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Updated: June 19, 2025
He had made a translation of Oedipus, and, according to his intimate friend Tieck, justly flattered himself on being an excellent reader. I remember once, when he was sitting at his desk reading out a Greek tragedy to me, it did not annoy him when I fell fast asleep, and he afterwards pretended he had not noticed it.
That eminently "Romantic" play, Emperor Octavian , derived from a familiar medieval chap-book, lyric in tone and loose in form, is a pure epitome of the movement, and the high-water mark of Tieck's apostleship and service. Here Tieck shows his intimate sense of the poetry of inanimate nature; ironic mockery surrenders completely to religious devotion; the piece is bathed in
Tieck gave a version of it in his "Phantasus." As we are on the very scene of this graceful little tale, I must give the essence of it. The romance, which dates from the second half of the thirteenth century, is in prose, mingled with scraps of rhyme, destined to be sung, and with their musical notation given.
It is with such an unweakened strength as his, with such an inward purity, that heroes are begotten, such as Goetz von Berlichingen and Egmont! And we must not forget the Robber Moor, whom Ludwig Tieck, with perfect justice, calls the Titanic creation of a young and daring imagination.
That cannot be sufficiently explained merely through the influence of Tieck, whom he, to be sure, read diligently in his youth. In the seventh volume of the "Euphorion" Richard M. Meyer has exhumed a probable source of Ludwig's "Maria."
He asked what my real object was, and I told him it was to get permission from the King to read my libretto Lohengrin to him. On the occasion of one of my oft-repeated visits from Berlin, he asked me whether I did not think it would be advisable to bring a recommendation of my work from Tieck.
He published, among other things, a Life of Schiller, a translation of Goethe's Wilhelm Meister, and two volumes of translations from the German romancers Tieck, Hoffmann, Richter, and Fouqué and contributed to the Edinburgh and Foreign Review articles on Goethe, Werner, Novalis, Richter, German playwrights, the Nibelungen Lied, etc. His own diction became more and more tinctured with Germanisms.
Ten years passed after Kleist's death before his last great dramas, Arminius and the Prince of Homburg, were published, edited by the eminent poet and critic Ludwig Tieck, who also brought out, in 1826, the first collection of Kleist's works.
The stiff and quaint but vigorous productions of the old German painters were drawn forth from the obscurity where they had long mouldered; the glorious old cathedrals were repaired and embellished; the lays of the minnesingers, collected by Tieck, were on every lip, and the records of the olden times were ransacked for historic and traditionary lore.
To know Loeben throws light on some of his much greater contemporaries Goethe, Eichendorff, Kleist, Novalis, Arnim, Brentano, Uhland, Görres, Tieck, and possibly Heine.
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