Annette von Droste-Hülshoff


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Annette von Droste-Hülshoff (* January 12, 1797 , according to other sources January 10, 1797, at Hülshoff Castle near Münster as Anna Elisabeth Franzisca Adolphina Wilhelmina Ludovica Freiin von Droste zu Hülshoff ;May 24, 1848 at Meersburg Castle in Meersburg ) was a German writer and composer . She is one of the most important German-speaking poets of the 19th century.

Annette von Droste-Hülshoff, painting by Johann Joseph Sprick (1838).

Droste-Hülshoff's signature:
Signature Annette von Droste-Hülshoff (cropped) .jpg

Life

Annette von Droste-Hülshoff, daguerreotype ; one of two photographs of the poet from 1845

Origin and education

Annette von Droste-Hülshoff came from one of the oldest noble families in Westphalia and belonged to the 20th generation of her family. She was born as the second of four children of Clemens-August II. Von Droste zu Hülshoff (1760-1826) and Therese von Haxthausen (1772-1853) on January 12, 1797 at the Westphalian moated castle Hülshoff between Havixbeck and Roxel near Münster. In her fragment In Our Country , the poet erected a literary monument to her parents in the country . Her older sister Jenny was her closest confidante and painted several portraits of the poet. Her younger brother Werner-Constantin succeeded her father on the estate and the youngest brother Ferdinand, who had just become forester, died young after Annette had cared for him with devotion.

The Droste zu Hülshoffs were originally a noble family in the Middle Ages and related to the high nobility. After that, as a hereditary family , they were not only knights and landowners, but many of them held offices as mayors and councilors in the Middle Ages and traded in the Hanseatic city of Münster . Numerous unmarried relatives were Catholic canons and canons. While the male family members mostly had a university education, the female relatives mostly learned their education in canonical pens . Annette's mother had lived in the canonical monastery of St. Bonifatius (Freckenhorst) from the age of thirteen and received an excellent upbringing under Abbess Francisca Lucia von Korff zu Harkotten and Störmede . While her sister Jenny was still able to become a canon in the Hohenholte monastery , this type of education and material security was no longer possible for Annette because these institutions were abolished after the secularization .

Annette's parents stood out from the nobility because of their literary and musical education - they had lived in the city of Munster before she was born, where they belonged to the Munster circle in the context of the Catholic Enlightenment . Bernhard Overberg also belonged to this group ; his - for the time "modern" - pedagogy, which also promoted the education of women, was followed by the upbringing of the Droste-Hülshoff siblings. Her family's connection to literature was already in the 16th and 17th centuries. Century by the humanist Everwin Droste and the member of the productive society , Everwin von Droste zu Möllenbeck . There was also a musical tradition in her family for generations. Annette herself - together with her siblings - was tutored first by her educated mother, then by a house chaplain, who later became a professor at the Paulinum Grammar School (Münster) , and by a French nanny. In this way, the very inquisitive child acquired an education that was exceptional for the upbringing of girls at the time. B. Includes literature in Latin, Greek, French and English as well as knowledge of history, geography and natural history.

Life stations

Bökerhof Castle , home of Annette's mother, b. von Haxthausen , watercolor by Annette von Droste-Hülshoff (1820)

Annette von Droste-Hülshoff's life span fell into a time of political upheaval and economic restrictions that went down in history as the Biedermeier period . The secularization of the Principality of Münster (1803) was followed by the political change of rule to Prussia (1803-1806 and from 1815) - interrupted by the interlude of the Napoleonic Grand Duchy of Berg (1806-1815). She spent the rest of her life in the Prussian provinces of Westphalia and Rhineland as well as the Grand Duchy of Baden , where she died in the revolutionary year of 1848.

Annette had been sickly since childhood and youth due to her early birth; she was only five feet tall and petite. She was also extremely short-sighted , had eye-catching eyes and often suffered from raging headaches. Unlike her sister Jenny , she could only draw moderately, but supported painters and made paper cuttings of considerable quality herself . On the other hand, their short-sightedness enabled them to closely observe and describe nature with microscopic precision. Since her childhood, the health and social restrictions and her intellectual activities were in great tension to her lively imagination and enterprise, the "longing for the distance".

Annette von Droste-Hülshoff saw her calling as a poet early on and did not allow herself to be put off. On the initiative of her parents, she was taught and promoted by Anton Matthias Sprickmann from 1812 to 1819 . Her mother, who was interested in education, in particular recognized her calling and supported her daughter, for example by trying to establish contact with the somewhat younger professor of philosophy and philology, Christoph Bernhard Schlueter , which initially failed because he did not consider the manuscripts sent to be sufficient. Schlüter became Annettes von Droste-Hülshoff's lifelong mentor and friend.

With her mother and sister Jenny, Annette visited the maternal family von Haxthausen in East Westphalia several times for a long time . Her step-uncles, Werner von Haxthausen and his brother August von Haxthausen a . a. with the Brothers Grimm the center of the Bökendorfer Romantikerkreis . The Haxthausen family liked to tell horror stories - the poet later processed one of them into her famous novel Die Judenbuche. Annette also loved telling horror stories, which she later gave a masterful form in her ballads . But the young poetess received no recognition from her relatives there or from their friends. She was fascinating, but her intellectual superiority also deterred her, so that she didn’t let her poetry work. Annette suffered her so-called youth catastrophe there  - a love intrigue who blamed her for the rift with Heinrich Straube , which shook her deeply, but at the same time allowed her spiritual poetry to mature. Afterwards she spent her youth in seclusion in her parents' house in Hülshoff and turned strongly to music.

House Rüschhaus , contemporary representation

Annette von Droste-Hülshoff was a witty, humorous and entertaining conversation and correspondence partner, but mostly by necessity led a withdrawn and restricted life. Because of her health restrictions and the need to rest for her work, she increasingly avoided her mother's travel plans, which were mainly aimed at extended family visits. Although the poet was already able to use the first steamships and railways on her travels along the Rhine, the remaining stretches on sometimes poor roads had to be laboriously covered by carriage. Her first long and long journey alone took her in 1825, a year before her father's death, to the Rhine in Cologne , where she organized the library of her step-uncle Werner von Haxthausen and from where she attended dance balls - her family hoped after the closure Ladies pens to secure them materially through a marriage, but that did not happen. From Cologne she visited Bonn and Koblenz for longer than agreed with her family . In Bonn, where her favorite cousin Clemens-August von Droste zu Hülshoff lived, she met Sibylle Mertens-Schaaffhausen ; Apart from Annette von Droste-Hülshoff, their circle of friends included Johanna and Adele Schopenhauer and Goethe's daughter-in-law Ottilie . In Bonn, which she visited several times until 1842, Annette von Droste-Hülshoff also met August Wilhelm Schlegel , whose proverbial vanity she repelled.

After the death of her father in 1826, the family property was taken over by her brother Werner-Constantin , so that she and her older sister Jenny and her mother moved to their widow's residence, the Rüschhaus near Gievenbeck . There Annette lived with her wet nurse, who the poet looked after there personally until her death, in a small apartment, which she called her "snail shell". Annette, like her mother and sister Jenny, received an allowance from her brother Werner-Constantin, from which she had to pay her mother board and travel expenses. Their provisions, which - applied to today's conditions - corresponded roughly to the salary of an elementary school teacher, were sufficient for their maintenance and also for a certain charity with a frugal lifestyle. Annette was also able to pursue her hobby, collecting fossils, coins and antiques that were exchanged among the relatives. In the then remote homestead still surrounded by heather , z. B. their famous Jewish beech.

Droste-Hülshoff's death room in Meersburg Castle , 2006

Significant for her literary work were her trips to Lake Constance , where she first visited her sister Jenny with her mother, who had married Baron Joseph von Laßberg ("Sepp von Eppishusen"), a collector and researcher of medieval literature and a friend of numerous philologists and poet. In 1835/36, during her sister's pregnancy, she lived in Switzerland for almost a year on what was then her brother-in-law's estate, Eppishausen Castle . From 1841 she lived mainly with them at Meersburg Castle on Lake Constance, but until 1846 saw her home in the Rüschhaus near Nienberge, where she lived with her mother, who occasionally helped her with the housekeeping, and repeatedly her nephews and nieces in Hülshoff Castle and the house Stack taught.

The poet had a separate apartment at Meersburg Castle, which also included a tower, from which she enjoyed a wide view of Lake Constance. There her sister kept her back free from social obligations, on the other hand she was safe in her family, which also included two twin children. She and her brother-in-law Joseph von Laßberg valued each other, but he and the German scholars and historians who frequented him lived spiritually "in another world".

Through the skilful negotiation of her younger friend and sponsor Levin Schücking with the Cotta'sche publishing house bookstore , Annette von Droste-Hülshoff received for the first time a sizeable fee for printing the Jewish book in the Morgenblatt for educated estates . From this she was able to acquire a house, the Fürstenhäusle , at an auction on November 17, 1843 , in a panoramic position above the town of Meersburg with a small vineyard belonging to it. She was very happy about it, but could hardly enjoy it anymore because of her deteriorating health. On the afternoon of May 24th, 1848, Annette von Droste-Hülshoff died in her apartment at Meersburg Castle on Lake Constance, presumably of severe pneumonia. Her grave is in the Meersburg cemetery in Meersburg near the old cemetery chapel.

Droste-Hülshoff as a writer

Fürstenhäusle in Meersburg, formerly owned by the poet, today Droste Museum

Annette von Droste-Hülshoff read a lot from her early youth and was well informed about German, English and French-language literature and the current literary discourses. She was an avid customer of the book lenders and a member of a literary salon in Münster, the so-called hedge writers' society, which her close friend Elise Rüdiger had founded and to which her literary foster son Levin Schücking belonged. Although she was in correspondence with intellectual contemporaries, she never evaded the demands of her family, for example when she was repeatedly called in as a nurse. Her correspondence inside and outside her family contains many literary treasures. Since she was constantly ailing herself, breaking with her family or trying to earn a living by writing was never an option. She refused to conform to fashion trends and efforts to gain notoriety and was confident enough to foresee her post-fame.

When Annette von Droste-Hülshoff published her first volume of poetry with Aschendorff in 1838 - semi- anonymously out of consideration for her family  - it was a failure. However, she remained true to her calling, took her literary work very seriously and was aware of creating great art. Her ballads became famous ( Der Knabe im Moor ), as did her novella Die Judenbuche , which was translated into many world languages ​​and filmed. Her poetry is still important today . The nature of the Münsterland , Lake Constance with the Alps and the historical places where her work took place had an inspiring effect on the poet and were often processed by her literarily. Due to her vivid descriptions of nature, she is still perceived today as “the” poet of Westphalia and Lake Constance.

She has been a Catholic poet since the Kulturkampf , but her confessional narrowness was an abomination - many of her close friends and relatives were Protestant. She also sat down with writings critical of religion, e.g. B. von Ludwig Feuerbach , apart. An important document of deep religiosity is her cycle of poems, The Spiritual Year, in which, however - typical of the time - the turmoil between enlightened consciousness and religious faith is also shaped. Annette von Droste-Hülshoff presents a poem for each day of the church year , which shows her as a practicing Catholic who is seriously struggling for her faith. She dedicated the first part of this work to her mother with a dedication, who foresaw that her inner struggles would not be fully understood by her. Some of the hints in this work are now considered autobiographical, as she worked on the entire cycle for over 20 years.

The east side of Meersburg Castle, view from the New Castle

With the above Much younger writers and literary critic Levin Schücking had a poet friendship since 1837. He was the son of the poet and friend of her parents Katharina Sibylla Schücking , who died when Schücking was around 17 years old. Annette helped the young lawyer achieve a breakthrough by leaving him anonymously her texts for the work he wrote with Freiligrath , The painterly and romantic Westphalia . Through Annette von Droste-Hülshoff's mediation, he became a librarian with her brother-in-law at Meersburg Castle in 1841 . Most of the "secular" poems were written in Meersburg under the inspiration of her motherly love and his literary knowledge, which led to the so-called "poet's bet". The departure of Schücking in 1842, who was looking for further professional development and married the poet Louise von Gall , hit her just as sensitive as indiscretions about the nobility , which he dealt with in his work Die Ritterbürtigen . So it came - also under pressure from her family - to break the relationship with her friend and sponsor.

In literary history, the work of Annette von Droste-Hülshoff still belongs to the Romantic period . B. with the Jewish book but already the realism . The great poet did not want to be famous in her lifetime, but rather to be “still read after a hundred years”. In her - almost modern - soul gaze, in her willingness to make sacrifices, in her self-confidence and in her creative power, she surpassed many contemporaries and has thus become a role model for many women to this day. To this day, it is not only read in school lessons, but its life and work inspires contemporary authors. The complexity of her personality and her work offers starting points for psychological and parapsychological interpretations, but also for misinterpretations in the light of contemporary ideologies. Ultimately, Droste remains an ingenious poet's phenomenon that can never be fully exploited.

Droste-Hülshoff as a musician and composer

Bust in the garden of Hülshoff Castle, 2006
Meersburg, access to the old castle: bust of Annette von Droste-Hülshoff
Gravestone in Meersburg, 2006

Annette's career as one of the most important writers initially went hand in hand with that of a musician and composer. Her work as a composer has long been suppressed or forgotten. Her music and her poetry initially interacted with one another.

Annette's parents were open to music, her father was a passionate violinist himself. In the headquarters of the Droste-Hülshoffs at Hülshoff Castle, there is still a considerable collection of sheet music and music materials that was essential for making music at home in the family. The children of the family were often taken to concerts and musical theater events and introduced to contemporary music. Annette's uncle Maximilian-Friedrich von Droste zu Hülshoff was himself a composer and friend of Joseph Haydn . From 1809 Annette received piano and organ lessons, a. a. at the organist of the Hohenholte collegiate church . She was often asked to audition or to accompany others on the piano - so she gradually perfected her skills. In 1812 her mother Therese wrote enthusiastically that the daughter “threw herself on composing with all the vehemence of her character”.

In 1820 Annette gave her first public vocal concert in Höxter . It wasn't until late, between 1824 and 1831, that Annette also received singing lessons. About her voice it was reported that she was “full, but often too strong u. bright, but goes very deep, u. is most pleasant then ”. It is reported from Cologne that she had a better voice than Angelica Catalani (1780–1849), who was considered one of the best sopranos of her time. Annette also gave other family members singing and piano lessons.

In 1821, Annette received an edition of his composition theory Some Explanations about the General = Bass and the art of composing from her uncle Maximilian , about which she happily writes: “What follows from this? That, out of gratitude, I study the entire work from beginning to end and learn it by heart! ”Optimally prepared - also through studying contemporary music scripts and compositions - Annette began to compose. More or less executed libretti and music were created for four opera projects. In 1836, during a stay in Eppishausen, Switzerland, she was made aware of the Lochamer songbook and encouraged to edit the songs it contained for voice and piano. Around 74 songs have been preserved from her pen, which refer entirely to the commandments of the song schools of the time and are characterized by their easy and catchy singability.

With Clara Schumann and Robert Schumann Annette stood corresponded Contact: In 1845, the famous pianist and composer asked Annette to a libretto, so that her husband set to music there. Robert himself had already set a poem by Annette ( Das Hirtenfeuer, op. 59,5) to music, which had appeared in a collection of poems in 1844 which he held in high regard.

Annette never played her own works in public. Her work as a composer only came to light in 1877, when Christoph Bernhard Schlüter (1801–1884) had some works from the poet's estate published (songs with piano accompaniment. Composed by Annette von Droste-Hülshoff). He also set a monument to her in the 1848 necrology by emphasizing "her great talent for singing and music" and also that she had the "rarest gift" of "translating poetry into music and music into poetry". It was not until the 20th century that her estate was fully viewed and thus her music was examined in more detail.

Annette von Droste-Hülshoff linked her musical talent with high standards, which also led to a conflict with her literary ambitions: "... writing opera lyrics is something too pathetic and too crafty." Ultimately, Annette decided in favor of poetry - music stepped into the background. Her (musical) estate is now on permanent loan from the University and State Library of Münster.

Hülshoff Castle

Portraits and photographs

Front of the 20 DM note

Her sister Jenny painted several portraits of the poet. A miniature created by Jenny in 1820 later served as a template for the design of the fourth series of the 20 DM banknote with her famous sister. As a teenager, Annette von Droste-Hülshoff was also painted by C. H. N. Oppermann around 1818 .

In addition to a drawing by Adele Schopenhauer from 1840, there are many paintings by Johann Joseph Sprick (1808–1842), whom she often supported financially.

She was photographed by Friedrich Hundt , who preserved the daguerreotypes by Annette von Droste-Hülshoff for posterity.

Honors

Droste-Stein in Königslau, a forest near Bökendorf , 2012

In addition to the already mentioned 20 DM banknote, Annette von Droste-Hülshoff was also featured as a motif on two German stamp series : from 1961 as part of the series Important Germans and from 2002 as part of the series Women in German History .

The Annette von Droste Hülshoff Prize , the Asteroid (12240) Droste Hülshoff and the Droste Prize of the City of Meersburg were named after her. Several schools bear her name.

In 2014, a Google Doodle was dedicated to her.

In the castle park of Burg Hülshoff there is a monument by Anton Rüller and Heinrich Fleige from 1896. The monument served as a template for a bust that is now located near Meersburg Castle. It was made shortly afterwards by Emil Stadelhofer . This memorial was also used as a template for the half-length portrait on part of the emergency coins of the Province of Westphalia and the associated hybrid medal .

The Droste-Stein in Königslau, a forest near Bökendorf , was built in 1964 in memory of Annette von Droste-Hülshoff. The reference to the location of the Judenbuch is based on an error. The murder of the Jew Soistmann Berend from Ovenhausen on February 10, 1783, which inspired Droste to write her novella Die Judenbuche , happened on the southern slope of the mountain on the forest path from Bökendorf to Ovenhausen .

In Münster the scene , the authors always bring a tribute to Droste-Hulshoff below, as a result 511 ( The dark spot , 2002), at the beginning of the ballad The boy in the bog is brought, or resulted in 659 ( gently rest! , 2007 ), in which the dead lark is recited in a nightly cemetery scene . In 2015, the Konstanzer Tatort dedicated the 935th episode of Château Mort to a - freely invented - “wedding wine” of the (unmarried) Annette von Droste-Hülshoff. In fact, the Meersburg State Winery , which also cultivates the vines that formerly belonged to the poetess, has been producing a Cuvée Annette wine in her honor since 1998 .

A street was named after Annette von Droste-Hülshoff in many cities, including in her home town of Roxel . In addition, the district of Münster is advertised as the birthplace of the poet on the entrance sign. In June 2012 it became known that the municipality of Havixbeck, to which Hülshoff Castle was added after the municipal reorganization in 1975, was planning to add “Havixbeck - birthplace of Annette von Droste-Hülshoff” to its entrance signs, which is what Roxel calls "History falsification" was criticized.

Literary reception

“Die Droste” was and is the subject of numerous literary studies, which are funded in particular by the Annette von Droste Society and the Droste Research Center of the Westphalia-Lippe Regional Association. Her literary and musical work as well as her correspondence are well accessible through a historical-critical edition and the Droste yearbooks . Her memory as the most important female poet of the 19th century and one of the earliest and most important German-speaking female poets is also reflected in the Droste museums at her places of work, through Droste literature prizes, through the Annette von Droste zu Hülshoff Foundation with her center for literature at Hülshoff Castle , kept up to date by numerous schools with their names and through novels and films related to their lives and work.

Writers such as B. Gertrud von le Fort , Reinhold Schneider and Werner Bergengruen appreciated Annette von Droste-Hülshoff.

Sarah Kirsch expresses in her poem Der Droste I would like to fill water with her admiration for the colleague with whom she, the “late-born”, “chuckles across the moor” and interprets Droste-Hülshoff's relationship with Levin Schücking (Yours Lewin, We both love the bold).

Several biographies and biographical novels deal with the Droste's life. Karen Duve e.g. B. with Fräulein Nice's short summer, published in 2018, in the form of a novel with a detailed look at the family environment and the milieu of the young late romanticists , tells of a brief phase in the life of 20-year-old Droste-Hülshoff, which shaped her further as a profound turning point Life and work.

Annette von Droste-Hülshoff also stimulated the literary talent of later members of her family: her nephew Ferdinand von Droste zu Hülshoff , her godchild Elisabeth von Droste zu Hülshoff , her niece Therese Dahn , her great-nephew Heinrich von Droste zu Hülshoff , his daughter Maria Annunziata and her great-great-great-nephew Wilderich von Droste zu Hülshoff (including the author of the book Annette v. Droste-Hülshoff in the tension between her family ) published and / or publish fiction.

A letter from Annette von Droste-Hülshoff to Anton Matthias Sprickmann from 1819 was added by Walter Benjamin to the collection of letters from German people .

Droste museums

Archives and foundations

In the Westphalian Literature Archive of the Regional Association of Westphalia-Lippe (LWL) working manuscripts and clean copies from the "Meersburger estate" Annette von Droste-Hulshoff be preserved and digitized.

On September 28, 2012 the Annette von Droste zu Hülshoff Foundation was officially recognized. She wants to keep the house where the poet was born at Hülshoff Castle near Havixbeck for public use. In addition, literary events, exhibitions and research projects are funded.

Works

Seals

  • Poems. Aschendorff bookstore, Münster 1838.
    • Hospice on the great Saint Bernard (epic, 1828–1833)
    • The Doctor's Legacy (Epic, 1834)
    • The Battle of Loener Bruch A. 1623 (Epic, 1837/38)
    • The Säntis
    • At the pond
    • The Count of Thal
    • fragment
  • The Jewish beech . (Novelle appeared in the magazine Morgenblatt for educated readers. ) 1842.
  • Poems. Cotta, Stuttgart / Tübingen 1844. ( Digitized and full text in the German text archive ; full text based on the Liechtensteinverlag, Vaduz 1948 edition in Gutenberg-DE )
    • Zeitbilder (1841–1843)
    • Haidebilder (1842)
    • Rock, forest and lake (1841–1843)
      • At the tower
      • The dreary house
      • In the moss
    • Poems of various content
      • The Taxus Wall (1841)
      • The reflection (1842)
      • Old Pastor's Week
      • The donkey
      • The best policy
    • Joke and seriousness
    • Ballads (1840–1842)
      • Revenge
      • The vendetta
      • The Fundator
      • The sisters
      • The death of Archbishop Engelbert of Cologne
      • The purgatory of the Westphalian nobility
      • The Cappenbergs Foundation
      • Kurt von Spiegel
      • The Miss von Rodenschild
      • The spirit of the horse deer
  • Moon rise (poem, 1844)
  • In the grass (poem, 1844)
  • Westphalian descriptions. (1845)
  • The spiritual year. (Cycle of poems), 1818–1820 / 1839–1840 ( projekt-gutenberg.org ).
    • On the last day of the year (New Year's Eve)
  • Last gifts. Faded leaves. Edited by Levin Schücking. Rumpler; Grimpe, Hannover 1860. ( Digitized and full text in the German text archive ; full text based on the Liechtensteinverlag edition, Vaduz 1948 in Gutenberg-DE )
  • Joseph. A crime story . Fragment, written in 1845, published in 1886.
  • With us on land in the country. (Fragment, estate), 1862.
  • Letters from Annette von Droste-Hulshoff and Philip W. .
  • Winfried Woesler (Hrsg.): Historical-critical edition. Works, correspondence. 13 volumes in 25 sub-volumes. Niemeyer, Tübingen 1978-2000
  • Annette von Droste-Hülshoff: Poems and prose , selection and epilogue by Emil Staiger , Manesse, Zurich 1998, ISBN 3-7175-1100-9
  • (Irmgard Elfriede) IE Walter, Ed .: Droste-Hülshoff's works in one volume . Edited and interpreted for the present. Series: The Bergland book classics. The Bergland Book, Salzburg 1954; again: Deutscher Bücherbund, undated (1954)

Musical works (selection)

  • 15 songs for voice and piano (until about autumn 1838), summarized in fair copy
  • Minnelieder, 5 songs for the same (before 1834)
  • 8 single songs for that
  • 4 song fragments for that
  • 4 polyphonic songs
  • Lochamer songbook for voice and piano (1836, arrangement)

Musical stage works

  • Babilon (based on Babylon by Friedrich de la Motte Fouqué), 3 idylls from the women's pocketbook for the year 1820, pp. 1–38 (between 1820 and 1837), prelude and music for 6 text passages as an orchestral and / or piano version
  • The blue cherub (based on The blue cherub, Singspiel by Adam Oehlenschläger, Kassel 1823, 1828) (between 1823 and 1837), notes for the planned composition, list of voices for the characters received; Aria for Singst. and Kl. Once I was drawn to Südlands Auen
  • Der Galeerensklave (after Der Galeeren-Sklav by M. Fernouillot de Falbaire, German Münster 1777) (1820s), libretto as a prose draft, no music preserved
  • The Anabaptists (roughly between 1837 and 1839) only preserved musical motifs

literature

One of the best-known authors and editors of works by Annette von Droste-Hülshoff was Clemens Heselhaus . He gave Selected Works, Works. In one volume and all works out, which appeared in several editions.

  • Wilderich von Droste zu Hülshoff : Annette von Droste-Hülshoff in the field of tension of her family. Volume XI. of the series From the German aristocratic archives. CA Starke Verlag, Limburg (Lahn) 1997, ISBN 3-7980-0683-0 .
  • Wilderich from Droste to Hülshoff : 900 years of Droste to Hülshoff. Verlag LpV Hortense von Gelmini , Horben 2018, ISBN 978-3-936509-16-8 .
  • Franz Josef Kosel: The wild, hard-tamed embers - The life of Annette von Droste-Hülshoff in pictures. Anno-Verlag, Ahlen 2019, ISBN 978-3-939256-86-1 .
  • Karen Duve : Miss Nice short summer . Novel. Galiani, Berlin 2018, ISBN 978-3-86971-138-6 .
  • Cornelia Blasberg, Jochen Grywatsch (ed.): Annette von Droste-Hülshoff manual. de Gruyter, Berlin 2018, ISBN 978-3-11-035194-1 .
  • Peter Berglar : Annette von Droste-Hülshoff in self-testimonies and photo documents. Rowohlt, Reinbek 1967.
  • Angelika Jakob : I have to walk without a lamp. Annette von Droste-Hülshoff - a poetic biography. Siegen 1997 (Paderborn 1994), ISBN 3-927104-66-3 .
  • Barbara Beuys : I don't like to embarrass myself. The life of Annette von Droste-Hülshoff. Munich 1999, ISBN 3-446-19751-6 .
  • Clemens Heselhaus : Annette von Droste-Hülshoff. Bagel, Düsseldorf 1971, ISBN 978-3-513-02119-9 .
  • Wilhelm Kreiten : Anna Elisabeth Freiin von Droste-Hülshoff. A character image as an introduction to their works. Paderborn 1886, 2nd edition 1900.
  • Herbert Kraft : Annette von Droste-Hülshoff. 5., rework. Edition, Reinbek near Hamburg 1998, ISBN 3-499-50517-7 .
  • Ronald Schneider: Annette von Droste-Hülshoff. 2nd completely revised edition. Stuttgart 1995.
  • Walter Gödden : “Longing for the Distance” - Travel through the Biedermeier period . Düsseldorf 1996.
  • Herbert Kraft: Annette von Droste-Hülshoff. An image of society. 1996.
  • Doris Maurer : Annette von Droste-Hülshoff. Turm-Verlag, 1996, ISBN 3-929874-01-6 .
  • Ursula Koch : Only a light now and then. Brunnen Verlag, Giessen 2001, ISBN 3-7655-1685-6 .
  • Ortrun Niethammer (Ed.): Transformations. Texts and contexts at the end of the historically critical Droste edition. Ceremony and conference in Münster on July 6th and 13th / 14th July 2001. Aisthesis-Verlag, Bielefeld 2002, ISBN 3-89528-381-9 (= publications of the literature commission for Westphalia. 6).
  • Gert Oberempt: The poets and the Droste. Productive reading in classical modernism. Bielefeld 2002 (= publications of the literature commission for Westphalia. 7).
  • Dieter Borchmeyer : The horror's sweetness. Annette von Droste-Hülshoff. Hanser, Munich 1997.
    • Revised New edition: Annette von Droste-Hülshoff. May only secretly loosen my hair. Deutscher Taschenbuch Verlag, Munich 2003.
  • Winfried Woesler, Ulrich Wollheim (eds.): Droste-Jahrbuch 5 (1999-2004). Munster 2004.
  • Ilse Pohl: Miniatures - About Cornelia Goethe, Adele Schopenhauer, Clara Schumann and Annette von Droste-Hülshoff. Verlag der Cornelia Goethe Akademie, 2005, ISBN 3-933800-06-4 .
  • Monika Ditz, Doris Maurer : Annette von Droste-Hülshoff and her friends. Turm-Verlag, 2006, ISBN 3-929874-05-9 .
  • Heiko Postma : "And can only secretly loosen my hair ..." About the poet Annette von Droste-Hülshoff. jmb-Verlag, 2008, ISBN 978-3-940970-08-4 .
  • Jochen Grywatsch, Winfried Woesler (eds.): Droste-Jahrbuch 6, 2005/2006. Hanover 2007, ISBN 978-3-86525-066-7 .
  • Aribert von Ostrowski: Droste (Second sight). An exhibition in the Museum for Westphalian Literature - Kulturgut Haus Nottbeck in Oelde. Edited by Jochen Grywatsch, Bielefeld 2007, ISBN 978-3-89528-608-7 .
  • Renate Böschenstein : Idyll, death space and aggression. Contributions to Droste research. Edited by Ortrun Niethammer. Bielefeld 2007.
  • Claudia Liebrand: Creative refactories. Annette von Droste-Hülshoff's texts. Freiburg 2008.
  • Jochen Grywatsch (Ed.): Space. Place. Topographies of Annette von Droste-Hülshoff. Droste Yearbook 7, 2007/2008. Hanover 2009, ISBN 978-3-86525-117-6 .
  • Claudia Liebrand, Irmtraud Hnilica, Thomas Wortmann (eds.): Redigierte Tradition. Annette von Droste-Hülshoff's literary historical positioning. Ferdinand Schoeningh, Paderborn 2010.
  • Günther Butkus, Frank Göhre (Ed.): Just like you me. 19 variations on Die Judenbuche by Annette von Droste-Hülshoff. Bielefeld 2010, ISBN 978-3-86532-200-5 .
  • Jochen Grywatsch (Ed.): Room vacant. Ten museum designs for Annette von Droste-Hülshoff. New ways of the literature exhibition. Bielefeld 2011, ISBN 978-3-89528-869-2 .
  • Jochen Grywatsch, Winfried Woesler (eds.): Droste-Jahrbuch 8, 2009/2010. Hanover 2011, ISBN 978-3-86525-234-0 .
  • John Meier , Erich Seemann : Folksong recordings by the poet Annette von Droste-Hülshoff. In: Yearbook for Folk Song Research. 1, 1928.
  • Karl Gustav Fellerer : The Lochamer song book in the adaptation of Annette von Droste-Hülshoff. In: Music Research. 5, 1952.
  • Karl Gustav Fellerer: Annette von Droste-Hülshoff as a musician. In: Archives for Musicology . 10, 1953.
  • Anna Focher: Annette von Droste-Hülshoff, poetessa e musicista. In: Nouvelle Rivista Musicale Italiana. 20, 1986.
  • Bodo Plachta: Annette von Droste-Hülshoff. In: Ludwig Finscher (Hrsg.): Music in the past and present. 2nd edition, Kassel / Basel 2001, person part, vol. 5, col. 1436 ff.
  • Winfried Woesler: Model case of reception research. Droste reception in the 19th century. Documentation, analyzes, bibliography. Prepared in collaboration with A. Haverbush, L. Jordan, 2 volumes, Frankfurt am Main / Bern / Cirencester 1980.
  • Bodo Plachta, Winfried Woesler (Ed.): Annette von Droste-Hülshoff. All works in two volumes. Frankfurt am Main 1994 (the libretti in vol. 2). ISBN 978-3-618-62000-6 .
  • Bodo Plachta (ed.): Annette von Droste-Hülshoff (1797–1848). "But after a hundred years I want to be read". Exhibition catalog, Wiesbaden 1997. ISBN 978-3-88226-898-0 .
  • Ernst AlkerDroste zu Hülshoff, Anna Elisabeth Franziska Adolphine Wilhelmine Louise Maria Freiin von. In: New German Biography (NDB). Volume 4, Duncker & Humblot, Berlin 1959, ISBN 3-428-00185-0 , pp. 129-132 ( digitized version ).
  • Kindler's Literature Lexicon . Edited by Heinz Ludwig Arnold . 3rd, completely revised edition, 18 vols., Metzler, Stuttgart 2009, ISBN 978-3-476-04000-8 . Vol. 3, pp. 781-786.
  1. a b c d e f g Work group article on Das Lyrische Werk by Ortrun Niethammer.
  • Poems and interpretations. Vol. 4: From Biedermeier to Bourgeois Realism. Edited by Günter Häntzschel . Reclam, Stuttgart 2000 [first 1983]. Pp. 145–167 [interpretation of On the last day of the year (New Year's Eve) by Winfried Woesler and Im Grase by Heinz Rölleke]. ISBN 978-3-15-007893-8 .
  1. ^ Article by Heinz Rölleke
  2. ^ Article by Winfried Woesler

University publications

  • Wilhelm Gössmann : The problem of guilt in the work of Annette von Droste-Hülshoff. Tokyo 1956, DNB 480160392 (Dissertation University of Munich, Philosophical Faculty, June 11, 1956, 164 counted sheets, 4, typescript ).
  • Rüdiger Nutt-Kofoth: Last gifts from Annette von Droste-Hülshoff: (1860); on how to deal with an early estate edition in terms of editorial philosophy; an exemplary study (=  work on edition science, volume 5), Lang , Bern u. a. 1996, ISBN 3-906763-46-3 (Dissertation University of Osnabrück 1996, Volume 1: Investigations. 602 pages, 23 cm; Volume 2: Enclosed: Facsimile print of the edition, Droste, Münster 1860, 292 pages, 22 cm).

media

  • Audio book: Annette von Droste-Hülshoff. HörVerlag, Munich 1997 (content: Walter Gödden, Nachtwandlungen. Radio play - Penny S. Michel reads Droste's poems).
  • "Levin, dear boy". Annette von Droste-Hülshoff's correspondence with Levin Schücking. Ardey, Cologne / Münster 2000, ISBN 3-87023-119-X [Edition Nyland. two audio CDs].
  • Annette von Droste-Hülshoff: Ledwina. A listening feature by Walter Gödden. Read by Sabine Negulescu. Aschendorff, Münster 2007, ISBN 978-3-402-00435-7 .
  • Alone with my magic word, Annette von Droste-Hülshoff on Lake Constance. VHS video, SWR Landesschau 2000, SWR Media, Baden-Baden.
  • Annette Droste. Poems - prose - letters - music. 3 CDs with full text. Lutz Goerner. On the wing: Annekatrin Sonn, Naxos audio books - Putzbrunn / Munich / Kirchheim near Munich 2002, ISBN 978-3-89816-110-7 .
  • "When I dream ..." Droste music from the Fürstenhäusle in Meersburg. Annette and Maximilian von Droste-Hülshoff. WETO-Verlag, CD 98029, 1998.
  • Alone with my magic word. Annette von Droste-Hülshoff. Your life in letters, poetry, prose and music. From Georg Brintrup . Soirée of the SWR with Marianne Kehlau , Ludwig Thiesen , Armas Sten Fühler, Friedrich von Bülow, Gisela Zoch-Westphal , Gert Westphal and others. a. First broadcast on June 10, 1978 (160 minutes).

Web links

Wikisource: Annette von Droste-Hülshoff  - Sources and full texts
Commons : Annette von Droste-Hülshoff  - album with pictures, videos and audio files

Individual evidence

  1. On the 217th birthday of Annette von Droste-Hülshoff. ( Memento from January 16, 2014 in the Internet Archive ). On the problem of the Droste's date of birth.
  2. For the research discussion regarding the date of birth cf. in summary Walter Gödden: Annette von Droste-Hülshoff. A poet's chronicle. 1993, p. 23.
  3. “My songs will live” - life and work in fast motion. ( Memento from January 10, 2014 in the Internet Archive ).
  4. Annette von Droste zu Hülshoff. ( Memento of February 2, 2014 in the Internet Archive ). Biography at: Burg-Huelshoff.de.
  5. Google dedicates a doodle to Annette von Droste-Hülshoff.
  6. Wilderich von Droste zu Hülshoff: 900 years Droste zu Hülshoff- Verlag LpV Hortense von Gelmini, Horben 2018, ISBN 978-3-936509-16-8 .
  7. ^ Between revolution and restoration, Biedermeier and Vormärz. ( Memento of September 5, 2008 in the Internet Archive ). Biography at the Regional Association of Westphalia-Lippe.
  8. Presentation. Subject: "The Jewish Beech" by Annette von Droste Hülshoff.
  9. Annette von Droste-Hülshoff. In: Balladen.de. Retrieved June 24, 2009 .
  10. According to other sources January 10 or 14, for example in the biography of Annette von Droste-Hülshoff in the Lexicon of Westphalian Authors , accessed on June 24, 2009.
  11. For January 14th speaks a scientific article by August Schröder in the contributions to Westphalian family research, Volume 33–35, 1975–1977.
  12. She wrote about it: That I “recognized my dear parents so clearly that you could point at them with your fingers - that wasn't really my intention, I just wanted to borrow individual features ... now I'm afraid everyone will take it for portrait ... “(Letter of July 20, 1841 to August von Haxthausen ).
  13. on the origin of her family s. Wikipedia page Burg Hülshoff , discussion
  14. Wilderich von Droste zu Hülshoff: 900 years Droste zu Hülshoff. Verlag LpV Hortense von Gelmini, Horben 2018, ISBN 978-3-936509-16-8 .
  15. Rudolf Walbiner Introduction P. XII f. in: Droste-Hülshoff: Works in one volume , Aufbau-Verlag Berlin and Weimar, BDK edition, 1989, 7th edition, ISBN 3-351-00674-8 .
  16. Wilderich von Droste zu Hülshoff: Annette von Droste-Hülshoff in the tension between her family. Volume XI. of the series From the German aristocratic archives. C. A. Starke Verlag, Limburg (Lahn) 1997, ISBN 3-7980-0683-0 .
  17. Winfried Woesler (Ed.): Correspondence. Annette von Droste-Hülshoff. Historical-critical edition. Vol. 8.1, p. 79.
  18. ^ Friedrich Beneke (1787–1865). Quoted in: Bodo Plachta (Ed.): Annette von Droste-Hülshoff (1797–1848). "But after a hundred years I want to be read". Exhibition catalog, Wiesbaden 1997, p. 153.
  19. I learn the figured bass by heart. Retrieved December 16, 2018 .
  20. Winfried Woesler (Ed.): Correspondence. Annette von Droste-Hülshoff. Historical-critical edition. 1980, vol. 1,1, p. 104.
  21. Winfried Woesler (Ed.): Correspondence. Annette von Droste-Hülshoff. Historical-critical edition. 1980, Vol. 10.1, p. 297.
  22. a b c lwl.org: Annette von Droste-Hülshoff. ( Memento of September 5, 2008 in the Internet Archive ). Retrieved November 11, 2010.
  23. lwl.org: gallery. The author. ( Memento from May 16, 2012 in the Internet Archive ). Retrieved April 21, 2012.
  24. Heinrich Fleige . In: General Artist Lexicon . The visual artists of all times and peoples (AKL). Volume 41, Saur, Munich a. a. 2004, ISBN 3-598-22781-7 , p. 140.
  25. schule-bw.de: Annette von Droste Hülshoff in Meersburg - poem, list of links and picture gallery. ( Memento of November 14, 2011 in the Internet Archive ). Retrieved November 10, 2010.
  26. On the trail of a forgotten artist. In: suedkurier.de. January 22, 2009, accessed November 10, 2010 .
  27. ^ Zwittermedaille o. J. Freiherr von Stein, Annette von Droste Hülshoff. In: acsearch.info. February 8, 2017, accessed December 16, 2018 .
  28. ^ Thomas Schubert: Havixbeck - Birthplace of Annettes? Roxeler Heimatfreunde are annoyed by the marketing efforts of the neighboring community. In: wn.de . June 19, 2012, accessed December 16, 2018 .
  29. 1997 Annette von Droste Hülshoff Prize of the Westphalia-Lippe Regional Association.
  30. Sarah Kirsch: Magic spells. Munich 1974, p. 42.
  31. Karen Duve: Miss Nice Short Summer . 2nd Edition. Galiani, Berlin 2018, ISBN 978-3-86971-138-6 .
  32. "Meersburger Nachlass" remains in Münster. In: Südkurier . 23rd August 2018.
  33. ^ Establishment of the Annette von Droste zu Hülshoff Foundation. In: lwl-kultur.de. Archived from the original on June 30, 2018 ; accessed on April 19, 2020 .
  34. "edited" means several interim "notes" in the ed., Each with 3–4 pages, which together form a complete introduction. Hülshoff's texts are in the original and the letters are reproduced in full. A total of 1054 pages of thin paper. Letters on pp. 59 - 251. b / w illustrations, portraits, manuscript pages, on art paper