45. Education and Training

"There is nothing more terrible than active ignorance." This is one of Goethe's sayings in prose. If it is correct - and it seems to me that it is - then I would like to use it as a legal title when I find the way in which the gentlemen of the pen are currently "active" and "terrible" for the most part. I recently read a dramatic work by Hermann Sudermann called "Heimat", which I have also seen on the stages, which today almost only represent the half-world. The author has also written a good play, "Sodoms Ende", and a rather bad one, "Die Ehre". Although the latter is undramatic, it finally contains conflicts that are taken from deep-rooted damage to our social life. The shy leather-wearing philistine, who still realizes that Eugen Richter is not the right representative of the people after all, sees with wistful delight the made-up dolls that stand for figures of life, which his liberal nose could bump into twenty times without understanding the wretched situation of such people. That is why "The Honor" is given often and everywhere. "Sodom's End" contains a deeper, celestial conflict. That is why a man who has read a lot about protective tariffs and free trade does not understand it, and - the play is rarely performed. But "Heimat" was trumpeted as a play of epoch-making importance by the all-knowing masters of the feuilleton. All "active ignorance", perhaps better said: uneducated and therefore purely arbitrary taste. When the gentlemen say that at present it is not at all important that our plays should satisfy the educated who have educated their taste; it is rather important to offer something to the people, to those people who have never had time and opportunity to cultivate their taste, such a word may be acceptable when it comes to "Die Ehre"; but it is superficial in comparison with "Heimat". Here we are dealing with social classes to whom one must make higher demands. To present a woman like Magda as the antithesis of the old, rusty philistinism is to produce half-measures that can only mislead. The woman who really suffers under the pressure of circumstances, because the free development of her talents is made impossible, would hardly want to have anything to do with the higher circus wisdom of a Magda. This Magda is untrue from head to toe, because she wants us to believe that the standpoint of modern femininity can only be achieved through brutality.

I am surprised that so few critical eyes have noticed the untruth of this play. Because it really wouldn't have been that difficult this time. But there is an "active ignorance" that knows very little about what a human heart can and cannot experience.

More and more, our criticism is losing the great trait that comes from real knowledge of the world and a competent 'will', and the public's taste is sinking ever deeper. We must not be unclear about the fact that criticism has a great influence on the education of the public. This is much more the case in artistic matters than in those where the judgment of the intellect is more important. If someone makes a wrong intellectual judgment, I will be able to dissuade him from his error in a relatively short time by making the truth palpable to him. The same is not true of the judgment of taste. That is the product of a longer educational process. I will not easily convince anyone of the falsity of Sudermann's figures if he has been reading in his favorite newspaper for a long time that this is what the "new poet" must do. In particular, it will be difficult to put something better in the place of inveterate trivialities.

I have only said all this here to characterize the slippery slope that "active ignorance" has taken us down. We will only return to a healthy state of affairs when the critic who knows nothing and judges everything is replaced by someone who approaches the intellectual products of his contemporaries on the basis of a well-established view of life and the world. Today, instead of a competent but constantly evolving view of things, we find arbitrary art and science recipes based on nothing; journalistic recruits use their clumsy shooting sticks as critical marshal batons.

Under such conditions, it is no wonder that criticism is usually completely unfruitful for the productive spirit, and that an understanding of the value of contemporary literary products is virtually an impossibility. I am convinced that a literary product of real value is rarely judged in completely opposite ways by two people who are based on a purified view of life. Today, a book is declared by one person to be a European event, while the other considers it to be the product of the purest folly. Such judgments may well stem from subjective arbitrariness, but not from a true knowledge of the subject and a deeper understanding of the world.

In the face of such circumstances, one would not like to pin one's judgment of contemporary literary products to the letterpress printer's material. Not much comes of it. Sometimes, however, one has to say something about this or that, especially if it is of such a typical nature as the little booklet about which I now want to say a few words. I am referring to Richard Specht's little dramatic sketch "Sündentraum". I was interested in this little book. Its author had a thought:

"Everyone sins, even if only in dreams,
Sin has room in every heart,
For there is only one thing that drives life
Only one thing that remains constant in change,
To chase the happiness that always sprays out,
To fan the flame that burns out in the night."

Specht puts these words into the mouth of "sin". From her mouth we would know what we humans actually are. I know a certain Tantalus. Richard Specht seems to have no little desire to portray him as the archetype of humanity. But the author knows how to console us about our Tantalus torments:

"You are a fool, will you pine for the eternal—
I'll teach you to fully enjoy, fully despise!"

I do not agree with this at all. For it is indeed clear to me that, according to the sound, despise rhymes with languish, but not that in reality it is compatible with fully enjoy. I would not reproach the poet for these things in a schoolmasterly way if his dramatic sketch did not contain a thoroughly symbolic plot with symbolic characters, and if sin did not remain the victor in the end; it ends the play, "glaringly exultant":

"Down - down - to the swamp - to the happiness of sin! -"

If this is supposed to be symbolic for us humans, then I have to say that I reply in good Nietzschean - or should that be Goethean - fashion: no matter how many ragged marks of sin people attach to me, I cover them with the cloak of pagan pride and claim my universal human right to heaven. Why into the "swamp"? Here lies the crux of the matter. Richard Specht is a poet of great talent who can do more than just write beautiful verses. He has something that hundreds of our writing contemporaries lack: the insight that there is something in the world besides front and back houses, besides philistine generals and emancipated singers, besides ragged artists and lascivious society ladies, in short, besides flesh and senses. But he only knows it because he has read about it in other people's books. For him, everything is a concept, nothing is experience. His problems are not acquired, but learned. He can do a lot, but he has experienced little. If he had equal perfection in both, I believe that he would write better than some of the younger writers who are highly praised today. I say this even though I know that the "Sinful Dream" leaves much to be desired, for I know that a single serious experience will turn Richard Specht into an important poet. He only has to experience it deeply and thoroughly, and not after the example of his compatriot Hermann Bahr. I have just read his latest novel "Beside Love". In it I find a piece of Viennese life described. I even know some of the things in this book very well. But reading it, I was vividly reminded of Allers' Bismarck pictures. Here and there, purely external sketches, without penetrating into the center of the characters. Bahr draws the Viennese mind, like everything the genius of Bismarck. I particularly regret the former. Bahr is a brilliant personality who can be credited with anything, but who is finally consumed by the most vain vanity. I am the last person who would like to hear Hermann Bahr speak in an unctuous idealistic tone; but there are more things on earth than he can dream of with his tails and floppy hat wisdom. The Parisian artist's curl suits the French child of the world quite well, but it doesn't turn the simple Linzer into a Frenchman. Hermann Bahr proved this to us in recent weeks when he traveled from one German "authority" to another to ask the gentlemen for their opinion on the Jews. In the eyes of the suave Hermann Bahr, I am probably only a German philosopher, but I would never have committed the "unworldly" act of asking all these gentlemen, because what they all say in this matter has been "known for a long time". I found little worldliness and much philistinism in the "European" Hermann. I would no more like to ask Adolf Wagner for his opinion on the Jews than I would ask Eugen Richter for his opinion on the Social Democrats, and I have never been to Russia or Spain. Hermann Bahr knows the world. But he knows it like Count Trast-Saarberg in Sudermann's "Honor": superficially and without sympathy. Trast loves with his imagination in the Orient, with his senses in the South, with his wallet in France and with his conscience in Germany. Ultimately, this means nothing other than that he has adopted the pose of the respective countrymen everywhere. He is a comedian, not an artist of life. His love is imitation, because there is no soul in it. Trast is the type of person for whom the world can only be taken ironically. But their irony is a child of their superficiality. Their humor is cynical. They believe they have an overview of the world and can be squeezed into one of their clumsy conceptual templates by any idealistic dolt.

The fact that we currently encounter people of Trast's character so often in life best characterizes our age as one of overripe education. Looking at life with a sense of humor is part of a high level of education. A rich imaginative and rational content are the preconditions of humor. One must first know a thing above which one rises, and which one then looks at indifferently from above. But after the justified humorists come the actors of humor who, although they do not know things, play the superior who can despise them. These are the humorists of smugness. They are useful for playing Trast roles on the world stage. But those who want to deal seriously with serious things limit their dealings with them to the coffee house and drawing room.