Skip to main content

Full text of "ModernGermanLiterature18801950"

See other formats

492                  MODERN   GERMAN   LITERATURE

Her second novel Daphm Herbs! (1928) moves with nostalgic re-
gret in a dying world, the Court circles of the Munich of 1914,
while in Die Schaukel (1934) we have the Munich of her youth.
In her monographs Mozart (193 5) and Fran^ Schubert (1941) there
is the same intimate infusion of her own feelings and experience
that we have in her novel of King Ludwig and Wagner. Her in-
born love of France balanced by devotion to Germany informs her
essays: Sieben Studien (Uam mix deux paints\ 1906), Wege und Urn-
wege (1914) and her Drei^ehtt Bmfe einer Dettfscb-Pran^psm (1917),
in which she avows her detestation of both Pan-Germanism and

HANS LEIP (1893- ) is a prolific and popular writer. The son of
a Hamburg docker, he deserted teaching for literature. In the
Hitler period he was suspect, but escaped because, as a soldier in
Berlin in 1915, he had written Utt Markm* an internationally
known soldiers' marching song; even the British took it over.
The title of his first novel, Der Pfnhl(i$z$\ stands for the inflation
slump in Hamburg. Hans Leip has that seaman's longing for far
seas and shores which through the ages has fired the men of the
Hanse towns to adventure and peril, and he has their love too of
the Wasserkante at home. Thus it is natural that the major part of
his fiction should be centred in Hamburg or radiate from the port,
with tales of Hanse pirates (Godekes Knecbt, 1925) relieved by idylls
of the home front (Jan Himp tmd die kteine Erne, 1933) and excur-
sions into rollicking humour (Her% im Wind^ 1934), Outstanding
in the motley mass of his work is his historical novel Das Muschel-
horn (1940), which records four generations of a Hamburg family of
Frisian extraction. It ends with the initial stages of the Reforma-
tion, which is foreshadowed as likely to reform the evils of the time,
social as well as teligious superstition, the despotism of secular
as well as of spiritual overlords. End of the war stories are Ein
neues Leben (1946), in which Hamburg is pelted with bombs, and
Abschied in Triest (1949); a tale of just after the war is Drachenkalb,
singe (1949), in which the author embodies memories of his years
as a Hamburg choir-boy (Drachenkalh] at St. George's Church; a
choir-boy makes up his mind to be a sailor, but, helped by the
girl he loves, turns musician, As a poet Hans Leip is at his best in
his breezy seaman's songs (Die liafmorgd* 1948; Das Scbiff %u
Paradeis, 1938; Die Laferne, 1942), His song UR Marleen was the
core of two English films,