Ludwig Tieck

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The German author Ludwig Tieck (1773-1853) was perhaps the most versatile and productive writer of the German romantic movement.

Ludwig Tieck was born in Berlin on May 5, 1773. His intellectual and imaginative gifts were evident from early youth, when he considered himself a rationalist and follower of the Enlightenment. In 1792 he began his university studies, first at Halle and then at Göttingen, where he began his first novel, William Lovell, completed in 1796. This is the story of a young Englishman who begins as an idealist but falls into a life of sensuality and various misdeeds. After he has seduced and abandoned the sister of a friend, the friend seeks him out and eventually kills him in a duel.

In 1793 Tieck, together with the young writer Wilhelm Heinrich Wackenroder, began a wandering tour of southern Germany, where they discovered the riches of medieval German culture. On the basis of these experiences, Tieck and Wackenroder undertook joint authorship of a novel, Franz Sternbalds Wanderungen (Franz Sternbald's Wanderings). Wackenroder died in 1798, and Tieck completed the novel alone. The book is one of the first Künstlerromane, or novels about artists. Franz Sternbald is a pupil of the 16th-century painter Albrecht Dürer. He wanders about Europe learning and practicing his art, experiencing life, and seeking his mysterious Marie, whom he finally rejoins in Rome. The novel conveys much of Wackenroder's and Tieck's enthusiasm for older art.

By 1794 Tieck had returned to Berlin, where he wrote treatises in the spirit of rationalistic philosophy but also showed his developing romantic tastes in his edition and adaptation of old German folktales. In addition he wrote fairy tales of his own, such as Der blonde Eckbert (1797; The Blonde Eckbert), a tale of guilt, incest, and supernatural happenings.

About this time Tieck also wrote the experimental dramas Prinz Zerbino and Der gestiefelte Kater (Puss in Boots). In the latter play he uses the basic plot of the children's story as an occasion, or framework, for various satirical actions and comments. The play intentionally destroys theatrical illusion, and the poet and even the audience are given parts to speak; thus it may be regarded as a precursor of the 20th century's experimental theater. More conventional plays of the same period were the historical dramas Leben und Tod der heiligen Genoveva (1799; Life and Death of Holy Genoveve) and Kaiser Octavianus (1804).

In 1799 Tieck established contact with the group of romantic writers living in Jena, principally Novalis and August Wilhelm and Friedrich von Schlegel. He collaborated with them in editing medieval poetry. He also translated Cervantes's Don Quixote and helped edit the literary remains of Wackenroder, Novalis, and the dramatists Heinrich von Kleist and Jakob Lenz. His most important work as a translator was his contribution to the complete German version of Shakespeare which had been begun by August Wilhelm von Schlegel. Completed in 1833, the Tieck-Schlegel Shakespeare became a standard work of German literature.

During his later years Tieck's own creative work underwent a gradual change. His later novels and short stories show a more realistic attitude and depiction of life than his earlier, more romantic works. For example, the story Des Lebens Überfluss (1839; Life's Abundance) describes in accurate detail the life of an impoverished young married couple. In addition to such stories Tieck also wrote a historical novel, Vittoria Accorombona (1840), which shows the influence of Sir Walter Scott.

After leaving Jena, Tieck spent several years at a country estate and then in 1819 moved to Dresden, where he became dramaturgical consultant for the city theater. In 1841 King Frederick William IV of Prussia summoned him to Berlin, where he remained as court author-in-residence. Tieck died in Berlin on April 28, 1853, a romantic writer who had outlived virtually his entire generation.

Further Reading

Perhaps the best general book on Tieck in English is Edwin H. Zeydel, Ludwig Tieck, the German Romanticist (1935), which serves as a good introduction to his life and writings. More specialized book-length works are Zeydel's Ludwig Tieck and England (1931); R. M. Immerwahr, The Esthetic Intent of Tieck's Fantastic Comedy (1953); and Percy Matenko, Ludwig Tieck and America (1954). R. M. Wernaer, Romanticism and the Romantic School in Germany (1910), contains a chapter on Tieck's notion of "romantic irony, " and Ralph Tymms, German Romantic Literature (1955), provides an excellent brief introduction to Tieck's life and work.

Additional Sources

Paulin, Roger. Ludwig Tieck, Stuttgart: Metzler, 1987.

Paulin, Roger. Ludwig Tieck: a literary biography, Oxford Oxfordshire: Clarendon Press; New York: Oxford University Press, 1986, 1985.

Tieck, Ludwig (1773–1853), one of the earliest German romantic writers to develop the literary potential of fairy tales. Tieck was born in Berlin, a city with a dynamic literary culture and enhanced opportunities for the middle class. His father, a master ropemaker, who was himself widely read, encouraged his son's literary inclinations and saw to it that he was well educated and poised to rise above his family's social station. From 1782 to 1792 Tieck attended the respected Friedrich‐Werder‐Gymnasium, where he developed a close friendship with Wilhelm Heinrich Wackenroder, another important figure in early German romanticism. During this time Tieck completed diverse literary efforts of his own, including fairy tales, and assisted with the literary projects of his teachers, who recognized his talent.

After studying philology and literature at the universities in Halle, Göttingen, and Erlangen from 1792 to 1794, Tieck embarked on a career as a professional writer. He returned to Berlin, where he remained until 1799, writing moralistic‐satiric tales as a hack writer for the Enlightenment publisher Friedrich Nicolai, but also publishing his own innovative fairy tales and fantasy. Throughout the rest of his life, Tieck was able to gain a livelihood as a writer and theatre director in Ziebingen, Dresden, and Berlin.

Tieck worked in many literary genres, including lyrical poetry, novels, novellas, plays, libretti, and adaptations of folk tales, legends, and chapbooks. He also penned critical essays, produced important translations of writers such as Miguel de Cervantes and William Shakespeare, and edited medieval German texts and the writings of contemporaries such as Novalis and Heinrich von Kleist. Fairy‐tale elements pervade much of Tieck's work, whatever the genre, and are found in his earliest, unpublished literary attempts, as well as in later writings. As early as 1790, at the age of 17, he had written at least two fairy‐tale plays in the manner of the Italian writer Carlo Gozzi: Das Reh (The Deer) and König Braddeck (King Braddeck). Nearly half a century later Tieck continued to experiment with the fairy tale in stories like ‘Die Vogelscheuche’ (‘The Scarecrow’, 1835), which not only combined novella and fairy tale, but also mixed this romantic hybrid with drama.

Tieck is best known for the fairy‐tale novellas and satirical fairy‐tale plays that he published in three collections: Volksmärchen (Folktales, 1797), Romantische Dichtungen (Romantic Works, 1799–1800), and Phantasus (1812–16). The last of these, Phantasus, combines selections from the two earlier collections with new works and weaves them into a frame story in which upper middle‐class and aristocratic characters read these poetic works to one another in the course of their literary and cultural conversations. The traditional device of the frame story enabled Tieck to emphasize the literary and social contexts in which his stories and plays were produced and consumed. As a professional writer, Tieck was acutely aware that his literary works were commodities, and this self‐awareness expresses itself ironically in his writings, which play with readers and their expectations. When he represented his 1797 collection as Folktales, ‘edited by Peter Leberecht’ (a pseudonym), Tieck was toying with his readers' expectations of the genre and ironically underlining the unmistakable literary character of his innovative fairy tales.

Tieck's fairy‐tale plays, which sometimes portray their own audiences, exhibit a high degree of literary self‐consciousness and playfulness. Plays like Der gestiefelte Kater (Puss‐in‐Boots, 1797), Die verkehrte Welt (The Topsy‐Turvy World, 1799), and Prinz Zerbino (1799) not only satirize and parody literary conventions of the Enlightenment, but repeatedly break the dramatic illusion in order to question the distinctions artists and spectators make between fantasy and reality. Literary and socio‐political satire also characterize Tieck's other fairy‐tale plays, which include Der Blaubart (Bluebeard, 1797), Rotkäppchen (Little Red Riding Hood, 1800), Däumling (Thumbling, 1812), and Fortunat (1816).

Tieck's fairy‐tale novellas challenge perceptions and question conventional truths by disrupting the reader's expectations of the fairy tale itself. In tales like ‘Der blonde Eckbert’ (‘Blond Eckbert’, 1797), ‘Der Runenberg’ (‘Rune Mountain’, 1804), and ‘Die Elfen’ (‘The Elves’, 1812), reality and fantasy do not blend seamlessly, as in conventional fairy tales. Instead, reality and fantasy are juxtaposed, and when they do merge, the results are disorienting and disastrous. Whereas the stereotypical fairy tale leads its hero towards social and psychological integration, Tieck's tales generally depict alienated characters who experience psychological disintegration. In ‘Blond Eckbert’, for instance, the title character seeks to overcome his solitary life by confiding his innermost secrets to others; but introspection and confession only reveal a more horrible truth, which plunges Eckbert into utter insanity. In ‘Rune Mountain’ the main character Christian escapes from the ordered life that oppresses him by seeking higher truths in nature and the supernatural; however, in the end the reader is uncertain whether Christian has been liberated by a higher consciousness or suffers from insane delusions. Tales of this kind, which explore unresolved ambiguities and the dark side of the romantic imagination, distinguish Tieck's stories not only from the didactic moral tales of the Enlightenment, but also from the utopian tales of romantic writers like Novalis.

Neither moralist nor prophet, Tieck was a professional writer who sought to burst his readers' illusions even as he sought to sell them new ones. By incorporating this paradox into his work, he created a literary fairy tale that embodied the aesthetic, social, and existential contradictions of his age. With irony, playfulness, and profound ambiguity he created the romantic prototype of the modern fairy tale.

Bibliography

• Birrell, Gordon, The Boundless Present: Space and Time in the Literary Fairy Tales of Novalis and Tieck (1979).
• Haase, Donald P., “‘Ludwig Tieck’”, in E. F. Bleiler (ed.), Supernatural Fiction Writers: Fantasy and Horror, i (1985).
• Jäger, Hans‐Wolf, “‘Trägt Rotkäppuchen eine Jakobinermütze? Übermutmassliche Konnotate bei Tieck und Grimm’”, in Joachim Bard (ed.), Beiträge zur Praxis (Literatur‐soziologie, ii, 1974).
• Lillyman, William J., Reality's Dark Dream: The Narrative Fiction of Ludwig Tieck (1979).
• Thalmann, Marianne, “‘The Tieck Fairy Tale’”, in The Romantic Fairy Tale: Seeds of Surrealism (1964).

— Donald Haase

Tieck, Ludwig (Berlin, 1773-1853, Berlin), a prominent and versatile representative of early Romanticism (see Romantik), was the son of a master rope-maker. Educated in Berlin, he formed a close friendship with W. H. Wackenroder. Tieck, who had wished to go on the stage, was prevailed upon to take the more respectable path of studying theology at Halle and Göttingen universities (1792-3), devoting himself, as time went on, more and more to the study of literature. In 1793 he spent a few months at Erlangen University with Wackenroder, after which he returned to Göttingen.

Tieck possessed from the beginning a facile pen, and wrote a number of stories while still a schoolboy. His first publication of note was a horror novel, Abdallah, oder das furchtbare Opfer (1795). This was quickly followed by the 3-vol. Geschichte des Herrn William Lovell (1795-6), a story of the corruption of an innocent youth. Peter Leberecht, eine Geschichte ohne Abenteuerlichkeiten (1795) is a partly humorous novel in the 18th-c. tradition. In the years 1795-8 Tieck contributed abundantly (for cash) to a kind of story magazine, Die Straußfedern, edited by F. Nicolai, demonstrating his almost fatal facility and fertility. His real interest at this stage was focused on the picturesque past, as he had seen it with Wackenroder in Nuremberg in the pictures of Dürer, and as it was manifested in fairy stories and chap-books. Taking from his own novel the pseudonym Peter Leberecht, he published Volksmärchen herausgegeben von Peter Leberecht (1797) in 3 vols.; it included versions of Die Geschichte von den Heymonskindern (see Haimonskinder), Die wundersame Liebesgeschichte von der schönen Magelone und des Grafen Peter aus der Provence (see schöne Magelone, Die), and the Denkwürdige Geschichtschronik der Schildbürger (see Schildbürger), his early tragedy Karl von Berneck (1793-5), and his original tale Der blonde Eckbert (1797, see also Novelle). The Volksmärchen contained two plays (Märchendramen), Ritter Blaubart and Der gestiefelte Kater, which appeared separately in the same year (1797). Together with Wackenroder, Tieck published the Herzensergießungen eines kunstliebenden Klosterbruders (1797), and completed this productive year with a pot-boiler, the story Die sieben Weiber des Blaubart. In the following year he published the early idyll in dialogue form Almansur, the comedy Die verkehrte Welt, and the whimsical story Merkwürdige Lebensgeschichte Sr. Majestät Abraham Tonelli. These were overshadowed by his Künstlerroman Franz Sternbalds Wanderungen (1798), which tells of a fictitious pupil of Dürer.

Wackenroder died in December 1798, and Tieck commemorated him in a volume of essays partly drawn from Wackenroder's literary remains and partly written by himself, Phantasien über die Kunst (1799). In 1797 he had met Friedrich Schlegel, and in 1799 he joined the Schlegels' circle in Jena. In this year he published Der getreue Eckart und der Tannenhäuser, Prinz Zerbino (another Märchendrama), and 2 vols. of Romantische Dichtungen, the first of which included Leben und Tod der heiligen Genoveva and the second Leben und Tod des kleinen Rotkäppchens and Sehr wundersame Historie von der schönen Melusina (see Schöne Melusine). A translation of Don Quixote appeared in 1799-1800. In Jena he became a close friend of Novalis. After a short stay in Berlin, Tieck moved to Dresden in 1801. There he pursued his artistic and medieval interests, publishing Minnelieder aus dem Schwäbischen Zeitalter (1803) and a satirical comedy Anti-Faust oder Geschichte eines dummen Teufels (1801), as well as the strange tale Der Runenberg (1804). In Dresden also he began his immense, eccentric dramatic fantasy Kaiser Oktavianus (1804). In 1805-6 Tieck travelled in Italy with his sister and a group of friends and on his return he moved restlessly from place to place. Up to this time he had been one of the most prominent of the Romantics, but his creativity had now spent itself, and, though he still produced some original works, he was active more and more as an editor.

In 1810 Tieck published Frauendienst by Ulrich von Lichtenstein, and in 1811 Altenglisches Theater oder Supplement zum Shakespeare as well as the works of F. Müller. In Phantasus (1812-17) he republished early works, together with some new stories (Die Elfen, Der Pokal). Deutsches Theater (1817) included plays by Hans Sachs, M. Opitz, A. Gryphius, and Lohenstein. In the same year he visited England, where he pursued his study of Shakespeare. In 1819 he settled in Dresden, where he was much lionized. He published the works of H. von Kleist in 1821 and (3 vols.) in 1826, and those of J. M. R. Lenz in 1828. In his studies of Shakespeare (Shakespeares Vorschule, 1823) he was assisted by his daughter Dorothea (1799-1841). Appointed dramatic adviser (Dramaturg) to the Dresden Theatre in 1825, he recorded his experiences in Dramaturgische Blätter (1826). Publication of his poems (Gedichte, 3 vols., 1821-3, reissued 1967), was followed by a collection of stories (Novellen, 7 vols., 1823-8). Of the works of his later years the Novelle Der Aufruhr in den Cevennen (1826) and the novel Vittoria Accorombona (1840) stand out. In Dresden Tieck made a name for himself for his reading of plays and poetry, and in 1841 was appointed reader to King Friedrich Wilhelm IV of Prussia. In 1843 he published the works (Sämtliche Schriften) of F. A. Schulze (6 vols.).

Tieck's definitive edition of his works appeared as Schriften (28 vols.) between 1828 and 1854 (reissued 1966 f.). Posthumous writings (Nachgelassene Schriften, 2 vols.), ed. E. Köpke, appeared in 1855 (reissued 1974). Various selections have been published, including those edited by E. Berend (6 vols., 1908) and M. Thalmann (4 vols., 1963-6). Schriften in zwölf Bänden, ed. M. Frank et al., appeared 1985 ff.

Quotes:

"He is not dead who departs from life with a high and noble fame; but he is dead, even while living, whose brow is branded with infamy."

Ludwig Tieck

Johann Ludwig Tieck (May 31, 1773 – April 28, 1853) was a German poet, translator, editor, novelist, writer of 'Novellen', and critic, who was one of the founding fathers of the Romantic movement of the late 18th and early 19th centuries.

Contents 1 Early life 2 Adoption of Romanticism 3 Later years 4 Literary significance 5 Works 6 Translations 7 Letters 8 See also 9 Bibliography 10 References 11 External links

Early life

Tieck was born in Berlin, the son of a rope-maker. He was educated at the Friedrich-Werdersche Gymnasium, and at the universities of Halle, Göttingen and Erlangen. At Göttingen, he studied Shakespeare and the Elizabethan drama.

In 1794 he returned to Berlin, and attempted to make a living by writing. He contributed a number of short stories (1795-1798) to the series of Straussfedern, published by the bookseller C. F. Nicolai and originally edited by J. K. A. Musäus, and wrote Abdallah (1796) and a novel in letters, William Lovell (3 vols. 1795-1796).

Adoption of Romanticism

Tieck's transition to Romanticism is seen in the series of plays and stories published under the title Volksmärchen von Peter Lebrecht (3 vols., 1797), a collection which contains the admirable fairy-tale Der blonde Eckbert, which seamlessly blends exploration of the paranoiac mind with the realm of the supernatural, and the witty dramatic satire on Berlin literary taste, Der gestiefelte Kater. With his school and college friend Wilhelm Heinrich Wackenroder (1773-1798), he planned the novel Franz Sternbalds Wanderungen (vols. i-ii. 1798), which, with Wackenroder's Herzensergiessungen (1798), was the first expression of the romantic enthusiasm for old German art.

In 1798 Tieck married and in the following year settled in Jena, where he, the two brothers August and Friedrich Schlegel and Novalis were the leaders of the new Romantic school. His writings between 1798 and 1804 include the satirical drama, Prinz Zerbino (1799), and Romantische Dichtungen (2 vols., 1799-1800). The latter contains Tieck's most ambitious dramatic poems, Leben und Tod der heiligen Genoveva, Leben und Tod des kleinen Rotkäppchens, which were followed in 1804 by the remarkable "comedy" in two parts, Kaiser Oktavianus. These dramas, in which Tieck's poetic powers are to be seen at their best, are typical plays of the first Romantic school; although formless, and destitute of dramatic qualities, they show the influence of both Calderón and Shakespeare. Kaiser Oktavianus is a poetic glorification of the Middle Ages.

In 1801 Tieck went to Dresden, then lived for a time near Frankfurt (Oder), and spent many months in Italy. In 1803 he published a translation of Minnelieder aus der schwäbischen Vorzeit, between 1799 and 1804 an excellent version of Don Quixote, and in 1811 two volumes of Elizabethan dramas, Altenglisches Theater. From 1812 to 1817 he collected in three volumes a number of his earlier stories and dramas, under the title Phantasus. In this collection appeared the stories Der Runenberg, Die Elfen, Der Pokal, and the dramatic fairy tale, Fortunat.

In 1817 Tieck visited England in order to collect materials for a work on Shakespeare (unfortunately never finished) and in 1819 he settled permanently in Dresden; from 1825 on he was literary adviser to the Court Theatre, and his semi-public readings from the dramatic poets gave him a reputation which extended far beyond the Saxon capital. The new series of short stories which he began to publish in 1822 also won him a wide popularity. Notable among these are Die Gemälde, Die Reisenden, Die Verlobung, and Des Lebens Überfluss.

More ambitious and on a wider canvas are the historical or semi-historical novels, Dichterleben (1826), Der Aufruhr in den Cevennen (1826, unfinished), Der Tod des Dichters (1834); Der junge Tischlermeister (1836; but begun in 1811) is an excellent story written under the influence of Goethe's Wilhelm Meister; Vittoria Accorombona (1840), the story of Vittoria Accoramboni written in the style of the French Romanticists, shows a falling-off.

Later years

In later years Tieck carried on a varied literary activity as critic (Dramaturgische Blätter, 2 vols., 1825-1826; Kritische Schriften, 2 vols., 1848); he also edited the translation of Shakespeare by August Wilhelm Schlegel, who was assisted by Tieck's daughter Dorothea (1790-1841) and by Wolf Heinrich, Graf von Baudissin (1789-1878); Shakespeares Vorschule (2 vols., 1823-1829); the works of Heinrich von Kleist (1826) and of Jakob Michael Reinhold Lenz (1828). In 1841 Friedrich Wilhelm IV of Prussia invited him to Berlin where he enjoyed a pension for his remaining years. He died on 28 April 1853.

Literary significance

Tieck's importance lay in the readiness with which he adapted himself to the emerging new ideas which arose at the close of the 18th century, as well as being a trailblazer in his own right with Romantic works such as der blonde Eckbert. His importance in German poetry, however, is restricted to his early period. In later years it was as the helpful friend and adviser of others, or as the well-read critic of wide sympathies, that Tieck distinguished himself.

Tieck also influenced Richard Wagner's Tannhäuser. It was from Phantasus that Wagner based the idea of Tannhäuser going to see the pope and Elisabeth dying in the song battle.

Works

Tieck's Schriften appeared in twenty vols. (1828-1846), and his Gesammelte Novellen in twelve (1852-1854). Nachgelassene Schriften were published in two vols. in 1855. There are several editions of Ausgewählte Werke by H. Welti (8 vols., 1886-1888); by J. Minor (in Kirschner's Deutsche Nationalliteratur, 144, 2 vols., 1885); by G. Klee (with an excellent biography, 3 vols., 1892), and G. Witkowski (4 vols., 1903) and Marianne Thalmann (4 vols., 1963-66).

Translations

The Elves and The Goblet was translated by Carlyle in German Romance (1827), The Pictures and The Betrothal by Bishop Thirlwall (1825). A translation of Vittoria Accorombona was published in 1845. A translation of Des Lebens Überfluss (Life's Luxuries, by E. N. Bennett) appeared in German Short Stories in the Oxford University Press World's Classics series in 1934, but the wit of the original comes over more strongly in The Superfluities of Life. A Tale Abridged from Tieck, which appeared anonymously in Blackwood's Edinburgh Magazine in February 1845.The journey into the blue distance (Shirley) "The Romance of Little Red Riding Hood" (1801) was translated by Jack Zipes and included in his book "The Trials and Tribulations of Little Red Riding Hood."

Letters

Tieck's Letters have been published at various locations:

• Ludwig Tieck und die Brüder Schlegel. Briefe ed. by Edgar Lohner (München 1972)
• Briefe an Tieck were published in 4 vols. by K. von Holtei in 1864.

See also

• Mozart's Berlin journey - Tieck's encounter with Mozart as an adolescent

Bibliography

• R. Köpke, Ludwig Tieck (2 vols., 1855) Tieck's earlier life.
• H. von Friesen, Ludwig Tieck: Erinnerungen (2 vols., 1871) Dresden period.
• A. Stern, Ludwig Tieck in Dresden (Zur Literatur der Gegenwart, 1879)
• J. Minor, Tieck als Novellendichter (1884)
• B. Steiner, L. Tieck und die Volksbücher (1893)
• H. Bischof, Tieck als Dramaturg (1897)
• W. Miessner, Tiecks Lyrik (1902)
• Roger Paulin: Ludwig Tieck, 1985 (German) (Slg. Metzler M 185, 1987; German translation, 1988)
• Kertz-Welzel, Alexandra. Die Transzendenz der Gefühle. Beziehungen zwischen Musik und Gefühl bei Wackenroder/Tieck und die Musikästhetik der Romantik. Saarbrücker Beiträge zur Literaturwissenschaft, no. 71. Ph.D. Dissertation (Saarbrücken, Germany: Universität des Saarlandes, 2000). St. Ingbert, Germany: Röhrig Universitätsverlag, 2001. ISBN 3-86110-278-1.

References

•  "Tieck, Johann Ludwig". Encyclopædia Britannica (11th ed.). 1911. 

External links

• Works by Ludwig Tieck at Zeno.org (German)
• http://gutenberg.spiegel.de/autoren/tieck.htm -- E-Texts of Projekt Gutenberg-DE
• http://www.gnu.franken.de/Tieck/ -- Tieck-Repositorium (under construction)

• Quotations related to Ludwig Tieck at Wikiquote

• Media related to Ludwig Tieck at Wikimedia Commons

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Persondata
NAME	Tieck, Ludwig
ALTERNATIVE NAMES	Tieck, Johann Ludwig
SHORT DESCRIPTION	German poet, translator, editor, novelist, and critic
DATE OF BIRTH	May 31, 1773
PLACE OF BIRTH	Berlin
DATE OF DEATH	April 28, 1853
PLACE OF DEATH

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