Else v. Freytag-Loringhoven's Autobiography






Else von Freytag-Loringhoven's
AUTOBIOGRAPHY
An Introduction by Gaby Divay

Foreword     Dedication     About

Winnipeg: University of Manitoba Archives
FPG (Greve/Grove) & FrL (E. v. Freytag-Loringhoven) Endowment
2001, r2020
Autobiography - CONTENTS - Pt. I-XXXVII

In her "Autobiography," written for the most part in Berlin in the early 1920s, Baroness Else von Freytag-Loringhoven (1874–1927) reminisces in an associative and expressive style about the first thirty-five years of her life in her homeland Germany. Her account provides a precise mirror image of the events described in the 1905 novel Fanny Essler by Felix Paul Greve (1879–1948), but with additional details and observations that benefit from hindsight.

Greve's novel ends with the heroine's death at the precise moment when she would have been rudely awakened by some terrible revelation about her lover. The real-life event was Greve's arrest and conviction for fraud in Bonn in May 1903. Else found herself suddenly stranded in Palermo, where the two had spent nearly four months of extra-marital bliss. The novel's transparent intertextual references to Flaubert's Madame Bovary are confirmed by the Baroness herself:
"Felix had written two novels. They were dedicated to me as material was concerned. It was my life and persons out of my life. He did the executive part of the business, giving the thing the conventional shape and dress. He esteemed Flaubert highly as stylist, which speaks for cultivated taste. He was cultivated. So, he tried to be Flaubert." - (AB Pt. 8: On FPG/Greve [ts 34/35])
Her narrative goes well beyond the novel's time frame, and reflects the scant decade she had lived with Greve, from early 1903 to late 1911. While her life in Berlin and Munich in the 1890s is also well-covered, she unfortunately provides little information about her American years. Her voluminous correspondence also affords only rare glimpses of these "post-Felix" times. However, her retrospective accounts are peppered with a litany of laments about them, as they are in stark contrast with her life in Berlin at the time of writing. She had, in fact, returned at the worst possible time in April 1923, when Germany was in the throws of rampant inflation, unemployment, social unrest, and related political turmoil.

Much of Freytag-Loringhoven's German poetry in her University of Maryland's archival collection complements the details laid out in the autobiography and in Greve's novel. Many poems contain explicit dedications to the influential persons described in both texts. But while the 1905 roman-à-clef ridicules the bohemian circle surrounding the reigning "Master" poet Stefan George in the 1890s under false names, the autobiography describes her experiences in clear-text. Her involvement with artist Melchior Lechter in 1896, her stormy affair with writer Ernst Hardt in 1898, her platonic travel through Italy with photographer Richard Schmitz, her May 1900 enrolment in the artists' colony Dachau near Munich where she met her first husband August Endell, their contacts with Karl Wolfskehl, their moving to Berlin in 1901, her "womb-squeeze excursion" to a North Sea island sanatorium where she was treated for hysterical tantrums occasioned by Endell's impotence, her epistolary romance with dashing dandy Greve, their openly flaunted affair after Christmas 1902, its devastating effect on the doubly betrayed husband during the trio's communal boat trip to Palermo: all this is told in the Baroness' narrative without distortion or cosmetic touches.

Often, the Baroness refers to these many players in rather cryptic ways, like "Tse" (Endell), "Erni" (Hardt), "Mello" (Lechter), "Marcus" (Behmer), "Jorkan" (R. Schmitz), "Dr. Phil" (Wolfskehl), and "FPG" or "Mr. Felix" for Greve. Accordingly, poems or letters with these meaningless references were filed in folders properly marked "Unidentified German." In 2001, Dr. Beth Alvarez, curator of Literary Manuscripts at the time, invited me to investigate these materials, when she undertook a major reorganization of the collection, which was targeted for digitization. These stray poems and related snippets of correspondence could then be linked to real persons from the Baroness' German past.

As in her autobiography, Greve takes the lion's share in the Baroness' poetry. In a lengthy note on her poem "Wolkzug," she evokes Palermo, Greve's 1903 arrest, and his 1911 abandonment in Kentucky within a year after having been reunited with him in Pittsburgh. All references to Sparta, Kentucky, or the Ohio River in her poetry are more or less explicitly linked to this traumatic event, and memories of it appear almost obsessively in her other written documents as well.

Even when the Baroness remembers crafting her very first poem "Kornblumen" (Cornflowers) at the tender age of twelve, it is linked to Greve. In the context of her stay at a sanatorium in Wyk on the island Föhr in late 1902, she writes:
"The man who was to be my first potent mate, with whom I also remained together the longest time I ever was with one man - about ten years - was in Berlin keeping my husband company, I dreaming about him, but also about my husband, whom I did not desire to abandon, not even for this miracle of a youth, if it was only possible and he came up to expectations after my wombsqueeze excursion. But he did not, and the matter ended with hair-pulling and slipper-hurling on my part.
    About this time, before my husband visited me, I made after an interval of years, my first, for an amateur amazingly good, poem for nature's necessity - to express love somehow." - (AB Pt. 7: On Poetry [ts 30])
"Cornflowers" was so good, that her teacher and even her own mother accused her of plagiarizing the great Goethe. The next mention of poetry is again related to Greve, who, after some blissful Palermo weeks in early 1903, had left her involuntarily for the first time: his lavish lifestyle was financed by his student friend Herman Kilian, who lured Greve back to Bonn to have him arrested, tried, and sentenced for fraud. During Greve's year in prison, the Baroness turned once again to poetry to alleviate her longing for him:
"I was not one moment scared about my future, since I had no thoughts about the future other than to see Felix. That was only a year! I was too gloriously in love! The true trouble was physical abstinence. It was excruciatingly painful to me, I had to make poems again!" - (AB Pt. 18: On Friendship [ts 92])
Seven beautifully crafted poems published under the couple's joint pseudonym "Fanny Essler" in the journal Die Freistatt in 1904/05 were the result of these lonesome labours.

When Else picked up Greve upon his release from prison in mid-1904, he quickly whisked her away, first to Wollerau in Switzerland, then, in mid-1905, to Paris-Plage, France. This is significant, since these foreign locations are invariably close to, but at a safe distance from, larger cities like Zürich, Paris, or later Cincinnati, where the "wilderness" of Sparta, Kentucky, provided the rural isolation Greve continued to impose on her in 1910/11. In other words, he liked to keep her under lock and key. Even in Berlin, where they lived from 1906 to 1909, he made sure that their social contacts were reduced to a minimum. She says:
"[Felix] clothed my body gorgeously, to make me believe, that was what I wanted, to buy my soul of me, to expand himself in his work, pretending he did it for my luxury, when he did it for his own vanity and success, aside from the money part, needing my admiration. I was a brilliantly kept slave, heralded queen, to lull my watchful pride, and, in truth, I was queen kept from my true kingdom, that of the mind!" - (AB Pt. 20: On Lady-Likeness [ts 109])
In late July 1909, Greve left the Baroness a second time, but now, it was of his own volition. He had just double-sold his latest literary translation,[1] and was facing repeat criminal charges. So, he opted for a hasty retreat to America, leaving a suicide note behind to make a clean break. More than six weeks went by before the Baroness wrote a hysterical note about Greve's disappearance to the director of the Insel press, Anton Kippenberg. In his speedy reply, this prominent publisher elegantly refutes her impertinent accusations: he had not overworked, underpaid, and unfairly criticized her poor departed husband. He has doubts has Greve had carried out his plan to take a boat to Sweden, with the intention not to arrive there, but offers her some financial support nevertheless.

Though Else initially may have believed that he had perished, she eventually must have received word that he was alive and well in New York. More likely, she knew all along that "Mr. Felix [who] thought himself ... a genius, until the end, when he broke off, or down, his [translation] career, deciding to become a business genius, or 'potato king' in America," had indeed moved there.[2] Perhaps on his advice, she then made the rounds of Greve's publishers, and extracted enough sympathy money to join him a few months later.

Arriving in New York in late June 1910, Else declared that she was on her way to meet her brother-in-law, a certain T. R. Greve, whose address is at 57, 4th Ave in Pittsburgh.[3] There, rather than keeping a low profile, "Mrs. Elsie Greve" was soon arrested for cross-dressing and smoking in public. The New York Times reports with this catchy caption:

"She Wore Men's Clothes
On Walking Tour with Husband, Mrs. Greve Explains"
"Pittsburg [sic!], Mrs. Elsie Greve, recently of New York, but formerly of Berlin, was arrested in crowded Fifth Avenue this forenoon while walking by the side of her husband, F. P. Greve of New York, dressed in men's clothes and puffing a cigarette. Both Mrs. Greve and her husband were taken, protesting, to the central police station and locked up as suspicious persons. Both Greve and his wife asserted that they were subjects of Germany, had done no wrong, and intended no wrong. If they were not released speedily, they would appeal to the German Ambassador at Washington ..."
Since the report's subtitle reads "Police Let Couple Go," Else and her "deceased" husband Greve's brazen threat seems to have worked.

Else Greve is listed as a writer in various German literary dictionaries, yet she seems not to have published anything under her own names Ploetz (maiden name), Endell (as divorcée), or Greve. This last name was however used for two of her lover's Flaubert translations well before they were married. Her only known contribution is therefore camouflaged under the couple's joint pseudonym "Fanny Essler" which they used for their 1904/05 poetry cycle.

Greve had only three other known poems published in German journals. These extant in D. O. Spettigue's Research Collection (UMA Mss 57). They are also mentioned in his seminal 1973 book FPG: The European Years, in which he documents his sensational finding that the Canadian author Frederick Philip Grove had been in fact the prolific German translator Felix Paul Greve.

Greve's known penchant for pseudonyms -- Karl Wolfskehl wittily called him a "pseudologist" -- makes it likely that the scandalous pair, singly or combined, marketed further creative products still awaiting discovery. Greve may have published poems called "Lieder eines Irren" ("Songs of a Madman"), echoing his model Flaubert's "Mémoires d'un fou." Grove offered pornography to Canadian publishers under assumed names, [Grove, Letters, 386] and in 1918, the Baroness wished her first poems offered to The Little Review to appear under the pseudonym Tara Osrik. [Anderson, 178]

Since the early 1960s, Grove's papers (UMA Mss 2) have been the foundation of the University of Manitoba's archival FPG (Greve/Grove) Collections. Until Spettigue could link the Baroness' autobiography to Grove's "European Years" as Greve in the 1980s, the best proof of FPG's identity - apart from his use of these very initials on both sides of the Atlantic - was Greve's poem "Erster Sturm," which had appeared in Die Schaubühne in 1907. It matches one of Grove's three untitled German manuscript poems, "Die Dünen fliegen auf ...." This poem becomes in turn, in Grove's own translation, the typed poem "The Dying Year."

As we shall see, the Baroness had intimate knowledge of her second husband's pet poem, with all its Nietzschean Fall / Storm / Genius overtones. She artfully incorporated parts of the original in poems about their 1910/11 farming experience in Kentucky. These, she often dedicated "To FPG" and specified either the place of inspiration, or the location of composition.

From Grove's fictitious autobiography A Search for America (1927), where he describes the three years he roamed the United States before coming to Canada in 1912, the entire Kentucky year and any reference to the Baroness are conspicuously missing. Both do, however, dominate his first Canadian novel Settlers of the Marsh (1925). The entire book is actually a therapeutic exercise in coming to terms with the author's third and final abandonment of her in 1911, barely a year after the couple had resumed their rocky relationship on a small Kentucky farm.

The Baroness reveals that Greve had reverted to his old virgin ideal in her absence (AB, ts 98), and that he practiced sexual abstinence while absorbed in his Rousseau-like "Back-to-Nature" struggle with the soil. Incidentally, FPG's very first Canadian publication was a sprawling essay in the 1914 German-Canadian newspaper Der Nordwesten. "Rousseau als Erzieher"/(Rousseau as Educator) is a transparent imitation of Nietzsche's Third Untimely Meditation "Schopenhauer als Erzieher" (1874).

FPG and Else's union had always been based on a very physical plane, so that this change of attitude-spelled trouble. Here is what she has to say about his "sex desertion:"
"He had ceased to have any intercourse with me, for he had lost interest in it, being in an absorbing primitive struggle for life in America. And in a year's time he left me, helpless in this strange country, to which he had brought me, because he could not be without me, then making it impossible for me to join him in this fight that he had chosen of his own free will ...." - (AB Pt. 15: On Desertion [ts 72])
She also repeatedly gives spirited accounts of her blond and blue-eyed rivals of the "Gretchen" type cast in Goethe's Faust. Greve's unsuccessful infatuation with such a young woman before her time is described at length in the "travelling virgin" episode (AB Pt. 14, On Virginity). That Grove did indeed revert to this ideal after he had relocated to Canada is amply proven by the choice of his second wife Catherine Wiens in 1914. And his self-referential allegorical epic poem "Konrad, the Builder" (ca. 1939) is a thinly-veiled Faust imitation, complete with an idealized "pure" woman named "Margaret."

In Settlers, the hilly Kentucky landscape has been transplanted into the flat Prairies west of Lake Manitoba. In this improbable setting, a virtuous and, at age thirty still virginal (!) Niels/Grove falls prey to the seductive snares of the "depraved woman" Clara/Else, whom he feels obliged to marry. In the end, he shoots her. After seven years of atonement in Manitoba's Stony Mountain prison, his prospects of a more suitable union with his neighbour's long-admired daughter Ellen - presumably, still virginal, though pushing thirty herself - are looking good.

Like Niels in Grove's 1925 novel, Greve may very well have longed to kill Else in Sparta, Kentucky. She describes the charged atmosphere like this:
"[Felix] first virgin adoration showed the man and the abstraction of my feelings at the time of his telling, was instinctively prophetic. He returned to that virgin ideal after my time was up, and I, noticing this freakishness, it turning my emotions to nausea within me, that in itself was purest hate, a blood aversion up to murder.
So he must have felt for me, otherwise his last conduct is unexplainable. Only murderous hatred can explain it." - (AB Pt. 19: On Abandonment [ts 98])
Grove and his protagonist Niels may have felt justified in their ultimate drastic action by Else/Clara's "loose morals." Her reputation as the "district whore" in the novel is certainly grossly exaggerated. But Else's was not the greatest either: when Endell announced their wedding plans in 1901, Stefan George's illustrious "Circle" in Munich reacted lukewarm at best. The "travelling virgin's" brother Ludwig Klages refers to her as a "Berliner Buhlerin, die in Intelligenzkreisen durch viele Hände gegangen war" (a paramour who had passed through many a hand in Berlin's intellectual circles" - Eggert, 248).

Greve, on the other hand, instead of acting on his murderous impulses, meekly disappeared from Else's life. In a lengthy note on her poem "Wolkzug," the Baroness bitterly states, that Greve left her destitute "in the Kentucky wilderness" at a time when she hardly spoke English and was considered insane.

This dismal post-Greve situation drove the Baroness to Cincinnati, where her priorities were initially less of the creative kind. In order to survive, she was posing at the local Art Academy, where most of the faculty were of German-American origin. Frank Duveneck taught there from 1900 to his death in 1919. He had trained in Munich with Wilhelm Leibl and Wilhelm von Diez, and had even established a summer school there for "Duveneck boys" like Robert Henri, who was later influential in Philadelphia and New York [Cohen, 136, 165]. The Baroness may have modeled in the nude for both artists in all three American locations. She also appears to have worked as some kind of chorus girl in Cincinnati's German entertainment district. Her comic "Cinci" poems "Herr peu-à-peu" and "Vernunft" suggest music-hall surroundings similar to her early days in Berlin, when she was on display in Henry de Vrys' famous Living Sculptures:
"... one morning I found an ad clamouring for "girls with good figures," telling them to call at the "Wintergarten" (at that time a first class variety), there I called. ... I was told to strip, ... I was clad in tights, and Henry de Vris, the boss of the "Living Pictures," looked me over, though I did not then know quite what for. Being safe inside my mesh-shell, I liked that scrutiny. To my utter bewilderment, I was taken right away for the "Marble Figures" which, as I later learned, calls for the best figures. I had to be upholstered considerably with cardboard breasts and cotton hips, but it was great fun, and I felt the pride of a primadonna." - (AB Pt. 2: On Touring [ts 6])
Though Else and Baron Leo were only married in New York in November 1913, they may have met in "Cinci, the City of Pork" in 1911/12: an intriguing note by Djuna Barnes suggests, that the Baron was "selling beef" in the area. This would account for travels to Mississippi, or to Akron, Ohio, where, according to a letter by poet Hart Crane, the local photographer Harvey Minns claimed to have known the Baroness "long before" she became known in New York City. The Baroness' poems about domestic life with her third husband could thus reflect settings in the Midwest as well as in New York's Ritz Hotel.

After the Baron went to fight in World War I, the Baroness soon became a notorious model. Again, she seems to have taken part in theatrical productions in late 1914 or early 1915. One of two photos in the Library of Congress' Bain Collection shows her leaning on Jamaican writer Claude McKay, both clad in lavish oriental garb.
On December 5, 1915, the New York Times devotes a sizeable article to the Baroness. It is entitled:
"Refugee Baroness Poses as a Model:
Woman Who Puzzled New York Art School Students Reveals Her Identity
Husband a War Prisoner

Among many other interesting details, it mentions her posing as "Semiramide, the turbulent queen of the East [for a] painting recently shown here."
The exotic costumes in the photo permit the speculation, that some kind of related stage production with an oriental theme (perhaps Rossini's Semiramis?) could have brought the two actor-artists together. Their later literary affiliation is well-documented: in 1922, McKay, now chief editor of the left-wing journal The Liberator, would publish two poems by the Baroness.

Freytag-Loringhoven's creative writing career took off in 1918 with publications in Margaret Anderson & Jane Heap's Little Review. Some thirty poems, several of them in German, appeared there over the next seven years. Publications in other journals like Broom, The Liberator, The Transatlantic, and Transition are scant, but attest to the Baroness' association with Peggy Guggenheim, her cousin Harold Loeb, Ford Maddox Ford, Ernest Hemingway, Ezra Pound, and other literary luminaries.

As she had previously done when abandoned by Greve, the Baroness likely resorted to writing prototypes of her Kentucky poems about him in Cincinnati, while she was still close in space and time to the scene of his crimes. What matters here is that she drew on their old "Fanny Essler" poems to create even more powerful, unflattering "portraits" of Greve. This is where the Baroness' clever skills in combining the old and the new come into play.

In May 1990, following a lead about Greve's astounding 1904 "Fanny Essler" plans in Claude Martin's masterly edition of Gide's encounter with Greve, "Conversation with a German," I found the seven impressive "Fanny Essler" poems at the Deutsche Literaturarchiv in Matbach. Greve had told Gide in truly manic fashion, "I am THREE - FPG, Else Greve, Mme Fanny Essler." He selfishly liked to lay claim to works that were in reality collaborative efforts with the Baroness along FORM (his) and CONTENT (hers) lines. At least, he gave the Baroness indirect credit by adopting a woman's name for their joint pseudonym.

This is more than he did with the two novels about her life. There, his name sits squarely as the author's on the title page, for having given them, as the Baroness puts it, "the conventional shape and dress." On at least two occasions, she describes how Greve discouraged her own creative endeavours. Of what would become "his" second novel Maurermeister Ihles Haus in 1907, she says:
"... I had already begun to write a "story of my childhood" from sheer ennui, urge of own inner occupation, interest, yet it did not seem to justify his boldly sacrilegious statement that he himself promptly contradicted as a "swelled head" in ironical derision, on account of my literary attempt, that he regarded shoulder-shruggingly contemptuous, but with leniency, since he could not hinder it, in a sense of "let the child or silly female have her play." - (AB Pt. 20: On Lady-Likeness [ts 105])
About the Flaubert-like first novel Fanny Essler, she writes:
"I remember I disliked the "style" already then, despite my adoration for his whole person and belief in his genius, and told him so, as I am ever always truthful, and I resented him my disappointment. That was the first time, I think, when the seed of doubt about his genius, at least as artist, was sewn in me.
    He put it down to my not yet enough developed intellect and taste, that I did not cherish his abrupt style that seemed to me dry and artificial, having no carrying power nor convincing quality of its own." - (AB Pt. 8: On FPG/Greve [ts 35])
Her judgement on both books is harsh. And, she remarks, their lack of success was one of the reasons why Greve left Germany in 1909:
"He took it all outwardly, as mere industry, except for the material in it. They must be fearful books as far as art is concerned. I cannot bring myself to read them now again.
    After they did not make the hit he had expected - at least "Fanny Essler," we thought, should at least make as much impression as (Thomas Mann's) "Buddenbrooks" - and with other disappointments, he got disgruntled with ... the whole life of European gentility, mentality, and civilization, and wanted to "rough it" now from the bottom up, like "many a one" who became a millionaire in America. ... He might be very successful now in America, if he is not dead. I do not know. I became separated from him by his suddenly leaving me ..." - (AB Pt. 8: On FPG/Greve [ts 35/36])
To recall: Thomas Mann's 1901 epic family saga was an instant bestseller, for which Mann would receive the Nobel Prize in 1929.

The seven "Fanny Essler" poems were incorporated into my then-budding Greve/Grove poetry edition, increasing the number of FPG's German poems - namely, Greve's three individually published and Grove's six manuscript poems - from nine to sixteen. Then, in April 1991, during my first visit to the University of Maryland, College Park, with Gisi von Freytag-Loringhoven, I could identify two poems by the Baroness that were clearly related to those by "Fanny Essler:" "Schalk"/(Jester) draws on "Fanny"/(Else)'s three central Sonnets, painting a decidedly unflattering "portrait" of Greve in 1904. "Du"/(You) is obviously based on the cycle's closing wing: the last two poem are inspired by her late 1902 "womb-squeeze" stay in Dr. Gmelin's sanatorium on the Frisian island Föhr. They describe the moody landscape of the North Sea shores, where a lonely "Fanny" [Else Endell at the time] laments her lover/[Greve]'s absence. Though untitled, "Husum, Herbst 1902" on No. 6 specifies the setting. The seventh and last of Fanny Essler's poems describes a bright winter day, its enjoyment spoiled only because she is alone. It ends with the pronoun "Du."[5]

"Du" exists in many variants in the Maryland collection, with titles like "Natur," "Naturbild," "Natürlich," or "Freude/(Joy)." They illustrate nicely how the Baroness usually starts out with conventionally formed poems, which she reduces in several rounds, until she arrives at barebone lists of nouns, adjectives, and an occasional verb. These, she then translates, and publishes successfully as trendy poetry.

As a side-by-side display of Fanny Essler's No. 7 and Freytag-Loringhoven's poem shows, her manuscript "(Natur)/Du - Wyk auf Föhr - <an F.P.G.>" is an early version of her many "snow" poems. It largely corresponds to the 1905 published original. Only the punch line shows signs of her typical reduction method:
      "Nur natürlich fehltest du!" -- (Only, naturally, YOU were missing!)
becomes
      "Nur - fehlst - du." -- (Only - missing - YOU.)

Freytag-Loringhoven's poem "Schalk" is intricately linked to the Baroness' abandonment in Kentucky. It bears the unique reference to the couple's precise farming location:
      "An FPG - Sparta, Kentucky, am Eagle Creek" / (To FPG - Sparta, Kentucky, on Eagle Creek)
It exists in even more variants than "Du," with versions entitled "Herbst"/(Fall), "Gläsern"/(Glassy), "Verrat"/(Treason), "October," "Don Quixote," or "Ruf"/(Call). More variants may have escaped my awareness, especially, if English versions were separated from their German counterparts.

For example, the poem "In the Midst" on the University of Maryland's Digital Library site is vaguely related to the "Schalk"/"Herbst" cluster, since it mentions a "cabin in Kentucky" and concludes with the words "in Sparta, Kentucky." It also confirms once more that the Baroness, in ever progressively reductive manner, arrives at English word lists, polished into modern expressionist or dadaist poems (longer or shorter versions). The respective end results are barely recognizable when compared with the conventionally crafted German originals.

The composition history of "Schalk" is far more complex than for "Du." "Schalk" not only draws on the three central "Fanny Essler" sonnets, but also on Greve's favorite "Fall"/ Herbst poem, which was published in 1907. In Grove's archives, it exists both as the manuscript poem "Die Dünen …," and as the typed version "The Dying Year" in Grove's own English translation.

The Baroness' "Schalk" version has been chosen to illustrate her artful adaptation techniques. In the static and timeless center-piece of the 1904/5 "Fanny Essler" triptych, three Petrarchan sonnets about his (cold) eyes, (brutal) hands, and (lying) mouth presented a mere half-bust of Greve. The Baroness now adds further attributes to Greve's Eyes (steely-blue, stanza 2), Mouth (poppy-leaf shrill, stanza 3), and Hands (chalk-white, murderous, stanza 5).Newly added are his alabaster-dead Thighs (stanza 4), his chiseled, Cain-like Face (stanza 6), his Forehead (stanza 7), and his metallic golden Hair (stanza 8). Thus she transforms the original "sonnet portrait" into a full-length statue of cold metals, stones, and marbles.
At the pivotal juncture stands his "rigid Sun-Heart" ("sein Sonnenherz ist starr," stanza 8), placing Greve's moral inadequacy and essential coldness in the middle and center, adding a deeper dimension to the physical surface attributes.
The second half of the poem continues to focus on the destructive effects of his actions, and culminate in "Es ist der Trüger Herbst - der Tod - der Sturm" (It is Crook Fall - Death - The Storm, stanza 12).
In a marginal note on her version "Herbst" the Baroness specifies that the "Herbst is a portrait of FPG," then goes on with further hyperbolic abstractions: he is "Annihilation and Rage" (Vernichtung und Wut, stanza 12), the "Pain of Icy Cold," and an "Executioner" (der Kälte eisig Weh, Henker, stanza 13), and again "Death/Decay" in the seductive guise of a colorful, tropical bird (stanza 14).

With this full-length "portrait" the Baroness triumphs over Grove's feeble attempts to malign her in his 1925 Settlers of the Marsh novel, which meant to justify his cowardly 1911 disappearance act. She weaves several layers of biographical details and old poems into an entirely new, three-dimensional tapestry. She, who had readily admitted to an amateurish quality in her early poetry (AB, 30), proves now that she has achieved full formal mastery in her own right.

Moreover, her poems are endowed with such power of expression, that they surpass Grove's entire conventional poetic output by far. They also are often - supported by pleasing visual configurations, multicolored ink, and the lavish use of exclamation marks and hyphens - turning into true works of art.

Greve and Freytag-Loringhoven's 1904/05 "Fanny Essler" poems clearly have an intensity much more in line with her expressive poetry than his. Her judgement of FPG's talents hits the mark: first, she declares that the main characteristic of his poems was "utter artificiality," and that they "were as well-cut gems of language juggling, without blood-call, but the call of an ambitious, industrious spirit ..." Next, she links them to Greve's poetic model Stefan George. whom he had courted and emulated: "The most impressive part about this kind of poetry is paper, print, and numbered privacy. It stood for the top-notch of culture." Lastly, she describes that and how Greve's 1902 Wanderungen fits seamlessly into this mold: it was "a volume of poetry by him, a limited, numbered, private edition, printed on Japan paper, a very apt imitation of 'Stefan'." - (AB Pt. 30: On Manners [ts 165/166])

On several occasions, she categorically denies Greve the "genius" status he craved, cutting him rightly down to size. He was by and large the imitator she describes, and, unbeknownst to her, he would remain one for the rest of his life.[6]

As Grove, he never budged from the ossified poetics he had embraced around 1900, and persisted in applying Stefan George's precious crafting rules, albeit in less pretentious tones. He likewise kept imitating the sober prose style of Flaubert's symbolic realism he had used as Greve in his two novels about her. Already then the Baroness had judged the Fanny Essler novel "abrupt, dry and artificial, having no carrying power or convincing quality of its own," and, though she credits FPG with "business genius," she questions his creative talent: "That was the first time, I think, when the seed of doubt about his genius - at least as artist - was sewn in me" (AB, 35). Her later verdict is even sterner: "He made, in spite of his intelligence, the mistake of thinking himself an artist. How that is possible I don't know! He was just the opposite ... . [It] shows an amazing lack of observation, self-analysis and intellect" (AB, 34).

The Baroness also remembered the 1904/5 "Fanny Essler" complex in poetry and prose for decades. In the 1922/23 volume of Broom, a modernist journal published in New York, Rome, and Berlin by Peggy Guggenheim's cousin Harold Loeb, her poem "Circle" appears alongside a Mexican fresco-like illustration on page 128. The frontispiece on page 2 shows, completely out of character, a 1840 lithograph of the romantic ballerina Fanny Elssler by G. Leybold. The juxtaposition of the old and the new has a comic effect. This impact is even stronger when, in a 1922 issue of The Little Review, Freytag-Loringhoven's "Portrait of Marcel Duchamp" sculpture, an arrangement of feathers and metal parts in a champaign glass, follows immediately upon Joseph Stella's traditional sketch with the same title.

By April 1923, when most of her friends had either returned or emigrated to Europe, the Baroness returned to postwar Berlin. Soon, she was reduced to selling newspapers on the Kurfürstendamm, and was in and out of shelters or psychiatric hospitals. Her hilarious narrative poems about former lover Ernst Hardt and former husband August Endell stem from this troubled period. Though excellent satires, they are far from a mere squaring of old accounts. When the addressees' biographies are probed, the poems take on the rather sinister shade of blatant blackmail tools. For Hardt, who had been married to the Greek diplomat's daughter Polyxena von Hoesslin since 1899, the Baroness' poem may have occasioned a sudden separation in 1923. For Endell, who married Anna Meyn in 1909 and held a reputable position at the Breslau Art Academy, the toll of her "fun poem" (Spottgedicht) had perhaps even more dire consequences. The very timing of his rapid decline in 1923/24 and a premature death in April 1925 [Reichel, 98] permits this speculation. In a strange letter draft to "Tse" (Endell),[7] the Baroness refers to this very poem, and evokes the happier times around 1900, as if she had completely forgotten how much pain her adultery with Greve had caused him in late 1902.

Many of the Baroness' German poems in the University of Maryland Freytag-Loringhoven Collection stem from the Cincinnati and New York days; many more were written in Berlin and Paris in the 1920s. At all times, however, she drew on autobiographically inspired and traditionally crafted materials. With her artful adaptations, she met the highest current avant-garde standards. Her open-mindedness, her adaptability, and her flexibility make even an aging Baroness "modern" in the truest sense of the word. This is more than can be said for many German poets of her generation, who often adhered, like FPG, closely to turn-of-the-century aesthetics.

The narrative of her autobiography is more conventional, and marked by an associative "stream of consciousness" that has nothing to do with the literary technique championed by James Joyce or Virginia Wolf. It is more akin to that of the great essayist Montaigne (1533-1592), whose thoughts, however, roam from one thing to another in all possible directions. The Baroness' tend to be circular in nature, always starting with and returning to sensitive memory clusters.

The first fifty pages of the autobiography are relatively chronological, and report her experiences in Berlin, Italy, and Munich. Several times, she digresses, either looking back or jumping forward. For instance, in Part 3, she mentions, without revealing his name, her "first artist friend" in Berlin, "who, at that time, was at the height of his success, which was considerable enough to secure him the attention of the Imperial Court... " (AB, 10). She is particularly offended by Melchior Lechter's lack of generosity. A hundred pages later, she addresses this old grudge at great length, and describes how, when, and why she got her revenge. His horrible crime had been to deprive her of an especially beautiful belt she had fancied. (AB Pts. 21-22, 108 ; 120)

Sometimes, a reminiscence will turn into a mini-essay of a general kind. In the "travelling virgin" episodes in Parts 11 & 12, she takes a stand against the prevailing societal norm of "proper" virginal maidens. With a swipe at Greve before and after her time with him, she declares:
"All men (that is, European men) are sentimental in that respect by tradition, and will take any dope given them that way, however rank, with improbability arid clumsiness. ... To adore virginity as essential property, instead of as preparatory state only, and then why adore it? Everyone has it, even a kid-goat! It is the most flagrant illogic possible, it is sentimentality to that rotting tradition, that reduces the men of Teutonic race, for they are most beset with this freak growth of no sense." - (AB Pt. 12: On Virginity [ts 59-60])
Forty pages later, she reports an apparently often repeated dialogue. Greve seems to object to her sex-appeal having a provocative effect. She asks him a rather obvious question:
"According to your feelings, when in society, you ought to lock me up, veil me, disfigure me. Why do you not take an ugly wife, or one at least properly unattractive or repulsive, or as virtue-spiked as your uninteresting mother!"
And so it went until it came to such strain, that he told me, as pale as death, that if I did not shut up, he would be tempted to hit me, and that was something he never could bear and live! At this point, both of us shaking with love-hate up to the killing point, I was forced to fling myself around his neck, ... and we were lovers again." - (AB Pt. 20: On Lady-Likeness [ts 107/8])
What the Baroness describes here shows that Greve suffered from a picture-book case of "Madonna or Whore Complex" as described by Freud in 1912: "Where such men love, they have no desire; and where they desire, they cannot love."[8] The only time there is mention of Baron Leo in her autobiography, it is by comparing his love-making to Greves's, dwelling precisely on the latter's inability to enjoy it:
"He was never quite with me, he was on the one side, I on the other. He was too much business machine, too self-conscious of executive ability, too proud of it. He did not join my utter devotion, sacrifice of myself, my unquestioning abandon. He did not join in the hymn. It was never quite one rhythm, it was as if he had a sort of slight contempt for this thing, that after all was necessary, and which he could do so excellently well. He did it, yes, like doing a sport, but then he was no good sportsman! In this way, he always kept me at a certain distance ... And, like this orgasm, there has not been the same in my system again, .not even with charming Leopold, my last husband, the Baron, the most perfect lady-lover, who would beam all over his face for satisfaction, joy of life and male pride, hearing my cry, letting me cry as long and as loud as I liked, kissing me for it, thankful for this ovation to his prowess, as rightly he took it, and knew he deserved it." - (AB Pt. 14: On Love Industry [ts 70/71])
Sooner or later in this meandering text, all memory lanes lead back to Greve. Now and then, the present intrudes, and brings her narrative to a halt. Towards the end of Pt. 10, she interrupts the account of how Greve succumbed to her charms at Christmas 1902, and laments:
"But I forget that I write a biography, yet my present self belongs in it too. I write it, and it becomes rebellious of the other, and jealous. That shouldn't be! ... my outer circumstances are a shame now, hindering advancement, because I am captive in dead Germany, without a cent and no friends, except Djuna, to whom I write this." - (AB Pt. 10: On Seduction [ts 49])
And when she sums up her love-hate relationship with Greve, it is in form of a slightly defensive apology to Djuna Barnes:
"I will now try to tell more rapidly, with less detail, but this is the strongest love affair in my life, of mutual response, the most brilliant, the longest lasting, until the terrible, disgraceful end, not counting my American unresponded love emotions, those for Marcel and "The Cast Iron Lover," and the last, W.C.W., and I could not resist, though time presses, giving it all its due, as much as I can do under the impossible circumstances.I think at least, I succeeded in giving an idea or my unworldly, impassioned, rigid construction, that is leading me apparently to destruction. For I saved nothing, I could never be careful. I am utterly destitute, because I could not make compromise, never could: sell my soul, never pretend to gain an end, never betray. I am sorry I am made this way, not proud of it, how could I be, with this fearful conclusion?" - (AB Pt. 12: On Virginity [ts 62/63])
Just as Baron Leo is only mentioned once, and then in relation to Greve, so are Marcel Duchamp and William Carlos Williams, whom she had harassed with uninvited and unrequited amorous pursuits in New York. In the context of Greve's "terrible" and "disgraceful" desertion in Kentucky, their rejection also seems to have inflicted lasting wounds. Unfortunately, the Autobiography never exceeds the upper 1904 time limit, so that the reader must resort to the countless colourful first-hand accounts by the Baroness' many prominent friends, acquaintances, and would-be lovers.



DEDICATION

I dedicate this monumental work to my friend, the Art Historian
GISI
Baronin von Freytag-Loringhoven,
who, in April 1991,
on a Memorable Research Trip to the University of Maryland,
kindly shared with me the Source Text of
Else's AUTOBIOGRAPHY
gd
Winnipeg, April 2021







FOREWORD

Else von Freytag-Loringhoven's Autobiography is certainly one of the most important sources for the early life of Frederick Philip Grove. Of equal importance are Grove's two autobiographical books: A Search for America (1925) and In Search of Myself (1946) are treasure-troves leading to many discoveries about his past. The most important of these is, of course, D. O. Spettigue's sensational finding in 1971 that Grove had been born and bred Greve.
The University of Manitoba acquired Grove's papers in the early 1960s. They were not properly processed until the mid-1970s, when the UM's first academic archivist Dr. Richard Bennett had it done as Mss 2. A detailed Finding Aid of the 24 archival boxes was prepared in 1979.
Spettigue's collection was added in 1986, and in 1989, I was invited to curate it as Mss 57 (16 archival boxes) . The insights gained from processing these materials were shared in one of the Archives' Discovery Hours, with the lecture title "The Spettigue Connection to the Grove Collection" (March 1990).
Grove's son Leonard donated his father's personal Library in 1989. It took well over a year to catalogue its ca. 500 titles, and provide detailed online descriptions of any signatures, marginal annotations, or links to Greve's many German translations. To mention just one salient example:
no. 368, "The Prose Works of Jonathan Swift, edited by Temple Scott," notes that "F. P. Grove owned the complete, twelve volume set from which he, as Greve, had translated Swift's Prosawerke in four substantial volumes in 1909. This last known translation assignment he apparently double-sold, and this may have hastened his decision to stage his "suicide," and transfer to North America. -- Temple Scott, the editor of this edition, is highly praised by both FPGs."
When Else reports that Greve called her "a swelled head" for writing her own autobiographical childhood story (AB 105), he used a phrase out of Gulliver's Travels.
A second instalment of Research Papers could be added to the Spettigue Collection in 1995, shortly after I had moved to Archives & Special Collections. It contained Freytag-Loringhoven materials gathered since Professor Spettigue had become aware of Else's post-Greve career as the notorious model and New York Dada artist Baroness Elsa. There were also a microfilms of the only known copies of Greve's 1905 Fanny Essler novel, a fair number of Greve's translations, and, last not least, fifty-five letters Greve had written to André Gide.
My own interest in Greve dates back to 1981, when a slim volume of poetry landed on my desk to be catalogued. The price paid for the acquisition of this 1902 copy of Wanderungen nearly matched the entire yearly book budget allotted for supporting the German Department's Programs. I had been vaguely aware of the local Grove Collection, but not of its German components. In particular, there were three manuscript poems which, at the time, provided the best indirect proof for the FPG identity.
Soon, I decided to embark on a postdoctoral M.A., with the goal to establish a comprehensive edition of FPG's English and German poetry. Like many of my bibliographer librarian colleagues, I wanted to acquire additional academic credentials for my assigned subject field.
In late 1989, I secured a copy of Claude Martin's great edition of Gide's "Conversation avec un allemand" in the 1976 issue of the Bulletin des amis d'André Gide. Spettigue was well aware of this important text, but in English translation only. Martin's edition was based on Gide's original 1904 notes and impressions, and included two confessional letters lacking in the Spettigue archives.
Thanks to the "Fanny Essler" plans Greve describes to Gide from his and Else's Swiss exile in Wollerau, I was able to hunt down, in April 1990, the poetry cycle published under their joint pseudonym in 1904/1905.
When Gisi von Freytag-Loringhoven and I teamed up a year later to investigate the Baroness' Collection in Maryland, I found that several of her poems were related to "Fanny Essler's." One of them gives the precise location of the couple's farming experience as "Sparta, Kentucky, am Eagle Creek." Gisi, who concentrated on the autobiographical documents, found plenty of vivid references to "Mr. Felix" or "FPG" or "Greve," and his "sex-desertion" in Kentucky.
Back in Winnipeg, I asked the Archivist to arrange the exchange of a microfilm of Greve's Fanny Essler novel with Else's autobiographical and related documents. These, I curated and catalogued in 1992 as Mss 81 (Fld. 1-4).
As an FPG scholar, I am delighted that Freytag-Loringhoven's Autobiography puts the spotlight squarely on scandalous Greve between 1904 and 1911.
But since I found, processed, and propagated a fair number of interesting documents by and about the Baroness over the years, I find it quite disappointing not to learn anything directly related to her own scandalous doings in this text.
Grove's austere life and conventional writings are - comparatively speaking - quite boring. But Scholars of the Wilhelmine period, or Art Historians like Gisiare finding many good pointers that throw light on Greve's and Else's respective and joint ventures, or the Baroness' artistic development.



ABOUT

The textual basis of the present edition are the autobiographical documents in the Baroness' Collection at the University of Maryland, College Park. There, Series 1 of the "Elsa von Freytag-Loringhoven Papers" is described like this:
"The series consists of notes and drafts of an autobiography written by the Baroness as well as the notes and drafts of Djuna Barnes on the autobiography. Barnes's notes, draft, and typescript of the autobiography are followed by the holograph manuscript, drafts, and notes of von Freytag-Loringhoven."
Numbers 4, 5, 6, and 7 of the thirteen folders are making up Djuna Barnes' 205-page typescript [ts]. Page 1 is simply headed "ELSA," a title later much expanded into a proper title-page. Folders 8, 9, 10, and 11 hold the corresponding manuscripts in Freytag-Loringhoven's handwriting, which is typically all in capital letters.
It is the typescript I have divided into thirty-seven parts of up to seven pages each, and headings indicative of their respective subject matters.
All eight folders have been available in the UM Archives' FPG & FrL Collections since 1991, and were curated as Mss 81 in 1992.The online "Bison" catalogue entry provides detailed pagination information about the typescript and manuscripts, along with notes about their provenance, the Baroness' life with FPG, and her subsequent literary and artistic success in New York
Annotation: These papers were obtained in April 1991 from Rare Books & Literary Manuscripts, University of Maryland, College Park, in exchange for a microfilm copy of Felix Paul Greve [alias F. P. Grove]'s novel  Fanny Essler," 1905. ---Special user conditions apply.
Contents:
Fd. 1-2. Typescript "Elsa" [p.1-99 ; p.100-205].
Fd. 3. Mss. 1. First instalment, corresponding to p.1-33 of typescript.
Fd. 3, Mss. 2. Second instalment, corresponding to p.33-72 of typescript.
Fd. 3, Mss. 3. Third instalment, corresponding to p.73-205.
Fd. 3, Mss. 4. Fourth instalment, corresponding to p.73-130 of typescript
(an earlier, and different version of the first part of Mss. 3)
Fd. 4, Finding aid
Note: The Baroness, née Ploetz, divorced Endell, abandoned Greve, lived with FPG (Felix Paul Greve, later F. P. Grove) in Italy, Switzerland, France and Berlin from January 1903 to July 1909, when he faked his suicide to relocate to the USA. -- Else followed him a year later to Pittsburgh. In late 1911, he left her in Sparta, Kentucky, to resurface in Canada as Grove in September 1912. -- Else then moved to New York, where she married Baron Leo in November 1913. As "the Baroness," she soon became a well-known model, poet, and artist in Greenwich Village. She even posed for 1921 New York Dada giants Man Ray & Marcel Duchamp in a film entitled "The Baroness shaving her pubic hair" (see the only known surviving frame in a letter by Man Ray) -- In April 1923, she returned to Berlin, where she started writing her autobiography for her literary agent [and later, executor] Djuna Barnes. -- In March 1926, she managed to rejoin her American expatriate friends of the "Lost Generation" in Paris. There she committed suicide in December 1927. --
Djuna Barnes edited the typescript version from letters and other manuscript narrative instalments she had received in the early twenties. A typed title-page is attached to Mss. 1 in Fd. 3. It reads: "Baroness Elsa: her life and letters / edited with a foreword by Djuna Barnes."
We owe it to D. O. Spettigue, who discovered In the late 1980s, that Greve's Else had become the notorious Baroness in New York, and that substantial documents existed in the University of Maryland Archives. In 1992, he and Paul Hjartarson edited and published the autobiography as Baroness Elsa from the manuscript folders (Ottawa, Oberon Press, c1992. 233 p.). A scant selection of Else's correspondence was included on pages 227-233.The editors did not address the complex source situation. So are, for instance, Parts Three and Four in Folder 3 largely redundant in content, but quite different in structure. Many pages are a mess, and some fragmented segments are devoid of any detectable order. Barnes' typescript is a valiant, successful, and reliable rendering of Else's first three manuscript parts, though even she eventually gave up on this project.
As far as the content is concerned, it is worth repeating that the time-frame is largely limited to the years 1902 to 1904. Her childhood in Swinemünde, her Berlin and Munich days, all are swiftly dealt with in the first forty pages. The tempo then sloes down to a crawl. Central is the year when Greve was in Bonn prison, from May 1903 to June 1904. There are the three affairs she had in Palermo after he left, and then the few weeks in Rome, before she was on her way to Bonn to be reunited with him upon his release. The last thirty-five pages or so are devoted to the lavish praise heaped on Charley Baer, her homosexual companion in Rome. Fanny Essler provides a mirror image of her life BEFORE Greve, which is good news for scholars of the German fin-de-siecle. And while Greve's correspondence with Gide, H. G. Wells, and several publishers allow for excellent coverage of HIS first thirty years of life, there are no accounts from her perspective of the Wollerau and Étaples times in 1904-1905, and precious little information of their Berlin years from 1906 to 1909.
What makes up for this deplorable lack are the fascinating depictions of each other in their creative writings. These provide multiple perspectives that reflect their personal memories and opinions in complementary ways.


Notes

All references to Freytag-Loringhoven's "Autobiography" are to the 205-page typescript prepared by Djuna Barnes around 1930 from various manuscript sources (Mss 81)_-- Many poems or letters addressed to persons mentioned in the text also stem from the Elsa von Freytag-Loringhoven Papers, Literary Manuscripts, University of Maryland, College Park. -- Most of the Baroness' German poems, letters, and documents are in the Divay FPG & FrL Research Collection (Mss 12). Grove's German poems harking back to FPG's time with Else, and many documents about Greve and Freytag-Loringhoven are in the F. P. Grove Collection (Mss 2) and the D. O. Spettigue Research Collection (Mss 57). "Rousseau als Erzieher" is in Margaret Stobie's Collection (Mss 13). All are in Archives & Special Collections, University of Manitoba, Winnipeg. -- See the FPG & FrL Endowment for a description of these four UMA collections.

[1] For Greve's translation of Swift's Prose Works, see fn 5 in FrL's Chronology, and " FPG and Swift " (Part 3 of my Dante / Swift article).
[2] Kippenberg to Else Greve, 21 Sep. 1909, in Grove, Letters, 550–555, and AB, ts 34. - Note that Else never mentions that Greve's departure came as a surprise. For her lonely year as a supposed "widow" in Berlin, and her arrival in New York, see the 1909-1911 sequence in my FrL Chronology
[3] FrL Chronology: "When she clears immigration on June 29, 1910, she is:- a 35 year-old author from Swinemünde- five-foot seven inches tall, with copper hair and grey eyes- on her way to meet her brother-in-law, a certain T. R. GreveHis address: Pittsburgh, 57 - 4th Ave." - (Source: Spettigue, 1992, p. 24)
[4] Much of what is said here about the "Fanny Essler" complex is explored in my Arachne article "Fanny Essler's Poems: Felix Paul Greve's or Else von Freytag-Loringhoven's?" Much about the Baroness' blackmail poems is covered in my Trans-Lit paper "Abrechnung und Aufarbeitung im Gedicht: Else von Freytag-Loringhoven über drei Männer (E. Hardt, A. Endell, F. P. Greve)."
[5] There is yet another biographical layer here: Endell's only known published poem "Schneetag," appeared in Franz Blei's luxurious journal Pan (v. 2/3, 1896, 215). It is similar, if more somber in tone.
[6] In all fairness to Grove's work, his slavish adherence to the so-called "George-Mache" is limited its FORMAL requirements. For an excellent transformation from his neo-romantic mss poem "Dies ist der Wald ..." into his powerful realistic "Arctic Woods" see both texts, and also "Grove's German poems" in my introduction to FPG's Poetry Edition.
[7] The significance of "Tse" and "Ti" in the 1900 Munich context is explained like this: "So I named him ''Tse," a name that fitted him quite well, he with his whimsical dignity, and he called me "Ti," a name also that fitted me better than Else. ... he told me it meant "The Yellow One," and yellow is the royal colour in China." - (AB Pt. 9: On Womb-Squeezing [ts 38])
[8] Freud, Sigmund. "Über die allgemeinste Erniedrigung des Liebeslebens" [On the prevalent form of degradation in erotic life]. Jahrbuch für Psychoanalytische und Psychopathologische Forschungen, v.4, 1912, p. 40–50.
<https://en.wikipedia.org/wiki/Madonna>

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---."Jean Jacques Rousseau als Erzieher." Der Nordwesten, Nov. Dec., 1914.
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