rtsch) everything is resolved into a lyrical mood and a melody of
words. Similarly in the case of writers of southern Tirol (Hans von
Hoffensthal, Richard Huldschiner), whereas on the northern slope of the
Alps a race of men made of sterner stuff is reared (Rudolf Greinz, Karl
Schoenherr). In Bavaria, finally, people are even more rough and ready
and lyrical sentimentality yields to a pugnacious propensity to
ridicule, which gives satirical seasoning to the works of the genuinely
Bavarian writers Ludwig Thoma and Joseph Ruederer.

The sluggish Alemannians, on the contrary, lack the vivacity of the
Bavaro-Austrian stock. On the monotonous heights of the Swabian plateau
are developed such brusque individualism, tenacious self-will, peculiar
humor inclined to self-depreciation, soaring fantasy, and (withal there
is no lack of comprehension for the ideas of domesticity) such a
predilection for adventures abroad as we find in the Swabian narrators
Emil Strauss, Hermann Hesse, Ludwig Finckh, and Heinrich Lilienfein.
Didacticism, present in all Alemannic prose and poetry, finds more
popular forms among the story-writers of the Black Forest of Baden
(Heinrich Hansjakob, Hermine Villinger, Emil Goett, Hermann Burte),
while in the local character of the Alsatians, the source of Hermann
Stegemann's novels, good-natured practical joking is more at home. As
the rough Alpine country demands the utmost of human industry, so in
the realm of art it has developed a sympathy with practical, efficient
life, which, disinclined to all speculation (for Spitteler stands
well-nigh alone in this matter), is rather under the sway of
pedagogical interests. In Switzerland literature is most indissolubly
bound up with the life of the whole people, and a gay art for art's
sake cannot thrive. Here are to be found true farmer-authors, such as
Alfred Huggenberger, who still guides the plow across his fields, or
poets who have risen from the ranks of handicraftsmen, such as Jakob
Schaffner, or those who prosecute their literary avocation side by side
with the business of a restaurateur, like Ernst Zahn. And no other of
the compatriots of Pestalozzi (J. C. Heer, Heinrich Federer, Meinrad
Lienert, Felix Moeschlin) disdains either, to be in the truest sense a
popular poet and an educator of the people.

By virtue of the inexhaustible riches which the _Heimatkunst_ brought
to light, the defiant rejection of the literature of the great cities
has been rightl