IMMERMANN'S MÜNCHHAUSEN"
By Allen Wilson Porterfield, Ph.D.
Instructor in German, Columbia University
MMERMANN first thought of writing a new Münchhausen in 1821, the year of his satirical comedy, The Princes of Syracuse, which contains the embryonic idea of this "history in arabesques." Conscientious performance of his duties as a judge and incessant activity as a writer along other lines forced the idea into the background until 1830, the year of his satirical epic, Tulifäntchen, in which the theme again received attention. In 1835 he finished Die Epigonen, a novel portraying the social and political conditions in Germany from 1815 to 1830, and in 1837 he began systematic work on Münchhausen, continuing, from a different point of view and in a different mood, his delineation of the civic and intellectual status of Germany of his own time. The last part of the entire work was published in 1839, having occupied, intermittently, eighteen of his twenty years of literary productivity. The first edition was exhausted one year after publication, a second appeared in 1841, a third in 1854, and since 1857 there have been many of all kinds, ranging from the popular "Reclam" to critical editions with all the helps and devices known to modern scholarship.
In so far as the just appreciation of a literary production is dependent upon a study of its genesis, the reading of Die Epigonen is necessary to a complete understanding of Münchhausen, for through these two works runs a strong thread of unbroken development. Hermann, the immature hero of the former, and his associates, bequeath a number of characteristics to the title-hero and his associates of the latter; but where the earlier work is predominantly sarcas-
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