# The German Classics of the Nineteenth and Twentieth Centuries/Volume 7/Immermann and His Drama Merlin

IMMERMANN AND HIS DRAMA "MERLIN"
By Martin Schütze, Ph.D.
Associate Professor of German Literature, University of Chicago
ARL LEBRECHT IMMERMANN was born in Magdeburg, in April, 1796. His father, who held a good position in the Civil Service, was a very severe and domineering man; his mother, imaginative and over-indulgent. Karl's childhood and early youth were uneventful. After passing through the regular course of preparatory education in a "Gymnasium," he entered, in 1813, the University of Halle. During his first year there, Germany rose up to throw off the yoke of Napoleon, and the King of Prussia issued a proclamation calling the nation to arms, to which the people responded with unprecedented unanimity and enthusiasm. Schoolboys and bearded men, laborers and professional men, merchants and soldiers, united in one patriotic purpose. The regular army was everywhere supplemented by volunteer organizations. An epoch began which in its enthusiasm, its idealism, the force and richness of its inspiration, and its overwhelming impetus deserved, more than any other in modern history, its title: "The Spring of Nations."
Immermann's sensitive and responsive nature thrilled with the general impulse, and he asked his father to let him join the army, but was told, peremptorily, not to interrupt the first year of his studies. He submitted, and plunged into the study of the literature of the Romanticists, which, in its remoteness from actuality, offered distraction from his disappointment. During this time he fell ill of typhoid fever, from which he did not fully recover ​until the campaign had victoriously ended in the battle of Leipzig. He joined, however, after Napoleon's escape from Elba, the second campaign, in which he took part in two battles. At the end of the war, having retired as an officer of the reserves, he returned to Halle to finish his study of the law.
He found a new spirit dominant among the students. This spirit, characterized by a strongly democratic desire for national unity, pride of race, and impatience with external and conventional restraints, had a rich network of roots in the immediate past: in the individualism and the humanism of the Storm and Stress Movement and the Classic Era of the eighteenth century; in the subjective idealism of the Romantic school; in the nationalism of Klopstock, Herder, Schiller, and Fichte, and in the self-reliant transcendentalism of Kant's philosophy and Schleiermacher's theology. This spirit had received its political direction principally through the genius of the Baron von Stein, the Prussian statesman, whose aim was the restoration of German national unity. He believed that the political unity of Germany must rest on the soundness of the common people, rather than on the pretensions of the aristocracy whose corruption he held responsible for the decadence of the nation. Following the example of Frederick the Great, he tried to foster the simple virtues of the common man. He was, however, opposed to radicalism, seeing permanent progress only in order, self-discipline, and moderation. His leading idea, which was shared by such men as Scharnhorst, Gneisenau, Niebuhr, and others, was that the principal task of the time was to arouse the whole nation to independent political thinking and activity, in order to develop self-confidence, courage, and devotion to a great unselfish ideal. These ideas became a national ideal, an active passion, under the pressure and stress of the Napoleonic usurpation and in the heat and fervor of war and victory.
C. T. Lessing
KARL LEBRECHT IMMERMANN
​younger men, and especially among the university students, traditionally unaccustomed to patience with restraints, many excesses, absurdities and follies. An extreme and tyrannical nativism, a tasteless archaism in dress, manner, and speech, an intolerant and aggressive democratic propaganda offended and bullied the more conservative. This spirit spread particularly through the agencies of the student fraternities called "Burschenschaften," and the athletic associations, the "Turners," advocated and fostered by Jahn.
Immermann became the mouthpiece of the conservatives among the students, and he went so far as to publish some pamphlets denouncing specific acts of violence of the leading radical fraternity, the "Teutonia." When the university authorities, who to a considerable extent sympathized with the radicals, neglected to act, Immermann addressed a complaint to the King. This move resulted in the dissolution of the accused fraternity and in governmental hostility to all fraternities, and brought the hatred and contempt of the radicals on Immermann.
Immermann acted undoubtedly from sincere motives, yet deserved much of the condemnation he suffered. He had not sufficient vision to penetrate through the objectionable and tasteless externalities of the liberal movement—with which he was unfairly preoccupied even at the time of Die Epigonen, a score of years later—to the greater and enduring core of the aspirations of the modern age. The petty things were too near to his eye and obscured the greater things which were further removed. He thought he upheld a higher principle of morality by applying the principles of von Stein to a new situation; but he failed to see the new, larger morality imbedded in much confusion. History has reversed his judgment.
After completing his studies he received a government appointment in the provincial capital of Westphalia, Muenster. Here, in this conservative old town, began one of the most extraordinary relations between man and ​woman in modern German literary history. Immermann fell in love with Countess Elisa von Luetzow-Ahlefeldt, wife of the famous old commander of volunteers, Brigadier-General von Luetzow. Elisa, an extremely gifted and spirited woman, had formed a circle of interesting people, in which her husband, a dashing soldier but a man of uninteresting mentality, played a very subordinate part. Immermann and Elisa struggled along against the tyranny of the affinity that drew them together. Immermann wrote a number of dramas, highly romantic, in which the passion and strife within him found varied expression. The play which made him known beyond his immediate circle, was Cardenio und Celinde, the conflict of which was suggested by his own.
Elisa was finally divorced from Luetzow. Immermann was appointed a judge in Magdeburg, and later in Duesseldorf. He asked Elisa to marry him. She refused, but offered to live with him in free companionship. They joined their lives, pledging themselves not to enter other relations. They remained together until 1839, less than a year before Immermann's death, when he married a young girl of nineteen. Elisa left his house in sorrow and bitterness. Immermann characterized his relation to her thus in a letter to his fiancee, in 1839: "I loved the countess deeply and purely when I was kindled by her flame. But she took such a strange position toward me that I never could have a pure, genuine, enduring joy in this love. There were delights, but no quiet gladness. I always felt as if a splendid comet had appeared on the horizon, but never as if the dear warm God's sun had risen."
His life with Elisa in Duesseldorf was rich in friends and works. The sculptor Schadow, the founder of the art school there, the dramatists von Uechtritz and Michael Beer, brother of Meyerbeer, were among his friends. He had intimate relations with Mendelssohn during the years of the latter 's stay in Duesseldorf. He tried to assist Grabbe, the erratic and unfortunate dramatist. During three years he was manager of the Duesseldorf theatre, ​trying many valuable and idealistic experiments. He died August 25, 1840.
The most important of his works are Das Trauerspiel in Tirol, 1826, treating of the tragic story of Andreas Hofer; Kaiser Friedrich II., 1827, a drama of the Hohenstaufen; the comic heroic epic, Tulifaentchen, 1830, a satiric version of an heroic Tom Thumb; Alexis, 1832, a trilogy setting forth the destruction of the reforms begun by Peter the Great; Merlin, 1832; and his two novels, Die Epigonen, 1836, and Münchhausen, 1838-9.
In Die Epigonen, one of the long list of representatives of the species of novels which began with Goethe's Wilhelm Meister, Immermann tried to present the development of a young man and a picture of the principal social forces of his period. But he was too imitative in following his great model, and too much confused by subjective preoccupations, to comprehend and to state clearly the substance of the matter.
Only two of his works have enduring value, his mystical tragedy Merlin, and the part of Münchhausen called "Der Oberhof" (The Upper Farm), which deals with the lives and types of the small freehold farmers. Immermann, following Baron von Stein, believed that the health and future of society, endangered by the corrupt and dissipated nobility, rested on the sturdy, self-reliant, individualistic yet severely moral and patriotic, small peasant. In the main character of the story, the rugged, proud, inflexibly honorable old farmer, who has inherited the sword of Charles the Great, he has drawn one of the most living characters in early modern German fiction. The other figures, too, are full of life and reality. The story has, aside from its importance in the history of the German novel, an enduring value of its own.
Immermann, in spite of his unremitting endeavor, failed to attain literary or moral greatness. He lacked the fundamental and organic unity of great natures. He had more qualities of mind than most of his important contempora​ries, but in not one of these qualities did he attain to the degree which assures distinction. In his Merlin he treated a conflict which was fundamentally similar to that of Grillparzer's Libussa. Yet Grillparzer, much more one-sided than he, possessed the true Romantic-mystic quality, whereas Immermann had to elaborate his symbolism with the patchwork of careful, allegoric analysis. He had a richer contact with social forces than Heine, yet his realizations of them were awkward and meagre, his humor wooden, his imagery derived. He had much greater intellectual force than Platen, yet he lacked the incisive and controlled critical sense of the latter. Having no one faculty to a distinguished degree, he constantly had to substitute the strained labor of one faculty for the spontaneous production of another. Predominantly rationalistic, he labored at the symbolistic vision of Romanticism; preëminently a man of prose, he endeavored all his life to be a great poet. He mistook the responsive excitement produced by the ideas and visions of others for authentic inspiration, the vivacity of a sociable and conversational gift for the creative force of genius, and the immobility of obvious and established conventional judgments for an extraordinary soundness and incisiveness of fundamental analysis.
There was in him, as he himself once said, a certain "aftertaste of a worthy philistinism." The dominant bent of his mind was toward the immediate actualities, and this bent in the end, as in his antagonism against the radical students in Halle, always overcame his endeavor to grasp the more remote realities of a larger vision.
The purposes of his literary works, like the beginning and purpose of his intimacy with Elisa, are always large, comprehensive, and idealistic, but they always, even in his most important work, Merlin, dwindle to petty details of actuality. His significance for the present age does not so much rest on his objective achievement, as on some of his qualities which prevented achievement. He was perhaps the most considerable representative of the literary "Epi​gones" intervening between the esthetic-individualistic humanism of the eighteenth, and the economic-coöperative humanism of the nineteenth century. He, more fully perhaps than any of his contemporaries, represented the peculiar border-type of literary personality which is both compounded and torn asunder by all the principal conflicting forces of a period of historic transition. He was a victim of the manifold division of impulses, the ill-related patchwork of impressions, and the disconcerting refractions of vision, which characterized his contemporaries. It is in the fact that he united in himself the principal factors which made up the complexion of his age, to an extraordinary degree, that he has his strongest claim upon the sympathetic and studious interest of the modern age.
MERLIN: A MYTH
The principal dramatic agencies in Merlin are Satan, Klingsor, Titurel, King Artus and his Round Table, Niniana, and Merlin. In them, Immermann tried to embody the dominant moral and intellectual tendencies, as he saw them in history and his own times. Satan, the demiurgos, is to him no theological devil, but a princely character, the "Lord of Necessity," the non-moral, irresistible, cosmic force of physical creation. He demands, expressing the faith of Young-Germany:
"O! naked bodies, insolent art, O! "wrath of heroes, and heroic voice!"
The pride of life in him and in Lucifer, who personifies the creative fire, is aroused against the narrow asceticism of orthodox Christianity, embodied in the wan and feeble Titurel. Satan decides to imitate the Lord of Christianity, by begetting upon a virgin, Candida, a son who is to save the world from the sterility of asceticism. Candida is briefly introduced, acknowledging the power of the mighty spirit and bewailing her fate in one of the finest passages in the play.
​Merlin is born, combining the supernatural creative powers of his father with the tenderness and sympathy of his mother. His purpose is to reconcile the true principles of primitive Christianity with the natural impulses of life. Merlin thus is opposed to his father as well as to Titurel and his dull and narrow "guild" who keep the true spirit of humanity captive. He is both anti-Satan and antiChrist.
He next comes into conflict with the third fundamental force, Klingsor. The latter is really only a variant of Satan and, while interesting, is somewhat less fundamental, being more a philosophic and literary, than an active, antagonist. His symbol is the circled serpent, the embodiment of permanence within the changing world of actuality. He represents the nature-philosophy of Romanticism and especially of Schelling, a philosophy so vast and unsubstantial that all values of conduct and all incentives to action disappeared in its featureless abyss. Immermann intensely disliked it. He was, as he said, a lover of men; the worship of nature drained and exhausted the sympathies, the wills and the spirits of men. The passages in which Klingsor himself, in his moments of despair, and Merlin expose the emptiness of this philosophy, are among the best philosophic statements of the play. They are, however, too exhaustive. But they are good philosophy, if they are bad drama and poetry. Klingsor says of the "nature book":
"It asserts: all is vain; nought but stale mediocrity — while we are shaken from shell to core by the breath of the times." He is worshipped by the dwarfs because he has opened the mysteries of inanimate nature, and he commands the spirits of classical life represented by Antinous, and the pagan gods and demi-gods, the personifications of the naive impulses of nature. But he realizes that his wisdom, while it makes dwarfs happy, is inadequate for human beings.
The teaching of Merlin is essentially the humanism of ​the moderate liberalism of Baron von Stein and his followers. Klingsor, voicing the sentiments of Romantic aristocratism, accuses him:
"You tell the mob: Be your own Savior; seek inspiration in your own work. The people like to be told of their majesty. Keep on bravely lying, sweetly flattering, and the prophet is complete."
Merlin retorts:
"You describe yourself, not me. Men have a deep sense of truth, and pay in false coin only him that offers them false gifts." He then continues, lashing the transcendent egotism of the Romantic conception of man in the universe: "To you the earth, the ocean, the firmament, are nothing but a ladder for your own elevation, and you must absolutely reject the thing called humility. In order to maintain yourself strong and whole you have to find men weak and only partial beings," etc. Later, in lines 1637ff., he proceeds, in what are probably the finest and richest passages in the work, to state his own purpose of combining all that is great, true, beautiful, human, and noble, into one comprehensive and rational faith of humanity.
Merlin tries to teach his faith to King Artus and his circle, who embody the frivolous, irresponsible, though refined, conduct of the nobility, essentially the same nobility whom von Stein accused of injuring the nation and Immermann satirized and exposed in Münchhausen. They decide to seek salvation in the primitive idealism of India, appointing Merlin their guide. Merlin, however, succumbs to the silly Niniana, the personification of wanton desire. She makes him tell her a fated word, after promising not to repeat it. She thoughtlessly repeats it. He now loses his superhuman power, i.e., the power of absolute spiritual integrity, and becomes subject to the limitations of earth, like a common man. He can no longer lead Artus and his court, who perish of their own spiritual vacuity.
The end of the play is unsatisfactory. The hero's surrender to the lust of the flesh, undoubtedly suggested by ​Goethe's Faust and consistent in Goethe's poem, is foreign to the conflict of this play, which, not being human, as is that of Faust, but an abstract antagonism of general historic principles, should have been solved without the interference of the mere creature weaknesses of the hero and the mere creature sympathies of the reader. Immermann planned to untie the knot in a second part, which was to treat of the salvation of Merlin; but he never carried his purpose beyond a few slight introductory passages.