Abstract

Gottfried Keller’s reservations about the church and religion, which remarkably did not stand in the way of his installation as a national writer or at least were partly overlooked in the course of a self-congratulatory reception, can be studied in the prime example of the famous novella interlude of Meretlein, as it is found in both versions of Green Henry. The investigation of the interlude here is based on the various media and sources which shaped the novel character. The conglomerate in which they come together in this character is unraveled by recourse to the earlier and earliest literature on Keller.