Hans Carossa

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Carossa, Hans

 

Born Dec. 15, 1878, in Tölz; died Sept. 12, 1956, near Passau. German writer (Federal Republic of Germany). A physician by profession.

Carossa’s poetry (published in collections in 1910, 1916, 1946, 1948) strove for clarity, euphony, and precision of style and was characterized by Christian and apolitical themes. His prose was basically autobiographical and similarly avoided major social issues. His works include A Childhood (1922), A Rumanian Diary (1924; published in 1934 as War Diary), Doctor Gion (1931), The Year of Sweet Illusions (1941), and Different Worlds (1951). In 1941 he was elected president of the profascist European Writers’ Union. Carossa’s other works included travel notes (Italian Sketches, 1946, and Rome in Winter, 1947) and literary criticism, written from the standpoint of the Christian Democratic Party.

WORKS

Sämtliche Werke, vols. 1–2. [Zurich] 1963.

REFERENCES

Mel’nikov, D. “V gushche bor’by.” Novyi mir, 1955, no. 4.
Braun, F. Zeitgefdhrten. Munich, 1963. Pages 103–16.
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Attention is also given to such figures as Wilhelm Heinse, Johann Gottfried Seume, Thomas Mann, Hans Carossa, Wilhelm Koeppen, and, in the introduction and epilogue, Ingeborg Bachmann.
The list is incomplete; there are omissions based either on my particular taste or imperfect knowledge: Werner Bergengrun, Ernst Bertram, Wolf Biermann, Georg Britting, Hans Carossa, Theodor Daubler, Peter Gan, Albrecht Goes, Ivan Goll, Rudolf Hagelstange, Max Hermann-Niesse, Hermann Hesse, Hugo von Hofmannsthal, Friedrich Georg Junger, Erich Kastner, Klabund (pseudonym of Alfred Henschke), Karl Krolow, Wilhem Lehmann, Oskar Loerke, Otto zur Linde, Agnes Miegel, Alfred Mombert, Christian Morgenstern (other than that fishy nonverbal piece), Joachim Ringelnatz, Friedrich Schnack, Wilhelm von Scholz, Rudolf Alexander Schroder, August Stramm, Josef Weinheber, Konrad Weiss, Anton Wildgans, Georg von der Wring, and Carl Zuckmayer.
But exile was not the option chosen by dramatists and writers who remained in the Reich (for example, Gerhard Hauptmann, Georg Kaiser, Ernst Wiechert, Richard Strauss, William Furtwangler, Ricarda Huch, Hans Carossa, Gottfried Benn, Ernst Junger, and Walter von Molo), and even after the War writers such as Frank Thiess claimed that their presence in the Reich was an expression of the unique exile known as Die Innere Emigration (Inward Emigration)--a status which Theatre under the Nazis, unfortunately, only suggests.
Despite its literary deficiencies, Freunde radiates a touching human dignity in the manner of, say, Hans Carossa.
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