Auch mir ist Herbst, und leiser Trag" ich den Berg hinab Mein Bundel durre Reiser Die mir das Leben gab.[174]
Der Mond zieht traurig durch die Spharen, Denn all die Seinen ruhn im Grab; Drum wischt er sich die h.e.l.len Zahren Bei Nacht an unsern Blumen ab.[175]
The forceful directness of Lenau"s metaphors from nature is aptly shown in the following comparison of two pa.s.sages, one from Holderlin"s "An die Natur," the other from Lenau"s "Herbstklage," in which both poets employ the same poetic fancy to express the same idea.
Tot ist nun, die mich erzog und stillte, Tot ist nun die jugendliche Welt, Diese Brust, die einst ein Himmel fullte, Tot und durftig wie ein Stoppelfeld.[176]
If we compare the simile in the last line with the corresponding metaphor used by Lenau in the following stanza,--
Wie der Wind zu Herbsteszeit Mordend hinsaust in den Waldern, Weht mir die Vergangenheit Von des Gluckes Stoppelfeldern,[177]
the greater artistic effectiveness of the latter figure will be at once apparent.
The idea that nature is cruel, even murderous, as suggested in the opening lines of the stanza just quoted, seems in the course of time to have become firmly fixed in the poet"s mind, for he not only uses it for poetic purposes, but expresses his conviction of the fact on several occasions in his conversations and letters. Tossing some dead leaves with his stick while out walking, he is said to have exclaimed: "Da seht, und dann heisst es, die Natur sei liebevoll und schonend! Nein, sie ist grausam, sie hat kein Mitleid. Die Natur ist erbarmungslos!"[178]
It goes without saying that in such a conception of nature the poet could find no amelioration of his Weltschmerz.[179]
In summing up the results of our discussion of Lenau"s Weltschmerz, it would involve too much repet.i.tion to mention all the points in which it stands, as we have seen, in striking contrast to that of Holderlin.
Suffice it to recall only the most essential features of the comparison: the predominance of hereditary and pathological traits as causative influences in the case of Lenau; the fact that whereas Holderlin"s quarrel was largely with the world, Lenau"s was chiefly within himself; the pa.s.sive and ascetic nature of Lenau"s att.i.tude, as compared with the often hopeful striving of Holderlin; the patriotism of the latter, and the relative indifference of the former; Lenau"s strongly developed erotic instinct, which gave to his relations with Sophie such a vastly different influence upon his Weltschmerz from that exerted upon Holderlin by his relations with Diotima; and finally the marked difference in the att.i.tude of these two poets toward nature.
A careful consideration of all the points involved will lead to no other conclusion than that whereas in Holderlin the cosmic element predominates, Lenau stands as a type of egoistic Weltschmerz. To quote from our cla.s.sification attempted in the first chapter, he is one of "those introspective natures who are first and chiefly aware of their own misery, and finally come to regard it as representative of universal evil." Nowhere is this more clearly stated than in the poet"s own words: "Es hat etwas Trostliches fur mich, wenn ich in meinem Privatungluck den Familienzug lese, der durch alle Geschlechter der armen Menschen geht.
Mein Ungluck ist mir mein Liebstes,--und ich betrachte es gerne im verklarenden Lichte eines allgemeinen Verhangnisses."[180]
FOOTNOTES:
[Footnote 75: _Euphorion_, 1899, p. 791.]
[Footnote 76: "Nicolaus Lenau," _Neue Fr. Pr._, Nr. 11166-7]
[Footnote 77: Schurz, Vol. II, p. 212.]
[Footnote 78: Cf. _Euphorion_, 1899, p. 795.]
[Footnote 79: Anton Schurz: "Lenau"s Leben," Cotta, 1855 (hereafter quoted as "Schurz"), Vol. II, p. 199.]
[Footnote 80: "Lenaus Werke," ed Max Koch, in Kurschner"s DNL.
(hereafter quoted as "Werke"), Vol. I, p. 525 f.]
[Footnote 81: Cf. _supra_, p. 22.]
[Footnote 82: Cf. among others Sadger, Weiler. _Infra_, p. 88.]
[Footnote 83: "Nicolaus Lenau"s Briefe an einen Freund," Stuttgart, 1853, p. 68 f.]
[Footnote 84: "Nicolaus Lenau"s sammtliche Werke," herausgegeben von G.
Emil Barthel, Leipzig, Reclam, p. CI.]
[Footnote 85: Schurz, Vol. I, p. 169.]
[Footnote 86: Schurz, Vol. II, p. 144.]
[Footnote 87: Schurz, Vol. II, p. 152f.]
[Footnote 88: Schurz, Vol. I, p. 275.]
[Footnote 89: Ricarda Huch: "Romantische Lebenslaufe." _Neue d.
Rundschau_, Feb. 1902, p. 126.]
[Footnote 90: Sept. 29, 1844. Cf. Schurz, Vol. II, p. 223.]
[Footnote 91: L. A. Frankl: "Lenau und Sophie Lowenthal," Stuttgart, 1891 (hereafter quoted as "Frankl") p. 189, incorrectly states the date as 1838. Possibly it is a misprint.]
[Footnote 92: Frankl, p. 155.]
[Footnote 93: Frankl, p. 151.]
[Footnote 94: Frankl, p. 164.]
[Footnote 95: Frankl, p. 102.]
[Footnote 96: Frankl, p. 149.]
[Footnote 97: Frankl, p. 150.]
[Footnote 98: Frankl, p. 150.]
[Footnote 99: Schurz, Vol. II, p. 7.]
[Footnote 100: Cf. Lenau"s Sammtl. Werke, herausg. von G. Emil Bartel, Leipzig, ohne Jahr. Introd., p. clxv.]
[Footnote 101: Frankl, p. 32.]
[Footnote 102: Frankl, p. 14.]
[Footnote 103: Frankl, p. 30.]
[Footnote 104: Cf. _supra_, p. 38.]
[Footnote 105: Frankl, p. 15.]
[Footnote 106: Werke, I, p. 89.]
[Footnote 107: Frankl, p. 114.]
[Footnote 108: Cf. _supra_, p. 18.]
[Footnote 109: Holderlins Werke, Vol. 1, p. 195.]
[Footnote 110: "Das Kruzifix, Eine Kunstlerlegende," 1820.]