 
 subordinated to Jean Jacques. 
 
 The "Pfeffer-Mathes" is short and entertaining. The somber 
 cast of the two previous sketches is relieved in this by the pleasing domes- 
 tic setting. The relating of the incident proper by a character within 
 it furnishes a double setting and two groups of characters. 
 
 "Ein Lebensloos" is a character sketch with a moral appended as 
 in the " Schauspieler vom Hamburger Berge. " 
 
 2 J. Berg Easenwein, Stud>-ing the Short-Story. 
 
104 KARL GUTZKOW'S SHORT STORIES 
 
 (b) The Tale 
 The "Prinz von Madagascar" is the earhest of Gutzkow's stories. 
 It exhibits simpHcity of plot and traces the career of one individual. 
 In this respect and as a story of adventure it is akin to such narratives 
 as those of " Robinson Crusoe, " " Gil Bias, " the Picaresque novels, and 
 those tales of incident and action generally which do not possess plot 
 in the sense of having problems to unravel. In all of these the interest 
 lies in the episodes which entwine themselves around the hero. The 
 element of mystery, the wonder as to what will next occur, the marvelous 
 exploits performed by various persons in perilous situations, the thrill 
 that comes from Hving through such exciting scenes with the characters, 
 rather than an interest in psychological problems, or the desire for moral 
 teachings, or the presentation of human lives in serious crises, is the mo- 
 tive for the reading of his type of literature. Thus in this story, we 
 are concerned only with Hipolyt's attempt to regain his throne and our 
 curiosity is piqued to discover what success he will meet with in his 
 quixotic quest. 
 
 The manner of narration is a straightforward chronological order, 
 which is generally closely adhered to. One exception to this occurs 
 in the introductory portion where the expository matter deahng with 
 Hippolyt's previous history and his reasons for going to Madagascar 
 is reserved until after an interpreter for the new language has been 
 secured. 
 
 Suspense is obtained by the use of a number of motives of a sensation- 
 al character, as abduction, selling into slavery, falling in love with a slave 
 who proves to be a former princess, and daring escapes by flight. Humor- 
 ous speeches by various characters are intended as well to keep the 
 interest of the reader from flagging. 
 
 The situation which exists at the end of the story differs in no im- 
 portant particulars from that at the beginning. The same strands of 
 life which had been laid down in Paris are again taken up. The object 
 of the expedition remains unaccomplished. In a few Hnes which are 
 definitely appended for that purpose and mechanically separated by a 
 dash from the preceding narrative, the future is briefly indicated. 
 
 Neither action nor characters are thrilling or convincing in this 
 first production of Gutzkow's, nevertheless in the ability which its 
 author displays to write entertaining narrative, to relate a straightfor- 
 ward history, and to supply interesting if not highly original incident 
 there is promise for the future. 
 
KARL GUTZKOW'S SHORT STORIES 105 
 
 (c) The Novel 
 
 "Seraphine" is one of Gutzkow's least successful attempts in narra- 
 tive form. The general impression which it produces is a feeling that a 
 large amount of effort has been misdirected, that there has been too little 
 concentration. The conviction is unavoidable that this is a labored, 
 artificial production for whose characters the author possessed either 
 indifference or positive aversion. Cold and critical in his attitude, he 
 fails to inspire enthusiasm for this work. No single, powerful, cumula- 
 tive effect is exerted upon the reader and this is one reason for debarring 
 it from the class of novellen. 
 
 The number of characters is large and these are arranged in groups 
 whose connection is not close. Seraphine is the one figure that comes 
 nearest to dominating the action and she is at times forced into the back- 
 ground by a second female character, Frau von Magnus, so that even 
 this approach to unity is marred. There is a lack of close and organic 
 structure. 
 
 A diagram of the main elements of the plot made from the standpoint 
 of the heroine would be as follows: (1) Seraphine's love episode with 
 Arthur Stahl; (2) Seraphine's love episode with Edmund von Oppen; 
 (3) Seraphine's love episode with Philipp; (4) Seraphine's love episode 
 with Herr von Magnus; (5) Seraphine's unhappy married life. 
 
 A second and almost equally justifiable plot division can be made 
 with Frau von Magnus as the central character. Thus: (1) Frau von 
 Magnus and Arthur Stahl; (2) Frau von Magnus and Edmund von 
 Oppen; (3) Frau von Magnus and Herr von Magnus. The latter out- 
 line does not include Philipp and to that extent is less complete than the 
 former. Seraphine is included, however, because of her connection with 
 the admirers of Frau von Magnus. 
 
 The opening chapter of the novel introduces Seraphine as a teacher 
 in a private school. The latter part of the same chapter and the two 
 succeeding chapters then relate her history from three different stand- 
 points, those of two former lovers and the heroine's private diary. From 
 this point on the story follows a chronological order and is told from an 
 external standpoint. No one of the characters occupies the foreground 
 exclusively in this part of the narrative. 
 
 The structure, as is evident from the foregoing statements, is loose 
 and episodical. Furthermore the novel is burdened with an excess of 
 philosophical and political discussions, as well as much theorizing upon 
 inamortaUty, love, and marriage. It is useless to speak of a catastrophe 
 
106 KAEL GUTZKOW'S SHORT STORIES 
 
 unless the tragic termination of each of the heroine's love episodes be so 
 regarded and her death be considered as the final one. 
 
 2. The Novellen 
 (a) Novellen with single definite turning point 
 
 The stories which are grouped together under this heading possess a 
 similar structure. In each the number of characters that assume roles 
 of any importance is limited to from one to three, the threads of action 
 are quickly interwoven, the compHcation passes rapidly to a climax, and 
 the denouement and conclusion follow without delay. The method of 
 narration is the " straight-away " combined with conversation. The 
 conciseness of this method makes the group among the most readable of 
 Gutzkow's stories. 
 
 An exception to the statement that the progress of the action is 
 always swift should be made in the case of the "Johannesfeuer" and the 
 "Werwolf. " However, the plot is the same in these stories in the essen- 
 tial features of straightforward narration and definite turning point. In 
 distinction from the novellen considered as the dramatic type they lack 
 sub-climaxes. 
 
 "Arabella" is an illustration of the "clover-leaf" plot. The heroine 
 is placed between the man whom she loves and the man to whom she 
 owes her physical beauty and whom she has promised to marry. The 
 conflict is between the elemental passions of love and vanity, a world-old 
 theme. Rivalry between men for the possession of a woman's soul and the 
 struggle of primitive emotions within the individual is another way of 
 expressing the conflict. There is one main action and one group of 
 characters. Absolutely no matter external to the development of the 
 theme is admitted. Philosophizing and moralizing of the sort found in 
 "Seraphine" is conspicuously absent. The climax is reached, the 
 denouement immediately follows, and with no specifically added con- 
 clusion the story ends leaving the single unified impression which this 
 type should leave. 
 
 "Das Stelldichein " centers about the letter found by Count Hugo. 
 Both the count and the reader rem.ain in ignorance of the origin of this 
 missive until the denouement. The plot is strictly conventional in its 
 subdivisions. Thus we have the following parts: (1) the preliminary 
 situation. This comprises an explanation of the count's circumstances 
 and character. (2) The rising action. The finding of the letter and all 
 
KARL GUTZKOW'S SHORT STORIES 107 
 
 incidents occuring until the interview is held. (3) Climax and denoue- 
 ment. The interview between Hugo and his wife. (4) Conclusion. 
 Harmony is restored. 
 
 The element of paradox appears in the " Stelldichein " in the nature 
 of the turning point. This is both decisive and surprising and yet 
 reasonable enough to be readily acceptable. The interpretations, gen- 
 uine and mistaken, which are made of the letter are not questioned by 
 the reader. 
 
 The "Kurstauben" returns to the ''eternal triangle" arrangement 
 of characters. Each of these is introduced singly during the course of 
 the first two chapters, after which the plot is composed of an inter- 
 weaving of all three. The same features indicated in the plot of the 
 "Stelldichein" with respect to definite and simple structure may be 
 observed here. The disentanglement is accomplished in a surprisingly 
 small amount of space. The climax is a prominent point. This is 
 reached when Herz with a few carelessly spoken words exposes to Sancho 
 Leontine's subterfuge. The conclusion indicates in a very brief manner 
 the future of the characters. 
 
 "Konig Franz in Fontainebleau " possesses a rather sHght plot. 
 The characters are pleasing studies and the style of an old chronicle in 
 which it is written adds charm and makes it a very readable production. 
 There are two strands of action: (1) the king, (2) the lovers. The theme 
 is the lovers' deception and its consequences. The turning point occurs 
 when upon the ringing of the angelus the king relents and restores the 
 young couple to favor. The conclusion which sketches the subsequent 
 history of the two accords well with the epic tone of the narrative. 
 
 "Aus dem Schwabenland " is also simple and chronological in method 
 of narration. It deals with a crisis in two lives. The author's evident 
 purpose was to illustrate concretely that failure to live up to one's con- 
 ceptions of moral obHgation brings its own punishment. A reference to 
 the content of the story as given in a previous chapter will show clearly 
 that the same regular structure is present here as in those stories just 
 discussed.^ 
 
 The plot of "Das Opfer" is a simple, straightforward plot, which 
 constantly increases in interest and intensity until the climax is reached. 
 The falling action is very slight. The conflict which is staged in 
 Gabriele's soul is the one strand of action. The problem is thus a 
 psychological one and is carefully solved. 
 
 ' Cf. above p. 40. 
 
108 KARL GUTZKOW'S SHORT STORIES 
 
 The opening lines present a background of quiet domestic surround- 
 ings. Following this the earUer love episode is introduced and the 
 complication, in this instance, Gabriele's divided allegiance, is then 
 developed and her anomalous position with respect to her husband is 
 skilfully set forth. The rising action extends through the incident of 
 the child's sickness up to the point when Gabriele is convinced of the 
 peril which lies in her attitude and solemnly vows to renounce the 
 former love if the child's life is saved. This moment is the supreme 
 crisis in both the novelle and Gabriele's life. The falling action then 
 sets in immediately. Interest does not wane, however, but continues 
 throughout the paragraphs devoted to Gabriele's illness and recovery 
 and is still keen at the end when she dramatically fulfills her vow. 
 
 "Das Opfer" is close and compact in structure, with all details strictly 
 subordinated to the central theme, a representation of a supreme crisis 
 in a human life that would readily classify under the American definition 
 of the short story. 
 
 The plot of the " Johaimesf euer " is composed of two strands of action 
 represented by the chief characters. The complication is caused by 
 the obstacles interposed to prevent their marriage. These obstacles 
 and the mystery of the identity of the mysterious poet, Hugo Ubaldi, 
 are the means employed for producing suspense. Each of the principal 
 actors has a close friend who shares the action with him. In the first 
 chapter Ottihe and her friend, Frau Munde, hold the center of the stage. 
 The second chapter shifts the scene to Rother and Hipler. The third 
 returns to Ottilie and in addition solves the mystery that shrouds the 
 unknown poet. The next chapter again takes up Rother and relates 
 his previous history. The two strands of action are interwoven in the 
 fifth chapter and the denouement is reached when the lovers become 
 united. A brief conclusion indicates that a happy life is the result of this. 
 
 The plot shows no new points of technique. As developed in this 
 instance, it seems, in fact, very conventional and not extremely convinc- 
 ing. The point upon which the whole story revolves seems scarcely 
 adequate to support the weight of details which are amassed. 
 
 The "Werwolf" like the " Johannesfeuer " shows no new plot techni- 
 que. The obstacles that beset the path of the lovers furnish the sus- 
 pense in this story also. There are only two main lines of action, those 
 represented by Sigmund and Placida and their respective friends. These 
 alternate in opposing and co-operating with each other. Finally they 
 are united and the story is brought to a conventional close. The his- 
 torical framework is appropriate but is rather too serious and difficult 
 for an easy understanding. 
 
KARL GUTZKOW'S SHORT STORIES 109 
 
 (b) The Analytic Type 
 
 The two stories which have been classified under the above heading, 
 the "Konigin der Nacht" and "Eine Phantasieliebe, " undertake the 
 solution of definite questions, and the method by which this is accom- 
 plished is the characteristic feature of the technique. Both may be 
 classed as mystery stories and as character studies as well. "Eine 
 Phantasieliebe" is an especially excellent portrayal of an interesting 
 character placed in an environment which is unsuitable for it. 
 
 There are two questions propounded in the "Konigin der Nacht." 
 First, did the prince have a secret love affair with the opera singer 
 Laboiska? Second, what caused the disappearance of the cactus blos- 
 som? The former problem is stated early in the story, the second is 
 introduced much later. The course followed in the solution is from 
 effects back to causes. The princess unravels the threads of mystery 
 in both cases and one operation obtains the answers to both. 
 
 In "Eine Phantasieliebe" the separation of the Count and the 
 Countess of Wartenberg has already taken place. The problem is to 
 account for this situation. Several alleged reasons are shown to be 
 false and then the author develops his own ingenious explanation. This 
 is based upon the influence which a childhood dream of the heroine, when 
 coupled with a number of coincidences from life, exerts upon Imagina. 
 
 The plot presents a considerable degree of complexity due principally 
 to the element of love. A quadrangle alignment of characters that is 
 divisible into several triangle formations is a conspicuous feature. Thus 
 the four figures are as follows: (1) Imagina. (2) Wartenberg. (3) 
 Feodora Zaluski. (4) Otto Sudberg. The various triangles which are 
 deducible from these are: A. (1) Imagina, (2) Wartenberg, (3) Feodora; 
 B. (1) Wartenberg, (2) Feodora, (3) Sudberg; C. (1) Feodora, (2) Sud- 
 berg, (3) Imagina; D. (1) Sudberg, (2) Imagina, (3) Wartenberg. The 
 interrelationships of the members of these groups may be noted in the 
 chapter upon motives.^ 
 
 The four characters of the preceding paragraph are so many active 
 forces in the novelle. The Landrath is a fifth. Madame Milde is an 
 inactive figure whose principal office, as has been indicated elsewhere, 
 is to characterize the heroine.^ The various opposing figures come into 
 conflict but no far reaching catastrophe occurs. Imagina's sacrifice 
 and renunciation in order to save Sudberg marks the climax and takes 
 
 ■* Cf. above p. 53. 
 ^ Cf. above p. 87. 
 
110 KARL GUTZKOW'S SHORT STORIES 
 
 the place of the more powerful catastrophes that occur in the stories 
 of the dramatic t>'pe. The conclusion and the beginning of the novelle 
 represent the same point in both time and relationship of the characters 
 to one another. 
 
 (c) The Dramatic Type 
 
 The three novellen listed as possessing dramatic structure show very 
 clearly the plot requirements of the drama: the initial situation, the 
 introduction to the complication, development to a climax, and the 
 denouement or conclusion. In addition to the structure of the stories 
 considered as novellen possessing a single definite turning point these 
 contain sub-climaxes which, however, are well subordinated to the 
 grand climax and add to the effect of the latter. 
 
 The "Sadduzaer von Amsterdam" shows a surprising advance in 
 technique over the stories which had preceded it, "Der Prinz von Mada- 
 gascar" and the " Kanarienvogels Liebe und Leid. " It exhibits a plot 
 so well unified and ably constructed from numerous strands that it has 
 won praise from so strict a critic as Paul Heyse. It is logical and com- 
 pact and with condensation of m.aterial and rapidity of movement ad- 
 vances with certainty from initial incident to the final catastrophe. 
 After the setting, which includes the time, the place, and a short sketch 
 of Uriel Acosta's previous career, has been given, the hero makes his 
 entrance upon the stage and from that m^oment until the conclusion is 
 reached, he remains constantly in the foreground. The incidents which 
 are concerned with Uriel's love for Judith and the growth of his xehgious 
 skepticism contribute to the rising action which at once interests the 
 reader deeply and leads rapidly to one of the cUmaxes of the novelle, 
 the first excommunication. When this point has been reached, the 
 dramatic Hne abruptly falls to the level of the beginning, and remains 
 upon this level until the incidents connected with Uriel's flight and 
 Judith and Ben Jochai's attempts to find and rescue him have been 
 related and he has been restored to the church. 
 
 Very soon, however, with the stirring into new life of his old religious 
 doubts as Uriel once more busies himself with matters of creed and prac- 
 tice, the dramatic line begins a second ascent and progresses with in- 
 creasing rapidity until a culminating point is reached in another ex- 
 communication. The line drops again to its former level and from this 
 point on the catastrophe approaches. Uriel's imprisonment, his repen- 
 tance and endeavor to atone for his heterodoxy, his public confession, 
 and the humiliation to which he is forced to submit, are that many means 
 
KARL GUTZKOW'S SHORT STORIES 111 
 
 of suspense by which the author postpones the catastrophe and keeps 
 the reader in anxiety and doubt of the final outcome. But when these 
 measures prove unavaihng and Uriel has at last become firmly con- 
 vinced of Ben Jochai's treachery, the passion for revenge quickly leaps 
 into life, the action acquires a rapidity heretofore unequaled, and the 
 double tragedy, the accidental shooting of Judith and the suicide of 
 Uriel, provides the long inevitable, but many times deferred, catastrophe. 
 A final paragraph is devoted to relating the consequences upon the 
 survivors and furnishes a fitting close to the whole recital. 
 
 The action throughout the "Sadduzaer von x\msterdam" is rapid 
 and straightforward. Retardations occur, but are skilfully employed, 
 and being overcome, contribute to the unified impression of the plot. 
 The problem is psychological in nature, and the solution which is pre- 
 sented in a novelle closely approaching in structure the drama, is a 
 forerunner of the author's later play, " Uriel Acosta. " 
 
 Not only is the plot of the "Sadduzaer von Amsterdam" dramatic 
 in structure, but it is also a complex plot composed of several strands 
 of action closely intertwined and all wrapped tightly around the central 
 theme of Uriel's fate. These separate strands are as follows: (1) Uriel's 
 internal religious struggle; (2) Uriel's external struggle against the 
 orthodox church: (3) the conflict between Uriel's sincerity of belief 
 and his love for Judith; (4) Ben Jochai's secret treachery toward 
 Uriel. Each one of these plot elements is present at all times, the im- 
 portance of the part played varying at different stages of the action. All 
 are skilfully interwoven and exercise an increasing power as the cul- 
 mination approaches. The knot which they tie can be cut only by the 
 catastrophe. An untying strand by strand is impossible in the case of 
 an individual such as Uriel is shown to be. 
 
 The plot of the " Wellenbraut " is complicated by a greater number 
 of characters and consequent lines of action than any of the stories 
 which precede it in point of time except "Seraphine. " The sequence 
 is usually alternating but occasionally two or more become interwoven. 
 The four strands are represented by Idaline, Theobald, Waldemar, and 
 the circle of the governing class exclusive of Waldemar. The last of 
 these is of little importance after it has been used to show Theobald's 
 antagonism to the nobility. 
 
 The first two chapters contain the initial incident, the meeting of 
 Idaline and Theobald, and foreshadow the nature of the future plot 
 development. Chapters three, four, and five deal respectively with Theo- 
 bald, Idaline, and Waldemar. The necessary exposition is presented at 
 
112 KARL GUTZKOW'S SHORT STORIES 
 
 this time and the direction which events will later take becomes in- 
 creasingly more evident. Chapters six and seven continue the develop- 
 ment. In the former Theobald's democratic ideals and his hatred of 
 class distinctions is amplified, in the latter Idahne's interest in Theobald 
 is seen to deepen until she thinks temporarily of asserting her determina- 
 tion, abandoning her marriage with the count, and Hving a life of her 
 own choosing. She fails to do this, however, and chapter eight witnesses 
 her union with Waldemar. Theobald drops out of sight, the threatened 
 crisis appears to have been safely passed, and a quiet, uneventful married 
 life promises to result. In the next chapter this condition suddenly 
 changes. Waldemar is called away. The lives of Theobald and Idaline 
 come together once more. The action proceeds rapidly throughout 
 the next three chapters until it ends abruptly with the reappearance of 
 the count, the flight of Theobald, and the death of Idaline. The catas- 
 trophe, which has been averted for a time in a manner recalling the tech- 
 nique of the "Sadduzaer von Amsterdam," finally comes and is over- 
 powering. A brief concluding chapter indicates the effect upon the 
 survivors. 
 
 The dramatic structure of this novelle is apparent from the preceding 
 analysis. The leading characters are brought together in the opening 
 chapters and the seeds of the inevitable tragedy are planted. The 
 ascending action does not proceed far until it receives checks. Con- 
 vention in the form of social class distinction and the marriage of Idaline 
 are obstacles that impede the natural course of events. A period of 
 horizontal action follows this minor climax. Then chance unites the 
 two strands and the second ascending action hastens rapidly toward 
 the catastrophe and concludes with an extremely brief falling action. 
 
 The " Wellenbraut " is an example of a plot form which Gutzkow fre- 
 quently employs with good success. The plot is unified by a strict 
 adherence to the central theme. The three principal hues of action are 
 skiKully and effectively interwoven and rest upon a motivation suffi- 
 ciently well grounded to account for the consequences depicted. 
 
 The plot in the "Selbsttaufe" is also composed of numerous threads 
 of action. Here, as in the "Wellenbraut," there are four principal 
 bearers of the action and the importance of the fourth diminishes greatly 
 in each as the story proceeds. These strands are represented by: (1) 
 Ottfried, (2) Agathe, (3) Sidonie, and (4) Wallmuth. 
 
 The characters are separately introduced. The opening chapter 
 deals almost entirely with Wallmuth and makes only scanty reference 
 to Agathe and Sidonie. The second chapter is devoted to a lengthy 
 
KARL GUTZKOW'S SHORT STORIES 113 
 
 characterization of Wallmuth and Sidonie. Chapter three through the 
 agency of Agathe's letter reveals that young woman's character and 
 also Ottfried's. Agathe is again the subject of the fourth chapter. 
 From this point until the end is reached the plot threads are more or 
 less closely intertwined and this interlacing constitutes the principal 
 feature of the technique. No one character receives an undue amount 
 of attention. 
 
 The dramatic structure is first apparent in the rising action and 
 reaches a minor climax when Agathe and Gottfried enter upon their 
 engagement. The father's interference and attempt to rigidly control 
 the relations between the engaged couple is a retarding force which 
 abruptly terminates the upward course of the action. The complication 
 again sets in following the meeting of Agathe and Gottfried and the 
 reconciliation with Wallmuth. The major cHmax comes after a second 
 period of rising action when Ottfried fails to appear at the dinner where 
 his engagement is to be announced. Immediately after this the falling 
 action begins and continues until it terminates in the catastrophe, 
 Agathe's death. 
 
 (d) The Longer Novellen 
 The three novellen that remain to be discussed are the longest and 
 most complex of Gutzkow's short stories. They are more nearly akin 
 than any of the others, with the exception of "Seraphine," to the novel, 
 but they are distinctly novellen in that they produce the totality of impres- 
 sion that is the essential quality of this species. The number of char- 
 acters in each is large but skilfully handled. The threads of action 
 weave in and out but always under careful control. The firm ground 
 of reality is never left by the author and the setting is in each instance 
 appropriate. 
 
 The love of Ernst Oswald and Ernestine Waldmann is the connecting 
 bond in the " Emporblick. " This romance is subjected to numerous 
 interruptions each of which is a factor in producing suspense. The 
 negative force which opposes the lovers is personified in Scharfneck, 
 the only other character to occupy a position approximating that of 
 equal prominence with Ernst and Ernestine. The conflict between 
 these individuals is symbolic of the class struggle which is a feature 
 of modern life. The tone of the narrative as a whole is tinged with sad- 
 ness but hope is also expressed for future success in uniting the 
 antagonistic strata of society. 
 
114 KARL GUTZKOW'S SHORT STORIES 
 
 Complexity of plot is increased in the " Emporblick " by the presence 
 of two intercalated stories. This necessitates a second group of char- 
 acters and two place and time settings, although characters and settings 
 of all parts overlap somewhat. These minor plots do not detract from 
 the degree of technical skill exhibited but are, on the contrary, skilfully 
 inserted and form integral parts of the main plot. 
 
 The "Emporblick" is a 7iovelIe with a purpose, but a purpose that 
 is not obtrusively foisted upon the reader. It is of a nature also which 
 one is inclined to sympathize with and accept, and for this additional 
 reason it is not distasteful. 
 
 The remaining novellen, the "NihiHsten" and the " Diakonissin, " 
 also contain many characters and possess complex plots of the closely 
 interwoven type. Both present interesting studies of the reaction of 
 environment upon individuals and portray vividly certain angles of 
 life. The former shows development of character in response to external 
 influences. The latter deals with fixed characters. In neither story 
 does any one figure monopolize the forefront of the action. 
 
CONCLUSION 
 
 The novelle is a literary genre of comparatively recent appearance 
 in German literature. At the beginning of the nineteenth century 
 it was little known and was generally regarded as an inferior form. No 
 critical theory had at that time been framed for it. During the nine- 
 teenth century, however, it attracted an increasingly greater amount 
 of attention from both authors and critics and passed through a sur- 
 prising development. Important contributions to the theory of its 
 technique were made by the Schlegel brothers, Goethe, Tieck, Mundt, 
 and others, finally culminating in what is at present the best statement 
 of the theory of the novelle by Heyse, the silhouette-and-fakon theory. 
 
 At the same time the novelle has become a favorite literary species 
 with both authors and readers and has acquired a rare perfection of 
 technique The foremost writers of the novelle prior to 1835 were 
 Goethe, Kleist, Hofifmann, and Tieck. Most of the characteristics of 
 the present day type may be found in their stories. Goethe and Kleist 
 deepened the psychological aspect of the 7iovelle, Hoffmann developed 
 the novelle of mood, or atmosphere, and Tieck wrote largely the didactic 
 type. The productions of the last named became especially the models 
 of the "Young Germans" owing to their timely appearance, their realism, 
 the permission which they extended to discuss current questions, and 
 their lack of strict artistic requirements of form. 
 
 The "Young German" movement was one manifestation of the 
 widespread awakening which occurred in all departments of life and 
 thought during the first half of the nineteenth century. It was a very 
 frankly liberal movement, which eagerly welcomed all that appeared 
 that was new in the fields of aesthetics, social reform, and religion. In 
 many respects it bore a decided resemblance to the earlier "Storm and 
 Stress." It was intensely opposed to Romanticism which had caused 
 life and literature to drift apart. The "Young Germans" were realistic 
 and democratic and desired to close the gap which had thus been opened. 
 In this respect they had the support of many not their immediate compa- 
 triots. 
 
 Karl Gutzkow stands as the ablest leader of this movement within 
 Germany. In a long and extremely active career he held firmly to the 
 ideal of putting literature into the service of life. His most effective 
 work was done in the field of the novel and especially in his practice of 
 the theory of the " Nebeneinander. " In the presentation in literature 
 
116 KARL GUTZKOW'S SHORT STORIES 
 
 of the complexity of our modern civilization he was a valuable pioneer. 
 His contribution to the theory of the novelle is much less important. 
 It may be considered almost negligible. 
 
 His short stories themselves, however, constitute a side of his activity 
 that deserves attention. Owing to the vast amount of his works these 
 have hitherto been seriously neglected. Little criticism has been writ- 
 ten upon them and that little has not been discriminating in quality. 
 The preceding study has, however, led to a number of important con- 
 clusions which aid in characterizing Gutzkow as a writer of this genre. 
 
 His technique reveals a preponderating use of the external viewpoint 
 in relating these stories. Occasional instances of an internal viewpoint 
 are found in the insertion of diaries, letters, and other documents. 
 
 An analysis of the motives reveals a large range of these both psy- 
 chological and external. All three realms from which according to 
 Goethe motives can be taken are entered. Those of the internal world 
 are most numerous, those of the external world are next in point of 
 number, and the world of the fantastic and the wonderful is entered 
 least often. 
 
 The influence of the Romanticists upon Gutzkow is slight and shows 
 itself only in external features. The philosphy of Romanticism does not 
 underlie any of his works. They are, on the contrary, reahstic and 
 firmly grounded upon a modern view of hfe. 
 
 Gutzkow is objective in his manner of relation. This is not intended 
 to deny the presence of occasional comments and generalizations given 
 in the author's proper person but long interpolated discussions are 
 seldom found. The author frequently makes evident his individual 
 attitude but usually by indirect and more artistic means. 
 
 The stories reveal a complexity of characters and problems but no 
 one type predominates. The characters are taken from a wide social 
 domain and hence embrace a large number of types and represent many 
 stations in life. They present in miniature the panorama which the 
 author's longer novels present in full. 
 
 Environment is important in many instances. The characters are 
 often good or evil, class conscious or elevated above this, according 
 to their surroundings. 
 
 Considerable range in variety and complexity of plot construction 
 is evidenced in these novellen. The stories which have been analyzed 
 vary in their internal structure from sketches possessing little or no 
 plot to those that exhibit a definite dramatic composition. The threads 
 
KARL GUTZKOW'S SHORT STORIES 117 
 
 of plot are often numerous and skilfully handled. In many a turning 
 point similar to that which Tieck makes the basis of his theory is plainly 
 evident. 
 
 A place of such importance in the field of the novelle as he deserves 
 in that of the novel and of the drama can not be claimed for Gutzkow. 
 Nevertheless the qualities which have earned him permanent recognition 
 in those related genres characterize him in this as well and secure for 
 him a modest but respectable position among the many German writers 
 who have aided in bringing the novelle to its present high development. 
 
BIBLIOGRAPHY 
 
 A. General Reference Works of Literature 
 Eartels, Adolf. 
 
 Geschichte der deutschen Literatur. Leipzig, 1905. 
 Biese, Alf'Td. 
 
 Deutsche Literaturgeschichte. Miinchen, 1913. 
 Briefwechsel zwischen Schiller urd Goethe. Vierte Auflage. Stuttgart, 1881. 
 Goethes Werk'. 
 
 Schriften zur Kunst. Bd. 47. Weimar, 1887. 
 Gottschall, Rudolf von. 
 
 Die deutsche Nationalliteratur des neunzehnten Jahrhunderts. Siebente ver- 
 mehrte und verbesserte Auflage. Breslau, 1901. 
 Hanstein, Adelbert von. 
 
 Das jiingste Deutschland. Leipzig, 1901. 
 Kettner, Hermann. 
 
 Geschichte der deutschen Literatur im 18. Jahrhundert. Braunschweig, 1894. 
 Huch, Ricarda. 
 
 Bliitezeit der Romantik. Zweite unveranderte Ausgabe. Leipzig, 1901. 
 
 Ausbreitung und Verfall der Romantik. Leipzig, 1902. 
 Kummer, Friedrich. 
 
 Deutsche Literaturgeschichte des neunzehnten Jahrhunderts. Dresden, 1909. 
 Menzel, Wolfgang. 
 
 Die deutsche Literatur. Stuttgart, 1S27. 
 Meyer, Richart M. 
 
 Die deutsche Literatur des neunzehnten Jahrhunderts. Berlin, 1912. 
 Pfizer, Paul. 
 
 Brief v.-echsel zweier Deutschen. 
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 Die deutsche Literatur der Gegenwart. (1S4S-185?) Leipzig, 1860. 
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 Das neunzehnte Jahrhundert der deutschen Literatur. Leipzig, 1912. 
 Salzer, Anselm. 
 
 Illustrierte Geschichte der deutschen Literatur von den altesten Zeiten bis zur 
 
 Gegenwart. Bd. 3. Miinchen, 1912. 
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 Geschichte der deutschen Literatur von Leibnitz bis auf unsere Zeit. Fiinfter 
 
 Band. Berlin, 1S96. 
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 Dichtung und Dichter der Zeit. Leipzig, 1911. 
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 Walzel, Oskar F. 
 
 Deutsche Romantik. 2. und 3. umgearbeitcte Auflage. Leipzig, 1912. 
 Ziegler, Theobald. 
 
 Die geistigen und socialen Stromungen des neunzehnten Jahrhunderts. Zweite 
 
 Auflage. Berlin, 1901. 
 
KARL GUTZKOW'S SHORT STORIES 119 
 
 B. Special Reference Works on the History and the Theory of the Novel 
 AND THE Short Story 
 Barrett, C. R. 
 
 Short Story Writing. New York, 1900. 
 Ewald, Karl. 
 
 Die deutsche Novelle im ersten Drittel des 19. Jahrhunderts. Diss. Rostock. 
 
 Gottingen, 1907. 
 Fiirst, Rudolf. 
 
 Die Voilaufer der modernen Novelle im 13. Jahrhundert. Halle a. S., 1S97. 
 
 Deutschlands Roman im 19. Jahrhunderts. Ein Rundblick. 
 Grabo, C. H. 
 
 The Art of the Short Story. 
 Hamilton, Clayton. 
 
 IMaterials and Methods of Fiction. New York, 1908. 
 Lom.er and Ashmun. 
 
 The Study and Practice of Writing English. 
 Mielke, Hellmuth. 
 
 Der deutsche Roman. Dresden, 1912. 
 Mitchell, R. M. 
 
 Heyse and his Predecessors in the Theory of the Novelle. Ottendorfer Memorial 
 
 Fellowship Series of Germanic Monographs. No. 4, 1915. 
 
 Goethe's Theory of the Novelle. Publ. of the Mod. Lang. Association of America. 
 
 June 1915, pp. 215-236. 
 Perry, Bliss. 
 
 A Study of Prose Fiction. Boston and New York, 1902. 
 Rehorn, Karl. 
 
 Der deutsche Roman. Koln und Leipzig, 1S90. 
 Riemann, Robert. 
 
 Goethes Roman technik. Diss. Leipzig, 1901. 
 Schian, M. 
 
 Der deutsche Roman seit Goethe. Gorlitz, 1904. 
 Schmitt, Carl. 
 
 Der JModerne Roman. Osnabriick, 1908. 
 Spielhagen, Friedrich. 
 
 Beitrage zur Theorie und Technik des Rom_ans. Leipzig, 1883. 
 Tieck, Ludwig. 
 
 Sxrhriften. Berlin, 1828-1854. 
 Wundt, Max. 
 
 Goethes Wilhelm Meister und die Entwicklung des modernen Lebensideals. Ber- 
 lin und Leipzig, 1913. 
 
 C. Critical Studies in the Technique of Novelists and Short Story Writers 
 
 Becker, Henrietta K. 
 
 Kleist and Hebbel. A Comparative Study. The Novels. Diss. Chicago, 1904. 
 Brahm, Otto. 
 
 Heinrich von Kleist. Dritte Auf^age. Berlin, 1903. 
 
120 KARL GUTZKOW'S SHORT STORIES 
 
 Davidts, Hermann. 
 
 Die novellistische Kunst Heinrichs von Kleist. Berlin, 1913. 
 Dresch, J. 
 
 Le Roman social en Allemagne. (1850-1900) Paris, 1913. 
 Eichentopf, Hans. 
 
 Theodor Storms Erzahlungskunst in ihrer Entvvickelung. Diss. Marburg, 1908. 
 EUinger, Georg. 
 
 E. T. A. Hoffmann. Sein Leben und seine Werke. Hamburg und Leipzig, 1894. 
 Gamier, T. D. 
 
 Zur Entwickelungsgeschichte der Novellendichtung Ludwig Tiecks. Giessen, 
 
 1899. 
 Greiner, Wilhelm. 
 
 Die ersten Novellen Otto Ludwigs und ihr Verhiiltnis zu Ludwig Tieck. Diss. 
 
 Jena, 1903. 
 Giinther, Kurt. 
 
 Die Entwickelung der novellistischen Kompositionstechnik Kleists bis zur Meister- 
 
 schaft. Diss. Leipzig, 1911. 
 Herzog, Wilhelm. 
 
 Heinrich von Kleist. Sein Leben und sein Werk. 
 Hoffman, E. T. A. 
 
 Samtliche Werke. Historisch-kritische Ausgabe mit Einleitungen, Anmerkungen 
 
 und Lesarten von Carl Georg von Maassen. Miinchen und Leipzig, 1912. 
 Kaiser, Wilhelm. 
 
 Untersuchungen iiber Immermanns Technik. Diss. Halle, 1906. 
 Karsen, Fritz. 
 
 Henrik Steffens Romane. Diss. Leipzig, 1908. 
 Klemperer, Victor. 
 
 Forschungen zur neueren Literaturgeschichte. 1912-1913. XLHL Die Zeit- 
 
 romane Friedrich Spielhagens und ihre Wurzeln. 
 Kurz, Werner. 
 
 F. M. Klingers "Sturm und Drang." Halle, 1913. 
 Liider, Fritz. 
 
 Die epischen Werke Otto Ludwigs und ihr Verhaltnis zu Charles Dickens. Diss. 
 
 Leipzig, 1910. 
 Ludwig, Otto. 
 
 Gesammelte Schriften herausgegeben von Adolf Stern. Leipzig, 1891. 
 Miiller-Ems, Richard. , 
 
 Otto Ludwigs Erzahlungskunst. Berlin, 1905. 
 Pinthus, Kurt. 
 
 Die Romane Levin Schiicklings. Diss. Leipzig, 1911. 
 Reinicke, Charlotte. 
 
 Studien zu Halms Erzahlungen und ihrer Technik. Diss. Tubingen, 1912. 
 Roggen, Emil. 
 
 Die Motive in Auerbachs Dorfgeschichten. Diss. Bern, 1913. 
 Sakheim, Arthur. 
 
 E. T. A. Hoffmann. Studien zu seiner Personlichkeit und seinen Wcrken. Leip- 
 zig, 1908. 
 
KARL GUTZKOW'S SHORT STORIES 121 
 
 Scheuermann, Elisabeth. 
 
 Studien zu den Romanen von Theodor Hermann Pantenius und ihrer Technik. 
 
 Diss. Bern, 1911. 
 Seuffert, B. 
 
 Goethes "Novelle." Goethe Jahrbuch, XIX, 133. 
 
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 Bergmann, Ernst. 
 
 Die ethischen Probleme in den Jugendschriften der Jungdeutschen. (1833-35) 
 
 Diss. Leipzig, 1906. 
 Bloesch, Hans. 
 
 Das junge Deutschland in seinen Beziehungen zu Frankreich. Bern, 1903. 
 Brandes, Georg. 
 
 Die Hauptstromungen der Literatur des neunzehnten Jahrhunderts. Bd. VI. 
 
 Das junge Deutschland. Translated into English by ]\Iary Morrison. London, 
 
 1905. 
 Draeger, Otto. 
 
 Theodor Mundt und seine Beziehungen zum jungen Deutschland. Marburg, 
 
 1909. 
 
 Dresch, J. 
 
 Gutzkow et la jeune Allemagne. Paris, 1904. 
 Geiger, Ludwig. 
 
 Das junge Deutschland und die preussische Censur. Berlin, 1900. 
 Houben, H. H. 
 
 Jungdeutscher Sturm und Drang: Ergebnisse und Studien. Leipzig, 1911. 
 Lublinski, S. 
 
 Litteratur und Gesellschaft im neunzehnten Jahrhundert. Bd. III. Das junge 
 
 Deutschland. Beriin, 1900. 
 Noe, Adolf Carl von. 
 
 Das junge Deutschland und Geothe. Diss. Chicago, 1910. 
 Price, L. M. 
 
 The Attitude of Gustav Freytag and Julian Schmidt toward English Literature. 
 
 (1848-1862) Gottingen, 1915. 
 Proelss, Johannes. 
 
 Das junge Deutschland. Stuttgart, 1892. 
 Schweizer, Viktor. 
 
 Ludolf Wienbarg. Beitrage zu einer jungdeutschen Aesthetik. Leipzig, 1898 . 
 Wehl, Feodor. 
 
 Das junge Deutschland. Hamburg, 1886. 
 Wienbarg, Ludolf. 
 
 Aesthetische Feldzuge. Dem jungen Deutschland gewidmet. Hamburg, 1834. 
 
122 KARL GUTZKOW'S SHORT STORIES 
 
 E. Karl Gutzkow's Works axd Special Reference Works ox Gutzkow 
 
 Caselmann, August. 
 
 Karl Gutzkows Stellung zu den religios-ethischen Problemen seiner Zeit. Augs- 
 burg, 1900. 
 Deutsche Literaturdenkmale des 18. und 19. Jahrhunderts. No. 132. Die Deutsche 
 
 RcNoic von Karl Gutzkow und Ludolf Wienbarg. 1835. Herausgegeben von 
 
 J. Dresch. 
 Furst, Rudolf. 
 
 Karl Gutzkow: Eine Siikularbetrachtung. Biihne und Welt. XIII. Jahr- 
 
 gang. II. Halbjahr. 1910-1911. Pp. 32-38. 
 Goedeke, Karl. 
 
 Die Gegenwart. 1879. Pp. 394-396. Karl Gutzkow. 
 Gottschall, Rudolf von. 
 
 Literarische Todtenklange und Lebensfragen. Berlin, 1885. 
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 Gesammelte Werke. Jena, 1872. 
 
 Werke. Herausgegeben von Peter Muller. Leipzig und Wien, 1911. 
 
 Ausgewahlte Werke in 12. Bdn. Herausgegeben von H. H. Houben. Hesse. 
 
 Bd. 5-7. Kleine Romane und Erzahlungen. 
 
 Die Ritter vom Geiste. Sechste Auflage. Berlin, 1878. 
 
 Der Zauberer vom Rom. Zwolfte Auflage. Leipzig, 1911. 
 
 Wally, die Zweiflerin. Kritische Ausgabe von Eugen Wolff. Jena, 1905. 
 
 Meisterdramen. Mit einer Einleitung von Eugen Wolff. Jena. 
 Houben, H. H. 
 
 Studien iiber die Dramen Karl Gutzkows. Jena, 1899. Gutzkow-Funde. Ber- 
 
 Un, 1901. 
 Jung, Alexander. 
 
 Briefe iiber Gutzkows Ritter vom Geiste. Leipzig, 1856. 
 Rosenkranz, Karl. 
 
 Neue Studien. Zweiter Band: Studien zur Literaturgeschichte. VIII. Gutz- 
 kows Ritter vom Geist. Leipsig, 1875. 
 Rieffert, Bernhard. 
 
 Karl Gutzkows Stellung zur Romantik. Diss. Munster, 1908. Borna-Leipzig, 
 
 1908. 
 
VITA 
 
 The writer was born in London, Ontario, August 3, 1889. He was 
 graduated from the High School at Howell, Michigan, in 1907. During 
 the four years from 1909 until 1913 he attended Albion College, Albion. 
 Michigan, from which institution he received the degree of Bachelor 
 of Arts in 1913. The academic year 1913-1914 he held a Scholarship in 
 German at the University of Illinois, which institution conferred upon 
 him the degree of Master of Arts in 1914. The following two years he 
 continued graduate work as Fellow in German at the University of 
 Illinois. The present dissertation was accepted in 1917 as fulfilling the 
 thesis requirements for the degree of Doctor of Philosophy, which 
 degree the University conferred upon him that year. Since 1916 he 
 has been Professor of German and Head of that Department at South- 
 western College, Winfield, Kansas. 
 
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