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In both Heimatkunst and naturalism nature is the watchword, but with the difference that what for the one is the principle is for the other the subject of poetic representation.
These utterances might be taken as a reckless abandonment of artistry in favor of the national, but commonplace; and in fact, Heimatkunst, when assimilated to folklore, as it was in this gospel, did run the risk of an uninspired monotony. Such writers as Sohnrey and Frenssen have not altogether escaped the danger.
With the opposition against naturalism and with the new gospel of Heimatkunst the revolt against the international, against the literature of city life in general, and particularly against the snobbish literary clique in Berlin was complete.
There is no contradiction between romanticism and Heimatkunst; for it was romanticism that in its time aroused the Germans to a real sense of what their native heath meant for them; neither is Heimatkunst opposed to naturalism.
The huge machine is a symbol for cooperative activity, to which the individual may not put himself in opposition; and the restless spirit that essays opposition is transformed against his will from a disturber of the peace into the founder of a happy wedlock. The final couple of our choice are two authors who have departed from the ways of Heimatkunst.
As early as 1901 the gospel of "Away from Berlin!" was thus fervently preached by a champion of Heimatkunst, the Alsatian Fritz Lienhard: You writers are all of you entirely out of touch with the German family, with the spirit of the German people throughout the length and breadth of the empire.
If Kellermann's development should be taken as pointing the way for the German novel of the future, we should have to conclude that Heimatkunst has been supplanted by exotic art. Interest is growing in the literature of travel, and the great publishers are already paying the traveling expenses of their authors, in order that they may see something of the world and write about it.
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.
Naturalism aimed to give the impression of inexorable fidelity to nature in the reproduction of the unhealthful and of that which strictly speaking was contrary to nature; Heimatkunst, on the other hand, had recourse to free and open nature as the unfailing fountain of health.
By virtue of the inexhaustible riches which the Heimatkunst brought to light, the defiant rejection of the literature of the great cities has been rightly recognized as no mere theoretical programme. The novel of urban life, such as flourished in Berlin, Vienna, and Munich at the close of the last century, is today antiquated and has lost its savor.
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