Gottfried Keller's farewell to the "originalgenie" an examination of the Züricher Novellen
Date
1988
Authors
Robertson, Karen Lee
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Abstract
In the development of the notion of "Genie" in German literature during the eighteenth and nineteenth centuries, various attributes were ascribed to the concept by writers on the subject. Originality was seen as an important aspect of the concept and this, especially in the "Sturm und Drang" years (1770's), gave rise to a concept referred to as the "Originalgenie". In his Ziiricher Novellen (1876-77), Gottfried Keller takes issue with the "Originalgenie". The purpose of this thesis is to examine, in its historical context, Keller's critical view of the notion and what he proposes in its stead.
Since it is the so-called Jacques-cycle of the Ziiricher Novellen that specifically deals with the historical idea of the "Originalgenie", my thesis concentrates on these particular stories. Offering various perspectives by way of these individual "Novellen", Keller presents his understanding of what constitutes originality. The significant framing narrative that encompasses each "Novelle" serves to bind the different perspectives together and elaborate on the theme· of originality. An important relationship can be seen here between Keller's choice of form and content. The essential idea behind the German "Novelle" is to portray, with a didactic intent, something new, unheard of (or "original"). Keller makes use of the "Novelle" form to convey his didactic message which throws a different light· on the traditional understanding of originality.
Finding the "Originalgenie" to be arbitrary and misdirected and not tenable in his day, Keller proposes his alternative of the "gutes Original". He does not intend this figure to be seen as a new version of the "Originalgenie". It is, in fact, a complete reversal of this notion. Keller sets out to show that what he considers as "gute Originalitlit" is developed through a learning process over time; it is not an innate gift, nor does it arise spontaneously. "Good originality" often involves imitation of a worthy model, guided by recognition and acceptance of given limitations; there is no room for passionate excess. Keller aims for socially· valid originality. It is for this reason that his "gutes Original" appears first and foremost as a "tiichtiger Burger". However, rather than diminishing the exceptional quality usually associated with originality, Keller brings out a less obvious, perhaps neglected dimension of the term. He opposes the idea of inventiveness with that of exemplarity: the "gutes Original" is the model that deserves to be copied. Keller emphasises that this remains an exceptional occurrence.
Keller's criticism of the "Originalgenie" is tied in with his perception of himself and his contemporaries as epigones. He offers his counter-concept to underline the possibility that one can develop into an inspirational individual in spite of the limitations of the times. Saying farewell to the "Originalgenie" and presenting his "gutes Original" in its place, Keller endeavours to meet a perceived need of his day.