4. Ludwig Jacobowski A portrait of the poet's life and character

On December 2, 1900, Ludwig Jacobowski was torn from a busy and hopeful life by a sudden death. Only those who were so close to him that he spoke to them about his ideas and plans in the last days of his life will have any real idea of what was carried to his grave. For one always had to make an addition to everything he had achieved. He made it himself. He was only satisfied with himself when he saw great tasks ahead of him. A twofold belief animated him. One was that life is only worth living if one's personality is restlessly enhanced in its efficiency; the other was that man does not belong to himself alone, but to the community, and that only he who is as useful to others as he can be deserves his existence. Under the influence of such sentiments, he continually widened the circles of his activity. It was a beautiful moment for him and for others when he spoke of what he was about to do. The way he spoke always inspired the belief that he would achieve what he wanted. He did not shy away from any obstacles. Not those that lay within him, nor those that he encountered along the way. There are few people who work so hard on themselves to enable themselves to accomplish their tasks. He had the highest confidence in the foundation of his being. But he never believed that it would be easy for him to work this reason out of himself. He could look back with the deepest satisfaction on the work he had done to work his way up to what he had become. But he probably never felt this satisfaction in itself, but only because it gave rise to the feeling that his working power would be equal to any obstacle in the future. Above his desk hung a piece of paper with core sayings. The Goethe sentences were also written on it:

No sooner are you safe from the grossest deception,
Hardly are you master of the first child's will,
You think yourself superhuman enough,
Fail to fulfill the duty of man! How much are you different from others?
Know yourself, live in peace with the world!

The essence of his thinking and feeling is expressed in these sentences. Seeing life as a duty was part of his innermost nature. For he lived with this attitude from childhood. It is as if he had already felt as a boy: spare yourself no work, for you will one day demand much of yourself as a man, and woe betide you if you have not made yourself resilient!

Ludwig Jacobowski was born on January 21, 1868 in Strelno in the province of Poznan, the third son of a merchant. He spent his first five childhood years in the small district town, a few miles from the Russian border. In April 1874, his parents moved to Berlin. The boy first attended the Luther Boys' School here. There he was a diligent, ambitious pupil. This remained the case when he entered the sexta of the Louisenstädtische Oberrealschule, but things changed from the quinta onwards. His diligence had diminished and he did not enjoy his lessons very much. He had to be returned to the Luther Boys' School. An eye operation that had to be performed on him at that time and the fact that he had to attend a language school because of a speech impediment had a profound influence on the boy's basic mood. The feeling that he had to work his way through a rough, brittle surface was richly nourished during this time. Such sensations caused him countless gloomy hours. A remnant of these hours probably never left his soul. But such feelings were always accompanied by the opposite pole: you have to steel your will, you have to replace out of yourself what fate has denied you. For him, dejection was always just the soil from which his almost unlimited energy grew. When he was twelve years old, he lost his mother. Fate ensured that his life was built on a serious foundation. In his twentieth year he also had to follow his father to the grave; he saw two brothers die in the prime of life. His determined will and his courage to face life grew again and again out of his dark experiences. Goethe's words "Over graves forward" were also among those that could be read on the note above his desk.

A complete transformation took place in the boy when, from about the age of thirteen, he began to immerse himself in the treasures of German intellectual life. It is indicative of the idealistic trait of his soul that he felt drawn to Schiller's creations with true fervor during this time. Thus he created for himself the objects of his interest, which he had initially been unable to find at school. When he returned to the Louisenstädtische Oberrealschule, he joined the ranks of the good pupils more and more. He had now found his own way to gain understanding from the outside world. In the top class he had reached the point where he was exempted from the oral Abitur examination on the basis of his good written work. He passed this exam on September 30, 1887.

The friendship with a boy who died as a senior secondary school student had a great influence on Ludwig Jacobowski's development. This was a gifted boy who developed significant mathematical abilities in particular. This friendship was a good counterbalance to Jacobowski's more purely literary intellectual interests. An understanding of genuine, even exact scientific rigor, which remained with him for life, was planted in Jacobowski at that time. As a result, he always had an open mind for the great achievements of natural research and their far-reaching significance for the entire thinking and feeling of modern mankind. Throughout his later life, he was devotedly faithful to the memory of his childhood friend who had died at an early age. "I am once again erecting a poetic monument to him," were the words I heard from him, accompanied by an indescribable look of gratitude.

The extent of Ludwig Jacobowski's interests can be seen in the course of his university studies. He was enrolled in Berlin from October 1887 to October 1889, then in Freiburg i. Br. until Easter 1890. He initially attended lectures on philosophy, history and literary history. The circle soon expands. Cultural history, psychology and national economics were added. One can see how a main inclination increasingly emerges. He wanted to understand the development of the human imagination. Everything was driven by this fundamental interest. In 1891, he earned his doctorate in Freiburg with a treatise: "Klinger and Shakespeare, a contribution to the Shakespearean romance of the Sturm und Drang period." It is clear from the concluding sentences what shape his ideas had taken. "Literary history should finally stop praising and blaming. Both belong to a romantic period of criticism. Modern criticism - the first traces of which can be discovered in France with Sainte-Beuve, Taine and others - has to live beyond "good and bad", beyond "praise and blame". Psychological understanding is the only and first thing that criticism can achieve. That is why Klinger's dependence on the great Briton to understand psychologically must be understood as something naturally necessary. And judgments against necessities of a psychological nature are decidedly superfluous and wrong. Therefore, when Hettner says that Klinger saw in Shakespeare "a license for everything strange and outlandish, for everything crude and crude", this judgment must be rejected outright. Klinger only saw in Shakespeare a model of genius. His impressionable, receptive nature, supported by an excellent memory, had to store up, process and reproduce a large number of Shakespearean motifs. In this psychological "must" lies an aesthetic justification of his dependence on Shakespeare."

From then on, Jacobowski's thinking was focused on the laws of the development of the human spirit. He also carried within him the conviction that poetry arises from a necessity deeply rooted in the human soul. This drew him to the study of folk poetry. He looked everywhere at the primitive cultures of primitive peoples and savages to see how poetry necessarily arises from the imaginative and emotional life of man. From such studies he gained a deep understanding of what truly deserves to be called poetry. One of his peculiarities was that everything he studied scientifically immediately penetrated his feelings and gave him a firm judgment. It was highly enjoyable to listen to him when he showed from the smallest details of a poem to what extent something was really poetic or not. He assumed that in the most developed art poetry the characteristics that can be perceived in the most primitive poetry are repeated. This is not to say, however, that Jacobowski based his own artistic work or even his aesthetic judgment on reflection. For him, knowledge was completely compatible with the originality, even naivety, of creation and feeling.

In his twenty-first year, Ludwig Jacobowski was already able to publish a volume of poems entitled "Aus bewegten Stunden" (Pierson, Dresden and Leipzig 1889). It is the reflection of a youthful life that was richly wrestled with pain and deprivation, that was driven back and forth between gloomy moods and joyful hopes. A great striving, a life of beautiful ideals that struggles uncertainly and anxiously for form and language. Genuinely youthful poems, but which emerge from a serious mood. One thing is striking about these poems that is deeply characteristic of the poet. He is almost completely free from the passing trends of his surroundings. The day with its buzzwords, the prevailing trends of the literary cliques have no influence on him. Even if he does it in a youthful way, he struggles with ideals that are higher than those of his contemporaries. He is not one of those strikers who, with nothing to support them, immediately count themselves a new epoch of intellectual life.

These were difficult times for the young man before and after completing his university studies. He also worked in the family's shoe factory at the time. Between business activities were the hours in which he wrote his verses, in which he devoted himself to his studies on the origins and development of poetry. Nevertheless, his first volume of poetry was followed a year later by a second, "Funken" (Pierson, Dresden 1890), and in the same year a magnificent work appeared on "Die Anfänge der Poesie, Grundlegung zu einer realistischen Entwickelungsgeschichte der Poesie" (Dresden 1890). Gustav Theodor Fechner's work in the field of aesthetics had made a deep impression on Jacobowski. He saw this thinker's "Vorschule der Ästhetik" as a fundamental work for all future aesthetic studies. In his opinion, Fechner had taken these studies out of the sphere of arbitrary ideas and placed them on the solid ground of reality. The laws of artistic creation should not be derived from speculation, but from the scientific and psychological observation of human nature. In an essay entitled "Primitive Narrative Art", Jacobowski expressed his views in this regard with the following sentences: "Only recently has psychology learned to look around at wild tribes and children. Let us hope that aesthetics and poetics will follow suit. The beginnings have already been made, but there is still much to be done to recognize the aesthetic functions of the child. Let us hope that time will also bring us ripe fruit in this area. Only then will it be possible to clarify the entire germs of poetry, from which the most glorious tree grew in the paradise of the earth ... For a history of the development of poetry it is always of value to follow attentively the products of the childlike soul as well as the study of primitive peoples." Starting from such points of view, Jacobowski wrote a series of essays on the history of the development of poetry. These include: Fairy Tales and Fables of the Basuto Negroes. Supplement to the Münchener Allgemeine Zeitung, ii1. March 1896. Arab folk poetry in North Africa. Supplement to the Vossische Zeitung, March 10, 1895. Stories and songs of the Africans. Magazin für Literatur, 1896, No. 30 and Münchener Allgemeine Zeitung, July 24, 1896, as well as supplement of the Vossische Zeitung, October 1896. Das Weib in der Poesie der Hottentotten. Globus, Vol. 70, 1896, No. ir and f. - When Karl Bücher's "Arbeit und Rhythmus" then appeared, Jacobowski welcomed in this book a beautiful fruit of the standpoint that he himself had made his own in the history of the development of poetry.

Everything Jacobowski undertook in this field he regarded as preparatory work for a great work on a realistic history of the development of poetry. He was tireless in collecting material for this work. He was intensively occupied with cultural-historical studies, from which the genesis of poetic creation was to emerge before his eyes. In particular, he was thoroughly familiar with the cultural-historical research of the English. He left behind a wealth of notes on the lives of primitive people. In such works he developed an incomparable diligence, and in the processing of the material he was characterized by a comprehensive sense and unerring judgement. The friends he had in the early nineties were of the opinion that his real talent lay in this field and that he would one day achieve great things as a scholar. - He himself pursued these matters with devoted love and perseverance, with the intention of one day attempting a fundamental work on the "History of the Development of Poetry". However, this scholarly activity did not initially form the focus of his work.

In this center stood his own poetic achievements. It was for their sake that he wanted to live first and foremost. He never doubted for a moment that he was a poet at the core of his being. Whether this core would penetrate through a hard shell, however, may well have often been an anxious question before his soul.

Jacobowski's soul was moved back and forth between two extremes. A strong, indomitable will was in him alongside a soft, sensitive mind, in which the processes of the outside world with which he came into contact left sharp traces. And it was his vital need, in the noblest sense of the word, to feel the value of his personality. Anything that got in his way in this direction caused him the deepest resentment. Imagine him with such a disposition in the nineties amidst the brutal outbursts of an anti-Semitism that was simply incomprehensible to finer natures. And imagine his idealistic way of thinking at a time when he saw nerdiness, crude struggles for base goods, frivolous play with sacred feelings becoming more and more insolent every day. His first novel "Werther, the Jew", published in 1892 (Pierson, Dresden), tells in powerful words what moods were stirred in him by the sight of such goings-on. He wrote it in the midst of hardship and true anguish.

Wolff suffers from his father's ethical views and the prejudices directed against the young Jew. His father's money speculation deprives his son's teacher, to whom he is truly devoted, of his fortune. Wolff's passion for the teacher's wife turns the young man into a deceiver of his father's friend. At the same time, this same passion destroys his beautiful bond of love with a child of the people, who seeks redemption in voluntary death from the torment that his affection for the student has brought him. The young man's willpower is not strong enough to show him the way through the contrasts into which life throws him and through the confusion into which his own passions have plunged him. His sense of humanity alienates him from the people to whom the natural ties of life bind him. At the same time, these ties weigh heavily on him. The world pushes him back because of his affiliation with people whose faults he himself deeply detests. - Jacobowski allows the fate of the modern Jew to be reflected in this individual fate. The novel is written with heart_ blood. It contains a psychology whose object of study was his own bleeding soul. One might criticize the novel for being written by a young man who has not found the peace and time for objective observation of the soul, because the experiences of his own soul are still striving too hard to find expression. One might also say that Jacobowski's artistic talent for composition was not yet great at the time. One thing must be conceded: we are dealing with the document of a human soul whose tragic undertones must speak to every heart that is not hardened against the suffering of an idealistic mind. Such a heart is compensated for all the faults of the narrative by the profound truth with which a personality unreservedly expresses one side of his nature. - Anyone who was close to Jacobowski knows this side of his nature. It was the side against which the energy of his will had to fight again and again. One can speak of a highly heightened sensitivity towards everything that was directed against the justified claims of his personality to full respect and recognition from his fellow man. At the same time, he had a rare need to share in everything that was worth living for. His devotion to people, his absorption in the outside world instilled in him a constant fear that he might lose himself. Jacobowski is not Werther. But the fate of Werther is one that Jacobowski had to constantly protect himself against. When he wrote "Werther", the possibility of becoming a Werther was clearly before his eyes. That is why the novel is a confrontation with himself.

A person who has put as much into a work as Jacobowski did into his "Werther" cannot be indifferent if he encounters a deaf fellow world. There was no sign of any recognition of his undoubtedly honest intention and equally undoubted talent. One can sympathize with the pressure that this lack of success exerted on the young poet. Later, when he spoke of those days, he honestly admitted how he had suffered from this lack of success. He was not one of those immodest natures who never doubted their own talent. Encouraging recognition would have been very valuable to him at this time. One may attribute the fact that his poetic work now briefly took a back seat to a strong preoccupation with political issues to the fact that he lacked such recognition. However, his involvement in political issues was not one that was lost in the interests of the day. He always considered the political in connection with the development of culture. The last decade of the nineteenth century was only too suitable for presenting the most diverse questions to sharp minds with a broad horizon. The repeal of the Socialist Law gave the social movement a powerful outward appearance in its cultural significance. The old parties had disintegrated; their ideas and their momentum were no longer equal to the ever-advancing development. Old, reactionary powers believed that their time had come. Slogans and dark instincts began to exert an effect on the wider masses that had not been thought possible for a long time. One of these dark instincts, the anti-Semitic one, particularly caught Jacobowski's attention. It hurt him deeply in his most personal feelings. Not because he was attached to Judaism with these feelings. That was not the case at all. Rather, Jacobowski belonged to those who had long outgrown Judaism in their inner development. But he was also one of those who tragically had to feel the doubts that were cast on such outgrowth out of blind prejudice.

However, these blind prejudices were only a partial phenomenon. They were part of a powerful current that was increasingly becoming a sum of reactionary ideas. It was believed that an ideal basis for this current could be created by infusing the prevailing world views with Christian ideas anew. The buzzword "practical Christianity" dominated people's minds. And the idea that the state had to be built on Christian foundations seemed to exert a powerful attraction. - This prompted Jacobowski to examine such views. His extensive "Study" on the "Christian State and its Future" (Berlin 1894, published by Carl Duncker) is a result of these debates. His preoccupation with cultural-historical problems provided a solid basis for the "Study". He carefully examines the influence of the church on the states. He lets history speak its important verdict on the extent to which the Church has intervened in the development of Western humanity. And in order to recognize the moral foundations of the state, he examines the changes in the moral concepts of various peoples. The conclusion he comes to can hardly be doubted by those with insight: "The end of the Christian state is a fact for the insightful parties in Germany, against which its appointed representative, the conservative party, will run up a storm in vain. The compelling logic of history has always been stronger than the limited individual wishes and special interests of political parties. And so it is a fact that the Christian state is crumbling more and more in all European states." In the second part of the "Study", Jacobowski pursues the present-day approaches to new foundations of social order: the national, ethical state, the free Christian community, the free ethical community. He conducts a stimulating investigation into the viability of the various young ideals of the future. - Because of the youth of these ideals, such a debate cannot produce a real result. "No one knows who will replace the "Christian state", no one knows whether this replacement will take place under peaceful conditions." For Jacobowski himself, however, the study was of great importance. Through it, he had gained what he could not have lived without, according to his entire disposition: he had acquired an understanding of the world around him.

The struggle with the environment is also the problem that he makes the subject of a dramatic work in 1894. He wrote "Diyab, the Fool, Comedy in Three Acts" in a short space of time, from April to June of that year. Just as "Werther" represents one side of Jacobowski's nature, his emotional world, "Diyab" represents his willpower, which repeatedly asserts itself against all currents. The "Werther" is based on the more or less unconscious feeling: I have to defend myself against these manifestations of my nature; in the "Diyab", the feeling may speak in the same way: this is how I have to relate to the outside world if I want to make my way. - The sheikh's son, Diyab, was born of a white mother and is therefore regarded as an outcast. The scorn of the whole neighborhood follows him. He saves himself from this mockery by fleeing into the solitude of his inner self, thereby rising above all the mockery of the world around him. He becomes superior to those who mock him. They know nothing of his innermost self. He hides this from them and plays the fool. They may mock him in this mask. But his own self grows outside in the solitude where the palm trees are. There he lies among the trees of the forest, living only himself and his plans. He cultivates his powers to a strength that will later make him the savior of his tribe. Those who mocked him in the past then shrink back from the power of the enemy, and he, the outcast, overcomes them. The strong-willed man only put on the fool's mask so that he could make his fortune unrecognized by others. Behind the fool's mask matures the personality that takes revenge for the treatment meted out to her and her mother, the personality that conquers the throne of the sheikh and the beloved through boldness and strength.

"Diyab" is not written with a bleeding heart like "Werther", but with a beating heart. It was written at a time when Jacobowski was just finding himself. An inner security breaks through, which protects him from the kind of disgruntlement that followed the limited external success of his "Werther". - From this time onwards, a new period in Jacobowski's endeavors can be assumed. There is also a change in his lifestyle. He broke away from a friend, a lyricist, who was very successful as soon as he appeared on the scene. Jacobowski undoubtedly owed much to this friendship. The criticism that all his achievements received from this side was a constant incentive for self-discipline. He only ever remembered this childhood friendship with gratitude. But it had to end if Jacobowski wanted to find himself completely. The feeling that he needed spiritual solitude, complete dependence on himself, led to Jacobowski's estrangement from his friend.

The collection of poems "From Day and Dream" (published by S. Calvary, Berlin 1895) is a kind of conclusion to his first creative period. Jacobowski's three lyrical collections are a faithful reflection of all the struggles of his third decade of life. The striving for simplicity, for a popular art form is a fundamental trait of his poetry. A genuine idealism is expressed in atmospheric images that seek vividness and plasticity. A certain symbolic way of imagining things often pervades. The processes of his own soul are symbolized by events in nature. While in the first poems of his youth the intellectual still predominates, later a full view of reality increasingly comes to the fore. At first, it is the poet's own inner self that preoccupies him:

From the day's pleasure and pain
The universe weaves a lullaby,
That draws into tired human hearts,
Bringing sweet peace,
When the soul never approaches
The divine image of truth
Wrapped in the night.

Afterwards, our poet struggles to shape the outside world. He makes nature speak. He personifies reality. He holds a dialogue with it. The secrets of nature's workings and his own world of emotions intertwine. Poems such as the delicate "Forest Dreams" in "From Day and Dream" stem from this kind of interaction:

The sun spreads its blessing
Like a golden carpet
. Woodruff perfumes the paths,
And redthorn scatters its blossoms.
Only sunshine and sky blue
Shimmer through the cool canopy of leaves.
The peregrine falcon with a bright cry
Keeps me awake on soft moss.
Now he has fallen silent in the sultriness,
I dream sleepily to myself
And dream that in the fragrant puddle
I myself am stalk and blossom...

Deeply rooted in Jacobowski's nature was always a firm belief in the harmony of the universe, in a sun in the course of every human destiny. It was probably only this belief at the center of his soul that helped him overcome many a bleak moment in his personal destiny. He suffered greatly from these personal experiences, but there was something in his outlook on life that always worked like light. He would not have been able to appreciate himself as he wanted to if he had not felt the strength within himself to bring light into his darkness. So he steeled this strength and worked on himself incessantly. And this work constantly gives him new hope, lifts him above moods, as expressed in the poignant "Why?" in "Out of Day and Dream":

... When I awoke to the first day of summer,
The dark night was already waiting outside.
I looked up at the golden sunlight,
The gray rain cloud shifted in front of it;
And I stretched out my child's hand, rejoicing
To the rose bush that was all in bloom,
Then thorns warded off my exuberance,
And from joy the red blood ran...

The melancholy cycle "Martha" in "Aus Tag und Traum" points deep into the poet's soul. It encompasses an elegiac undertone that trembled in Jacobowski's heart until his death. A sudden death in 1891 had snatched his childhood sweetheart away from him. From then on, the memory of her was one of the images he returned to again and again. The departed woman lived on in his heart in the most tender way. She was like a presence to him in hours of sadness and joy. It was a lasting loyalty of a very special kind that he retained for her. When he spoke of her, his voice changed. You had the feeling that he sensed her presence. Then you were not alone with him. That's what made all the poems about his childhood sweetheart so intimate.

His preoccupation with political issues had earned Jacobowski a position with a newspaper and in an association that kept material worries at bay in the last years of his short life. Those who had dealings with him could only praise his diligence and hard work in this position. When one considers that his occupation in this position took him out of his literary work every day anew, then one cannot marvel enough at the sum of what he nevertheless achieved in the literary field. The number of novellistic sketches he wrote is large, and his activity as a critic was extensive. Characteristic of him is the position he took towards his shorter novellistic works. He wrote a large number of such sketches in the mid-nineties. He saw them as works in which he was developing his style as a narrator. The moment he was ready to take on larger works, working on such sketches lost its appeal for him.

As a critic, Jacobowski is characterized to an outstanding degree by his ability to completely immerse himself in the achievements of others, to immediately feel the core of a foreign personality from their creations. Anything doctrinaire is far removed from him as a critic. His judgments always stem from a fresh, original feeling. You can see everywhere that he is fully involved in what he is talking about. Ultimately, he does not want to judge at all, but only to understand. His pleasure is not in condemning, but in recognizing. One reads with particular pleasure the remarks in which he justifies his approving judgments with his own warmth. - Anyone who wanted to follow Jacobowski's work as a critic closely would see how this man was intensely involved in the intellectual life of his time, how he drew his circles of interest in all directions.

A collection of sketches has been found in Jacobowski's estate, which he was preparing to publish in book form in 1898. They were to bear the title: "Stumme Welt. Symbols". The collection is indicative of his way of thinking and his entire inner life at this time. When you read through the sketches, you get the impression that Jacobowski was called to be the poet of the modern naturalistic world view. The new understanding of nature initially seems to have something unpoetic and sober about it. Its penetration into the purely natural processes, its commitment to pure, unadorned reality seems to frighten away the poetic imagination. Jacobowski's "Silent World" proves the opposite. He had completely settled into the scientific confession. He was imbued with the greatness of the view that sprouts from his immersion in the eternal, iron laws of the universe. Darwinism and the doctrine of evolution were dear to his heart. It is true that they tore apart the veil that once enveloped nature. But what emerges from behind this veil is not as devoid of poetry for those who are able to see, as people with a conservative outlook would like to claim. The marvelous laws of matter and forces give birth to poetic images that are in no way inferior in grandeur to the images of earlier imaginary worlds that were transferred from the human soul into nature. Modern man no longer wants to let nature speak in a human way. The whole mythical world of spirits is silent when the ear, educated in naturalism, listens to the phenomena of nature. The eternal cycle of matter and forces seems to be a "silent world". But whoever knows how to make this "silent world" speak can hear completely new, wonderful secrets, mysteries of nature whose harmonious music would be drowned out by the former loud voices of anthropomorphic world views. Jacobowski wanted to depict this music of the "silent world" in his collection of sketches.

The new view of nature rightly invokes Goethe as the progenitor of its ideas. And for those who delve into Goethe's scientific writings, the phenomena of the world become letters from which they learn to read and understand the plan of the cosmos in a new way. Many people read Goethe far too superficially. Jacobowski was one of the few who sought to gain a proper position vis-à-vis Goethe. He treated everything relating to Goethe with a holy shyness. He knew that one grows if one retains the belief that one can always learn something new from Goethe. He immersed himself in Goethe's view of nature at an early age. But even in the last days of his life he could still be heard saying: now I am beginning to understand Goethe. He realized how Goethe could be a guide when it came to making the "silent world" speak. He then did not have the volume published. New approaches emerged from the basic idea that holds the sketches together. A cosmic poem was to grow out of it. He wanted to allow his spirit to mature in order to imbue the seemingly deified world with new life, to conjure up new mysteries from the cosmic processes. The epic of the mysteriously revealed workings of the eternal forces of nature was to be called "Earth". It is not for the editor of the estate to pass judgment on the germ-like sketches of a comprehensive thought to be published as "Stumme Welt" (2nd volume of the estate). I only considered it my task to communicate the poet's intentions.

It seems that Jacobowski initially saw his profession as a poet in the development of his imagination in the direction he had taken in the "Silent World". This is probably also the reason why he did not initially regard the field of drama, which he had entered so promisingly in "Diyab", as one in which his individuality could fully come into its own. Certainly, like others, he also thought of ultimately living out his artistic intentions in dramatic forms. But his strict self-criticism demanded restraint from him in every field until the moment when he felt he had reached the highest level in the respective sphere according to his ideals. In 1896, he completed a drama in four acts: "Homecoming". It is set in the aftermath of the Thirty Years' War in central Germany. It is intended as a portrait of the times on a grand scale. After completing the work, the poet heard a wide variety of opinions from those he shared it with. These judgments ranged from bright, unreserved enthusiasm to complete disagreement. Jacobowski initially left the drama in his desk. He waited to see what he himself would say about it at a later point in its development. In the months before his death, the work became worthwhile to him again. He would probably have reworked it. As he was no longer able to do so, it must form part of his estate in its original form. One gets to know the poet from it at a certain time in his life. It will have to be judged from this point of view.

The stories "Anne-Marie, ein Berliner Idyli" (S. Schottländer, Breslau 1896) and "Der kluge Scheikh, ein Sittenbild" (S. Schottländer, Breslau 1897) belong to a transitional stage in Jacobowski's development. They show him in his striving for plasticity, for the vividness of the figures. Reading them, it is as if one senses the resignation he imposed on himself. His larger ideas were already living in his soul at that time. In order to give them shape, in order not to lose himself in their schematic form, he had to give his epic style juice and strength. He did this with more or less unpretentious stories.

The symbolizing aspect of his art is then clearly revealed in the collection of stories "Satan laughed, and other stories" (Franz Wunder, Berlin 1897). One need only consider the basic idea of the first tale, which gave the collection its name, to realize what the main feature here is. God has taken away the devil's dominion over the earth by creating man. Yet the devil secures his influence by seizing the woman. The demonic powers of sexual life are symbolically outlined in a few characteristic strokes.

In the year 1899, the poet appeared with a work of art that is entirely based on this symbolizing principle, his "Roman eines Gottes: Loki" (J. C.C. Bruns' Verlag, Minden in Westf.). It is fair to say that Jacobowski's various inclinations flow together like branches of a great river in the creation of this work. His urge to eavesdrop on the popular imagination and to understand its quiet weaving led him to take the external plot from the figures and events of Germanic mythology. His observation of social life led him to focus on Loki, the "disinherited god", the revolutionary of the world of the gods. The psychology of man, who can only assert himself through the strength of his inner self, through his strong will, and that against adversity from all sides, made the Loki figure particularly appealing to Jacobowski. Werther and Diyab in one person, but more Diyab is Loki. He is this, as Jacobowski himself wanted to be Diyab.

No real process, even if it were given in idealistic art form, could have expressed what the poet wanted to say. The eternal struggles of the human soul are before his eyes. The struggles that take place in the deepest recesses of the mind. Place and time, all accompanying phenomena are almost indifferent here. The action must be lifted into a higher sphere. May the individual events that life brings to man have this or that tragic or joyful outcome: they all bear the hallmark of an eternal struggle. "God created man in his own image, which presumably means that man created God in his own image." This is a famous statement by Ludwig Feuerbach. One could expand on it and say: if man wants to represent the deepest processes of his inner being, then he must transform the life of his soul into the life of the gods; the primal battles in the depths of his chest are embodied in the battles of the gods. Because Jacobowski wanted to depict such primal battles, his novel became that of a god. These primal battles take place between the two souls that dwell in each breast, between the soul that gives rise to goodness, love, patience, kindness and beauty, and between the other, from which come hatred, enmity and rage. Balder and Loki face each other in incessant war in every human mind. Hamerling expressed the thought that describes what lived in him when he wrote his "Ahasver" as follows: "Overarching, towering, mysteriously spurring and driving, accelerating the crises, standing behind the striving and struggling individuals as the embodiment of the balancing general life, that is how I imagined the figure of Ahasver". Jacobowski often emphasized in his conversations that he thought of his "Loki" as so "overarching", so "towering", so "standing behind the striving and struggling individuals as the embodiment of the balancing general life".

The poet's intentions are revealed most clearly by a trait in Loki's character. Jacobowski has always assured us in conversation that we can only fully understand him when we know how to interpret this trait in the nature of his hero of the gods. Loki, the god born far from Valhalla, the child of the gods' sin, who grows up in pain and deprivation, who does not know his mother or his father: he has something over all the other gods. Happiness and eternal joy are theirs. He has pain and torment. But he has the gift of wisdom before them. He knows the future of the other gods, which is hidden from them. They live, but they do not care about the driving forces on which their lives depend. They do not know where these driving forces are leading them. It is not happiness that opens the mind's eye, it is not joy that makes you clairvoyant, but pain. That is why Loki sees into the future. But there is one thing Loki does not know. He must hate Balder, the god of love. He does not know the reason for this. For his own fate is locked up in it. This also remains hidden from him. This is the point at which Jacobowski's most secret intentions are revealed. Loki's wisdom ends before the question: why must the knowing Loki hate the ignorant but love-filled Balder? This, however, points to the fate of knowledge. It is the greatest riddle to itself.

No summary or even a judgment is to be given here about "Loki". Only the poet's intentions are to be told, as he gladly communicated them in conversation about the work he loved so much. He felt that with "Loki" he had made a huge leap forward on his path of development. He had come to believe that the affirmative forces within him would triumph. Clarity about everything negative in human destiny was what he sought above all, and what he had achieved in himself through his "Loki" poetry. Beauty, goodness and love are the perfect things in the world. But perfection needs destructive forces if it is to fulfill its full task. Loki is the eternal destroyer that is necessary for the good elements to renew themselves, the demon of unhappiness that happiness needs, the evil spirit of hatred from which love stands out. The creator who is never allowed to enjoy the fruits of his creations, the hatred that creates the ground for all love: that is Loki. - The person who seeks the truth finds the destructive urges of life at the bottom of his soul. The demonic forces of Loki oppress him. They cloud the bright days of life, the moments of happiness. But one understands, one only feels the shining days in their true power when they stand out from the Loki mood. With such feelings in the background, Jacobowski has brought together his poems from the years 1896 to 1898 under the title "Leuchtende Tage" (J. C.C. Bruns' Verlag, Minden in Westf. 1900). They are imbued with a luminosity that arises from a dark background, but which makes life all the better for it.

The fact that he was able to appear before the world with "Loki" and the "Shining Days" brought about an inner transformation in Jacobowski. Only now did he have the feeling that he could approve of his own achievements. He now had the confidence in himself that his strict self-criticism was in harmony with his own creations. An inner balance came over him. The future became ever brighter. He had found himself and his belief that "our stars" would redeem him. If you look at the pictures of the poet from the successive stages of his life, you can also see the expression of his inner transformation in his facial features. A sense of security, of harmony, appears more and more. Jacobowski had to fight many a battle with life before he really reconciled himself with it.

The certainty, the unity of character also stimulated his urge to work. He was a man who only knew himself to be happy in his work. He saved the contemplative, the solitary, reflective contemplation only for life's moments of celebration. He wrote his "Loki" in a few weeks, in 1898, in Tyrol, as he was detached from the contexts in which life placed him. His poems were only written when his inner self lifted him above reality. Within this reality itself, however, he was compelled to contribute to the spiritual life of his time to the best of his ability. His work on "Zeitgenossen", which he published together with Richard Zoozmann in 1891 and which, however, only had a short existence, arose from this urge. He found a field for this urge when he was able to take over "Gesellschaft" in 1897, the journal that had served the spirits longing for a new era of literary life since the mid-1980s. Jacobowski's need for the all-round cultivation of intellectual interests characterized the volumes that appeared under his editorship. He wanted to honestly serve true cultural progress with all the means at his disposal. Nothing was excluded that could contribute to this goal. It is natural that a pronounced individuality, such as Jacobowski was, had to give a magazine edited by him a strongly personal touch. At the same time, however, he was aware of the editor's duty to allow personal inclinations to recede into the background. And above all, he knew the duty to pave the way for young talents to enter the public eye. He had the courage to evaluate what was not yet recognized. In such evaluation and recognition, he was selfless and very confident in his judgment. He was unique in his concession to every legitimate aspiration. As many as sought his advice, his help: all found him helpful. He did an unspeakable amount of work in silence. And he knew how to do everything with nobility. - You got to know him in all the goodness of his nature through small traits.

One such small trait is recorded here. He was chairman of the "Neue Freie Volksbühne" for a short time. It was during a summer outing of the members of this association. Jacobowski was in charge of the plays that were organized outdoors. It was heart-warming to see how he romped and jumped with the children, how he took part in the race and how he was even the first to reach the finish line, despite the fact that quite good runners were obviously taking part. And how he then found the right way to hand out the small prizes to the children.

Jacobowski found inner satisfaction in an enterprise that he launched in 1899 with his "New Songs by the Best Recent Poets for the People". In a booklet for ten pfennigs, he offered a selection of the best creations of contemporary poetry. He soon heard evidence of the usefulness of his enterprise from all sides. The little booklet was received everywhere. He was always happy to tell people how lucky he was with it. He carefully collected everything he heard about the effect. He wanted to write a brochure based on his experiences about the interest in true poetry in the widest circles of the people. For in all this he had a great perspective. He wanted to counteract the bad taste, crudeness and wildness of the people. Stupid ragamuffins and silly jokes were to be replaced by true poetry. He repeatedly said: "I have made the attempt. I would have unreservedly confessed to the public that the first step had failed if that had been the case." But he was able to describe this first step as a thoroughly successful one. The continuous booklets he began to publish under the title "Deutsche Dichter in Auswahl fürs Volk" (German Poets in Selection for the People), also at ten pfennigs (in Kitzler's publishing house, Berlin), were to serve the same purpose. Two booklets, "Goethe" and "Heine", were published a long time ago, the third, "Grimms Märchen", was ready when he died and was published a few weeks after his death. He worked tirelessly in every direction to make the ideas expressed in these publications fruitful. He also intended to publish a collection of poems for the army. In an interesting essay that he published in the "Nation", he spoke out about the current type of poetry and songs that are prevalent in military life. In such plans, which served charitable aims in the ideal sense, he possessed an admirable strength and a happy handling.

In connection with his folkloristic studies and his efforts to promote folk culture is the publication of his collection "Aus deutscher Seele. Ein Buch Volkslieder" in 1899 (J. C.C. Bruns' Verlag, Minden in Westf.). He wanted to bring to life the folk poetic treasures piled up in numerous books in libraries. He says of these treasures in his foreword: "Their content, because it is insufficiently disseminated, gives way to the flat street songs of the big cities and the miserable sentimentalities of stupid operettas. So it seemed to me that the time had come, as far as the strength of an individual and the understanding of my poetic ability would allow, to publish a collection which, arranged according to aesthetic criteria, would present to the German people anew some of the truly valuable and glorious songs from the jumble and confusion of the accumulated mountain of songs." - Jacobowski was able to describe "Aus deutscher Seele" as "the result of these considerations and the fruit of many years of the most intimate occupation with the wonders of the German folk soul and folk poetry".

The idea of making important "questions of the present and outstanding phenomena of modern culture" accessible to wider circles in a form they liked came from Jacobowski's plan to publish a collection of small writings - in booklets of 32 to 8o pages - in an informal series. Three such booklets were published in 1900 under the title "Freie Warte, Sammlung moderner Flugschriften" (J.C.C. Bruns' Verlag, Minden in Westf.). They are: "Haeckel und seine Gegner" (by Dr. Rudolf Steiner), "Sittlichkeit!?!" (by Dr. Matthieu Schwann), "Die Zukunft Englands, eine kulturpolitische Studie" (by Leo Frobenius). These and the titles of the writings that were to appear in the near future show how comprehensively Jacobowski thought of the task he had set himself. The following were also announced: "Das moderne Lied", "Die Erziehung der Jugend zur Freude", "Schiller contra Nietzsche", "Hat das deutsche Volk eine Literatur?", "Der Ursprung der Moral". The pamphlet "Hat das deutsche Volk eine Literatur?" ("Do the German people have a literature?") was written by Jacobowski himself. In it, he wanted to talk about the experiences that led to his Volkshefte and similar endeavors, and also about the results of such undertakings.

Another link in Jacobowski's efforts to serve his time was the publication of an "Anthology of Romantic Poetry" under the title "The Blue Flower". Together with Friedrich von Oppeln-Bronikowski, he published this collection of Romantic poetry from the end of the eighteenth to the end of the nineteenth century in 1900. The 400-page volume begins with works by Herder and ends with one by the Prince of Schönaich-Carolath. Jacobowski added an essay "On the Psychology of Romantic Poetry" to the "Introduction" compiled by Fr. von Oppeln-Bronikowski. He believed he was doing the best service to the urge of the time to move from naturalism to a kind of neo-romanticism by collecting the pearls of romantic art.

The qualities of Jacobowski, through which he worked directly from person to person, the stimuli that could emanate from him in this way, came to fruition in a literary society that he had founded with a few friends in the last period of his life. Every Thursday in the "Nollendorf-Kasino" in Kleiststraße, he gathered an artistically and literarily stimulated circle under the name "Die Kommenden". Younger poets had the opportunity to present their creations here, and important questions of art or knowledge were dealt with in lectures and discussions. Artists of all kinds visited the society, which met here informally every week, and Ludwig Jacobowski was constantly striving to come up with new ideas to make the few evening hours they spent here enjoyable for the guests. He had also made plans to compile artistic booklets with the performances from these evenings. The first was in progress when he died. It was completed by his friends after his death and published in his memory with contributions from his estate. The "Kommenden", who still meet every week, faithfully cherish the memory of their founder.

An external cause led Jacobowski to write a short social drama in one act, "Work", at the end of 1899. Axel Delmar had conceived the plan of dramatically depicting the more important turning points in the development of Germany in a centenary play comprising five one-act plays, to be performed at the "Berliner Theater". Wichert, Ompteda, G. Engel, Lauff and Jacobowski were the five poets. The latter had the task of dramatizing the social thinking and feeling of the present, the most important cultural phenomena at the end of the century. One does the "work" an injustice if one attributes a tendency to it and judges it accordingly. The aim was merely to illustrate how social trends are reflected in different social classes and people.

In the last months of his life, a painful experience that shook Jacobowski to the depths of his soul found poetic expression in a one-act verse drama entitled "Glück" (Happiness) (J.C.C. Bruns' Verlag, Minden in Westf. 1901). It will only be possible to talk about this experience at a later date. He himself hinted at the mood from which the drama was written in the verses preceding "Zum Eingang":

It was like dying when I lived it!
It was a comfort to me when I wrote it!
Who ever trembled in the same affliction,
Accept it and love it!

Some of the poems in this estate come from the same mood. "Happiness" in dramatic form has come naturally to the poet from the Syriac poems in which he has set down the moments of a tragic experience. These lyrical poems from the last period, united with all the poetry he has produced since the publication of his "Shining Days", appear here as an estate. With regard to the compilation of the poems, the points of view which the poet himself observed in his "Shining Days" have been retained. The headings of the individual sections of the volume of poems are therefore the same as in the "Shining Days". The sharp character that Jacobowski's soul life has taken on in recent years made this section desirable. A second volume will bring together all the sketches he himself compiled in a booklet entitled "Stumme Welt". He did not allow it to appear independently because he wanted to develop the plan in a larger form later and, under the title "Earth", work up the ideas on which the "Silent World" was based into a cosmic poem in a grand style. He considered it necessary to immerse himself deeply in the natural knowledge of the new age before he could begin his great work. A deep inner conscientiousness and shyness prevented him from tackling this fruitful idea too early. He was not destined to carry out the project, which would probably have revealed what Jacobowski's deepest inner self held. A third volume was to contain the above-mentioned drama "Homecoming". A series of "ideas" that are characteristic of Jacobowski's thinking and personality are added to the second volume as an "appendix". As small as their number is, they clearly show the depth of his outlook on life and his humor, as well as the ease of judgment he had towards certain things. They prove that he was one of those people who knew that not everything must be measured with the same yardstick, but that different things must be measured with different yardsticks.