Emanuel Geibel

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Emanuel Geibel, ca.1860
Emanuel Geibel signature.jpg
Geibel's birthplace at Fischstrasse 25 in Lübeck, in the picture second house from the right, 25 years after Geibel's death.
Retirement home in Lübeck
Tomb at the Burgtorfriedhof in Lübeck

Franz Emanuel August Geibel (born October 17, 1815 in Lübeck ; † April 6, 1884 there ) was a German poet . He was a literarily highly esteemed and extraordinarily popular author, whose artistic song work inspired composers such as Robert Schumann , Hugo Wolf , Felix Mendelssohn Bartholdy and Johannes Brahms . Its appreciation fell sharply in the 20th century (from around 1915). His wandering song May has come and the closing verses of the poem Germany's Profession have remained widely known . 1861 , And the world may recover once again with the German being , which Kaiser Wilhelm II, among others, transformed into a political catchphrase ( May the world recover with the German being ).

Life

Franz Emanuel Geibel was born the seventh of eight children at Fischstrasse 25 in Lübeck. The son of the revival preacher of the Reformed congregation Johannes Geibel and the merchant's daughter Elisabeth Louise Ganslandt (1778–1841) visited the Katharineum in Lübeck , which he left as the best in his class. As a schoolboy he published under the pseudonym “L. Horst ”wrote his first poem in the Deutsche Musenalmanach published by Adelbert von Chamisso and Gustav Schwab for the year 1834 . From April 1835 studied Geibel in Bonn at the request of the father theology at Friedrich Bleek , philosophy with Christian August Brandis and Classical Philology at Rudolf Heinrich Klausen and Friedrich Gottlieb Welcker . Here he joined the Ruländer Bonn fraternity . The meeting in Bonn with Karl Marx and Karl Grün had no influence . With Moriz Carrière u. a. they formed a 'poets wreath'.

In the spring of 1836 he moved to Berlin , where he was on friendly terms with Adelbert von Chamisso , Bettina von Arnim and Franz Kugler and was introduced to the Literary Society by Julius Eduard Hitzig . Geibel's professors were u. a. August Boeckh , Johann Gustav Droysen , Karl Lachmann , Franz Kugler and Henrik Steffens . Before he left for Greece in April 1838, Geibel applied in a Latin letter to do his doctorate at the University of Jena . He was supported by Georg Friedrich Heinrich Rheinwald . Geibel received his doctorate in absentia without having submitted a dissertation , which he promised to deliver later. In Greece he got a three-year job as a private tutor with the Russian envoy in Athens , Gavriil Antonowitsch Katakasi; his childhood friend Ernst Curtius had been tutoring Christian August Brandis in Athens since 1837 . Geibel stayed in Greece for two years. During this time his decision matured not to want to make a living either as a scholar or as a journalist, but exclusively as a poet.

After his return he published a volume in 1840 with the simple title "Poems". After a slow start, it became his great book of success. Revised and supplemented from the second to the fifth edition, it reached 132 editions by 1915 and earned him a lifelong friendship with the basic German researcher Karl Goedeke . In 1841 and 1842 Geibel arranged the library of Spanish literature of the artist patron Karl-Otto von der Malsburg at Escheberg Castle near Zierenberg ; On December 24, 1842, through the mediation of the Lübeck-based art historian Carl Friedrich von Rumohr , he received a lifelong pension from the Prussian King Friedrich Wilhelm IV , like the poet Ferdinand Freiligrath before him . A decade of travel followed. Lübeck remained his place of retreat. In Forsthaus Waldhusen in the district Kücknitz spent Geibel several times his summers there and created in 1847 the poem from the forest . He was also an active member of the political renewal movement Jung-Lübeck , which implemented a constitutional reform in March 1848. Between 1848 and 1849 Geibel taught at the Katharineum instead of his fatherly friend Ernst Deecke , who attended the National Assembly in Frankfurt for Lübeck. Geibel's lifelong close relationship with the Silesian noble family Carolath-Beuthen began in 1849 . In 1851 Geibel got engaged to the only 17 year old Amanda ("Ada") Trummer (born August 15, 1834 in Lübeck), daughter of a lawyer and an actress. The couple married in 1852. The wedding was celebrated in the Lübeck garden restaurant Lachswehr , whose “quiet garden with the shady elm walk” Geibel had sung in a poem years earlier.

In December 1851, Geibel received an invitation from King Maximilian II of Bavaria to move to Munich with a good budget and no obligations. His request to get an honorary professorship for German literature and poetics at the university was generously granted. A strong personal bond developed between the citizen king and the poet. Geibel always sat next to the king at the 'evening entertainments' held regularly in winter in the “Green Gallery” since 1854, called symposia from 1856 onwards. The poet moved to Munich with his wife and lived there during the winter months until 1868. In 1853 the daughter Ada Marie Caroline (1853–1906) was born, who later became the first wife of the Lübeck mayor Emil Ferdinand Fehling . Two years later his wife Amanda died on November 21, 1855 and was buried in the Old South Cemetery. After the sudden death of Maximilian II in 1864, Geibel was increasingly hostile in Munich because of his pro-Prussian sentiments. When the Prussian King Wilhelm I visited Lübeck on September 12, 1868, Geibel greeted the guest with a poem that fell out of favor with King Ludwig II . Geibel lost his lifelong pension guaranteed by the Bavarian royal family, left the Munich poet group Die Krokodile , which Paul Heyse had founded in 1856 and was strongly influenced by himself, and returned to his hometown. Paul Heyse also waived his honorary salary out of solidarity. Geibel made Lübeck an honorary citizen in 1869 and the Prussian King Wilhelm replaced the Bavarian pension with an honorary salary for life.

From 1873 to 1875 Geibel spent the summers in Schwartau , where he hiked in the surrounding area. After a long, serious illness, he died on April 6, 1884 in Lübeck. There he and his friend Heinrich Schunck led a "fiction reading circle". Funeral service and funeral procession never reached comparable dimensions again in the Hanseatic city either before or after. His brother-in-law Ludwig Trummer , chief pastor of St. Petri , held the memorial speech at the coffin in St. Marien . Geibel's grave is in the Burgtorfriedhof ; the burial there was headed by his nephew, Pastor Heinrich Lindenberg .

On October 18, 1889, today's Koberg in the city center, then Kaufberg, was renamed Geibelplatz and a memorial was inaugurated on it. Almost half of the costs of around 50,000 Reichsmarks came from donations from all over the German-speaking area: The emperor, dukes, aristocrats, educated citizens in high positions and numerous monument committees (e.g. in Hamburg, Frankfurt, Zurich, and Stuttgart) donated stately Individual contributions. Most people in Lübeck today know Geibel from his joking school poem Zu Lübeck auf der Brücken . It is about the statue of the god Mercury on the Lübeck Puppenbrücke and its uncovered rear.

Artistic creation

Geibel was a highly gifted exceptional talent who was encouraged by his parents and teachers ( Friedrich Jacob and Johannes Classen ) as much as possible, especially in dealing with Greek and Roman as well as classical and romantic poetry. The term eclecticist was an honorary title for Geibel; he did not see himself as an innovator, but as a keeper of the lyrical formal language from antiquity to romanticism. Adelbert von Chamisso published the 18-year-old's poem “Forgetting” from the abundance of his pupil poems (including “König Dichter”).

Geibel's early role models were Johann Wolfgang von Goethe , Heinrich Heine ( Book of Songs ), Lord Byron and Franz Kugler's “Sketchbook” (1830). The simplicity of the choice of words, the ideality of the content and a high level of musicality mean that, with around 3,600 compositions for almost 300 of his texts, he is one of the most set German poets of all. Robert Schumann , Hugo Wolf , Johannes Brahms , Felix Mendelssohn Bartholdy and Karl Grammann valued his poems. The first texts and compositions for early poems appeared in almanacs from 1833/34. In 1840 Geibel and Ernst Curtius published translations of ancient Greek authors ("Classical Studies"). Since his stay in Greece from 1838 to 1840, ancient authors and classicist poets, especially Count August von Platen, as well as contemporary French poets such as Sainte Beuve, Alfred de Vigny, Émile Deschamps and Alfred de Musset, gained exemplary importance. Geibel's first independent publication, “Gedichte” (1840), revised and expanded by himself in the first five editions, became the lyrical book of success of the 19th century. Geibel processed his love affair with Cäcilie Wattenbach and his stay in Greece. With the narrow booklet “Zeitstimmen” (1841, Twelve Poems) he received a lot of political attention.

He supported the German efforts for unity under Prussian monarchist leadership, the small German solution , and acted against revolutionary tendencies in the works of the young Germans . The poems "To Georg Herwegh" and "To the King of Prussia" became strong and highly controversial timelines. Geibel's second large book of poems "Juniuslieder" (1848) also achieved more than 50 editions during his lifetime. It was considered his main lyrical work. After the onset of a chronic illness and the early death of his wife, who was just 21 years old, in 1855, his creative powers gradually waned. After all, his political heralds' calls , the nature-religious late autumn papers and the dramatized proverb real gold becomes clear in the fire appeared .

Geibel also worked as a playwright . In 1844 he published the tragedy King Roderich . Part of an unfinished project with Felix Mendelssohn Bartholdy is the opera libretto Loreley (1847). In 1857 he completed the drama Brunhilde . In 1869 he received the Schiller Prize for his antique drama Sophonisbe . In December 1869, the artistic director of the Royal Theater in Berlin, von Hülsen, brought the play to the stage and received a highly contradicting response. The production in the Stuttgart court theater in December 1882 with Eleonore Wahlmann-Willführ was a great success. Geibel was a lifelong successful translator of French, Spanish, (ancient) Greek and Latin poetry. In 1843 translations of folk songs and romances by the Spaniards and Portuguese appeared for the first time, in 1852 a second series together with Paul Heyse , in 1860 a third together with Adolf Friedrich von Schack . His translations of contemporary French classical poetry, which he published in 1862 together with Heinrich Leuthold , were important for his literary work in the Munich group of poets known as the “Crocodiles” . Attempts to translate from English were important for his language skills development. The “Münchner Dichterbuch” published by Geibel in 1862 was of considerable importance in terms of literary didactics but also in terms of programming. The contemporary literary criticism emphasized the progress in the areas of clarity of content and purity of form compared to older Bavarian anthologies of the first half of the 19th century. Geibel's series of poems "Memories from Greece" in this book of poems aroused the admiration of Jacob Burckhardt.

reception

From its earliest publications, Geibel drew strong approval and harsh criticism. While the German Musenalmanach printed a poem by the 17-year-old literary talent and Karl Mosche set a series of poems to music as early as 1836 while Geibel was a student, the literary critic Karl Gutzkow argued against the student poem "König Dichter" as early as 1837 as if it were the text of one Established. Theodor Fontane coined the expression "Geibelei", by which he understood sounding beautiful, but formally stereotypical poetry that could be filled with any content. On the occasion of the award of honorary citizenship to the city of Husum , Theodor Storm complained that his work had been postponed to that of Geibel throughout his life. Wilhelm Busch's picture story Balduin Bählamm, the absent poet is considered a mocking commentary on Emanuel Geibel and the circles in which he moved.

Even during his lifetime, ridicule and criticism were associated with envy of the poet's success. It is also important to note the high esteem Geibel found among authorities in German literary studies between 1860 and 1918. To be mentioned are appreciations and a. by Karl Goedeke (1844, 1869), Wilhelm Scherer (1884) and Wolfgang Stammler (1918). Stammler's critical and explanatory edition of Geibel's works from 1915/18 documents the high level of Geibel research up to 1914. After the First World War, its popularity subsided . For the 100th birthday on 17th / 18th In October 1915, the Lübeck Senate had a large volume of political poetry printed. The booklets were recommended to frontline soldiers for “spiritual and moral strengthening”. The instrumentalization of time-bound poems, which were written to promote and celebrate German unity efforts between 1850 and 1871, and which were now repurposed to authenticate a German war of aggression with the aim of establishing world domination, fell back on the author and permanently damaged his reputation . The French war propaganda printed leaflets with drawings of German soldiers wearing gas masks and added the slogan “One day the world should recover from the German being”. While Geibel's poems were extensively represented in school books up to around 1960, mentioning them practically fell asleep between 1960 and 1980. After 1945, Geibel was increasingly viewed critically in the specialist literature on the history of literature. The criticism was directed against his political and aesthetic positioning as well as against an alleged lack of originality. Since 1980/90, poems have been included in anthologies again and scholarly interest has intensified.

In 1929, the Lübeck state bought Geibel's extensive estate, whose collections, which are significant in terms of literary history, such as notebooks, diaries (1850–1883), unprinted manuscripts and more than 10,000 letters to him, were moved from the Lübeck city ​​library in 1942 and are now in Russian archives be kept.

The monograph Emanuel Geibel's rise to literary representative of his time by Christian Volkmann, published in 2018, deals with the period up to 1848. Volkmann describes Geibel's educated middle-class family background as a source of his phenomenal networking, which began in Geibel's school days, and covers his professionally staged instrumentalisation for conservative political goals leading personalities of the Berlin art and literary scene from 1840 onwards, shows self-marketing strategies and market positioning of the author after the success of his first volume of poetry in 1843 and interprets Geibel's outstanding economic success against the background of the structures and developments of the fiction book market before 1848 as a creative achievement. He shows that Geibel used the donations from royal caskets to portray himself as a poet, but was not economically dependent on this income. Volkmann advocates the thesis that Geibel set narrow limits to his literary creativity through the strategically placed self-images in his early days, which although promoted his external success as desired, but left him artistically stunted. This process was already completed around 1850, after the publication of the second volume of poetry Juniuslieder .

It was claimed that Emanuel Geibel had as a model for the figure of the poet Jean Jacques Hoffstede in the novel Buddenbrooks by Thomas Mann served. There is apparently no evidence for this in the text of the novel. Thomas' brother Heinrich Mann immortalized Emanuel Geibel in the novel Eugénie or Die Bürgerzeit (1928) in the mockingly lovingly drawn figure of the poet Prof. von Heines.

Settings

After Heinrich Heine, Geibel is the German-speaking poet whose poems were most frequently set to music. According to a study by Wilhelm Stahl published in 1919, there were 3,679 settings of 288 Geibel's poems at that time. In 1874 Geibel himself mentioned 30 compositions for May has come and 40 for Fern im Süd, beautiful Spain . In the field of art song , settings of Geibel's poems remained highly valued.

Honors

Geibel monument in Lübeck
Monument on the Koberg , then Geibelplatz , in Lübeck around 1900
Bust of Emanuel Geibel in the Geibelstrasse underground station in Hanover

Works

Editions of works (selection)

  • Emanuel Geibel's collected works . In eight volumes. JG Cotta'sche Buchhandlung, Stuttgart 1883
  • Wolfgang Stammler (Ed.): Geibel works. Critically reviewed and explained edition . 3 vols. Bibliographisches Institut, Leipzig undated (1918) (Meyer's classic editions). With a comprehensive bibliography and detailed citations from contemporary reviews.
  • R. Schacht (Ed.): Emanuel Geibel's works. Four parts in one gang . Hesse & Becker, Leipzig 1915 (German Classics Library)
  • Friedrich Düsel (Ed.): Geibel works. Choice in two parts . German publishing house Bong & Co, Berlin Leipzig Vienna Stuttgart undated

Poems

stories

Dramas and comedies

  • King Roderich. A tragedy in five acts . JG Cotta'sche Buchhandlung, Stuttgart and Tübingen 1844 digitized
  • King Sigurd's Bridal Voyage. A Nordic legend . Wilhelm Besser, Berlin 1846 digitized version (4th edition Krabbe, Stuttgart 1877)
  • Master Andrea. Comedy in two acts . JG Cotta'sche Buchhandlung, Stuttgart 1855 Digitized
  • Brunhild, a tragedy . JG Cotta'sche Buchhandlung, Stuttgart and Augsburg 1857 Digitized version of the first edition (4th edition 1884)
  • Sophonisbe. Tragedy in five acts . JG Cotta'sche Buchhandlung, Stuttgart 1856 (19th edition 1884) Digitized 2nd edition 1870
  • Real gold becomes clear in the fire. A proverb . A. Hildebrand's Verlag, Schwerin 1882 Digitized 3rd edition 1882

Translations and editions

  • Emanuel Geibel, Ernst Curtius: Classical Studies. Translations from Greek poets . First issue. Eduard Weber, Bonn 1840 digitized
  • Spanish folk songs and romances translated into German in the verse of the original . Alexander Duncker, Berlin 1843 digitized
  • Emanuel Geibel, Paul Heyse: Spanish song book . Wilhelm Hertz 1852 digitized (2nd edition 1852)
  • Ed .: Poems by Hermann Lingg . JG Cotta'sche Buchhandlung, Stuttgart 1854
  • Emanuel Geibel, Adolf Friedrich von Schack: Romanzero the Spaniards and Portuguese . JG Cotta'sche Buchhandlung, Stuttgart 1860 digitized
  • Ed .: A Munich poet's book . A. Kröner, Stuttgart 1862 digitized
  • Classical songbook. Greeks and Romans in German replica . 2nd edition Wilhelm Hertz, Berlin 1876 digitized
  • Emanuel Geibel, Heinrich Leuthold : Five books of French poetry from the age of the revolution to our days, in translations . JG Cotta'sche Buchhandlung, Stuttgart 1862 digitized

Letters

  • Albert Duncker: Emanuel Geibel's letters to Karl Freiherr von der Malsburg and the members of his family . Paetel, Berlin 1885
  • EF Fehling: Emanuel Geibel's youth letters. Bonn - Berlin - Greece . Karl Curtius, Berlin 1909 digitized
  • Emanuel Geibel on his Junius songs. Unpublished letters from the Cotta archive . In: The griffin. Cotta monthly . 1st year, issue 7, 1915.
  • Erich Petzet (Ed.): The correspondence between Emanuel Geibel and Paul Heyse . JF Lehmanns Verlag, Munich 1922 digitized
  • Gustav Struck (ed.): Correspondence between Emanuel Geibel and Karl Goedecke . Lübeck City Library, Lübeck 1939 (Publications of the Libraries of the Hanseatic City of Lübeck, New Series Vol. I)
  • Wilhelm Schoof: From Geibel's correspondence with Freiligrath , meeting with Mörike . From unpublished letters . Lübeck 1956
  • Heinrich Schneider: The friendly encounter between Heinrich Leuthold and Emanuel Geibel in the Munich circle of poets. A literary historical and psychological report with letters and documents that have not been printed so far. Lübeck: Schmidt-Römhild 1961. (Publications of the Lübeck City Library ; New Series; 4) Digitized
  • Hans Reiss, Herbert Wegener (ed.): Emanuel Geibel. Letters to Henriette Nölting 1838–1855 . Max Schmidt-Römhild, Lübeck 1963 (Publications of the Lübeck City Library. New Series Volume 6)
  • Rainer Hillenbrand: Franz Kugler's letters to Emanuel Geibel . Lang, Frankfurt am Main [a. a.] 2001 ISBN 3-631-37553-0
  • Rainer Hillenbrand: Heyseana from Heidelberg and Nuremberg. Seven letters from Paul Heyse and one each from Geibel and Lenbach to Heyse . In: Roland Berbig (ed.): Paul Heyse: a writer between Germany and Italy . Lang, Frankfurt am Main [a. a.] 2001, pp. 255-265

literature

19th century

  • Karl Goedeke: Emanuel Geibel. First part . JG Cotta'sche Buchhandlung, Stuttgart 1869 Digitized
  • Karl Goedeke: Emanuel Geibel , in the north and south . A German monthly. Ed. Paul Lindau. 1st Volume, 1877, pp. 392-417
  • Carl L. Leimbach: Emanuel Geibel. The poet's life, works and significance for the German people . E. Stoeckicht, Goslar 1877 (2nd very likely edition by Max Trippenbach. Zwißler, Wolfenbüttel 1915)
  • Wilhelm Scherer : Emanuel Geibel . Weidmannsche Buchhandlung, Berlin 1884 digitized
  • Heinrich Löbner: Emanuel Geibel. A literary study. P. Lunitz Verlagbuchhandlung, Brandenburg an der Havel 1884 digitized
  • Wilhelm Deeke : From my memories of Emanuel Geibel . Hermann Böhlau, Weimar 1885 digitized
  • Stephan Waetzholdt: Emanuel Geibel. Otto Meißner, Hamburg 1885 digitized
  • Arno Holz : Emanuel Geibel. A memorial book . Oscar Parrisius, Berlin 1884 digitized
  • Karl Theodor Gaedertz: Emanuel Geibel memorabilia . Wilhelm Friedrich Nachf., Berlin 1885 digitized
  • Carl Conrad Theodor Litzmann: Emanuel Geibel. From memories, letters and diaries . Wilhelm Hertz, Berlin 1887 digitized
  • Karl Theodor Gaedertz : Emanuel Geibel. Singer of love, herald of the realm. A German poet's life . Georg Wigand, Leipzig 1897 digitized

20th century

  • Marcellin D. Pradels: Emanuel Geibel and French poetry . Hermann Schöningh, Münster i. Westf. 1909 digitized
  • Johannes Weigle: Emanuel Geibel's youth poetry. Marburg (University Dissertation 1910)
  • Max Koch:  Geibel, Emanuel von . In: Allgemeine Deutsche Biographie (ADB). Volume 49, Duncker & Humblot, Leipzig 1904, pp. 265-274.
  • Adolph Kohut : Emanuel Geibel as a person and a poet. Publishing house of the Association of Book Friends, Berlin 1915 Digitized
  • Adolph Kohut: Emanuel Geibel and Berlin . In: Researched and experienced from old Berlin. Festschrift for the 50th anniversary of the Association for the History of Berlin . Mittler, Berlin 1917, pp. 491-520. Digitized
  • Adalbert Elschenbroich:  Geibel, Franz Emanuel August von. In: New German Biography (NDB). Volume 6, Duncker & Humblot, Berlin 1964, ISBN 3-428-00187-7 , p. 139 f. ( Digitized version ).
  • Eduard Stemplinger : The Munich Circle. Platen. Curtius. Geibel. Strachwitz . Reclam, Leipzig 1933 (German literature. Collection of literary art and cultural monuments in development series, Formkunst series, Volume 1)
  • Walther Killy : Changes in the lyric image . Vandenhoeck & Ruprecht, Göttingen 1956, pp. 73-94
  • Beatriz Brinkmann Scheihing: Spanish romances translated by Diez , Geibel and von Schack . Analysis and comparison. Marburg: Elwert 1975. (Marburg contributions to German studies 51) ISBN 3-7708-0542-9
  • Bernd Goldmann: Geibel, Franz Emanuel August . In: Alken Bruns (ed.): Lübeck résumés from nine centuries . Karl Wachholtz Verlag, Neumünster 1993 ISBN 3-529-02729-4 , pp. 145–153 With bibliography p. 151 ff.
  • Johannes Mahr (ed.): The crocodiles. A Munich group of poets. Texts and documents. Philipp Reclam, Stuttgart 1987 Reclams Universal Library 8378 ISBN 3-15-028378-7
  • House of Bavarian History (ed.): King Maximilian II of Bavaria 1848–1864. Rosenheimer, Rosenheim 1988
  • Karl Heinz Fallbacher: Literary culture in Munich at the time of Ludwig I and Maximilian II. CH Beck, Munich 1992
  • Christine Göhler: Emanuel Geibel. A picture of life in self-testimonies and reports from his friends. Sventana, Schellhorn 1992, ISBN 3-927653-05-5
  • Renate Werner: "And what he sings is like world history." About Emanuel Geibel and the Münchner Dichterkreis. In: Helmut Scheuer (ed.): Poets and their nation. Suhrkamp, ​​Frankfurt 1993, pp. 273-289

21st century

  • Hans Rall: The symposia of King Max II of Bavaria (with comments on the symposia since Platen). Edited posthumously for publication by Marga Rall . Journal for Bavarian State History , Supplement 4, Munich 2001
  • Michael P. Schulz (Ed.): "Would my songs be pearls." The Lübeck Geibel project. Songs and critical contributions. Weiland, Lübeck 2008
  • Birte Lipinski, Christian Volkmann, Manfred Eickhölter (eds.): Emanuel Geibel. The rise and fall of a controversial party. To the exhibition in the Buddenbrookhaus . Lübeck 2015, ISBN 978-3-942310-15-4
  • Christian Volkmann: Emanuel Geibel's rise to the literary representative of his time. JP Metzler, Berlin 2018, ISBN 978-3-476-04806-6
  • Hermann Schlösser : Alabaster with scratches. Rightly forgotten: Emanuel Geibel, Volltext , 2, 2018, pp. 34–38

Web links

Wikiquote: Emanuel Geibel  - Quotes
Wikisource: Emanuel Geibel  - Sources and full texts
Commons : Emanuel Geibel  - Album with pictures, videos and audio files

Individual evidence

  1. ↑ Günter Häntzschel: The German-language poetry anthologies 1840-1914. Social history of poetry in the 19th century (book scholarly contributions from the German book archive 58). Wiesbaden: Harrassowitz 1997
  2. ↑ For more than 110 years, April 30th / 1st May in Osnabrück intoned the Mailied Geibel in the version of the composer Justus Wilhelm Lyra, who was born in Osnabrück in 1822
  3. ↑ Wolfgang Stammler, editor's comments on Geibel's life and works, in: Geibel's works, ed. by Wolfgang Stammler. Critically reviewed and explained edition, Leipzig 1915/18, Vol. 1, p. 412; see also: Gaedertz, memorials, pp. 1–11
  4. ↑ L. Horst: Forgetting .
  5. ^ Helge Dvorak: Biographical Lexicon of the German Burschenschaft. Volume II: Artists. Winter, Heidelberg 2018, ISBN 978-3-8253-6813-5 , pp. 236-240.
  6. ^ Moriz Carrière: Memoirs . In: Archives for Hessian history and antiquity . NF 10, 1914.
  7. ^ Karl Theodor Gaedertz: Emanuel Geibel. Singer of love, herald of the realm. Ein deutsches Dichterleben , pp. 148–151.
  8. ↑ Manfred Eickhölter, King Max II appoints Emanuel Geibel in 1852, in: Lübeckische Blätter, Issue 1, January 13, 2018, pages 9–12.
  9. ↑ Hans Rall, Geibel's help for the efforts of the king to poetry, which is supported by the tea evenings of Queen Mrie, in: Hans Rall, The Symposia of King Max II of Bavaria (with comments on the symposia since Platen). Edited posthumously for publication by Marga Rall, edited by Manfred Pix. Journal for Bavarian State History, Supplements, Volume 4, Munich 2001, pages 190–203
  10. ^ Rall, Hans, The Symposia of Maximilian II., In: Maximilian II, von Bayern, pp. 63–70; see also Goedeke, Nord und Süd, pp. 411-413.
  11. ↑ Festschrift: For the 150th anniversary of the Lübeck advertisements / 1751 *** March 6th *** 1901 / and / and / and the 75th anniversary of the Borchers brothers' lithographic printing company / 1826 *** May 30th *** 1901
  12. ↑ see Renate Werner: And what he sings is like world history. About Emanuel Geibel and the Munich poet circle . In: Poets and their Nation. Edited by Helmut Scheuer Suhrkamp Verlag, Frankfurt / M. 1993 and Johannes Mahr (ed.): Die Krokodile. A Munich group of poets. Texts and documents . Philipp Reclam jun., Stuttgart 1987 (Universal Library No. 8378 [6]) ISBN 3-15-028378-7
  13. ↑ Manfred Eickhölter, The Library of the Lübeck Schiller Foundation (1860-1960), in: Journal for Lübeckische Geschichte und Altertumskunde (ZVLGA), Vol. 86, 2006, pp. 115-134
  14. ↑ Manfred Eickhölter: The fact that Geibelplatz had to disappear has been an open secret for years. On the history of the square and the monument between 1884 and 1936. In: Lipinski / Volkmann / Eickhölter: Emanuel Geibel. The rise and fall of a controversial party. The magazine for the exhibition. Lübeck, 2016, pages 31–45
  15. ^ Wilhelm Stahl: Emanuel Geibel and the music. Karl Curtius, Berlin, undated (1919)
  16. ^ Heinrich Schneider: The friendly encounter between Heinrich Leuthold and Emanuel Geibel in the Munich circle of poets. A literary historical and psychological report with letters and documents that have not been printed so far. Schmidt-Römhild, Lübeck 1961
  17. ↑ See: Karl Theodor Gaedertz : Emanuel Geibel - Memories. Berlin 1886, pp. 166-179, 197-198
  18. ^ Heinrich Volkenborn: Emanuel Geibel as a translator and imitator of English poetry. Munster 1910
  19. ^ Eduard Stemplinger: The Munich Circle. Platen. Curtius. Geibel. Strachwitz, Leipzig 1933, p. 15ff.
  20. ↑ Fasold, R .: Theodor Storm . Stuttgart u. Weimar. 1997. p. 64 f.
  21. ↑ On the centenary of our homeland poet Emanuel Geibel. Dedicated by the Senate of the Free and Hanseatic City of Lübeck, Verlag Hesse und Becker, Leipzig, 1915, 64 pages (Hesse's public library)
  22. ↑ The references in the bibliography of the "Stiftung-Lyrik.Kabinett" in Munich provide an insight.
  23. ↑ Heinrich Schneider, Emanuel Geibel's letter estate in the Lübeck city library as a source on German literary history, in: Zentralblatt für Bibliothekswesen, 47, 1930, pp. 435–453
  24. ↑ So z. B. in: Hartwig Dräger: Buddenbrooks. Poetry and Reality. Verlag Graphische Werkstätten Lübeck, 1993, p. 41, 256 f., Or in the book by the draftsman Heinz-Joachim Draeger Ich, Christian Buddenbrook. Sketches by a Lübeck merchant's son, Boyens Buchverlag, Heide, 2017, pp. 32–33.
  25. ↑ Manfred Eickhölter: Geibel alias JJ Hoffstede? In: Lübeckische Blätter , vol. 180 (2015), issue 10, p. 27 ( digital copy , PDF).
  26. ↑ Alfred Kantorowicz, editor's epilogue, Heinrich Mann, Eugénie / Ein Ernstes Leben, Romane, Berlin 1954, pp. 475–481 (Selected Works in Individual Editions, Vol. V, edited by Alfred Kantorowicz)
  27. ^ Wilhelm Stahl : Emanuel Geibel and the music. Berlin: Curtius 1919, p. 24
  28. ↑ In September 2017, the CD “I look into my heart / and I look into the world. Songs based on poetry by Emanuel Geibel ”(Gramola) will be presented to the public, the singer Ulf Bästlein will be accompanied on the piano by Sascha El Mouissi. You can hear compositions by Edward Grieg and Anton Bruckner, among others.
  29. ^ Government Gazette for Mecklenburg-Schwerin 1867, p. XXXX.
  30. ↑ Christine Göhler: Emanuel Geibel. A picture of life in self-testimonies and reports from his friends. P. 147.
  31. ↑ Today's Geibelplatz, including the monument, is not far from the market square, which bore this name until 1936.
  32. ↑ Hans-G. Hilscher, Dietrich Bleihöfer: Geibelallee. In: Kiel Street Lexicon. Continued since 2005 by the Office for Building Regulations, Surveying and Geoinformation of the State Capital Kiel, as of February 2017 ( kiel.de ).
    Hans-G. Hilscher, Dietrich Bleihöfer: Geibelplatz. In: Kiel Street Lexicon. Continued since 2005 by the Office for Building Regulations, Surveying and Geoinformation of the State Capital Kiel, as of February 2017 ( kiel.de ).
  33. ↑ contain the poem To Georg Herwegh . February 1842.
personal data
SURNAME Geibel, Emanuel
ALTERNATIVE NAMES Geibel, Franz Emanuel August von (full name); L. Horst (pseudonym)
BRIEF DESCRIPTION German lyric poet
DATE OF BIRTH October 17, 1815
PLACE OF BIRTH Lübeck
DATE OF DEATH April 6, 1884
Place of death Lübeck