Franz Sternbald's walks

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Ludwig Tieck
* 1773, † 1853

Franz Sternbald's wanderings , an old German story , is a romantic artist novel by Ludwig Tieck , which was published by Johann Friedrich Unger in Berlin in 1798 .

A number in round brackets indicates the page in the source.

hikes

The hikes begin in 1520 at the gates of Nuremberg and last a year and a half.

First part

first book

Albrecht Dürer 1498
self-portrait

The 22-year-old journeyman painter Franz Sternbald leaves his master Albrecht Dürer , wanders into the next forest and meets the Antwerp blacksmith Messys . Franz, the big boy with the childlike disposition, “doesn't want to be as timid as Sebastian”, his friend, who stays at home with the master. On the way, Franz is taken to his farm by a seventy-year-old farmer. Franz is touched that the old man wants to see Nuremberg before his death and doesn't know how close to the city he lives. In one town, Franz delivers a letter from his master to the wealthy factory owner Zeuner. Everything in Mr. Zeuner's circle revolves around money. Franz dislikes the subject. He entrusts Zeuner with his travel plans. It should go to Flanders and then to Italy. The overseer of Zeuner's numerous workers has just died. Franz turns down the very well-paid job because he has "no respect for wealth". In the same town, Franz has to deliver a letter, this time from the pen of Pirkheimer . The recipient has the letter read out by the young postman. Tears come to the reader when he is described as "Albert Dürer's best pupil".

The farmer's son Franz makes a detour to his home village in the Taubertal. The dying father confesses to Franz: "You are not my son". Franz then asks his mother, old Brigitte. She confesses to him that she is not his mother. The foster mother asked Franz not to move abroad, but to earn a living at home as a farmer and successor to the foster father. Franz stays for a few more weeks. He is working on an altarpiece that he wants to "leave behind at his place of birth". At the harvest festival, Franz gets to know the “ignorant Gertrud”, a fresh peasant girl. Gertrud asks Franz whether he has to go to Italy. "I want to and must go," he replies.

When Franz looks at his finished painting in the village church, a car breaks outside. He rushes out and offers his help to the fallen, an old man and a beautiful girl. Although the girl was able to get up without help, Franz is very worried and as if enchanted by her look. Franz thinks he has met the unknown beauty 14 years ago while picking flowers in the forest in front of the village. The stranger, at that time “a lovely blonde girl, came to Franz and asked for his flowers, he gave them all to her without holding back his favorites himself, while an old servant blew on a French horn and made sounds which the young Franz at that time utterly sounded wonderful in the ears ”.

Lukas von Leyden
self-portrait

When the repaired car and the strange girl in it have left the village church and the musing Franz, Franz finds a wallet at the scene of the accident. From the contents of the wallet, Franz sees that the beautiful woman had been to Antwerp and adores both Lukas von Leyden and his master Albert Dürer.

The remaining walks of Franz Sternbald can be read as the search of the title hero for the unknown parents and the lost lover, of whom he does not even know the name.

second book

In view of the large city of Leyden , Franz still has “the sweet, smiling mouth” of the stranger in mind, but soon abandons the attempt at a portrait because he does not succeed in it similarly enough. Franz later complains of this desperation to his role model Lukas von Leyden, who smiles at the young journeyman's violent tone and advises him to practice instead of rejecting any design out of excessive reverence for the object. One day it turns out that Dürer followed his student to Leyden. The following discussions between the orderly Albrecht Dürer and the impulsive Lukas von Leyden begin a series of art conversations that are regularly woven into the plot from now on until the end of the novel. Lukas, the Dürer admirer, does not understand why the master sends his best pupil to Italy. In his opinion, Sternbald could only look at Italian art from the perspective of a German and therefore only inadequately imitate it. Dürer replies that Franz should “find completely different paths that we have not yet embarked on”. As an example, Dürer cites the altarpiece in the church of Sternbald's home village, which Dürer visited and in which he recognized the individual style of his pupil.

Franz also receives a letter from Dürer from Sebastian, who began to read more on Franz's recommendation. Sebastian is particularly impressed by Plutarch and the Bible. He also met the “brave man and handsome poet” Hans Sachs in Nuremberg , who works there as a shoemaker.

Albrecht Dürer, who does not tolerate alcohol very well, is astonished to see that Lukas von Leyden paints in an especially original way after drinking alcohol. In response to Dürer's question, Lukas says that he had to get used to the influence of alcohol, but it made the paintings easier for him of the hand.

When Franz moved on, Dürer asked him to return to Nuremberg very soon and to live with him. Franz's initial enthusiasm fades when Dürer justifies his proposal with the premonitions of death that have tormented him for some time. Dürer feels his "strength of the soul" is dulling, but feels obliged to his wife to continue to work at the usual pace and to earn the urgently needed money. When the paths of the three painters parted, Dürer no longer regarded Franz as a student but as a friend.

Quentin Messys 1514
The Goldweigher and His Wife

On the onward journey, Franz met the poet Rudolf Florestan from Italy. The youth is half German, has been to England and is traveling back home with Franz. While Franz almost constantly has "a distrust of himself", Florestan is "always funny" (161). "Isn't the world beautiful as it is?" (162) exclaims Florestan and speaks of his lover in Italy and his Dutch woman. In Flanders , Franz got to know “the great commercial activity in Antwerp”. The wealthy merchant Vansen often gives evening parties to which an old man is invited, who regards art as an unnecessary waste of time. Thereupon Franz makes a fiery plea for the art that is able to express what the "wise corporates through wisdom, what the hero proves through sacrifice" and what the "martyr seals by his death". Vansen is impressed by the young painter's eloquence and would like Franz to be his son-in-law. The sensitive Franz notices, however, that the sadness of Vansen's daughter Sara does not arise from a general wish to marry, but from lovesickness. Sara admits that she is worried about her lover, who is ill and Franz agrees to visit him with a message from Sara. The patient turns out to be the same blacksmith Messy that Franz knows from the Nuremberg forest. Before his departure, Franz brings the two lovers together and puts in a good word for Messys at Vansen, who, due to his low status, had not dared ask for Sara's hand. Vansen's condition is that Messys give up his profession as a blacksmith and become a painter.

Second part

first book

In the spring of 1521, Franz wandered through Alsace . On the way, the hiker ekes out his existence with commissioned work. In Strasbourg he paints a Holy Family for a rich man .

Raffael Sanzio 1510
self-portrait, left

The art enthusiast Franz longing for Italy is great, especially Michelangelo and Raffael he wants to discover. On the way, Franz and Florestan meet the Nuremberg sculptor Augustin Bolz. He judges the two hikers to be far too heated for great painters.

In the forest they meet a beautiful huntress who resembles Marie. She identifies herself as Countess Adelheid and takes the gentlemen with her to her castle, where Sternbald is supposed to make a painting of her. Franz trembles as he draws Countess Adelheid's delicate bosom. Franz bought a painting with Marie on it. When he shows it to Adelheid, she wants to recognize her poor, deceased sister, who tormented herself with an unhappy love during her lifetime, in the painting. Franz is frightened.

But Franz is not a child of sadness. He comforts himself with blond Emma. Their beautiful full breasts willfully swell towards him. Thick bushes witness the happiness of those in love. Franz has to keep hiking. Adelheid gives him a letter to her Roman relatives. The postman carelessly puts the letter in his wallet and doesn't really know whether to hand it in.

Back on the street, Franz meets the Italian Roderigo. Roderigo gives the most detailed account of the Mediterranean adventures of his Italian friend Ludoviko. Franz speaks to a pilgrim who has seen the world. He tells his friends who are longing for Italy the truth: "People don't know what they want when they long for a stranger, and when they are there they have nothing". We are also talking about Luther .

second book

When Rudolf gets to know Ludoviko personally and hears him talking, he would love to be his brother. The men meet Adelheid again at the castle of a friend of Adelheid. Roderigo and Adelheid are in each other's arms. The couple have found each other and apparently want to get married. Franz finally wants to reach Italy and walks on alone. Sebastian writes from Nuremberg that Master Dürer is sick.

In a monastery near a town, Franz is freshening up an old painting of St. Genoveva for the abbess. The abbess considers paintings to be "well-intentioned gimmicks". In the city, Franz believes he can recognize Ludoviko and the poet Florestan as singers in the crowd. In the monastery, a beautiful young novice slips Franz a letter to Ludoviko. Ludoviko wants to kidnap the novice before she is dressed .

The beautiful novice is missing in the monastery. Franz finishes his work and finally wants to approach Italy. On the way he finds Bolz wounded on the way. He takes care of the exhausted. Bolz also wanted to kidnap the novice. Men who presumably had Roderigo behind preceded Bolz.

Andrea del Sarto
self-portrait

In Florence, Franz met art and artists. Among other things, it is about Correggio's painting of Leda . Franz writes to Sebastian in Nuremberg: "It is as if I were moving into a different soul with the soft, exhausting and yet refreshing air of Italy".

Franz gets involved with Lenore, the flighty girlfriend of his new friend Castellani. In Florence he met the painters Franz Rustici and Andrea del Sarto . Franz, the guest from the dreary north, almost completely casts off his shyness in Italy.

In Rome, Franz visits the churches and painting collections for study purposes. He forces himself to "not be violent". Franz says he doesn't actually love Lenore and breaks off dealing with the beautiful woman.

Now he gives Countess Adelheid's letter to her Roman relatives and meets Marie. The beloved blushes graciously. In the house of the Maries family, Franz recognizes the old man who had blown the French horn when he first met Marie.

Early Romanticism

Relationship between nature and art

The forest plays an important role in the Sternbald . Even in Nuremberg, Sternbald dreams of the shady forests of Italy, which he actually gets to know in the second part of the story. If he were a painter, says Florestan, he would “study and depict forest scenes excellently”. Ultimately, however, the narrative image of the forest remains that Rudolf created in the first part when he told the story of the young nobleman Ferdinand: “The thunderstorm finally stopped and a lovely rainbow stood in the sky, the forest was fresh and green and all the leaves sparkled with drops, the sultry day was over, a cool breath blew through all of nature, all the trees and all the flowers were happy ”. The forest is described here as a holistic sensory experience and the choice of the term "breath" for wind gives the impression of a soulful nature, which is reinforced by the personification of trees and flowers.

Even Sternbald himself feels that nature is more powerful than art. When the Countess organized another hunt, Sternbald was looking for peace and quiet on a nearby mountain and felt overwhelmed by the sounds of nature: “O impotent art! [...] How babbling and childish are your tones against the full, harmonious organ song, which gushes up from the innermost depths, from mountain and valley and forest and stream splendor in swelling, rising chords. ”That is why Sternbald sees nature as the most worthy object of the Artist, as he later explains to the sculptor Bolz: "If we could only imitate nature exactly, [...], verily, we could often do without plot and composition, and yet produce a great, wonderful effect!"

But even the cultivated nature in the Countess's castle garden can transport Sternbald into “a wonderful, distant magic area”: For example, the painter stands in front of a fountain, which “with its crystalline rays gently cooled the air and made a gentle sound to which the nearby birds sang more willingly and pleasantly ”.

Time and impermanence

Even at Vansen, Franz is aware of his uncertain future and asks himself how his life will go on when the “beautiful dreams” are behind him. In the second part of the story he wishes for an existence in the "rustling of the forest", where "the return of the uniform days, the uninterrupted gentle flow of time [...] would carry him unnoticed into old age". Sternbald experiences such a timelessness in the hut of the old painter, in view of the poor furnishings he feels transported to the "ancient times", where "the door still has no bolt, where no wrongdoer has yet touched the other property".

Sternbald also noticed an increasing indifference to time in himself. He complains to Ludoviko that he often forgot his original plan, to which he replies: “I just have to laugh when I see people making such great efforts to lead a life, life is over even before they start preparing are done ".

When Franz heard of Raphael's death, he defended his belief in the immortality of art to the skeptical sculptor Bolz: “Will Albrecht Dürer ever die? No, no great artist leaves us entirely; he cannot, his spirit, his art remain friendly among us ”. This conviction Sternbalds is contrary to the opinion of the old painter, who, after him a Linnet has escaped from its cage, philosophizes about dying: "A friend who dies, further also does nothing except that he re-powerful with the great earth mixed up, and becomes unrecognizable to me ”.

fragment

Tieck did not conclude. Franz, looking for the parents and the lover, finds Marie, but not the parents. The awake reader sometimes hopes that the search for the parents will begin (215, 244, 256, 260, 265, 306, 392). Such approaches all come to nothing. According to the author’s intention, Franz should actually recognize Ludoviko as his brother in Italy (575).

reception

Contemporary reception

Franz Sternbald's wanderings were received very differently by Tieck's contemporaries. Friedrich Schlegel describes the novel as “a divine book” and thus meets the incomprehension of his sister-in-law: Caroline Schelling , then Schlegel, reads the book at the same time as her husband August Wilhelm and sums it up on October 14, 1798: “... there is a lack of more radical Strength - one always hopes for something decisive, to see Franz advance considerably somewhere. Does he do that? Many lovely sunrises and springs are here again ... everything is very nice, but still empty ... "The next day she adds an addendum in which she confesses," fell asleep while reading yesterday ".

Not quite two months after his wife's harsh judgment, August Wilhelm Schlegel put his thoughts on Sternbald on paper. Among other things, he criticizes the "Wollustorcan" in the first part and the bumpy meter in some songs. The experienced reviewer writes enthusiastically about other songs, including that of the Last Judgment: "To have done something like this, I almost sold a piece of my bliss for it". Schlegel, who is in correspondence with Johann Wolfgang von Goethe , also agrees to send the novel to the poet prince with benevolent words. He read the Sternbald in the year of its publication and recorded his thoughts in marginal glosses, six of which Alfred Anger reproduced. One of them is z. B .: "Too much morning sun. Harvest Festival. Sentimentality."

On September 5, 1798, Goethe finally sent the Sternbald to Friedrich Schiller and provided it with the following accompanying words: "I will place the excellent Sternbald with you, it is unbelievable how empty the well-behaved vessel is." Jean Paul , of whom Gerhard also felt the same way Schulz quotes a letter of November 13, 1798 (393). As a result, the Sternbald has "no historical or psychological development ... no scenes - no fabric - no characters ... nothing but Dakapo's ... and often no point."

But even six years after its publication, Tieck's novel still has enthusiastic fans, as a letter dated September 26, 1805 shows, in which ETA Hoffmann asked his friend Theodor von Hippel to read “this true artist's book as soon as possible”. Another 41 years later, Ida von Lüttichau still regards the novel as a unique phenomenon in German literature, as she explains in a letter to Friedrich von Raumer : “I [...] reread the Sternbald and found it wonderfully beautiful, all the more beautiful when everything that has therefore been diverted has long since become a dead letter again. Our young artist school has already become an old man in this direction, while Tieck in Sternbald will always be 18 years old. "

In fact, Goethe also recognized Ludwig Tieck's talent for writing, but tried, as he told Johann Peter Eckermann on March 30, 1824, to protect it from being overestimated by over-enthusiastic contemporaries: “Tieck is a talent of great importance, and it can Nobody can recognize his extraordinary merits better than myself; but if one wants to raise him above himself and put him on an equal footing with me, one is mistaken. "

The Sternbald -Enthusiasmus or rather Tieck himself denounced as its trigger and Heinrich Heine in his 1833 published Romantic School : "... he [Mr. Tieck] had swallowed up so much of the people's books and poems of the Middle Ages that he almost another child was and that babbling simplicity blossomed that Frau v. Staël had so much trouble to admire. "

Newer reception

According to Wolfgang Rath, Sternbald diagnoses himself as "torn apart", who at times experiences the events around him as if in a dream (Sternbald compares himself with the biblical figure of Jacob ) and who shows signs of acedia . In the Sternbald, Tieck used Plato's thesis that only ideas are existent ( Methexis ). For Sternbald, traveling is synonymous with traveling “beyond yourself”. The novel, this “linguistic painting” by Tiecks, paints the movement of thoughts in itself (216). Every protagonist of Tiecks is a "chosen one" - so also Sternbald (217). Regarding Tieck's style: In everyday life there is sometimes a “flash of inspiration” that dissolves “in the whimsical” (232).

literature

Secondary literature

  • Gerhard Schulz : The German literature between the French Revolution and the restoration. Part 1. The Age of the French Revolution: 1789–1806. Pp. 393-398. Munich 1983, ISBN 3-406-00727-9
  • Wolfgang Rath : Ludwig Tieck. The forgotten genius. Studies on his narrative. Pp. 211-238. Paderborn u. a .: Schöningh, 1996. 548 pages, ISBN 3-506-77021-7

source

  • Alfred Anger (Ed.): Ludwig Tieck: Franz Sternbalds walks . Study edition. Stuttgart 1999, ISBN 3-15-008715-5

Individual evidence

  1. ^ Ludwig Tieck: Franz Sternbalds wanderings. An old German story . 1st edition. First part. Johann Friedrich Unger, Berlin 1798, p. 39 ( deutschestextarchiv.de ).
  2. ^ Ludwig Tieck: Franz Sternbalds wanderings. An old German story . 1st edition. First part. Johann Friedrich Unger, Berlin 1798, p. 62 ( deutschestextarchiv.de ).
  3. ^ Ludwig Tieck: Franz Sternbalds wanderings. An old German story . 1st edition. First part. Johann Friedrich Unger, Berlin 1798, p. 65 ( deutschestextarchiv.de ).
  4. ^ Ludwig Tieck: Franz Sternbalds wanderings. An old German story . 1st edition. First part. Johann Friedrich Unger, Berlin 1798, p. 84 ( deutschestextarchiv.de ).
  5. ^ Ludwig Tieck: Franz Sternbalds wanderings. An old German story . 1st edition. First part. Johann Friedrich Unger, Berlin 1798, p. 115 ( deutschestextarchiv.de ).
  6. ^ Ludwig Tieck: Franz Sternbalds wanderings. An old German story . 1st edition. First part. Johann Friedrich Unger, Berlin 1798, p. 116 ( deutschestextarchiv.de ).
  7. ^ Ludwig Tieck: Franz Sternbalds wanderings. An old German story . 1st edition. First part. Johann Friedrich Unger, Berlin 1798, p. 74 ( deutschestextarchiv.de ).
  8. ^ Ludwig Tieck: Franz Sternbalds wanderings. An old German story . 1st edition. First part. Johann Friedrich Unger, Berlin 1798, p. 165 ( deutschestextarchiv.de ).
  9. ^ A b Ludwig Tieck: Franz Sternbald's walks. An old German story . 1st edition. First part. Johann Friedrich Unger, Berlin 1798, p. 237 ( deutschestextarchiv.de ).
  10. ^ Ludwig Tieck: Franz Sternbalds wanderings. An old German story . 1st edition. First part. Johann Friedrich Unger, Berlin 1798, p. 251 ( deutschestextarchiv.de ).
  11. ^ Ludwig Tieck: Franz Sternbalds wanderings. An old German story . 1st edition. First part. Johann Friedrich Unger, Berlin 1798, p. 251 ( deutschestextarchiv.de ).
  12. ^ A b Ludwig Tieck: Franz Sternbald's walks. An old German story . 1st edition. First part. Johann Friedrich Unger, Berlin 1798, p. 315 ( deutschestextarchiv.de ).
  13. ^ Ludwig Tieck: Franz Sternbalds wanderings. An old German story . 1st edition. First part. Johann Friedrich Unger, Berlin 1798, p. 316 ( deutschestextarchiv.de ).
  14. ^ Ludwig Tieck: Franz Sternbalds wanderings. An old German story . 1st edition. First part. Johann Friedrich Unger, Berlin 1798, p. 332 ( deutschestextarchiv.de ).
  15. ^ A b Ludwig Tieck: Franz Sternbald's walks. An old German story . 1st edition. First part. Johann Friedrich Unger, Berlin 1798, p. 346 ( deutschestextarchiv.de ).
  16. ^ Ludwig Tieck: Franz Sternbalds wanderings. An old German story . 1st edition. Second part. Johann Friedrich Unger, Berlin 1798, p. 231 ( deutschestextarchiv.de ).
  17. ^ Ludwig Tieck: Franz Sternbalds wanderings. An old German story . 1st edition. Second part. Johann Friedrich Unger, Berlin 1798, p. 317 ( deutschestextarchiv.de ).
  18. ^ Ludwig Tieck: Franz Sternbalds wanderings. An old German story . 1st edition. Second part. Johann Friedrich Unger, Berlin 1798, p. 351 ( deutschestextarchiv.de ).
  19. ^ Ludwig Tieck: Franz Sternbalds wanderings. An old German story . 1st edition. Second part. Johann Friedrich Unger, Berlin 1798, p. 392 ( deutschestextarchiv.de ).
  20. ^ Ludwig Tieck: Franz Sternbalds wanderings. An old German story . 1st edition. First part. Johann Friedrich Unger, Berlin 1798, p. 10 ( deutschestextarchiv.de ).
  21. ^ Ludwig Tieck: Franz Sternbalds wanderings. An old German story . Second part. Johann Friedrich Unger, Berlin 1798, p. 52 ( deutschestextarchiv.de ).
  22. ^ Ludwig Tieck: Franz Sternbalds wanderings. An old German story . 1st edition. First part. Johann Friedrich Unger, Berlin 1798, p. 300 ( deutschestextarchiv.de ).
  23. ^ Ludwig Tieck: Franz Sternbalds wanderings. An old German story . 1st edition. Second part. Johann Friedrich Unger, Berlin 1798, p. 106 ( deutschestextarchiv.de ).
  24. ^ Ludwig Tieck: Franz Sternbalds wanderings. An old German story . 1st edition. Second part. Johann Friedrich Unger, Berlin 1798, p. 296 ( deutschestextarchiv.de ).
  25. ^ A b Ludwig Tieck: Franz Sternbald's walks. An old German story . 1st edition. Second part. Johann Friedrich Unger, Berlin 1798, p. 76 ( deutschestextarchiv.de ).
  26. ^ Ludwig Tieck: Franz Sternbalds wanderings. An old German story . 1st edition. First part. Johann Friedrich Unger, Berlin 1798, p. 359 ( deutschestextarchiv.de ).
  27. ^ A b Ludwig Tieck: Franz Sternbald's walks. An old German story . 1st edition. Second part. Johann Friedrich Unger, Berlin 1798, p. 188 ( deutschestextarchiv.de ).
  28. ^ A b Ludwig Tieck: Franz Sternbald's walks. An old German story . 1st edition. Second part. Johann Friedrich Unger, Berlin 1798, p. 109 f . ( deutschestextarchiv.de ).
  29. ^ Ludwig Tieck: Franz Sternbalds wanderings. An old German story . 1st edition. Second part. Johann Friedrich Unger, Berlin 1798, p. 255 ( deutschestextarchiv.de ).
  30. ^ Ludwig Tieck: Franz Sternbalds wanderings. An old German story . 1st edition. Second part. Johann Friedrich Unger, Berlin 1798, p. 40 ( deutschestextarchiv.de ).
  31. ^ Ludwig Tieck: Franz Sternbalds wanderings. An old German story . 1st edition. Second part. Johann Friedrich Unger, Berlin 1798, p. 126 ( deutschestextarchiv.de ).
  32. ^ Friedrich Schlegel: Undated letter to August Wilhelm Schlegel . In: Oskar Walzel (ed.): Friedrich Schlegel's letters to his brother August Wilhelm . Speyer & Peters, Berlin 1890, p. 414 .
  33. ^ Caroline Schelling: To Friedrich Schlegel. Jena, October 14, 1798 . In: Georg Waitz, Erich Schmidt (ed.): Letters from early romanticism . tape 1 . Insel-Verlag, Leipzig 1913, p. 459-460 ( slub-dresden.de ).
  34. ^ Caroline Schelling: To Friedrich Schlegel . Addendum from October 15, 1798. In: Georg Waitz, Erich Schmidt (Hrsg.): Letters from the early romanticism . tape 1 . Insel-Verlag, Leipzig 1913, p. 460 ( slub-dresden.de ).
  35. ^ A b August Wilhelm Schlegel: Letter of December 7, 1798 to Ludwig Tieck . In: Edgar Lohner, Henry Lüdeke (eds.): Ludwig Tieck and the Schlegel brothers . Winkler, Munich 1972, p. 36 f .
  36. ^ Ludwig Tieck: Franz Sternbalds wanderings . Study edition. Ed .: Alfred Anger (=  Reclams Universal Library . No. 8715 ). Reclam, Stuttgart 1999, ISBN 3-15-008715-5 , pp. 505 .
  37. ^ Johann Wolfgang von Goethe: To Friedrich Schiller . In: Goethe's works . Published on behalf of the Grand Duchess Sophie of Saxony. Division 4, volume 13 : Letters 1798. Böhlau, Weimar 1893, p. 267 .
  38. ^ Ludwig Tieck: Franz Sternbalds wanderings . Study edition. Ed .: Alfred Anger (=  Reclams Universal Library . No. 8715 ). Reclam, Stuttgart 1999, ISBN 3-15-008715-5 , pp. 524 .
  39. ^ Ida von Lüttichau: Dresden, February 10th, 1846 . In: Petra Bern, Wolfgang Graf von Lüttichau (ed.): Truth of the soul - Ida von Lüttichau. 1st edition. Supplementary volume. Verlag Autonomie und Chaos, Berlin 2015, ISBN 978-3-923211-40-1 , p. 189 ( autonomie-und-chaos.de [PDF]).
  40. ↑ a b Wolfgang Rath: Ludwig Tieck. The forgotten genius. Studies on his narrative. Schöningh, Paderborn / Vienna / Munich / Zurich 1996, ISBN 3-506-77021-7 , p. 214 (548 pp.).
  41. ↑ Wolfgang Rath: Ludwig Tieck. The forgotten genius. Studies on his narrative. Schöningh, Paderborn / Vienna / Munich / Zurich 1996, ISBN 3-506-77021-7 , p. 215 (548 pp.).

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