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235:'s doctrine of a return to nature. At first intended as a short narrative of the collapse of the life of a young artist, the book expanded as its composition progressed into a huge work that treats, in poetically transfigured manner, all the events in Keller's life up to his return to Zürich in 1842.
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The much revised second version has
Heinrich abandoning art to enter the civil service. This experience affords occasion for extended political reflections. The tone of the reminiscences makes it clear that Keller would have the reader understand that Heinrich has lived through and risen out of his
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Keen insight, fresh humor and instinct for realistic narration are its outstanding merits; its faults are lack of proportion, occasional garrulity and obtruded moralizing, but most of all the doubt that it leaves in the reader whether the
Heinrich who had shown such persistent lack of character,
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Heinrich is a Swiss burgher's son, brought up too tenderly by a widowed mother. After youthful pranks and experiences, and a not altogether justified dismissal from school, he idles away some time in his mother's village. He determines to be a painter, and goes to Munich's artistic
Bohemia. From
154:, first published in 1855, and extensively revised in 1879. Truth is freely mingled with fiction, and there is a generalizing purpose to exhibit the psychic disease that affected the whole generation of the transition from
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especially in his relations with his mother, would so quickly be capable of discovering, rather than recovering, a normal balance of mind.
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Its reception by the literary world was cool, but after a revised edition was issued in 1879, it won general and often extravagant praise.
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there, he finds his way to a count's mansion, and then he returns home to his dying mother and an all-too-tardy and brief repentance.
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details the life of
Heinrich Lee from childhood through his first romantic encounters, his fledgling attempts at becoming a
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was written from 1850 to 1855. It is the most personal of all of Keller's works, and is significantly influenced by
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Jacob
Wittmer Hartmann characterizes the 2nd edition of 1879 and a “rounded and satisfying artistic product.”
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instability and irresolution and sees life steadily and cheerfully at last.
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praises the 2nd edition as a significant improvement over the first.
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This article incorporates text from a publication now in the
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Vieweg Verlag (1855) and Verlag Göschen (1879-1880)
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327:but its sources remain unclear because it lacks
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397:; Peck, H. T.; Colby, F. M., eds. (1905).
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182:as one of the most important examples of
162:in life and art. The work stands with
409:(1st ed.). New York: Dodd, Mead.
205:, and his eventual installation as a
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261:The New International Encyclopædia
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435:. In Rines, George Edwin (ed.).
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377:Hartmann, Jacob Wittmer (1920).
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186:, novels of self-development.
16:1855 novel by Gottfried Keller
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31:Covers of the first edition
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432:"Der Grüne Heinrich"
164:Johann Wolfgang von Goethe
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