Friedrich Albert Franz Krug by Nidda

Friedrich Albert Franz Krug von Nidda (* 1. May 1776 in Gatterstädt ; † 29. March 1843 ) was a German poet of romance .

Life

Friedrich Albert Franz Krug von Nidda was born in 1776 on his father's manor, the Oberhof Gatterstädt near Querfurt . In 1791 he joined the electoral Saxon Chevauleger regiment of Prince Waldemar as a standard junker and then took part in the campaigns of the Saxon contingent as a lieutenant in the warlike decades that followed. He took part in Napoleon's Russian campaign in 1812 . He was wounded and captured in 1813 and interned first in Kiev , then in Białystok . The sonnet In Russian Captivity is a testament to his sad situation . In 1814 he was able to return to Germany, but had to quit military service for health reasons after he had been promoted to Rittmeister .

The poems in which Krug tries to reproduce his impressions of wartime life do not show the freshness that one could expect from what one could expect from what he experienced himself, but they are interesting because they give an insight into the sad situation of patriotically minded Rheinbund officers. The same feeling that determined the German-minded King Ludwig I to erect a memorial for his army that sank in Russia, Krug dictated the poignant "lament for the dead" for the missing, "forced the federal obligation into the Franconian army". The rage against Napoleon, which he also followed, he expressed in the ballad The Wolves Meal . He expressed his joy at the victory of the Allies in the song of liberation and several times elsewhere; Saxon patriotism often asserts itself in him. But he also used this in the glorification of the Saxon-German kings Otto II and Heinrich II and their Saracen and Slav wars. The four-act historical drama Heinrich der Finkler or the Battle of Hungary (Leipzig 1818) sprang from the same spirit .

Krug himself regarded his meeting with Goethe as the most important event of his later life , which he described in the memorial book or glimpses through life (Leipzig 1829). Goethe himself does not mention in the daily and annual journals the encounter with the young poet, whom he welcomed in the summer of 1816 in the Thuringian spa town of Bad Tennstedt . At that time, Krug was working on the completion of Florian's knight poem Gonsalve de Cordoue (2 vols., Paris 1791), the transmission of which he had begun while in Russian captivity. Goethe had already “read Krug's little poems in almanacs ” when Krug in Bad Tennstedt came up with the plan “to ask him, the celebrated, to test my abilities and thereby decide my profession for the remaining handful of years to put in his hand ”.

Goethe was considerate of the suffering condition of the invalid, found individual enviable octaves in the work and gave good advice on the treatment of the punch form and the wise use of the trope, also took, as Krug, freely translated Florian's French epic mentioned in the following year and in Octaves reformed published (Leipzig 1817), whose dedication kindly and wished the work, which gave him "impartial joy", a favorable reception. However, he did not judge Krug's poetic talent, but only boasted that in sad times he had found the talent and the muse as the most secure guardian spirit.

After Krug had strengthened his health by traveling on the Rhine , in Switzerland and Italy , he married the sister of the Berlin General Police Director von Hinckeldey and lived as a writer on his family estate in Gatterstädt. He joined the circle around Fouqué . In general, his poems reveal the diligent reading of Schiller , whose rhythm he often acquired. The Lenzfahrt shows the influence of Goethe. In the Star songs a failed imitation of is Novalis ' Hymns to the Night tries. The example of the "faithful minnesinger" Uhland increased his own "singing courage". He admired Müllner as a playwright, he celebrated Tieck and Fouqué in his own sonnets. Eichendorff and Schenkendorf were also among his models .

Chamisso's youth experiment in Terzinen, The Young Poets , imitated Krug in the same form in Sängertrost . He stayed away from romantic playing with strange forms, probably in the feeling of his own formal insecurity. He tried to work not through the artistic development of the whole, but through individual happy turns and through the material. Among the epithets and headlines that he wrote in imitation of the classical Xenien , he demanded a clear mind and a pure eye for the singer, who must avoid verbosity; only after inner professional strength, not obeying the school, is the sacred art to be practiced, even lower matters are raised to dignity through the power of genius, and the delicate form of the sonnet can also be raised to tragic heights.

Politically, Krug by no means paid homage to the reactionary obscurantism of his brother-in-law; The knighthood, haunted by aristocratic weapons, was to blame, even if democratic ideas were rampant in Germany. He joined the singers who were enthusiastic about the Greek struggle for freedom in 1822 with a poem An die Neugriechen ( newspaper for the elegant world , no. 31). 1823-24 he published the two volumes of his Skanderbeg. Heroic poem in ten songs , written in the spirit of the philhellenism of the time and representing his most successful poetry.

With a letter from Fouqué as a preface, poems by Friedrich Krug von Nidda were published in Leipzig in 1820 . The women's pocket book for 1823 brought Waldfriedchen , The Berlin Calendar for 1824 brought the old Persian story Musa in prose . Krug published stories and romances in two volumes in 1821 and 1822 in Leipzig ; 1827–30 in Halle Irises , in them as No. 12 Nikolaus Graf Zriny . He published another collection of poems in Quedlinburg in 1833 as sketches of a hike along the Rhine , and Der Schmidt von Jüterbogk in Leipzig in 1834 . Chronicle sequence in romances followed. He also made more or less numerous contributions in many almanacs and magazines, for example in Becker's pocket book on sociable pleasure , in Schütz's pocket book of love and friendship , in Kind's harp , for the women's newspaper , for Salina , Minerva , Eos , divining rod , the prehistory , Phöbe , Kinds Muse , the Viennese magazine for literature and art , the Rheinische Taschenbuch , in Gubitz's partner , Küffner's celebration hours , in the evening hours , in the orphan friend , Hells Abendzeitung , Castelli's homage to women , in the Berlin Musenalmanach , in Herloßsohn's Komet , Müllner's Midnight Gazette as well as in Biedermanns Morgenblatt for educated readers .

When Krug died in 1843 at the age of 66, Fouqué, in the 26th year of Gubitz's partner , gave him a "memorial stone". The three volumes of the papers published with the approval of Krug's widow (Querfurt 1855–57), which AH Schmid provided with a demanding biography of Krug, brought autobiographical essays.

Works

• Heinrich the Finkler . Historical drama, Leipzig 1818 digitized
• Poems . Leipzig 1820
• Stories and romances . Leipzig 1821/22
• Skanderbeg. Heroic poem. 2 vols., Leipzig 1823
• Irises . 2 vols., Leipzig 1827-1830
• Memorial booklet or glimpses through life . Leipzig 1829
• The Schmidt von Jüterbogk. Chronicle sequences in romances . Leipzig 1834

literature

• Woldemar von Biedermann : Goethe and Friedrich Krug von Nidda in Tennstädt . In: Goethe research . Frankfurt / M. 1879.
• Friedrich Lauchert :  Krug von Nidda, Friedrich Albert Franz . In: Allgemeine Deutsche Biographie (ADB). Volume 17, Duncker & Humblot, Leipzig 1883, p. 222.
• Max Koch : Krug von Nidda (Friedrich Albert Franz) . In: Allgemeine Encyclopädie der Wissenschaften und Künste , 2nd section, 40 vol. (1887), pp. 105-107.

Web links

Wikisource: Friedrich Krug von Nidda  - Sources and full texts