Skip to main content

Full text of "ModernGermanLiterature18801950"

See other formats


Da f and ich go Idem Haufen,
Fand auch an 'Papieren gar viel
Und horte die alte Tante schnaufen
Ohn* Mitleid und Zartgefuhl.

Was nut^t esy dass sie sich noch bar me -
Nacht war es rings urn mich her -
Ich stiess ihr den Dolch in die Darrne^
Die Tante schnaufte nicht mehr.

Das Geld war schwer %u tragen,
Viel schwerer die Tante noch.
Ichfasste sie bebend am Kragen
Und stiess sie ins tiefe Kellerloch.

Ich haV meine Tante geschlachtet,
Meine Tante war alt undschwach;
Ihr aber, ihr Richter, ihr trachtet
Meiner bluhenden Jugend-Jugend nach.

'Kisten-Kasteri* and 'Jugend-Jugend' are just in the tone of the Uber-
brettl minstrelsy, which - ejaculatory and slyly or boisterously
allusive - made a direct appeal to the risibility of an audience
possibly for the most part soaked. The idea of the Uberbrettl is
set forth by that cracked genius Stilpe, the hero of Otto Julius
Bierbaum's novel; actually it was nothing more than what Paris
had long known as the literary cafe (Le Chat Noir, etc.); but in
Germany the plan fastened on to the declamation by poets in the
flesh of their own verse on a miniature stage. When Ernst von
Wolzogen took up the idea practically in 1900 and founded Das
bunte Theater in Berlin, while Otto Julius Bierbaum made an at-
tempt to direct the Trianon Theatre, the movement fell through
because of the inadaptability of poets; in Munich, however, a
group of poets of whom Wedekind was one kept Die elf Scharf-
richter going for a time by the mere attraction of their Bohemian
intimity. Dehmel, on the other hand, protested against the degra-
dation of his poems - some of which are among the most popular
hits of the time - by minstrel recitation in what was after all a
Philistine atmosphere. But, though the dream of physically linking
music-hall and lyric poetry fresh from creation failed to materialize,
the collection of verse selected as suitable for such recitation, or