Golo and Genovefa
| Data | |
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| Title: | Golo and Genovefa |
| Genus: | tragedy |
| Original language: | German |
| Author: | Painter Müller |
| Literary source: | Genoveva of Brabant |
| Publishing year: | 1811 |
| Place and time of the action: | A castle in the 8th century |
| people | |
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Golo and Genevieve is written in prose tragedy of Friedrich Müller (called Maler Müller) and was probably in the years 1775 to 1781. For the first time it appeared in 1811. The piece interprets the Genoveva fabric and is generally considered the work of the Sturm und Drang considered .
content
First elevator
The first act begins in Palatinate Castle with the preparations for a campaign against Muslim troops that have invaded France. This is probably Charles Martell's campaign in southern France. The counts and brothers Siegfried, Ulrich, Bernhard and Carl are preparing for the war and bid farewell to their relatives: Carl from his lover Julie, the daughter of the castle captain Adolf in Palatinate, and Count Palatine Siegfried from his wife Genovefa. She previously had her husband's weapons cleaned and sharpened. This will be of concern at a later date.
Those present are amazed that the young knight Golo does not want to take part in the campaign because he claims to be "indisposed". Since he stayed behind in Palatinate, Siegfried transferred the rights to him as his deputy and entrusted him with his wife Genovefa. After the latest war reports have arrived from France, the crowd leaves quickly.
When Golo appears for the first time, it quickly becomes clear that he is hopelessly in love with Genovefa, the wife of his liege lord. However, he keeps this a secret from her and leads irrelevant conversations about art and music. Mathilde von Rosenau, sister of Captain Adolf, takes an active part in his suffering, since Genovefa does not reciprocate Golo's love. Mathilde is angry about Golo's refusal to take part in the campaign. She reproaches him for doing nothing to increase his fame, although she has been patronizing and promoting him for some time. You manage to win over the court servant Dragones. At the end of the first act Wallrod appears, an enigmatic figure who is very angry with Mathilde. The background of this character and the cause of Wallrod's anger are still unknown to the viewer at this point in time.
The first act fulfills the traditional task of introducing the main characters and reflecting the basic relationships between the characters. (see exposition )
second elevator
At the beginning of the second act, Golo talks to the gardener boy Brandfuchs. The conversation revolves around "art". When Mathilde approaches, Brandfuchs hides. There is a dispute between Mathilde and Golo, whereupon Golo wants to leave Palatinate in a hurry. When Mathilde dissuades him, however, Golos shows enormous dependency on Mathilde. His hesitant, changeable behavior does not remain hidden from the other characters in Palatinate: Adolf, his daughter Julie and their friend Anne talk about it:
“With all the fools! Stay, want to go, stay again, what's the point? Let go for me, if he's no longer in business here, maybe thinks we're grieving a lot about it; [...] Whatever the donkey wants it to do so foolishly now, the devil knows where it is with him. "
Wallrod steps up and looks at a portrait that can be seen outside on a balcony. The conversation turns to this portrait and it is made clear to the viewer / reader that Wallrod is the prodigal son of the rich Sponheim family. But he still only communicates this to the audience in a monologue.
While Adam, Dragones and Golo are planning a music performance for the ladies, Genovefa and Mathilde talk about Golo's infatuation and love in general. The performance succeeds and Golo hopefully gives in to his enthusiasm.
In the fifth scene of the act, Wallrod, disguised as a father, manages to arouse doubts in Dragones and win him over. Meanwhile, Mathilde thinks about the whole situation and finds a letter in which Genovefa should be warned about her and Golo's intrigues. At that moment, Christine, her maid, comes in and tells of an armed intruder. This turns out to be Wallrod, who wants to take revenge on Mathilde for having shamefully dropped him after a liaison. But even in this situation Wallrod does not succeed in killing Mathilde. Instead, he succumbs to her words (once more) and submits to her.
third elevator
At the beginning of the third act there is another confrontation between Golo and Mathilde. But when Mathilde changes her mind and no longer tries to talk the young knight Genovefa out of it, but instead wants to support him with his advertising, Golo shows great gratitude:
“I fall silent. Mathilde! Splendid, excellent woman! Do it for me, you've done it! Sky! Now the sun breaks out in me again. O bliss! "
Meanwhile, Genovefa is again warned about Golo by an anonymous letter. Genovefa suspects Mathilde to be the sender, but is not sure.
Adolf and Adam, the court gardener, discuss the discovery that an unknown figure has been climbing over the castle wall at night for several days. You decide to surprise the stranger the next night.
The fourth scene that now follows is the turning point of the story: In the night to come, Dragones sneaks up to the castle wall, where Wallrod has ordered him. At the same time, Mathilde Golo leads to the same place where Golo meets Genovefa shortly afterwards. He reveals his love to her, but the married woman is shocked and refuses Golo's solicitation. The latter seizes the countess and wants to carry her to a nearby cave, but at that moment Dragones steps in, because he has heard Genovefa's cries for help. Golo attacks the newcomer, wounds him, but escapes when Adam and Adolf approach. They find the injured man and when the situation is still completely unresolved, Mathilde appears and accuses Dragones of having met Genovefa in secret. She also orders that no one be let through to the Countess Genovefa.
Apart from Genovefa and Mathilde, nobody knows at this point that Golo was also there. Therefore Mathilde succeeds in accusing Genovefa and Dragones of adultery. So that this plan can succeed, she soothes Golos emerging guilt feelings and instructs her subordinate Wallrod to poison the imprisoned Dragones.
News of the alleged adultery quickly gets around in the castle and when Julie visits Genovefa in her guarded room, she hands Julie a letter to Siegfried, her husband. She should only hand over the letter to Siegfried personally. At this point, both saw through Mathilde's intrigues. Adolf now also understands the context of the intrigue that his sister initiated. Adolf rages against two guards and decides to send his servants against Mathilde. She received the message together with the information that Genovefa had given birth to a son in her prison. Golo, who knew nothing about her pregnancy, is still struggling with his fate and deeply regrets his nightly deed.
When Adam and Brandfuchs want to supply Genovefa with food, they overhear how Dragones dies of Mathilde's poison. Wallrod, the murderer, however, immediately regrets his act and realizes once more the mischief to which he was instigated by Mathilde. So he curses them:
“Oh cursed Mathilde! What a new monster you made of me again! [...] Look, hideous ones, your work! [...] My deed is heavy on your soul. "
Fourth elevator
Just as Count Palatine Siegfried is dispatching Carl to Pfälzel in the army camp because he is so desperate for news from home, a messenger arrives at Siegfried and brings the news of Genovefa's alleged adultery. The news quickly spread among the soldiers and Ulrich reports to Bernhard:
"[...] bad behavior, brother! Siegfried lies in the tent in pain as hell. "
As Carl approaches his native Palatinate, he finds Christine, Mathilde's chamberlain, tied to a tree in a remote forest. Carl von Golos and Mathilde's charges against Genovefa now also learn from her. His arrival is longed for by Julie and Adolf, as they hope that his arrival will bring the matter to a happy conclusion. Mathilde, however, sees her plans endangered by Carl. She persuades Golo to go to Genovefa again and to persuade them to flee together. The accused countess has meanwhile called her child "Painful". When Golo brings her the false news of Siegfried's death along with some weapons, Genovefa sees through the lie, since she knows her husband's weapons very well. Out of anger, Golo wants to kill the newborn, but Genovefa is able to prevent this. Meanwhile Carl arrives and challenges Golo to a fight. Golo wants to avoid the fight, but when he learns that Siegfried has meanwhile signed Genovefa's death sentence (“in bright anger”, as can be read in Kindler's Literature Lexicon ), he dares to fight Carl. While the fight begins under the insults of Carl, Adolf and Julie fear for his life and Mathilde - due to a lack of confidence in Golo's fighting strength - prepares for a quick departure. However, Golo surprisingly kills Carl in battle, but curses his victory and wishes for him in his place. Golo's victory is now understood as a divine judgment and the death sentence is thus confirmed. Mathilde wishes Genovefa's death as quickly as possible and assigns two murderers to the devious act. It turns out that the two men are also responsible for the attack on Christine on behalf of Mathilde. When Genovefa is led out into the forest to be killed there, away from the courtyard, Adam and his wife Margarethe rush out and help Genovefa to escape. Both found out about the planned murder and decided to help her. Adam tells Genovefa not to return, otherwise she will face certain death.
When Siegfried's arrival, who has meanwhile made his way home due to the incidents, is imminent, Golo flees to his estate, not out of fear of revenge, but out of shame of Siegfried:
“ Golo: I don't want to stay here any longer; want to go over to Sandthal, to my estate.
Mathilde: You have to stay. […] If Ulrich and Bernhard wanted to make a face about their brother, we also have help on hand.
Golo: What am I afraid of? Would like to attract armored against me in the train of all their defenses! I am not afraid of them. Only Siegfried, how am I supposed to bear that? What answer when he asks about Genovefen? "
Golo deeply regrets his actions and mourns the loss of Carl and Genovefa, because the two murderers have brought the news of their death despite Genovefa's flight. Plagued by his feelings, Golo rages among his servants, gets violent towards them and wanders hallucinating through the castle at night. He is surprised by Mathilde. A dispute ensues and Golo wounds his mother, because Mathilde has since turned out to be such:
" Mathilde: You have not bewillkommt me, Golo, a kiss! A mother can be proud to have given birth to a son like you. "
Golo flees and Mathilde covers her son out of motherly love. Meanwhile, the killing continues: Adam's body is found in the forest. Julie went to Anne's monastery and Adolf now feels deprived of his entire family and resigned.
Fifth elevator
After a while, Julie and Anne return from the convent. The way to Pfälzel is exhausting and Julie is very weak. In Palatine, however, Siegfried still cannot come to terms with Genovefa's death. He is planning a new church building in which her grave and Carl's final resting place will find very special places. Heinrich, the doctor, brings the news that Mathilde's castle - after she has meanwhile married the Duke of Trier - has fallen victim to an arsonist. Siegfried decides, despite Golo's strange behavior and despite the resentment that Bernhard still has towards Golo, to invite all his confidants to a great hunt. At this moment Julie and Anne appear in the castle. The now slightly confused Adolf only recognizes his daughter Julie after a while and is overjoyed.
It now comes out that the fire in Trier was started by none other than Wallrod. He is said to have been responsible for Dragone's death from the poison and has now poisoned Mathilde with the same means.
In the run-up to the hunt, Siegfried had the greatest distrust of Golo, who had agreed to come. The Count Palatine has Genovefa's case re-examined time and time again, but nothing new emerges there. The breakthrough comes with the letter that Julie received from Genovefa and always kept with her so that she could only hand it to Siegfried personally. Shortly before this can happen, however, she dies from deprivation and exhaustion. Siegfried receives the letter and now learns the truth about Genovefa's innocence.
At the same time, Mathilde is also dying, but Golo refuses her one last visit and shows no interest in attending her funeral. A doctor and a Franciscan, who were present at Mathilde's death, talk about rumors that Wallrod and Mathilde are said to have committed lewd things and that Wallrod - due to a secret that the viewer can identify as Wallrod's aristocratic origin - is staying with the Duke of Trier should be. At this very moment a fire breaks out in the castle. Wallrod appears at Mathilde's deathbed and expresses satisfaction about her death. While everything around goes up in flames, Wallrod throws himself over the corpse, cursing Mathilde and yet unable to break away from her:
“ Wallrod: breaks free. Let me! Go your path! Here is mine. The flames come in, it cracks from memory, we fall, the Franciscan withdraws. What's up? Are you lying so still now Did I finally put you in one place, you? Your treachery is over now! You will remain loyal to me now; Is not it? - How it rattles up, down! - Yeah! The heat surrounds me and is already consuming me! Sits on the bed. Here your hand, my dear love, will certainly burn once in a flame! Throws himself over them. "
Although he is warned of a trap, Golo goes on a hunt with Siegfried, Ulrich and Bernhard, who is still contemplating Golo's death. Siegfried's order to have Golo arrested while hunting proves that the concerns are not unfounded. When Ulrich and Bernhard don't leave Golo's side, the latter sees through the danger. By chance they soon reach the very cave in which Genovefa has lived with her son in pain since she fled. Startled by the noise of the hunting party, Genovefa flees into the interior of the grotto. When Golo is finally arrested, Genovefa's letter is read out and Golo asks his captors to simply kill him, Genovefa suddenly appears and asks Golo to confess the truth, and Siegfried to forgive Golo. Those present are very astonished and Siegfried is overjoyed. But he hesitates as to whether he can forgive Golo, his once confidante.
" Golo: [...] give me your revenge right now and leave me alone. [...] let a blood wash off the heavy debts to you and to your wife, Siegfried! - I die gladly and easily because she is still alive. […] Siegfried, live long and twice as happy, for the sake of the peace that I stole from you! may I shake your hand for the last time! Farewell! "
In the last scene of the play Ulrich and Bernhard want to kill Golo in a shameful way, but Golo demands a death appropriate to his class. This is granted to him and Golo throws himself on his sword and dies. "Golo and Genovefa" ends with the following lines:
“ Ulrich: take the sword. Unfortunate! You should have knight's death and burial, honest Beydes from my hand. Stand here, want to be your judge. Hold your sword.
Golo: falls in. Forgive me before I die.
Beyde [Ulrich and Bernhard]: We forgive you! "
Editing and publication
Between 1775 and 1781, Friedrich Müller, known as " Maler Müller ", worked on his piece Golo and Genovefa . This means that Müller began the piece in Mannheim and completed it in Rome. He was encouraged to do this by the Mannheim theater director Wolfgang Heribert von Dalberg. Painter Müller only found the inspiration to begin writing when he moved to Rome in 1778. The Countess Palatine Genovefa by painter Müller is often viewed as a fragment or preliminary study for the actual piece. There are also some differences in the conception of the characters. Golo, for example, plays a much smaller role and suffers death almost unnoticed on the edge of the scene. In 1776 the first excerpts of the drama were printed and published. In 1778, the painter Müller took the manuscript with him to Rome. It is unclear whether the piece had already been completed at this point in time. It was not until 1797 that Müller gave the manuscript of the drama to the painter Waagen. This should forward the manuscript to a publisher for publication. Instead, Waagen Müller handed Golo and Genovefa over to Ludwig Tieck, to whom Waagen is related. Tieck, on the other hand, instead of having the work printed, felt himself called upon to write his own version of the Genovefa material after reading the manuscript. He published this version and then asked Friedrich Müller what should happen to his piece. Friedrich Müller reacted angrily and broke off the correspondence with Tieck for the time being. For two reasons, Ludwig Tieck - together with Anton Georg Batt and Johann Phillipp Le Pique - did publish an edition of Friedrich Müller's work in 1811: on the one hand, the texts were eagerly awaited by contemporaries, and on the other hand, Tieck wanted to defend himself against allegations of plagiarism . Among other things, he let it be known that he was in a "state of distraction and fatigue". It should be noted, however, that Müller's “Genovefa” might not have had such great success if Tieck's version had not been published beforehand: “In the following, Arnim elegantly indicates that Müller's 'Genovefa' had already borne fruit through Ludwig Tieck . ”Rolf Paulus, on the other hand, states that because of its late publication, Müller's work could not develop the effect it would have had in the period of“ Sturm und Drang ”. After all, he points out, “Golo und Genovefa” could have been performed in parallel with Schiller's “Die Räuber”.
The work edition from 1811 was published by Mohr and Zimmermann in Heidelberg, consists of three volumes, but is by no means complete. “Golo and Genovefa”, however, takes up the entire third volume. In addition, it was not the first time that parts of "Golo and Genovefa" were made available to the public: Individual scenes from the second act were published in the "Zeitung für Einsiedler" in numbers 13 (from May 14, 1808) , 14 (May 18, 1808) and 15 (May 21, 1808). Each passage was preceded by an overview of the content of the entire piece. This “propagation of Müller's work in a romantic context” is of great importance, the authors of the emerging romantic trend were very curious about the publication of the complete text. In a longer note, Arnim, the editor, admits that the general curiosity is directed towards this piece, which is Müller's only completed and unprinted dramatic work. Friedrich Müller himself is said to have considered "Golo and Genovefa" to be his best work.
Influences
General
“Golo and Genovefa” was not a piece that was written into empty space. Friedrich "Maler" Müller used a "Volksbuch" with French sources as the basis for his work. The Genovefa fabric ( Genoveva von Brabant ) already has an older tradition. At the time of Friedrich Müller there was a popular version of this story for puppets.
The transmission of the Genovefa material happened mainly in Jesuit circles, who reinterpreted the plot as a martyr story: Genovefa as a morally pure woman falls victim to the corrupt Golo. With his Genovefa version, the painter Müller undertook the first attempt to dramatize the material and shifted the whole thing to a more complex, psychological level and made the motivation and development of the respective characters more profound and less stereotypical. Müller's merit lies not in the writing of this intrigue drama, but in the “lyrical-musical attitude”. The piece is thus a prelude to Romanticism , even if many elements clearly refer to Sturm und Drang . Rolf Paulus sees in this piece "the strengths and weaknesses of all Sturm und Drang dramas in a fascinating way": So the piece shows the ingenious traits of some characters, as well as people who are prepared purely out of their emotions, "To go extremely far". Realistic elements, such as the naivety of some characters, the local color and the popular, are additional characteristics, so Paulus. However, the whole thing also has its downsides. The hectic scene changes were often the reason why Müller's “Golo and Genovefa” was viewed as “unplayable”. While the numerous secondary scenes condense the atmosphere, they complicate the plot. In addition, the lyrical insertions counteracted the drama of the piece. A parallel to be drawn to the medieval “ Erec ” (and the associated reception) also points very early to the burgeoning romanticism: like Erec in Hartmann's Middle High German novel, Golo's inactivity (Hartmann uses the term “to lose”) is stone the impetus for the further action.
Müller's connection to the region in which he grew up is also unmistakable. The native Bad Kreuznacher located “Golo and Genovefa” in the Palatinate region all around. So it says in the fourth act, scene three:
" Carl: Support it, so, on my shoulder. Your language is Palatine; are you from the Palatinate?
Christine: I'm from Kreuznach an der Noh.
[…]
Carl: And how do you get here?
Christine: Murderers attacked me when I wanted to go from Disibodenberg to my home, dragged me far through the Sohnwald, [...] "
Shakespeare's influence
As a role model for all strikers and pushers, William Shakespeare also clearly left his influence in the work of Müller Müller. Among other things, the large number of characters, the extensive subplots, the broad social spectrum of characters, and the use of dialects (in the case of “Golo and Genovefas” a Hunsrück dialect) can be found in both authors. The conception of individual figures can also be parallelized: While Golo's unsteady, unstable character is clearly reminiscent of Hamlet , Mathilde is comparable to Lady Macbeth .
Influence of Goethe
Significant influence on the creation of the piece can be attributed to Johann Wolfgang von Goethe. It was he who arranged for Müller to stay in Rome and made it possible. But Goethe also had a decisive influence on the literary level: his Götz von Berlichingen was one of the main triggers for Müller to write a “knight drama”. Golo in his "gloomy, enthusiastic" way can be compared very well with Goethe's Werther or the Weislingen from the Götz von Berlichingen . The parallels between Goethe and Müller can be seen particularly clearly when one looks at the “power women”: Adelheid and Mathilde. Both figures are "exaggerated types" and form a strong contrast to the "good" figures of Maria in "Götz" and "Genovefa" in the painter Müller. Unlike the Adelheid von Goethe, Mathilde appears more calculating, less sensual and erotic and literally plays with her victims. In this way, the painter Müller's figure fulfills the actually conservative view of "woman as emerges from evil." Adelheid remains a mystery; Mathilde, on the other hand, regards her intrigues as primary
" Mathilde: Should be me soon! A bright, masculine eye, frizzy curls, believe he is still a novice in love. Duties and confusion made it understandable. Well, let him relieve him of the problem; but secondary works to fill in the gaps. Business and essentials take precedence. "
In the portrayal as “femme fatale”, as a female seductive power, both figures agree again and drive the dramatization of the subject forward. The strikers and pushers had a certain sympathy for such roles. Painter Müller lets Mathilde speak almost programmatically:
“[...] act on others according to our will, the whip swung up and thrown over it properly, when the Schindmarus Convention and the people around you make it too warm; Projects piled up on projects, one after the other, foot on foot, firmly until what we want is through. The tireless, unmattered man is my ideal hero. "
Influence of Müller painter
In addition to the painter Müller's version, there were two other well-known writers who turned to Genoveva material: Friedrich Hebbel and Ludwig Tieck . The problem with Tieck's version has already been indicated above. Friedrich Hebbel published his version of the "Genoveva" in 1841. On July 29, 1838, Hebbel noted in his diary:
“I read four idylls by the painter Müller [...]; all juicy and hearty to a high degree. "
If one ignores the plagiarism allegations against Ludwig Tieck and classifies them as too serious, one cannot avoid noting the immense influence of Müller on Tieck.
See also
Primary literature
- Mahler Müller's works . Edited by Anton Georg Batt, Johann Phillipp Le Pique, Ludwig Tieck. 2nd volume. Heidelberg 1911, pp. 189-208.
- Storm and stress. Seals from the days of genius . Fourth part: painter Müller . Edited by Karl Freye. Berlin / Leipzig / Vienna / Stuttgart 1911, pp. 307–452.
- Painter Müller's works. Popular edition with new appreciation of the poet and painter by Professor Max Oeser. Tape. Mannheim / Neustadt ad Hdt. 1918, pp. 1-134.
Secondary literature
- Golo and Genovefa . In: Kindlers Literature Lexicon . Volume III (works Fl-Jh). Zurich 1964, pp. 995-997.
- Ursula Friess: Buhlerin and sorceress. An investigation into German literature of the 18th century . Munich 1970, pp. 100-108.
- Willy Mathern: Painter Müller. 1749-1825. Life and work of the painter-poet Friedrich Müller . Bad Kreuznach 1974.
- Willie-Earl Oliver Jr .: Robert Schumann's forgotten opera “Genoveva” . Phil. Diss. Freiburg / Br. 1978, pp. 58-68.
- Hartwig Schulz: Friedrich Müller, called painter Müller (1749–1825) Golo and Genovefa . In: Detlev Lüders (ed.): Renate Moering, Hartwig Schulz, Achim von Arnim 1781–1831. Exhibition . Frankfurt am Main 1981, pp. 53-54.
- Rolf Paulus: painter Müller's drama "Golo and Genovefa" . In: Maler-Müller-Almanach 1983 . Landau 1983, pp. 49-65.
- Gerhard Sauder: Romantic interest in Sturm und Drang (painters Müller, Lenz, Goethe) . In: Sauder, Paulus, Weiß (ed.): Painter Müller in a new perspective. Studies on the work of the writer and painter Friedrich Müller (1749–1825) . St. Ingbert 1990, pp. 225-242.
- Anita Runge: letter, dream, magic mirror. Memory and deception in Genoveve arrangements of the 18th and 19th centuries . In: Irmela von der Lühe, Anita Runge (Hrsg.): Change of places. Studies on the change in literary historical consciousness . Festschrift for Anke Bennholdt-Thomsen. Göttingen 1997, pp. 186-197.
- Sascha Kiefer: The Genovefa legend as a dramatic subject for painters Müller, Ludwig Tieck and Friedrich Hebbel . In: Hirschstrasse. Journal of Literature . Volume 10 (November 1998). Special issue painter Müller for his 250th birthday. Reilingen 1998, pp. 39-51.
- Sascha Kiefer: Critical Destruction and Literary Production. About a basic feature of Friedrich Hebbel's way of working, with special consideration of his "Genoveva" . In: Hebbel yearbook 1999 . Heide 1999, pp. 153-166.
Web links
- Golo and Genovefa . Zeno.org
Individual evidence
- ^ Willy Mathern: Painter Müller. 1749-1825. Life and work of the painter-poet Friedrich Müller . Bad Kreuznach 1974, p. 15.
- ↑ a b c Anita Runge: Letter, dream, magic mirror. Memory and deception in Genoveve arrangements of the 18th and 19th centuries . In: Irmela von der Lühe, Anita Runge (Hrsg.): Change of places. Studies on the change in literary historical consciousness . Festschrift for Anke Bennholdt-Thomsen. Göttingen 1997, p. 157.
- ↑ Rolf Paulus: Painter Müller's drama "Golo and Genovefa" . In: Maler-Müller-Almanach 1983 . Landau 1983, p. 54.
- ↑ a b Anita Runge: Letter, Dream, Magic Mirror. Memory and deception in Genoveve arrangements of the 18th and 19th centuries . In: Irmela von der Lühe, Anita Runge (Hrsg.): Change of places. Studies on the change in literary historical consciousness. Festschrift for Anke Bennholdt-Thomsen . Göttingen 1997, p. 159.
- ^ Gerhard Sauder: Romantic interest in storm and stress (painter Müller, Lenz, Goethe) . In: Sauder, Paulus, Weiß (ed.): Painter Müller in a new perspective. Studies on the work of the writer and painter Friedrich Müller (1749–1825) . St. Ingbert 1990, p. 230.
- ↑ Sauder: Romantic interest in Sturm und Drang . 1990, p. 230.
- ↑ Golo and Genovefa . In: Kindlers Literature Lexicon . Tape. III (works Fl-Jh). Zurich 1964, p. 996.
- ↑ a b c d Rolf Paulus: Painter Müller's drama "Golo and Genovefa" . In: Maler-Müller-Almanach 1983 . Landau 1983, p. 49.
- ↑ Anita Runge: Letter, Dream, Magic Mirror. Memory and deception in Genoveve arrangements of the 18th and 19th centuries . In: Irmela von der Lühe, Anita Runge (Hrsg.): Change of places. Studies on the change in literary historical consciousness . Festschrift for Anke Bennholdt-Thomsen. Göttingen 1997, p. 160.
- ↑ Golo and Genovefa . In: Kindlers Literature Lexicon . 1964, p. 995.
- ↑ Ursula Friess: Buhlerin and sorceress. An investigation into German literature of the 18th century . Munich 1970, p. 108.
- ↑ a b Ursula Friess: Buhlerin and sorceress. An investigation into German literature of the 18th century . Munich 1970, p. 100.
- ↑ Ursula Friess: Buhlerin and sorceress. An investigation into German literature of the 18th century . Munich 1970, p. 104.