"Kennst du das Land?"

Two times within the book, Little Women, “Kennst du das Land” is referenced. On pg. 326 we are introduced to the character, Professor Bhaer. He is a German professor that is teaching some of his nephews in America. It makes a lot of sense that Louisa May Alcott may have used a “classically German” song to characterize Professor Bhaer. But this text also foreshadows the relationship that grows between him and Jo. There are many parallels of Jo’s character that we could draw to the character of Mignon. Also the development of the relationship in the song echoes the mentor yet still romantic tension that grows between these two characters in book two of Little Women. The second appearance of this text occurs on pg. 437 in the novel. It is interesting because at this point the text begins to take on personal meaning to the characters. It reads:

“Know’st thou the land where the citron blooms, used to be the Professor;s favorite line, for “das land” meant Germany to him; but now he seemed to dwell, with peculiar warmth and melody upon the words – There, oh there, might I with thee, O my beloved, go and one listener was so thrilled by the tender imitation that she longed to say she did know the land, and would joyfully depart thither whenever he liked.” (pg. 437)

Overall, the text takes on many different facets throughout the story and it is an important tool in understanding the relationship with Jo and Bhaer. Following I attempt to analyze the poetry in order to have more insight into the appearance of the poem in the book and the opera.

While traveling, Wilhelm meets a series of characters. One of his early acquaintances on his trip is Mignon. Wilhelm meets her when he sees a group of performers and among them is Mignon who is being beaten and abused. Wilhelm describes her as a strange girl of twelve or thirteen and when he asks her where her father is she responds with, “the big Devil is dead.” Her mannerisms are jolted and formal, and she speaks in broken German which proves that she is an alien to this town. Everything about her is ambiguous, even her own sexual identity. In the text she is sometimes described as “it” and lacks any true aspects of femininity when she is often described as strong like the other boys. Wilhelm decides to rescue Mignon away from her abusers and buys her. Once under Wilhelm’s guidance, Mignon begins to develop a deep connection to Wilhelm. He decides that he must leave the town and Mignon seems to fall apart with the thought of being abandoned. Wilhelm proclaims that he will never leave her and that she is his child. Mignon curled in his arms cries “You will never leave me! You are my Father! – I am your child!” The next morning Wilhelm hears music outside his door. He assumed that it was the Harper, but it was actually Mignon singing, “Kennst du das Land?” and accompanying herself on the zither. It is through her song that she discloses more of her past and alludes to who she is. The fact that she only can truly disclose who she is through song makes her a bit of an enigma. In an effort to learn more about her Wilhelm asks her to sing this song again so that he could understand what she is saying. Therefore the text that is written in the novel is what Wilhelm transcribed making it an account of what he remembers occurring. This adds another dimension to the language of “Kennst du das Land,” because it is Wilhelm’s account of what Mignon said or intended to say.

The poetry of “Kennst du das Land,” is presented like three different dreamlike scenes, thus creating a strophic form within the poem. In the first stanza, Mignon asks if he (Wilhelm) knows the land of the citrus trees. The language gives a sense of haze by using words that soften the surroundings such as “a gentle wind drifts across blue skies.” The voiced consonants of “sanfter, “Wind,” and “weht” add to the airy language that is being used. It would seem as though Mignon may be referring to Northern Italy where she lived prior to her abduction. The vivid use of color adds to the atmosphere that is created in this first stanza again giving it a sense of otherworldliness. The specific language chosen to describe the “Gold-Orangen” (goldorange) allow not only the color to be imagined, but is brought to life by the word “glühn” (glows) which adds another visual aspect to the description. The foliage is described as “dunklen” or dark evoking a visual picture. The objects that are described in the first stanzas are citrus fruit and imply growth and sensuality. Mignon refers to the silent myrtle that may be a metaphor for her own silent love for Wilhelm. Myrtle is often a symbol of love with its roots in Roman mythology referring to Venus, the goddess of love. Mignon’s word choice to refer to Wilhelm as “Gelibter,” or “my love” is also of great importance. In song we see Mignon attempting to connect with Wilhelm on a sensual level. The word choice of the rhyme is notable she uses the words “blühn” and “glühn” allowing the assonance of the word to emphasize the intimacy of the language.

In the second stanza, Mignon travels inward, literally, and also deeper in her psyche, thus exploring opposing forces of inward and outward. In this stanza she describes the house. The language of this verse adds a barren feeling that we do not see in the first stanza. In the house she describes large empty spaces such as a hallway. The columns and statues that inhabit this space make one think of a large, empty, cold space. She also uses the word “Gemach” to describe the room, instead of the word “Zimmer” which translates to “room.” To contrast the warmth and growth of the first stanza, the second is all cold describing the house as “shimmering” and “gleaming.” The statues in the house are marble, again evoking a sense of cold that is drastically different than the warm colors of the first stanza. The choices of words are more severe than in the first stanza having a more direct meaning and interpretation. When the statues begin to talk, the language is choppy and monosyllabic adding fear and sharpness to the line. The coldness of the house also adds to the fear that is brewing for Mignon that becomes overpowering in the next stanza. The statues are “staring” at her and they speak to her asking her “what have they done to you, poor child?” The fear gives a huge contrast from the alluring, sensual experience of the first verse. Then instead of referring to Wilhelm in a loving and warm way, she asks for his protection using the word “Beschützer,” meaning protector. The short vowel of the word “Beschützer” with the consonant cluster of the “tz” makes the word have a sense of urgency and sharpness that contrast the linear feel of Mignon’s earlier plea to her “Geliebter” (beloved).

In the third stanza Mignon goes back to describing an environment in nature. This final location has also has a haze to it, but the feeling is different from the first stanza. Mignon uses evocative language such as the compound word “Wolkensteg” to make the “path cloudy.” The path is also described as having “Nebel” or “mist.” She describes this cloudy, misty path through the mountains that may be referring to the path that she was taken through when she was abducted from her homeland. The reference to the mule may be a reflection of her own loss of sexuality. The mule is a stark contrast to the fertility that we see in the first stanza as a mule is an animal that is incapable of reproducing. With this event she has lost her own sense of femininity. Although a mule is born from a donkey and horse it belongs to neither group. Therefore, like Mignon, it has no home. The dragon’s brood and the violence described in the cliffs and the flood may refer to the treatment and possible rape of Mignon after her abduction. It is in this last verse that she refers to Wilhelm as “Fater” (father) again establishing a different relationship between them.

Mignon uses this piece as her first true attempt of expression. She speaks the whole song basically in a series of questions that seem to build throughout. The questions become more pointed and specific as the poetry continues and she changes each verse to implore a different emotion from Wilhelm. In the book he describes Mignon singing the song as such, “She intoned each verse with a certain solemn grandeur, as if she were drawing attention to something unusual and imparting something of importance. When she reached the third line, the melody became more somber; the words “You know it, yes?” were given weightiness and mystery, the “Oh there, oh there!” was suffused with longing, and she modified the phrase “Let us fare!” each time it was repeated, so that one time it was entreating and urging, the next time pressing and full of promise.” All of this description serves Mignon’s desperation to reach out to Wilhelm and bring attention to what she is trying to express but can only do through song.