Gottfried Keller: The Swiss Connection to the German Continentals

... that Swiss poet whom I consider to be the only living German poet, Gottfried Keller.
Nietzsche, letter To Hippolyte Taine, July 4, 1887.

Gottfried Keller is nearly completely unknown outside of Switzerland, but his literary legacy still leaves a mark on the art of the 20th century. The trajectory of Gottfried Keller's life and artistic evolution is marked by a series of transformative experiences. His academic journey was disrupted due to a youthful prank, leading to his departure from higher education and the subsequent pursuit of training as a landscape painter. After completing a two-year period of study in Munich, he returned to his hometown bereft of financial resources in 1842. It was during this period that he underwent a notable transition, influenced by the political poetry prevalent in the pre-March era, which ignited his poetic sensibilities and concurrently drew him into the militant movement catalyzing Switzerland's reconfiguration in 1848.

Keller's intellectual pursuits then led him to Heidelberg through a travel scholarship provided by the Zurich government. Engaging with the intellectual milieu of Ruprecht-Karls University, he embarked on studies encompassing history and political science including the writings of the former Heidelbergian, Ludwig Feuerbach. Subsequently relocating to Berlin, he intended to embrace a trajectory as a playwright, however, his creative inclination saw a divergence towards the composition of novels and novellas. Among his notable achievements are "Der grüne Heinrich" and "Die Leute von Seldwyla," emblematic works that garnered prominence. Upon his return to Zurich in 1855, his reentry was marked by both recognition as a writer and persistent financial constraints, a situation ameliorated in 1861 upon his appointment as the First State Secretary of the Canton of Zurich. His narrative oeuvre included "Fähnlein der sieben Aufrechten," which encapsulated a dual expression of contentment with national conditions and a circumspect contemplation of societal progress-associated perils. He was a life-long reader of Marx’s favorite philosopher (next to Hegel), Feuerbach, which laid the philosophic foundation of his Atheism.

Keller's foray into political responsibilities spanned a decade, within which his creative output was partially subdued, only witnessing a resurgence during the latter phase of his administrative tenure, yielding creations such as "Die Sieben Legenden" and the second part of "Die Leute von Seldwyla."

Goethean Prose and Legacy of Romanticism

The landscape of Swiss-German literature would be incomplete without the monumental contributions of Gottfried Keller, a figure whose impact on literature and sociopolitical thought continues to resonate. Keller's art is remembered for vivid realism, remarkable narrative structures, and socio-political commentary on the Swiss Confederacy and the shifting European landscape. His work is deeply rooted in the Romantic German literary tradition of which Schiller and Goethe, his contemporaries, often examined the complexities of human nature and societal structures.

Keller's work navigates various subjects and stylistic tropes but carries an underlying thread of social commentary. His narrative often reflects the structural forces that shape human behavior and the manifestation of societal norms. This is particularly notable in his realist masterpiece, "Die Leute von Seldwyla," where Keller explores the human condition within specific socio-political constraints. The protagonists in Keller's works, often caught in a web of societal expectations and personal aspirations, reflect the common man's struggle. This narrative technique demonstrates Keller's comprehension of the human condition as shaped by both internal and external structures, a theme consistent across his oeuvre. It's not the characters who primarily drive the plot; instead, the external societal structure dictates their behavior and destiny.

Goethe and Schiller’s Shadow

 Goethe, broadly considered the greatest German prose writer of all time, was a contemporary of Keller, and Keller worked in his shadow. Keller famously noted in a letter to his friend Jakob Pferdmenges, "In my youth, I learned from Goethe that a person can do and must do what he wants, but not always when he wants" (Briefe von Gottfried Keller, 1890). This belief seems to have influenced his depiction of characters who were often caught in a struggle between personal desires and societal obligations.

Keller was important enough of a Poet at the time to be known to Goethe and Schiller, although there is no known interaction between them. Keller commented frequently upon their works in his own, and in a letter to Goethe dated October 2, 1797, Friedrich Schiller mentions Keller's elegies: "Meyer himself can probably give you more information about the author of the elegies, which you will not dislike. His name is Keller; he is a Swiss, from Zurich as I believe, and is staying in Rome as an artist. These elegies were sent to me by a Mr. Horner from Zurich. Perhaps you have already met the latter yourself; he has also already contributed something to the Horen."

Hermann Hesse was a fan of his contemporary across the border, writing:

Among these poems are extraordinarily beautiful ones, of which one cannot comprehend that they could lie there unnoticed and unprinted for decades! But Keller's poetry is little known at all; it is rougher and more idiosyncratic than his prose. This could be seen recently at the first performances of Lebendig begraben; Othmar Schoeck wrote a sublime music for this cycle of poems, but the majority of the audience did not know these magnificent poems and sat facing them, embarrassed and shaking their heads. Perhaps it is the same with these youth poems unearthed by Fränkel. But it would be a pity.

Swiss Confederacy Politics of the 18th Century

To better understand Keller's literary approach, one must delve into the structural forces within his narratives. His storylines are intertwined with the sociopolitical climate of the 19th century Swiss Confederacy. This was a time of significant upheaval, with the forces of industrialization, nationalism, and capitalism at play. These external forces, which shaped the characters' lives in his novels, underscore Keller's belief in societal structures' prevailing influence on individual choices and actions.

Keller's narratives display a keen understanding of the Swiss society of his time, reflecting his detailed observation and critical examination of social, political, and cultural norms. His realistic portrayals were not devoid of optimism and often hinted at the possibility of societal improvement. He stated, "The present is a time of struggle; it forces us to use all of our talents and strengths to tackle the problems of the day".

In "Der grüne Heinrich," Keller's semi-autobiographical work, the protagonist's life trajectory is predominantly influenced by external circumstances and societal expectations. While the story is driven by personal reflections and introspection, it consistently highlights the societal structures and political undercurrents impacting the protagonist's life. Keller's vision of society as a complex, interdependent structure influencing individual lives underscores the importance of social constructs in defining personal identities.

The characters in Keller's works, subject to these larger socio-political structures, serve as a mirror to the human condition. They exhibit the capacity for critical thought and resistance against societal norms, signifying the potential for change within rigid systems. This is evident in "Die Leute von Seldwyla," where characters often act contrary to societal expectations, suggesting the potential for personal agency within the confines of structural forces.

Keller's Societal Critique

Friedrich Nietzsche praises Keller's work in his writing:

"The treasure of German prose. - If one disregards Goethe's writings and especially Goethe's conversations with Eckermann, the best German book there is: what actually remains of German prose literature that deserves to be read again and again? Lichtenberg's aphorisms, the first book of Jung-Stilling's Lebensgeschichte, Adalbert Stifter's Nachsommer and Gottfried Keller's Leute von Seldwyla, - and that will be the end of it for the time being."

And while Keller was in Rome in June of 1883, he received a uncharacteristically warm letter from Nietzsche:

Rome, June 1883.
Dear Sir,

In reply to your kind letter "Your kind letter", a very amiable letter of thanks from Keller for sending me the "Fröhliche Wissenschaft", and at the same time as confirmation of the thought you expressed in it - that great pain makes people more eloquent than they otherwise are - I would like to recommend to you the enclosed booklet entitled "Thus Spoke Zarathustra".

Strange! From a veritable abyss of feelings into which this winter, the most dangerous of my life, had thrown me, I rose all at once and for ten days was as if under the brightest sky and high above high mountains.
The fruit of these days now lies before you: may it be sweet and ripe enough to do you - a spoiled person in the realm of the sweet and ripe! - to do you good!

Adoring you from the bottom of my heart

Prof. Dr. Nietzsche.

The rest of the Keller-Nietzsche correspondence has been lost to time.

Keller's contribution extends beyond mere storytelling to societal critique. His novels provide a nuanced critique of the capitalist system, highlighting its influence on human behavior and societal norms. Keller portrays a society where personal relations and human values are often subordinated to economic interests, a critique that resonates with contemporary societal issues.

His contemporaries respected Keller's ability to create profound literary works that reflected the changing societal landscape. Theodor Fontane, a noted German novelist, wrote, "Keller’s tales are what German literature has produced of the very best in the domain of narrative" (Briefwechsel zwischen Theodor Fontane und Gottfried Keller, 1898). Keller was admired not only for his storytelling but also for his philosophical and political insights. However, he also faced criticism from those who saw his realism as a form of pessimism or cynicism.

Remarks on Keller's poems can also be found in writings by recent German philosophers, such as Theodor W. Adorno. In the last weeks of his life, Ludwig Wittgenstein liked to read from Keller's Zurich novellas to visitors.

Keller’s novel The Public Detractors was circulated under the table in inner emigration and resistance circles during the Nazi dictatorship and played a role at a meeting of the "White Rose" in 1942; and in 1952 it was set to music by Kurt Hessenberg.

Keller and the Continentals

Keller's work has often been overshadowed by his contemporaries, such as Nietzsche and Schopenhauer philosophically, and the poetry of Goethe and Schiller. Philosophers like Arthur Schopenhauer, though not directly connected to Keller, contributed to the philosophical atmosphere that supported the shift toward realistic portrayals of human experiences. His work contained elements of realism, romanticism, and naturalism, embodying a unique synthesis of these philosophies.

Keller's work continues to resonate today because of its enduring relevance. His critique of societal norms, exploration of human nature, and optimism about societal progress are themes that remain pertinent. Moreover, Keller’s commitment to realism, despite its perceived pessimism, continues to influence contemporary literature. Ernst Bloch, a Marxist philosopher, noted, "Keller was a realist who believed in the possibility of a better future. He understood that progress required an honest examination of the present" (Principle of Hope, 1959). The importance of Keller's philosophy lies in its relevance to a broad range of disciplines, including literature, sociology, politics, and philosophy.

Swiss Legacy

In 1964, as part of their 100-year celebration, Swiss Reinsurance erected a monument for Gottfried Keller, created by Otto Charles Bänninger. The choice was made because Keller, as the State Secretary of the Canton of Zurich in 1864, had signed Swiss Re's founding documents. The monument was placed in the Zürich Enge area, facing their business premises. Consequently, some sources, such as the Zürcher NZZ, noted during the monument's unveiling that Swiss Re was essentially building a monument to itself, using Keller as a means to promote their company. The uniqueness of the Gottfried Keller monument lies in the fact that it was created during a time when constructing monuments for individuals was not common anymore. By the 1960s, various memorials for Keller were already present in Zurich, including a bust in the city hall since 1892 commemorating his role as State Secretary, plaques on different buildings where he lived and worked, and the Gottfried Keller Street. Interestingly, Keller's monuments were primarily dedicated to his political activities rather than his contributions as one of Switzerland's most renowned writers. The monument itself is crafted from Istrian limestone and consists of a block representing a book, inscribed with his works, along with a larger-than-life head placed on a pedestal and a bench nearby.