# 63. Franz Ferdinand Heitmüller: “The Treasure in Heaven”

The collection of short stories by Franz Ferdinand Heitmüller, “Tampete” (Berlin S. Fischers Verlag 1899), published some time ago[^1] contains an artistic pearl. It is the novella “Tampete” that gave the volume its name. A mood poet of great narrative and characterization power has created this small work of art. “Tampete“, this Lower Saxony peasant dance, this German tarantella, lives on in this spirited style; the figures stand before us with deepened passion, like people who are not living out their own lives, but a demonic force that possesses them.”

In his recently published volume, Heitmüller has once again given us such a pearl: the novella “Als der Sommer kam”. This time, however, it is not as if a wild nature were speaking from the soul of a human being; this time it is a soul itself that is presented to us in its most intimate destiny, in lonely struggles: a soul that returns to itself from the alienation into which the world has brought it, that grows from smallness to greatness. Eugenie's child has grown up in the hands of strangers. But she herself must be seen as the virgin girl in her social environment. Only in this way can it be imagined that Arthur, her fiancé, who as a public prosecutor has “obligations to society”, will marry her. So Eugenie lives a life of pretense in the city, in the hope that one day she will be able to live a life of pretense at Arthur's side. Her child, however, whom she has hardly seen, lives far away from her, condemned to be disowned by its mother for the rest of its life. An illness of this child calls the mother to it. She hopes - a fatal illness, because with the child, what Arthur is repeatedly concerned about would be eliminated. A mother's soul, completely subjugated by the violence of social conditions, comes to her child, who is so foreign to her that she mistakes him for a stranger at first. And this mother's soul finds all the motherly love she needs at the sickbed, and with this love she finds herself, as a liberated, as an overcomer and victor. She describes this victory to the doctor of the country town, with whom she has become friends during the child's illness; she talks about how she has become free in the rural solitude, and how she now wants to carry this freedom into the city, where people can never understand such things, but where she wants to defy the lack of understanding. “The fact that I am here among people who are more or less indifferent to me and who are of no concern to me, that I am here, in a strange environment, so to speak, confessing my child, is not so bad after all. But there, in my usual sphere, which is no longer to be mine, it means something. Do you think I want to hide here and be secretive with my happiness? No, I want to proclaim it loudly, to shout it out so that everyone can hear it: look, this is me – the real me – and if they spit at me and I still remain in the calm equilibrium of proud love, then you see, only then do I have a right to myself and to the child whose mother I want to be. I want to be free of people and their rules, and that is why I have to go back to them.»

Heitmüller depicts the complete transformation of a human spirit. And he does so on fifty-two pages that are not too densely printed. But he does so with full inner truth. The poet has clearly encountered a problem that speaks to him in a rare way. He has mastered the entire psychology of this problem. And this psychology is worked out from a mood that is fully in harmony with it. Heitmüller knows how to stylishly interweave the girl's process of liberation with her life in nature. “She had rented a few rooms, far out in a somewhat dilapidated country house on the mountain. She had always seen it with its white-painted walls shining from afar. Like a hope. When she discovered a glass-covered veranda at the back of the house, which led to a spacious garden with old shady trees, she quickly came to an agreement with the owner. - And so they lived their quiet, regular lives... And very slowly, as the germs and budding buds stirred and stretched within her, dreamlike, unconscious, diverse, every day, every hour, ever stronger, swelling, a drunken confusion, until her white soul stood in a thousand glowing blossoms: - very slowly and hesitantly, the ground of the child's soul also began to green and to cover itself with the first shy colorful flowers. And on this soft ground her dreaming love wandered, pulling up the weeds everywhere or breaking a flower that had unfolded overnight, greedily inhaling its weak scent – shyly, trembling, dazed. Here and there she bent and cut back the overhanging branches, she drove away the shadow and let in the light, so that the other many buds that were peeping out everywhere from the light green lawn could also develop and unfold in full strength. And the light came from everywhere, for love has a hundred busy hands that never tire of bending aside leaf after leaf so that the sun can shine through...» This is how someone who has the finest sensitivity to the wonderful harmony that exists between the life of nature and the struggling human soul describes it. Who has a lively feeling for how deeply symbolically the human mind's desire for freedom is silently hinted at in the creations of the outside world, and how in the human heart the growth and blossoming, the germination and budding of nature is transformed into the language of the spirit.

I am less satisfied with the first novella in the book: “The Treasure in Heaven”. What Heitmüller achieved so perfectly in “When Summer Came” was to find the right style for his subject: in this novella, he has probably gone wrong. This farmer, who is so clumsily and comically deceived by Resi, the farmer's daughter, is a magnificent character, but he should be drawn with a sharp sense of humor, and we should not have the impression that the lines, which as caricatures we might well like, are being offered to us with complete seriousness. The poet does indeed make attempts at a humorous style throughout. However, it seems to me that the tone of humor does not really venture out. And so we have to accept that Resi deceives the Gaisdorffer farmer, that his deceased daughter writes him letters from heaven asking for loans, that the farmer believes this and really gives his money to help his daughter in heaven find her bridegroom. But Resi, the good girl, wants to use the money to buy herself a very earthly bridegroom, Wastl. The “pious girl” even manages to persuade the farmer that her and Wastl's little offspring is actually the Gaisdorffer farmer's grandchild. Crescence, the deceased daughter, who is still so in need of money in death, brought her the child. The farmer finally marries the “pious girl” with the child that fell from heaven. Wastl goes out into the big wide world, falls in love with someone else, and not without first spending the money that Resi has swindled from the farmer for heavenly purposes.

Heitmüller's skill at drawing simple, undifferentiated people, which we know from “Tampete”, is also evident here. None of these characters, except for the Gaisdorffer farmer himself, has suffered from the mistake of style.

I again place the last novella of the collection, “Abt David”, much higher. Here Heitmüller, the sympathetic poet of mood, lives out fully. Therefore, we are happy to overlook the fact that the idea of the story remains too pale, too abstract. David von Winkelsheim is a real abbot from the turn of the fifteenth and sixteenth centuries. With a priestly attitude in which Catholic principles have become completely habitual, he combines a fine sense of art. He decorates his monastery with treasures of beauty, where praying and reading the mass are only done out of old tradition, but precisely and dutifully. With delicate sensitivity, the poet depicts how a general trend of the times is reflected in a small corner of the world. His abbot reflects the attitude of many Catholic priests of the time in which the novella is set. The worldly desires and passions that must be silenced in the soul of a priest take the form of artistic longing in David. And in a meaningful contrast to the abbot stands his brother, the man of the world of that time, who brings the adventurous Johanna, the artist in men's clothing, to him so that she can decorate the monastery with works of art. The abbot sees in Johanna only the artist, but the brother loves her as a woman. And when she finds death in the floods of the Rhine, the full contrast between the natures of the two brothers is revealed. Wolf von Winkelsheim – that is David's brother's name – describes this contrast: “At the time when she lost her father so suddenly in Florence, when she had to return home alone, she may well have had the adventurous idea. Dressed as a man, she could better protect herself from the dangers of the streets and the menfolk. But I know all about that, and the morning we broke in here, it was clear to me that there was a woman in those trousers. But I went along with the pious deception – of course! To finally get rid of my promise to give him the paintings. The brother got what he wanted too, he has his pictures, and his “Herr Johannes” lives on with him and can never die. But I have lost “Frau Johanna” - I paid too much for the pictures.” The poet brings this anecdote to life in such a way that he depicts it as it comes alive in him during a stay in the old monastery, which was secularized around 1529, while he rummages through the archives. In the drawing of the monastery and the nature in which it is set, we encounter Heitmüller's beautiful atmospheric painting again. Those with a sense for genuine poetic novella will follow Heitmüller's stories with heartfelt joy.

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[^1]: Franz Ferdinand Heitmüller: Der Schatz im Himmel. Novelle. Berlin S. Fischers Verlag, 1900.