Eduard Stucken

from Wikipedia, the free encyclopedia
Eduard Stucken (Photo: Hugo Erfurth )

Eduard Stucken (born March 18, 1865 in Moscow , † March 9, 1936 in Berlin ) was a German writer .

life and work

Ludwig Eduard Stucken’s father, Carl Stucken, emigrated to the USA in 1849 and went from there (as an American citizen) to Moscow, where from then on he headed the Russia branch of the Stucken family business and married Charlotte Luise Kupffer, the daughter of a wealthy merchant from Kurland . In 1876, at the age of eleven, Eduard moved to his maternal aunt's family in Dresden , where he attended the Vitzthumsche Gymnasium . From 1882 to 1884 he completed a commercial training in Bremen and then studied art history , Assyriology and Egyptology in Dresden and Berlin . He worked for the Deutsche Seewarte in Hamburg for a while and undertook extensive trips, which he a. a. to Greece , the Crimea , the Caucasus , Italy and England . In 1890/91 he took part in a scientific expedition to Syria .

From 1891 Stucken lived as a freelance writer in Berlin. In the following decades, in addition to scientific studies on ethnological and linguistic-historical topics, he published an extensive literary work that includes novels , stories , poems and plays .

"Stucken's work, which also includes scientific writings, can be interpreted as a large-scale attempt to understand Europe's history and present of civilization through the cultural-critical contrast to worlds from Central and South America to Polynesia that are as far-reaching as they are fantastic."

- Hermann Korte

In a review of the book edition of Stucken's poems, Die Flammenbraut und Blood feud (1892), it says:

“The shapely, rhyming, iambic verses and the arrangement of the well-invented tragic material suggest that the poet has an unusual talent. Deep mental conflicts, which dissolve in a painful, but thoroughly noble, consequent and sublime way, form black but beautiful shadows in a colorful picture of southern natural beauties. "

In his early, neo-romantic dramas, which were by no means undisputed, he often used materials from the Celtic world of legends .

Leopoldine Konstantin as Maria in the production of Stuckens Gawân in the Berliner Kammerspiele , 1910.

“At the turn of the century, two different types of grail literature can be distinguished: one in which the grail stands as a holistic symbol for a non-fragmented unified world, be it in a more philosophical or in the Christian sense, and another type in which the grail is not , but the grail hero as eternal seeker for unity with himself offers the paradigm. Eduard Stucken combines both dimensions in his dramas from the Arthurian Circle, which he compiled in 1924 into an episode, The Grail, a dramatic epic . "

- Volker Mertens , The Grail. Myth and Literature

Stucken achieved his greatest success with the four-volume novel The White Gods , in which the fall of the Aztec Empire is portrayed. In his essay, Did I Have to Write “The White Gods”? the author points out:

"Without the tremors of war, I would not have set myself the goal of mirroring our time and our fate in the fall of Mexico [...] I had a symbol in mind: a kind of twilight of the gods and world fire, the horror of a culture's annihilation, a culture extermination with stump and Stiel - as it has been possible again and again since the fall of Nineveh and Ilion and will always be possible on earth. "

- Eduard Stucken

Art Nouveau was and is hated by many intellectuals, in particular because of its remoteness from the world . The author and literary scholar Werner Vordtriede (who, by the way, was born exactly 50 years after Stucken to the day), who was then in exile in New York at the time, wrote in his diary on February 21, 1943: “I read three volumes of poetry in the Public Library these days Eduard Stucken, to inform me about him (is he still alive?), Namely ballads , The Book of Dreams and The Island of Perdita . That is probably the most tasteless part of verse that I have read in a long time. The hideous book decorations by Fidus go perfectly with it. […] “As an example of the works mentioned, here are the 16th and 17th stanzas of the poem Das Haar des Mondes with illustration from the volume Balladen (1898):

Fidus' illustration to Eduard Stucken's ballad "The Hair of the Moon"

[...]

When I then climbed the world of light
, the moon took me on my lap,
and his long, silver lock of hair,
the strands of which came down to the earth,
wrapped around me like a skirt.

As a present I gave him my tears.
And with his strands of silver he rubbed off
all the spots on my body,
including all the kisses of men that covered
me when I went into the grave.

[...]

Stucken (3rd from left, seated) in a Senate meeting of the Poetry Section of the Prussian Academy of the Arts , 1929

Eduard Stucken was a member of the Poetry Section at the Prussian Academy of the Arts , to whose Senate he was elected on October 9, 1928. Even after the National Socialist purges of the Academy in 1933, he remained a member; In October 1933, along with Gottfried Benn and Ina Seidel, he was one of the 88 signatories of the “ Vow of Most Faithful Allegiance ”, an address of devotion addressed to Hitler by German authors loyal to the regime . Just like Jochen Klepper or Peter Suhrkamp , he was a member of the Reichsschrifttumskammer ; this was the prerequisite for being able to work as a writer during the Nazi era. Almost two and a half years later he died after a long illness - shortly before the age of 71 - in his Berlin apartment at Burggrafenstrasse 2a (today the Tiergarten district ).

family

A great-uncle of Stuck's maternal side was the Baltic German physicist Adolph Theodor Kupffer , and a paternal great-uncle was the ethnologist and founding director of the Berlin Ethnographic Museum Adolf Bastian .

In his first marriage, Stucken was born with Ania since 1898. Lifschütz married, who died on August 19, 1924 in Saaleck and was also buried there. After he became engaged to Anna Schmiegelow, who was about thirty years his junior on his 60th birthday, the two married on September 6, 1925 in Saaleck; their son Tankred was born on July 8, 1926.

Eduard Stucken: At Anna

Hell like moonlight forest and field covered with snow,
you bring light into my loneliness.
You are the moon, early red too, the morning
wind -: The young day, your child, scares off night spook.
Our sun child ... is it yours? is it mine?
Read in his gaze: we three are one!

Works

  • The Flame Bride. Blood revenge. Two poems [stories in verse]. Schulzesche Hof bookstore by A. Schwartz, Oldenburg u. Leipzig 1892
  • Astral myths of the Hebrews, Babylonians and Egyptians ( Abraham - Lot - Jacob - Esau - Moses ). Leipzig 1896–1907 ( digitized in the Internet Archive)
  • Yrsa. A tragedy in three acts. S. Fischer, Berlin 1897 ( digitized in the Internet Archive)
  • Ballads. Book decorations from Fidus. S. Fischer, Berlin 1898 (digitized version of the 2nd, modified edition in the Internet Archive published by Erich Reiss Verlag in 1920 )
  • Gawân. A mystery . S. Fischer, Berlin 1901 (digitized version of 1901 Dreililien Verlag, Berlin, 2nd edition published in the Internet Archive; from 3rd edition: Erich Reiss Verlag, Berlin 1910 ff.)
  • Hine-moa. New Zealand legend in verse. Breslauer & Meyer, Berlin 1901 ( digitized in the Internet Archive)
  • Contributions to oriental mythology. In: Mitteilungen der Vorderasiatischen Gesellschaft ([№] 4, 7th year). Preiser, Berlin 1902, pp. 46–72
  • Lanvâl. A drama. Dreililien Verlag, Berlin 1903 (digital version of the 2nd edition published in1910 by Erich Reiss Verlag inthe Internet Archive)
  • Myrrha. Drama in four acts. Erich Reiss, Berlin 1908 ( digitized in the Internet Archive)
  • The Abbé Châteauneuf Society. Tragic comedy in one act. Erich Reiss, Berlin 1909
  • Lancelot. Drama in five acts. Erich Reiss, Berlin 1909 ( digitized in the Internet Archive)
  • Astrid. Drama in four acts. Erich Reiss, Berlin 1910 ( digitized in the Internet Archive)
  • Romances and elegies. Erich Reiss, Berlin 1911 ( digitized in the Internet Archive)
  • Merlin's birth. A mystery. Erich Reiss, Berlin 1913 ( digitized in the Internet Archive)
  • The sacrifice of the prisoner. A dance show by the Indians in Guatemala from pre-Columbian times. Freely translated and edited by Eduard Stucken. With an afterword. Erich Reiss, Berlin 1913 ( digitized in the Internet Archive)
  • The origin of the alphabet and the lunar stations. Hinrichs, Leipzig 1913 ( digitized in the Internet Archive)
  • Adrian Brouwer's wedding. A drama in seven pictures. Erich Reiss, Berlin 1914 ( digitized in the Internet Archive)
  • The Book of Dreams [36 poems]. Erich Reiss, Berlin 1916 ( digitized in the Internet Archive)
  • Tristram and Ysolt. A drama in five acts. Erich Reiss, Berlin 1916 ( digitized in the Internet Archive)
  • The white gods. Roman, 4 vols., Berlin 1918–1922 ( Vol. 1 Digitalisat  - Internet Archive , Vol. 2 Digitalisat  - Internet Archive , Vol. 3 Digitalisat  - Internet Archive )
  • The lost me. A tragic comedy. Berlin 1922 ( digitized in the Internet Archive)
  • Grotesques , Berlin 1923
  • Collected works , Berlin 1924 (only vol. 1: The Grail )
  • Vortigern. A tragedy. Erich Reiss, Berlin 1924
  • Larion. Novel. Berlin 1926
  • Polynesian language in America and in Sumer , Leipzig 1927
  • In the shadow of Shakespeare. A novel. Horen-Verlag, Berlin 1929
  • Giuliano. A novel. Zsolnay, Berlin / Vienna / Leipzig 1933
  • Adils and Gyrid [and A Blizzard ]. Two stories. Zsolnay, Berlin / Vienna / Leipzig 1935
  • The island of Perdita. New poems and ballads. Zsolnay, Berlin / Vienna / Leipzig 1935

Published posthumously

  • The sailing gods. Narrative. Zsolnay, Berlin / Vienna / Leipzig 1937
  • Poems , Berlin [a. a.] 1938
  • The falling eagle [= excerpt (95 p.) From The White Gods ]. Field post issue. Karl H. Bischoff Verlag, Berlin / Vienna / Leipzig 1942

Drawings and lithographs

  • Saaleck sketchbook. With a foreword by Paul Schultze-Naumburg . Erich Reiss, Berlin 1922
  • Grotesques. Fifty original lithographs , undated [1923]

literature

  • Hans Franck : Eduard Stucken. In: The literary echo , August 1909, column 1494–1499.
  • Richard Elsner: Eduard Stucken. Gawân, Lanval, Lanzelot (series "Modern Drama in Critical Illumination in Individual Representations", Vol. 8). Elsner, Berlin 1911.
  • Valerian Tornius : The poet Eduard Stucken. Excursus in: German monthly for Russia № 2 of February 15, 1912, pp. 165–172, digitized on periodika.lndb.lv .
  • Robert F. Arnold : Eduard Stucken. Portrait in: Radio Wien № 29 of April 16, 1928, p. 1016 f. (Literary-musical part), digitized by ANNO.
  • Edith Gmainwieser: Eduard Stucken's dramatic work of art , Vienna 1938.
  • Mária von Bozóky: Gerhart Hauptmann: "The White Savior" and Eduard Stucken: "The White Gods". Debreceni Tudományegyetem , Debrecen 1940.
  • Werner Schmitz: Studies on the style of Eduard Stuckens. A contribution to the analysis of neo-romantic style elements. Dissertation, Cologne 1948; University Library, Cologne 1981.
  • Felix Braun : Memory of Eduard Stucken. In: Die Eisblume. Selected essays. O. Müller, Salzburg 1955, pp. 188-193.
  • Ingeborg Carlson: Eduard Stucken. A monograph (inaugural dissertation). Friedrich-Alexander University of Erlangen-Nuremberg, 1961.
  • Gisela Gerda Gallmeister-Strand: The conquest of Mexico as seen in Eduard Stucken's “The White Gods” (dissertation). Vanderbilt University, Nashville / Tennessee, 1973.
  • Ingeborg L. Carlson: Eduard Stucken. A poet and his time. Haude & Spener, Berlin 1978.
  • Matthias E. Kornemann: From astral myth to a novel. Shape and transformation of the motif in Eduard Stucken's work. Dissertation, University of Münster (Westphalia) 1997; Galda + Wilch, Glienicke (Berlin) 1998.
  • Peter Sprengel : History of German-Language Literature 1900–1918. From the turn of the century to the end of the First World War. Munich 2004, ISBN 3-406-52178-9 , pp. 102, 481, 155, 540 and 567 ( limited preview of the book on Google Books ).
  • Volker Mertens : The Tristan fabric in European literature. In: Udo Bermbach (Hrsg.): Focus - focusing on Tristan and Isolde (wagnerspektrum issue 1/2005). Königshausen & Neumann, Würzburg 2005, pp. 37–39 ( preview of the book on Google Books).
  • Brunhild E. Blum: Myth in Historicism. On the understanding of space and time with Eduard Stucken. Guthmann-Peterson, Vienna / Mülheim an der Ruhr 2009, ISBN 978-3-900782-19-1 ( description of content on the publisher's website).
  • Peter P. Pachl : The Grail World of Eduard Stucken and its musical consequences. Research paper (14 pages). GRIN Verlag, Munich 2015 ( detailed excerpt on the publisher's website).

Web links

Wikisource: Eduard Stucken  - Sources and full texts

Individual evidence

  1. ↑ From: "Europe, this nasal popula from a confirmation nose". Gottfried Benn and the Colonial Europe Discourse in Early Literary Expressionism. Published in: Benn Forum. Contributions to literary modernity. 2010/2011, vol. 2. De Gruyter, Berlin / Boston 2011, p. 18 f. ( Preview of the book on Google Books).
  2. ↑ Published in: “Kaufmännische Zeitschrift” (Vienna) on January 15, 1893, p. 13 (“Literature”), digitized by ANNO.
  3. ↑ See reviews of the world premiere of Wisegard in the Intimen Theater (Vienna) in: Neues Wiener Journal № 4341 of November 22, 1905, p. 9 (“Theater und Kunst”), digitized by ANNO, and in: Die Zeit (Vienna) № 1136 of November 22, 1905, p. 3 (“Theater and Art”), digitized by ANNO.
  4. ↑ Volker Mertens: The Grail. Myth and Literature ("Reclam Literature Studies" series), Chapter 14: The Grail in the early 20th century. Reclam, Stuttgart 2003, pp. 233-239 ( preview of the book on Google Books).
  5. ↑ Quoted from Carlson 1978, p. 9.
  6. ↑ Werner Vordtriede: The abandoned house. Diary from the American exile 1938–1947. Carl Hanser, Munich 1975, p. 189; quoted in Walter Kempowski : The echo sounder. A collective diary. January and February 1943 , Vol. 4 (February 16-28, 1943), p. 265.
  7. ↑ The entire ballad Das Haar des Mondes here as a digitized version in the Internet Archive.
  8. ↑ File 1228 of the Prussian Academy of the Arts, sheet 179 of October 10, 1928 ( digitized or PDF in the archive of the AdK).
  9. ^ Obituary for Eduard Stucken in Der Wiener Tag of March 10, 1936, p. 8.
  10. ↑ Carlson 1978, p. 19 (family tree), 20, 78-80 u. 102 (timetable).
  11. ↑ Quoted from Carlson 1978, p. 80.
  12. ↑ Larion. Novel of a cut. Review by Paul Frank in: Neues Wiener Journal № 11.596 of March 4, 1926, p. 3 f. (Feuilleton) ( digitized at ANNO ).
  13. ↑ A linguistic discovery. Review by Felix Braun in: Supplement to the Rigaschen Rundschau № 135 from June 19, 1930, p. 5 ( digitized on periodika.lndb.lv).
  14. ↑ see Kornemann 1998, pp. 358-400 (chapter In the shadow of Shakespeare ; preview at Google Books).
  15. ^ Eduard Stucken's new novel. Anonymous review of Giuliano in: Neues Wiener Journal № 14,356 of November 7, 1933, p. 5 ( digitized by ANNO).
  16. ↑ see Kornemann 1998, pp. 442–461 (chapter The late stories , section I. Adils and Gyrid ; preview at Google Books).
  17. ↑ see Kornemann 1998, pp. 462–498 (chapter The late stories , section II. A Blizzard ; preview at Google Books).
  18. ↑ see Kornemann 1998, pp. 499-520 (chapter The late stories , section III. The sailing gods ; preview at Google Books).
  19. ↑ Snippet view on Google Books.
  20. ↑ See illustration in: Historical Commission of the Börsenverein des Deutschen Buchhandels (Ed.): Archive for History of the Book Industry, Vol. 21 (1980), p. 1203 ( preview of the book on Google Books).
  21. ↑ Probably a dissertation; In 1939 a "Miss Dr. Edith Gmainwieser “Teacher in Vienna, see Michael Kogon: Dear Vati! How's the weather with you? Memories of my father Eugen Kogon . Pattloch eBook, 2014 ( preview of the eBook on Google Books).
  22. ↑ See WorldCat .
personal data
SURNAME Stucken, Eduard
BRIEF DESCRIPTION German playwright, poet and author
DATE OF BIRTH March 18, 1865
PLACE OF BIRTH Moscow
DATE OF DEATH March 9, 1936
Place of death Berlin