Georg Trakl

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Georg Trakl
Trakl Signature.gif

Georg Trakl (born February 3, 1887 in Salzburg , † November 3, 1914 in Krakow , Galicia ) was an Austrian poet of Expressionism with strong influences from Symbolism . However , it is not possible to clearly assign his poetic works to one of the almost simultaneous movements in the history of literature in the 20th century.


Childhood and youth

Entrance door of Trakl's birthplace in Salzburg
Georg Trakl and his siblings, photo by Eduard Bertel

Georg Trakl grew up as the fifth of seven siblings, including an older half-brother, in Salzburg. The family belonged to the upper middle class. The father, Tobias Trakl, owned an iron shop. The mother Maria Catharina (née Halik), who was partly of Czech descent, had a difficult relationship with her children and was addicted to drugs. Outwardly, she led the life of a normal bourgeois woman.

Georg Trakl spent his childhood and youth in Salzburg, where he and his siblings were raised by a French governess . The governess, Marie Boring, served the family for 14 years and played an important role as a substitute mother for the children. She was a devout Catholic and taught the children the French language, and she often read French literature and magazines with them. It was at this time that Trakl first came into contact with French literature, which shaped his later oeuvre. In particular, influences from Arthur Rimbaud and Charles Baudelaire can be clearly seen in Trakl's literary work.

An intimate relationship developed with his sister Margarethe , called Gretl, who was four and a half years his junior . Trakl saw in her an image of himself. The poet referred to his sister in many passages of his poems. An incestuous relationship is also suspected in many biographies . In Trakl's poems Margarethe Trakl is referred to as a "stranger" and a "youth". An incestuous relationship is suggested in the poem Blood Guilt:

Night is looming in the bed of our kisses.
It whispers where: Who takes the blame from you?
Still trembling with wicked lust, sweetness.
We pray: Forgive us, Mary, in your grace.

From 1897 to 1905 Trakl attended the humanistic state high school in Salzburg . He was considered a poor student (insufficient performance in mathematics, Latin and Greek) and in 1901 had to repeat the 4th grade. His first literary attempts began around 1904 when he joined the Salzburg poet circle "Apollo", later renamed "Minerva". After failing to finish class again in 1905, he ended his school career without a Matura . Trakl's first experiments with drugs ( chloroform , morphine , opium , veronal , alcohol ) also took place at this time .

Education and literary creation

In September 1905 he began a three-year apprenticeship in the Salzburg pharmacy "Zum Weisse Engel" in Linzer Gasse . This employment made it easy for him to get intoxicants.

At the end of March 1906, Trakl's play Dead Day , and in September 1906 Fata Morgana, premiered in the Salzburg City Theater. The two one-act plays, however, were not well received, which is why the poet destroyed them soon afterwards. In the same year the prose work Traumland was published. An episode in the Salzburger Volkszeitung. Trakl fell into a first creative crisis around 1907 because of the failures, which led to increased drug consumption. On February 26, 1908, The Morning Song, Trakl's first poem, was published in the Salzburger Volkszeitung . In the same year he completed his internship as a pharmacist and began to study pharmacy in Vienna on October 5th. At the same time, his sister Gretl began studying piano at the Vienna Music Academy. Further publications followed, now also outside of Salzburg. For example, Devotion , Completion, and One Transient appeared in the New Vienna Journal.

Georg Trakl

After the father's death in June 1910, the family ran into financial difficulties. Trakl graduated with a master's degree in pharmacy and entered the military as a pharmacist and as a one-year volunteer on October 1, 1910, and was assigned to the kuk medical department No. 2 in the Rennweg barracks in the III. Vienna district assigned. At this time, Trakl often met with friends from his Salzburg time; alcohol was consumed extensively, and poetic production was low during this period.

After the end of his military year, he tried to gain a foothold as a pharmacist , but he never really succeeded, but took him to Innsbruck in 1912 . Through his childhood friend Erhard Buschbeck , Trakl met his great sponsor Ludwig von Ficker there in 1912, and his poems were published regularly from now on in his renowned bi-monthly magazine Der Brenner . In addition, acquaintances developed to some important people of the Austrian literary and artistic scene, including Karl Kraus , Adolf Loos and Oskar Kokoschka .

Trakl increasingly suffered from anxiety and depression . At times he was almost terrified of strangers, probably also due to alcohol and drug consumption, and lived in a state of euphoria and numbness.

In 1912 Georg Trakl got a job as a military medicin officer in Vienna, which he gave up after a few days. In search of a more suitable position and publisher for his poems, he subsequently commuted between Salzburg, Vienna and Innsbruck. After his manuscript Poems had been published by the Kurt Wolff Verlag in Leipzig in 1913 , Trakl traveled to Venice with Kraus, Loos and von Ficker and held his first and only public reading in Innsbruck at the end of the year. The press reported: "Georg Trakl earned rich applause with his witty poems [...], although his reading style is better for an intimate circle than for a larger hall and the sometimes excessive muffledness of the lecture let some things go under." Despite his literary successes said the poet of a "chain of sickness and despair" that haunted his life.

In March 1914, Trakl traveled to Berlin to see his sick sister Margarethe, who had suffered a miscarriage. It was there that he met Else Lasker-Schüler , who also assisted his sister. Back in Innsbruck, Trakl continued to work on his second volume of poetry, Sebastian im Traum , which he himself brought on the way to publication.

Beginning of the world war and death

The First World War broke out in August 1914 . Trakl was called up as a military pharmacist in the army . He experienced the Battle of Gródek in September 1914 as a medical lieutenant . At the same time he had almost a hundred seriously wounded people under poor conditions alone and without sufficient material to care for. For two days and two nights he worked in a hospital that was later referred to in the press as one of the "death pits of Galicia". Trakl had no way to come to the aid of the dying, which drove him into despair. According to his superiors' testimony, thirteen Ruthenians had been hanged on trees in front of the tent half an hour before the battle . Trakl then suffered a nervous breakdown. In the poem of the same name, Grodek , he created his war experience a few days before his death. According to Theo Buck, Trakl's last poem conjures up “the garish outlines of an evening landscape as a landscape of the dead”.

The Kraków Military Hospital with the plaque

Trakl was prevented from attempting to shoot himself by comrades and, after attempting to escape, was admitted to a Krakow military hospital to monitor his mental state. On the evening of November 3, 1914, he died of cardiac arrest after taking a cocaine overdose. It is unclear whether it was an accident or a suicide. Today a plaque commemorates Georg Trakl on the building.

He was initially buried in Kraków's Rakowicki Cemetery. His officer's boy, the miner and saltworker Mathias Roth (1882-1965), was the only one who was present at his funeral. In 1925, at the request of Ludwig von Ficker , the remains were transferred to the Mühlauer Friedhof near Innsbruck.

Trakl's second volume of poetry, Sebastian im Traum , was published posthumously in the spring of 1915.


Georg Trakl - Poems, first edition in 1913 by Kurt Wolff Verlag
Towards the walls , facsimile of Georg Trakl's handwriting


Trakl published his first poems in 1907 and 1909, but inquiries from Albert Langen Verlag were rejected even after the works had been revised several times. Its importance was first recognized by Ludwig von Ficker, in whose magazine Der Brenner he was able to publish regularly from 1912 to 1915, most recently posthumously. In 1913, Kurt Wolff Verlag published the collection of poems in the series The Youngest Day (Volume 7/8) and in 1915, posthumously, but still compiled by Trakl himself, his cycle of poems, Sebastian im Traum .

Few other poems and prose works by Trakl were published during his lifetime. In addition to an early collection of poems from 1909 (so-called "Collection 1909", untitled), for which Trakl could not find a publisher and which he later rejected, there is a significant legacy of unpublished poems, alternative versions of published poems and a few less dramatic fragments and aphorisms. In 2015, when a private library in Vienna was closed, a previously unknown, handwritten Trakl poem with the title Hölderlin was found. The Trakl autograph is dated 1911, monogrammed GT and was found on the front flyleaf of the third (and last) volume of the Friedrich-Hölderlin- Werkausgabe published by Wilhelm Böhm in Verlag Eugen Diederichs 1905 . This edition was in Trakl's possession and has his bookplate on the front mirror. The book with the poem manuscript was acquired in 2016 by the Salzburg Cultural Association , which has its administrative headquarters in Trakl's birthplace and looks after the attached Trakl Museum (with archive).


In Trakl's work, the mood and colors of autumn predominate, dark images of evening and night, of dying, of death and of passing away. Although the poems are rich in biblical-religious references, and many are well suited to a contemplative openness to transcendence, the light of redemption rarely breaks into the darkness. The frequent color symbolism (mostly blue - in more than half of all poems, then red and brown) initially served to describe real things, later the colors were often independent as metaphors, for example: "Melancholy blue in the lap of women" (from: Sight ).

Trakl's poems have been interpreted very differently in German research. Some try to refer them back to given patterns of interpretation or forego the formation of meaning, others see them as metaphorical models of their own construction principles. It is controversial to what extent Trakl's drug use affected the form and content of his poems. Even if Trakl did not directly address drug addiction in his poems, some poems show allusions to addiction and delusions .

As a poem that exemplarily expresses the ideas of its epoch, Wulf Segebrecht included the following poems by Trakl in his anthology : Decay , Transfigured Autumn , De profundis , Whispered In the Afternoon , Kaspar Hauser Lied , Gesang des Abeschieden , Ein Winterabend , Der Herbst of the lonely and Grodek .

Creative phases

Trakl's work can be divided into four phases:

The first phase relates to his young works, which were strongly influenced by two influences, on the one hand Nietzsche and the movements of Art Nouveau and on the other hand symbolism. In the works of this time, French models ( Baudelaire , Rimbaud , Verlaine ) still appear through the partly rhetorical gestures, taken from the lyrical tradition, such as in Twilight , where he describes his verses as "sick flowers of melancholy", which is an indication Baudelaires Les Fleurs du Mal is.

In the second creative phase (approx. 1909–1912) is the expressionist sequential style, which he himself characterizes as “my pictorial manner, which forges four individual parts of the picture into a single impression in four lines of stanzas”. Or in the third stanza of the poem Der Gewitterabend (Poems, 1913):

The pond mirror bursts loudly.
Seagulls shriek at the window frame.
Fire rider blasts from the hill.
And shattered to flames in the fir.

This optical-acoustic overall impression of a thunderstorm is caused by a sequence of images and synaesthesia . For Trakl, it is not the sequence of the individual events that is decisive, but rather the complex overall impression created.

His later works (approx. 1912–1914) are in his third phase, which creates a great semantic openness through the high poetic suggestiveness of the pictures . This hermetically abstract style and the endeavor to obscure the unambiguous forms an individual style that regularly complicates an interpretation of the content , which the texts ask for, so that a clear literary-historical classification is not possible. He is now taking back the sequence style that was distinctive from his second phase in order to partially introduce the lyrical self into the final courses of action and discoveries . The final phase from 1914 until his death contains many of his posthumously published works. It is shaped by his war experience and an archaic - apocalyptic tenor such as in the works Im Osten , Klage and Grodek.

Grodek - his last poem - wrote Trakl after he had to take part in the battle of this Galician city in September 1914, when he was supposed to take care of the seriously wounded as a pharmacist and saw hanged men dangling from the branches of trees. This experience found its echo in Grodek :

But silence gathers in the willow ground
Red clouds in which an angry god lives
The shed blood, mundane coolness;
All streets flow into black decay.

When looking at these four creative phases of Trakl, it can be seen that as a result of a process they flow into one another and do not begin or end abruptly. But Trakl's compulsion to perfection also delayed publication, which resulted in this phase transition. This is how Kleefeld described in Eighty Poems : “He worked on the poems incessantly, often over the years; he reworked them, varied individual lines, tried new pictorial constellations; he pulls together several stanzas into one, develops a poem from a poem stanza. "


Kurt Wolff Verlag Leipzig, memorial plaque
  • The Georg Trakl Prize for Poetry has been awarded in Salzburg since November 3, 1952 .
  • In 1958 the Traklgasse in Vienna- Döbling (19th district) was named after him.
  • In 1991 a pedestrian bridge was named after him in Salzburg . The Traklsteg connects the districts of Itzling and Lehen.
  • The Traklpark in Innsbruck is a small green space on the Inn, a place that Georg Trakl frequently visited. With a symbolic reference to this space, Mirko Bonné published his volume of poems Traklpark in 2012 .


  • The morning song. Salzburger Volkszeitung , February 26, 1908.
  • A passerby ; Completion ; Devotional , Neues Wiener Journal , October 17, 1909.
  • Collection 1909. (Collection, without official title), 1909 - not published.
  • Cheerful spring in reputation. Suburb in the hair dryer. The Brenner, Innsbruck 1912.
  • Poems . ( Judgment Day Volume 7/8). Collection. K. Wolff, Leipzig July 1913.
  • Sebastian in a dream . Collection. K. Wolff, Leipzig, spring 1915. (posthumous)
  • Legal action. Grodek . (Brenner yearbook). The Brenner, Innsbruck 1915. (posthumous)
  • Walther Killy , Hans Szklenar (ed.): Seals and letters. historical-critical edition. 2 volumes, Otto Müller, Salzburg 1969. (2nd edition. 1987)
  • Eberhard Sauermann, Hermann Zwerschina (ed.): Complete works and correspondence. Innsbruck edition. historical-critical edition with facsimiles of the handwritten texts of Trakl. 6 volumes (in 8 sub-volumes) and 2 supplement volumes (reprints of the first editions from 1913 and 1915), Stroemfeld / Roter Stern, Basel / Frankfurt 1995–2014
  • The poetic work. (dtv 6001 or 12496). dtv, Munich 1972. (This paperback edition contains the entire poetic work of Trakl in the text version and arrangement of the historical-critical edition by Killy / Szklenar, the critical apparatus and a timeline for selected poems. Letters are not included here)
  • Hans-Georg Kemper, Frank Rainer Max (Ed.): Works, drafts, letters. Reclam, Stuttgart 1984. (bibliographically supplemented edition 1995 (Universal-Bibliothek 8251) (This paperback edition is based on the historical-critical edition by Killy / Szklenar. It contains the volumes of poetry edited by Trakl himself, the publications in Der Brenner 1914/15 and a Selection from the estate, the drafts and letters. In the appendix there is an afterword by Kempers and a selection bibliography in addition to the apparatus and some data on Trakl's life and work.))
  • Tenderness - tenderness. Love poems - Love poems, trans. by Stephen Tapscott. Bilingual edition, Verlag Bibliothek der Provinz , Weitra 2015. ISBN 978-3-99028-083-6
  • Mario Zanucchi: From Decadence to Decay - Georg Trakl's 'Collection 1909'. In: Ders .: Transfer and Modification - The French Symbolists in German-Language Poetry of the Modern Age (1890-1923) . De Gruyter 2016, pp. 632–648, ISBN 978-3-11-042012-8 .


  • Dieter Salbert: NATURE AND PEACE - seven chants for soprano and string orchestra based on poems by Georg Trakl (1984)

It goes along an old path ... / How everything seems so sick ... / Since I was sitting in the garden this morning ... / Over the woods ... / I saw many cities as flames ... /

It seems to me that I dreamed of falling leaves ... / In the evening when the bells ring peace ... (Musikverlag Zahoransky) - Premiere: 1985 Braunschweig

CD production ram 50801 NATUR UND FRIEDEN (Munich Bach soloists, conductors: Gerd Schaller, Katherina Müller, soprano)

  • Wendelin Bitzan : Lawsuit . No. 1 ( Mourning ) from: The four temperaments . Mood pictures for mixed choir and timpani (2007).
  • Philippe Boesmans : Trakl songs. (1988) for soprano and orchestra
  • Gerhard Bollmann: The lonely autumn. - In spring. - humanity. Premiere January 1989 Vienna (with Hubertus Reim [baritone])
  • Cesar Bresgen : Cantata von der Unrest des Menschen (1953) for soprano and tenor solo, mixed choir, male choir and orchestra. Texts by Georg Trakl, from the Book of Job and by Cesar Bresgen
  • Friedhelm Döhl : Der Abend / Die Nacht (1977/79) for flute and violoncello
  • Miro Dobrowolny: Gesänge der Nacht (2009) Three songs for medium voice and piano: Night song 1 (From deep night), Night song 2 (About nightly dark floods), My demon (It has my demon) Publisher: Edition Gravis (eg1931)
  • Eden Weint Im Grab ( Dark Metal Band): Der Herbst des Einsamen (A decomposition of the lyrics by Georg Trakl) (Album, based on twelve poems)
  • Hanns Eisler : Autumn No. 1 from: Two songs for a high voice and piano (1918). You keep approaching, Melancholie (1920). In spring No. 2 from: Two songs for voice and piano (1920). Roundel No. 2 from: Two songs for voice and piano (1920).
  • Harald Genzmer : Transfigured Autumn (1956) for 4-part male choir
  • Jürg Hanselmann : On walls (2016), song circle based on poems by Georg Trakl
  • Hans Werner Henze :
  • Apollo et Hyazinthus (1948/49). Improvisations for harpsichord, alto voice and 8 solo instruments (based on the poem Im Park )
  • Sebastian im Traum (2004) for orchestra. Premiere December 22, 2005 Amsterdam ( Concertgebouw Orchestra , conductor: Mariss Jansons )
  • Drei Liebeslieder (1960) for alto voice and orchestra. Premiere May 12, 1962 Geneva (Swiss Tonkünstlerfest; Lucienne Devalier [alto], Orchester de la Suisse Romande , conductor: Jean Meylan)
  • Five songs (1992/2006) for alto voice and orchestra. Premiere November 29, 1993 Lausanne (Théâtre de Beaulieu; Cornelia Kallisch [Alt], Orchester de la Suisse Romande, conductor: Armin Jordan )
  • Elegie (1958) for mezzo-soprano and 4 instruments
  • Ensemble-Buch II (1992/94) for mezzo-soprano and 10 instruments
  • Trakl-Lieder I (1993) for tenor and piano. Premiere December 1, 1998 Cologne (Philharmonie; Christoph Prégardien [tenor], Siegfried Mauser [piano])
  • Silence and Childhood (1996). Six songs for tenor and piano. Premiere December 3, 1996 Munich (Sebastian Leebmann [tenor], Siegfried Mauser [piano])
  • Armin Knab : Bread and Wine for 4-part female choir
2.  Transfigured autumn ("The year ends like this ...") - 3.  A winter evening ("When the snow falls on the window ...")
  • Willi Leininger : 7 songs based on poems by Georg Trakl for baritone and piano ( Transfigured Autumn / In Autumn / Woman's Blessing / The Thunderstorm / Spiritual Song / Whispered in the Afternoon / Autumn Soul )
  • Silvan Loher: De Profundis . Cantata based on poems by Georg Trakl a. a. WP May 12, 2018, International Bach Festival Schaffhausen
  • Peter Maxwell Davies : Revelation & Fall (“Revelation and Downfall”; 1966) for soprano and 16 instruments
  • Jörg-Peter Mittmann :
  • Dream of Evil (1993) for wind trio
  • spectral (2003). Eleven-movement cycle based on color symbols from various poems by Trakl
  • Andrea Riderelli: Drei Trakl-Lieder (1990) for piano and baritone (Die Raben, Klage, Melancholie)
  • Johannes X. Schachtner : Miniatures after Georg Trakl (2007/2010) for violin and piano. Premiere April 2007, Munich / first recording BR (2013) (Julia Galic, [violin] Silke Avenhaus, [piano])
  • Josef Schelb : Four songs based on texts by Georg Trakl for soprano, flute, clarinet, 2 violins, viola and cello (1964), premiered in Karlsruhe 1964, first recording in 1998 (Cornelia Eng, members of the SWR Symphony Orchestra Baden-Baden and Freiburg, ARS- FCD 368 363)
  • Enjott Schneider : Trakl Dreams (1987). Meditations for voice and piano. Premiere January 1st, 1988 Lindau (Christian Schmidt [bass], Benno Scharpf [piano])
  • Wolfgang-Andreas Schultz :
  • Four songs (1969/1986) for tenor and piano
  • Two night pieces (1972/1992) for solo flute, three-part female choir (or three female voices), harp, piano, celesta and string orchestra
  • Variations on an evening song (1985) song cycle for soprano and piano. Texts by Joseph von Eichendorff , Nikolaus Lenau , Georg Trakl and from the Gospel of Matthew
  • Variations on Theme by Handel (1987). Song cycle for mezzo-soprano and piano. Texts by Nikolaus Lenau, Georg Trakl, Stefan George and Reiner Kunze
  • Occidental song (1988/89). Fantasy and fugue for cor anglais and orchestra. Premiere April 24, 1990 Ulm (Johannes Schwill [English horn], Philharmonic Orchestra Ulm , conductor: Mathias Husmann )
  • Joachim Schweppe : The Hamburg composer Joachim Schweppe set over 50 works by Georg Trakl to music, including the Gesang des Abgeschieden from 1965 and the Trakl Symphony from 1968 based on the poem Verfall . Ten songs for piano and solo voice from Schweppe's songs about Trakl texts written in the 1950s are available through the Joachim Schweppe Society : Am Mönchsberg , Der Schlaf , Die Raben , Herbstseele , Im Winter , In ein old Stammbuch , Nachts , Nahe des Death , rondel , decay .
  • Juan María Solare :
  • Rondel (2006) for voice and guitar
  • Spiritual twilight for voice and organ
  • Hubert Steppan (1928–2009): song cycle based on texts by Georg Trakl. Five songs for high voice (soprano / tenor) and piano (1991). A winter evening Op. 223; Music in the Mirabell Op. 224 (G. Trakl 2nd version); Autumn Soul Op. 225; Wind, white voice that whispers on the drunkard's temple, Op. 227; In winter Op. 228
  • Uwe Strübing :
  • Trakl-Lieder (op. 3; 1984) for soprano and 7 instruments. Premiere 1985 Nuremberg ( Meistersinger Conservatory ; Dorothea Kästner [soprano], Conservatory student)
1.  The beautiful city ("Old places are sunny and silent ...") - 2.  Spring of the soul ("Flowers blue and white scattered ...")
  • Four songs (op.89; 2007) for soprano and piano. Premiere March 24, 2011 Erlangen (Redoutensaal; Rebecca Broberg [soprano], Lilian Gern [piano])
1.  Evening mousse ("The church tower's shadow returns to the flower window ...") - 2.  In the dark ("The blue spring is silent ...") - 3.  The evening of thunderstorms ("O the red evening hours! ...") - 4.  Evening song ("In the evening, when we walk on dark paths ...")
  • String quartet No. 2 (1979/80) with clarinet and mezzo-soprano. Premiere 1980 Paris ( Radio France )
Vowel movements: 2.  Melancholy - 4.  Sleep - 5.  In Venice
  • Trakl Fragments (1983/84) for mezzo-soprano and piano. Premiere February 10, 1984 Hamburg ( Liat Himmelträger , Peter Stamm [piano])
1.  Childhood - 2.  A cross protrudes - 3.  Birth - 4.  In spring - 5.  Night change , death and soul - 6.  As the day fell - 7.  The homeless returns - 8.  Münch… - 9.  Im Spring - 10th  Night Book - 11th  Snowy Night
  • Version for mezzo-soprano and 14 instruments: Nachtwandlung (1983/84). Premiere February 17, 1986 Paris ( Center Pompidou ; Liat Himmelträger, Ensemble 2e2m [Champigny], conductor: Fharad Mechkat)
  • Grodek (1991) for baritone, clarinet, horn, bassoon and strings ( Premiere September 29, 1991 Berlin (Georg Christoph Biller [baritone], Scharoun Ensemble, conductor: Friedrich Goldmann )
  • Three songs based on Georg Trakl (Salzburg 1987) for mezzo-soprano, basset-horn and guitar (I: Soul of Life, II: Ballad, III: Sister's Garden)
  • Nachtlied (Salzburg 2007) for four-part mixed choir a cappella
  • On a petrified threshold - lyrical scenes based on Georg Trakl (Salzburg 2014) for nine solo voices, choir and chamber orchestra (1. “Der Herbst des Einsamen”, 2. “Nachtlied”, 3. “Verflucht, ihr Dunkel Gifte”, 4. “O the madness of the big city ", 5." You brazen times ", 6." Painful and empty of existence ", 7." Homecoming ")
  • Six songs based on poems by Georg Trakl (op. 14, 1917–1921), song and chamber ensemble (1. “Die Sonne”, 2. “Abendland I”, 3. “Abendland II”, 4. “Abendland III”, 5 . "At night", 6. "Song of a caught blackbird")
  • “A winter evening” in “Six songs of a serious character” for deep voice (bass-baritone or alto) and piano, Ed. Peters No. 5637, Leipzig 1979

Artistic adaptations

Beate Passow

Link to the picture
(please note copyrights )

  • Alfred Kubin illustrated revelation and downfall. The prose writings , Otto Müller Verlag Salzburg 1947
  • In 1971 Hans Schulze created a series of etchings for Trakl's poems.
  • Hans Fronius : Helian . With 5 individually signed original lithographs mounted on the text paper. 5. Printed by the publisher Ars librorum Gotthard de Beauclair 1963.
  • The artist Beate Passow created a work on the poem Grodek in 2015 .
  • In 1994 Klaus Schulze created an opera entitled "Totentag", which deals with the last day of the poet.
  • In his monodrama Trakl's Last Days, premiered in 2014, Walter Kappacher reflects on the poet's desperation shortly before his death. Extended book edition in: Trakl's last days & Mahler's homecoming , Müry Salzmann, Salzburg - Vienna 2014, ISBN 978-3-99014-104-5

Film adaptations

The young maid , staged versions based on the song cycle by Paul Hindemith a . a. with the actor William Mang as Trakl and the singer Trudeliese Schmidt as Trakl's sister. TV broadcast by Saarländischer Rundfunk 1987. Director: Hans Emmerling , Producer: Peter Rocholl . The film Tabu - It is a strange soul on earth plays freely with elements of Trakl's biography without being a factual representation of his life. Lars Eidinger plays the main role in it.


  • Emil Barth : Georg Trakl. Essay. In memory of his fiftieth birthday on February 3, 1937. 2001, ISBN 3-89086-737-5 .
  • Otto Basil : Georg Trakl. Represented with testimonials and photo documents . 18th edition. Rowohlt, Reinbek bei Hamburg 2003, ISBN 3-499-50106-6 (reprint of the 1965 edition).
  • Anna B. Blau: Style and deviations: some syntactic-stylistic features in the poems Detlev von Liliencrons , Georg Trakls and Ingeborg Bachmanns (= Acta Universitatis Upsaliensis, Studia Germanistica , Volume 19). Uppsala University / Almqvist och Wiksell [on commission], Stockholm 1978, ISBN 91-554-0812-5 , OCLC 31057157 , (dissertation University of Uppsala 1978, 223 pages).
  • Károly Csúry, construction principles of Georg Trakls Textwelten . Aisthesis, Bielefeld 2016, ISBN 978-3-8498-1167-9 .
  • Lyric work: text analysis and interpretation of Georg Trakl. ( King's Explanations Special). Bange, Hollfeld 2011, ISBN 978-3-8044-3061-7 .
  • Alfred Doppler: The poetry of Georg Trakl. Vienna u. a. 1992.
  • Memory of Georg Trakl . Otto Müller, Salzburg.
  • H. Esselborn: Georg Trakl. The crisis of adventure poetry. Böhlau Verlag, Cologne 1981.
  • Franz Fühmann : Before fires. Experience with Georg Trakl's poem . Hinstorff, Rostock 1982, ISBN 3-356-00869-2 .
  • Martin Heidegger : The language in the poem. A discussion of Georg Trakl's poem. In: ders .: On the way to language . Neske, Pfullingen 1959. (New edition: 14th edition. Klett-Cotta, Stuttgart 2007, ISBN 978-3-608-91085-8 )
  • [Article] Georg Trakl. Heinz Ludwig Arnold : Kindlers Literature Lexicon . 3rd, completely revised edition, volume 16. 18 volumes. Metzler, Stuttgart 2009, ISBN 978-3-476-04000-8 , p. 403F. Biogram, article on Georg Trakl by Peter Schünemann / Marion Bönnighausen.
  • Rüdiger Görner : Georg Trakl. Poet in the decade of extremes. Zsolnay, Vienna 2014, ISBN 978-3-552-05697-8 .
  • Franz Kain : The evening star came in Grodek. Provincial Library, Weitra 1996, ISBN 3-85252-058-4 .
  • Hans-Georg Kemper (Ed.): Interpretations. Poems by Georg Trakl . Reclam, Stuttgart 1999, ISBN 978-3-15-017511-8 .
  • Hans-Georg Kemper: Drug Trakl: Intoxicating dreams and poetry . Otto Müller, Salzburg 2014 (= Trakl Studies 25), ISBN 978-3-7013-1223-8 .
  • Brigitte Lühl-Wiese: Georg Trakl - the Blue Rider: Form and Color Structure in Poetry and Painting of Expressionism , Münster 1963 DNB 481959858 (Dissertation Westfälische Wilhelms-Universität, Philosophical Faculty, July 19, 1963, 192 pages).
  • Helmut Schinagl : The dark flutes of autumn . The life novel by the poet Georg Trakl. Graz 1971.
  • Hilde Schmölzer : Dark love of a wild sex. Georg and Margarethe Trakl . Narr, Francke, Attempto Verlag, Tübingen 2013, ISBN 978-3-7720-8489-8 .
  • Annemarie Schwarzenbach: Georg Trakl. (1931). In: Messages from the Brenner archive. 23/2004, pp. 47-81.
  • Ingrid Strohschneider-Kohrs : Almost beyond the world. Georg Trakl's poem "Lament". Ulrich Keicher Verlag, Warmbronn 2010, ISBN 978-3-938743-93-5 .
  • Hans Weichselbaum: Georg Trakl. A biography. Salzburg 2014, ISBN 978-3-7013-1219-1 .
  • Mario Zanucchi: From Decadence to Decline: Trakl's 'Collection 1909'. In: Ders .: Transfer and Modification - The French Symbolists in German-Language Poetry of the Modern Age (1890–1923) . De Gruyter 2016, pp. 632–648, ISBN 978-3-11-042012-8 .
  • Hans Joachim Schliep: On the table bread and wine - poetry and religion with Georg Trakl. Fromm Verlag, 2019, ISBN 978-613-8-35764-3

Web links

Wikisource: Georg Trakl  - Sources and full texts
Commons : Georg Trakl  - Collection of images, videos and audio files

Individual evidence

  1. a b c d [article] Georg Trakl. Heinz Ludwig Arnold : Kindlers Literature Lexicon . 3rd, completely revised edition, volume 16. 18 volumes. Metzler, Stuttgart 2009, ISBN 978-3-476-04000-8 , p. 403F. Biogram, article on Georg Trakl by Peter Schünemann / Marion Bönnighausen.
  3. a b c d e f g h i j k Bernd Matzkowski: Text analysis and interpretation of Georg Trakl, Das lyrische Schaffen. All necessary information for the Abitur, Matura, exam and presentation plus sample exercises with possible solutions. (= King's Explanations Special ). Bange, Hollfeld 2011, ISBN 978-3-8044-3061-7 .
  5. Walther Killy , Hans Szklenar (ed.): Georg Trakl: Dichtungen und Letters. historical-critical edition. 2 volumes, Otto Müller, Salzburg 1969. (2nd edition. 1987).
  7. Innsbrucker illustrated Neuste Nachrichten of December 14, 1913, p. 5. Quoted from Bernd Matzkowski: Text analysis and interpretation of Georg Trakl, Das lyrische Schaffen. Bange, Hollfeld 2011.
  9. ^ Theo Buck: Georg Trakl, Grodek (1914) . In: Theo Buck: Forays through poetry. From Klopstock to Celan. Poems and interpretations . Böhlau, Cologne / Weimar / Vienna 2010, ISBN 978-3-412-20533-1 , pp. 213–222.
  10. See press release of the Salzburger Kulturvereinigung, February 15, 2016. ( Memento of the original from February 21, 2016 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot /
  11. Károly Csúri, Construction Principles of Georg Trakl's Lyric Text Worlds (2016)
  12. ^ Wulf Segebrecht (Ed.): The German poem. From the Middle Ages to the present. S. Fischer, Frankfurt 2005, ISBN 3-10-074440-3 , pp. 364-369.
  13. ^ Letter to Erhard Buschbeck from July 1910, Dichtungen und Briefe, Volume I, p. 478.
  14. ^ 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 , p. 637, 5th line from the bottom
  15. quoted from: Martin Staudinger: My grandfather, the murderer: the historian Gerhard Jagschitz on the trail of his grandfather, the secret service agent and chief spy Max Ronge. In: Die Zeit , No. 13/2007, March 22, 2007, accessed on September 13, 2017. (Note: Georg Trakl and Max Ronge were therefore independently of each other in the same place within a few hours.)
  16. ^ Mirko Bonné: Traklpark. Poems . Schöffling & Co, Frankfurt am Main 2012.
  18. Archived copy ( memento of the original from October 1, 2012 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot /
  19. spectral (2003). Homepage Jörg-Peter Mittmann on
  20. “: The night is crying ...” Gesellschaft der Musikfreunde Passau e. V., November 23, 2014, accessed August 15, 2016 .
  21. Walter G. Goes: Ponder the Truth - Much Pain! Poetry Newspaper, November 6, 2014, accessed November 8, 2014 .