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Updated: May 5, 2025
There were many other charming girls, too, and my aunt, besides old friends, entertained the leaders of literary life in Dresden. Gutzkow surpassed them all in acuteness and subtlety of intellect, but the bluntness of his manner repelled me.
Besides, he lacked the sincerity and the enthusiastic conviction which dedicated practically every work of Karl Gutzkow to the task of restoring the proper balance between German literature and German life. Gutzkow felt that literature had, in the hands of the Romanticists, abandoned life to gain a fool's paradise.
Reimarus, from Saint Simonism, and from the sentimental tragedy of Charlotte Stieglitz in real life; Menzel's revengeful denunciation of this colorless and tedious novel, as an "outrageous attack upon ethics and the Christian religion"; the resulting verdict of the Mannheim municipal court, punishing Gutzkow by one month's imprisonment, with no allowance for a still longer detention during his trial; the official proscription of all "present and future writings" by Gutzkow, Wienbarg, Laube, Mundt, and Heine; Gutzkow's continued energetic championship of the new literary movement and editorial direction of the Frankfurt Telegraph, from 1835 to 1837, under the very eyes of the Confederate Council; his removal in 1837 to Hamburg and his gradual transformation there from a short story writer and journalist into a successful dramatist; his series of eleven plays, produced within the space of fifteen years, from 1839 to 1854; the success of his tragedy, Uriel Acosta, in 1846, and the resulting appointment of the author in the same year as playwright and critic at the Royal Theatre in Dresden; his temperate participation in the popular movement of 1848 and consequent loss of the Dresden position; the death of his wife, Amalia, in the same-year after an estrangement of seven years, due to his own infatuation for Therese von Bacharacht; his happy marriage in 1849 with Bertha Meidinger, a cousin of his first wife; the publication in 1850-51 of his first great novel of contemporary German life, entitled, Spiritual Knighthood; his continuous editorial work upon the journal, Fireside Conversations, from 1849 until the appearance of his other great contemporary novel, The Magician of Rome, 1858-61; his attack of insanity under the strain of ill health in 1865 and unsuccessful attempt at suicide; and, finally, his rapidly declining health and frequent change of residence from Berlin to Italy, thence to Heidelberg, and from there to Sachsenhausen, near Frankfurt-on-the-Main, and his tragic death there, either intentional or accidental, in the night of December fifteenth, 1878, when under the influence of chloral he upset the candle, by the light of which he had been reading, and perished in the stifling fumes of the burning room.
There were many other charming girls, too, and my aunt, besides old friends, entertained the leaders of literary life in Dresden. Gutzkow surpassed them all in acuteness and subtlety of intellect, but the bluntness of his manner repelled me.
True, this culture is without the erudition of those establishments, but assumes nevertheless the mien of a sovereign; so that, for example, Gutzkow the novelist might be pointed to as the best example of a modern public school boy turned æsthete.
This led Menzel to invite Gutzkow to Stuttgart and to propose a coöperation which could be but short-lived; for Menzel was timid and vacillating, whereas Gutzkow was sincere, courageous, and consistent.
The charge of irreligion seems based upon the misconception or the misrepresentation of their orthodox critics. It is, at any rate, undeserved, as far as Gutzkow, the leader of the school, is concerned. It is true that they were liberal in the matter of religious and philosophical thought.
The play given was "the original Tartuffe," a popular piece by Gutzkow. It was capitally performed. In the Leipzig theatre I had a second opportunity of observing, that as regards the love of eating our good Saxons are not a whit behind the much-censured Viennese. In the Dresden theatre I had admired a couple of ladies who sat next me.
To obviate the failure I felt convinced must follow on this important appointment, I made a special request that Gutzkow should not be allowed to interfere in the management of the opera; he readily yielded, and thus spared himself great humiliation.
"Only by means of such discipline can the young man acquire that physical loathing for the beloved and much-admired 'elegance' of style of our newspaper manufacturers and novelists, and for the 'ornate style' of our literary men; by it alone is he irrevocably elevated at a stroke above a whole host of absurd questions and scruples, such, for instance, as whether Auerbach and Gutzkow are really poets, for his disgust at both will be so great that he will be unable to read them any longer, and thus the problem will be solved for him.
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