Karl von Holtei

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Karl von Holtei; Lithograph by Josef Kriehuber 1856 (after a painting by C. Riedel)

Karl Eduard von Holtei , also Carl (von) Holtei , actually Karl Eduard von Holtey (born January 24, 1798 in Breslau / Province of Silesia in the Kingdom of Prussia ; † February 12, 1880 ibid), was a German writer (especially theater writer), actor , Reciter , theater director and theater director .


Childhood and youth

Karl Eduard von Holtey came from a Protestant family of officers from the Courland nobility. His parents were the Royal Prussian Lieutenant in the Hussar Regiment No. 3 serving hussar officer Karl von Holtey (1766–1845, died as a retired kk major in 1845 in Saatz / Böhmen) and his (since 1792) first wife Wilhelmine Gottliebe, née. von Kessel (1773–1798), a daughter of the Royal Prussian staff cavalry officer (later major) Ernst Friedrich von Kessel und Zeutsch (1737–1785) and Charlotte Erdmuthe von Taubadel-Kertschütz (1750–1809). In 1803, Karl's father married Caroline von Taubadel, with whom he had a daughter, Konstanze, and another son. Since the mother died of puerperal fever three days before the Evangelical Lutheran baptism that took place on February 7th by the garrison preacher in Breslau, he was passed on by his father to his mother's younger sister, Dorothea Marianne Eleonore Baroness von Arnold nee. Freiin given (1739-1821) of Seidlitz-Golau and supplied therefrom. She was married to the Royal Prussian Secret War Councilor Georg Benjamin Baron von Arnold (1737-1896) on Meesendorf ( Neumarkt district ). Karl then called his aunt and foster mother, who came from a pietistic aristocratic family, “mother” (her maternal uncle had founded the pietistic colony mercilessly ). Karl von Holtey's stepbrother Herbert von Holtey served in the Prussian army and died in 1839 as a Rittmeister a. D. in Frankenstein. In 1801, at the age of three, von Holtey was among the first patients to be vaccinated against cowpox . Karl von Holtey first visited the evangelical Friedrichs-Gymnasium (under its director Karl Ludwig Kannegiesser ), then to 1814 the Mary Magdalene School (under the directorship of Johann Kaspar Friedrich Manso ) in Wroclaw and took 1815 as a volunteer in the campaign against Napoleon in part . After his return he got the Abitur in 1817 with the help of Peter Friedrich Kanngießer , the house friend of the Holtey family, and then began (in addition to his "studies" behind the theater) for a semester to study law at the University of Breslau . In 1817 he became a member of the Breslau fraternity (Raczeks) . In 1804 Karl von Holtey visited the Breslau Theater for the first time. His further interest in the theater was aroused there from 1809 to 1815, when the then well-known actor Ludwig Devrient (1784-1832) appeared there. An apprenticeship in agriculture (as a "farm pupil") desired by his family in the summer with the landowner Karl Wolfgang Schaubert in Obernigk , did not dissuade Karl von Holtey from his interest in the theater. To take part in the campaign against Napoleon, he reported as a war volunteer with a volunteer hunter corps in Breslau, where his company comrade Theodor von Sydow (1770-1855) was. By the end of the war, however, they had only got as far as Quedlinburg.


Holtei had already worked as an actor , dramaturge , director and stage poet in his youth . His first play was performed on October 18, 1817 at the Breslau Theater. Together with Karl Seydelmann , he began an acting career from 1816 to 1824 at the castle theater of Count Johann Hieronymus von Herberstein (1772-1847) in Grafenort in the County of Glatz . Karl von Holtei appeared on stage for the first time in the role of Mortimer ( Maria Stuart ) on November 5, 1819 in Breslau under the dramaturgical direction of Ferdinand Heinke . As an actor, however, he had no real success with the audience and left the Wroclaw theater after eight months. In 1820 he traveled as a reciter together with his friend, the singer Julius Rochwow, through Bohemia and Saxony. An appearance in the role of Juranite (in Zriny by Theodor Körner ) at the Dresden court stage failed him. In December 1820 he returned to his foster mother in Obernigk, as she could no longer financially support his life in Breslau. He then ended his acting career for the time being. From February 1821 to June 1823 Holtei was theater secretary and theater poet at the Königl. priv. National Theater in Wroclaw.

In Grafenort he met the Catholic singer and actress Louise Rogée (1800-1825), who was his first wife on February 4, 1821 in the Evangelical Church in Obernigk, had her first appearance at the Breslau theater on May 9, 1821 and after only died four years of marriage on January 28, 1825 in Berlin of pericarditis. The widower then had a daughter (Marie) and a son (Heinrich Wolfgang Andreas, born at the end of 1821, godparents: Henrich Steffens and the landowner Karl Wolfgang Schaubert) to look after . Heinrich Holtei (1821–1836) died at the age of 16 in Grafenort, where he visited his father and stepmother, of a “creeping nervous fever” and was buried as a Catholic. The Protestant Marie Holtei (1822–1897) married at a young age in 1842 33-year-old Catholic lawyer and savings bank clerk Josef Potpeschnigg (1809–1893) in Graz and moved to Graz in Styria , where their children Karl, Wilhelm and Heinrich were raised in the Catholic faith.

On May 6, 1823, Holtei was dismissed from the Breslau theater in connection with a tightrope walker pantomime that he had planned to trigger a scandal. On June 23, Karl and his wife Louise von Holtei, whom he called “little Rogée”, went on an “art journey” (tour) with performances in Prague, Vienna, Brno, Berlin and Hamburg. Louise Holtei played in Berlin in March 1824 at the Royal Theater. In the same year Karl von Holtei arranged for the first performance of Das Käthchen von Heilbronn in Berlin .

In Grafenort, Holtei was director of the palace theater for 12 game seasons. It was there that he wrote his first poems in the Silesian dialect .


Julie from Holtei

From March 1825 to the summer of 1826 Holtei was director's secretary and dramaturge at the Königsstädtisches Theater on Alexanderplatz in Berlin, where many of his plays were performed. 1826-1827 he accompanied Count Herberstein to Paris, where he met Alexander von Humboldt and Giacomo Meyerbeer, among others . In Paris he regularly attended the Théâtre de Gymnase , directed by Eugène Scribe . In the summer of 1829 Holtei returned to Berlin at the Königsstädtische Theater, run by Karl Friedrich Cerf .

In Berlin he married for the second time in 1830, this time the actress and singer Julie Holzbecher (1809–1839), who also participated in Karl von Holtei's stage works at the Königsstädtisches Theater and with whom he made several guest tours. Julie von Holtei worked as an actress and Karl von Holtei as a director from 1830 to January 1, 1831 under the artistic director Küstner at the court theater in Darmstadt.

As an actor in the role of "Heinrich" and author of the laurel tree and beggar or three winters of a German poet ... With an aftermath: beggar and laurel he was successful on February 16, 1833 in Berlin. In 1834 he played in Frankfurt an der Oder and in Glogau with the “Faller Troupe” and with his wife he appeared on 14 evenings in the Breslau theater from May to August of the same year.

After appearing on other stages (including from November 1834 to March 1835 at the Vienna Theater in der Josefstadt ), he headed the theater in Baden near Vienna from May 30 to October 4, 1835 . In March 1836 the Holteis left Vienna and traveled via Brno, where they performed several times, to Grafenort zu Graf Herberstein. In Grafenort, Karl von Holtei made acquaintance in 1836 with the original Catholic chaplain Georg Seipel (1752-1837; known by the population as "Father Jürgel"), who shared his property with the poor and worked in Neuwaltersdorf and Martinsberg in the county of Glatz "Pater Christel" set a literary monument in the novel "Christian Lammfell", which expresses great religious tolerance, in 1853 (made in Graz). His theatrical works 33 minutes in Grünberg , Die Majoratsherren and Der Russe in Deutschland were premiered in Grafenort. In the autumn of 1836 the Holtei couple returned to Berlin, where Karl von Holtei read Shakespeare to them. From 1837 to 1839 he was the successful director of the then German-speaking theater in Riga , for which he hired Richard Wagner as Kapellmeister. After his second wife died on December 20, 1838 after the birth of twins, he left in 1839 and did not return. Marie, his daughter, stayed with his friend, Senior Pastor Grave, in Riga. From July 1839 to May 1840 Karl von Holtei was back in Grafenort, where he wrote his letters from and to Grafenort , and from July to October 1840 he and his daughter stayed as guests of Herberstein at Eggenberg Castle near Graz . From the end of 1840 to 1842, Karl von Holtei then played under Carl Carl at the Theater an der Wien . In addition, he worked as a reader for Prince Metternich in Vienna (see also Austrian national anthem ). From winter 1842 to summer 1843 Holtei lived again in Berlin and in nearby Lützow and began to write down his memoirs of Forty Years of Laurel Wreaths and Walking Staff . Holtei again spent the winter of 1843/44 in Grafenort and in March 1844 he wrote the third volume of the forty years with his stepmother and stepsister Konstanze in Oels . In Oels, Holtei also met the then cathedral preacher and later Prince-Bishop of Breslau, Förster, at an anniversary event on June 3, 1844.

On October 1, 1844, Karl von Holtei took over as dramaturge the artistic direction of the Breslau City Theater, which was run by Baron Eugen von Vaerst as a tenant, but he gave it up again on March 15, 1845 due to disagreements with the management. At the invitation of Prince Hermann von Hatzfeld (1808–1874), his most influential patron, excommunicated by Melchior von Diepenbrock in 1847 , he spent some time at Trachenberg Castle , where in July 1845 he wrote down large parts of his memoirs (the five volume of the forty years ) . From November 1845 to spring 1846 he stayed again in Breslau and in summer 1846 in Graz. Guest performances and lecture trips took him from autumn 1846 to summer 1847, among others, to Vienna, Prague, Dresden, Hamburg and Weimar, before he stayed again at Trachenberg Castle with Prince Hartzfeld from August 1847 until he was due to violent uprisings in neighboring Posen in February Fled to Vienna in 1848 with Princess Hatzfeld and her child and then traveled to Graz to see his daughter. He left Graz again at the end of May 1848, traveled via Trachenberg to the politically quieter Hamburg and held "lectures" in Schwerin, Lübeck and Bremen in winter. He lived in Hamburg from February to July 1849, where he wrote for the Thaliatheater . Before he lived in Hamburg again from November 1849 to January 1850 and completed his memoirs there, he stayed in Graz again in August 1849.

In 1850 he moved to his daughter from his first marriage, Marie Holtei, to Graz, devoted himself to editing his plays and also tried his hand at writing novels. His story Ein Mord in Riga , written in Graz in 1854, was one of the first German detective novels . Also Schwarzwaldau (also one of the first German-language detective stories) originated in Graz in 1855. In 1856 he met in Graz Franz Grillparzer and in January 1859, the pianist was Clara Schumann his guest during one of her many concert tours. In Graz, Karl von Holtei trained young actors such as Joseph Wagner (1818–1870), Wilhelm Knaack and Adolf Sonnenthal . From November 1860 to November 1861, encouraged by his publisher Trewendt in Breslau, he undertook a lecture tour through Silesia , during which he also presented his own works for the first time, and was enthusiastically celebrated by his compatriots. The homeland poems Derheeme and Heem will ihch come from this time. From 1861 to 1864 he had several spa stays in Bad Reinarz. In 1863 he moved back to his hometown of Breslau, lived from December 1865 to 1876 in an attic apartment with two rooms on the third floor of the Drei Berge inn at Büttnerstraße 33 and wrote dialect poems again. He earned his living through the pension of the Schiller Foundation , through support from the state treasury and support from the Silesian estates . In the Austro-Prussian War , his younger grandson fought on the Austrian side in 1866, which caused great grief for Karl von Holtei, who was on the far right of the political arena. Holtei, who had already collected autographs in Graz, sold his extensive collection to the Breslau photographer Robert Weigelt in October 1869. Holtei's eightieth birthday was celebrated in 1878 and he was awarded the Knight's Cross of the Hohenzollern Order by the King of Prussia. Even before that, on December 11, 1876, the almost destitute Protestant had found hospitalization and care in the Catholic monastery of the Barmherzigen Brüder in Klosterstrasse in Breslau, where he lived on the 2nd floor and also died on February 12 at around 5 p.m.

Social life

Karl von Holtei was an author who understood the social as an important component of his work and created an international network of contacts. With Willibald Alexis and others he had already made a trip to the Giant Mountains in 1818. In 1827, 1829, 1830 and 1831 he visited Goethe in Weimar, who praised his dialect poems and had dedicated his Silesian poems to Holtei in 1830 , and made friends with Goethe's son August and Johanna Schopenhauer , whose frequent guest was Holtei. He was friends with Joseph von Eichendorff , August Kahlert and Gustav Freytag (with whom he first met around 1845) and the Baroness Prokesch (wife of Anton Prokesch von Osten ) as well as the Germanist Karl Weinhold, who had been working in Graz since 1851 . The "aberrations" Holteis mentioned by Weinhold could indicate possible same-sex inclinations in Holteis. Holtei also had contact with the writer Karl Maria Benkert (from 1847 Karl Maria Kertbeny).

As a partner of Count Herberstein, he lived with his daughter in Eggenberg Castle near Graz from July to October 1840.

In 1844 Holtei stayed with his "mother and sister" in the Lower Silesian town of Oels (meaning his stepmother Caroline Holtey, née von Taubadel , his father's second wife since 1803, and his stepsister Constanze) in order to be able to work undisturbed. From a first meeting with Heinrich Förster on June 3, 1844 at a banquet in Oels, a friendship with the Bishop of Breslau later developed in sometimes heated discussions between 1844 and 1847, which lasted until 1872 (and the differences of opinion regarding the Catholic infallibility dogma ).

In Breslau he was a frequent guest at the table of the Prince Bishop Förster, which fed the rumor that Holtei had become a Catholic. In order to counter this rumor, against which Holtei had been resisting since 1845, Holtei (according to his friend Weinhold) wrote the work Prince Bishop and Vagabond, which was completed in 1847 .

Holtei withdrew from the theater because he rejected modern tendencies such as the emerging naturalism in theater or the definitive separation between drama and opera. For him, the German-speaking area was still a loose bundle of small states and cities, so that he encountered increasing urbanization and internationalization with incomprehension. He liked to present himself as a relic from a bygone era. In the second half of the 19th century he was one of the most popular figures in German-language literature. - A German nationalism tried to label Holtei as a local poet in the 20th century, something like Adam Müller-Guttenbrunn . Today, the socio-historical details of his novels are once again given attention, such as the story of the showmen and actors, as reflected in the novels Die Vagabunden (1851 in Graz) and The Last Comedian (1863). (He had described himself as a "vagabond" actor and writer.)

Burial and resting place

After the deacon ceiling of the main Protestant church of St. Bernardine had prayed the coffin in the monastery, the funeral procession followed, with thousands of people, including Gerhart Hauptmann , following the hearse . Karl von Holtei was then buried in the Bernhardin cemetery in Rot (h) kretscham on the road to Ohlau near Breslau . His grave stone made of red granite bears the inscription in Silesian dialect: "Suste nischt ack heem!" ( Otherwise nothing just home! Loosely translated: "Nothing like going home!").

During the Polonization in Wroclaw in the early 1950s, the cemetery was destroyed and cleared by the new residents of Wroclaw, the grave slabs were broken or their German inscriptions were removed.


Holtei tried to upgrade the German language compared to French (from which at that time most German literature and theater products were still translated) by using a wide variety of dialects . This stylistic device did not exist in French. He saw the upgrading of the dialect compared to the standard language not least as the upgrading of the bourgeois versus the aristocratic. Although he himself was a member of the lower nobility, he tried to mediate between the nobility and the bourgeoisie, instead of emphasizing the conflicts that broke out in the revolutionary years of 1830 and 1848. Therefore his plays are rather apolitical, at most patriotic like Der alten Feldherr . In the Biedermeier sense, they mainly deal with private life and deal with current social issues such as the freedom to choose a partner for marriage. In doing so, they appeal to the tolerance of the audience. In his conglomeration of heavenly things , in the chapter Jews and Jesuits, he describes both “striving to usurp world domination” and, pissed at this polemical article, Prince-Bishop Förster finally terminated his friendship. Holtei's antics Die Berliner in Wien and the song play Die Wiener in Berlin , written in 1824 , in which he operated with language differences, became famous. His melodramatic opera Des Adlers Horst remained in the repertoire for some time. The final line of his poem Suste nischt, ack heem! (Also later put on his tombstone) “Heem I want it, no further niche, ack heem!” Has become eloquent among Silesians.

He was also able to translate one medium into another: he designed the famous ballad Lenore by Gottfried August Bürger as a stage melodrama . In his novel The Last Comedian , he gave theater performances a narrative form.

Song game

Holtei propagated the song game as a German-language, more sentimental version of the French vaudeville ( Fleeting remarks on vaudeville and song game , 1827). In his pieces, songs were interspersed with familiar melodies, which he accompanied on the guitar. The “Mantellied” from “Lenore” (premiered in 1828 by the Königstädter Theater in Berlin) is well known. - Snappy parodies of two of his touching pieces were Johann Nestroy's Neither Laurel Tree nor Bettelstab (1835) and The fatal Faschingsnacht (1839).

Works and publications (selection)

  • Propertia di Rossi (poem, 1817)
  • as publisher: Obernigker Bote (weekly from March 4 to September 1822)
  • as publisher: Jahrbuch deutscher Nachspiele (year 1, 1822, up to year 3, 1824) and then under the title Yearbook of German stage plays (up to 1844, from year 11, 1832, together with Friedrich Wilhelm Gubitz )
  • as ed. with Karl Schall and Friedrich Barth: German papers for poetry, literature, art and theater. (January to December 1822)
  • Festival, prologue and theater speeches (1823). on-line
  • as editor: monthly contributions to the history of dramatic art and literature. Haude and Spener, Berlin October 1827 to June 1828 (only 3 volumes)
  • The old rider and his coat. ("Mantellied" from the play Lenore , 1827). In: Erks German song treasure trove. A selection of the most popular folk, country, soldier, hunter, student & Christmas songs for a singing voice with piano accompaniment. Volume 1, CF Peters, Leipzig (around 1910) (= Edition Peters. Volume 8759), No. 158, p. 169; also (on p. 42 f.)
  • Lenore. Patriotic drama with singing in three sections. Duncker et al. Humblot, Berlin 1829. online
  • Silesian poems. Haude and Spener, Berlin 1830 (23rd edition: 1910). on-line
  • Contributions to the Königsstadt theater. First volume: memory. The Majorate Lords. The old general (with sheet music). Second volume: Doctor Johannes Faust. Robert the devil. JF Haßloch, Wiesbaden 1832
  • A tragedy in Berlin (1832). New edition on-line
  • Laurel tree and begging staff (1833). on-line
  • German songs (1834). 2nd, probably edition 1836 online
  • Letters from and to Grafenort. JF Hammerich, Altona 1841. online
  • Forty years of laurel wreath and walking stick. Memoirs of life 8 volumes (1843–1850); Volumes 1–4: Buchhandlung des Berliner Lesecabinets, Berlin 1843–1844, Volumes 5–8: A. Schulz, Breslau, and Adolf, Berlin 1845–1850
  • Theater (plays, 1845). Last edition 1867 online
  • The vagabonds. (Novel in 4 volumes) Trewendt, Breslau 1852 (1st volume as digitized and full text in the German text archive , 2nd volume as digitized and full text in the German text archive , 3rd volume as digitalized and full text in the German text archive , 4th volume as digitalized and Full text in the German Text Archive ); 2nd edition (in three volumes) ibid. 1857 (with a dedication to "KK Hofrath and Police Director in Prague Anton Freiherr von Paümann") new edition. 2012 online
  • Christian lambskin. Novel in five parts. 4 volumes, E. Trewendt, Breslau 1853; further editions: ibid 1862; 4th edition (5 volumes), ibid. 1878. Vol.1 online , Vol.2 , Vol.3 , Vol.4 , Vol.5
  • The Obernigker messenger. Collected essays and stories in three volumes by Karl von Holtei. Trewaldt & Granier, Breslau 1854. Vol.1 online , Vol.2 , Vol.3
  • Poems , 4th edition, published by Victor Lohse, Hanover 1856
  • Schwarzwaldau. 2 volumes, H. Hübner, Prague / Leipzig (= album. Library of German original novels by the most popular writers. Volume 11, volume 1–2). Volume 1 online , Volume 2
  • as publisher: For the cemetery of the Protestant community in Gratz in Styria. Short stories, mixed essays, and poems by one hundred and twenty-six German scholars, writers and poets dedicated to this purpose. With a musical supplement by G. Meyerbeer . F. Vieweg et al. Sohn, F. Manz, Aug. Hesse, Braunschweig / Vienna / Graz 1857 (with contributions from J. v. Eichendorff , E. Geibel , F. Grillparzer , W. Grimm , A. Grün , C. v. Holtei, F. Hebbel and Hyacinth von Schulheim )
  • Forty years. 6 volumes, 2nd edition. E. Trewendt, Breslau 1859. Vol. 1 online , Vol. 2 , Vol . 3 , Vol. 4 , Vol . 5 , Vol . 6 , Vol. 7
  • Narrative writings (41 volumes, 1861–66)
  • The donkey eater (originated in Graz in 1866). Volume 1 online , Volume 2 , Volume 3
  • Prussian War and Victory Songs (1867)
  • Theater (6 volumes, 1867). Volume 1 online , Volume 2 , Volume 3 , Volume 4 , Volume 5 , Volume 6
  • Gleanings. Stories and chats. 3 volumes, E. Trewendt, Breslau 1870/1871 (dedicated to his three grandchildren "Karl, Wilhelm and Heinrich" Potpeschnigg, who were born in Graz). Volume 1 online , Volume 2 , Volume 3
  • A compilation of letters, printed books, from life and from himself. 2 volumes, Eduard Trewendt, Breslau 1872. Bd.1 online , Bd.2
  • Prince-Bishop and Vagabond. Reminder sheets. (completed in Breslau in June 1874). Eduard Trewendt, 1st and 2nd (same print) edition. Breslau 1882 online
  • Three hundred letters from two centuries (2 volumes, 1872; reprint: Bern 1971). Volume 1 online , Volume 2
  • Goethe and his son. Weimar experiences in the years 1827–1831 ( posthumously , Hamburg 1924) DNB 575 493 798
  • The last comedian novel in 3 parts. Breslau 1863. Vol.1 online , Vol.2 , Vol.3
  • 's Aunt-Lieutenant Saloppel . In: German Novellenschatz . Edited by Paul Heyse and Hermann Kurz. Vol. 12. 2nd ed. Berlin, [1910], pp. 195-231. In: Weitin, Thomas (Ed.): Fully digitized corpus. The German Novellenschatz . Darmstadt / Konstanz, 2016 ( digitized and full text in the German text archive )
Newer editions
  • With the Thespis through the country (edited by Norbert Hopster). Heidenheimer Verlagsanstalt, Heidenheim 1971
  • Youth in Breslau (edited by Helmut Koopmann ). Nicolai, Berlin 1988, ISBN 3-87584-227-8
  • Murder in Riga . Neuthor, Michelstadt 1992, ISBN 3-88758-048-6
  • Selected works, part 1: poems, songs, pieces, writings on literature and theater . Bergstadtverlag Korn, Würzburg 1992, ISBN 3-87057-162-4 .
  • Selected works, part 2: Forty Years (selection), narrative and other prose . Bergstadtverlag Korn, Würzburg 2009, ISBN 978-3-87057-315-7


On the Holteihöhe in Wroclaw, friends and admirers of Holteis erected a monument in 1882 , the bust of which was created by the Wroclaw sculptor Albert Rachner .

In 1902, the Holteistrasse in Berlin-Friedrichshain was named after him. In Lindenau (Leipzig) , Marienstraße was renamed Holteistraße on January 1, 1906.

In 1936, the Holteigasse in Vienna- Floridsdorf (21st district) was named after him.


  • Karl Weinhold: Karl von Holtei. In: Westermanns illustrated German monthly magazines. Volume 50, (Braunschweig) 1881, pp. 228–245.
  • Ludwig Eisenberg : Karl von Holtei . In: Large biographical lexicon of the German stage in the XIX. Century. Paul List, Leipzig 1903, p. 449 ( daten.digitale-sammlungen.de ).
  • Constantin von Wurzbach : Holtei, Karl von . In: Biographisches Lexikon des Kaiserthums Oesterreich . 9th part. Imperial-Royal Court and State Printing Office, Vienna 1863, pp. 233–241 ( digitized version ).
  • Joseph KürschnerHoltei, Karl von . In: Allgemeine Deutsche Biographie (ADB). Volume 13, Duncker & Humblot, Leipzig 1881, pp. 3-5.
  • Maria Brie : Carl von Holtei. In: Schlesische Lebensbilder. Volume 1. Korn, Breslau 1922, pp. 8-16.
  • Maria Brie: Carl von Holtei. In: Silesians of the 17th to 19th centuries. Korn, Breslau 1928.
  • Leszek Dziemianko, Marek Halub (ed.): Karl von Holtei (1798–1880). Life and work. Questions - differentiations - evaluations. Leipzig 2011 (= Silesian frontier workers. Volume 3).
  • Ferdinand Karsch-Haack : Karl von Holtei (1798-1880). In: Uranos, Berlin. Volume 1, No. 6/7, 1921, pp. 121-129.
  • Alfons Nowack : Prince-Bishop Heinrich Förster and Karl von Holtei. Using unprinted letters from the Archbishop's Diocesan Archives and the State and University Library in Wroclaw. (Imprimatur of the Archbishop's General Vicariate, Blaeschke) Breslau 1932.
  • Michael Sachs: 'Prince-Bishop and Vagabond'. The story of a friendship between the Prince-Bishop of Breslau Heinrich Förster (1799–1881) and the writer and actor Karl von Holtei (1798–1880). Edited textually based on the original Holteis manuscript. In: Medical historical messages. Journal for the history of science and specialist prose research. Volume 35, 2016 (2018), pp. 223-291.
  • Wilhelm Luzian Höffe : Karl von Holtei as a drama reader. On the style and cultural history of German lecturing art . Philological dissertation , Breslau 1939.
  • Oskar Pusch : The origins of the Silesian poet Carl von Holtei. In: Silesia. A quarterly for art, science and folklore. Volume 12, 1967, pp. 216-221 (Genealogy of the Holteis ancestors).
  • Paul Preis: Music and theater life in the city and district of Glatz . 2 volumes. Self-published, Lüdenscheid 1967–1969.
  • Joachim Wilcke:  Holtei, Carl von. In: New German Biography (NDB). Volume 9, Duncker & Humblot, Berlin 1972, ISBN 3-428-00190-7 , pp. 553 f. ( Digitized version ).
  • Herwig Hafner: A report on Karl Holtei's years in Graz. In: Silesia. A quarterly for art, science and folklore. Volume 28, 1983, pp. 11-16.
  • Karl Schindler: Carl von Holtei - a piece of old Breslau . Matthesian Association, Munich 1985.
  • Georg Potempa : Karl von Holtei. A memory of the poet and actor from Wroclaw . Matussek, Nettetal 1998, ISBN 3-920743-31-8 .
  • Helmut Scheunchen : Lexicon of German Baltic Music. Harro von Hirschheydt publishing house, Wedemark-Elze 2002. ISBN 3-7777-0730-9 . P. 112 f.
  • Christian Andree , Jürgen Hein (ed.): Karl von Holtei. A Silesian poet between Biedermeier and realism. Bergstadtverlag Korn, Würzburg 2005, ISBN 3-87057-267-1 .
  • Leszek Dziemianko: The young Karl von Holtei. Life and work. Neisse, Dresden 2007, ISBN 978-3-940310-04-0 .

Web links

Commons : Karl von Holtei  - album with pictures, videos and audio files
Wikisource: Karl von Holtei  - Sources and full texts


  1. He was baptized as Karl Eduard von Holtey . See www.vonholtey.de: Karl Eduard von Holtei . From 1817 at the latest, he wrote himself Holtei instead of Holtey . Cf. Karl von Holtei: propertia di Rossi. By C. Holtei. In: FW Gubitz (Ed.): Gaben der Milde. Second ribbon. Berlin 1817, pp. 204-212; and Michael Sachs (2016), p. 250.
  2. According to: Brockhaus Enzyklopädie in twenty-four volumes (19th edition). Tenth volume. Mannheim, 1989, p. 196, and German Biographical Encyclopedia. Vol. 5. Deutscher Taschenbuch Verlag u. KG Saur, Munich 2001, p. 154; and: New German Biography: Hess - Hüttig, Vol. 9. Berlin 1972, pp. 553–554. daten.digitale-sammlungen.de
    In works from the 19th century one finds January 24th 1797, for example B. in: Carl von Holtei: a biography. Expedition of the album, Prague a. Leipzig, p. 7; books.google.com Hoffmann von Fallersleben: Our folk songs. 3rd edition Vlg. W. Engelmann, Leipzig 1860, p. 117; ia311207.us.archive.org (PDF; 15.0 MB) General German biography: Holstein - Jesup, Vol. 13. Leipzig 1881, pp. 3–5. daten.digitale-sammlungen.de
    In Karl von Holtei . In: The Gazebo . Issue 51, 1876, pp. 864 ( full text [ Wikisource ]). there is an explicit correction from 1797 to 1798
  3. a b c d e f g h i j k l m n o p q r s t u v Michael Sachs (2016), pp. 279–284 ( Tabular curriculum vitae of Karl von Holtei [Holtey] ).
  4. Michael Sachs (2016), p. 236, note 29.
  5. ^ Helge Dvorak: Biographical Lexicon of the German Burschenschaft. Volume II: Artists. Winter, Heidelberg 2018, ISBN 978-3-8253-6813-5 , pp. 348–351.
  6. ^ Karl von Holtei: Youth in Breslau .
  7. Michael Sachs (2016), pp. 229, 247 f. and 283.
  8. ^ Karl von Holtei as Baden theater director. Badener Zeitung, October 2, 1909 anno.onb.ac.at
  9. ^ Karl von Holtei: Letters from and to Grafenort. 1841, pp. 144-150.
  10. Michael Sachs (2016), pp. 229 and 248.
  11. SJ: The archetype of Holtei's "Christian Lammfell". In: Laibacher Tagblatt. 1870, No. 43 (February 23), p. 1 f., And No. 44 (February 24), p. 1 f.
  12. ^ Hugo Vogt: The archetype of Holtei's "Christian Lammfell". In: 17th annual report together with the list of members of the Glatzer Gebirgs-Verein (1897/1898). Pp. 49-52.
  13. Michael Sachs (2016), pp. 228 f., 246 and 282.
  14. From 1824 he held "lectures" in private circles, for example from Shakespeare's works. See Michael Sachs (2016), p. 281.
  15. Schumann Portal: Concert List Clara Schumann .
  16. ^ Berthold Litzmann: Clara Schumann. An artist's life based on diaries and letters. Volume 3, p. 51 ( digitized version (PDF)).
  17. Michael Sachs (2016), pp. 247 and 283.
  18. Michael Sachs (2016), pp. 254 and 283.
  19. ^ Christian Andree : Karl von Holtei as an autograph collector. With a reprint of the catalog of the Holteiische autograph collection. In: Christian Andree, Jürgen Hein (ed.): Karl von Holtei (1798–1880). A Silesian poet between Biedermeier and realism. Würzburg 2005, pp. 349-397.
  20. Michael Sachs (2016), p. 223.
  21. ^ Commemorative publication of the monastery hospital of the Brothers of Mercy in Breslau on the bicentenary. Breslau 1912, p. 94.
  22. Michael Sachs (2016), pp. 233 f., 236 and 283.
  23. ^ Karl von Holtei: Forty Years. 6 volumes. 2nd Edition. E. Trewendt, Breslau 1859, Volume 1, pp. 200 f. and 241-243.
  24. ^ Karl von Holtei: Schwarzwaldau. 2 volumes, H. Hübner, Prague / Leipzig 1856 (= album. Library of original German novels by the most popular writers. Volume 11, volume 1–2), volume 1, p. 229 f.
  25. ^ Henk J. Koning: The love of friends in Holtei's detective novel Schwarzwaldau (1856). In: Leszek Dziemianko, Marek Halub (eds.): Karl von Holtei (1798-1880). Life and work. Questions - differentiations - evaluations. Leipzig 2011 (= Schlesische Grenzgänger. Volume 3), pp. 100–121.
  26. ^ Ulrich Henry Gerlach: Letters from and to Friedrich Hebbel. Previously unknown documents, collected and explained. Heidelberg 1978, pp. 127-132.
  27. ^ Hans Dietrich Hellbach: The love of friends in German literature. W. Hellbach, Leipzig 1931 (also philosophical dissertation Leipzig 1930), p. 98.
  28. Michael Sachs (2016), pp. 230–234, 268 and 287, note 210.
  29. Michael Sachs (2016), p. 268.
  30. Michael Sachs (2016), p. 236.
  31. Michael Sachs (2016), p. 230 f. and 275.
  32. See also Gotthard Münch: Carl von Holtei and Prince-Bishop Heinrich Förster. In: Auroroa. Eichendorff Almanac. Volume 25, 1965, pp. 65-72.
  33. ^ Karl von Holtei: Forty Years. 6 volumes, 2nd edition. E. Trewendt, Breslau 1859, Volume 5, pp. 118-121 (written in 1845).
  34. ^ Karl Weinhold (1881), pp. 237 and 267.
  35. Michael Sachs (2016), pp. 230-233 and 270.
  36. Michael Sachs (2016), p. 223.
  37. Stary cmentarz św. Bernardyna (Polish)
  38. Wawrzynowe drzewo i żebraczy kij Karla von Holteia (Polish)
  39. Wrocławską historię można kultywować tylko w ogrodach (Polish)
  40. Karl von Holtei: A collection of things from letters, printed books, from life and from himself. 2 volumes, Eduard Trewendt, Breslau 1872, volume 2, pp. 139–144.
  41. Michael Sachs (2016), p. 231.
  42. ^ Karl von Holtei: Schlesische Gedichte. 22nd edition, Berlin 1905, pp. 5-14.
  43. ^ Silesian Museum: News .
  44. ^ Karl von Holtei: Leonore. Patriotic drama with singing in three sections. Duncker et al. Humblot, Berlin 1829.
  45. ^ Text by Holtei based on the 1819 song Mon habit by Pierre-Jean de Béranger . The music was composed according to the older folk tune by Eberwein There were once three hunters . See Michael Sachs (2016), p. 287.
  46. JA Massard: From the early days of the Echternach Carnival: I. From the dancing ox to Hämelmaushüpfen. II. On the trail of the Hämelmaus song. Lëtzebuerger Journal 2010, (I) No. 29 (Feb. 11): 21; No. 30 (Feb 12): 20; (II) No. 32 (Feb 16): 17; No. 33 (17 Febr.): 18th newspaper (PDF) text with references (PDF; 2.1 MB) see p. 20 f.
  47. ^ Property di Rossi. By C. Holtei. In: FW Gubitz (Ed.): Gaben der Milde. Second ribbon. Berlin 1817, pp. 204–212 (anthology with contributions by Goethe, Clemens Brentano and KL Methusalem Müller, among others).
  48. P. 677–690: Canon by G. Meyerbeer after the poet's motto by Holtei.
  49. Historical-critical edition in: Michael Sachs (2016), pp. 235–272.
  50. Holteistrasse in Leipzig. Retrieved January 23, 2020 .