52. Ludwig Jacobowski's “Bright Days”

Recently, Ludwig Jacobowski¹ with his “Loki” a narrative poem that depicts in symbolic acts the heavy, hot struggles that take place at the bottom of every human soul that does not merge into the hustle and bustle of everyday life, but leads a deeper life. Those who immerse themselves in this “novel of a god” will be captivated by the poet's deep insight into the workings of the soul and his powerful sense of everything that shakes, elevates and plunges the human heart into abysses.

Now Jacobowski has followed up this creation with his “New Poems”*. Through them we can look into the depths of his own soul, into the experiences of his inner life, into everything that has lifted him up to the high vantage point from which he surveys the world and its mysteries in “Loki”. The great, free worldview that we encounter in the novel is deeply rooted in the poet's nature. Two character traits are inherent in this nature, which, in their harmonious interaction, always determine the significant personality: a fine, receptive sense for all the individual things that confront us in life, and a mind that grasps the great connections between the details in their true significance. We owe the fresh, rich colors that shine out at us from Jacobowski's poems to his receptive senses; and it is through his mind that the poet always points out to us what “holds the world together at its core”. In the “Shining Days” we never miss the great view of the essence of the world that lies behind the eternal flow of appearances. Rather, these poems constantly direct our feelings and our imagination towards this essence. One always has the feeling that this poet draws from the eternal source from which the best content of life flows to us.

For those whose spirit is directed in such a way, life is not easy. For every step means a test for them. The world has many secrets to reveal to them. But nature does not give anything away voluntarily. It wrings everything from us in a hard struggle. It paves the way to every goal with suffering and deprivation. But the essence to which it ultimately always leads us is that which satisfies the heart and mind. The mists of existence dissolve; and the sun of life smiles upon us. The true artist shows us this sun. Because it is the sun that, as a spiritual bond, causes the connection of things. All genuine art is therefore “cheerful”. And a sunny cheerfulness, a cheerfulness born out of the difficult struggle of life: these are the things that flow from Jacobowski's poems to us.

Oh, our shining days
Shine like eternal stars.
As a consolation for future lamentation
They glow from a golden distance. Don't cry because they're gone!
Smile because they have been!
And even if the days are gloomy,
our stars will redeem them!

Jacobowski introduces the collection with this poem, as if with an artistic gospel, and he ends it with the confession:

Sinking arms,
folded hands,
Around me the warm,
land illuminated;
Eyelashes closed
In the flattering light,
flowing around
The brown face. Stand in the sun
that I fade away...
Wistfulness becomes bliss,
And bliss becomes woe!
If only I had grace
And kindness and pleasure,
To bathe in the glow
The darkest breast! ... Shining days,
Now you sink slowly!
Alas, without complaint
I look after you.
Secret glow,
That so surrounds me,
Shines forever
The blooming world!

The liberating keynote that resounds throughout the book is expressed in these verses. However powerful the individual experiences may be that inspire the poet, his mind always pushes him towards the heights of existence, towards those bright regions for which the transience of everyday life is only a metaphor. Just as every individual experience becomes a symbol of the eternal ideas of world events for the philosopher, so for the true lyricist every individual feeling, every particular mood becomes a symbol of the entire fate of the soul. And Jacobowski is a true lyricist in this highest sense. See how in the following verses ($. 56) a single feeling comes to life in a universal one.

Brown twigs protrude from a white vase
And drag heavily on the densely filled lilac.
Bright green leaves push through
through the brown branches. The wind gently brushes the blossoms,
A scent runs up and down in shivers.
The whole room drinks itself full of lilac,
And even the soul feels the blossoms softly. Once I was so happy in my heart
suck sweets from lilac stems. —
Oh, I do it again and make children's eyes
And feel the youth in the sap of the blossom!

This diversion of the individual experience into the general is a fundamental trait of Jacobowski's personality. It works in him like a natural process of life in the human organism. He does not seek depth anywhere, he does not strive beyond the individual. This lives in his soul in an immediate way, as the individual plant appears before us as a representative of its entire species. One need only compare his poetry with that of Richard Dehmel to grasp the immediacy of his universal feelings. In Dehmel's work, the path from the individual experience to the great world connections always leads through the idea, through abstraction. In Jacobowski's work, this is not necessary. For he feels universally. He does not need the world of imagination to rise to the primal facts of the soul; every experience of the soul has for him the character of the eternally significant.

This trait in Jacobowski is inextricably linked to another, without which greatness in the human soul is not possible. This is the feeling for the great, simple lines in the world. Everything great in the world is simple; and if someone does not feel the simple greatness of the simple, but seeks the significant in the strange, in the so-called secrets of existence, this only proves that he has lost the sense of the great that meets us at every moment of life. The sins of some modern poets, who seek salvation in random, remote moods because they lack a sense of the simple, the “simple-minded”, are far removed from Jacobowski. Just as in a folk song, an everyday event can trigger a gigantic strength of feeling, so in Jacobowski's work a simple event becomes great because he transports it into the sphere of his mind. It is the simplest thing in the world; and at the same time it is one of the deepest experiences that can happen to a person, as is shown in the poem “The Old Woman” (p. 207):

The old woman

I

I have an old woman,
She lives right next to heaven,
For it is exactly ninety steps,
And children on it, a real muddle. In her little room, clean and bright
The loud echo of the streets resounds. And slowly night falls in
Darkening on the masses of houses. The full moon climbs over the roof,
the stars shine in a circle,
The wall clock ticks only slowly...
We sit there motionless and silent. II What do I have in common with the old woman?
I don't know exactly.
It can't be her coffee,
she puts too much milk in it,
I only love her baked apples,
She cooks them for me in the oven."
What do I have in common with the old woman?
That makes a narrow grave far away. There she laid her hopes,
A slim, blonde maiden. She went through life quietly,
And thought of one and that was me. And no one else realized
That she was the sweetness of my life. When I feel life is confused and rough,
Then I climb up to the old woman.
For her modest little chamber
Holds my soul's blossom within.
And when I come to her, I feel pain. And only when I leave her!

The following lines will describe the outstanding place that Jacobowski occupies among contemporary poets and present the character of his lyrical creations in detail.

II

Looking back on the “Shining Days” as a whole, after enjoying the individual poems, a unified, self-contained work of art stands before the soul. All the lyrical creations form a stylish harmony. The circle of human soul life passes before us. The feelings that are aroused in us by the sublimity and perfection of the whole world, the relationship of the soul to the world, human nature in various forms, the joys and sorrows of love, the pain and happiness of knowledge, the social conditions and their repercussions on the human mind, the mysterious paths of fate: all these elements of the life organism find expression. Nothing is alien to the personality that lives itself out in this book; it is at home on the heights and in the depths of existence. And one has the feeling that in this personality every feeling is given the right measure, the right degree. None pushes itself forward at the expense of the others. A harmonious universality, radiating from the central interests of life, is Jacobowski's essence. And his feelings are driven by these interests in life with a warmth and strength that have a personal and immediate effect in the most beautiful sense of the word. What moves all of humanity becomes, in a truly lyrical way, a matter of its own for this poet. We do not need to put ourselves in the place of a single individual in order to understand his creations; he guides us to our own inner selves. He expresses in his own way what moves us all. He has the magic wand to strike poetic sparks from life everywhere, and therefore does not need to look for peculiarities. Sentimentalism is as foreign to him as delicate sensitivity is his own; he is not a dreamer, but a powerful grabber. A rare confidence in his spiritual direction, a sure, firm feeling of the fruitfulness of his striving speaks from his poems. There is something pithy and delicate at the same time in his nature; he is like a tree that is exposed to strong storms, but is firmly rooted in the ground. He knows that he can abandon himself to life, to the everyday, because he finds treasures everywhere, even on the most trodden paths.

Compare Jacobowski with contemporary poets of note. How many believe that they will only find what is valuable if they search for the shells and extract rare, precious pearls from them. Jacobowski is not looking for shiny pearls; the seed that he reaches for, the common flower at the edge of the meadow, is enough for him. If one wants to name contemporary poets who, after having delighted us with his “Shining Days”, now stand with him in the front row, then only two names will come to mind: Detlev von Liliencron and Otto Erich Hartleben. The differences between the three poets are, however, great. And it is difficult for us to assess them when they are still in the prime of their lives, still stirring up new feelings in us every day. We can only give a provisional and very subjective judgment. Otto Erich Hartleben, the lyricist, seems to me like Goethe's description of the artist in “Winckelmann”. With his admirable taste and his cult of beauty, he communicates something to us that flows over us like ancient art. In this respect, he stands so much alone that we would rather isolate him than compare him. Detlev von Liliencron is the lyrical master of detail. His eye sees every thing in the light of the eternal. But his mind knows nothing of this eternity; that is why he tells us nothing about it. With Liliencron, it is as if we had to hear a second voice if we are to understand the coherence of his images. We must have a kind of second sight with this poet: then we will see what he gives us in the light of the eternally meaningful. Jacobowski has this second sight himself. And with it he achieves something that only poets achieve who create from a worldview, and what I must regard as the hallmark of the true poet: that the philosopher must call him a “brother poet” and at the same time that the simplest mind finds itself in him. The simplest nature and the highest spirit that can be drawn from this nature are one and the same.

Jacobowski's poetry will pass the highest test there is for a poet: to be equally appealing to the man who goes to work in the morning and can only use the festive moments on Sundays to let the serene realm of art work its magic on him, and to the true philosopher who is on familiar terms with the eternal riddles of existence. Like the philosopher, Jacobowski is a world thinker. See how he translates the great idea of Indian wisdom, that everything in the world is only an illusion and therefore need not touch us, into a very individual feeling:

“It's nothing! Just walk past the world!” This strange word does not set my heart free.
How gladly would I pass by the world,
But, alas, the world does not pass me by! For even if I stand in hiding like children,
fearfully turned away from the dance of the days, —
They drag me out of the corner by force,
And each one presses pain into my hand.

In a poem like this, the highest wisdom seems like the most charming naivety; the three most monumental forms of the soul reveal their innermost relationship: the childlike, the artistic and the philosophical.

Because Jacobowski unites these three forms in the most original way, I believe that as a poet he surpasses his contemporary Dehmel. He is a complete poet; Dehmel is half poet and half thinker. And two such halves make as little of a whole as a half lens and a half bean. In Dehmel's work, you will look in vain for a poem as simple as the following, which could almost serve as a motto for many of the greatest philosophical creations:

Soul, tell me, what are you struggling for?
“I am of the earth, but I long to be of heaven!"
Soul, you only achieve night and death?
“A morning red glows over nights!"

In a beautiful psychological study in “Pan” (1898, 3rd [issue, 4th year]), the brilliant Lou Andreas-Salome hit the nail on the head when she said: “In our time, many, and not the worst, turn away from the whole outer life and even despise it as a mere occasion for personal activity and self-realization, because they feel themselves hemmed in and robbed of their individual existence by the entire cultural conditions in which we live. [...] There is a search and longing for solitude in the most advanced people, in all those who carry something within themselves that cannot be born on the market, in all those who carry hope and future within themselves and secretly fear that these could be desecrated. They know full well that the great works that stride across the earth with brazen steps of victory and ringing music, century after century, arise from full contact with the full breadth and depth of real life, but until then – they also know this – many other, quieter works must precede them in white robes, with shy buds in their hair, and testify that there are human souls that are festively dressed and willing and ready for a new beauty in their lives.” On the other hand, it is safe to say that in the future, people with white robes and shy buds in their hair will be interesting symptoms of the end of the nineteenth century, people who will be studied for their peculiarity, but that the real signature of this period will be the spirits with healthy senses, with developed blossoms in their hair, who love fresh colors and not the pale, sickly white. We count Jacobowski among them.

Our healthy thinking has given rise to Darwinism and all its consequences in the second half of the century; on the paths along which this healthy thinking and healthy feeling walks, we also meet poets like Jacobowski. Alienated from the world, lost in aesthetic and philosophic-mystical quirks, we encounter poets with white robes and shy buds in their hair. Artificial poetic forms are of little value, as are bizarre, ingenious ideas. Both, however, always arise in times of powerful spiritual struggle. However, they never appear in the case of strong, original, independent minds, but rather in the case of weak, dependent minds that cannot produce original content from their souls, that have to extract everything from themselves with pliers and pumps, but that would still like to participate. Such minds are not equal to the demands and tasks of the time. They do not know any simple, straightforward answers to the questions that are buzzing around us. That is why they seek the abstruse, the sophisticated. The profound connoisseur of the workings of nature, Galileo, spoke the wise words that the true is not hard and difficult, but simple and easy, and that in all its works nature uses the closest, simplest and easiest means. Only the mind that knows how to use the simplest and easiest means, just like nature, truly lives in harmony with nature. Jacobowski appears as such a mind among the host of contemporary poets. Dehmels' artificial forms and artificial feelings seem like a departure from natural simplicity.

III

What a mistake it is for individual contemporaries to seek the salvation of poetry in formlessness and to believe that the “old” forms have been used up is best shown by contrasting the creations of these enthusiasts of formlessness with poems such as those of Jacobowski. The philosopher Simmel has written an interesting essay about a follower of formlessness, Paul Ernst. According to Simmel, this formlessness represents progress in that the artist no longer seeks the higher, the divine in art through artificialization, through the manipulation of immediate natural phenomena, but rather sees a divine significance in every experience that takes place before our senses, a significance that deserves to be captured in this immediacy. On the basis of such views, poetry that is nothing more than prose divided into verses is considered “modern” today. Those who hold such views live in the mistaken belief that the “old” forms are something that the artist arbitrarily adds to the phenomena of nature from his subjective essence. He does not realize what Goethe repeatedly explained in the most illuminating way, that the external course of events is only one side of natural existence, the surface, and that for those who look deeper, higher laws of form are expressed in nature itself, which they recreate in their artistic forms. There is a “higher nature” in nature. What Goethe has the Lord say to the angels in “Faust”: “But you, the true sons of the gods, rejoice in the living, rich beauty! That which is becoming, which eternally works and lives, embrace with the love of gentle boundaries, and what floats in a wavering appearance, fasten with lasting thoughts,” expresses the artist's mission. Only the “shaky appearance” presents itself in formlessness; the eternal becoming is full of form; it is inwardly, through its essence, bound to form. The rejection of form is nothing more than an expression of the inability to see the “higher nature” in nature, to find the subjective, stylish expression for its innermost harmony. In the face of all such aberrations of the time, Jacobowski, out of an inner necessity of his artistic sensibility, takes the safe path of the artist. One can see what he achieves with the proven “old” forms in a poem like “The Four Robbers”, which forms the conclusion of “Shining Days”. In this legend, simple simplicity is combined with symbolic allusions to the deep connections of world events and with a noble, closed form. What I said at the beginning of this essay about Jacobowski's poetry, that this poet draws from the eternal source from which the best content of life comes, is the reason why he stands out as such a pleasing, refreshing poet from other fellow poets. These others, however, only know derived sources. They are driven by a purpose in life that is unable to fulfill them. At best, they see branches and shoots, but they are unable to penetrate to the fertile, constructive elements of the life organism. Only those who direct their gaze to these fertile beings will find life's higher justification. When it is so often said that spiritual greatness leads to loneliness, one must reply that the proud, necessary loneliness that arises from the feeling of the eternal in the world has nothing to do with the accidental loneliness that arises from someone withdrawing into some isolated corner of existence. If he sees nothing in this corner but “what lives in a fluctuating appearance”, then his report cannot captivate us, even though he speaks of things that are hidden from the everyday eye. The cultural content of the world is not enriched by adding isolated phenomena to the old stock, but by leading the eternal becoming to a new stage of development. The way in which an artist who is capable of such things relates to life phenomena that appear new and “modern” in his time is evident in the part of “Leuchtende Tage” entitled “Großstadt” (Big City). Here, a spirit speaks of the social life of our day that does not see it in the perspective of the moment, but rather in the perspective that arises from the contemplation of the great laws of the world. The singers of social passions and conflicts often see only a few steps ahead. The light that falls on contemporary phenomena when they are placed in the context of a world view is what gives our feelings about these phenomena the right nuance. Modern big-city life, for example, is given such a nuance in Jacobowski's poem “Summer Evening”:

Summer evening. —
The air is soft and warm;
a distant scent from a garden,
The wide expanses of the sky are still pale,
here and there pale traces of stars;
On the street, the crack of whips and noise,
boys who are infatuated with young girls;
Children play with hoops in front of the doors,
coachmen knock their pipes;
knights on steeds, who are thinking of love,
honestly endeavor to win the favor of the ladies on bicycles, ...
And all the soft, warm air,
And from gardens a stray scent.

The poet experiences a “modern” situation; he portrays it in the context of the whole world. We do not see the city scene in isolation, but in such a way that the rest of the world plays into it. In this sense, “The Soldier, Scenes from the Big City” is a truly modern creation, in which the fate of a person transplanted from the countryside to the big city is described. Moving images pass before our soul, and from them we see the suffering of a man who is caught in the snares of eternal, gigantic fate, with the part of unreason that is in the world, and crushed. A poem like this teaches us how much a person's attitude, such as Jacobowski's, can deepen their feelings about modern life:

The mother once carried vegetables,
And when the cherry harvest came,
Then dear Liese stole for me,
as much as her little apron could hold.
How we feasted in the fields and meadows! Mother sits in front of her baskets;
Now she is old, but happy in her mind,
So she boasts to her neighbor:
“My girl can't go wrong,
For she knows how to earn
And still puts something aside for later!" I gave her a present yesterday
And recognized her face at once.
I stood in silence in the crowd,
until her Rembrandt feathers faded
In the street bustle slowly faded. I couldn't move from the spot,
Her gaze burned into me.

IV

Jacobowski's ability to see the deeper connections of existence in the individual experience makes it possible for him to also poetically shape what reveals itself to us in life as chance, as blind necessity. In such poetic creation, the senseless approximation then appears as the expression of a meaningful guidance in world events. The kind of poetry that arises from such a view is usually called symbolist. A versatile nature like Jacobowski's will always push towards the symbolic representation of certain experiences. The serious play of the imagination will seek eternal laws even where they do not impose themselves in reality. But it is precisely this universality that prevents symbolism from being exaggerated in a one-sided way. For the harmonious personality always feels more or less what Goethe felt when he saw the Greek works of art in Italy: that the true artist proceeds according to the same laws as nature itself when creating its creatures. When the imagination of such a poet works symbolically, it does not do so in the obtrusive way in which many contemporary symbolists would like to force their subjective and arbitrary ideas on us as revelations, but with that spiritual chastity that allows nature itself to speak in the symbol, without distorting or contorting the inner truth of its expressions. In this beautiful sense, Jacobowski's “Frau Sorge” is a symbolizing poem:

A couple walks through the evening light,
he is a blacksmith's apprentice, she is a seamstress. "Rosel, when we both pull a cart,
It's twice the joy and half the effort!" And she leans wearily against her beloved;
A tear now and then runs down her cheek. "Rosel, stop crying for your daily bread;
If it was enough for one, it's enough for two!" He took her in his arms, asked no more questions,
caressed her warm, glowing face... Gradually the light faded and they walked far

A woman sat down in the same place,

Looked with a gray gaze, raised her withered hand,

Threatened with the crutch, murmured and vanished...

The couple strode into the city,
Mrs. Worry was already sitting in the middle of her little room.

Jacobowski's imagination has a similar symbolic effect on the phenomena of nature. This is also evident in his prose stories. It appears so enchanting in his “Loki”. The spiritual in him grows out of the natural, as it were; it reflects its soul-stirring power back onto nature and receives from it a firm basis in reality. In the “Shining Days”, this trait is particularly evident in the section “Sun”. I will quote the poem “Shining”:

Just now, when the sun is shining,
my darling is walking across the field;
A glow passes over the field,
Catches itself, as if it were meant for her,
shining in her blonde hair. Just now, when my sweetheart is running
over the blooming field,
Where her laughter falls down,
the stalks glisten like dewdrops,
The flowers glisten in the grass. Just now, when the golden trace
Brightly glows in my eyes,
I see only blessings, only love, only happiness,
I see only a single glow
over the blossoming world.

And the poem “Maienblüten” seems to me like a bond that nature and the soul form in the imagination – in the best sense of a symbolist inspiration of nature:

Bear it silently when from the branches,
From the overfilled branches,
flowers blow into the pious hair,
And gently bend over,
So in thirst, lean over,
lips to lips
. See, a sweet and wondrous tremor
runs through the rows of leaves,
All the blossoms that they scatter,
they scatter blessings on you and me.

If we let the various currents of modern poetry pass us by, we are sure to encounter many a magnificent blossom. But we see only too often that beauty in the individual must be paid for with one-sidedness. It is harmonious universality that makes Jacobowski significant. He knows no poetic dogma; he knows life, and his interests end where life ends.