Ludwig Lewisohn.

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124 COMxMENTARY

II

P. 18. Biittner the Peasant. Der Bilttnerbauer.
(lOth ed.) F. Fontane, Berlin, 1906.

P. 19. Sylvester von Geyer. (12th ed.) Egon
Fleischel, Berlin, 1906.

P. 21. "A typical stratum of the German people," etc.
Fide Introduction to Sylvester von Geyer.

Ill

P. 23. Arno Holz: Das Buck der Zeit. (New edi-
tion.) Miinchen and Leipzig, R. Piper & Co., 1905.
His famous Program (p. 33) must be quoted:

"Kein riickwarts schauender Prophet,
geblendet durch unfassliche Idole,
modern sei der Poet,
modern vom Scheitel bis zur Sohle."

P. 23. "A poet of doctrine." Ibid. P. 67. Selbst-
fortrdt.

P. 24. "To wretchedness a bite," etc. Ibid. P. 225.
Yet in the very series of poems, Phantasus, from which the
lines are quoted Holz has stanzas and whole sections of
real nobility and power. Nor should it be forgotten that
he is the author of that little masterpiece of lyrical genre
work: So einer war auck er/ Ibid. P. 76.

P. 24. Karl Henckell : Trutznachtigal. Karl Henck-
ell & Co., Zurich and Leipzig, 1891. "By his own
choice," etc. P. 87. But immediately on p. 88 he has a
lovely and entirely undidactic lyric : Komm in den Wald,
Marie/ And that is typical of this school. The Song of



COMxMENTARY 12^

the Stonebreaker {Lied des Steinklopfers) will be found
in H. Benzmann: Moderne deutsche Lyrik. (New ed.)
P. 273. Keclam-Bibliothek.

P. 25. Ludwig Jakobowski: Leuchtende Tage.
Neue Gedichte. (3rd ed.) Egon Fleischcl, Berlin,
1908. "That happens when," etc. P. 190.

P. 25. "That recall Henley ... and Symons," etc.
Vide, e.g., Liese (p. 199) and Im Nachtcafe (pp. 190-
191). The poem I compare to the work of Mr. Mase-
field is Der Soldat. Szenen aus der Grossstadt. Pp.
204-227.

P. 25. Detlev von Liliencron: Sdmtliche Werke.
( 15 vols.) Schuster und Loeffler, Berlin, n. d.

Pp. 25-26. "A naturalistic type of poetry," etc. Ibid.
Vol. 8, p. 127.

"EIn echter Dichter, der erkoren
ist immer als Naturalist geboren."

P. 26. "Lamprecht has pointed out," etc. Vide hoc.
cit. P. 2 1 2.

P. 27. "The immediate translation of impression into
art." I may give two very brief and simple instances
found on pp. 10 and 51 respectively of the Werke, vol. 7.

"Morgen. Griibergraber. Griifte.
Manch ein letzter Atemzug.
Weither, witternd, durch die Liifte
braust und graust ein Geierflug."

"Unter den Linden, vorbei ist der Spass,
trink ich bei Hiller ein stilles Glass,



126 COMMENTARY

ein stilles Glass auf ein femes Grab,
dann wieder ins Leben, bergauf, bergab."

Nor must I leave the English reader without at least a
glimpse of Liliencron's method.

AFTER THE HUNT

Tired and thirsty, weary of the way,
I seek the forest-inn that is my own ;
Rifle and cap upon a bench I lay,
Beside the water-pail my dog lies prone.
The inn's young mistress, in the dying day
Stands still as one from whom all joy has flown;
Then she smiles shyly and half turns away —
The guests' departure leaves us soon alone.

WHO KNOWS WHERE

{Battle of Kolin, June 18, 1757)

On blood, smoke, ruin and the dead,
On trampled grass unharvested
The sun poured light.
Dark fell. The battle's rage was o'er,
And many a one came home no more
From Kolin's fight.

A lad, half-boy, had shared the fray,
Had first heard bullets whiz that day.
He had to go . . .

And though he swung his flag on high,
Fate touched him, it was his to die,
He had to go . . .



COMMENTARY 127

Near him there lay a pious book

Which still the youngster bore and took

With sword and cup.

A grenadier from Bevern found

The small, stained volume on the ground

And picked it up.

And swiftly to the father brought
This last farewell with silence fraught
And with despair.

Then wrote therein the trembling hand :
"Kolin : my son hid in the sand.
Who knows where !"

And he who here has sung this song

And he who reads it, both are strong

Of life and fair.

But once art thou and once am I

Hid in the sand eternally,

Who knows where !

P. 29. Gustav Falke: Mynheer der Tod. (2nd ed.)
Hamburg, A. Janssen, 1900, and Tanz und Andacht
(2nd ed.) Hamburg, A. Janssen, 1900.

P. 30. Carl Busse: Gedichte. (5th ed.) Stuttgart,
Cotta, 1903.

P. 31. Otto Julius Bierbaum: Irrgarten der Liebe.
Leipzig, Im Insel-Verlag, 1910.

P. 31. "An epicure of the beautiful," etc. Irrgarten.

P. 7.

"Wer die Schonheit sich erfasst
schenckt der Welt den Rest mit Lachen,



128 COMMENTARY

all die plumpen Siebensachen,
hat die Gotter selbst zur Last."

P. 31. "Oft in the silent night" {Oft in der sttllen
Nacht). Ibid. P. 158. The Black Lute {Die schwarze
Laute). Ibid. P. 178.

IV

Max Halbe's Youth and Hirschfeld's The Mothers are
now accessible in English in the Drama League Series of
Plays. Doubleday, Page and Co., 1916. So are prac-
tically all of Hauptmann's plays in The Dramatic Works
of Gerhart Hauptmann. (7 vols.) B. W. Huebsch,
1912-16. All these are edited by the present writer. For
English translations of Schnitzler's plays I may refer to
the bibliography in my The Modern Drama. B. W.
Huebsch, 1915. The standard edition of Schnitzler in
the original is: Gesammelte Werke von Arthur Schnitz-
ler. Die Theaterstiicke in vier Banden. Berlin, S.
Fischer, 1913.



P. 43. Clara Viebig: Das tdgliche Brot. Berlin,
Egon Fleischel, 1907.

P. 43. Clara \''iebig: Die Wacht am Rhein. Berlin,
Egon Fleischel, 1907.

P. 47. Gustav Frenssen: Torn Uhl. (202nd thou-
sand.) Berlin, G. Grote, 1906.

P. 48. Thomas Mann: Buddenbrooks. (38 ed.)
Berlin, S. Fischer, 1908.



COMMENTARY 129

P. 52. The prose writings of Schnitzler. Gesam-
melte Werke von Arthur Schnitzler. Die erziihlendcn
Schriften in drei Banden. Berlin, S. Fischer, 1913.



COMMENTARY



CHRONOLOGICAL LIST OF PUBLICATIONS
ILLUSTRATIVE OF PART I

1884.

Detlev von Liliencron : Adjudantenritte.

1887.

Hermann Sudermann : Frau Sorge.

1889.

Holz and Schlaf : Die Familie Selicke. Gerhart Haupt-

mann : V^or Sonnenaufgang.
1892.
Gerhart Hauptniann : Die Weber. Otto Erich Hartle-

ben : Geschichte vom abgerissenen Knopf.

1893.

Gerhart Hauptmann : Der Biberpelz. O. E. Hartleben :
Hanna Jagert. Arthur Schnitzler : Anatol.

1895.

Wilhelm von Polenz: Der Biittnerbauer. Arthur
Schnitzler : Sterben.

1896.

Arthur Schnitzler: Liebelei. Detlev von Liliencron:
Ausgewahlte Gedichte.

1897.

Georg von Ompteda: Sylvester von Geyer. Clara Vie-
big: Kinder der Eifel.

1898.

Gerhart Hauptmann: Fuhrmann Henschel. Max
Halbe : Mutter Erde.

131



132 COMMENTARY

1900.

Gerhart Hauptmann : Michael Kramer.

1901.

Thomas Mann : Buddenbrooks. Gustav Frenssen : Jorn
Uhl. Arthur Schnitzler: Frau Berta Garlan.
Leutnant Gustl.

1902.

Clara Viebig: Das tiigliche Brod.

1903.

Gerhart Hauptmann: Rose Bernd. Wilhelm Hegeler:
Pastor Klinghammer.

1904.

Clara Viebig: Das schlafende Heer. Arthur Schnitzler:
Der einsame Weg.

1905.

Gustav Frenssen : Hilligenlei.

1907.

Karl Schonherr: Erde.

1908.

Arthur Schnitzler: Der Weg ins Freie. George Her-
mann : Henriette Jacoby.

1910.

Karl Schonherr : Glaube und Heimat.

1911.

Gerhart Hauptmann: Die Ratten. Arthur Schnitzler:
Das weite Land.

1912.

Gerhart Hauptmann: Gabriel Schillings Flucht.



COMMENTARY 133

PART II



P. 61. Thus Spake Zarathustra. It is unnecessary to
give chapter and verse for each quotation. I have trans-
lated these directly from the small separate 8vo edition
(65th to 68th thousand), published by C. G, Naumann,
Leipzig, 1907. The edition contains Frau Forster-
Nietzsche's important postscript: Die Entstehung von
"Also sprach Zarathustra^

P. 62. "As Windelband puts it." Vide Wilhelm
Windelband: Die Phtlosophie im deutschen Gcistesleben
des XIX Jahrhunderts. (2nd ed.) Tubingen, 1909.
P. 116.

II

P. 75. "I may quote Windelband once more." Op.
cit. P. 119.

P. 76. Richard Dehmel. Gesammelte Werke von
Richard Dehmel. In zehn Biinden. S. Fischer, Berlin,
1906 ff.

P. 76. "If art," etc. Vol. I, p. 5.

P. 77. "O man," etc. Ibid. Pp. 8-9. Of especial
importance is the original wording of the second stanza :

"Rechne ab mit den Gewalten
in dir, um dich. Sie ergeben
zweierlei: wirst Du das Leben,
wird das Leben dich gestalten ?"

And in the same sense of. Ibid. P. 123.



134 COMMENTARY

"Wem Zweckbesinnung fehlt
den knechten seine Triebe."

P. 79. Poems of social sympathy. Ibid. Vol. II.
Pp. 159, 160, 170-171, 173.

P. 79. The Harp. Ibid. Vol. III. Pp. 74-75.

P. 79. "Expiated his yearning." Ibid. Vol. III.
P. 10. "Doch hab ich meine Sehnsucht stets gebiisst."

P. 79. "Oh I have never," etc. Ibid. \o\. III. Pp.
32-33. Aus banger Brust. Here is a version of this re-
markable lyric.

The crimson roses burn and glow.

Softly the dark leaves stir and shake,

And I am in the grass awake.

Oh, wert thou here.

For soon the mid of night will break !

Into the lake the moonbeams flow.
The garden gate hides her from view,
The moveless willows stand arow,
My burning forehead seeks the dew ;
Oh, I have never loved thee so!

Oh, I have never so deeply known
As often as our close embrace
Made each the other, why thy face
Grew pallid and thy heart made moan
When all my being sought thy grace.

And now — oh, hadst thou seen how there
Two little fire-flies crept alow,



COMMENTARY 135

I nevermore from thee will fare,

Oh, wert thou here . . .

For still the crimson roses glow . . .

P. 79. "Every caricature," etc. Ibid. Vol. IV. P.
29.

"Jede Fratze
zeugt fiir den Gott den sie entstellt."

P. 81. Two Souls. Ibid. Vol. V.

P. 83. "The interpretation of modern life," etc. A
few very brief indications of Dehmel's method will illus-
trate the point. Vide VI, 28'.

"Und wenn's fiir mich nun eine W^iirde ware
Striimpfe fiir meinen reichen Herrn zu stopfen?"

II, 26.

"Ich suchte einst ein bischen Siinde
und fand das ganze Himmelsreich."

Equally concrete and poetical is his dealing with nature
in this poem. I, 21.

"Er hort im hohlen Holz die Spechte hammern."

I, 24.

"Wenn manchmal durch den schwerbeladnen Wald
das Eis der fernen Seen knallt."

11,5.

"Ein dunkles Schloss wiegt zwischen seinen Giebeln
den grossen, goldnen Mond ; zwei Fenster gliihn.
Und drunten winden sich an Rebenhiigeln
die Lichter kleiner Stiidte hin."



136 COMMENTARY

P. 84. "A single English illustration." The poem is
Driickende Luft {Oppressive Air). But a better Eng-
lish title would be Before the Storm. Ibid. Vol. III.

Pp. 32-33-



III

P. 86. Rilke, George and Hofmannsthal. My quota-
tions and references can all be verified by consulting the
following volumes :

R. M. Rilke: Die Friihen Gedichte. Leipzig, Im In-

sel-Verlag, 1909.
R. M. Rilke: Das Buck der Bilder. (3rd ed.) Axel

Junker, Berlin-Charlottenburg, n. d.
S. George : Die Biicker der Hirten — Und Preisgedichte.

Der Sagen und Sdnge und der hdngenden Garten.

(3rd. ed.) Berlin, Georg Bondi, 1907.
S. George: Das Jahr der Seek. (4th ed.) Berlin,

Georg Bondi, 1908.
H. von Hofmannsthal : Die Gedichte und Kleinen

Dramen. Leipzig, Im Insel-Verlag, 1911.
H. von Hofmannsthal: Kleine Dramen, (2 vols.)

Leipzig, Im Insel-\^erlag, 1907.
P. 88. "I am so fearful," etc. Rilke: Die Friihen
Gedichte. P. 91. And cf. Ibid, pp. 11 and 15.

"Ich fiirchte mich so vor der Menschen Wort . . ."

"Ich bin zu Hause zwischen Tag und Traum . . ."

"Du must das Leben nicht verstehen,
dann wird es werden wie ein Fest . . ."



COMMENTARY 137

P. 88. "Words escape us," etc. George: Biicher der
Hirten. P. 70.

"Worte triigen, Worte fliehen,

Nur das Lied ergreift die Seek . . ."

Pp. 89-90. "Give thy beauty freely," etc. Rilke :
Buck der Bilder. P. 63.

"Gib delne Schonheit immer hln

ohne rechnen und reden.

Du schweigst. Sie sagt fiir dich : Ich bin,

Und kommt in tausendfachem Sinn,

kommt endlich iiber jeden."

P. 91. Autumn Day. Rilke: Buck der Bilder. P.
48.

"Herr : es ist Zeit. Der Sommer war sehr gross.
Leg Deinen Schatten auf die Sonnenuhren
und auf den Fluren lass die Winde los."

P. 91. "So klangen Knaben," etc. Rilke: Buck
der Bilder. P. 117.

P. 92. "Und ich weiss jetzt," etc. Rilke : Die Friihen
Gedichte. P. 18.

But the enchanting art of this poet should not blind
us to the frequency with which he reflects both deeply
and justly. Vide, e.g., Der Schauende, Buck der Bilder,
pp. 153~154' with its memorable implication:

"Sein Wachstum ist : Der TIefbesiegte
von immer Grosserem zu sein."

P. 92. "Sie sind noch niemals," etc. Rilke: Die
Friihen Gedichte. Ars poetica. P. 6.



138 COMMENTARY

P. 93. "Speaking alone and pure," etc. George : Das
Jahr der Seele. P. 50.

"Und sprach allein und rein mit Stern und Wolke."

P. 93. "Austere and solitary realm." Ibid. P. 52.

"In einem seltnen Reiche ernst und einsam
erfand er fiir die Dinge eigne Namen . . ."

P. 93. "The transitoriness," etc. The only quotation
not from the volumes noted above. Vide H. Benzmann :
Moderne deutsche Lyrik. Reclam-Bibliothek. (New
edition.) P. 64.

"Nichts was mir je war raubt die \^erganglichkeit . . ."

P. 94. " — history or epochs," etc., and "Every age and
every spirit," etc. Vide the brief prefatory note to Die
Bucher der Hirten.

P. 94. "It would be hard to describe the result." — It
is most perfectly seen in such poems as Der Herr der
Insel {Ibid. Pp. 20-21), Der Saitenspieler {Ibid. P.
27), and Der Tag des Hirten {Ibid. Pp. 14-15) with
its blending of Homeric clarity and modern grace :

"Ihm riefen singende Gelande zu . . ,

Er kronte betend sich mit heilgem Laub

und in die lind bewegten lauen Schatten

schon dunkler Wolken drang sein lautes Lied."

P. 94. "Freighted with amber grapes," etc. Arnold's
The Scholar Gypsy.

P. 94. "What little town," etc. Keats' Ode on a
Grecian Urn.



COMMENTARY 139

p. 95. Death of Artimedora. From Lander's Peri-
cles and As pasta. (LXXXV^. Cleone to Aspasia.)

P. 95. "For this prototype has received," etc. Fide
the brief prefatory note to Das Jahr der Seele.

P. 96. "Lyrics of Goethean charm." Die Biicher der
Hirten. P. 70 and p. 105. These two stanzas will give
their characteristic qualities.

"Und wenn meine Tranen fliessen!
Was ich gestern nicht erriet
heute bin ich es gewahr :
Dass der letzte Trost mir flieht
kann ich euch nicht mehr geniessen,
neue Sonne, junges Jahr."

"Saget mir auf welchem Pfade
heute sie voriiberschreite —
dass ich aus der reichsten Lade
zarte Seidenweben hole.
Rose pfliicke und Viole,
dass ich meine Wange breite
Schemel unter ihrer Sohle."

P. 96. • . . "stanzas ... of a broad and rich . . .
humanity." Here, again, a few lines, at least, must be
quoted. Vide Das Jahr der Seele. Pp. 15, 22 and 122.

"Wir fiihlen dankbar wie zu lelsem Brausen
von Wipfeln Strahlenspuren auf uns tropfen,
und blicken nur und horchen wenn In Pausen
die reifen Friichte an den Boden klopfen."

"Ich lasse meine grosse Traurlgkelt

dich falsch erraten um dich zu verschonen . . ."



140 COMMENTARY

"Und sieht ! Die Tage die wie Wunden brannten
in unsrer \'orgeschichte, schwinden schnell,
doch alle Dinge die wir Blumen nannten
versammeln sich am toten Quell."

Pp. 96-97. "Here by these shores that we land on."
Ibid. P. 97. My rendering fails most obviously in the
last of these noble stanzas :

"Nicht vor der eisigen Firnen
drohendem Ratsel erschrick,
und 7.U den ernsten Gestirnen
hebe den suchenden Blick."

P. 97. Spring Presage. Vorfruhling. H. von Hof-
mannsthal : Gedichte {Ed. cit.) P. 4.

P. 99. The Poet and our Age. H. von Hofmanns-
thal: Die Prosaischen Schrifien. {Ed. cit.) Vol. I.
P. 20.

IV

P. 102. "Is it not, in the last analysis," etc. Ricarda
Huch: Erijinerungen von Ltidolf Ursleu dem Jiingeren.
(10th ed.) Stuttgart, Cotta, 1908. P. 227.

P. 103. Hermann Hesse: Peter Camenzind. (4th
ed.) Berlin, Egon Fleischel, 1908.

P. 103. Hermann Hesse: Gertrud. Berlin, S.
Fischer, 1910.

P. 104. Helene Bohlau: Der Rangierbahnhof. (8th
ed.) Berlin, Egon Fleischel, 1908.

P. 105. "The earth pours out," etc. R. Huch: Lu-
dolf Ursleu {Ed. at.) P. 28.



COMiMENTARY 141

P. 105. "Her spirit throbs continually," etc. Ibid.
P. 33.

P. 106. "This is the nature of genius," etc. Ibid.
P. 25.

P. 106. "Consider that silent incident," etc. Ibid.
Pp. 105-6.



Vide the editions of Hauptmann and Schnitzler cited
under Part I, Section IV.



VI

P. 114. "If thou wouldst fare," etc.

"Willst du ins Unendliche schreiten,
Geh nur im Endlichen nach alien Seiten."

P. 114. "If thou wouldst rejoice," etc.

"Willst du dich am Ganzen erquicken,

So musst du das Ganze im Kleinsten erblicken."

P. 114. "At bottom no realistic subject," etc. Vide
Eckermann: Gesprdche mit Goethe. July 5, 1827.
P. 115. "When all things hum," etc. Das Beste.

"Wenn dir's in Kopf und Herzen schwirrt,
Was willst du Bessres haben !
Wer nicht mehr liebt und nicht mehr irrt,
Der lasse sich begraben."

P. 116. "One thing is not fit," etc. Beherzigung.



142 COMMENTARY

"Eines schickt sich nicht f iir alle !

Sehe jeder, wie er's treibe,

Sehe jeder, wo er bleibe,

Und wer steht dass er nicht falle."

P. 116. "The world can be helped," etc. Ecker-
mann: Gesprdche niit Goethe. Jan. 29, 1826.

P. 116. "Each must in reality," etc. Ibid. April
20, 1825.

P. 116. "A liberator of his people." Sdmtliche
Werke. Jubilaums-Ausgabe. Stuttgart, Cotta. Vol.

38. P. 325.

P. 117. "Even though thou err," etc. Dehmel.

{Ed. cit.) Vol. I. P. 112.

"Wenn du auch irrst

auf den Bergen des Strebens :

Nichts ist vergebens,

denn du wirst.

Nur: bleib Herr deines Strebens."

P. 117. "And they who strive," etc. Hauptmann:
Henry of Aue. {Ed. cit.) Vol. IV. P. 339.



COMMENTARY



CHRONOT.OGICAL LIST OF PUBLICATIONS
ILLUSTRATIVE OF PART II

1883-1891.

Friedrich Nietzsche : Also sprach Zarathustra.

1890.

Stefan George : Hymnen.

1891.

Richard Dehmel : Erlosungen.

1892.

Hugo von Hofmannsthal : Gestern. Der Tod des

Tizian.
1893.
Gerhart Hauptmann : Hannele. Ludvvig Fulda : Der

Talisman. Richard Dehmel : Aber die Liebe. Ri-

carda Huch : Ludolf Ursleu.
189?.

Stefan George : Die Biichcr der Hirten.
1896.
Gerhart Hauptmann : Die versunkene Glocke. Helene

Bohlau : Der Rangierbahnhof. Richard Dehmel :

Weib und Welt.
1898.
Alfred Mombert : Die Schopf ung. Stefan George : Das

Jahr der Seele.
1899.

Frank Wedekind : Der Kammersanger. Hugo von Hof-

143



144 COMMENTARY

mannsthal: Theater in Versen. Otto Julius Bier-
baum: Gugeline. Blatter fur die Kunst: Auswahl.

1900.

Gerhart Hauptmann : Schluck und Jau. Richard Deh-

mel : Lucifer.
1901.

Ricarda Huch : Aus der Triumphgasse.
1902.

Gerhart Hauptmann: Der arme Heinrich.
1903.
Hugo von Hofmannsthal : Elektra. Richard Dehmel :

Zwei Menschen.
1904.
Richard Beer-Hofmann : Der Graf von Charolais.

1905.

Frank Wedekind: Die Biichse der Pandora. Hermann

Hesse : Peter Camenzind.
1906.
Gerhart Hauptmann: Und Pippa tanzt. Enrica von

Handel-Mazzetti : Jesse und Maria. Hermann

Hesse: Unterm Rad. Rainer Maria Rilke: Das

Stundenbuch.
1907.
Rainer Maria Rilke: Neue Gedichte. Ricarda Huch:

Neue Gedichte.
1908.
Ernst Hardt: Tantris der Narr. Helena Bohlau: Das

Haus zur Flamm.
1909.
Ludwig Thoma: Moral. Eduard von Keyserling:

Bunte Herzen.



COMMENTARY 145



1910.

Gerhart Hauptmann : Der Narr in Christo.

191 1.

Hugo von Hofmannsthal : Jedermann.



THE END



THE MODERN DRAMA

AN ESSAY IN INTERPRETATION

By LUDWIG LEWISOHN



Professor Felix E. Schelling
{The University of Pennsylvania)
I would like to express to you my appreciation of the excel-
lence of your work and the fairness of your critical judgments.
You have succeeded not only by inclusion but in the much
more difficult matter of omission, and have p;iven as a result a
book which is a genuine guide, while at the same time striking
a note of independence.

Professor William Lyon Phelps
{Yale University)
I have read every word of your book and I think it one of
the most valuable books on the modern drama that I have seen.
It is thoughtful, original and really critical.

Professor Richard Burton
{The University of Minnesota)
Your tendency to orientate from the naturalistic center gives
your treatment individuality and interest, but you do justice to
tlie romantic and poetic: and your own translations of verse
could only have come from a poet: upon them I heartily con-
gratulate.

Professor Thomas H. Dickinson
{The University of Wisconsin)
You have provided the book for which we have long been
waiting. ... It is a coherent, organic critique of the solid
movement of the theater during the last thirty years. . . • The
thing that strikes me most is that you have applied absolute
standards in your judgments.

Professor A. R. Hohlfeld

{The University of Wisconsin)
It IS, in my opinion, not only an exceedingly valuable and
helpful book considered by itself, but also the strongest and
most authentic work in English known to me on the subject.



Louis Sherwin
(in The New York Globe)
When one reads such an intelligent, illuminating work as
Ludwig Lewisohn's it is an event to be celebrated. . . . The im-
portant thing in a critic is his point of view, his attitude to-
ward the life that surrounds him. Mr. Lewisohn's is that
of a keenly interested man of the world, enlightened without
being pedantic, tolerant without being indifferent. ... It is not
only for its interpretation of the modern drama that Mr. Lewi-
sohn's book is interesting, but for its interpretatioii of Mr.
Lewisohn. And that makes it the essence of good criticism.

Clayton Hamilton

(in The Bookman)
Professor Lewisohn is an illuminative critic, and he writes un-
usually well. . • . Lucidly constructed and admirably written.

Review of Reviews

A brilliantly written interpretative book. . . . The student
and the dramatic reader will find this book indispensable.

J. B. Kerfoot

(in Life)
A notably interesting volume. . . . The critical consideration
of the leading Scandinavian, French, German, and English
dramas of the period is well coordinated and clarifying.

H. L. Mencken

(in The Smart Set)
The most intelligent and useful volume in its field in English.

George Middleton
(in La Toilette's Weekly)
The volume is fearless in its criticism. . . . What I especially
liked was his direct attack on the sentimentalized drama which
postures as life and is really only theatrical glucose.

James Huneker
(in Puck)
I warmly recommend it as a capital introduction to all that
is new and progressive in the theater — written by a student and
expert.

At all bookstores, $1.50 net.

B. W. Huebsch, Publisher, New York



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Online LibraryLudwig LewisohnThe spirit of modern German literature; → online text (page 6 of 6)