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And so on. And so on and so on.

And so on and so on and so on. On web pages forty eight and forty nine there is a ideal riot of old jokes, like the n th variation of the whiskers joke and a fearful and amazing pun about Belgian hares and heirs. On second ideas I go no additional. This, remember, is the reserve that Cobb’s publishers, apparently with his individual Nihil Obstat , opt for at his ideal.

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This is the official masterpiece of the “new Mark Twain. ” However, even so laboriously flabby a farceur has his moments. I change to Frank J. Wilstach’s Web page 104. Dictionary of Similes and uncover this credited to him: “No far more privacy than a goldfish. ” Listed here, at final, is something genuinely humorous.

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Right here, what’s more, is some thing evidently new. VIII. HERMANN SUDERMANN. Sudermann was a single of the to start with deer flushed by Ao Holz and Johannes Schlaf, the founders of German naturalism. He had created a few of successful novels, ” Frau Sorge ” and ” Der Katzensteg ,” right before the Uberbrettl’ acquired on its legs, and so he was a recruit well worth snaring. The original fruit of his enlistment was ” Die Ehre ,” a reductio advert absurdum of Website page 106. Prussian notions of honor, as incomprehensible outside the house of Germany as Franz Adam Beyerlein’s ” Zapfenstreich ” or Carl Bleibtreu’s ” Die Edelsten der Nation . ” Then followed ” Sodoms Ende ,” and soon after it, ” Heimat . ” Previously the emptiness of naturalism was commencing to oppress Sudermann, as it was also oppressing Hauptmann.

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The latter, in 1892, rebounded from it to the unblushing romanticism of ” Hanneles Himmelfahrt . ” As for Sudermann, he chose to temper the rigors of the Schlaf-Holz system (by Ibsen out gabriel leonard the essay pro of Zola) with sardoodledum. The consequence was this ” Heimat ,” in which naturalism was wedded to a mellow sentimentality, caressing to audiences bred upon the drama of perfumed adultery. The whole last scene of the engage in, in fact, was no additional than an echo of Augier’s ” Le Mariage d’ Olympe . ” It is no surprise that even Sarah Bernhardt pronounced it a wonderful do the job. Since then Sudermann has wobbled, and in the novel as properly as in the drama. Missing the uncanny flexibility of Hauptmann, he has been unable to conquer the two fields of romance and actuality.

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Rather he has dropped himself between them, a rat with out a tail. ” Des hohe Lied ,” his most profitable novel due to the fact ” Frau Sorge ,” is just about anything but a very first-amount work. Its opening chapter is a superlatively good piece of composing, but after that he grows unsure of his way, and towards the stop one particular begins to ponder what it is all about.

No coherent Site 107. idea is in it it is only a sentimentalization of the uncomfortable if it were not for the naughtiness of some of the scenes no one would go through it. An American dramatist has made a play of it – a shocker for the exact clowns who were being entranced by Brieux’s ” Les Avariés . “The problems with Sudermann, below and elsewhere, is that he has no seem underpinnings, and is a little bit uncertain about his characters and his tale. He starts off furiously, permit us say, as a Zola, and then dilutes Zolaism with romance, and then pulls himself up and begins to imitate Ibsen, and then visits and falls headlong into the sugar bowl of sentimentality. Lily Czepanek, in ” Des hohe Lied ,” swoons at important moments, like the heroine of a tale for chambermaids.

It is almost as if Lord Jim ought to get converted at a gospel mission, or Nora Helmer permit down her hair. But these are problems in Sudermann the novelist and dramatist, and in that Sudermann only.

In the short tale they conceal them selves he is finished before he commences to vacillate.