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Updated: June 19, 2025
Schiller, with less repose and a less profound artistic feeling, yet from his humane impulses and fire of emotion stands closer to the popular heart. The "Romantic School," with its predilection for the Middle Ages, included Novalis, Tieck, and also the two brothers Schlegel, who were critics rather than poets. The Critique of Pure Reason is the most important of his productions.
But while Tieck is unrivaled in the world of phantasy, he becomes an ordinary writer when he descends to that of daily life. His romance, "Henry von Ofterdingen," contains elements of beauty, but it deals too exclusively with the shadowy, the distant, and the unreal. His "Aphorisms" are sometimes deep and original, but often paradoxical and unintelligible.
The whole adventure is into the realm of dreams and vague sensations. Tieck must have been liberally baptized with Spree-water, for the instantaneous, corrosive Berlin wit was a large part of his endowment. His cool irony associated him more closely to the Schlegels than to Novalis, with his life-and-death consecrations.
Although, for the sake of convenience, it is customary to speak of Weber as the founder of the romantic school in music, it must not be imagined that the new school sprang into being at the production of 'Der Freischütz. For many years the subtle influence of the romantic school in literature the circle which gathered round Tieck, Fichte, and the Schlegels had been felt in music.
This has been a gray day, with now and then a sprinkling of snow-flakes through the air. . . . To-day no more than yesterday have I spoken a word to mortal. . . . It is now sunset, and I must meditate till dark. April 11th. I meditated accordingly, but without any very wonderful result. Then at eight o'clock bothered myself till after nine with this eternal tale of Tieck.
Ricarda Huch in her "Blütezeit der Romantik" makes the striking statement that from this poet's figures one must "tear away the labels stuck upon them and name them altogether Ludwig Tieck, for in truth they are only refractions of this one beam." One may hear for example how Sternbald felt: "The orb of the moon stood exactly opposite the window of his room."
85:18 Subterranean Voyage of Nicholas Klimm. 85:19 Chiromancy. Palmistry applied to the future. Poe refers rather to physiognomy. 85:19 Jean d'Indaginé and De la Chambre. Two continental writers of the sixteenth and seventeenth centuries respectively. 85:21 Tieck. 85:21 City of the Sun. 85:23 Directorium Inquisitorium.
It was not likely: but then, if it was true, he must have been long engaged: he must have been engaged at the time of his last visit of six days, when he had talked over his views of life with Margaret, and been so anxious to obtain hers: he must surely have been engaged in the summer, when she found Tieck in the desk, and when he used to spend so many evenings at the Greys' certainly not on Hester's account.
Poe and Maupassant have reduced the form of the short-story to an exact science; Hawthorne and Harte have done successfully in the field of romanticism what the Germans, Tieck and Hoffman, did not do so well; Bjornson and Henry James have analyzed character psychologically in their short-stories; Kipling has used the short-story as a vehicle for the conveyance of specific knowledge; Stevenson has gathered most, if not all, of the literary possibilities adaptable to short-story use, and has incorporated them in his Markheim.
There is no such lubberly, uncouth attendant on the goddess of Fortune as Herr Tieck has been pleased to introduce in the prologue to his second part of 'Fortunat, who, in the course of his gyrations, upsets tables, smashes ink-bottles, and goes blundering into the President's carriage, hurting his head and his arm. No! For there is no such thing as chance.
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