Ludwig Tügel

Ludwig Carl Caesar Tügel (born September 6, 1889 in Hamburg , † January 25, 1972 in Ludwigsburg ) was a German writer . His early work showed expressionist style influences, later Tügel developed "a bizarre humor and a folk-balladesque style of writing". He never lost his “inclination towards the mystical”. He also always remained true to his main motifs “War and returning home from the war” and “Binding to the north German homeland”. Tügel played a not insignificant role in the literary business of the Nazi state .

life and work

The son of a director general and brother of the theologian and Hamburg regional bishop Franz Tügel , the director Hans Tügel and the painter and writer Otto Tetjus Tügel (who had settled in Worpswede in 1910 ) tried at least 20 professions at a young age, including shipbuilder, graphic artist, Merchant, settler in the moor and ship model builder. Shortly after the end of the war, Tügel made his debut, now 31, with his novel The Lords of Ark and Besch (1921). Tügel took part in both world wars, in the last as a captain . From 1928 the North German, married for the second time, lived as a freelance writer in Ludwigsburg, Baden-Württemberg.

Tügel's central values ​​include honor, loyalty and - optionally - home / fatherland / empire. Ferdinand Krogmann formulates the moral of Tügel's sketch Der Hauptmann mit der Wallet , set in World War I: “German soldiers honor their dead, even if they sacrifice their own lives.” In his most famous novel, Horse Music from 1935 - the one after the Second World War I also appeared in an initial print run of 50,000 in the rororo paperback series by Rowohlt Verlag - "the dream of honor and loyalty" could of course only appear "as a fatal fool's game", according to the GDR lexicon of 1974. Also in the following works Tügel avoided the fascist party slogans in order to isolate himself through a national-conservative stance. However, he only avoided the wording of those slogans. According to Krogmann, in Tügel's 1938 story Der Brook, most of the protagonists came to the conclusion that it was not the communist movement, as some had wrongly believed, but rather the National Socialist movement would solve the problems that arose in Germany after the First World War.

"Herald of the Empire"

Tügel, a member of the NSDAP since 1933 , published around a dozen books in the 12 years of German fascism . In 1937 and 1944, according to the GDR encyclopedia, he undertook lecture tours through Holland, Belgium, Italy, Scandinavia and the Baltic States. He was also allowed to give a lecture at a so-called Greater German Poets' Meeting , which then took place in Weimar (1940) . According to a report that Manfred Hausmann (Worpswede) gave on September 29, 1940 in the Goebbels- controlled weekly newspaper Das Reich , Tügel spoke on the subject of shaping the way our people live as a task of contemporary poetry . He strived for clarity, but turned not to the mind, but to the heart of his listeners. For Hausmann, "poetic, of course, words that can only be grasped emotionally and whose meaning is more to be suspected than to be known" imposed themselves. He shared the mystical inclination of the speaker, which is concentrated, for example, in Tügel's novel The Revenant from 1929. For Tügel, as Hausmann summarized, “the rules” lay in the “realm of the realm ”, “whose obedient children and creative heralds should be the poets”. As can be seen from the illustrations in the extensive Hausmann article, poet Tügel appeared in his captain's uniform. The culmination of the event, at which Lieutenant Colonel Kurt Hesse swore the men and women of the spirit to total war , was a reception by the "Reichsstatthalter" and Thuringian "Gauleiter" Fritz Sauckel in the Weimar Castle.

For the post-war period, the GDR lexicon classifies Tügel's work in the "bourgeois movement" of so-called magical realism . The response to it was low. Tügel's estate, including diaries and letters, is in the Marbach literature archive.

Works

• The gentlemen from Ark and Besch , Roman, Hamburg 1921
• Kolmar , A Novelle, Bremen 1922
• Juergen Wullenwever , Lübeck's great mayor , biography, Jena 1926
• The Revenant , Roman, Frankfurt / Main 1929
• Die Treue , Erzählung, Berlin 1932, also Hamburg 1938, new editions Kirchheim / Teck and Hamburg 1986
• Sankt Blehk or The Great Change , Roman, Munich and Hamburg 1934, also Copenhagen 1935, Malmö 1940, Voorburg (Holland) 1942, Riga 1944
• Horse music , novel, Munich 1935, also Oslo 1941, front book trade edition Hamburg 1943, rororo edition Hamburg 1955
• Frau Geske auf Trubernes , Eine Saga, Munich 1936
• Lerke , Erzählung, Munich 1936, also Riga 1942
• Der Brook , short story, Hamburg 1938, Wehrmacht edition Hamburg 1943
• Das Dorkumer Tief , Schauspiel, Hamburg 1938
• The adventures of a soldier: German fate under foreign flags (ed.), Dortmund 1939
• Ludwig Tügel: A Poet's Lesson , Hamburg 1939
• Friendship , short stories, Hamburg 1939, also Brussels 1943
• The sea with its long arms , story, Hamburg 1940, field post 1942
• The owl. A tale of life, love and war , Hamburg 1942
• On the rock stairs and other stories , Hamburg 1947
• The old powder keg and other stories , Hamburg 1948
• Bartholomäus Grottmann's fiftieth birthday , story, Hamburg 1948
• The Charoniade or On the Stream of Life , Roman, Hamburg 1950
• Lerke , DVA Stuttgart, 1951
• Joseph Conrad , listening series, 1953
• Daniel Defoe , radio play, 1954
• Der Ferner , Erzählung, Witten 1955
• Nebel , Funkessay, 1955
• The things behind things , Fantastic stories, Bremen 1959
• The accident , narrative, 1963
• An eternal fire , Roman, Hamburg 1963
• Boodevar tells two short stories, Hamburg 1964

literature

• Kurt Matthies : Literary Encounters , Hamburg 1941
• Heinz Stolte : Ludwig Tügel the narrator , Holsten Verlag, 1964
• Gerold Meentzen : Life and Work of Ludwig Tügels , typescript 1968
• Ferdinand Krogmann : Ludwig Tügel , in: Strohmeyer / Artinger / Krogmann: Landscape, Light and Low German Myth. The Worpsweder Art and National Socialism , Weimar 2000, pages 243–247

Individual evidence

1. ^ Quotations from: Lexicon of German-language writers , Leipzig 1974, Volume 2, page 387
2. ↑ Ferdinand Krogmann, Weimar 2000, see bibliography
3. ^ Perhaps also Tügel himself, who is said to have been friends with Carl von Ossietzky in the 1920s
4. ↑ polunbi , accessed February 5, 2012
5. ↑ See Ludwig Tügel: The poetry as a designer of folk orders of life. In: The poetry in the battle of the empire. Weimar Reden 1940. Hamburg 1941, pp. 36–52. On the poet meeting cf. W. Daniel Wilson: The Faustian Pact. Goethe and the Goethe Society in the Third Reich. Munich 2018, pp. 206–207.
6. ↑ Printed in: Hans Dieter Müller (Ed.): Facsimile cross section through DAS REICH , Bern / Munich 1964, pages 50–51
7. ↑ dla-marbach  ( page no longer available , search in web archives )  Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice. , accessed February 5, 2012  
8. ↑ This is probably the blurb of a Gutenberg Book Guild from 1937, quoted after an auction offer ( auction , accessed on February 5, 2012): The big change is a plan that the march builder Peter Lührsen devised to advance the march Preserve floods. However, it also takes place internally in people who, having returned home from the World War, are faced with new things and given new tasks. In the end, we all experienced the great change, having drawn the right lessons from the war and the Weimar state. / The fate of father and son Lührsen: Jochen Lührsen stands between the violent, harmless father and the sensitive mother, between the country and the city, between the farmer and the worker: mediating and finally all compelling the unifying act of the community. That is the way for the front soldier Jochen. All the misery of the post-war years stands on this path. Nevertheless, he finds his way through, becomes the man and leader in the decisive battle with the elements in which the old and sinful will perish and a new world will be built. / A small excerpt from what happened in the post-war years - but a symbol for the fate of all of Germany. At the last and most dangerous moment today someone greater than Jochen took the helm and forced the people together to shake hands after the all-destructive struggle of classes and interests to ward off the greatest danger.
9. ↑ The work "Horse Music" (1935) presented here again is also set in Friesland. It depicts the transformation of a person "to whom the essence of war had passed into the blood". The lost generation of World War I and an Alain-Fournier relative haunted the lost generation of World War I , however, through this book, which was strangely mixed with joy and tragedy, in which a foolish captain was finally torn from his war psychosis and his private shelter, the imaginary "Höhe 72" Romanticism transposed into North German. ( lewin-fischer , accessed February 5, 2012)
10. ↑ These illustrations by Alfred Kubin , accessed 5 February 2012
11. ^ Review Die Zeit, April 24, 1959 , accessed on February 5, 2012

Web links

• Literature by and about Ludwig Tügel in the catalog of the German National Library