"A Shakespeare could have arisen only on English soil. In the same way, your great dramatists and poets express the nature and essence of the Norwegian people, but they also express that which is universally valid for all mankind"
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Stresemann is doing diplomacy with a velvet glove: flattering Norwegian national pride while quietly annexing it into a larger European story about “civilization.” The opening move - “A Shakespeare could have arisen only on English soil” - sounds like humble cultural realism, but it’s also a warning against imported greatness. Genius, he implies, is not a detachable product; it’s the distilled output of language, institutions, and historical weather. That’s a comforting idea for small nations anxious about being culturally overshadowed, and a useful one for a German statesman trying to speak respectfully abroad.
Then he pivots to the real payload: Norwegian writers don’t just represent Norway; they also deliver “that which is universally valid for all mankind.” The subtext is a compact theory of soft power. National art earns global standing precisely by being intensely local, and the reward is admission into a canon that transcends borders. Stresemann isn’t rejecting nationalism so much as managing it: keep your identity, but channel it into contributions the “world” can recognize.
Context matters. Stresemann’s Germany, battered by World War I and the Versailles settlement, was selling a new image: rational, cultured, cooperative. Cultural rhetoric becomes a surrogate for political trust. Praising Norwegian literature lets him speak about international belonging without triggering the tripwires of treaties and reparations. Universalism here is not abstract idealism; it’s a strategic language of reconciliation, an attempt to make national difference feel like a shared asset rather than a pretext for conflict.
Then he pivots to the real payload: Norwegian writers don’t just represent Norway; they also deliver “that which is universally valid for all mankind.” The subtext is a compact theory of soft power. National art earns global standing precisely by being intensely local, and the reward is admission into a canon that transcends borders. Stresemann isn’t rejecting nationalism so much as managing it: keep your identity, but channel it into contributions the “world” can recognize.
Context matters. Stresemann’s Germany, battered by World War I and the Versailles settlement, was selling a new image: rational, cultured, cooperative. Cultural rhetoric becomes a surrogate for political trust. Praising Norwegian literature lets him speak about international belonging without triggering the tripwires of treaties and reparations. Universalism here is not abstract idealism; it’s a strategic language of reconciliation, an attempt to make national difference feel like a shared asset rather than a pretext for conflict.
Quote Details
| Topic | Writing |
|---|---|
| Source | Help us find the source |
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