Robert Elsie
The Pied Poets
Contemporary verse of the Transylvanian and Danube Germans of
Romania
Selected and translated by Robert Elsie
ISBN-0-948259-77-9
Forest Books, London & Boston 1990
192 pp.
INTRODUCTION
The Pied Poets is both an anthology
of the most recent poetic activity of the German-speaking minority
from the Transylvanian and Danube (Banat) regions of Romania
and a commemorative monument, a somewhat frivolous poetic tombstone
if you will, marking the passing of a literature and culture.
This volume does not set out to be a comprehensive anthology
of German-Romanian literature, but an introduction for the English
speaking reader to the so-called fifth German literature
(after that of West Germany, East Germany, Austria and Switzerland)
which has come to an end after five centuries of existence.
The German population of Romania, which
still constitutes the second largest national minority in that
country (after the 1,700,000 Hungarians), comprises two traditionally
distinct groups: the Transylvanian Saxons (Siebenbürger
Sachsen) in the centre of the country, and the Danube or Banat
Swabians (Donauschwaben or Banater Schwaben) on the western border
with Yugoslavia.
The German minority of Transylvania are
the descendants of colonists invited to settle there in 1150
AD by the Hungarian King Geza II to defend the crown.
Although called Saxons, from a linguistic point of view they
are of Moselle Franconian origin, stemming not from Saxony but
principally from the Moselle, northern Lorraine, Luxembourg and
Flanders. In Transylvania they founded a number of cities and
about 250 smaller settlements, and in 1224 were granted special
privileges under the Privilegium Andreanum of King
Andrew II. The Lutheran reform movement introduced by Johannes
Honterus was widely followed in Transylvania. In their fortified
churches (Kirchenburgen), the Saxons, albeit more
than once impoverished and decimated by marauding hords, managed
to withstand both the Ottoman Turks spreading Islam and the Viennese
bent on imposing the Counter-Reformation, and to maintain their
bastion of German Protestant culture over the centuries. In 1940,
there were still 250,000 German speakers in Transylvania, though
evacuation, deportation and emigration during and after the Second
World War have now reduced their numbers to well under 150,000.
The Danube or Banat Swabians settled
in the eighteenth century in Banat, the frontier region (formerly
governed by a ban) between Hungary, Yugoslavia and
Romania. They originated primarily from southwestern Germany
as the name Swabian indicates. Their first settlements were established
in 1722-1726 under Emperor Charles VI of Austria, followed by
waves of emigration under Maria Theresa in 1763-1770 and under
Joseph II in 1782-1787 to repopulate Habsburg territories devastated
by war and epidemics. The Treaty of Trianon in 1919 divided the
region among Yugoslavia, Romania and Hungary. The population
of Banat nevertheless remained very mixed with a distinct German
element. Of the three countries, it is only in Romania that a
substantial German-speaking minority still exists. In 1939 there
were 450,000 Danube Swabians. They now number less than 150,000.
Prominent among the Danube Swabians are the German Weltschmerz
poet Nikolaus Lenau (1802-1850) born in Csatád (Lenauheim)
and Tarzan himself, Johnny Weissmuller, whose family came from
Freidorf.
Romania was the only country in Eastern
Europe not to expel its German minority after the Second World
War. The Germans there are now recognized as an official national
minority (or cohabiting nation), and benefit at least from the
same rights as the Romanians themselves. During the 1980s, however,
when the Ceausescu dictatorship was driving the country into
a state of political and cultural isolation and economic ruin,
emigration of the two groups to West Germany increased dramatically.
By the end of the 1980s, almost all Germans living in Romania
desperately longed to leave the country which had become a living
nightmare of fear and repression, but very few were allowed to
do so. Many of those who were able to emigrate were bought out
discreetly by the West German government at up to DM 11,000 per
person. Germans and Jews were cynically referred to as Romanias
top export articles, and not without reason perhaps. Though many
of the older people understandably chose to stay put, the steady
drain on the younger population, coupled with inevitable assimilation,
whether natural or actively encouraged by the authorities in
Bucharest, brought about stagnation in virtually all spheres
of German cultural life in Romania. With over fifty percent of
German-Romanians now living in the West, the Christmas 1989 revolution
and political opening up of the country after so many years of
darkness will no doubt result in a further rapid increase in
emigration.
The effects of the period of stagnation
have been particularly dramatic on German literature which in
Romania enjoys a tradition going back many centuries. Emest Wichner
states unequivocally in his preface to a recent anthology of
poetry and prose that the end is in sight.
The generation of authors
now in their thirties and forties constitute the last German
writers in Romania. It is becoming obvious that their numbers
have fallen below the critical mass essential for the cultural
survival of the German minority there. As opposed to the early
seventies, when a dozen or so young authors all began publishing
at the same time, there is hardly a young German-language author
left with enough linguistic competence to be worthy of support.
(Das Wohnen ist kein Ort, Texte und Zeichen aus Siebenbürgen,
der Banat und den Gegenden versuchter Ankunft. in: Die Horen,
Zeitschrift für Literatur, Kunst und Kritik 147, Hanover
1987, p. 5)
The impact of German-Romanian literature
in the twentieth century has not been entirely marginal, despite
its peripheral situation. Indeed, twentieth-century German literature
as a whole has to a good extent been the creation of fringe groups
in political, social or geographical isolation from the mainstream.
Paul Celan (1920-1970) born in Czernowitz, for instance, is among
the leading German poets of the twentieth century. The integration
of the many other Jewish writers into the German mainstream was
always ambiguous, most of them living, nolens volens, in some
sort of periphery. During the Nazi dictatorship of the thirties
and forties, most other German writers of talent found themselves
in exile, whether external or internal. Changing borders and
the post-war division of Germany and Europe forced many writers
to reassess their attitudes to the powers that be and many found
themselves in the wrong spot. It is this forced introspection
and an awareness of ones difference which have often contributed
to the outbursts of creativity which German letters, especially
in Romania, have always enjoyed.
The last twenty-five years are generally
regarded as the zenith of German poetry in Romania, culminating
a long tradition. The origins of German literature there lie
in the High Middle Ages. Among 15th century works of note are
the memoirs of Helene Kottaner of Brasov (Kronstadt) and the
anonymous Türkenbüchlein. Johannes Honterus
(1498-1549), the reformer, introduced Lutheran German as a literary
language in Transylvania and set up a printing press, the first
one in southeastern Europe. The 17th century was the age of Protestant
hymnists and pietist poets, among whom was J. Kelp (Kelpius)
(1673-1708) who emigrated to Pennsylvania. The Romantic movement
of 19th century Europe made its impact felt in Transylvania and
Banat, too. The Banat newspaper Temeswarer Zeitung
(Timisoara Newspaper), founded in 1852, served as an important
vehicle of communication for the German minority until 1949.
German-Romanian folk songs and folklore material were collected
and printed by numerous writers and scholars. Poetry of all genres,
both in standard German and in Saxon and Swabian
dialects, was produced and published, together with short stories,
novels and plays. Adam Müller-Guttenbrunn (1852-1923) portrayed
the romantic pathos of village life among the Danube Germans
in his classic 19th century novels. But it was Adolf Meschendörfers
journal Die Karpathen (The Carpathians) published
from 1907 to 1914 which first paved the way to a more cosmopolitan
literature, in Transylvania in particular. Both German communities
also began to show interest in their Hungarian and Romanian neighbours,
and the veil of provincialism receded.
The Klingsor Circle named after the literary
periodical Klingsor published between 1924 and 1939 was associated
with the works of Karl Bernhard Capesius, Heinrich Zillich and
Erwin Wittstock. Nowadays one can no longer speak of two separate
German literatures in Romania. Since 1945, the literary traditions
of the Transylvanian and Danube Germans have merged and their
intellectual centre is no longer Brasov (Kronstadt), Cluj-Napoca
(Klausenburg) or Timisoara (Temeswar), but Bucharest where the
literary magazine Neue Literatur (New Literature)
has been published since 1956. Among the classical authors of
20th century German poetry in Romania are Oscar Walter Cisek
(1898-1966), Alfred Margul-Sperber (1898-1967) and Wolf von Aichelburg
(1912-).
Though one must not forget that Transylvania
is geographically closer to the Crimea, Istanbul and Asia than
it is to Berlin and Munich, German-Romanian literature has always
been an essentially Central European literature. Many a dour
Lutheran pastor in the fortified churches at the foot of the
Carpathians would indeed have shuddered at the thought of being
in the heart of the Balkans. This dichotomy (some would call
it collective schizophrenia) has often been more a source of
disorientation than a blessing.
Has there ever really been a German Romania?
Emest Wichner thinks not. The ancestors of the German Romanians
once set off with pioneer fervour to go east, young man
in order to found a better Germany. The road was beset with the
stumbling blocks of history, politics and economics. Now the
present generation is returning to its origins, some with the
naive expectation of bringing back a better Romania with them.
What awaits them in West Germany, the promised land, is no more
than reintegration into the mainstream from which they originally
fled. German Romania, if it ever did really exist, may now rest
in peace.
Be this as it may, it would be misleading
to envisage German-Romanian literature as brooding nostalgically
on the problems of exile or preoccupied with socio-political
issues and the loss of its quaint folklore traditions. Its contemporary
verse, almost disappointingly bereft of local colour, mirrors
a whole gamut of familiar human emotions and intellectual pursuits,
and is surprisingly in tune with the Western world. It is to
be hoped that in this volume, the English-speaking reader may
recognize and enjoy these subtle, remote and yet hardly alien
reflections of a vanishing world.
It remains simply for me to thank all
those who have assisted me in one way or another in the completion
of this project, among whom: Inter Nationes (Bonn) and the Arts
Council of Great Britain for their generous publication grants,
Elisabeth Ernst of the West German Embassy in Bucharest, Richard
Wagner (Berlin) and Barbara Schultz (Ottawa).
Robert
Elsie
Olzheim/Eifel, West Germany, 1989
TABLE OF CONTENTS
- Introduction
- OSKAR PASTIOR
The shiver poem
If the street sweepers in Reschinar
Of all the epistemological affairs
In the first line
- NIKOLAUS BERWANGER
Im memoriam L.
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Dry eyes
Snow White open your eyes
Images of an absurd June
Honestly
Late joy
- CLAUS STEPHANI
Marmatia
Biography
Pompeii, Via Stabiana
Poetry Club
Fortified church in Transylvania
- ANEMONE LATZINA
In the morning
13 July 1974
Lament for all Ive lost to this wide world
In July 1977
- FRIEDER SCHULLER
Indian summer in a department store
Perhaps Id take my coffee mug
- FRANZ HODJAK
Scope
Reiner Kunze
At the cemetery
Advice
Ovid in exile
Upon reading poems by Weinheber in view of his success in the
Thirties
Transcending borders
Villons arrival in heaven
Autobiography
Savonarola
Daily routine
- ROLF FRIEDER MARMONT
Spacious seconds
Dobruja realm of shade
Children
- JOHANN LIPPET
Onetime spate of suicides in the family
My neighbour makes a poem for me
Weekend. The head
Also. An Ars Poetica
Every evening
- WERNER SÖLLNER
Life. An example
Right through this house
Departure
Wall, nail, picture
- WILLIAM TOTOK
Workers at the brickyard
Anna Espresso, Váci St., Budapest, 27 July 1979
Departure
Seasons
Normal day
The flag
- ROLF BOSSERT
Short poem on a little freezing bird
Artists, critics & cabbage salad
Golden age of fables
About my life
Season
Nightshade rift
Confidence
- RICHARD WAGNER
Dialectics
Words of the poet
The waitress
Question for Mandelshtam
Song
With the painter Lauterbach
The burning table (from a postcard)
I was a statue
- ERNEST WICHNER
Slogan
Trakl in exile
- HORST SAMSON
Trip to Paris
Morning
Punctual curriculum vitae
Snow poem for Edda
Meeting of poets in Sighi oara. Vlad Dracul Restaurant
Isolation
Holidays at borne
Winter morning
Winter poem for Sarah Kirsch
Federico
Subsequent remark about my birth
- CARMEN PUCHIANU
Postcard for Frank OHara
Timeless
- JULIANA MODOI
Village evening
A mothers consolation
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