healthy instinct of his artistic genius, choosing to
retain undisputed mastery in his own field.

It is, of course, an impossibility to treat adequately, in the remainder
of the space at our disposal, the poetic and general literary merit of
Fritz Reuter (1810-1874), the great regenerator and rejuvenator of Low
German as a literary language. His lasting merit in the field of the
village story is that by his exclusive use of dialect he threw an
effective safeguard around the naturalness of the emotional life of his
characters, and through this ingenious device will for all time to come
serve as a model to writers in this particular domain. For dialectic
utterance does not admit of any super-exaltation of sentiment; at any
rate, it helps to detect such at first glance. But there are other
features no less meritorious in his stories of rural life, chief of
which is that unique blending of seriousness and humor that makes us
laugh and cry at the same time. With his wise and kind heart, with his
deep sympathy for all human suffering, with the smile of understanding
for everything truly human, also for all the limitations and follies of
human nature, Reuter has worthily taken his place by the side of his
model, Charles Dickens. It is questionable whether even Dickens ever
created a character equal to the fine and excellent Uncle Braesig, who,
in the opinion of competent critics, is the most successful humorous
figure in all German literature. Braesig is certainly a masterpiece of
psychology; as remote from any mere comic effect, despite his
idiosyncrasies, as from maudlin sentimentality; an impersonation of
sturdy manhood and a victor in life's battles, no less than his creator,
who, although he had lost seven of the most precious years of his life
in unjust imprisonment and even had been under sentence of death for a
crime of which he knew himself to be absolutely innocent, had not
allowed his fate to make him a pessimist. Nor does the central theme and
idea of his masterpiece _Ut mine Stromtid_ ("From my Roaming Days,"
1862), in its strength and beauty, deserve less praise than the
character delineation. Four years previous, in _Kein Huesung_ ("Homeless
") the author had raised a bitter cry of distress over the social
injustice and the deceit and arrogance of the ruling classes. In spite
of a ray of sunshine at the end, the treatment was essentially tragic.
Now he has found a harmonious solution of the problem; the true
no