LETTER FROM CHEVALIER BUNSEN.

Charlottenberg, near Heidelberg, 10th October, 1857.

Dear Sir,—It is now about five months since you expressed to me a wish that I might be induced to imbody, in a few pages, my views on the peculiar interest I attached—as you had been informed by a common friend—to the most popular German novel of the age, Gustav Freytag's Soll und Haben. I confess I was at first startled by your proposal. It is true that, although I have not the honor of knowing the author personally, his book inspired me with uncommon interest when I read it soon after its appearance in 1855, and I did not hesitate to recommend translation into English, as I had, in London, recommended that of the Life of Perthes, since so successfully translated and edited under your auspices. I also admit that I thought, and continue to think, the English public at large would the better appreciate, not only the merits, but also the importance of the work, if they were informed of the bearing that it has upon the reality of things on the Continent; for, although Soll und Haben is a work altogether of fiction, and not

what is called a book of tendency, political or social, it exhibits, nevertheless, more strikingly than any other I know, some highly important social facts, which are more generally felt than understood. It reveals a state of the relations of the higher and of the middle classes of society, in the eastern provinces of Prussia and the adjacent German and Slavonic countries, which are evidently connected with a general social movement proceeding from irresistible realities, and, in the main, independent of local circumstances and of political events. A few explanatory words might certainly assist the English reader in appreciating the truth and impartiality of the picture of reality exhibited in this novel, and thus considerably enhance the enjoyment of its poetical beauties, which speak for themselves.

At the same time, I thought that many other persons might explain this much better than I, who am besides, and have been ever since I left England, exclusively engaged in studies and compositions of a different character. As, however, you thought the English public would like to read what I might have to say on the subject, and that some observations on the book in general, and on the circumstances alluded to in particular, would prove a good means of introducing the author and his work to your countrymen, I gladly engaged to employ a time of recreation in one of our German baths in writing a few pages on the subject, to be ready by the 1st of August. I was the more encouraged to do so when, early in July, you communicated to me the proof-sheets of the first volume of a translation, which I found not only to be faithful in an eminent degree, but also to rival successfully the spirited tone and classical style for which the German original is justly and universally admired.

I began, accordingly, on the 15th July, to write the Introductory Remarks desired by you, when circumstances occurred over which I had no control, and neither leisure nor strength could be found for a literary composition.

Now that I have regained both, I have thought it advisable to let you have the best I can offer you in the shortest time possible, and therefore send you a short Memoir on the subject, written in German, placing it wholly at your disposal, and leaving it entirely to you to give it either in part or in its totality to the English public, as may seem best adapted to the occasion.

I shall be glad to hear of the success of your Translation, and remain, with sincere consideration,

Dear sir, yours truly,

Bunsen.

To Thomas Constable, Esq.

PREFACE BY CHEVALIER BUNSEN.

THE HISTORY AND SPIRIT OF THE BOOK.

Since our German literature attained maturity, no novel has achieved a reputation so immediate, or one so likely to increase and to endure, as Soll und Haben, by Gustav Freytag. In the present, apparently apathetic tone and temper of our nation, a book must be of rare excellence which, in spite of its relatively high price (15s.), has passed through six editions within two years; and which, notwithstanding the carping criticism of a certain party in Church and State, has won most honorable recognition on every hand. To form a just conception of the hold the work has taken of the hearts of men in the educated middle rank, it needs but to be told that hundreds of fathers belonging to the higher industrious classes have presented this novel to their sons at the outset of their career, not less as a work of national interest than as a testimony to the dignity and high importance they attribute to the social position they are called to occupy, and to their faith in the future that awaits it.

The author, a man about fifty years of age, and by birth a Silesian, is editor of the Grenz-bote (Border Messenger), a highly-esteemed political and literary journal, published in Leipsic. His residence alternates between that city and a small estate near Gotha. Growing up amid the influences of a highly cultivated family circle, and having become an accomplished philologist under Lachmann, of Berlin, he early acquired valuable life-experience, and formed distinguished social connections. He also gained reputation as an author by skillfully arranged and carefully elaborated dramatic compositions—the weak point in the modern German school.

The enthusiastic reception of his novel can not, however, be attributed to these earlier labors, nor to the personal influence of its author. The favor of the public has certainly been obtained in great measure by the rare intrinsic merit of the composition, in which we find aptly chosen and melodious language, thoroughly artistic conception, life-like portraiture, and highly cultivated literary taste. We see before us a national and classic writer, not one of those mere journalists who count nowadays in Germany for men of letters.

The story, very unpretending in its opening, soon expands and becomes more exciting, always increasing in significance as it proceeds. The pattern of the web is soon disclosed after the various threads have been arranged upon the loom; and yet the reader is occasionally surprised, now by the appearance on the stage of a clever Americanized German, now by the unexpected introduction of threatening complications, and even of important political events. Though confined within a seemingly narrow circle, every incident, and especially the Polish struggle, is depicted grandly and to the life. In all this the author proves himself to be a perfect artist and a true poet, not only in the treatment of separate events, but in the far more rare and higher art of leading his conception to a satisfactory development and dénouement. As this requirement does not seem to be generally apprehended either by the writers or the critics of our modern novels, I shall take the liberty of somewhat more earnestly attempting its vindication.

The romance of modern times, if at all deserving of the name it inherits from its predecessors in the romantic Middle Ages, represents the latest stadium of the epic.

Every romance is intended, or ought to be, a new Iliad or Odyssey; in other words, a poetic representation of a course of events consistent with the highest laws of moral government, whether it delineate the general history of a people, or narrate the fortunes of a chosen hero. If we pass in review the romances of the last three centuries, we shall find that those only have arrested the attention of more than one or two generations which have satisfied this requirement. Every other romance, let it moralize ever so loudly, is still immoral; let it offer ever so much of so-called wisdom, is still irrational. The excellence of a romance, like that of an epic or a drama, lies in the apprehension and truthful exhibition of the course of human things.

Candide, which may appear to be an exception, owes its prolonged existence to the charm of style and language; and, after all, how much less it is now read than Robinson Crusoe, the work of the talented De Foe; or than the Vicar of Wakefield, that simple narrative by Voltaire's English contemporary. Whether or not the cause can be clearly defined is here of little consequence; but an unskillfully developed romance is like a musical composition that concludes with discord unresolved—without perhaps inquiring wherefore, it leaves an unpleasant impression on the mind.

If we carry our investigation deeper, we shall find that any such defect violates our sense of artistic propriety, because it offends against our healthy human instinct of the fundamental natural laws; and the artistic merit, as well of a romance as of an epic, rises in proportion as the plot is naturally developed, instead of being conducted to its solution by a series of violent leaps and make-shifts, or even by a pretentious sham. We shall take occasion hereafter to illustrate these views by suitable examples.

That the work we are now considering fulfills, in a high degree, this requirement of refined artistic feeling and artistic treatment, will be at once apparent to all discriminating readers, though it can not be denied that there are many of the higher and more delicate chords which Soll und Haben never strikes. The characters to whom we are introduced appear to breathe a certain prosaic atmosphere, and the humorous and comic scenes occasionally interwoven with the narrative bear no comparison, in poetic delicacy of touch, with the creations of Cervantes, nor yet with the plastic power of those of Fielding.

The author has given most evidence of poetic power in the delineation of those dark characters who intrude like ghosts and demons upon the fair and healthy current of the book, and vanish anon into the caverns and cellars whence they came.

The great importance of the work, and the key to the almost unexampled favor it has won, must be sought in a quite different direction—in the close relation to the real and actual in our present social condition, maintained throughout its pages. Such a relation is manifested, in very various ways, in every novel of distinguished excellence. The object of all alike is the same—to exhibit and establish, by means of a narrative more or less fictitious, the really true and enduring elements in the complicated or contradictory phenomena of a period or a character. The poetic truthfulness of the immortal Don Quixote lies not so much in the absurdities of an effete Spanish chivalry as in the portraiture that lies beneath, of the insignificance and profligacy of the life of the higher ranks, which had succeeded the more decorous manners of the Middle Ages. Don Quixote is not the only hero of the book, but also the shattered Spanish people, among whom he moves with gipsies and smugglers for companions, treading with all the freshness of imperishable youth

upon the buried ruins of political and spiritual life, rejoicing in the geniality of the climate and the tranquillity of the country, reposing proudly on his ancestral dignity. This conception—and not alone the pure and lofty nature of the crazy besieger of wind-mills, who, in spite of all, stands forth as at once the worthiest, and fundamentally the wisest character in the book—constitutes the poetic background, and the twilight glimmer amid the prevailing darkness in the life of the higher classes. We feel that there is assuredly something deeply human and of living power in these elements, and this reality will one day obtain the victory over all opponents.

By what an entirely different atmosphere do we feel ourselves to be surrounded in Gil Blas, where the highest poetry, the cunning dexterity of the modern Spanish Figaro, is manifested in the midst of a depraved nobility, and a priesthood alive only to their own material interests. It is only the most perfect art that could have retained for this novel readers in every quarter of the world. The dénouement is as perfect as with such materials it can be; and we feel that, instead of Voltaire's withering and satiric contempt of all humanity, an element of unfeigned good-humor lies in the background of the picture. How far inferior is Swift! and how utterly horrible is the abandoned humor of a despair that leaves all in flames behind it, which breathes upon us from the pages of the unhappy Rabelais!

Fielding's novels, Tom Jones in particular, bear the same resemblance to the composition of Cervantes that the paintings of Murillo bear to those of Rembrandt. The peculiarity of Wilhelm Meister as a novel is more difficult of apprehension, if one does not seek the novel where in truth it lies—in the story of Mignon and the Harper, and only sees in the remainder the certainly somewhat diffuse but deeply-thought and classically-delineated picture of the earnest striving after culture of a German in the end of the eighteenth century. It would argue, however, as it appears to me, much prejudice, and an utterly unreasonable temper, not to recognize a perfect novel in the Wahlverwandschaften, however absolutely one may deny the propriety of thus tampering with and endangering the holiest family relationships, or thus making them the subjects of a work of fiction. Goethe, however, has here placed before us, and that with the most noble seriousness and the most artistic skill, a reality which lies deep in human nature and the period he

represents. The tragical complications and consequences resulting even from errors which never took shape in evil deeds could not in the highest tragedy be represented more purely and strikingly than here. The stain of impurity rests upon the soul of him who thinks that he detects it, not in the book itself. Ottilie is as pure and immortal a creation of genius as Mignon.

As novel-literature has developed itself in Europe, an attempt has been made to employ it as a mirror of the past, into which mankind shall love to look, and thereby ascertain whether civilization has advanced or retrograded with the lapse of time. This is a reaction against the eighteenth century, and it appears under two forms—the idealistic-sentimental and the strongly realistic-social. The earliest instance in Germany of the romantic school, Heinrich von Ofterdingen, is the apotheosis of the art and literature of the Middle Ages. The writings of Walter Scott put an end to this sentimentalism, and this is indeed their highest merit. Those of his works will continue to maintain the most prominent place, standing forth as true and living representations of character, which deal with the events of Scottish history in the seventeenth and eighteenth centuries. Still more the work of genius, however, and of deeper worth, Hope's Anastasius must be admitted to be—that marvelous picture of life in the Levant, and in the

whole Turkish Empire, as far as Arabia, as it was about the end of the last and the beginning of the present century. In this work truth and fiction are most happily blended; the episodes, especially that of Euphrosyne, may be placed, without disparagement, beside the novels of Cervantes, and strike far deeper chords in the human heart than the creations of Walter Scott. Kingsley's Hypatia, alone of modern works, is worthy to be named along with it. That, indeed, is a marvelous and daring composition, with a still higher aim and still deeper soul-pictures. Both of them will live forever as examples of union of the idealistic and the realistic schools, poetic evocations of a by-gone reality, with all the truth and poetry of new creations. In reading either of them we forget that the work is as instructive as it is imaginative.

The most vehement longing of our times, however, is manifestly after a faithful mirror of the present; that is to say, after a life-picture of the social relations and the struggles to which the evils of the present day have given rise. We feel that great events are being enacted; that greater still are in preparation; and we long for an epic, a world-moulding epic, to imbody and depict them. The undertaking is a dangerous one—many a lance is shivered in the first encounter. A mere tendency-novel is in itself a monster. A picture of the age must be, in the highest acceptation of the word, a poem. It must not represent real persons or places—it must create such. It must not ingraft itself upon the passing and the accidental, but be pervaded by a poetic intuition of the real. He that attempts it must look with a poet's eye at the real and enduring elements in the confusing contradictions of the time, and place the result before us as an actual existence. It has been the high privilege of the English realistic school, which we may call without

hesitation the school of Dickens, that it has been the first to strike the key-note with a firm and skillful hand. Its excellence would stand out with undimmed lustre had it not, as its gloomy background, the French school of Victor Hugo and Balzac, that opposite of "the poetry of despair," as Goethe calls it. Here again, in this new English school, has the genius of Kingsley alighted. Most of his novels belong to it. And, besides himself and Dickens, there stand forth as its most brilliant members the distinguished authoress of Mary Barton, and the sorely-tried Charlotte Brontë, the gifted writer of Jane Eyre—too soon, alas! removed from us. This school has portrayed, in colors doubtless somewhat strong, the sufferings and the virtues, the dangers and the hopes of the working-classes, especially in towns and factories. But, instead of enjoining hatred of the higher classes, and despair of all improvement in the future for humanity, a healthy tone pervades their writings throughout, and an unwavering and cheering hope of better

things to come shines through the gloomy clouds that surround the dreary present. There are throes of anguish—but they tell of coming deliverance; there are discords—but they resolve into harmony. The spirit finds, pervading the entire composition, that satisfaction of the desires of our higher nature which constitutes true artistic success.

Dickens, too, has at length chosen the real life of the working-classes in their relations to those above them as a subject for his masterly pen. Dombey and Son will not readily be forgotten.

It was necessary to take a comprehensive view of novel literature, and—although in the merest outline—still to look at it in its historical connection, in order to find the suitable niche for a book which claims an important place in its European development; for it is precisely in the class last described—that which undertakes faithfully, and yet in a poetic spirit, to represent the real condition of our most peculiar and intimate social relations—that our author has chosen to enroll himself. With what a full appreciation of this high end, and with what patriotic enthusiasm he has entered on his task, the admirable dedication of the work at once declares, which is addressed to a talented and liberal-minded prince, deservedly beloved and honored throughout Germany. In the work itself, besides, there occur repeated pictures of these relations, which display at once a clear comprehension of the social problem, and a poetic power which keeps pace with the power of life-like description. To come more closely to the point,