Premonition and present

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Joseph von Eichendorff

Awareness and Present is the first novel by Joseph von Eichendorff , which, completed in autumn 1812, was published by Johann Leonhard Schrag in Nuremberg in 1815 . In his foreword of January 6, 1815 to this time novel , Friedrich de la Motte Fouqué refers to the time of the text - before the Wars of Liberation .

The young Count Friedrich is defeated in the fight against foreign occupiers, loses his property and finds peace behind the monastery walls.

content

first book

Count Friedrich recovers after his university studies. He goes down the Danube on a ship from Regensburg . When the count's ship is overtaken by another ship, the traveler sees a beautiful stranger on the strange ship. Friedrich spends the night in an inn. The beautiful is housed in the next room. The count greets them. The stranger casts her eyes down. During a late-night encounter on the balcony, he kisses her and learns her name: Rosa. When Friedrich asked about Rosa the next morning, she had long since been picked up by a carriage with four horses and servants. The young count continues his excursion on horseback. At one point he feels as if he sees Rosa from afar. He follows her and gets deeper into the forest. Friedrich goes to a hostel and has to defend himself against robbers at night. He hands out heavily, is wounded in the skirmish and loses consciousness. Friedrich comes to himself in Count Leontin's castle. Erwin watches over his bed; a handsome, withdrawn and absent-minded boy. Friedrich gets up and explores the area. Countess Rosa, his savior, lives in the neighboring castle; Leontin's sister. He looks for her, “takes her in both arms and” kisses “her countless times and all the joys in the world” confuse “this one moment that never comes back a second time.” In the evening, Leontin, Friedrich and Faber talk to each other, who always Poets with fat faces, ready for a joke, on poetry. Leontin has fun with fourteen-year-old Marie. Friedrich sings:

“I feel as if I have to sing
Right out of the deepest pleasure
Of wonderful things
What nobody else is aware of. "

Leontin is on mysterious excursions in the forest and returns "like a hunted game". He wants to travel without his sister. Rosa insists on her doggedly and is allowed to travel with her. Faber wants to stay at the castle because he wants to work on a great poem he has begun. The next morning they all set out on their journey. Faber travels too - with blackboards and books in his luggage. On the way, during the night in a farmhouse, Friedrich tells the countess about himself. With his brother Rudolph, who is very similar to Leontin, and little Angelina, he grew up in the castle of foster parents. Rudolph fled. Friedrich thinks the brother is still alive. Over the memories of Friedrich, Rosa falls asleep at his side. Friedrich becomes unsure. On the one hand, he likes to nestle against the countess's full limbs, on the other hand, he cannot believe in her love and sings:

“Oh God, who should I trust?
Don't you want to understand me
Do all look so strange
And everything must pass. "

Faber is missing the next morning. He rode into the residence; Probably also out of shame, because he had been turned away by the little girl for a nightly rendezvous in Marie's attic. Without the funny Faber, the countess gets too bored in the men's company. She and Marie leave the gentlemen when the beautiful Countess Romana drives by from the residence and lures her into the carriage. Friedrich is deeply offended. In the evening he overhears couples on a dance floor in a village with Leontin. Impressed by a beautiful young lady, Leontin sings:

"The dance that has broken up,
The music has faded
Now stars are circling above
The forest sings to the dance. "

The next evening he meets the beautiful lady again at Herr von A.'s castle. It's Julie, the daughter of the house. Another dancer from the previous evening is recognized at Herr von A.'s table - the theologian Viktor. Too poor to finish his studies, he has taken over the school system on the property of Mr. von A. When the lock burns at night, Leontin saves Julie's life and comes closer to her. The next day, Friedrich and Leontin want to get to know that mysterious white woman who usually only appears during a night fire and who appeared promptly. The two find their nearby castle occupied, but the mistress is absent. Leontin visits Viktor in his workshop. The lonely theologian has no sense for poetry, but wants to invent an airship. Leontin leaves the inventor and unintentionally overhears a conversation between Mr. von A. and his sister. The woman wants to pair Julie with Leontin. Leontin then enters Julie's room and admires his portrait. The painter has not yet seen Leontin's castle, but she has recreated it in the painting. Julie and Leontin meet again briefly when the Count turns his back on the family of Herr von A. Leontin meets the erring knight in the forest. He moves from castle to castle in search of the Philosopher's Stone.

Friedrich also says goodbye. Julie is crying. The count rides with Erwin to Rosa to the residence. The countess had invited him by letter. On the way, Friedrich says goodbye to the forest. He writes " O valleys far, o heights " .

second book

Friedrich has to look for Rosa in the residence. He finds the countess at a masked ball in the company of admirers. One of them lifts her into the carriage after the rushing ball. Friedrich brings Marie home. The little one is no longer in Rosa's service. Meanwhile, tired of life, Marie is comfortably supported by wealthy gentlemen. Friedrich remembers his departure from the university, digs out a letter of recommendation and uses it to visit Minister P. This recommends the young graduate to further study law and cameralistic sciences. But the visit also has its good points. Friedrich receives an invitation card to a literary soiree from the minister. There Rosa appears together with the passionate Countess Romana. When Countess Dolores , who was valued by Friedrich , is belittled, he intervenes vigorously. Romana looks at the discussion speaker with dark, glowing eyes. Friedrich met the Amazonian Countess Romana as a poet and from then on exchanged ideas with her on poetry. When Friedrich visits her fairy castle, there is a portrait of the Hereditary Prince, whose beauty he admires. Now the freedom-loving Romana seems seductive to the count. The two sleep on the castle in different rooms, which are only separated from each other by a couple of open doors. Friedrich watches Romana undress and falls asleep. When he wakes up, the beautiful woman is resting naked at the foot of his bed. Friedrich cannot be seduced. He leaves without waking the countess. From then on, the violent Romana loves Friedrich, but he despises the fascinating woman. The Hereditary Prince, who is passionately attached to Friedrich, confesses to him on occasion that Countess Romana has spoiled him. Friedrich did not reciprocate the prince's affection. On the contrary, he dreads the prince. Friedrich had recognized him in the city, looking through the window as a passer-by, in a girl's apartment. It turns out the lustful prince had seduced the child, and it had died.

Before Friedrich and Leontin part ways, they both go on a trip to the Rhine . Evening in a small town located Leontin are as Spielmann , moving from house to house, told the girls fairy tales and sings " It's late, it is already cold " . The next day, the boy Erwin, always in Friedrich's entourage, rushed out of the boat into the splendidly sparkling Rhine and was no longer seen. On his forays through the valleys - looking for Erwin - Friedrich in the forest approaches one of the prince's hunting lodges. Someone sings “ Dämm'rung wants to spread its wings ” . Friedrich is reminded of Rosa's voice. The beautiful woman is already standing in front of him. The prince presses Rosa. Half forced and half seduced, she follows the prince to his castle.

Third book

Friedrich, irritated and betrayed, withdraws into the deepest mountain solitude. In the war he joins the Landsturm , fights bravely and is wounded. Never before in his life had he been as comfortable as in the battle against the enemy - despite the many wounds. In a pause between the arguments he sees Marie again - on the lap of an enemy officer. As one of the losers of the war, he wanders through the country without mercy and ostracized. His life no longer seems worth living to him. He meets the half-mad Romana near her ancestral castle. The countess has got lost in her own forest. He leads her to her castle. She sets fire to the walls and shoots herself. Friedrich, on the ride to his lost possessions, hears a girl singing at the remote water mill: " In a cool valley " . He investigates this and finds Julie, who cares for Leontin, who was also wounded in the war. She saved him. Leontin too has to hide from the victors of the war. At night Friedrich pursues a song and finds Erwin. In his sudden death, the boy reveals another secret. Friedrich is supposed to look for a dark-eyed man with a long scratch over his right eye in the mountain forest. Friedrich wants to save the dying man, opens his doublet and is startled. It is a beautiful girl and is wearing a medallion. There is a portrait on it that reminds Friedrich of little Angelina. The deceased girl, whom Julie had named Erwine during Friedrich's absence, is buried. Before Leontin and Friedrich go in search of the mysterious man, they ride past the residence. Rosa just shows herself, adorned with sparkling gemstone, to an delighted crowd as the bride of the Hereditary Prince. When the two riders then find the man with the scratch over his eye on a secluded old castle in the forest, Friedrich recognizes him as the wild brother Rudolph. The brother tells his story. The evening before his escape from the foster parents' castle, a young rider came by. Rudolph and the little Angelina standing next to it was prophesied by an old woman: “One of you three will murder the other.” In a foreign country, Rudolph was recruited as a mercenary and survived a battle, this “crazy game of woe”. Then he earned his living as a painter. On the medallion is the portrait of Angelina. It was painted by Rudolph. After the war Angelina returned to Venice with her father. Rudolph looked for and found his beloved and went with her to Rome. After a year Angelina gave birth to a daughter - Erwine. Angelina left Rudolph with the child, accompanied by the man who had ridden past the castle of the foster parents on the evening of Rudolph's escape. Erwine was robbed in an inn on the way. The prophecy was later fulfilled. Rudolph dueled Angelina's husband, the count. The latter was killed in his castle. Rudolph describes this castle. Friedrich suspects from this description that Countess Angelina could be the white woman.

In the seclusion of the forest castle, Friedrich turns away from world life, becomes calm and finds strength in religion. He has recognized: “Whoever is unprepared and unarmed is lost.” Leontin marries Julie. The couple want to leave Europe and board a ship. Faber, unimpressed by the frightening times, continues to talk about poetry as ever. Friedrich cannot guide his brother Rudolph on his own pious path. Rudolph “cannot believe” and goes to Egypt, the land of ancient miracles. Friedrich enters a monastery, never to leave it. Once, while praying, a tall, veiled lady passed out behind him: Rosa was lying in the church. “Friedrich hadn't noticed anything more. Calm and blissful, he stepped out into the quiet monastery garden. Then he saw how from one side Faber walked out between streams, vineyards and blooming gardens into the glittering, colorful life, from the other side he saw Leontin's ship with its white sail disappear on the farthest height of the sea between sky and water. The sun just rose splendidly. "

Quotes

  • “No poet gives a finished heaven; he only sets up the ladder to heaven from the beautiful earth. "
  • "Every great inner activity makes you quiet on the outside."
  • "Where there is an enthusiast, there is the top of the world."
  • "We make so much trouble with life and do not know whether we will stay another hour!"
  • "... wretched stuff is love, this dissolute tension in the soul."
  • Although Friedrich sings: "The poet is the heart of the world", he predicts terrible things: "A war ghost will be formed out of the magic smoke of our education, armored, with a pale, dead face and bloody hair."

romance

Julie has to spend the night with two men in the remote mill in Eichgrund: "The night slowly stretched the enormous dragon wings over the circle of wilderness below them, the woods rustled darkly out of the boundless silence."

Poetry is not only very valuable, it is also part of the Eichendorff program. The poet, this “beautiful darling of nature should redeem the will of all beings through the power of love”.

In the sentence “The sunset outside was for him the aurora of a future, wide, glorious life and his whole soul flew into the most wonderful view with large wings.” Eichendorff's poem “ Mondnacht ” , which was only written twenty years later, was already there easily recognizable preformed.

reception

  • Friedrich Schlegel , Otto von Loeben and Fouqué supported the publication of the text. Dorothea Schlegel is said to have taken the title of the novel from Titan and suggested Eichendorff.
  • Gustav Adolf Schöll in a letter of October 21, 1832 to Eichendorff: The book has “... no connection according to the type of reality in a graduated course; but only a connection in the imagination ... ".
  • Eduard Höber (anno 1894): "So carelessly, confused and aimless as Eichendorff generally describes it here, it was ... not in Germany."
  • Ricarda Huch (anno 1902): The novel is "a Hungarian porridge and difficult to enjoy."
  • Herman Anders Krüger (anno 1904): Because of the "bottomless carelessness of the educated" things looked "terribly bleak" in Germany at the time.
  • Hans Brandenburg puts in his "Joseph von Eichendorff. His life and his work ” (1922) used the “ Wilhelm Meister ” as a yardstick:“ Goethe's colossus ”became“ knick-knack ”.
  • Schulz sums it up aptly: Count Friedrich did not cross Germany on his journey in the traditional sense of a change of location, but walked through time; through his time. Disgusted by the intellectually impoverished aristocracy in the residence, Friedrich repeatedly sought the proximity of the quietly living landed gentry. He would take note of the survivors of the old days, throw himself into the struggle for freedom against intruders and become dispossessed in the process. After all, Friedrich's way out was to fight as a clerical knight. For Eichendorff, religion is above art.
  • Paul Requadt (anno 1955): "Eichendorff's novel is a criticism of the German elite of that time."
  • Eichendorff's novel was seen more than once as the successor to " Wilhelm Meister ". For this reason, Hermann August Korff compared the two works and then says that “Awareness and Present” is closer to the Baroque than to the novel of development .
  • Kremer sees the text as Friedrich's journey into his own childhood and draws a parallel to “ Sternbald ” and “ Ofterdingen ”. In addition, reference is made to the salvation-historical painting of the novel.

Settings

Robert Schumann set songs from the novel to music.

literature

Quoted text edition

  • Premonition and present. A novel. With a foreword by de la Motte Fouqué . P. 53–382 in Wolfgang Frühwald , Brigitte Schillbach (Ed.): Joseph von Eichendorff. Premonition and present. Complete stories I. in Wolfgang Frühwald, Brigitte Schillbach, Hartwig Schultz (ed.): Joseph von Eichendorff. Works in six volumes. Volume 2.843 pages. Linen. Deutscher Klassiker Verlag, Frankfurt am Main 1985 (1st edition), ISBN 3-618-60120-4

expenditure

  • Joseph von Eichendorff: An inkling and the present. Schrag, Nuremberg 1815 ( digitized and full text in the German text archive )
  • Gerhart Hoffmeister (ed.): Joseph von Eichendorff: Awareness and Presence. With notes, documents, references and an afterword by the editor. 407 pages. Reclams Universal Library 8229, 1986, ISBN 978-3-15-008229-4

Secondary literature

  • Ansgar Hillach, Klaus-Dieter Krabiel : Eichendorff comment. Volume I. On the seals. 230 pages. Winkler, Munich 1971
  • Egon Schwarz : Joseph von Eichendorff: Awareness and Presence (1815) . P. 302–324 in: Paul Michael Lützeler (Ed.): Novels and stories of German romanticism. New interpretations. 389 pages. Reclam Stuttgart 1981, ISBN 3-15-010308-8
  • Gerhard Schulz : The German literature between the French Revolution and the restoration. Part 2. The Age of the Napoleonic Wars and the Restoration: 1806–1830. 912 pages. Munich 1989, ISBN 3-406-09399-X
  • Günther Schiwy : Eichendorff. The poet in his time. A biography. 734 pages. 54 illustrations. CH Beck, Munich 2000, ISBN 3-406-46673-7
  • Detlev Kremer: Romanticism. Textbook German Studies. 342 pages. Metzler Stuttgart 2007 (3rd edition), ISBN 978-3-476-02176-2
  • Hermann Korte : Joseph von Eichendorff. Rowohlt-Taschenbuch-Verlag, Reinbek 2000. pp. 42–54. ISBN 3-499-50568-1 , (= rororo; 50568; Rowohlt's monographs).
  • Otto Eberhardt: "Hunch and Present". Main figures and tendencies in German poetry around 1800–1812 . In: Otto Eberhardt: Figurae. Roles and names of the people in Eichendorff's narrative . Königshausen & Neumann, Würzburg 2011, ISBN 978-3-8260-4439-7 , pp. 36-124.

Web links

Full text

Poems

Meetings

Individual evidence

Source means the quoted text edition

  1. ↑ Source, p. 615, 12. to 21. Zvo
  2. ↑ Source, p. 613 above
  3. ↑ Source, pp. 55–56
  4. ↑ Source, p. 629, 3. Zvo
  5. ↑ Source, p. 79, 12. Zvo
  6. ↑ Source, p. 85, 3. Zvo
  7. ↑ Source, p. 109, 31. Zvo
  8. ↑ Source, p. 121, 30. Zvo
  9. ↑ Since “ Dolores ” appeared in 1810, the conscious scene cannot act before 1810.
  10. ↑ The song " Laue Luft comes blue flowed " (source, p. 185, 1. Zvo) comes from her.
  11. ↑ Source, p. 381, 12. Zvo
  12. ↑ Source, p. 382, ​​8. Zvo
  13. ↑ Source, p. 156, 30. Zvo
  14. ↑ Source, p. 233, 17. Zvo
  15. ↑ Source, p. 247, 7. Zvo
  16. ↑ Source, p. 344, 22. Zvo
  17. ^ Source, pp. 349, 34. Zvo
  18. ↑ Source, p. 377, 16. Zvo
  19. ↑ Source, p. 381, 7. Zvo
  20. ↑ Source, p. 312, 9. Zvo
  21. ↑ Source, p. 377, 17. Zvo
  22. ↑ Source, p. 190, 29. Zvo
  23. ↑ Schulz, p. 491, 3. Zvo
  24. ↑ Source, p. 615, 2nd Zvu
  25. ↑ Source, p. 629 above
  26. ↑ Schiwy, p. 322, 8. Zvo
  27. ↑ Source, p. 640, 4th Zvu
  28. ↑ Höber cited in Schwarz, p. 304, 10. Zvo
  29. ↑ Huch cited in Schwarz, p. 304, 2. Zvo
  30. ↑ Krüger cited in Schwarz, p. 304, 14. Zvo
  31. ^ Brandenburg cited in Schwarz, p. 304, 17th Zvu
  32. ↑ Schulz, p. 489, 20th Zvu
  33. ↑ Schulz, p. 491, 20. Zvo
  34. ↑ Paul Requadt quoted in Hillach and Krabiel, S. 119, 10. ZVO
  35. ↑ Mignon was compared with Erwin or Philine with Romana.
  36. ↑ Korff quoted in Hillach and Krabiel, p 118
  37. ↑ Paul Requadt and Korff quoted in Hillach and Krabiel, S. 119, 15. ZVO
  38. ↑ Kremer, p. 139 below
  39. ↑ Source, p. 169, 19. Zvo
  40. ↑ Source, p. 179, 7. Zvo
  41. ↑ Source, p. 185, 1. Zvo
  42. ↑ Source, p. 250, 24. Zvo
  43. ↑ Source, p. 270, 11. Zvo
  44. ↑ Source, p. 298, 16. Zvo