Archive for the ‘storm theodor’ Category

IMG_0019Translated from German by Denis Jackson
And so to the fourth multi-generational family tale I read for GLM VII, which turns out to be a precursor to the first.  Written in 1884 by Theodor Storm, the similarities witb Thomas Mann’s Buddenbrooks (1901) are striking.  It should come as no surprise – but it did, a very pleasant one at that – for Mann once said of Storm “he is a master, his work will survive”.

So for example Grieshuus, The Chronicle of A Family could easily be renamed Grieshuus, The Decline of A Family, because that is what it chronicles, a family coming to the end of a line in 4 generations as does Buddenbrooks.  Any similarity between the families and the plots ends there.  Storm’s family is from the Junker (noble) class, while Mann’s family is a family of merchants.  Mann’s novel is heavily autobiographical.  Storm’s novella is not.  And at a mere 94 pages in length, Grieshuus is an exercise in concision.  (Which is not to say that Buddenbrooks at 600+ pages is wordy.  I wouldn’t cut a word from it. ) But Grieshuus is a novella from the pen of an author at the height of his powers, making full use of all the poetic and literary techniques at his disposal: foreshadowing, symbolism, leitmotif.  The same techniques that Mann uses to such fabulous effect in Buddenbrooks,  You really can see Storm coaching Mann when you read these two works in close succession.

Grieshuus (The Grey House) is set in the tumultuous time of the Northern Wars of the late seventeenth and early eighteenth centuries, a time when Schleswig-Holstein was not yet Germany, but was being fought over by Sweden and a coalition of other European powers. This serves as background, and only really becomes important towards the end of the story.  Up till that point, this is very much a family tragedy precipitated by class issues

*** Spoilers ahead – you may choose to skip the next paragraph ***

Junker Hinrich (2nd generation) becomes infatuated and marries the low born Barbe, thus precipitating a rift with his father and twin brother, Detlev.  Hostilities become so inflamed that, losing all control (his temper being foreshadowed in the very first scene of the novella), Hinrich actually kills his brother and flees.  Years later, he returns, unrecognised, to the Grieshuus estate, not to reclaim his place but to act as estate manager.  The intervening years have chastened and mellowed him and he wants to spend time with his grandson, Rolf.  (His daughter, having served her purpose, has died in childbirth.)  But, time is not on the side of Hinrich’s family and that great Northern War has its own agenda.

*** End spoilers ***

At the heart of the plot, then, is a classic Cain and Abel story, but one in which Cain is pays his penance and achieves redemption, although is unable to avert the ultimately tragic outcome for his family.  It is a dramatic storyline though I would say a typical 19th century one.  What makes Grieshuus less grey, if you will, is the power of Storm’s storytelling.  For instance the structure: the absolute break that is represented by the murder is reinforced by the break between books one and two.  There is also no sense of outrage that the murderer escapes. Storm has told us enough of preceding events to ensure that we understand his psychology and perhaps more than empathise.  How modern is that?   There are layers of natural description and symbolism that only a lyric poet and natural storyteller of Storm’s abilities could weave into his tale without overloading it for those of us with less poetic sensibilities (myself included). At this point I’m going to refer you to David Artiss’s excellent introduction in the Angel Classics edition with its clear breakdown of these elements.  It’s a boon in particular for interpreters of animal symbolism: a multiplicity of birds, all with malignant reputations, bloodhounds, wolves.  Ah yes, wolves.  Artiss points out that these function as a leitmotiv, mentioned every 3 pages.   I hadn’t noticed that.  Which means that it did not irritate me.  Perhaps this is one lesson Mann didn’t quite learn from the master. (I’m thinking here of Gerda’s overcooked brown eyes ….)

But I must not forget the horse.

A riderless dark-looking horse then appeared from the forest, with its white tail and mane flying in the moonlight; it was as if it was racing over the low ground and in he btidge to hurl itself into the midst of the flying soldiers; its dark eyes blazed, its small head flung from right to left, “That was no horse that we have known” …

Storm afficionados will recognise the precursor of The Dykemaster’s horse in that passage.  What does it say about me that I found it inordinately exciting?  (Rhetorical question – please don’t answer.)

Grieshuus is the 6th volume of Storm’s stories, published by Angel Classics and translated by the phenomenal Denis Jackson.  Reviews of a selection of the other volumes, plus my Meet the Translator interviews with Jackson can be found here.


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My love of Theodor Storm’s C19th novellas is well-documented on this blog, as is my admiration for his English translator, Denis Jackson, whose generous response to my Meet the Translator feature (1, 2, 3) is probably the German Literature Month highlight that will never be surpassed.

Last month I finally got the opportunity to visit Storm country, although with only 3 days, there was not enough time to visit a hallig or wander out to Hattstedt, the setting of Der Schimmelsreiter (Translated by Jackson as The Dykemaster). I did, however, walk 4km along the Husum dyke to the North Sea.


View of Husum from the dyke

Storm, famously called Husum the grey town by the sea.  Well, there wasn’t much greyness in the 3 days I was there.  Husum presented itself most colourfully, and it would appear I’m not the only person to think so.


The colourful town by the sea

With a harbour teaming with restaurants and bars serving wonderful fish dishes (best meal of the holiday for €7.00), centuries-old houses and cottages, many decorated with roses or lavender in bloom, and a café serving cakes to die for (my favourite find of the holiday), Husum is a lovely little place.

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It is, of course, made entirely special through its links to Theodor Storm, who lived just around the corner from my accommodation (literally!) . The tourist office makes it easy for those on a Storm pilgrimage, having designed a walk taking in 34 mostly Storm-related sites.  Here are a few highlights.

Firstly places where Storm lived and died.

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Secondly settings in Husum appearing in Storm’s novellas.

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The second set demonstrates the indivisibility of Storm’s narratives and the local landscape.  While Storm’s stories put Husum and the surrounding area on the map in the C19th, they continue to contribute to the success of the area down to this day. 14th September 2017 marks the bicentennial of his birth and Husum will be celebrating its most famous son with style. I’ll party along with the new Denis Jackson translation of Storm’s novella Grieshuus: Chronicle of A Family, which was pre-ordered just as soon as I heard about it!


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In the interview with Denis Jackson, that I published yesterday, I shortened his answer to question 9.  The full response is so special that it deserves a post of its own.  So with profuse thanks to Denis Jackson, I herewith conclude GLM V with a world exclusive.

9) Are you tempted to translate Storm’s poetry?

I should love to have the time. Storm was above all a lyric poet; as he himself said: ‘My craft of fiction grew out of my lyric verse.’ His words are chosen as much for their sounds as for their meanings – an aspect of his prose essential to be known by a translator. Some critics have described him as ‘primarily a poet for the ear’, a lyrical attitude of mind that is apparent in all his works. The translator will therefore find himself translating ‘poetry’ whether he is aware of it or not.

So we entered the thick forest. It grew increasingly quiet about us and the darkness grew thicker; I barely recognised the graceful figure of Renate as she walked ahead of me so rapidly amid the tall tree-trunks. From time to time I felt as though my happiness were flickering there before me, and that I should grasp it if I didn’t want to lose it. But I knew full well that the girl’s thoughts now excluded everything and everyone but her father.

Eventually, what seemed like grey twilight broke through the trees, the forest came to an end, and there it lay before us – wide open and misty; here and there shimmered a pool of water, with dark round piles of peat rising up beside it; a large dark bird, as though it had lost something, quartering the ground with slow wing beats. (Renate)

Amid all of Storm’s lyric poetry there is one poem that not only perfectly describes the scene from the top of a dyke looking out across the North Sea Tidal Flats (Wattenmeer), and its tiny islands, but also describes his homesickness for his region while he was away in political exile. It is called ‘Meeresstrand’ (‘The Seashore’) and was contained in a letter to his father in 1856. He tells his father that he is homesick, and writes that this poem explains why:

An’s Haf* nun fliegt die Möwe,​​​
Und Dämm’rung bricht herein;​​​
Über die feuchten Watten​​​
Spiegelt der Abendschein.​​​

Graues Geflügel huschet​​​
Neben dem Wasser her;​​​​
Wie Träume liegen die Inseln​​​
Im Nebel auf dem Meer.​​​

Ich höre des gärenden Schlammes​​
Geheimnisvollen Ton,​​​
Einsames Vogelrufen – ​​​
So war es immer schon.

Noch einmal schauert leise​​​
Und schweiget dann der Wind;​​​
Vernehmlich werden die Stimmen,
Die über der Tiefesind.​​​​

© Denis Jackson

© Denis Jackson

A gull flies over the waters,
And twilight clothes the land;
The sunset’s mirrored, and sparkles,
​On the watery flats and sands.

​Grey birds are darting, skimming,
Close to a darkening sea;
Like dreams the lonely islands
Rest in fog upon the sea.

I hear the grey mud churning –
Its deep mysterious tone.
​​​The lonely calls of sea-birds –
It was always so at home.

Again the rain falls lightly,
The wind then dies away;
Clearer become the sounds,
That now drift across the bay.

© Denis Jackson 2015

* A Haf in North Friesland is the waters on the surface of the Wattenmeer, it is not a ‘harbour’.

These are most haunting images and sounds, translated by me into English for the first time. It is just a perfect description, both visually and aurally. And having stood there on a dyke myself and looked out, over at this scene, listening to the churning mud and the birds (of which there can be tens of thousands), it is a perfect experience of being one with nature. If there is one poem, as a translator, that binds me to Storm it is this one, for it brings back my own childhood memories of the seashore on the North East coast of England. To translate Storm’s poetry one has to ‘see’ and ‘experience’ its words, without which only lifeless words will result. It is best not to translate Storm’s poetry at all, than to translate it in this way. There are many other such poems waiting to be translated, but to do them justice, much time and effort must be expended. Simply to freely-render the verse would do Storm a gross injustice.

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Denis JacksonIn part one of this inteview, Denis Jackson demonstrated how he and Theodor Storm have, through the literature and translation, have become one in spirit. Today Denis proves that there is no one, except perhaps the author, who is so intimately acquainted with a text as its translator.

8) You recently published a small volume of Storm’s fairy tales The Rain Maiden and other Tales. They are as different from Grimm as it is possible to be: charming and without an ounce of terror. You published them in e-book format only. Why is that?

The Rain MaidenStorm was a keen collector of legends, ghost stories, folktales and fairy tales, all of which in one form or another appear in his later novellas. His most notable fairy tale, Die Regentrude (The Rain Maiden, 1864), remains today a favourite among the German young, and is published in many finely-illustrated editions. Mine is the only translation into English. It was Storm’s farewell to the late Romantic age with its evil fire goblin as a gothic reminder of the past. It was also my first Storm translation, primarily due to its intense dialogue that runs throughout the narrative between the girl and her boyfriend as they search for the Rain Maiden in a cavern below the earth. Natural dialogue is most difficult to produce in a translation, and The Rain Maiden provided for me what might be called a ‘dialogue apprenticeship’. Regretfully, today’s publishers are not interested in traditional fairy tales, like The Rain Maiden. After many rejection slips, I was forced to publish it myself, together with translations of Knecht Ruprecht and Der kleine Häwelmann (Little Hans), the latter written for his son Hans, as an eBook for Amazon and for Barnes and Noble in the US. Such is progress.


9) Which of Storm’s novellas gave you the most pleasure to translate and why?

For me there are two novellas that gave me the greatest of pleasures to research and translate: Pole Poppenspäler (Paul the Puppeteer, 1874) and Renate (1878), both now in the same volume. Paul the PuppeteerPaul the Puppeteer is a magical tale which speaks to all ages, an affectionate portrayal of the vanishing world of the marionette theatre which also contains sharp social criticism of contemporary society. The Low German title of the story, Pole Poppenspäler, is a jeer at the central character, Paul, who befriends a puppeteer and his family with their gypsy-like way of life; puppeteers being viewed at the time as thieves and vagabonds by a guild-dominated society. To translate this work, I set about to learn the travelling puppeteer’s hard way of life, to understand the puppet theatre and its role within nineteenth-century Europe, where it was the entertainment of princes, dukes, kings and queens. Visits to puppet museums in the capitals and cities of Europe, especially in Lübeck, which has the finest collection of puppets in Europe, and to the Puppet Theatre Barge on the river Thames, gave me a firm understanding of the puppeteer’s way of life and of his struggles just to survive. I even learned how to manipulate the puppets and of the various techniques that were used across Europe. But above all, it was the diary of a travelling puppeteer in nineteenth-century Europe, kindly given to me by the Puppet Theatre Barge, that was the most valuable, and which confirmed just how accurate Storm’s descriptions of the puppeteer’s way of life were. It was a most harrowing diary to read, and when I write of ‘experiencing’, the events related by this puppeteer should be essential reading for any translator attempting to translate this novella. When I received the Oxford Weidenfeld Translation Prize for this translation, it was the puppeteer’s story I told, and how translating Storm has taken me on many a similar emotional journey to discover the many ‘worlds’ within his novellas.

Paul the Puppeteer projects the deep humanity of the author and his profound understanding of human feelings. There is no finer monument than this novella to the lives of those travelling entertainers who gave so much to so many people, yet in the process were treated as the lowest members of society.
In one memorable scene, the puppeteer in the story is put in prison in Heiligenstadt in southern German, his daughter, Lisei, attempts to visit him, but is ushered away by an official. So she sets off up the hill in the town in the freezing cold and kneels before a cross. She is observed by Paul Paulsen, the main character in the story:

As I was about to turn away from the window, the woman came up the street again. She stopped in front of the prison door and hesitantly put a foot on the stone step below the entrance; then she looked round and I saw a young face whose dark eyes wandered over the empty street with the most helpless and forsaken expression; she appeared simply not to have the courage to face the official’s threatening fist yet again. Slowly, and continually looking back at the closed door, she went on her way; it was evident that she did not know where she was going. When she now turned into the narrow lane at the corner of the prison that led up to the church, I instinctively grabbed my cap from the door hook to go after her.
​“Yes, of course, Paulsen; it’s the right thing to do!” said the good-hearted Frau Meisterin. “Go after her; I’ll heat up the coffee in the meantime!”
​It was fiercely cold when I stepped outside the house; the town seemed deserted; from the high hill that reared up at the end of the street the dark fir forest looked down almost threateningly; white curtains of ice hung in front of the window-panes of most houses; for not everyone, like my old Frau Meisterin, had a rightful claim to five bundles of wood for domestic use. I went up the narrow lane to the church square; and there on the frozen ground at the foot of the tall wooden crucifix knelt the young woman, head bowed, hands folded in her lap. I quietly stepped closer; but when she looked up at the bloodied face of the crucified figure, I said: “Excuse me if I’m interrupting your prayers, but you’re a stranger to this town, aren’t you?”
​She simply nodded without shifting her position.
​“I’d like to help!” I continued. “Where is it you want to go?”
​“Don’t know any more,” she said without expression, letting her head sink lower on to her chest.
​“But it’ll be dark in an hour; you won’t be able to stay out much longer on the open street in this deathly weather!”
​“The good Lord will help me,” I heard her say quietly.
​“Yes, yes, I’m sure,” I said, “and I almost believe He’s sent me to you!”
​It was as though the firmer tone of my voice had woken her, for she rose and walked hesitantly towards me; with her neck straining forward she brought her face nearer and nearer to mine, and her gaze fixed itself on my face as though she wanted to seize me by it. “Paul!” she cried suddenly, and like a cry of joy the word flew from her breast. “Paul! Yes, the good Lord’s sent you to me!”
​Where had my eyes been! I had her here again, my childhood friend, Lisei the little puppeteer! Of course, the child had become a beautiful slim young woman, and on the child’s face once so radiant, after the first ray of joy had spread over it, now lay an expression of deep sorrow.
​“How is it you’re here all alone, Lisei?” I asked. “What’s happened? Where’s your father?”
​“In the prison, Paul.”
​“Your father, that fine man! — Come with me; I’m working here for a good woman; she knows all about you, I’ve often told her about you.”
​And hand in hand, as we had been as children, we walked to the old Frau Meisterin’s house.

Pure Storm! It is a scene that is often cited as confirming Storm’s religious beliefs, but his belief remained ambiguous to the very end of his life, not even allowing a priest at his funeral.

The overall narrative reveals not only Storm’s intense interest since childhood in the puppet theatre, but also his consummate skill in being able to enter into the puppet’s world:

The second act was even better. Among the servants of the castle there was one dressed in a yellow Nanking suit called Kasperl. If this boy wasn’t alive, then nothing or nobody ever had been; he made the most outrageous jokes so that the whole room erupted with laughter; he must have had at least one joint in his nose, which was as long as a sausage, for when he let out his mock-stupid laugh, the tip of his nose swung from side to side, as though even it was unable to stop itself in the fun; at the same time the young fellow opened his huge mouth and snapped his lower jaw-bone like an old owl. “Whoops!” he would cry every time he came jumping on to the stage; then he would settle himself down and speak with just his large thumb, which he could move back and forth so expressively that it really went like: ‘Here nix and there nix! You get nix, so you have nix!’ And then his squint — it was so bewitching that the whole audience instantly squinted too. I was simply infatuated with the dear fellow!

Storm’s intense love, since childhood, for the puppeteer’s world is artistically and brilliantly displayed in this novella’s conclusion, in what could be viewed as his personal farewell to it. The puppeteer’s puppets had to be sold in his old age, and the whereabouts of his favourite puppet, Kasperl, becomes unknown, much to the sorrow of the old man, father Joseph, who dies. The final scene opens with the old man’s funeral:

The churchyard was thick with people; from the burial of the old puppeteer it seemed that a final, special performance was expected.

And something special actually did happen; but it was noticed only by those of us standing close to the grave. Lisei, who had come out of the church holding on to my arm, had just convulsively clasped my hand as the old priest, in accordance with custom, grasped the waiting spade and tipped the first soil on to the coffin. A dull thud sounded from the bottom of the grave. “For out of the ground wast thou taken!” rang the words of the priest; but hardly were they spoken when I saw something flying towards us from the churchyard wall above the heads of the people. I thought at first it was a large bird; but it dropped and fell straight into the grave. Glancing quickly behind me — for I was standing a little above ground level on the dug-out earth — I had seen one of the Schmidt boys duck behind the churchyard wall and run away, and I knew at once what had happened. Lisei had let out a cry at my side, our old priest held the spade undecidedly in his hands for the second cast of earth. A glance into the grave confirmed my suspicion: on top of the coffin, between the flowers and the soil, which had already partly covered them, there he had seated himself, my old childhood companion, Kasperl, my little jolly friend. But he didn’t look at all jolly now; he had let his great beak of a nose fall sadly on to his chest; the arm with the elaborately crafted thumb was stretched up at the sky, as though he were saying that when all puppet plays had ended here, another one would begin up there.

​I saw it all in a brief moment, for the priest had already cast the second spadeful of earth into the grave: “And unto dust shalt thou return!” And as the earth slid off the coffin, so Kasperl too rolled off its flowers into the bottom of the grave and was covered.

​Then with the last pitch of earth the comforting promise rang out: “And together with my dead body thou shalt arise!”

​When the Lord’s Prayer had been said and the people had dispersed, the old priest came over to us as we remained staring into the grave. “It was meant to be a wicked act,” he said, as he kind-heartedly grasped our hands. “But let us take it another way! As you’ve described it to me, the deceased carved the little figure in his youth, and it brought him a happy marriage; later, and throughout his life, by means of it he brightened many a human heart after a day’s work, and in the mouth of the little jester he placed many a word of truth agreeable both to God and the people — I watched it once myself, when you were still children. – Let the little puppet simply follow his master; that will be entirely in the spirit of the words of our Holy Scripture! And be of good cheer; for the Blessed may rest from their labours.”

​And so it was over. Quietly and at peace we went home, never to see old father Joseph or the magnificent Kasperl again.

No one can but fail to hear the actual voice of Storm himself in this concluding narrative.

One of the most remarkable aspects of Theodor Storm as a writer is the range of subjects and moods (Stimmungen) within his novellas. For the translator, each novella opens the door to a totally different ‘world’. Such a range being forcefully demonstrated in his novella, Renate, whose conclusion is equally of the highest artistic quality.

Renate records within a narrative frame the memories of an eighteenth-century Lutheran pastor and his love for a farmer’s daughter who is persecuted by the local community for alleged witchcraft; a clash between religious bigotry and spontaneous emotion which drives one of the most moving stories in all of Storm’s fiction. The second in Storm’s series of ‘chronical novellas’, it takes the reader through a narrative frame technique back to the years of the witch craze in the beautiful village of Schwabstedt on banks of the river Treene, south of Husum. Storm researched the period within the local context in great detail, recording the trial, torture and burning of two women convicted of witchcraft in the village in 1619. Of all his novellas its swift descriptions of the North Frisian landscape, and of the village itself, surpass many in his works. Its taut style closely follows the chronicle of events throughout.

Only the moor lies between here and Schwabstedt, a bird would soon wing its way across it; but some thirty years have passed into eternity since that day — without increasing it; for man alone exists in time. I am sitting here in the village of Ostenfeld, as an all too prematurely disabled emeritus and wretched boarder with the local parish priest, with my dear, thoroughly able-bodied cousin Christian Mercacus. I should therefore have time enough to record, like the other details of my life, the events of that afternoon as well. They still lie within me, an exuberant sweet memory in the soul. I have even prepared a whole sheet of paper for it and had my quills cut by the sexton, and now my mind’s eye sees nothing before me but a lonely path between green hedgerows that gradually winds its way up into the forest. I am certain, though, that this was the way we took that afternoon, and the summer scent of honeysuckle and dog-roses seems still to hang here in the air about me.

Storm’s descriptions of landscape are swift, almost in passing, a quick glance at a scene, then to move on:

And so we left the wedding celebration silently together. And as we came to the rise in front of the bishop’s residence where the path crosses over it, we remained standing under the tower, looking down on to the lowlands before us; for there in the early dawn of the day, in the deep red glow, the river flowed away into the still half-darkened land. At the same time, however, a sharp breeze blew from the east, and as Renate shivered, I put my arm round her bare neck and drew her cheek close to me. She resisted gently. ‘Let be, Herr Studiosi,’ she said, ‘I must go home now!’ and pointed down to her father’s house which lay to one side among the dark trees. And as a shrill cock-crow now rose from there, I saw her already running down the hill; but then she turned and looked up at me openly with her dark eyes.

Or a slightly longer look at a scene:

Not far from the village, the path was crossed by a stream which flowed out of the forest down towards the river Treene. Water-loving birds gather here, and the joyful songs of finches and blackbirds now rang out as if they were already announcing the arrival of May. I was so enthralled by the charm of the spot that I did not cross the little bridge over the stream, but walked a few paces on this side of it up towards the forest and sat down on a bank where the stream broadens out into a small pond. The water, as was usual at this time of year, was so clear that I could quite easily make out the tangled stalks of the water-lilies deep at the bottom and the budding leaves on them, and so was able to admire God’s wisdom even in these small things which are usually hidden from our eyes.

But even here in this novella, and in its conclusion, Storm cannot resist a ghostly element; for he is forever the prime artist in its telling:

Now when the Almighty God covered the forest and fields and the desolate moor too with darkness, Held Carstens, the blacksmith, was skirting the edge of the forest around midnight, returning home after taking his mother-in-law back to Ostenfeld after she had been helping her daughter during confinement. The man had his old and trusty carriage team in harness and was beginning to doze when the otherwise quiet horses suddenly became restless and edged over, snorting, to the side of the forest. He roused himself, now struck with fear, for out on the moor a light flickered like a lamp in the darkness; one minute it was still, the next swaying to and fro. He thought at first it might be jack-o’-lantern about to dance — being the courageous man he is he had frequently observed it in the past during his journeys — but when it came nearer he made out a dark figure close by the flickering light wandering about on the firm ground between the dark ditches. Saying a quiet prayer, he whipped up his horses and made straight for home. But early next morning people saw the Hofbauer’s daughter in the street below without her cap, with hair dishevelled and a smashed lantern in her hand, making her way slowly towards her father’s farm.

The Lutheran pastor, Herr Josias, who saves Renate from being lynched by a mob as a witch, retires in old age to the village of Ostenfeld, north of Schwabstedt, with nothing more known of Renate’s fate. The conclusion to his life is found and read in an old manuscript:

In the self-same month of my departure a rumour spread round the village: on Sundays, when everyone was in church and the streets were empty, a pale grey horse, the likes of which had not been seen in the community before, would stand tethered before the door of the parsonage. And soon afterwards it was further said that a woman would come riding from the south over the heath, tether her horse to the ring on the wall, then enter the parsonage; but that each time the pastor and the stream of church-goers made their way home from the church, she had already ridden away.

That this woman visited Herr Josias was not difficult to guess, for at such an hour there was no one else in the house. But there was something strange about it all; for although she was undoubtedly already in her late years, the few who saw her have disputed it and have asserted that she was still young, and others, that she was even beautiful; but when more closely questioned they turn out to have noticed nothing other than two dark eyes that glanced at them as the woman rode by.

There was only one person in the whole village who learned nothing of these things, and that was the pastor himself, for everyone was afraid of his quick temper and all had great affection for Uncle Josias.

But one Sunday, when spring had returned and the violets were already in bloom in the garden, the woman from across the heath was there again; and on this occasion too, when the pastor came home from the church, he saw neither her nor her horse; everything was quiet and solitary as usual as he entered his grounds, then his house. And when he went into his cousin’s room, where he was now in the habit of going after church, it was quiet there too. The windows stood open so that the whole room was filled with the scent of spring from the garden outside, and the pastor saw Herr Josias sitting in his large armchair; but to his surprise, a small bird was perched unafraid on one of his hands, which rested folded in his lap. The bird flew off and out into the open air when the pastor approached with his heavy tread and bent over the chair.*
Herr Josias continued to sit motionless and his face was filled with peace; only the peace was not of this world.

Soon a loud rumour had spread round the village, even the pastor was told about it by everyone he was ready to hear it from; it was now known that it was the witch of Schwabstedt who had come to the village each Sunday on her horse; indeed, some had certain knowledge that she had taken poor Herr Josias’s life while pretending to heal him by her deceitful art.

But we, when you have now read it all, you and I, we know better who she was who took the last breath from his lips.

Here in Renate we have a combination of Realism in the trials of Renate, Romanticism in the ghostly and mysterious, and folklore in the departure of the soul from the dead and other such references in the text. The belief that birds are the winged souls of the dead, or that they carry/accompany the souls of the dead to the next world, is ubiquitous in folklore and mythology. In the original edition of this story (1878) Storm wrote: ‘only his soul was no longer within him.’

It is this artistic combination of genres that makes Storm supreme in the craft of fiction, and a prime reason for my becoming his translator.

10) Which is your favourite non-Storm Novella and why?

Without any doubt Eduard Mörike’s Mozart auf der Reise nach Prag (Mozart’s Journey to Prague, 1855). A light-hearted tale of the composer’s journey from Vienna to Prague to attend the opening performance of the opera Don Giovanni. It is Mörike’s supreme achievement in prose, clearly revealing Mörike’s spiritual affinity with the composer and the profound emotions aroused in him by his opera. I attached my affections to this novella for I have travelled this same route and have visited the theatre in Prague in which this first performance was held. So, as with Storm, I can ‘see’ the journey taken and the many facets of it that are described.

11) I’ve heard that the 5th volume of your Storm translations will be the last. If I cast you off on the proverbial desert island with the remaining Storm novellas to translate, would you do it?

The simple answer is that I am continuing to translate Storm – for the time being. I was going to finish, but needed to keep a promise I gave to a friend some years ago to translate Zur Chronik von Grieshuus (1884). My publisher too is interested, should it not be too alike with Aquis submersus. Failing a printed book edition, I would publish it personally as an eBook. It is all a question now of a publisher.


Editor’s note

  • The novellas which Denis has focused on so closely and so generously are those which won him the Oxford Weidenfeld Translation Prize in 2005.
  • In addition to novellas, Theodor Storm also wrote beautiful lyric poetry. This will be the subject of the final installment of this interview, which I can reveal will contain a surprise and a world exclusive!

© Lizzy’s Literary Life 2015

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imageI shall devote the last three days of GLM V to one of my very favourite German authors.  It’s a fitting finale also to #novellanov, because Theodor Storm is the master of the C19th novella.  Woefully undertranslated into English, although that has changed during the last two decades thanks to the endeavours of one man, Denis Jackson, who recently published a fifth volume of Storm’s novellas (in which I currently luxuriate).

Today I am delighted to welcome Denis to German Literaure Month to find out more about the spell that Storm has cast upon him.

image1) How did you become a literary translator?

It all began one summer’s evening at a social gathering on the Baltic coast. My host, the headmaster of the Katharineum Gymnasium in Lübeck, read a passage from Theodor Storm’s last Novella Der Schimmelreiter as part of the evening’s entertainment. And as he continued to read, I became aware that I was listening to an author whose prose was like none other I had ever heard; its tautness, linguistic grace and economy were to impress themselves on my mind from that evening on.

It was All Saints’ Eve in October. All day a wind had raged from the south-west; in the evening a half-moon stood in
the sky, dark-brown clouds raced across it, and shadows and dim light flew in confusion over marsh and polder; the storm was gathering…….

A violent gust of wind came roaring in from the sea, and rider and horse fought their way against it up the narrow path towards the ridge of the dyke. When they were on top, Hauke forcefully reined in his horse. But where was the sea? Where was Jeverssand? Where had the opposite shore gone? – He saw only mountains of water before him which towered up menacingly towards the night sky and in the terrible twilight sought to roll one over the other, and one over the other crashed against the dry land. Crowned with white plumes they rolled in, roaring, as if the cries of every ferocious wild beast in the wilderness were contained within them. The grey stamped the ground with its forehoofs and snorted with its nostrils into the tumult; it felt to the rider that here all mortal power ended; that now the forces of darkness, of death, of nothingness, were about to descend.’

I was unfamiliar with this writer at that time, and inquired into the life and works of the author I had just heard. My host, whose Gymnasium had once been attended by the author in his youth, knew of him in detail, and proceeded to reveal to me not only an unfamiliar author but a world on the west coast of Schleswig-Holstein, North Friesland, that immediately captured my imagination. It was this world, he said, that defined Theodor Storm, his world and his works: I should go there. And I was to go there the following day.

North Friesland is like no other region of earth: its tall dykes, picturesque villages, polder, marsh and heathland not only define its character, but the North Sea Tidal Flats that dominate its coastline, the largest area of mudflats in the world, upon which ‘like dreams lonely islands rest in the mist upon the sea,’ provide the region with a fascination and beauty unique to the eye. When looking out over these tidal flats, from the vantage point of a dyke, one looks out as if into eternity. This was the world of Theodor Storm, into which he was born in 1817 and in which he lived for the major part of his life, whose works were to embody the very nature, culture, and history of this unique region.

Like Storm, I have lived by the sea for the greater part of my life; his thoughts and experiences of its beauties and perils were akin to mine. And as I explored the coastal town of Husum in which he lived, and the heathland and beautiful Frisian villages that became the settings for his prose and lyric verse, I grew to become one with this author. His past life and mine were henceforth to co-exist through the medium of translation.

2) Reading between the lines, Theodor Storm is the only author you want to translate. If true, why is that?

On returning to England I searched in vain for Storm’s works in English – only to discover that he was virtually unknown in this language. The few works that were available, lay out of print and in dust on the shelves of the British Library in London. It was then that I decided to devote my future retirement to translating his works; that his fiction deserved to be far better known to the English-speaking reader. It was to be a significant task that was to extend over the next 23 years – researching, translating and publishing.

Having completed the research and translation of Der Schimmelreiter (The Dykemaster, 1888), the first volume in the future series, I was fortunate to discover a publisher, Angel Books of London, whose objective was the same as mine. It had been looking for a translator of Storm for many years! Together we have published thirteen of Storm’s novellas in English, ten of which into English for the first time. Without such a publisher this series would never have been possible. To have had to search for a publisher for each and every translation would have been out of the question, for I had approached some twenty-five publishers, both in the UK and in America, with my translation of Der Schimmelreiter without success, before discovering Angel Books. Very few editors have studied German and consequently have minimal knowledge of German literature, hence little incentive to publish it: French literature predominates. In addition to this, only some 3% of all fiction published in the UK annually, according to the Translators Association, is in translation, in comparison with some 48% in Germany. The literary translator’s task in the UK is therefore a difficult one.

3) How did you choose which of Storm’s novellas and stories to translate?

The question of which novella to translate does not admit of a single answer, but above all it is made against a background of an intimate knowledge of the author, his life, his times and of the specific setting. Attention is paid equally to literary criticism and academic appraisal in the choice of a work to be translated. But the translator himself must admire the work, must wish to translate it, and to see it ‘reborn’ in the English language, for it is a lengthy, disciplined task that lies ahead of him, demanding visits to the settings in North Friesland. The weakness with literary criticism is that certain academic ‘schools’ tend to favour the same few novellas with the resultant neglect of the many others. The autor becomes like a composer whose overture is all that is repeatedly played. And publishers, too, follow these ‘schools’ for commercial reasons, denying the reading public of choice. Example of this critical bias are Der Schimmelreiter and Aquis submersus, as if these are the only two novellas that Storm ever wrote, although he wrote fifty. Such classics as Pole Poppenspäler (Paul the Puppeteer), Hans und Heinz Kirch, Renate, and Carsten Curator (Carsten the Trustee) to name but a few, are frequently neglected even in their own language.

4) What challenges does Storm present to his translator?

A translator must be able to ‘see’ or ‘experience’ what the author sees or experiences. Storm was to tell the original translator of Immensee (1849) to translate what he meant not what he wrote. To do this one has to ‘see’ and ‘experience’. In Storm’s case, what he saw and experienced in most cases is there to be seen and experienced: a church interior or exterior; a specific view across a marsh or polder; specific places in the town; its harbour; a boat journey across the mudflats to one of the lonely islands; the specific paintings and pond described in Aquis submersus; or to be out alone on a dyke in the biting cold of a winter as I was when translating Der Schimmelreiter. There are scenes in the town and village churches where the protagonist sits in the gallery from which Storm describes the view from it in his ‘economic’ detail. To have sat in these galleries, to have ‘seen’ these views, enables the translator to truly capture what Storm intended – what he ‘means’. There are hundreds of such examples throughout Storm’s works. It must also be borne in mind that readers of today’s classics expect comprehensive notes to accompany the text. Storm was a meticulous researcher and his texts are filled with historical, cultural and social references, a reader’s knowledge of which greatly enhances the narrative.

The value of this ‘seeing’ and ‘experiencing’ is no more visible than in the rendering of Storm’s style: it is taut, concise and economic, the very factors that make him the greatest among Poetic Realists. A good description of it would be: ‘minimalist’. One adjective suffices where many writers would use two; a single short paragraph, even a single sentence, describes a scene or landscape where others would need a page. He is an artist who paints a scene with the fewest brushstrokes possible – it is the reader who ‘paints-in’ the remainder of the picture and its colours. To render this ‘minimalism’ in translation the translator must know precisely what Storm is seeing and describing, for there is no room for textual ‘extensions’.

But no discussion on Storm translation would be complete without mention of Storm’s vocabulary and the challenge it sets the translator. Storm had one of the largest vocabularies in the German language, many words being ‘Storm-created’. It is a nineteenth-century language, sometimes an eighteenth-century one to match the setting of the novella. Over the many years I have been translating Storm, I have needed to collect together a library of nineteenth-century German-English dictionaries, collected during my visits to European capitals. A translator cannot use twentieth-century German-English dictionaries when translating Storm. Even then, one’s own ‘Storm Dictionary’ has to be created as translation problems are solved and archaisms resolved. Today’s data-processing greatly assists the translator by having such dictionaries speedily accessed, but few such facilities exist for these much older dictionaries.

5) How did you differentiate your translations from the ones that came before? Why did you choose to retranslate stories that already had English translations?

Firstly, there is the question of faithfully reproducing Storm’s ‘economic’ style as previously described. Some earlier translations disregarded this vitally important characteristic of Storm’s writing, and in so doing, destroyed all that is essential in Storm.

It was also clear when the translator had never been to North Friesland or to Storm’s coastal town of Husum, for the works involved contained errors that misled the reader. Today’s readerships also expect comprehensive notes, information and introductions to accompany such classics, which cannot be adequately provided without a local knowledge by the translator.

imageMy rendering of Der Schimmelreiter as The Dykemaster, has frequently been questioned – why not, it is asked: ‘The Man on the White Horse’? My response has always been twofold: firstly, as I am later to explain, Storm’s words are chosen as much for their sounds as for their meanings, therefore the title The Dykemaster meets this need, as well as keeping the title’s focus on the central character, the Deichgraf (Dykemaster); and secondly, it avoids a title that in my view is incorrect. There is no such horse in equestrian terms as a ‘white horse’. A white horse is a ‘grey’, a term I use throughout my translations. I am sure that Storm would never have produced a title such as ‘The Man on a White Horse’, as frequently appears in previously published translations of Der Schimmelreiter. In my view it is both contrary to his crisp style of titles over his 50 novellas and to his literary intention.

6) When do you decide a translation is finished?

After the initial translation, the text is generally laid aside for a month or so, then re-visited to remove the ‘German-English’ elements and to improve the translation, and English, where needed. A translation is consequently never finished; it can always be improved, but an English readership is waiting – and so is a publisher.

7) I assume there was a lot of on-site research. Where did you go and which locations are a must-visit for someone who has yet to make their own Storm pilgrimage.

Storm’s settings that I have visited primarily reside not only in the coastal town of Husum itself, but in the principal villages of Schwabstedt, south of Husum (Renate), Hattstedt, north of Husum (Der Schimmelreiter, Aquis submersus), Drelsdorf, north of Husum (Aquis submersus) and Ostenfeld (Renate) east of Husum. The churches in each of these villages are a must to visit. Not only have they delightful Frisian interiors, but their descriptions occur again and again in one form or another in his novellas. Husum itself is also the home of the Theodor-Storm-Gesellschaft which is a mine of information regarding his life and times. Of all the villages, Schwabstedt is by far the most beautiful; the setting of one of Storm’s finest works, Renate, a story of alleged witchcraft and religious bigotry – a farmhouse there is called Renatehof. But the off-shore islands must not be forgotten and a boat journey from Husum harbour out to one these islands is a journey to remember. It features in Storm’s novella Eine Halligfahrt (Journey to a Hallig, 1871). A ‘Hallig’ is the name given to a small undyked island on the mudflats (Wattenmeer). The sea journey to a Hallig takes you over the legendary village of Rungholt, mentioned in the text of the novella, a small village that was submerged and swept away in the great flood of 1362 and whose church bells can still be heard beneath the waters! The interiors of the farmsteads on these islands are worth many a visit, and are truly characteristic of Frisian life and culture. They feature in many a Storm novella – particularly the dykemaster’s house in Der Schimmelreiter. Frisian longhouses on their high earthworks to protect them from the sea are classic features of the flat landscape.

To be continued.  In part two, Denis discusses Storm’s fairy tales, personal favourites from Storm’s oeuvre, and recommends a novella written by someone else!

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My intention for German Literature Month was, apart from the readalongs and Kleist, to discover new authors.  This post should have been a review of something by E T A Hoffman but after Vishy posted about Immensee during week 1, I found it utterly inconceivable that I should spend a month reading German literature and not pick up anything by Theodor Storm.  So my apologies to Hoffman – your day will come, I promise –   but for now I have returned to the bosom of my second beloved Theodor.  Don’t ask me to pick between Theodor Fontane or Theodor Storm …

who were contemporaries and friends.  While Fontane wrote novels, Storm restricted himself to novellas.  Economic circumstances dictated this choice to some extent. Storm had a large family to support and novellas have a faster turnaround.  Also the novella has roots in oral story telling. They are stories to be told/read in one sitting.  According to Fontane, Storm was a fantastic storyteller.

I can still see how we sat round the large oval table, the ladies with their work in their hands, we with our eyes directed expectantly at Storm.  But, instead of beginning, he first stood up, and making an apologetic bow towards Frau Kugler, went to the door to lock it.  The thought that the servant might come in with tea was intolerable to him.  Then he turned the oil-lamp right down, though it was already provided with a semi-opaque green shade, and then he began …. He was totally engaged in what he read, almost intoning the words, while his eyes lit up like a sorcerer’s peering at us at the same time to measure the kind of effect his words were having on us at every turn.  We were supposed to be captivated by the ghostly, amused by the humorous … He wanted to read each and every response in our faces … (Theodor Fontane – From Twenty to Thirty)

If Storm had been reading my face, whilst I was reading this fourth collection of stories translated by Denis Jackson, he would have found the captivation he sought in his live audiences.  What an immeasurably sad series of tales documenting the transcience of life,  the loss of familial relationships, and the impossibility of living up to our ideals, promises and plans in a world which is indifferent to our sufferings and carries on regardless.  All told with the greatest economy and precision and translated in the same way, I may add.

This collection contains four of Storm’s novellas.  By the Fireside takes us to the heart of a 19th-century household as its occupants gather round the fireside for an evening of ghostly story telling.  The Swallows of St George’s shows how easy it is to lose the love of one’s life forever.  The Last Farmstead wraps the devastating impact of the Napoleonic Wars on Storm’s beloved Schleswig-Holstein into an allegorical love story.  Carsten The Trustee shows how even the most honourable and well-intentioned parent can still fail their child.  (Well, we can discuss whether that is actually the case, but it’s certainly the burden of guilt that Carsten feels – a reflection of the troubled relationship that Storm himself experienced in relation to his eldest son, Hans.)

I felt sad reading this stories for two reasons.  1) The empathy I felt with both the author and his characters and 2) This is the fourth volume of translations by Denis Jackson. I have read the other three and reviewed two of them here and here.  What is a girl to do now besides hope that there are more volumes to follow?  (Please DJ,  hear my pleas!)  In the meantime, there is no other option.  It’s time to go back to the start and read them all again!

P.S  A piece of book cover trivia –  Compare the cover of Carsten The Trustee with an earlier Penguin edition of German Literature Month Readalong Effi Briest.  The picture which graces the cover of books by both my beloved Theodors is known to the world as Living-Room with the Artist’s Sister by A von Menzel. I call it Effi in Kessin.  It’s no wonder I went to visit her in the Neue Pinakothek last time I was in Munich.

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There nothing more intriguing than a mystery surrounding an old painting.    This is the portrait of a dead child, a beautiful little boy,  perhaps five years old; the face rested on a lace-decorated cushion, and the child held a white water lily in his small, pale hand.  In one dark corner of the child’s portrait, four letters written in red ink: C.P.A.S.  There is no mystery as to how the child died – he drowned – aquis submersus but what do the C and the P denote?

The secret is revealed with the discovery of an old manuscript written by the painter detailing his painful relationship with his patron’s daughter, Katherina.  What starts off as innocent friendship becomes a poignant story of mutual yet impossible love.  Class differences dictate that it can never be, yet Johannes persists in his hopes (delusions) until an unspeakable tragedy forces him to leave his love forever.

Storm’s skill as  a lyric poet is demonstrated with his use of  motifs and autumnal imagery to paint a mood – a Stimmung – of decay, menace and impending doom from the early days of Johannes’s and Katherina’s relationship.

“Come on, Johannes,” she said, “I’ll show you a bird’s nest in the hollow pear tree ….”

With that, she sprang forward; but before she came within twenty paces of the tree, I saw her suddenly stop.  “The goblin, the goblin!” she cried, and tossed her hands in the air as though startled.

This goblin turns out to be an owl but it is a motif  that recurs in subsequent episodes.  Something malevolent is stalking these two.  Once Katherina’s father and Johannes’s patron dies, that brooding malevolence becomes overt. Johannes experiences open hostility from Katherina’s brother, Wulf (it’s all in the name) and his sidekick Risch (who looks like a hawk). Ironically Wulf’s hounds chase Johannes into Katherina’s arms and there the seeds of the forthcoming tragedy are sown.

Only just escaping with his life, Johannes is forced to leave Katherina behind.  When he returns, he discovers that she has been married off.  A few years later, a chance commission enables him to rediscover her and her son.  At the moment they are reunited, the boy is playing by a pond.  The last thing the lovers hear before losing themselves in each other is his song,

Two angels cover me,
Two angels spread their wings,
And two more point the way
To heaven, to paradise.

I think this is the most precise and chilling foreshadowing I’ve ever read.  You know the rest – aquis submersus – C.P? – culpa patris (through the guilt of his father). 

Aquis Submersus is a powerful story of  love that could not beat the odds, an innocent victim and of  pain and guilt endured all for nothing!

Like smoke and dust to nothing gone,
So is every human son.

Human transience is a recurring theme in Storm’s work.  When faced with unbearable sorrow that can be a comfort.  Knowing that it will not last forever. Yet it’s tragic.  So much pain, so little significance.  While the child’s portrait endures, at the end of the story most of  the painter’s oeuvre has been disposed of and has vanished without trace.  Thank goodness, the same fate has not befallen Storm’s magnificent novellas.

Aquis Submersus is published in the NYRB edition of The Rider on The White Horse, an anthology of Storm’s short stories and novellas spanning his entire career.   I read this novella primarily because it is one of his best (though everything he wrote is good), as part of my November Novella Challenge and as my contribution to  NYRB Reading Week.

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