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Class, Nation and the Folk in the Works of Gustav Freytag (1816-1895)

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Private Lives and Collective Destinies: Class, Nation and the Folk in the Works of Gustav Freytag (1816-1895) Dissertation submitted for the degree of Doctor of Philosophy Benedict Keble Schofield Department of Germanic Studies University of Sheffield June 2009 Contents Abstract v Acknowledgements vi 1 Introduction 1 1.1 Literature and Tendenz in the mid-19th Century 1 1.2 Gustav Freytag: a Literary-Political Life 2 1.2.1 Freytag's Life and Works 2 1.2.2 Critical Responses to Freytag 4 1.3 Conceptual Frameworks and Core Terminology 10 1.4 Editions and Sources 1 1 1.4.1 The Gesammelte Werke 1 1 1.4.2 The Erinnerungen aus meinem Leben 12 1.4.3 Letters, Manuscripts and Archival Material 13 1.5 Structure of the Thesis 14 2 Political and Aesthetic Trends in Gustav Freytag's Vormiirz Poetry 17 2.1 Introduction: the Path to Poetry 17 2.2 In Breslau (1845) 18 2.2.1 In Breslau: Context, Composition and Theme 18 2.2.2 Politically Responsive Poetry 24 2.2.3 Domestic and Narrative Poetry 34 2.2.4 Poetic Imagination and Political Engagement 40 2.3 Conclusion: Early Concerns and Future Patterns 44 3 Gustav Freytag's Theatrical Practice in the 1840s: the Vormiirz Dramas 46 3.1 Introduction: from Poetry to Drama 46 3.2 Die Brautfahrt, oder Kunz von der Rosen (1841) 48 3.2.1 Die Brautfahrt: Context, Composition and Theme 48 3.2.2 The Hoftheater Competition of 1841: Die Brautfahrt as Comedy 50 3.2.3 Manipulating the Past: the Historical Background to Die Brautfahrt 53 3.2.4 The Question of Dramatic Hero: the Function ofKunz 57 3.2.5 Sub-Conclusion: Die Brautfahrt - a National Project? 60 3.3 Der Gelehrte (1844) 61 0 3.3.1 Der Gelehrte: Context, Composition and Theme 61 ~ 3.3.2 Ideological Aims and the Demands of Tragedy: Genre-Content Conflict in Der Gelehrte 65 3.3.3 Defining the Liberal Cause: Der Gelehrte as Political Drama 68 3.3.4 Sub-Conclusion: the Folk and the Future of the Nation 73 3.4 Die Valentine (1846) and GrafWaldemar (1846-47) 74 3.4.1 Die Valentine and GrafWaldemar: Context, Composition and Theme 74 3.4.2 Die Valentine, GrafWaldemar and Vormarz Censorship Controls 76 3.4.3 The Aristocracy as Object of Criticism 82 3.4.4 Aristocratic Salvation through the Bourgeoisie 85 3.4.5 Jungdeutsch Tendencies in Die Valentine and GrafWaldemar 87 .. 11 3.4.6 Sub-Conclusion: Die Valentine and Graf Waldemar 90 3.5 Conclusion: Freytag's Theatrical Practice in the Vormiirz 91 4 From Revolution to Reaction: Consolidating the Middle-Class Cause after 1848 93 4.1 Introduction: Freytag and the Revolutions of 1848 93 4.2 Die Grenzboten (1848-70) and the Vereinsleben of mid-19th Century Germany 96 4.2.1 Die Grenzboten 96 4.2.2 The Dresdner Handwerkerverein (1848) and the Literarisch-politischer Verein (1852) 99 4.2.3 Sub-Conclusion: Freytag, Journalism and the Bourgeois Concept of Bildung 102 4.3 Die Journalisten (1852) 103 4.3.1 Die Journalisten: Context, Composition and Theme 103 4.3.2 A Democratic Era? The Concept of Democracy in Die Journalisten 107 4.3.3 A Bourgeois Era? Political and Class Polemics in Die Journalisten 110 4.3.4 Sub-Conclusion: Die Journalisten - a Vor- or Nachmiirz Drama? 113 4.4 Soli und Haben (1855) 114 4.4.1 Soli und Haben: Context, Composition and Theme 114 4.4.2 Bourgeois and Business Values in the Nachmiirz: the Function ofT. O. Schroter's Trading House 118 4.4.3 The Colonial Project in Soli und Haben: a Shift from Class to National Consciousness 124 4.4.4 A Reprieve for the Aristocracy: Patterns of Class Interaction in Soli und Haben 129 4.4.5 Sub-Conclusion: Class and Nation in Soli und Haben - an Exception to the Rule? 135 4.5 Die Fabier (1859) 137 4.5.1 Die F abier: Context, Composition and Theme 138 4.5.2 Classical Antiquity and the Return of Freytag's Anti-Aristocratic Polemic 142 4.5.3 Sub-Conclusion: Die Fabier - Class Divisions and Nation Building 147 4.6 Conclusion: Continuity and Change in Gustav Freytag's Politics and Aesthetics in the l850s 147 5 Present Pasts: History, Bildung and the Volkskraft in Gustav Freytag's Writings, 1860-70 150 5.1 Introduction: Political Engagement and Historical Perspectives- Freytag in the 1860s 150 5.1.1 Freytag's Political Engagement in the l860s: the Kitzinger Kreis, the Nationalverein, and the Reichstag des Norddeutschen Bundes 151 5.2 Bilder aus der deutschen Vergangenheit (1859-67) 155 5.2.1 Bilder aus der deutschen Vergangenheit: Context, Composition and Theme 156 5.2.2 Colonialism, Trade and the Aristocracy 160 5.2.3 The Folk in History: Freytag's Concept of the Volkskraft 166 5.2.4 Sub-Conclusion: Bilder aus der deutschen Vergangenheit - a 'Programmatic History'? 170 5.3 Karl Mathy (1869) 171 111 5.3.1 Karl Mathy: Context, Composition and Theme 171 5.3.2 The Rise of Prussia and the Quest for German Nationhood 173 5.3.3 Sub-Conclusion: Karl Mathy - a Continuation of the Bilder? 175 5.4 Die Technik des Dramas (1863) 176 5.4.1 Die Technik des Dramas: Context, Composition and Theme 176 5.4.2 Drama, Tragedy and the Bourgeois Cause 179 5.4.3 Sub-Conclusion: Die Technik des Dramas as a Programmatic Theory 182 5.5 Die verlorene Handschrift (1864) 183 5.5.1 Die verlorene Handschrift: Context, Composition and Theme 184 5.5.2 The Historian as Educator: Bildung and the Volkskraft 188 5.5.3 Tacitus and Ciisarenwahnsinn: a Return to an Anti-Aristocratic Class Polemic 195 5.5.4 Sub-Conclusion: the Historian - a Bourgeois or National Hero? 199 5.6 Conclusion: Freytag's Literary Production in the 1860s 200 6 Love as an Exercise in Nation Building. Gustav Freytag's Novel Cycle Die Ahnen (1872-80) 203 6.1 Introduction: Freytag, the Reichsgriindung of 1871 and 1m neuen Reich 203 6.2 Die Ahnen (1872-80) 206 6.2.1 Die Ahnen: Context, Composition and Theme 206 6.2.2 History, Love and Continuity in Die Ahnen 212 6.2.3 Personal History as National History: the Cultivation of Middle-Class Values in Die Ahnen 218 6.2.4 Marriage as a Tool of Social Change: Towards a German Class Utopia 221 6.2.5 The Maturation of the Individual and the Nation in Die Ahnen 224 6.3 Conclusion: Die Ahnen - Love Story, Bourgeois Apotheosis and National-Liberal Rallying Cry 227 7 Conclusion 230 7.1 Trivialliteratur as Political Literature 230 7.2 Class and Social Change 232 7.3 The Nation and Politics 233 7.4 History and the Folk 235 7.5 Re-Imagining Germany 237 Bibliography 238 IV Abstract This thesis examines the works of Gustav Freytag against the changing socio-political backdrop of the Vormarz, Nachmarz and Griinderzeit. It analyses the concepts of class, nation and folk in his writings, and provides an account of their shifting literary representation between 1840 and 1890. For the first time in recent criticism, it analyses all of Freytag's published work - his poetry, dramas, novels, theatrical theory, journalism, and historical and biographical studies. The thesis reveals a coherent anti-aristocratic position III Freytag's fiction, expressed through a thematic preoccupation with inter-class relationships. It argues that Freytag's love stories encode in the domestic a political polemic which presents German society as undergoing a process of radical bourgeoisification. It traces how Freytag's class concerns are increasingly nationalised after the revolutions of 1848, and explores how his Nachmarz writing constructs a concept of German national identity based on a sense of common German values. It argues that Freytag's later preoccupation with German history allowed him to synthesise his twin concerns of class and nation into a pseudo-philosophical concept termed the Volkskraft - a myth of German folk identity which is shown to be central to Freytag's final historical and literary works. It is a central contention of this project that Freytag's texts not only reflect issues of class, nation and the folk, but that these concepts were key to the coherent political agenda he wished to disseminate through his writing. It is argued that Freytag's works present a systematic attempt to re-imagine the social and political structures of Germany, positioning the bourgeoisie at the heart of the German nation state. Ultimately, Freytag is shown to promote a significantly more radical concept of socio­ political relations in German society than research into his work has hitherto acknowledged. v Acknowledgements Above all, my thanks go to my supervIsor, Professor Michael Perraudin, whose constant guidance, enthusiasm and critical insight have been pivotal throughout this project. Thanks must also go to Professor Henk de Berg for his tireless support, and to Dr Katy Heady, for reading draft versions with a critical eye and good humour. Special thanks are also due to Dr Michael Minden at Cambridge, for first introducing me to German literature and taking an interest in my work ever since. Many other colleagues have been generous with their ideas and time during this project, and I am particularly grateful to Dr Elystan Griffiths at Birmingham; Dr Anita Bunyan, Ema Eagar, Elsa Strietman, Dr Andrew Webber and Dr Charlotte Woodford at Cambridge; Angela Fattibene, Jane Lewin, Dr Martin Liebscher and Dr Godela Weiss-Sussex at the Institute of Germanic and Romance Studies, London; Dr Caroline Bland, Dr Henriette Louwerse, Dr Elisa Muller-Adams, Dr Peter Thompson and Dr Brian Vick at Sheffield; Professor Eda Sagarra at Trinity College Dublin; Dr Annette Buhler-Dietrich at Stuttgart; Dr Lothar Schneider at Giessen; and Dr Kristin Kopp at Missouri.
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  • Download Report 2010-12

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    RESEARCH REPORt 2010—2012 MAX-PLANCK-INSTITUT FÜR WISSENSCHAFTSGESCHICHTE Max Planck Institute for the History of Science Cover: Aurora borealis paintings by William Crowder, National Geographic (1947). The International Geophysical Year (1957–8) transformed research on the aurora, one of nature’s most elusive and intensely beautiful phenomena. Aurorae became the center of interest for the big science of powerful rockets, complex satellites and large group efforts to understand the magnetic and charged particle environment of the earth. The auroral visoplot displayed here provided guidance for recording observations in a standardized form, translating the sublime aesthetics of pictorial depictions of aurorae into the mechanical aesthetics of numbers and symbols. Most of the portait photographs were taken by Skúli Sigurdsson RESEARCH REPORT 2010—2012 MAX-PLANCK-INSTITUT FÜR WISSENSCHAFTSGESCHICHTE Max Planck Institute for the History of Science Introduction The Max Planck Institute for the History of Science (MPIWG) is made up of three Departments, each administered by a Director, and several Independent Research Groups, each led for five years by an outstanding junior scholar. Since its foundation in 1994 the MPIWG has investigated fundamental questions of the history of knowl- edge from the Neolithic to the present. The focus has been on the history of the natu- ral sciences, but recent projects have also integrated the history of technology and the history of the human sciences into a more panoramic view of the history of knowl- edge. Of central interest is the emergence of basic categories of scientific thinking and practice as well as their transformation over time: examples include experiment, ob- servation, normalcy, space, evidence, biodiversity or force.