Mnais und Ginevra
Doppelte Heimat von Heinrich Mann.
Doppelte Heimat
von Heinrich Mann.
Man kann in einem Lande geboren werden, sich dieser Luft verbunden fühlen wie der Baum im Garten, zwischen sich und den Menschen umher
keinen Unterschied machen: und allmählich steigen dennoch Zeichen herauf, daß man anders ist als die meisten; daß die Sprache, mit der man
aufwuchs, noch nicht die ist, in der man sein Leben lang sich ausdrücken soll; daß hinter diesem Land eine zweite Heimat wartet.
Die Knaben Carlos und Nicolàs[1] sind Argentinier, ihr junges Leben
hat argentinischen Inhalt und argentinisches Tempo. Mit ihren Eltern und einem Gesinde von Gauchos, Neapolitanern, Deutschen und Mulatten bewohnen sie ein Landgut in der Pampa. Die unabsehbare Ebene gehört
ihnen und ihren Ponys. Sechsjährig, klettern sie aufs Pferd, galoppieren, fallen, werden geschleift und fangen von vorn an, ohne von Gefahr zu wissen. Sie setzen ihr Vertrauen in Erde und Getier. Sie fangen
Beutelratten, junge Strauße, Kropfeidechsen, Rehe, und erfüllen die Salons mit Stallgeruch. In den Sümpfen hat ein Tiger gebrüllt, und sie
ruhen nicht, bis sie mit in das lecke Boot dürfen, worin ein Tartarin sich auf die Jagd macht. Immer in Bewegung, träumen sie selten, sehnen sich selten. Ihre Phantasie greift gerade so rasch zu wie ihre Hände. Sie sehen
auf dem Fluß ein Dampfschiff vorbeifahren, und der Ältere nimmt es sich, um es für ein Fangseil dem jüngeren zu schenken. Einmal im Zuge, schenkt er Land und Herden dazu, soviel der Bruder mag. Alles, fällt ihm
ein, hat er erobert. Stolz auf seine Taten, besteigt er sein Pferd und reitet, hoch aufgerichtet, die eingetauschten Riemen über seinem Haupte schwingend, davon.
Nur daß ihm, mit der Besinnung, ein Gefühl kommt, das seine kleinen
Landsleute kaum berührt hätte: Reue. Eine der frühesten Regungen ist’s des anderen, das die Knaben in sich tragen, des unter diesem Himmel
fremden Keimes. Und eines Tages stellt, nach unheimlicher Erwartung, der sich ein, der diesen Keim in ihnen pflegen soll: der deutsche
Hauslehrer. Seine Mittel sind Musik und Milde, Pedanterie und Wohlanständigkeit. Er verlangsamt ihr Tempo: nicht nur, wenn er zu Fuß zwischen ihren Ponys geht, auch indem er ihre Phantasie am Zügel hält.
Ihr unbefangenes Verhältnis zur Welt umgarnt er mit Bedenken. Erfinden, Lügen, das ganz natürlich war, ist auf einmal zum schlimmsten Laster geworden und betrübt den Lehrer tödlich. Er hat Furcht, und sie müssen
sich hüten; er hat einen schlechten Magen, und sie müssen Diät halten. Er ist der Schwächere; und eigentlich aus Generosität willigen sie ein, „gute Deutsche“ zu werden. Selbstüberwindung ist nötig; denn die Fremden werden herzlich verachtet, und man macht sich lächerlich, wenn man mit
Botanisiertrommel, Apotheke und Feldflaschen auf Märsche auszieht. Manchmal lassen sie den Lehrer fühlen, wie viel sie vor ihm voraus haben, und daß sie auf ihrem Grund und Boden sind. In eine der elegantesten
Straßen von Buenos Aires mündet eine sehr kotige, und ein totes Pferd mit gedunsenem Bauch liegt darin. Dem Lehrer, der sich die Nase zuhält,
versetzt Carlos Schrecken dadurch, daß er sich nach einem Ziegelstein bückt. Den Gestank des Pferdes, wenn es durch einen Wurf zum Platzen
gebracht sein wird, kann sich dieser Fremde gewiß nicht vorstellen!
Aber es kommen ihnen, spielt er Klavier, so weiche Gedanken. Und als
ein alter General, eine gutromantische Mischung aus Eleganz, Burleske
und Grausamkeit, sie zu einem Streich gegen den Lehrer aufstacheln möchte, da können sie ihn nicht tun; und sie schämen sich vor dem General und schämen sich, daß sie niemals gute Argentinier werden
können. Der unter diesem Himmel fremde Keim geht mächtig in ihnen auf. Ein verwundetes Pferd, das nicht sterben kann, stürzt sie in
Aufregungen des Mitleids, des Dranges, seine Qual zu enden, und der Unfähigkeit, das erlösende Beil fallen zu lassen. Wie Carlos einst von einem Pfirsichbaum mehr Früchte ißt, als der Lehrer erlaubt hat, entsteht
eine Tragödie des schlechten Gewissens.
Die Starknervigkeit und die Unbefangenheit ist gebrochen. Carlos und
Nicolàs sind reif, übers Meer nach ihrer anderen Heimat zu fahren. Sie
werden immer behutsamer empfinden; moderne Ideen werden sie gefangen nehmen. So sehr sie anfangs sich in Freiheit zurückgesehnt haben, bald würden sie die kleinen, wilden Pferde dort drüben nicht mehr
besteigen, mit den Menschen wohl noch sprachlich, aber kaum mehr seelisch sich verständigen können. Mit Mühe werden sie die Brücke
suchen zu so fremden und erstaunlichen Erinnerungen wie das Erdbeben in jener sonderbaren kleinen Gebirgsstadt mit ihren trägen, verkommenen Bewohnern, oder die Revolution in der Hauptstadt, als sie des Nachts
einem in ihr Haus geflüchteten Polizisten die Knöpfe abschnitten, damit er nicht erkannt und von den Dächern herab erschossen werde.
Anders als die hier Landläufigen erhält einen solche Vergangenheit
immer. Carlos und Nicolàs werden schlagfertiger und mit fremdem Akzent sprechen, bildlicher denken, bunter leben — und schreibt einer von ihnen ein Buch, wird er seine deutschen Gedanken und Stimmungen in
romanische Knappheit fassen. Er wird dem Ahnungsvollen der einen Rasse das klar Sinnliche der anderen verbinden, Groteske und Humor, Phantasie und Seele haben, und wird ein kleines, sehr unterhaltendes, sehr
reizvolles, durch ein ungewöhnliches Schicksal und seinen eigentümlichen Ausdruck bemerkenswertes Buch hervorbringen.
[1] Rudolf Schmied: Carlos & Nicolàs. Kinderjahre in
Argentinien. München 1906. R. Piper & Co. Inhalt: Die Boleadoras.
Der Chinese. Das Brüderchen. Die Tigerjagd. Herr Dr. Bürstenfeger.
Ein Tag mit Herrn Dr. Bürstenfeger. Die Reise nach Mendoza. Die
Stadt Mendoza. In den Cordilleren. Nach Paraguay. Die Revolution.
3. Tausend. Geh. 2 Mark, geb. 3 Mark.
Druck von Oscar Brandstetter in Leipzig.
Sie haben Mnais und Ginevra zu Ende gelesen
Heinrich Mann
Bücher wie dieses
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