race and refinement in his features and bearing, has in him also those qualities which enable him to face life, and thus his strength and independence mark the contrast between him and his friend, a contrast which, characteristically, the
author is at pains to indicate in every detail of their appear ance.
This work would appear to have exerted a strong influence over Yfiechert * a Oeschichte eines Knaben. where Graf Hblger and Percy are drawn together in similar fashion and the stronger
lad exercises a protective influence over the other, unable,
too, to save him from death in the end. The contrast in appear ance is, if anything more marked here. îïans Giebenrath*s
period of friendship with Hermann Heilner, springing from lone liness and desire for companionship, is of a less satisfactory nature, for the letter’s genius proves distracting. The idea is, hovæver, again that of the contrast between those fit and unfit for life. The ability to survive is the keynote in the
character of these accompanying figures - Enzio’s friend Richard points the moral once again - but it is found too where the
central figure is not inherently decadent. Thus Notwang is armed against the world, but Heiner*s deeth is not the inevit able result of his whole spiritual and physical make-up, not the suicide of someone essentially unfit for life. These
Of novels such as Gottfried îCëmpfer and subsequent works of a 49]
realistic nature • A further point is that these stronger heroes are in turn given companions of a more delicate stamp, for instance Këmpfer*s friend, the poet ”Kbke” , who dies* and Hugo in Verwandlungen einer Jugend. whose health is of the frailest. Demian, the guide and mentor of jSmil Sinclair, is by virtue of his symbolical quality in a category by himself.
Friendships in general form an important part of school and institution life. Thus K&npfer and Krumbholz are brought into closer relationship with various boys at different stages of their school career. Jahrgang 19C3 mentions school
contacts, and a summer friendship with a French boy, to prove that international barriers do not exist for children. Gang life and enthusiasm for a Red Indian and adventure**story atmos phere find portrayal in Die RSuberbande. The treasure-hunting adventures of two boys and their companion the old golddigger Alaska with hie niece Kitti are featured by Friedrich Schnaok in his Goldgrfiber in Franken (1930).
Brothers and sisters
The relationships of brothers and sisters seem of slighter 49) H. Keller (op.cit., chap.3, Die Gestalt des Schûlers),
referring to chaffner*s Johannes, speaks of the secondary figures of the Neo-Romantic novel which have now moved into the central position, but does not altogether cover a case like ü'reund le in by this.
significance as a recurring device than either the boy and girl friendships or the friendships between boys already referred to. Protective and sympathetic influence, contrasts in charac ter, and lack of understanding - even animosity - are all found, but do not really assume marked importance as childhood themes.
Pavel, the charity boy, feels the greatest tenderness for his pretty and rather frail sister Milada, whose gentleness has a softening influence upon him; Edwin McEndoll is full of protective pride and brotherly affection towards little Editha; Heiner too is a fond and gentle elder brother to Stephanie, - who bears the same name as Carossa’s younger sister in Jine Kind he it. Differences of temperament can be seen in Pankraz and Estherchen, while an even sharper lack of affinity is noticeable in''l'îao“and his sister Ursula, whose
manner and interests strike a jarring note to those of the boy; Lorohen and Beisser provide an instance of contrasting person alities, despite Identical dress, and even a certain family resemblance, which underlies the individual traits they have developed. Marie v. Ebner-Eschenbach makes use of the motive of contrasting step-sisters in Bozena (1876), appearance and personality of Régula and Rdschen being treated with a "black and white" technique.
although often of different character {e.g. VlTildenbruoh’s tv/o cadets)? or they may go their own way and have their ovm interests, while not in any way hostile, as for instance
Thomas and Christian Buddenbrook. The hostility develops when the two grow up. Complete divergence of personality
forms the basis of the relationship between the brothers Sintrup (Pitt und Fox, by Friedrich Huch, 1908), of whose
actual childhood we learn little, however; open hatred between brothers is shown by Storm, coupled, In the case of the Junkers of Grieshuus, with the twin motive, beloved of Sturm und Drang writers. This same motive is found in J’ean Paul’s Die Flegel-
jahr8 (1804/1805), not in order to heighten the conflict
between brothers, but rather in order to exploit certain more humorous possibilities? Keller introduces it too, in Martin Salander; and Paul in Frau Sor^e has younger twin sisters to care for. Apart from its use in connection with the theme of inimical brothers, and perhaps for its humorous aspects, the portrayal of twins does not seem to attain to any real
importance, either for actual recording of a biological possi bility, or from the point of view of artistic treatment.
Brothers and sisters in the larger family unit do not give rise to any recurring motives. Variety of character and temperament are generally aimed at here: Fried es Ino hens
Lebenslauf. Appelschnut. Kindernovelle (Klaus Mann, 1926), Die JerominlcIndert and there may be special ties of affection between individual members.