The malady of the century — Background and Themes
Edition facts
For The malady of the century — Background and Themes, the stored edition analysis reports 136,172 words, 9 hr 53 min estimated reading time, and 13 detected text sections.
The text analysis averages about 20.9 words per sentence, while the detected sections provide another way to judge how the source is divided.
Project Gutenberg metadata also associates the work with “Germany -- Fiction,” connecting these edition facts with the source record’s subject description.
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- Title & short description10 pts
- Source metadata20 pts
- Text length15 pts
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"Come, you fellows, that's enough joking. This defection of yours, melancholy Eynhardt, combines obstinacy with wisdom, like Balaam's ass! Well! may you rest in peace. And now let us be off."
The glasses, filled with clear Affenthaler, rang merrily together, the smiling landlord took up his money, and the company rose noisily from the wooden bench, overturning it with a bang. The round table was only proof against a similar accident on account of its structure, which some one with wise forethought had so designed that only the most tremendous shaking could upset its equilibrium. The boisterous group consisted of five or six young men, easily recognized as students by their caps with colored bands, the scars on their faces, and their rather swaggering manner. They slung their knapsacks on, stepped through the open door of the little arbor where they had been sitting, on to the highroad, and gathered round the previous speaker. He was a tall, good-looking young man, with fair hair, laughing blue eyes, and a budding mustache.
"Then you are determined, Eynhardt, that you won't go any further?" asked he, with an accent which betrayed him as a Rhinelander.
"Yes, I am determined," Eynhardt answered.
"A groan for the worthless fellow; but more in sorrow than in anger," said the tall one to the others. They groaned three times loudly, all together, while the Rhinelander gravely beat time. An unpracticed ear would very likely have failed to note the shade of feeling implied in the noise; but he appeared satisfied.
"Well, just as you like. No compulsion. Freedom is the best thing in life--including the freedom to do stupid things."
"Perhaps he knows of some cave where he is going to turn hermit," said one of the group.
"Or he has a little business appointment, and we should be in the way," said another.
They laughed, and the Rhinelander went on:
"Well! moon away here, and we will travel on. But before all things be true to yourself. Don't forget that the whole world is as much a phantom as the brown Black Forest maiden. And now farewell; and think a great deal about us phantom people, who will always keep up the ghost of a friendship for you."
The young man whom he addressed shook him and the others by the hand, and they all lifted their caps with a loud "hurrah," and struck out vigorously on the road. The sentiment of the farewell, and the tender speeches, had been disposed of in the inn, so they now parted gayly, in youth's happy fullness of life and hope for the future, and without any of that secret melancholy which Time the immeasurable distils into every parting. Hardly had they turned their backs on the friend they left behind them when they began to sing, "Im Schwarzen Walfisch zu Askalon," exaggerating the melancholy of the first half of the tune, and the gayety of the second, passing riotously away behind a turn of the road, their song becoming fainter and fainter in the distance.
The novel opens with a boisterous student drinking party in the Black Forest, where Wilhelm Eynhardt parts from his companions with a jest about phantom friendships. The tone shifts abruptly when a magistrate interrogates Wilhelm over his inheritance from a Nihilist friend and his support for Socialist workers. The dialogue reveals a quiet, smiling defiance against authority, as Wilhelm parries accusations with calm irony. The narrator then describes a 'moral pestilence' of denunciation sweeping Germany, where informers twist words and magistrates lack courage. This juxtaposition of youthful revelry and political menace sets the stage for a story that examines how individuals navigate a society rife with suspicion and cowardice.
Student Banter and the Phantom World
The opening chapter, 'Mountain and Forest,' introduces a group of students drinking Affenthaler wine in a forest arbor. The dialogue is marked by playful mockery and philosophical banter. When Eynhardt refuses to continue the hike, his friend declares, 'Freedom is the best thing in life—including the freedom to do stupid things.' The farewell is described as lacking 'secret melancholy,' yet the narrator hints at 'Time the immeasurable' distilling something into evening air. The students' caps, scars, and swagger mark them as typical German fraternity members, but the talk of 'phantom people' and 'ghost of a friendship' suggests a deeper unease beneath the surface camaraderie.
The Interrogation and the Denouncer
In a later scene, Wilhelm faces a magistrate who questions him about his association with a Nihilist doctor and his charitable work for Socialist workmen. The magistrate's questions are hostile, implying guilt by association. Wilhelm responds with serene, almost mocking politeness: 'I know nothing more unpleasant than bad jokes.' His friend Schrotter, a lawyer, exposes the witness Patke as a candidate for political police. The magistrate dismisses the case but refuses to reprimand the informer. The narrator then describes 'dark days' where denunciation becomes a 'craze,' spreading through Germany and sparing no one. Schrotter's horrified exclamation—'Are we in Germany? are these my fellow-countrymen?'—captures the moral shock.
The Narrator's Moral Commentary
Throughout the excerpts, the narrator interjects with pointed observations. The description of the denunciation craze uses vivid language: 'a moral pestilence' that 'spread itself over the whole of Germany.' Informers act from 'fanaticism or stupidity, from personal spite or desire to make himself conspicuous.' Magistrates 'seldom had the courage to kick the informer downstairs.' The narrator's tone is one of horrified dismay, not detached irony. This direct commentary frames the fictional events as a diagnosis of a societal malady, aligning with the novel's title. The excerpts do not reveal whether this diagnosis extends to a cure or a resolution.
The excerpts present a novel that moves between intimate dialogue and broad social critique. Readers should attend to how the narrator's voice—sometimes sardonic, sometimes appalled—shapes the portrayal of characters who resist or succumb to the pressures of their time. The incomplete text leaves open whether Eynhardt's quiet defiance or Schrotter's outrage offers a model for confronting the 'malady' the title announces.
Wilhelm’s moral exhaustion in Nordau’s pages reminds me how rarely anyone truly recovers from their own century. I once set the book down feeling that ache, and later found the same restless, awkward honesty in In the Year of Jubilee — A Reader’s Guide. Just a familiar ache, revisited. Some books simply wait for you to be ready for them.
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