Jean Paul (Wunsiedel, Fichtelgebirge, 1763-1825, Bayreuth), pseudonym of Johann Paul Friedrich Richter and the name by which he is universally known. The son of a schoolmaster in humble circumstances, who later became a Lutheran pastor, Jean Paul spent his childhood in Joditz and in Schwarzenbach. He was educated at the grammar school at Hof from 1779 to 1781, when he became a student at Leipzig University. His financial straits were such that he felt obliged in 1784 to abandon his studies. By this time he had published his first (unsuccessful) work, Grönländische Prozesse (1783-4). All his early years were overshadowed by poverty and misfortune, which included the suicide of his brother in 1790; a crisis of scepticism is reflected in Rede des toten Christus (first drafted in 1789). Jean Paul spent the years 1786 to 1790 as a private tutor, and from 1790 to 1794 was a schoolmaster. In these years he wrote Auswahl aus des Teufels Papieren (1789) and Die unsichtbare Loge, in which the story Leben des vergnügten Schulmeisterleins Maria Wuz (both 1793) is contained. These works began his rise to fame and affluence, which the publication of Hesperus (1795) confirmed.
A celebrity almost overnight, Jean Paul was taken up by various notabilities, particularly Herder, and by patrons such as Frau von Kalb, who was the first to invite him to Weimar. His eccentric and discursive novels, full of humour, sentiment, and irony, were among the most widely read books, especially in the first two decades of the 19th c. After various intermediate stations at Hildburghausen, Berlin, Meiningen, and Koburg, he married in 1801 and settled in 1804 in Bayreuth, where he spent the rest of his life.
Blumen-, Frucht- und Dornenstücke (commonly called Siebenkäs) appeared in 1796-7, Des Quintus Fixlein Leben in 1796, Titan in 1800-3, and his greatest (though unfinished) work Flegeljahre in 1804-5. In 1808 he was granted a pension by Prince Karl Theodor von Dalberg, and later received support from the Bavarian government. The sequence of Jean Paul's fashionable novels closes with Dr. Katzenbergers Badereise and Des Feldpredigers Schmelzle Reise nach Flätz (both 1809). His later stories (Leben Fibels des Verfassers der Bienrodischen Fibel, 1812, and Der Komet oder Nikolaus Marggraf, 1820-2) were less successful. Mention should also be made of the short narrative Das Kampanertal oder über die Unsterblichkeit, of the prose idyll Der Jubelsenior (both 1797), and of the satirical Palingenesien (1798), which began as a rewriting of Auswahl aus des Teufels Papieren and revives the characters Siebenkäs and Leibgeber. Jean Paul's desultory ars poetica, Vorschule der Ästhetik appeared in 1804 and, extended, in 1813. In it he opposes both ‘poetic nihilists’ (Goethe, Schiller, and Romantics such as Novalis) and ‘poetic materialists’ (such as Brockes or Gellert). The true poet maintains a middle way between these two extremes, ‘clothing Nature in ideal infinity’ (‘begrenzte Natur mit der Unendlichkeit der Idee umgeben’). Levana, published in 1807 and, extended, in 1813, is a treatise on education, the aim of which is the elevation of the human soul above the limitations of its age (‘Erhebung über den Zeitgeist’). In his political writings, Friedenspredigt an Deutschland (1808), Dämmerung für Deutschland (1808), Mars' und Phoebus' Thronwechsel (1814), and the collection Politische Fastenpredigten (1817), Jean Paul takes a moral stand, pleading for peace, justice, and a constitution. His social concern, a basic aspect of his enlightened liberal views, caused Börne to apostrophize him, in his Denkrede auf Jean Paul (1825), ‘Dichter der Niedergebornen’; though not a radical, Jean Paul had become known as the apostle of Junges Deutschland.
These theoretical works are wayward and discursive like the novels. The qualities of variability and discontinuity, which commended all Jean Paul's works to a whole generation (the magic still worked for Carlyle and Hebbel), afterwards became reasons for his decline. The sentiment, the humour, the irony, and the verbal arabesques, which once delighted, in the long run seemed too deeply steeped in self-indulgence. Nevertheless, Flegeljahre, Wuz, and Quintus Fixlein have by their deep humanity escaped the oblivion into which much of his work has fallen.
On the other hand, the combination of contrasting facets, which defy classification into any distinct literary school or political cause, serves our greater appreciation of an age challenging changes on all levels, historically, socially, and culturally. S. George, in his reassessment of Jean Paul at the turn of the 20th c., praised the glowing richness and depth of his poetic language, for which the Germans should be as grateful as for that of Goethe's assured and nobly chiselled style. In comparing Titan with Goethe's Bildungsroman, Martin Walser identifies Goethe's plan defining the role of the Bürger as the direct opposite of Jean Paul's inward-looking world of the Kleinbürger; safe like a mouse in its hole, he writes satires against the cat outside. ‘Ein Irrgarten bleibt es’, Klingemann wrote on the appearance of the work, which marks the end of a great phase in Jean Paul's creative productivity, ‘aber ein Zauberer hat ihn angelegt’. This ‘magician’ is also said to be the most frequently quoted author in Grimm's Deutsches Wörterbuch.
Sämtliche Werke. Historische-kritische Ausgabe, ed. by the Prussian Akademie der Wissenschaften, appeared 1927-64 (33 vols., including 9 vols. correspondence);






