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jOO                    MODF.RN   GEHMAX   LITERATURE

by way of a new interpretation. Schneider's most exhaustive
exposition of his politico-religious doctrine is in his panoramic
drama hin0syti% md VntwyshM (1952); Pope Innocent III - the
author of De contewptu nwndi! - lights iiercely all his life to estab-
lish his complete dominion over all the work! he can reach, but has
to face the contrary claims of the Kmperors of Germany, Otto IV
and Frederick II; and the course of the argument and action leads
up to the moral victory of St. Francis of Assisi, for whom there is
only one power - the gospel. Inevitably there is the same ethical
bias in Schneider's excursions in literary history: Corneilles Ethos in
dtrAraLttdiivgfXlV(\i)w) for instance, DerPilgpr (1940) analyses
KichendorfTs conception of the world and existence in it, while
Der Ratarakt (^940) and An den lintel in der Wftste (1940) deal in
turn with Lcnau and Clemens Brentano. Die Dichter DOT der
Gescbichte (1944) has for double theme Holderlin and Novalis; Im
Anfang lieff das Ettde (1946) with Grillparzer in his relation to his-
tory pairs with Khisfs lytde (1946). Zttr fait der Schmidt ywischtn
Tag md Nacht (1940) and tinrorbcws ,lirhc (1948) both present
Annette von Drostc-J lulshoff in her struggles as woman and
poet with the closing round her of life's relentless grip. In Der
Stein des Magiers und andere Er^ahltm&en (\949) we have short stories
which throw a kindly light on the lives and temperament of Jus-
tinus Kerner, Kant, and HcbcL As a lyric poet Schneider is best
known as a sonneteer. Thematically his lyric work is marked by
the impact of the war, and sometimes the compressed picture of
horror and devastation is overpowering: Die lel^tm Taff (1945);
Apokalypse: Sonette (1946); Dk mum Turme (1946).

The high lights of Protestant literature are the poet Rudolf
Alexander Schroder (p. 278) and the novelists ALBRECHT GOES
(1908- ) and Manfred Hausmann, Till 195 3, when he retired, Goes
was a Lutheran clergyman in Wurttemberg, and during World
War II he served as a chaplain on the Russian front. If popularity
were a reliable criterion he would have to be graded well up; he
has been much translated. He is a lyric poet of the quiet self-
satisfied Swabian type; he is credited with aiming at being a second
Morike, of whom he has written an excellent biography (Mdrifa,
1938), but he is too notmal to be in that running. His poems from
1930 to 1950 are collected in Gediehte (195 3). As a critic of litera-
ture he has taste and insight* as in his book of essays Die gutm
GefahrUn (1942) and in his Fmtde am Gedickt (195 x)> an interpre-