E. Marlitt

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E. Marlitt

E. Marlitt , bourgeois Friederieke Henriette Christiane Eugenie John (born December 5, 1825 in Arnstadt , † June 22, 1887 ibid) was a German writer . Alongside Luise Mühlbach , Friedrich Wilhelm Hackländer and Marie Nathusius , Marlitt was one of the most widely read German authors of their time.

Almost all of her work initially appeared in the form of serial prose in the family weekly Die Gartenlaube . In the first book publications that followed, all texts were richly illustrated by well-known artists of the time .

Life

Marlittsheim ( Gazebo , 1887)
The villa today (Marlittstrasse 9, Arnstadt). The house, built in the style of a Renaissance villa, is privately owned and cannot be visited.

Eugenie John was born in Arnstadt, the second of five children of Ernst Johann Friedrich John and his wife, née Johanna Böhm. Ernst John, initially a businessman ( librarian ), earned the family income as a portrait painter after his bankruptcy. Eugenie John showed literary and vocal talent early on. Princess Mathilde von Schwarzburg-Sondershausen had her trained first at the court of Schwarzburg-Sondershausen, later in Vienna in general subjects, the piano and as a singer. After initial stage successes in Sondershausen, Linz , Graz and Lemberg , Eugenie John had to give up the profession of princely chamber singer in 1853 due to a hearing problem. Instead, she became a reader and companion with the princess and accompanied her on her many travels. Financial problems of the princess later forced her to restrict her court and to dismiss John in 1863. Since then she has lived with the family of her brother Alfred, who was a secondary school teacher in Arnstadt, and earned money with sewing and embroidery, piano and singing lessons.

In 1865 Eugenie John sent under the pseudonym “E. Marlitt “two novellas to Leipzig to the editor of the monthly magazine Die Gartenlaube , Ernst Keil . The use of a male-sounding pseudonym was a device that many young female authors of the time chose for their own protection ( George Sand , Brontë siblings , George Eliot , Louisa May Alcott ). She has never publicly stated how she came up with the name “Marlitt”. Keil published her story The Twelve Apostles in the gazebo, and only a little later also her first novel Goldelse , which the author had actually offered for his publishing house. The success was immense, Marlitt became the star author of the gazebo . The sales proceeds from the book edition of her third novel, Imperial Countess Gisela , were so great that she was able to use it to purchase a magnificent villa on the outskirts of Arnstadt, which she called “Marlittsheim”.

By 1885 she published a total of nine novels in the gazebo , a tenth for which Marlitt gave little more than her name - the main author was Wilhelmine Heimburg - followed posthumously. After Harriet Beecher Stowe , Marlitt is regarded as one of the world's first best-selling authors; it played a major role in the fact that the number of subscribers to the gazebo rose from 100,000 to around 400,000 between 1865 and the mid-1880s.

Her grave in the Old Cemetery ( Gazebo , 1894)

E. Marlitt was never married. In 1871 she moved to the Villa Marlittsheim together with her father, her brother Alfred and his family. Since 1868 - since the publication of her second novel, The Secret of Old Mamsell - she was confined to a wheelchair by arthritis . She died in Arnstadt in 1887 and was buried in a wall grave in the old cemetery there in the lower town.

Walter John (also: Walter John Marlitt ), a son of Marlitt's brother Alfred and his wife Ida, also became a writer ( Inter noctem , 1906; Die Schulratsjungen , 1907). After Walter John's unsuccessful speculation, the family was forced to sell the villa in 1911.

Characteristics of the novel

Marlitt's novels show that she knew life at court well and loved her homeland Thuringia. At a time when the bourgeoisie was growing stronger, life at court also stood for the social and intellectual independence of women, which is why it was extremely popular with this section of the readership.

actors

The Marlittian defiant heads

The central protagonist in Marlitt's novels is always a woman, namely an - often pretty - young girl between 17 and 21 years of age; in several cases their childhood history is also included. It is characteristic of the Marlitt heroines that they think for themselves and are endowed with a strong need for independence and freedom. Their socialization usually takes place outside of institutionalized forms and under exceptional circumstances, with the result that free and assertive personalities emerge here who could easily cope with life on their own. Margarete's upbringing in Die Frau mit den Karfunkelsteinen, for example, is given its final touch by the fact that the young woman is allowed to accompany a relative - a history professor - on his travels for five years to do archaeological research. From the real upbringing of girls of the time, the focus of which was sitting still with the hated textile handicraft, these portraits deviated extremely strongly. Marlitt also pioneered Emmy von Rhoden's defiant-headed novels (from 1885) with her rebellious, non-conformist girl figures .

Another characteristic of Marlitt's defiant heads is their need for education. An example of this is the character of Felicitas in The Secret of Old Mamsell , who fights against the spiritual death that has been prescribed for her by secretly visiting the free-spirited aunt who has been rejected by the family and who becomes her mentor. The protagonist in The Second Woman , Liane, also successfully rebels against the “cruelly sophisticated program of mental killing” in marriage. Almost all Marlitt heroines are musically gifted and educated. Hobohm therefore believed that Marlitt's novels should be read directly as a plea for better educational opportunities for women. Marlitt's protagonists continue to be characterized by their strong, bourgeois work ethic; They do not perceive restless activity as an unpleasant necessity or even a compulsion, but as something that gives life a meaning. Marlitt goes the furthest here in the case of Käthe ( in the house of the Commerzienrathes ), who becomes a successful businesswoman.

While most of Marlitt's Trotsky Heads have a good character right from the start, the author has presented two real development novels in Imperial Countess Gisela and Das Haideprinzesschen , in which the main characters only find the moral values ​​that are essential for the Marlittian heroines through purifying life experiences are so characteristic.

A certain exception to Marlitt's handling of the protagonists is the novel Im Schillingshof , where it is only in the second half of the plot that the reader can see which of the characters is actually the positive heroine. The bailiff's maid is also out of the ordinary in that the story is not told from the perspective of the main female character, but from that of her future lover.

The love partner

The male love partners of the protagonists in Marlitt's novels are depicted from the outside and without any insight into their emotional world - except in the magistrate's maid . Most of them represent the same type: rather unsightly, sometimes downright ugly, at least ten years older than the protagonist, experienced and firmly established in the profession. Some of these men are aristocratic ( Goldelse , The Second Woman , Im Schillingshof ), but most of them pursue civilian work: as doctors, merchants, industrialists or senior administrative officials. Overall, they follow the pattern of Herr von Walde ( Goldelse ), which Rudolf Gottschall described in 1870 as follows: “'Every inch a man', noble, self-confident, thorough, energetic, despising appearances, humane even under rough forms.”

The male love partners are not only flat characters, but also usually show little development over the course of the plot. The most important exception is Baron von Mainau ( The Second Woman ), a frivolous mocker who neglects his goods and has fun with theater ladies; he only finds more solidity through the purifying encounter with the protagonist. This schema of purification can also be found in a weaker form in other Marlitt lover figures, for example in Johannes Hellwig ( The Secret of Old Mamsell ), who initially takes his pious mother's side, but increasingly differs from her under the impression of fairy Felicitas distant.

The antiheroes

One element of Marlitt's prose that has encouraged interpreters to classify it as trivial is her black and white painting. In many of Marlitt's works, the protagonist and other positive figures are contrasted with negative figures by reversing them. Mostly, the characterization already takes place when the main story begins, and with a few exceptions the characters do not develop any further afterwards. The antiheroes are limited, bigoted, vain, spoiled, loveless and have no sense of art and music; Occasionally, Marlitt makes it even easier for readers to classify them correctly by introducing negative figures as ugly ( Im Schillingshof : Clementine, Veit).

Occasionally Marlitt deviated from this principle. Her more complex characters include Basia in the novella Bluebeard (1866), which is introduced as a positive figure, but then also reveals a very dark side. Marlitt deviated even further from the good-evil scheme in her developmental novel Das Haideprinzesschen , in which the characters Charlotte and Dagobert, who were initially sympathetic, gradually turn out to be characteristically dubious (Charlotte is able to partially rehabilitate herself through penance and love), while vice versa Erich Claudius initially appears unsympathetic and suspicious, but then turns out to be a flawlessly positive figure in the course of the plot. Also Countess Gisela is a development novel in which the title character grows only gradually to a positive character. There is no clearly negative figure in the bailiff's maid .

One of the arguments against the classification of Marlitt's work as trivial literature is her, in part, very conscious handling of intertextuality . Marlitt has read a lot and very often incorporated implicit and explicit references to other texts into her work.

The secret

Marlitt's novels regularly hide a secret mostly stemming from the past, which has a strong influence on the protagonist's life. Often it is about an old family guilt ( The Secret of the Old Mamsell , Die Reichsgräfin Gisela , The Second Woman , Im Schillingshof ), in other cases about the disappearance ( Die Reichsgräfin Gisela , Die Frau mit den Karfunkelsteinen ), the true identity ( Bluebeard , Goldelse , magistrate's maid , Das Haideprinzeschen ) or the guilt of an individual person ( Bluebeard , schoolmaster Marie , in the house of the Commerzienrathes ). In Marlitt's literary debut, The Twelve Apostles , the title already suggests the secret: a number of mysterious hidden silver figures. As a rule, it is the protagonist herself who reveals the secret, whereby the solution is always found in the simplest possible way, often through the accidental discovery of unmasking letters or other documents. The heroine of the novel The Second Woman , Liane, comes closest to a detective and subjects the document, which she finds suspicious, to a real criminological investigation. The title character in the novella Schoolmaster Marie also shows a high degree of detective work when she overhears the suspects through a window - regardless of the danger to her own integrity - and then even breaks into the house through this to secure evidence.

Are Marlitt's novels romance novels?

Contra

Unlike later Hedwig Courths-Mahler ( Just you alone , I've cried so much for you , people call it love , no happiness without you , his great love ) Marlitt has never already identified her work as romance with the work title .

Jutta Schönberg wrote in 1986:

“With her female characters, Marlitt wanted to set an example for her readers. So her heroines are probably the embodiment of her ideal of women. The focus of the novels is less the love story than the whole life of the heroines, their views, ways of acting, experiences and adventures. "

- Jutta Schönberg : Women's role and novel: Studies on the novels of Eugenie Marlitt (p. 33)

Cornelia Hobohm, who in the 1990s tried hard to have Marlitt included in the official literary canon , pointed out that Marlitt's novels essentially deal with three main themes: the concept of bourgeoisie , views on religion and religiosity, and the image of Woman in 19th Century Society. Like Schoenberg, she argued that these topics occupy so much space that the novels cannot be classified as romance novels .

Per

The Polish literary scholar Urszula Bonter has judged that Hobohm, in her endeavor to free Marlitt from the smell of trivial literature and to embed it in the context of German bourgeois-realistic literature of the 19th century, overshot at this point; She objects to Hobohm's thesis that the love story, which focuses on the protagonist's marriage, holds the whole plot together like a bracket and that the plot cannot be imagined without it, which is by no means true of the themes highlighted by Hobohm.

As Bonter has pointed out, all of Marlitt's novels perpetuate the same core story: “A child-woman meets a somewhat older man, both initially behave harshly or even hostile to one another for various reasons, and come closer over time (not infrequently when performing various Samaritan services through the woman) and finally marry. ” Only the shape and external decoration are different.

The outcome of the plot is always predictable: the protagonist becomes engaged or married. In Marlitt's work, however, the happy ending appears inevitable , in which all the storylines - even the most minor ones - are brought together and solved to everyone's satisfaction, all questions are answered and all riddles are deciphered. Bonter speaks of an always perfect Marlitt final tableau, which makes the reader sure that the later married life of the protagonists will also be a happy one. In Goldelse , The Secret of Old Mamsell and Das Haideprinzesschen , Marlitt has added a small epilogue that even makes this explicit.

Consideration

In order to measure the weight and quality of the love affairs in Marlitt's novels, one can compare them with other works of bourgeois literature, such as the novels by Jane Austen - half a century earlier . Austen's novels also always lead to the engagement or marriage of the protagonist, and as with Marlitt, with Austen, too, the struggling of lovers holds the plot together like a bracket. With Austen, however, the love stories are so much in the foreground because their protagonists have to marry in order to fulfill the duty imposed on them by society and their attention is completely absorbed by the struggle for a modus vivendi in order to solve the difficult task of entering into a marriage that is emotionally and humanly satisfying. The attention of Marlitt's protagonists, on the other hand, is largely concentrated on the confrontation with their opponents, on their Samaritan services and on the riddle that the novel presents them. On the one hand, they subject the main male character to a critical examination from the beginning, for example through constant sharp tongues, to determine whether he will be able to withstand her intellectual independence, but on the other hand they usually only consciously take note of him as a possible love partner, and only in passing, when he seems to turn to another woman. The greatest tension reaches the wrestling of the lovers in the bailiff's maid , where the main male character injures himself with serious consequences in a scuffle with the female.

Marlitt also handled the acts of love very differently in her individual works. While in the majority of her novels and stories it is clear to the reader at an early stage who loves whom and is thus heading for a love happy ending, the author has occasionally broken this pattern: For the first time in her developmental novel Das Haideprinzesschen (1871), in which the reader only begins to suspect who the protagonist loves in the second half of the plot. Marlitt went even further with the misleading of her audience in Im Schillingshof (1880), where the looming act of love can only be discovered early for very attentive readers. The protagonist, who is usually introduced in Marlitt's work in the first chapters, appears here, in person, only in the second half of the novel, and her later love partner is presented as married, so that in the context of Marlitt's narrative conventions he is the love goal of Protagonist cannot actually be thought of at first.

The Cinderella motif

Marlitt's protagonists are mostly orphans or motherless. Even if the mother is still alive ( schoolmaster Marie , Goldelse , The Second Wife ), she offers the daughter no protection from the world. Urszula Bonter has suspected that it is this lack or inability of the mothers that literary scholars - beginning with Rudolf Gottschall - have repeatedly led to the interpretation that Marlitt's novels always have a Cinderella motif. Bonter countered this interpretation with the argument that actually not a single one of the Marlitt protagonists from precarious lower-class relationships marries into an intact upper class.

Reception and effect

Marlitt's novels were read in all classes of the population up to the upper middle class and nobility. Even the aristocratic writer Hermann von Pückler-Muskau was so interested in reading The Secret of Old Mamsell that he began a correspondence with the author. However, the majority of Marlitt's readers were female. One of her greatest admirers was Hedwig Courths-Mahler , 41 years her junior , and even Louise Otto-Peters , one of the founders of the German women's movement , honored the writer with an obituary after her death.

Marlitt's spectacular success drew many women who write into the maelstrom of the genre, although a systematic investigation of the epigonesses has not yet been carried out. Urszula Bonter referred in particular to Wilhelmine Heimburg , Valeska Countess Bethusy-Huc and Eufemia von Adlersfeld-Ballestrem .

Individual certificates

In a letter to Emilie Fontane, Fontane complains that he is far less well known than Marlitt:

“The things from the Marlitt (...) people, whom I do not even consider as writers, not only experience numerous editions, but are also possibly translated into front and back Indian; no cat cares about me. "

- Theodor Fontane : Letter to Emilie Fontane, June 15, 1879

Marlitt's popularity is further evidenced by the following quote:

“In Leipzig, most of the ladies' parties were arranged for Friday afternoon so that we could enjoy the latest episode of Marlitt's novels together. Enthusiastic mothers were not afraid to baptize their children after characters in a novel. There is also a story that a terminally ill woman is said to have expressed her last wish that she absolutely wanted to know about the happy ending of the current novel by Marlitt, whereupon Ernst Keil sent her a preprint. "

- Urszula Bonter : The popular novel in the successor of E. Marlitt: Wilhelmine Heimburg - Valeska Countess Bethusy-Huc - Eufemia von Adlersfeld-Ballestrem. (P. 12)

From his walks with Robert Walser , Carl Seelig reported that the poet defended the Marlitt with the following words :

“You see, people always complain about the Marlitt! These are schoolmaster registrations, unjust and narrow-minded. I recently read 'Im Haus des Kommerzienrat' in an old magazine and I have to say that I was impressed by her liberal spirit and her understanding of sociological and social changes. In books like this one often finds more tact and soul than in the award- winning literature hams . […] Am I wrong if I call her the first German women's rights activist who has consistently fought class arrogance and self- satisfied piety ? "

- Robert Walser : Carl Seelig: Walks with Robert Walser (May 16, 1943)

In the essay The Awful German Language , in which the American writer Mark Twain humorously describes his efforts and frustration in learning the German language, a passage from Marlitt's novel The Secret of Old Mamsell serves as an example of the complexity of the German sentence structure. However, Twain does not fail to point out that it is a popular and excellent novel.

Literary reception

Before 1970

The literature became aware of Marlitt early. As early as 1870 , Rudolf Gottschall judged the author to be “an important narrative talent”. In her three novels available up to that point, he showed “the scheme of the most popular German legend, the Cinderella ”. In 1892 he acknowledged Marlitt moreover a tendency that was "directed against social prejudice".

In 1926 Bertha Potthast published her first monograph , which remained the most informative work on Marlitt until the 1990s and differs from many later ones in that Potthast had not only read Marlitt's work carefully but also comprehensively.

1970s and 1980s

In the wake of the ideological turn of literary studies in the 1970s, some authors criticized the author's narratives, which they considered to be system-affirmative and anti-emancipatory. Michael Kienzle attested that Marlitt's stubborn heads had a conspicuous passivity and even a masochistic personality. George L. Mosse explained the popularity of Marlitt's novels with the fact that they - like the work of Ludwig Ganghofer and Karl May - encouraged the tried and tested bourgeois orderly thinking by on the one hand advocating a healthy life “that is in beauty, love and work manifested ”, but on the other hand not questioning the traditional class structure. Mosse saw in it "something eminently German" and therefore classified Marlitt, Ganghofer and May as "immediate pioneers of Adolf Hitler"; In open contradiction to this, however, is his assessment that the trivial literature of this era "is in general an expression of unchanged liberalism , not only in its work ethic, but also in its advocacy for tolerance and human dignity" .

In gender studies , the class antagonism takes a back seat to the gender antagonism. In her analysis of Marlitt's femininity designs, Jutta Schönberg judges that, from today's perspective, the protagonists seem rather conservative and unemancipated, but Marlitt's novels nevertheless - especially in their upgrading of education and work - do justice to the demands of the early women's movement of the time. Marina Zitterer's dissertation follows a similar approach, which, as Urszula Bonter has shown, has serious methodological deficiencies and is therefore of little use.

Michael Andermatt occupies a special position in the literary debate with Marlitt, who analyzed the novel The Secret of Old Mamsell - as well as works by Fontane and Kafka - from the point of view of the narrated space and observed that Marlitt had a “simple bipolarity of the depicted Space “: the individual rooms are filled with clearly recognizable good or bad properties. Both spheres threaten each other with annihilation; the inevitable happy ending, however, gives the reader a sense of security and stability.

It is characteristic of many of the works on Marlitt's work that the authors have not read it in its entirety and only write about individual novels. This applies, for example, to the works of Michael Kienzle ( Die Reichsgräfin Gisela ), Jochen Schulte-Sasse / Renate Werner ( In the House of the Commerzienrathes ), Michael Andermatt ( The Secret of Old Mamsell ) and Kirsten Søholm ( Goldelse ).

Since 1990

Since the 1990s there has been an increasing number of works that are guided by the idea of ​​integrating the Marlitt into the ranks of the great bourgeois writers of the 19th century. It all began in 1992 with a monograph by Günter Merbach, which was still written in columns and focused primarily on the person. Two years later, a work by Hans Arens endeavored to achieve a little more rigor in literary studies , defending the thesis that Marlitt had attempted an independent realization of the three classic Aristotelian units .

The Marlitt is considered to be one of the most methodically sound recent works on the work of the Marlitt. Attempt to reassess Cornelia Hobohm, who has a profound knowledge of the text and has drawn on numerous new documents and biographical materials, including the author's previously unpublished letters.

In 2005 Urzula Bonter presented a work in which she presented Marlitt and her three most important epigones ( Wilhelmine Heimburg , Valeska Countess Bethusy-Huc , Eufemia von Adlersfeld-Ballestrem ) in context.

Film adaptations

Between 1917 and 1925 some of her novels were made into films, most of them under the direction of Georg Victor Mendel . In 1945 the film El secreto de la solterona by the Mexican director Miguel M. Delgado followed.

Five TV films for ZDF followed later :

  • 1972: The Secret of Old Mamsell (Director: Herbert Ballmann )
  • 1973: In the Schillingshof (Director: Herbert Ballmann)
  • 1975: In the house of the Commerce Council (Director: Herbert Ballmann)
  • 1983: The Second Woman (Director: Herbert Ballmann)
  • 1985: The woman with the carbuncle stones (Director: Dagmar Damek )

Appreciation

In honor of Marlitt, a street in Arnstadt was named after her in 1889 and a Marlitt memorial created by the Berlin sculptor Victor Seifert was inaugurated in the Old Cemetery in Arnstadt in 1913 . After 1945, the Marlitt was frowned upon in the Soviet Occupation Zone as well as in the later GDR ("Preacher of the Subjective Spirit"). At the instigation of the SED and the People's Education Office, their memorial was removed from the Old Cemetery in 1951. In 1992 it was put back up again, mainly at the instigation of IG Marlitt , which was founded in 1990 .

Works (in selection)

Novels and short stories

title Publication in the gazebo First book publication
(Ernst wedge, Leipzig)		 Illustrations Remarks
year Numbers
The twelve apostles . narrative 1865 36-39 1869 Book published in the anthology Thüringer Erzählungen
Goldelse . novel 1866 1-19 1866 Paul Thumann
Bluebeard . Novella 1866 27-31 / 32 1867 Book published in the anthology Thüringer Erzählungen
Old Mamsell's secret . novel 1867 21-38 1868 Carl Koch
Imperial Countess Gisela . Novel in 2 volumes 1869 1-32 1869 Julius Kleinmichel
The Haideprinzchen . Novel in 2 volumes 1871 31-52 1871 Heinrich Susemihl
The second wife . novel 1874 1-21 1874 Alexander Zick
In the house of the Commerzienrathes . novel 1876 1-26 1876 Heinrich Schlitt
In the Schillingshof . novel 1879 14-39 1880 Wilhelm Claudius
Bailiff's maid . novel 1881 1-13 1881 Oskar Theuer
The woman with the carbuncle stones . novel 1885 1-20 1885 Carl braid
The owl house . novel 1888 1-25 1888 Carl braid Posthumously; supplemented from the manuscript and published by Wilhelmine Heimburg
Schoolmaster Marie . Novella - - 1890 Posthumously; Book publication: Collected novels and short stories. Volume 10: Thuringian Stories

Collective editions

  • Thuringian stories. Anthology with initially the following works: The twelve apostles , bluebeard . With illustrations by Max Flashar and August Mandlick . Leipzig 1869. Further works were included in later editions: Amtmanns Magd , Schulmeister Marie .
  • Collected novels and short stories. 10 volumes, Keil's Nachf., Leipzig 1888–1890 (Volume 10 contains a life and work description of Wilhelmine Heimburg)

Letters

  • I can't laugh when I want to cry. The previously unpublished letters from Marlitt. Edited, with introduction and commentary by Cornelia Hobohm. Same publishing house, Wandersleben 1996

literature

For the basic research literature on the work and person of E. Marlitt see the section #Literature Reception , which also contains comments on the individual titles.

Article in the "Gazebo"

Further literature :

Web links

Commons : E. Marlitt  - collection of images, videos and audio files
Wikisource: E. Marlitt  - Sources and full texts

Individual evidence

  1. ↑ Cornelia Hobohm: The Marlitt and their time. A brief chronological overview. In: I can't laugh when I want to cry. The previously unpublished letters from Marlitt. Gleichen Verlag, Wandersleben 1996, pp. 5–13, here: pp. 7–8.
  2. ↑ a b Marlitt, Eugenie . In: Bernd Lutz (ed.): Metzler Authors Lexicon: German-speaking poets and writers from the Middle Ages to the present . 2nd Edition. JB Metzler, Stuttgart, Weimar 1997, ISBN 978-3-476-01573-0 , pp. 583 ( limited preview in Google Book search).
  3. ↑ Urszula Bonter: The popular novel in the successor of E. Marlitt: Wilhelmine Heimburg, Valeska Countess Bethusy-Huc, Eufemia von Adlersfeld-Ballestrem . Königshausen & Neumann, Würzburg 2005, ISBN 3-8260-2979-8 , p. 10 ( limited preview in Google Book search).
  4. ↑ a b Marlitt, Eugenie . In: Bernd Lutz (ed.): Metzler Authors Lexicon: German-speaking poets and writers from the Middle Ages to the present . 2nd Edition. JB Metzler, Stuttgart, Weimar 1997, ISBN 978-3-476-01573-0 , pp. 583 f . ( limited preview in Google Book search).
  5. ↑ Urszula Bonter: The popular novel in the successor of E. Marlitt: Wilhelmine Heimburg, Valeska Countess Bethusy-Huc, Eufemia von Adlersfeld-Ballestrem . Königshausen & Neumann, Würzburg 2005, ISBN 3-8260-2979-8 , p. 10 f . ( limited preview in Google Book search).
  6. ↑ a b The law of the series - Eugenie Marlitt in Arnstadt. Retrieved May 14, 2020 .
  7. ↑ Marlitt, Eugenie . In: Bernd Lutz (ed.): Metzler Authors Lexicon: German-speaking poets and writers from the Middle Ages to the present . 2nd Edition. JB Metzler, Stuttgart, Weimar 1997, ISBN 978-3-476-01573-0 , pp. 584 ( limited preview in Google Book search).
  8. ↑ Looking to the future: This is Heiligendamm and this is how it should be. Retrieved May 14, 2020 .
  9. ↑ Urszula Bonter: The popular novel in the successor of E. Marlitt: Wilhelmine Heimburg, Valeska Countess Bethusy-Huc, Eufemia von Adlersfeld-Ballestrem . Königshausen & Neumann, Würzburg 2005, ISBN 3-8260-2979-8 , p. 32 ( limited preview in Google Book search).
  10. ↑ Urszula Bonter: The popular novel in the successor of E. Marlitt: Wilhelmine Heimburg, Valeska Countess Bethusy-Huc, Eufemia von Adlersfeld-Ballestrem . Königshausen & Neumann, Würzburg 2005, ISBN 3-8260-2979-8 , p. 32 f . ( limited preview in Google Book search).
  11. ↑ Urszula Bonter: The popular novel in the successor of E. Marlitt: Wilhelmine Heimburg, Valeska Countess Bethusy-Huc, Eufemia von Adlersfeld-Ballestrem . Königshausen & Neumann, Würzburg 2005, ISBN 3-8260-2979-8 , p. 34 ( limited preview in Google Book search).
  12. ↑ Urszula Bonter: The popular novel in the successor of E. Marlitt: Wilhelmine Heimburg, Valeska Countess Bethusy-Huc, Eufemia von Adlersfeld-Ballestrem . Königshausen & Neumann, Würzburg 2005, ISBN 3-8260-2979-8 , p. 34 f . ( limited preview in Google Book search).
  13. ↑ Cornelia Hobohm: Beloved. Hated Successfully. Eugenie Marlitt (1825-1887) . In: Karin Tebben (Ed.): Profession: Writer. Writing women in the 18th and 19th centuries . Vandenhoeck & Ruprecht, Göttingen 1998, ISBN 3-525-01222-5 , pp. 244–275, here: p. 264 .
  14. ↑ Urszula Bonter: The popular novel in the successor of E. Marlitt: Wilhelmine Heimburg, Valeska Countess Bethusy-Huc, Eufemia von Adlersfeld-Ballestrem . Königshausen & Neumann, Würzburg 2005, ISBN 3-8260-2979-8 , p. 35 ( limited preview in Google Book search).
  15. ↑ a b Urszula Bonter: The popular novel in the succession of E. Marlitt: Wilhelmine Heimburg, Valeska Countess Bethusy-Huc, Eufemia von Adlersfeld-Ballestrem . Königshausen & Neumann, Würzburg 2005, ISBN 3-8260-2979-8 , p. 40 ( limited preview in Google Book search).
  16. ↑ Rudolf Gottschall: The novelist of the "garden gazebo" . In: Sheets for literary entertainment . tape 19 , 1870, pp. 289-293 (291) .
  17. ↑ Urszula Bonter: The popular novel in the successor of E. Marlitt: Wilhelmine Heimburg, Valeska Countess Bethusy-Huc, Eufemia von Adlersfeld-Ballestrem . Königshausen & Neumann, Würzburg 2005, ISBN 3-8260-2979-8 , p. 67 ( limited preview in Google Book search).
  18. ↑ Urszula Bonter: The popular novel in the successor of E. Marlitt: Wilhelmine Heimburg, Valeska Countess Bethusy-Huc, Eufemia von Adlersfeld-Ballestrem . Königshausen & Neumann, Würzburg 2005, ISBN 3-8260-2979-8 , p. 67 f . ( limited preview in Google Book search).
  19. ↑ Urszula Bonter: The popular novel in the successor of E. Marlitt: Wilhelmine Heimburg, Valeska Countess Bethusy-Huc, Eufemia von Adlersfeld-Ballestrem . Königshausen & Neumann, Würzburg 2005, ISBN 3-8260-2979-8 , p. 66 ( limited preview in Google Book search).
  20. ^ Jutta Schönberg: Women's role and novel: Studies on the novels of Eugenie Marlitt. Peter Lang, Frankfurt am Main 1986, pp. 29-59 (p. 33).
  21. ↑ Cornelia Hobohm: Beloved. Hated Successfully. Eugenie Marlitt (1825-1887) . In: Karin Tebben (Ed.): Profession: Writer. Writing women in the 18th and 19th centuries . Vandenhoeck & Ruprecht, Göttingen 1998, ISBN 3-525-01222-5 , pp. 244–275, here: p. 253 .
  22. ↑ Urszula Bonter: The popular novel in the successor of E. Marlitt: Wilhelmine Heimburg, Valeska Countess Bethusy-Huc, Eufemia von Adlersfeld-Ballestrem . Königshausen & Neumann, Würzburg 2005, ISBN 3-8260-2979-8 , p. 24 ( limited preview in Google Book search).
  23. ↑ Urszula Bonter: The popular novel in the successor of E. Marlitt: Wilhelmine Heimburg, Valeska Countess Bethusy-Huc, Eufemia von Adlersfeld-Ballestrem . Königshausen & Neumann, Würzburg 2005, ISBN 3-8260-2979-8 , p. 28 ( limited preview in Google Book search).
  24. ↑ Urszula Bonter: The popular novel in the successor of E. Marlitt: Wilhelmine Heimburg, Valeska Countess Bethusy-Huc, Eufemia von Adlersfeld-Ballestrem . Königshausen & Neumann, Würzburg 2005, ISBN 3-8260-2979-8 , p. 31 ( limited preview in Google Book search).
  25. ↑ Urszula Bonter: The popular novel in the successor of E. Marlitt: Wilhelmine Heimburg, Valeska Countess Bethusy-Huc, Eufemia von Adlersfeld-Ballestrem . Königshausen & Neumann, Würzburg 2005, ISBN 3-8260-2979-8 , p. 41 f . ( limited preview in Google Book search).
  26. ↑ Urszula Bonter: The popular novel in the successor of E. Marlitt: Wilhelmine Heimburg, Valeska Countess Bethusy-Huc, Eufemia von Adlersfeld-Ballestrem . Königshausen & Neumann, Würzburg 2005, ISBN 3-8260-2979-8 , p. 11 ( limited preview in Google Book search).
  27. ↑ Urszula Bonter: The popular novel in the successor of E. Marlitt: Wilhelmine Heimburg, Valeska Countess Bethusy-Huc, Eufemia von Adlersfeld-Ballestrem . Königshausen & Neumann, Würzburg 2005, ISBN 3-8260-2979-8 , p. 12 ( limited preview in Google Book search).
  28. ↑ Urszula Bonter: The popular novel in the successor of E. Marlitt: Wilhelmine Heimburg, Valeska Countess Bethusy-Huc, Eufemia von Adlersfeld-Ballestrem . Königshausen & Neumann, Würzburg 2005, ISBN 3-8260-2979-8 , p. 12 ( limited preview in Google Book search).
  29. ↑ Urszula Bonter: The popular novel in the successor of E. Marlitt: Wilhelmine Heimburg, Valeska Countess Bethusy-Huc, Eufemia von Adlersfeld-Ballestrem . Königshausen & Neumann, Würzburg 2005, ISBN 3-8260-2979-8 ( limited preview in the Google book search).
  30. ^ Theodor Fontane: Letter to Emilie Fontane, from June 15, 1879. In: Fontane: Von Dreissig bis Achtzig. His life in his letters. Edited by Hans-Heinrich Reuter. Leipzig 1959, pp. 257f., Quoted in: Cornelia Brauer: Eugenie Marlitt - Bürgerliche, Christin, Liberale, Autorin: An analysis of her work in the context of the “garden gazebo” and the development of bourgeois realism. Edition Marlitt, Leipzig 2006, p. 60.
  31. ↑ Urszula Bonter: The popular novel in the successor of E. Marlitt: Wilhelmine Heimburg - Valeska Countess Bethusy-Huc - Eufemia von Adlersfeld-Ballestrem. Königshausen and Neumann, Würzburg 2005, p. 12, quoted in: Tobias Klein: From German hearts. Family, homeland and nation in E. Marlitt's novels and stories. Kovač, Hamburg 2012, p. 45.
  32. ^ Carl Seelig: Walks with Robert Walser. Philipp Reclam jun., Leipzig 1989, p. 37 f.
  33. ↑ a b Urszula Bonter: The popular novel in the succession of E. Marlitt: Wilhelmine Heimburg, Valeska Countess Bethusy-Huc, Eufemia von Adlersfeld-Ballestrem . Königshausen & Neumann, Würzburg 2005, ISBN 3-8260-2979-8 , p. 18 ( limited preview in Google Book search).
  34. ^ Bertha Potthast: Eugenie Marlitt. A contribution to the history of the German women's novel . Rennebohm and Hausknecht, Cologne 1926.
  35. ↑ Michael Kienzle: The successful novel. On the criticism of his poetic economy in Gustav Freytag and Eugenie Marlitt . Metzler, Stuttgart 1975, ISBN 978-3-476-00311-9 , pp. 74 ff .
  36. ↑ George L. Mosse: What the Germans Really Read. Marlitt, May, Ganghofer . In: Reinhold Grimm, Jost Hermand (eds.): Popularity and triviality . Athenaeum, Frankfurt, Main 1974, ISBN 3-7610-4629-4 , pp. 101–120, here: p. 112 f., 116 .
  37. ↑ Jutta Schönberg: Women's role and novel. Studies on the novels of Eugenie Marlitt . Peter Lang, Frankfurt am Main 1986, ISBN 978-3-8204-8369-7 .
  38. ↑ Marina Zitterer: The women's novel by Fontane, Lewald and Marlitt. An analysis of the feminist holistic concept in the humanistic sense . Institute for Interdisciplinary Research and Training, Klagenfurt 1997 (publications from the research project "Literature and Sociology", Volume 18).
  39. ↑ Urszula Bonter: The popular novel in the successor of E. Marlitt: Wilhelmine Heimburg, Valeska Countess Bethusy-Huc, Eufemia von Adlersfeld-Ballestrem . Königshausen & Neumann, Würzburg 2005, ISBN 3-8260-2979-8 , p. 22 ( limited preview in Google Book search).
  40. ↑ Michael Andermatt: House and Room in the Novel. The genesis of the narrated space in E. Marlitt, Th. Fontane and Fr. Kafka . Bern 1987 (Zurich Germanic Studies 8).
  41. ↑ Jochen Schulte-Sasse: Afterword in: E. Marlitt: In the house of the Kommerzienrat . Fink, Munich 1977.
  42. ↑ Kirsten Søholm: "Goldelse". A popular novel by Marlitt . In: Journal for German Studies New Series . tape 11 , 1990, pp. 389-401 .
  43. ^ Günter Merbach: E. Marlitt. The life of a great writer . Kelter, Hamburg 1992, ISBN 3-88476-058-0 .
  44. ↑ Hans Arens: E. Marlitt. A critical appreciation . WVT Wissenschaftlicher Verlag, Trier 1994, ISBN 978-3-88476-058-1 .
  45. ↑ Cornelia Brauer (later Hohohm): The Marlitt. Attempt to re-evaluate . In: palm tree. Literary journal from Thuringia . tape 1 . Quartus, Bucha near Jena 1993, p. 57-63 .
  46. ↑ I can't laugh when I want to cry. The unpublished letters from E. Marlitt . Gleichen, 1996, ISBN 978-3-932459-01-6 (edited by Cornelia Brauer (later Hohohm)).
  47. ↑ Urszula Bonter: The popular novel in the successor of E. Marlitt: Wilhelmine Heimburg, Valeska Countess Bethusy-Huc, Eufemia von Adlersfeld-Ballestrem . Königshausen & Neumann, Würzburg 2005, ISBN 3-8260-2979-8 ( limited preview in the Google book search).
  48. ↑ Eugenie Marlitt in the Internet Movie Database (English)
Works by E. Marlitt

Novels: Goldelse  | Old Mamsell's secret  | Countess Gisela  | The Haideprinzes  | The second wife  | In the house of the Commerzienrathes  | In the Schillingshof  | Bailiff's maid  | The woman with the carbuncle stones  | The Owl House (mainly written by Wilhelmine Heimburg )

Short stories and stories: The twelve apostles  | Bluebeard  | Schoolmaster Marie

The Gazebo (1887) b476.jpg
personal data
SURNAME Marlitt, E.
ALTERNATIVE NAMES Marlitt, Eugenie; John, Friederieke Henriette Christiane Eugenie (maiden name)
BRIEF DESCRIPTION German writer
DATE OF BIRTH December 5, 1825
PLACE OF BIRTH Arnstadt , Thuringia
DATE OF DEATH June 22, 1887
Place of death Arnstadt