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GUSTAV FREYTAG

(1816-1895)

USTAV FREYTAG, one of the foremost of German novelists, was born July 13th, 1816, in Kreuzburg, Silesia, where his father was a physician. He studied alternately at Breslau and Berlin, at which latter university he was given the degree of a doctor of philosophy in 1838. In 1839 he settled as a privatdocent at the University of Breslau, where he lectured on the German language and literature until 1844, when he resigned his position to devote himself to literature. He removed to Leipzig in 1846, and the following year to Dresden, where he married. In 1848 he returned to Leipzig to edit with Julian Schmidt the weekly journal Die Grenzboten, which he conducted until 1861, and again from 1869 to 1870. In 1867 he became Liberal member for Erfurt in the North German Reichstag. In 1870, on the breaking out of the Franco-Prussian war, he was attached to the staff of the Crown Prince, later the German Emperor Frederick III., and remained in service until after the battle of Sedan. Subsequently to 1870 his journalistic work was chiefly for the newly established weekly periodical Im Neuen Reich. In 1879 he retired from public life and afterward lived in Wiesbaden, except for the summer months, which he spent on his estate Siebleben near Gotha. He died at Wiesbaden, April 30th, 1895.

All of Freytag's earliest work, with the single exception of a volume of poems published in 1845 under the title 'In Breslau,' is dramatic. His first production was a comedy, 'Die Brautfahrt' (The Wedding Journey), published in 1844, which although it was awarded a prize offered by the Royal Theatre in Berlin, found but indifferent popular favor, as did its successor, the one-act tragedy Die Gelehrte (The Scholar). With his next play, 'Die Valentine' (1846), Freytag however was signally successful. This was followed the year after by Graf Waldemar.' He attained his highest dramatic success with the comedy Die Journalisten' (The Journalists), which appeared in 1853, and since its first production in 1854 has maintained its place as one of the most popular plays on the German stage. But one other play followed, the tragedy 'Die Fabier' (The Fabii), which appeared in 1859.

He had begun in the mean time his career as a novelist with his most famous novel, 'Soll und Haben' (Debit and Credit), which was

published in 1855 and met with an immediate and unbounded success. The appearance of this first novel, furthermore, was most significant, for it marked at the same time an era both in German literature and in its author's own career, in that it introduced into the one in its most recent phase one of the profoundest problems of modern life in Germany, and unmistakably pointed out, in the other, the direction which he was subsequently to follow. This latter statement has a twofold bearing. It is not only that as a writer of novels Freytag did his most important and lasting work, but that the whole of this work was in a manner the development of a similar tendency. Although as different as need be in environment, all of his subsequent novels embody inherently the characteristics of 'Debit and Credit,' for like it, they are all well-defined attempts to depict the typical social conditions of the period in which they move, and their characters are the carefully considered types of their time. Freytag, with a philosophic seriousness of purpose perhaps characteristically German, is writing not only novels but the history of civilization, in his early work. Later on, the didactic purpose to a certain extent overshadows the rest; and although he never loses his power of telling a story, it is the history in the end that is paramount.

'Debit and Credit' is a novel of the century, and it takes up the great problem of the century, the position of modern industrialism in the social life of the day. Its principal centre of action is the business house of the wholesale grocer T. O. Schröter, who is an admirable embodiment of the careful, industrious, and successful merchant. In sharp contradistinction to him is the Baron von Rothsattel, the representative of earlier conditions in the organization of the State, which made the nobleman pre-eminently a social force. Freytag's polemic is not only the dignity of labor under present conditions, but the absolute effeteness of the old order of things that despised it. The real hero of the story is Anten Wohlfahrt, who begins his commercial career as a youth in the house of T. O. Schröter, and ends, after some vicissitudes, as a member of the firm. Mercantile life has nowhere been better described in its monotony, its interests, and its aspirations, as the story is developed; and although at first sight no field could be more barren in literary interest, there is in reality no lack of incident and action, whose inevitable sequence makes the plot. Anton's career in the house of Schröter is interrupted by his connection with the Baron von Rothsattel, who has, through his want of a business training and his lack of a knowledge of men, fallen into the hands of a Jew money-lender; by whom he is persuaded to mortgage his land in order to embark in a business undertaking which it is presumed will increase his fortune. His mill fails, however, and he is involved in difficulties from which he is unable

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