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Updated: May 3, 2025
In the first place we mention two women, Helene Böhlau and Clara Viebig. Both have passed through the naturalistic school for the former, indeed, naturalism marked only a period of transition; for the latter it meant conversion to a creed to which she has remained faithful. The cradle of Helene Böhlau stood on classic ground.
Clara Viebig can compass no great characters or persons of superior intelligence; even men she hardly shows otherwise than in their sensual brutality. She succeeds best with simple, vegetative natures of elemental instincts and eruptive passions, like the women of the Eifel, whose life of hardship, unhappiness in love, and maternal sorrows she knows how to represent with telling power.
The only thing which can give our hearts peace and happiness on earth is good will toward men." Clara Viebig is a less gentle nature. She is a poetess not so much of the heart and soul as of the impulsive temperament and the strong will.
And it is significant that the Berlin novel of the last few years, for example Georg Hermann's Jettchen Gebert or the two most recent works of Clara Viebig, prefers for its scene of action the Berlin of the seventies, which, as yet free from the modern German "South Sea Bubble," preserved for the inordinately growing city its old established local character.
On her native heath the despairing woman is cured of her despair this typifies all the work of Clara Viebig, which reveals itself as pure Heimatkunst in advance of the time when this label gained currency. To be sure, it is a triple home that Clara Viebig can call her own, the Rhine country, eastern Germany, and Berlin.
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