Seldom has the novel of tragic import and passion been treated with greater refinement and delicacy than in such works as Fontane's Effi Briest, Ricarda Huch's Ludolf Ursleu, Wilhelm von Polenz's Der Büttnerbauer, or Ludwig Thoma's Andreas Vöst.

It is only in the present day that Thomas Mann, Jacob Wassermann, and Ricarda Huch are trying along different lines, but with equal zeal, to form a fixed individual style for the German prose-epic.

But sooner can a stenographer of the Stolze school agree with one of the Gabelsberger system than can a votary of Dehmel dare to recognize the greatness in George, an admirer of Schnitzler see the importance of Herbert Eulenberg, or a friend of Gustav Frenssen acknowledge the power of Ricarda Huch.

At the same time new forces are starting to form the new cycle, or, to speak like Goethe, the newest spiral: Hauptmann, Frenssen, Ricarda Huch, Enrica von Handel, to name only these.

SEE Huch, Richard H. GUNTHER, JOHN.

Hermann Gustav Paul Hubner (A); 5Aug65; R365846. <pb id='345.png' /> HUCH, RICHARD H. Der letzte Sommer.

SEE Huch, Richard H. GUNTHER, JOHN.

Hermann Gustav Paul Hubner (A); 5Aug65; R365846. <pb id='345.png' /> HUCH, RICHARD H. Der letzte Sommer.