Social aristocrats

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Social Aristocrats is a drama written in 1896 by the German writer Arno Holz . The naturalistic comedy in five acts is a satire on the literary world of the late 19th century. In the drama, Holz processed personal experiences from his earlier years, such as the sometimes unsuccessful pursuit of the publication of his works.
The premiere took place under Holz's direction on June 15, 1897 in the Berlin Central Theater . Hermann Müller, an actor in the German theater , played Fiebig, Max Reinhardt took on the role of Bellermann.

construction

It is an open drama because it is not structured according to the classic form of drama according to Aristotle : There is no unity of time, place and plot. The action lasts for at least a few weeks, there are four different locations, and there is no central storyline, as Holz puts the plot in this milieu drama in favor of the character representation. In addition, the class clause does not apply, the characters are bourgeois.
The tectonic structure of the drama does not correspond to the Gustav Freytag scheme .

content

Plot overview

The five acts span the rise and fall of the magazine Der Sozialaristokrat . The young poet Rudolf Hahn asked Oskar Fiebig, an occasional poet, for help with the publication of his first volume of poetry. He advises him to use his inheritance to finance his own magazine instead. The writer Dr. Benno Gehrke takes over the editor-in-chief and after a three-day prison sentence for illegally putting up advertising posters, he finally begins a political career with the Anti-Semitic People's Party. The magazine is discontinued with financial losses without Hahn's works being published, and the drama ends with a victory celebration for Gehrke, who has won a seat in parliament as a representative of the constituency of the Anti-Semitic People's Party.

first act

The setting for the first act is Fiebig's study. Hahn brought him the manuscript of his volume of poems, Songs of a Butterfly . The experienced Fiebig advises him against printing, since nobody buys the work of a completely unknown poet. Instead, he recommends Hahn to send his poems to various newspapers and magazines; the well-known writer Gehrke began like that. Hahn has already sent a poem to the magazine Deutsches Dichterheim , but without success. Hahn has an inheritance from his aunt amounting to 4,000 marks. Fiebig therefore suggests investing the money in a separate magazine. He offered his help and forced Hahn to give his world subordination , which he was allowed to publish free of charge in the first issue. Hahn fears, however, that his aunt could leave the money to the dog shelter if he was too reckless.

Since it is Ms. Fiebig's birthday, Fiebig sends Hahn away to buy flowers and cigars. Ms. Fiebig is afraid that another young writer has asked her husband for financial support. Gehrke and his wife Meischen come to visit. Immediately afterwards, the printer Wilhelm Werner arrives, who has brought Ms. Fiebig Gehrke's book Lieder eines Übermenschen as a present. Gehrke accuses Werner of being the reason why they were both thrown out of the party at the SPD party convention. So now Werner is without print jobs and Gehrke without a printer.

After Hahn has returned, the gentlemen exchange their ideas about a weekly journal: Hahn would like to publish poems, Fiebig write about politics and Gehrke about philosophy. Gehrke admits that he used to approve of the false, humanitarian efforts of the Social Democrats. His goal, however, is the free man of reason, so that ultimately the masses free themselves from the influence of parliamentarism. The publicist can also regain general recognition, and ultimately there is an apolitical policy. It is the task of the individualities to educate the people. Werner, who is reading a brochure, gives Gehrke the keyword “social aristocrat”, and Fiebig declares this to be the title of her magazine.

Second act

The second act takes place in Werner's printing office. Werner informed Fiebig that the red billboards had been very effective and that 4800 of the 5000 copies of the first edition of the Social Aristocrat had already been sold. Hahn's aunt is no longer averse to this idea of ​​capital investment either. Hahn feverishly offers his daughter Anna's hand. Hahn could live with them and, together with Fiebig, complete his world subordination.

Styczinski, who has since been appointed second editor of the magazine, and Gehrke arrive for the editorial meeting. Gehrke announces the visit of Bellermann, who would like to have his study on the autonomy of the individual printed in sequels. Since the beginning of Gehrke's philosophy of liberation through pure means was already printed in the first edition , Fiebig now sees his subordination to the world completely suppressed. Hahn's poems have not yet appeared either. Bellermann and Sprödowski join in, and the content of the third volume is discussed. Styczinski wants to write an article about Chopin as the archetype of the centrifugals . Gehrke and Fiebig get into an argument about this, as Fiebig's Weltunterjank is again rejected, as is his toast to the German women . Gehrke calls for more scientific information, he pleads for an article against the compulsory vaccination; Fiebig, on the other hand, would like to publish something ethnographic, something about transmigration of souls or graphology, Werner offers his economics lecture, much to the displeasure of Gehrke and Bellermann. The second edition of the Social Aristocrat is already in the sentence, but one text is still missing. Since Styczinski can not find his manuscript of the Bleeding Song of the Knowing Brain , Bellermann's poem The Drinker is added.

A gendarme brought an order for Gehrke: Since posters were put up without authorization, either a 30 Mark fine had to be paid or Gehrke was imprisoned for three days because he was responsible as the editor. First of all, Fiebig assures that the publisher will pay these "business expenses". However, after Bellermann appealed to Gehrke's sense of duty that he had to remain true to his conviction that he would not pay any taxes voluntarily, Gehrke agreed to the option of imprisonment. He hopes that this “martyrdom” will lead to publicity in front of a large audience through the press.

Third act

Gehrke is also serving the last evening of his prison sentence in the good room of the Friedrichshagen district chief because it is too cold in winter in the syringe house that was actually intended for this purpose. As hoped, Gehrke's detention was even reported in the national press. The official announces Dr. Moritz Naphtali, who would like to interview Gehrke for the Berliner Lokalanzeiger . Gehrke laments his fate as a typical modern freedom fighter and the way he was treated by his former party. But the attempt to politically silence him has failed. Gehrke's ideals have changed: instead of the superman, he now strives for superman, the prerequisite for which is the new human being created through education. He sees himself and his comrades-in-arms as social aristocrats in exemplary activity. Naphtali introduces himself again: as the founder of the Anti-Semitic Central Correspondence under the pseudonym Dr. Moritz Wahrmann. Since the head of the office allowed Gehrke to invite friends on the last evening of his imprisonment, Fiebig and Hahn arrive and Fiebig believes that he recognizes a certain Mr. “Löbndhal” in Naphtali. After Fiebig presented his bizarre idea for the trade exhibition to Naphtali, he said goodbye, and Fiebig immediately expressed his distrust of Naphtali and criticized his admiration for Nietzsche .

Then Gehrke's wife and the official Schwabe join them, bringing dishes and food. They are still waiting for Werner when a servant brings expensive food (lobster) and flowers. As it turns out, Fiebig had placed this order. Finally Werner, Bellermann and Styczinski also arrive. Werner has a wreath with the dedication “The fighter for truth, freedom and law!” From the Friedrichshagen shoemaker journeyman for Gehrke. It will be celebrated.

Fourth act

The scene of the fourth act is again the office of Werner's printing works. Fiebig comes to Werner, and when he is asked about Hahn, he criticizes the crazy idea of ​​the magazine and that all of a sudden all are social aristocrats. He demands that the naive and ignorant Hahn hold together his money, after all, Werner's fourth edition of the Social Aristocrats had already not been paid for. Hahn immediately advised Fiebig that Gehrke was not for him because he had too many opponents. In the meantime Hahn was summoned to the police headquarters for questioning; Werner blames his good nature for it. Fiebig criticized that Styczinski did nothing for the magazine and stole books from him. Now that the money is gone, he no longer wants Hahn as a husband for his daughter.

Werner sees Gehrke's advertising as the main reason for the money problem, while Fiebig defends the advertising strategy as successful. Werner replied that Gehrke had advertised himself and not the social aristocrat; His “cold Jans and Lobster Majonaisen Martirjum” had also been reported in the press. Werner suspects that Gehrke only wants to go to the Reichstag and that he is no longer interested in the editorial work.

Gehrke appears with Bellermann and Styczinski at the editorial meeting, but Sprödowski has developed differently and no longer takes part in the meeting. Gehrke's article Free Love in the Light of Education earned him an indictment of at least six weeks in prison. That is why he demands that 600 marks be available to pay the fine, because he refuses another martyrdom because, in his opinion, the matter has become hopeless. Thereupon Werner also demands the money due to him as a printer. Fiebig, who is afraid for his money, criticizes Gehrke: As an editor, he must know what he is allowed to write and what not. Gehrke also owes Werner money for his old work Lieder eines Übermenschen . An apprentice printer asks for the manuscript for the next edition of the Social Aristocrat . Fiebig again mentions that so far neither his Weltunterjank nor one of Hahn's poems have been printed. Gehrke regrets the failure of social aristocracy as an ideal and declares that he wants to return his editorial office to Hahn. Werner immediately realizes that Hahn was only being used by Gehrke.

Before Hahn enters the office, Bellermann also confesses that he has been charged with the immorality paragraph; However, he pays the penalty himself. Hahn reports that he was questioned by an assessor about the financial situation and his poems. A laundress brings the news of an imminent house search to Gehrke. Hahn feels sorry for Hahn and leaves because he sees his cultural work destroyed by the public prosecutor. Fiebig gets upset that there is no freedom of thought. After a dispute with Werner, Bellermann also leaves. Styczinski asks Hahn for money in order to be able to flee to London, and Fiebig too fears that his belongings will be searched. Werner insults Gehrke and also criticizes Fiebig, who first brings him print jobs but then no money. Fiebig wishes he had never let himself into the fraud and already sees Gehrke in the Reichstag.

As soon as Hahn and Fiebig have left, they come back with Gehrke, who brings in the three gentlemen from the electoral association of the anti-Semitic People's Party from Arnswalde. Finally Gehrke reports on his candidacy; he wants to create a new central body and recommends Werner as a printer. Fiebig collapses in shock.

Fifth act

The fifth act takes place in Gehrke's living room and study the morning after the election after seven o'clock. Hahn, Fiebig and Werner waited there to congratulate Gehrke after they had waited in vain at the train station the previous evening. Werner now knows about "Wahrmann-Löbndhal-Naphtali". Hahn greets Fiebig with “Good morning, Papa” - so he has meanwhile become engaged to Fiebig's daughter Anna. Gehrke's wife, who was woken up by Werner, is annoyed with her husband and accuses Fiebig of having him on his conscience and inciting him. Fiebig mentions that Hahn's aunt set the money for Hahn's children. He also prophesies that Gehrke - with the necessary money from Naphtali - will attack the Chancellor.

Fiebig and Hahn go to the loggia, Werner and Meischen follow when singing can be heard from afar: So Gehrke has the mandate. Hahn had the idea of handing Meischen a wreath to her husband in a costume as Germania . When she refuses to hand over the wreath in her bridal veil, Fiebig takes over the task when Gehrke enters with Naphtali while the people outside demand a speech from Gehrke. The final scene ends at sunrise in a general mood of celebration and the sounds of the song of the Germans .

people

Oskar Fiebig

Fiebig is a 50-year-old "occasional poet" with a stately figure and a good-natured appearance. He is editor-in-chief of Herzblättchen and has 25 years of professional experience and press relations. Although he tries to help Hahn as much as possible, he still offers his own work, Weltunterjank , for publication at every opportunity. He speaks quickly and in the Berlin dialect.

Mrs. Fiebig

The tone of the 40-year-old Mrs. Fiebig is surly and grumpy. She fears that young writers will ask her husband for financial support.

Anna Fiebig

Anna Fiebig is Oskar Fiebig's 19-year-old daughter. She is to be married to Rudolf Hahn.

Rudolf Hahn

Hahn is 21 years old and wants to publish his first work. He admires Gehrke very much and is grateful for his help. Hahn provides the starting capital for the social aristocrat; however, he often behaves quite naively and allows his good-naturedness to be exploited. Holz has depicted traits of himself in Hahn.

Dr. Benno Gehrke

Gerke is a writer in his early thirties. His figure is massive and “pronounced masculine”, he embodies the “primitive Germanic type”. His behavior fluctuates “between forest man and senior teacher”. He speaks fluently, but can also be very condescending. Gehrke is editor-in-chief of the Social Aristocrats . Bruno Wille served as a model for the figure .

Mixing

Gehrke's wife is in her late thirties and speaks the Saxon dialect. She is lively and sentimental and is constantly mothering Gehrke. She is happy.

Wilhelm Werner

The printer Werner is in his late forties and is also called "Elefantenwilhelm" because of his clumsy pace. He is strong and his voice is a "booming bass". Werner is often rude and does not hide his opinion, which often leads to conflicts with other people.

Taddäus von Styczinski

Styczinski in his late twenties and the second editor of the Social Aristocrat. His clothes are "dirty and elegant". He speaks with a foreign accent. The character's model is Stanislaw Przybyszewski .

Frederick S. Bellermann

Bellermann is an American who writes German in his early thirties and is "absolutely correct in every respect". He stutters a little. Bellermann is portrayed based on the model of John Henry Mackay .

Sprödowski

Sprödowski is a tailor in his mid-twenties. He is an anarchist, dressed very dirty and has a pockmarked face.

Mayor of Friedrichshagen

The head of office is around 60 years old. His language is “thoughtful and benevolent” and he not only offers Gehrke the option of serving his sentence in his parlor, he also allows him to invite guests on the last evening.

Schwabe

Schwabe is the 50-year-old public servant.

Dr. Moritz Naphtali

Napthali is also known under the pseudonyms Wahrmann and Löbndhal. He works for both the Berliner Lokalanzeiger and the Anti-Semitic Central Correspondence. His language is "somewhat Jewish".

Fritz

Fritz is a typesetter's apprentice in Werner's print shop.

The three gentlemen from Arnswalde

They belong to the electoral association of the anti-Semitic people's party from Arnswalde and are described as philistines with military decorations.

More people
  • Service man
  • Washerwoman
  • Gendarme

Work history

According to Scheuer, Holz's plans for this drama go back to the summer of 1889. In 1896, the failure of Gerhart Hauptmann's drama Florian Geyer motivated him to complete the drama Social Aristocrats in the shortest possible time. He also announced in a letter: “I am now working on a major cycle: 'Berlin. The end of a time in drama. ' Leave it to the circumstances, then gradually it should be - 25. Every year one. ”On July 27, 1896, however, in his article Pro Domo in the magazine Zukunft, he only wrote twelve dramas, spread over a period of 24 years. In fact, only solar eclipse in 1908 and Ignorabimus in 1913 appeared in this cycle .

Lublinski comes to the conclusion that Paul Ernst , with whom Holz must have worked together on the drama at least at the beginning, contributed Gehrke and the other writers, while Holz characterized Fiebig and his family and took care of the spelling of the dialect. The action is a collaborative effort. Scheuer, on the other hand, is convinced that Ernst may have been involved in the first version, but that Holz wrote and edited the later versions himself. Scheuer argues that Ernst advised Holz against the cycle idea in 1893 and remained silent on questions of authorship. It can therefore be assumed that the authorship lies largely with wood.

The censorship copy discovered by Scheuer shows a decisive extension of the third act. Holz emphasized the role of naphthalene and anti-Semitism. In this way, the piece changed from a representation of the milieu of an artists' colony to a general criticism of the times. The first print version depicts reality in a more concentrated and naturalistic way.

Reception history

From June 15 to 17, 1897, three wood-funded performances took place. While the provincial newspapers such as the Breslauer Zeitung praised the premiere, the reviews of the Berlin press such as the Berlin local newspaper were rather critical. Maximilian Harden criticized the world premiere as "pathetic and muddled together", Paul Schlenther described the drama as "Bierulk".

After that, the play was only performed again in September 1908 as part of the Kammerspiele of the German Theater in Berlin. After 1933 the piece turned out to be very topical again, as it addresses the rapid rise of an anti-Semitic party. In the winter of 1954/1955 Ernst Kahler staged the play, also at the Deutsches Theater. In March 1969 the Social Aristocrats were performed at the Landestheater am Ballhof in Hanover under the direction of Angelika Hurwicz .

Individual evidence

  1. ^ Social aristocrats. Comedy. In: Dramas of German Naturalism: From Hauptmann to Schönherr. Anthology in two volumes. Vol. II. Ed. By Roy C. Cowen. Munich: Winkler 1981, p. 96.
  2. ^ Social aristocrats. 1981. p. 100.
  3. ^ Social aristocrats. 1981. p. 113.
  4. ^ Social aristocrats. 1981. p. 86.
  5. ^ Social aristocrats. 1981. p. 43.
  6. ↑ a b c Social Aristocrats. 1981. p. 39.
  7. ↑ a b c d social aristocrats. 1981. p. 40.
  8. ^ Scheuer, Helmut: Arno Holz in the literary life of the late 19th century (1883-1896). A biographical study. Munich: Winkler 1971, p. 172.
  9. ↑ Holz, Arno: letters. Munich: 1984, p. 106. Quoted in Scheuer, 1994. p. 53.
  10. ↑ Scheuer 1971. p. 286.
  11. ↑ Cf. Lublinski, Samuel: Wood and sleep. A dubious chapter of literary history. Stuttgart: Juncker 1905, p. 4. McFarlane's conclusion is largely in agreement, cf. McFarlane, JW: Arno Holz's "The Social Aristocrats": A Study in Literary Collaboration. In: The Modern Language Review 44 (1949) 4, pp. 521-533.
  12. ↑ See Scheuer 1971. pp. 80f.
  13. ↑ Scheuer 1971. p. 178.
  14. ↑ n.v .: comments on the texts of the volume. Arno Holz (1863–1929). Social aristocrats. 1981. p. 658.
  15. ↑ See Rarisch, Klaus M .: Arno Holz and Berlin. In: Text and Critique. Zeitschrift für Literatur 121 (1994), p. 9.
  16. ↑ See Scheuer 1971. p. 78.

literature

Text output

  • First edition: Berlin. The end of a time in drama. Social aristocrats. Rudolstadt / Leipzig: Mänicke and Jahn 1896.
  • Journal publication: Berlin. The end of a time in drama. Social aristocrats. In: new territory. Monthly for Politics, Science, Literature and Art 1 (1896–1897), Issue 1–4 (October 1896 to January 1897).
  • Social aristocrats. Comedy. 2nd edition Munich / Leipzig: R. Piper and Co. 1905.
  • Berlin. The turning point of a time in drama. Social aristocrats. Comedy. 2. change Th. Berlin: Sassenbach 1908.
  • Social aristocrats. Comedy. Berlin: J. H. W. Dietz successor 1924 and 1925 (= separate print from the work edition from 1924/25).
  • Social aristocrats. In: The work of Arno Holz. 1st edition with introductions by Dr. Hans W. Fischer. 10 vols. Vol. 5: social aristocrats. Solar eclipse. Berlin: J. H. W. Dietz successor 1924.
  • Social aristocrats. In: Works. Edited by Wilhelm Emrich and Anita Holz. 7 vols. Vol. 4: Social aristocrats. Solar eclipse. Ignorabimus. Neuwied / Berlin-Spandau: Hermann Luchterhand 1962.
  • Social aristocrats. Comedy. In: Dramas of German Naturalism: From Hauptmann to Schönherr. Anthology in two volumes. Vol. II. Ed. By Roy C. Cowen. Munich: Winkler 1981, pp. 37–119.

Secondary literature

  • Walter Beimdick: Arno Holz: 'Berlin. The turning point of a time in dramas. ' Investigations into the works of the cycle fragment. Münster: 1965. (Diss.)
  • James Walter McFarlane: Arno Holz's "The Social Aristocrats": A Study in Literary Collaboration. In: The Modern Language Review 44 (1949) 4, pp. 521-533.
  • Helmut Scheuer: Arno Holz in the literary life of the late 19th century (1883–1896). A biographical study. Munich 1971, pp. 172-197.
  • Helmut Scheuer: Arno Holz '“The turning point of a time in dramas”. From milieu piece to soul drama. In: Text and Critique. Zeitschrift für Literatur 121: Arno Holz (I, 1994), pp. 53-61.
  • Peter Sprengel : Where is Friedrichshagen? On the social history of the social aristocrats (Arno Holz). In: Literature in Transition: Festschrift for Viktor Žmegač on his 70th birthday. Edited by Marijan Bobinac. Zagreb 1999. (= Zagreb Germanistic Contributions, Supplement 5), p. 152.

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