Ludwig Tieck

Johann Ludwig Tieck (/tiːk/; German: [tiːk]; 31 May 1773 – 28 April 1853) was a German poet, fiction writer, translator, and critic. He was one of the founding fathers of the Romantic movement in the late 18th and early 19th centuries.

Johann Ludwig Tieck

Early life

Tieck was born in Berlin, the son of a rope-maker. His siblings were the sculptor Christian Friedrich Tieck and the poet Sophie Tieck. He was educated at the Friedrichswerdersches Gymnasium, where he learned Greek and Latin, as required in most preparatory schools. He also began learning Italian at a very young age, from a grenadier with whom he became acquainted. Through this friendship, Tieck was given a first-hand look at the poor, which could be linked to his work as a Romanticist. He later attended the universities of Halle, Göttingen, and Erlangen. At Göttingen, he studied Shakespeare and Elizabethan drama.[1]

On returning to Berlin in 1794, Tieck attempted to make a living by writing. He contributed a number of short stories (1795–1798) to the series Straussfedern, published by the bookseller C. F. Nicolai and originally edited by J. K. A. Musäus. He also wrote Abdallah (1796) and a novel in letters, William Lovell (3 vols. 1795–1796).[1]

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 containing the fairy tale Der blonde Eckbert, which blends exploration of the paranoiac mind with the realm of the supernatural, and a 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 (1796), was the first expression of the Romantic enthusiasm for old German art.[1]

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 early Romantic school (also known as Jena Romanticism). 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 "comedy" in two parts, Kaiser Oktavianus. These dramas 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.[1]

In 1801 Tieck went to Dresden, then lived for a time at Ziebingen near Frankfurt, and spent many months in Italy. In 1803 he published a translation of Minnelieder aus der schwäbischen Vorzeit, then 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".[1]

In 1817 Tieck visited England in order to collect materials for a work on Shakespeare, which was never finished. In 1819 he settled permanently in Dresden, and from 1825 he was literary adviser to the Court Theatre. His semi-public readings from the dramatic poets gave him a reputation which extended far beyond the capital of the Kingdom of Saxony. 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), and Der Tod des Dichters (1834). Der junge Tischlermeister (1836; but begun in 1811) is a work written under the influence of Goethe's Wilhelm Meister. His story of Vittoria Accorombona (1840) was written in the style of the French Romanticists and shows a falling-off.[1]

Later years

In later years Tieck carried on a varied literary activity as a 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); and the works of Heinrich von Kleist (1826) and of Jakob Michael Reinhold Lenz (1828). In 1841 Friedrich Wilhelm IV of Prussia invited Tieck to Berlin, where he received a pension for his remaining years. He died in Berlin on 28 April 1853.[1]

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 his 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.[1]

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


Tieck's Schriften appeared in twenty volumes (1828–1846), and his Gesammelte Novellen in twelve (1852–1854). Nachgelassene Schriften were published in two volumes 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)[1] and Marianne Thalmann (4 vols., 1963–66).


"The Elves" and "The Goblet" were translated by Thomas Carlyle in German Romance (1827), "The Pictures" and "The Betrothal" by Bishop Thirlwall (1825). A translation of Vittoria Accorombona was published in 1845.[1] 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 (Das Alte Buch: oder Reise ins Blaue hinein, 1834). "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."


Tieck's biggest influence was 16th-century Italian poet Torquato Tasso, who is featured in Tieck's novel, Vittoria Accorombona, as a secondary character.


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.[1]

See also


  1. ^ a b c d e f g h i j k  One or more of the preceding sentences incorporates text from a publication now in the public domainChisholm, Hugh, ed. (1911). "Tieck, Johann Ludwig" . Encyclopædia Britannica (11th ed.). Cambridge University Press.

Further reading

  • Roger Paulin: Ludwig Tieck, 1985 (in 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.

External links

A Terrible Vengeance

"A Terrible Vengeance" (Russian: Страшная месть) is a Gothic horror story by Nikolai Gogol.

It was published in the second volume of his first short story collection, Evenings on a Farm Near Dikanka, in 1832, and it was probably written in late summer 1831.The short story is written in the "ornate and agitated style" characteristic to Gogol, sometimes skirting purple prose, and was a great influence on the rhythmic prose of the modernist novelist Andrei Bely.The appearance of evil spirits, and specifically of an Antichrist figure, in A Terrible Vengeance was typical of Gogol's belief in the omnipresence of Evil in everyday life, an aspect of his religious philosophy that is uniquely direct in this story. The overall construction of the story is typical of what would come to be called skaz, wherein characters are identified to a large degree by linguistic specificities of their manner of speech. Another particularity of the piece is frequent narratorial intrusion, such as asides to the reader or other violations of the narratorial frame.

The basic plot of the story evokes folklore, but there is no comparable piece in Ukrainian or Russian traditions. A similar story of a sorcerer appeared in "Pietro Apone" by German romantic Johann Ludwig Tieck, published in Russian in 1828. Other potential subtexts are Tieck's Karl von Berneck (1797) and E. T. A. Hoffmann's novella Ignaz Denner (1816).

Absolute music

Absolute music (sometimes abstract music) is music that is not explicitly "about" anything; in contrast to program music, it is non-representational. The idea of absolute music developed at the end of the 18th century in the writings of authors of early German Romanticism, such as Wilhelm Heinrich Wackenroder, Ludwig Tieck and E. T. A. Hoffmann but the term was not coined until 1846 where it was first used by Richard Wagner in a programme to Beethoven's Ninth Symphony.The aesthetic ideas underlying the absolute music derive from debates over the relative value of what were known in the early years of aesthetic theory as the fine arts. Kant, in his Critique of Aesthetic Judgment, dismissed music as "more enjoyment than culture" because of its lack of conceptual content, thus taking as a negative the very feature of music that others celebrated. Johann Gottfried Herder, in contrast, regarded music as the highest of the arts because of its spirituality, which Herder linked to the invisibility of sound. The ensuing arguments among musicians, composers, music historians and critics have, in effect, never stopped.

Abundance of Life

Abundance of Life (German: Des Lebens Überfluss) is a 1950 West German romantic comedy film directed by Wolfgang Liebeneiner and starring Erika Müller, Ingeborg Körner and Gunnar Moller. It was one of the last of the Rubble films made in the immediate post-war years. It updates a story by Ludwig Tieck to modern-day Hamburg, addressing the shortage of housing in the heavily bombed city.

It was made at the Wandsbek Studios in Hamburg and also shot on location in the city. The film's sets were designed by the art director Mathias Matthies.

Alexander von Ungern-Sternberg

Peter Alexander Freiherr von Ungern-Sternberg (22 April 1806 – 24 August 1869) also known as Alexander von Sternberg, was a Baltic German novelist, poet and painter who worked under the pseudonym Sylvan.

He was born on 22 April 1806 in Gut Noistfer (Purdi), Governorate of Estonia, Russian Empire, into the Ungern-Sternberg German-Hungarian-Swedish-Russian noble family and he was the author of historical and biographical novels, novellas and ironic tales.

He lived until 1854 in Berlin where he worked among other things as an author for the Kreuzzeitung. Occasionally, he was also active as a draftsman. Ungern-Sternberg studied law, philosophy and literature at the University of Dorpat until 1830.

Following this he had a brief stay in St. Petersburg and then Dresden, where he made the acquaintance of Ludwig Tieck. In 1841 he settled in Berlin where he associated with Karl Gutzkow, Willibald Alexis, Fanny Lewald, Tieck and other artists of the Berlin salons. In the revolutionary year of 1848 Ungern-Sternberg was on the side of the conservatives and was an employee of the royalist Kreuzzeitung.

He later he went on behalf of the Russian Embassy in Berlin as rapporteur to the Frankfurt Parliament.

He married after 1850 in Dresden, to Karoline Luise von Waldow. The last years of his life he spent with his wife on his estate Gramzow in Mecklenburg Fürstenberger Werder owned by his brother the prussian chamberlain Franz von Waldow. He died aged 62 years old his wife preceding him hm by one year in August 1868 during a visit to his brother on his estate in Dannenwalde, Duchy of Mecklenburg-Strelitz.

Antigone (Mendelssohn)

Antigone (Op. 55; MWV M 12) is a suite of incidental music written in 1841 by Felix Mendelssohn to accompany the tragedy Antigone by Sophocles, staged by Ludwig Tieck. The text is based on Johann Jakob Christian Donner's German translation of the text, with additional assistance from August Böckh.

The music is scored for narrator, tenor and bass soloists, two men's choirs and orchestra. It includes an overture and seven choruses. The choruses are set in the style of Greek chorus, with strophes and antistrophes sung antiphonally by the two choirs, with additional passages of recitative.

The first performance took place at the New Palace, Potsdam on 28 October 1841. A public performance followed a week later at the Berlin State Opera on 6 November 1841. The music was published that year by Kistner in Leipzig, with a dedication to his patron, King Frederick William IV of Prussia.

Athenaeum (German magazine)

The Athenaeum was a literary magazine established in 1798 by August Wilhelm and Karl Wilhelm Friedrich Schlegel. It is considered to be the founding publication of German Romanticism.

August Ferdinand Bernhardi

August Ferdinand Bernhardi (24 June 1769 in Berlin – 1 June 1820 in Berlin) was a German linguist and writer.

After studying philosophy in Halle an der Saale, in 1791 Bernhardi became a teacher at the Friedrichwerderschen Gymnasium in Berlin and in 1808 became the institution's headmaster. In 1815 he joined the Marcher Consistory and the Academic Examination Committee. Shortly before his death he was named the headmaster of the Friedrich Wilhelms Gymnasium.

In 1799 Bernhardi married Sophie Tieck, the younger sister of Ludwig Tieck, however, the marriage broke down in 1805. This relationship brought him into Romantic circles, associated with people such as Friedrich and August Wilhelm Schlegel, Ludwig Tieck and others. This prompted him to write and publish works on linguistics, as well as satirical writings about Berlin society and literary life. Bernhardi also contributed to literary journals and almanacs (such as Athenäum and Europa), and wrote some stories and poems in the romantic style, the most well-known of which is Der Löwe in Florenz (The Lion in Florence).

Bernhardi, however, achieved renown and recognition first and foremost through his linguistic research and had significant influence on famous linguists such as Wilhelm von Humboldt and Franz Bopp.

He was the father of the historian Theodor von Bernhardi and grandfather of the Prussian general Friedrich von Bernhardi.

Blond Eckbert

Blond Eckbert is an opera by Scottish composer Judith Weir. The composer wrote the English-language libretto herself, basing it on the cryptic supernatural short story Der blonde Eckbert by the German Romantic writer Ludwig Tieck. Weir completed the original two act version of the opera in 1993, making Blond Eckbert her third full-length work in the genre. Like its predecessors, it was received well by the critics. She later produced a one act "pocket" version of the work. This uses chamber forces rather than the full orchestra of the two act version and omits the chorus. The pocket version receives frequent performances, especially in Germany and Austria, while the full version is available in a recording featuring the original cast.

Cecilian Movement

The Cecilian Movement for church music reform began in Germany in the second half of the 1800s as a reaction to the liberalization of the Enlightenment (Gmeinwieser 2001).

The Cecilian Movement received great impetus from Regensburg, where Franz Xaver Haberl had a world-renowned school for church musicians (Haberl 2001). Their theoretical ideas were formulated by Ludwig Tieck, Friedrich and August Wilhelm Schlegel, Johann Michael Sailer, E. T. A. Hoffmann (1814), and Anton Friedrich Justus Thibaut (Gmeinwieser 2001).

Die schöne Melusine

Ouvertüre zum Märchen von der schönen Melusine, Op. 32, (German: Overture to the Legend of the Fair Melusine) is a concert overture by Felix Mendelssohn written in 1834. It is generally referred to as Die schöne Melusine in modern concert programming and recordings, and is sometimes rendered in English as The Fair Melusine.

The overture is loosely illustrative of aspects of the legend of Melusine, a water-nymph who marries Count Raymond, on the condition that he never enter her room on a Saturday (on which day she takes on the form of a mermaid). In the 19th century the story was familiar in Germany in the retelling by Ludwig Tieck (Melusina, 1800) and the poetic version of Friedrich de la Motte Fouqué (his Undine of 1811). Mendelssohn denied close musical references to the story which critics, including Robert Schumann, believed they detected. When asked what the piece was about, Mendelssohn replied drily "Hmm ... a misalliance". Nevertheless, some aspects of the music have clear pictorial implications. The opening passage of string instrument arpeggios in 64 rhythm anticipates the river music of the opening of Richard Wagner's 1854 opera Das Rheingold.The piece was written in 1834 as a birthday gift for Mendelssohn's sister Fanny. In a letter to her of 7 April 1834, he explains that he had picked on the subject after seeing Conradin Kreutzer's opera Melusina the previous year in Berlin. Kreutzer's overture, writes Mendelssohn

was encored, and I disliked it exceedingly, and the whole opera quite as much: but not [the singer] Mlle. Hähnel, who was very fascinating, especially in one scene when she appeared as a mermaid combing her hair; this inspired me with the wish to write an overture which the people might not encore, but which would cause them more solid pleasure.

The overture, which is broadly in sonata form, was first performed in London by the Philharmonic Society orchestra, conducted by Ignaz Moscheles, under the title Melusine, or the Mermaid and the Knight. The performance was received politely but not enthusiastically. Mendelssohn subsequently revised the piece, and it was published in the revised form in 1836. A German contemporary reviewer commented that the Overture "does not try to translate the whole tale into musical language ... but only to conjure up for us, from the dreamworld of harmonic power, the happiness and unhappiness of two beings."

Dorothea Tieck

Dorothea Tieck (March 1799 – 21 February 1841) was a German translator, known particularly for her translations of William Shakespeare. She was born in Berlin, Brandenburg, as the daughter of Ludwig Tieck, and collaborated with her father and his Romantic literary circle, including August Wilhelm Schlegel and Wolf Heinrich Graf von Baudissin. She completed the translation of Shakespeare's works, which her father had begun with Schlegel and Baudissin, and worked also on Miguel de Cervantes and other Spanish writers.

German Romanticism

German Romanticism was the dominant intellectual movement of German-speaking countries in the late 18th and early 19th centuries, influencing philosophy, aesthetics, literature and criticism. Compared to English Romanticism, the German variety developed relatively late, and, in the early years, coincided with Weimar Classicism (1772–1805). In contrast to the seriousness of English Romanticism, the German variety of Romanticism notably valued wit, humour, and beauty.

The early period, roughly 1797 to 1802, is referred to as Frühromantik or Jena Romanticism. The philosophers and writers central to the movement were Wilhelm Heinrich Wackenroder (1773–1798), Friedrich Wilhelm Joseph Schelling (1775–1854), Friedrich Schleiermacher (1768–1834), Karl Wilhelm Friedrich Schlegel (1772–1829), August Wilhelm Schlegel (1767–1845), Ludwig Tieck (1773–1853), and Friedrich von Hardenberg (Novalis) (1772–1801).The early German romantics strove to create a new synthesis of art, philosophy, and science, by viewing the Middle Ages as a simpler period of integrated culture; however, the German romantics became aware of the tenuousness of the cultural unity they sought. Late-stage German Romanticism emphasized the tension between the daily world and the irrational and supernatural projections of creative genius. In particular, the critic Heinrich Heine criticized the tendency of the early German romantics to look to the medieval past for a model of unity in art and society.


Hanswurst was a popular coarse-comic figure of German-speaking impromptu comedy. He is "a half doltish, half cunning, partly stupid, partly knowing, enterprising and cowardly, self indulgent and merry fellow, who, in accordance with circumstances, accentuated one or other of these characteristics."Through the 16th and 17th centuries, he was a buffoon character in rural carnival theaters and touring companies. The name first appeared in a Middle Low German version of Sebastian Brant's Ship of Fools (1519) (using the name Hans myst). "Hanswurst" was also a mockery and insult. Martin Luther used it in his 1541 pamphlet Wider Hans Worst, when he railed against the Catholic Duke Henry of Brunswick.

In 1712, Joseph Anton Stranitzky developed and popularized the role of Hanswurst. The theater historian Otto Rommel saw this as the beginning of the so-called Viennese popular theater. Stranitzky's Hanswurst wore the garb of a peasant from Salzburg, with a wide-brimmed hat on. His humor was often sexual and scatological. The character found numerous imitators.In the "Hanswurst dispute" of the 1730s, the scholar Johann Christoph Gottsched, in addition to the actress Friederike Caroline Neuber, strove to banish the buffoon from the German-speaking stage, to improve the quality of German comedies and to raise their social status, holding a public "banishing" of Hanswurst. This met with resistance, especially in Vienna. However, the staged banishment has generally been regarded as an emblematic moment in German theater history for the transition from popular, improvised, so-called ‘Stegreiftheater’ to a modern bourgeois literary mode.The last notable Hanswurst was Franz Schuch, who merged Hanswurst with the stock Harlequin character. The Italian-French Harlequin replaced Hanswurst. In the later 18th Century Hanswurst was out of fashion and was only used in the puppet theater. Comical characters like Punch or Staberl replaced him for several decades. At the instigation of Joseph of Sonnenfels after the French Revolution (Memorandum for the future of theater censorship guidelines, 1790) the Emperor Joseph II forbade improvised comedy and burlesque-like buffoon games. Due to authoritarian fear of political agitation, arts were directed towards fixed literary form theater (the "regular theater") and silent, music-accompanied pantomime. In 1775, a 26-year-old Johann Wolfgang von Goethe wrote a farce entitled Hanswurst's Wedding. In his 1797 comedy 'Puss in Boots,' ('Der gestiefelte Kater') Ludwig Tieck brought back the part of Hanswurst. For the Viennese Musical and Theatrical Exhibition of 1892, the actor Ludwig Gottsleben played Hanswurst.

The German film comedy The Comedians (1941) by GW Pabst, which was marked by the ideology of the war, portrayed Gotthold Ephraim Lessing, a German national poet, in a victorious battle against the foul-mouthed Hanswurst. The historical Lessing had written Hanswurst into the Hamburg Dramaturgy, and called the banishment 'the biggest buffoonery of all’ (‘die größte Bobert’).


Loschwitz is a borough (Ortsamtsbereich) of Dresden, Germany, incorporated in 1921. It consists of ten quarters (Stadtteile):

Loschwitz is a villa quarter located at the slopes north of the Elbe river. At the top of the hillside is the quarter of Weißer Hirsch, named after a former inn erected in 1685 by the Saxon kapellmeister Christoph Bernhard, where in 1888 the naturopathic physician Heinrich Lahmann opened a sanatorium. The quarters of Wachwitz and Pillnitz are adjacent in the east and the Rosengarten park in the west. Loschwitz is connected with the borough of Blasewitz south of the Elbe by the Blue Wonder (Blaues Wunder) bridge. Furthermore, the borough encompasses large parts of the Dresden Heath, the city's forest.

The old village of Loschwitz, a wine-growing area since the 11th century, was first mentioned in a 1227 deed. About 1660 Elector John George II of Saxony had several vineyards laid out at the hillside, that soon became a fashionable recreational and residential area for the Dresden nobility and wealthy bourgeois like the composer Heinrich Schütz or the goldsmith Johann Melchior Dinglinger. The author Christian Gottfried Körner had a cottage within the vineyards, where his guest Friedrich Schiller wrote the Ode to Joy in 1785. About 1800 James Ogilvy, 7th Earl of Findlater acquired large estates, where from 1850 the Elbschlösser (Elbe Castles) were erected: Albrechtsberg Palace and Villa Stockhausen (Lingnerschloss) of Prince Albert of Prussia as well as Eckberg Castle, finished in 1861.

The church is of especial architectural and historical interest, as is the churchyard, for the many burials of notable people. It was full by about 1800 and was replaced by Loschwitz Cemetery.

A popular place is the restaurant Luisenhof, built in 1895 and named after Crown Princess Luise of Saxony. The "Dresden balcony" offers a panoramic view of the city and the Elbe valley. Nearby is the Standseilbahn Dresden funicular railway as well as the Schwebebahn Dresden, the oldest suspension railway of the world, which both are still in use.

Nobility and rich citizens of Dresden used to live in Loschwitz such as Theodor Körner, Carl Maria von Weber and Gerhard von Kügelgen. A famous inhabitant of Weißer Hirsch was the inventor Manfred von Ardenne with his institute for scientific research. One of his neighbours was the retired officer Friedrich Paulus, commander in the Battle of Stalingrad, who died here in 1957. Also a number of famous people stayed in Loschwitz for a short time: Johann Wolfgang von Goethe, Heinrich von Kleist, Ernst Moritz Arndt, Novalis, Ludwig Tieck, Alexander and Wilhelm von Humboldt, Wolfgang Amadeus Mozart, Leopold Auer and Anton Graff. Around the 1920-1930's Loschwitz used to be the most expensive living area of all Europe.

This is evidenced in the surviving funicular railway, originally placed as an aid purely to residents in ascending the steep slopes of the river valley, and only recently having acquired novelty as a minor tourist attraction. Recently restored and operated by the local public transportation agency.

Schlegel-Tieck Prize

The Schlegel-Tieck Prize for German Translation is a literary translation prize given by the Society of Authors in London. It is named for August Wilhelm Schlegel and Ludwig Tieck who translated Shakespeare to German in the 19th century. Translations from the German original into English are considered for the prize. The value of the prize is £3,000.The winner of the 2018 prize, for translations published in 2017, was Tony Crawford for his translation of Wonder Beyond Belief by Navid Kermani.

The Woman with the Spider's Web

The Woman with the Spider's Web (or The Woman with the Spider's Web between Bare Trunks, German: Die Frau mit dem Spinnennetz zwischen kahlen Bäumen) is a small 1803 print by the German Romantic painter Caspar David Friedrich, made into a woodcut by his brother Christian Friedrich, a carpenter and furniture maker, the same year.The image explores themes of death and the transience of life. It shows a woman sitting alone under an eerie, barren, dead tree in which the upper branches appear as if scattering crows. The lower ground is surrounded by encroaching and engulfing weeds, which reflecting her despair, seem as if about to envelope her. She rests one arm on a branch of the tree as she looks mournfully and enigmatically out towards the far distance, perhaps looking towards an uncertain future, or as has been suggested, in waiting for the return of a long lost lover.

The image was influenced by both Albrecht Dürer's engraving Melencolia I (1514) and from characters from the romantic writings of Ludwig Tieck. It is part of a series that Christian cut from Caspar's drawings, however, Caspar appears to have been unhappy with the outcome and when asked by his brother to produce further works for transfer, he declined, writing, "ask another artist".

Original cuts of Woman with the Spider's Web are in the British Museum, London, and the Metropolitan Museum of Art, New York, amongst other locations.


Tieck may refer to:

Christian Friedrich Tieck (1776-1851), German sculptor

Dorothea Tieck (1799-1841), German translator

Ludwig Tieck (1773-1853), German poet

8056 Tieck, asteroid named after Ludwig Tieck

Schlegel-Tieck Prize, literary award named after Ludwig Tieck (and August Schlegel)

Sophie Tieck (1775–1833), German Romantic writer and poet

Veit Warbeck

Veit Warbeck (1490–1534) was a German scientist and diplomat, born in Schwäbisch Gmünd. He is best known as the translator into German of the French Magelone, a narrative text itself derived from the One Thousand and One Nights material. In turn, Ludwig Tieck adapted Warbeck's translation for his Liebesgeschichte der schönen Magelone und des Grafen Peter von Provence.

Warbeck worked as a diplomat at the court of John Frederick I, Elector of Saxony, when he translated the Magelone in 1527; his work on that text was occasioned by John Frederick's marriage to Sibylle of Cleves. The book was printed by Heinrich Steyner in Augsburg in 1535, and was reprinted more than twenty times that same century, evidence of its popularity. The most recent adaptation of the same subject matter was by Peter Bichsel (Der Busant. Von Trinkern, Polizisten und der schoenen Magelone, Darmstadt und Neuwied 1985). He was befriended with George Spalatin and other important Protestant reformers, and his translation of the Magelone shows the influence of Protestantism in the suppression of Catholic elements. Warbeck was honored with an exposition in his hometown in 1985.

Wilhelm Heinrich Wackenroder

Wilhelm Heinrich Wackenroder (13 July 1773 – 13 February 1798) was a German jurist and writer. With Ludwig Tieck, he was a co-founder of German Romanticism.

Wackenroder was born in Berlin. He was a close friend of Tieck from youth until his early death. They collaborated on virtually everything they wrote in this period. Wackenroder probably made substantial contributions to Tieck's novel Franz Sternbalds Wanderungen (Franz Sternbald’s Wanderings, 1798), and Tieck to Wackenroder's influential collection of essays, Herzensergießungen eines kunstliebenden Klosterbruders (Outpourings of an Art-Loving Friar, 1797). Outpourings is a tribute to Renaissance and medieval literature and art, attributing to them a sense of emotion Wackenroder and Tieck felt was missing in German Enlightenment thought. It was also the first work to claim for Northern Renaissance art a status equivalent to that of the Italian Renaissance, at least in the case of Albrecht Dürer. The Outpourings have been accorded a status in Germany akin to that of Lyrical Ballads in England, i.e. as the first work of the Romantic movement.Wackenroder died in Berlin in 1798 at the age of 24 of a case of typhoid fever.

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