He felt hampered by the
restrictions which the necessarily limited length of an evening's
performance placed upon him, and wished more time and space for the
explanation of motives and the development of his plot. In his novel,
then, he clung to exactly the same arrangement of his theme as in his
drama--its initial presentation, the intensification of the interest,
the climax, the revulsion, the catastrophe. Again, in the matter of
contrast he deliberately followed the lead of the painter who knows
which colors are complementary and also which ones will clash.
[Illustration: GUSTAV FREYTAG. STAUFFER-BERN]
What, now, are some of the special qualities that have made
Freytag's literary work so enduring, so dear to the Teuton heart, so
successful in every sense of the word? For one thing, there are a
clearness, conciseness and elegance of style, joined to a sort of
musical rhythm, that hold one captive from the beginning. So evident
is his meaning in every sentence that his pages suffer less by
translation than is the case with almost any other author.
Freytag's highly polished sentences seem perfectly spontaneous, though
we know that he went through a long period of rigid training before
achieving success. "For five years," he himself writes, "I had pursued
the secret of dramatic style; like the child in the fairy-tale I had
sought it from the Sun, the Moon, and the Stars. At length I had found
it: my soul could create securely and comfortably after the manner
which the stage itself demanded.
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