Vittoria Accorombona

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Ludwig Tieck
* 1773 † 1853

Vittoria Accorombona is a historical novel in five books by Ludwig Tieck , published in 1840 and reprinted a year later. Soon after this development and time novel was published , translations into English and Italian came out.

It tells of the fall of the Roman Accoromboni family.

time and place

The novel is set in Tivoli , Rome, Florence, Salo on Lake Garda, Venice and Padua from summer 1575 to winter 1585 .

history

Paolo Giordano II Orsini,
Duke of Bracciano

In the preface to the first edition, Tieck referred to his historical sources in July 1840.

Personalities who either appear in the novel or who are mentioned in the conversations about art:

action

1

The town girl Vittoria, a 17-year-old half-orphan, daughter of a well-respected Roman lawyer during her lifetime, has three brothers. Her mother, the matron Donna Julia, heads the household in Rome and Tivoli. The mother is particularly proud of her eldest son Ottavio, who has already become abbot under Cardinal Farnese. Marcello, the second oldest son, worries his mother because he wanders through the mountains with bandits for days. On the other hand, Flaminio, the youngest, is almost girlish.

Vittoria, the young poet, gathers in a “poetic academy” in the house and wants to stay single. The mother persuades the only daughter that every lady should marry appropriately. If it has to be, then Vittoria could most likely marry the young Camillo Mattei. But Camillo, nephew of the priest Vincenz from Tivoli, is poor.

But it turns out quite differently. Marcello, who has committed a crime, is wanted. He faces execution or at least a galley. In this seemingly hopeless situation, the Accoromboni family needs a powerful protector. A marriage of convenience Vittoria offers the mother a solution. There is no shortage of suitable admirers.

2

The proud and beautiful Vittoria gives the brutal Count Don Ludovico (Luigi) Orsini a basket. The powerful Cardinal Farnese desires the girl as a lover. Donna Julia indignantly rejects this request. Vittoria finally marries the young Peretti. He is the adopted son of the discreet old Cardinal Montalto. The cardinal, the former Brother Felix, is Peretti's uncle. Montalto lets Marcello set free.

During the celebration, the wedding procession encounters galley slaves in chains on the street. The bride recognizes her Camillo among the prisoners. "Marcello next to you with precious stones and I in chains," he curses the Accoromboni house and is scourged by the captors for it. Guests from the wedding procession smile maliciously, grin maliciously.

3

The marriage is never consummated. Vittoria does not let her husband into her bedchamber. The young husband Peretti finds diversion outside the Accoromboni house and tries to make friends in the Farnese house . Cardinal Montalto cannot approve of this - after all, he has joined the Medici family . The Medici are enemies with the Farnese. At her poetic academy, Vittoria became acquainted with Orsini Paul Giordano, Duke of Bracciano, in her home. The Duke initially appears incognito. Mutual affection becomes love. Vittoria, the enemy of men, suddenly knows "what love is, what divinity means in man".

In a remote castle belonging to Duke Bracciano, the Duke's wife - Isabella, mother of two boys - dies under mysterious circumstances in the presence of the Duke. The reader must assume that the Duke strangled his wife. Bracciano returns to Florence as a grieving widower.

Cardinal Montalto makes Ottavio bishop. The just appointed Bishop of Montalto's opposing party, the Farnese, joins in "thanks".

Bracciano, in mourning, appears in the Accoromboni house and court Vittoria.

Young Peretti, badly wounded during a skirmish, is touched: Vittoria is nursing her husband to health. To his chagrin she then pours the convalescent pure wine. She wants to be his sister, but never his wife.

4th

Bracciano repeated his visits to Vittoria and took her brother Flaminio into his service as secretary.

Vittoria makes a discovery in her apartment in Rome. Next to the hall is a narrow, secret room. Her brother Marcello, again banned from Rome for recent crimes, hides in it.

Bishop Ottavio condemns the “grieving” Bracciano's visits to Sister Vittoria. Bracciano suggests that Vittoria get a divorce.

Cardinal Farnese still wants to own Vittoria and wants to achieve his goal with the help of husband Peretti. So the cardinal goes to Peretti's house, and the two conspirators plan the kidnapping of Vittoria by the cardinal's gunmen. “Visitor” Bracciano, having moved into the narrow room, listens.

Of course, Vittoria's abduction fails. Shortly before the agreed time, Peretti is lured out of the house and murdered. The reader must assume that Marcello - on behalf of Bracciano - was the culprit.

Montalto, deeply dismayed but unbowed, wants God to be the judge in the murder case. The Accoromboni family has to leave Peretti's house as the property reverts to Montalto. The family is accepted by Bracciano. Vittoria - in association with her brother Marcello - is accused of insidious spouse murder. The woman is acquitted, but she has to live as a prisoner in Castel Sant'Angelo, separated from the Duke.

5

Luigi Orsini mutinies, rebels, assassins and is banished from Rome. He is joined by the former galley slave Camillo Mattei, now an ardent hater of the Accoromboni family.

The matron Donna Julia, left alone by her children, dies madly in Tivoli. Ottavio, dropped by all parties, is looking for her. The priest Vincenz can only show him her grave in Tivoli. Ottavio dies soon afterwards, in the days when Pope Gregory also blesses the temporal.

Bracciano cleverly uses the relatively lawless freedom during the papal election, resolutely frees his Vittoria and marries her. Brother-in-law Flaminio receives a significant fortune.

Cardinal Montalto becomes Pope Sixtus V. The timid old man becomes a ruling prince of the church. Bracciano and Vittoria fall out of favor with Sixtus V. Both retreat to Salo on Lake Garda. Meanwhile, Flaminio set up the duke's palace for the couple in Padua. Marcello, who wants to become decent, also goes to Padua, having become wealthy through his new brother-in-law. Bracciano is poisoned by his enemies on Lake Garda. Vittoria goes to Padua. As a harbinger of Luigi Orsini, Camillo Mattei appears in her palace. Soon after, Luigi auditioned in person. He, an Orsini like the late Bracciano, claims fortunes for himself and for Bracciano's two sons from his first marriage. Vittoria refers him to her lawyers. Flaminio is brutally stabbed to death by Luigi Orsini's gunmen. The suspicion of the City Council of Padua falls on Count Luigi Orsini after Camillo testified on torture. On December 23, 1585, Vittoria was stabbed to death by gunmen from Count Orsini at night. For this the count is strangled in the prison of the city of Padua. Marcello, who excelled during the Count's capture, is extradited to the Pope by the city of Padua. Marcello, who was involved in Peretti's murder, is executed in Rome on the orders of the Pope. Thus the whole family of the Accoromboni, once so well known, died out, perished and soon forgotten. The slander obscured the name of the once highly praised Vittoria, and only inadequate, ambiguous evidence is attached to her name by contemporaries and descendants. All too often the noble and the great are so misunderstood and reviled by the little minds .

Quotes

Tieck and the late Renaissance

  • Vittoria to the Duke of Bracciano: "And so you treat me like a perfect work of art, and I thank you for it".
  • Bracciano to Vittoria: "Isn't it, life is a great gift, isn't it, a heavenly secret of bliss from that eternal, ineffable spirit?"

Seals

Vittoria emerges as a poet. Tieck describes her works as because u. a. are the black and brown bridegroom , O you sweet rosebud , seriousness and sorrow of life , are there gods? and How blissfully tired, unfortunately, all in prose.

Family novel

Vittoria Accorombona , like any true work of art, is extremely ambiguous. Just two interpretations on this.

Wolfgang Taraba calls the work a family novel. In that sense, the title Vittoria Accorombona is not entirely accurate. The novel could be read like this: It tells how the matron Donna Julia loses the fight for her four children. Marcello, the predatory son, triggers the catastrophe, the focus of which is not only on Vittoria, but on the whole Accoromboni family. Tieck created Vittoria as a minor character. The poetic interludes and learned conversations from the poetic academy are of little help against the latter assertion. The novel is not about the title character, but about the terrible abyss of cruelty that devours a fatherless family.

Kern sees it like this: In his last great work, Tieck worked some things into his heart: Vittoria is the noble figure in the novel - the great sufferer. Belonging to a supernatural world, she is reconciled with this earthly world, which she is destroying. It was not Marcello who triggered the downfall of the Accoromboni, but the mother in her constant endeavor to repair the cracks in the entablature. The failure of their efforts is the cause of their madness.

The wavering state

Even today, Tieck is often given such attributes as "King of Romanticism ". The poet's late work, e.g. B. Vittoria Accorombona , has very little to nothing to do with romance. Dangerous debate with the society of pre-March Germany in 1839/40 is more likely if z. B. after reading the novel, the passage about the "bad robbers" is internalized again:

All these terrible people have of course fallen under the law: but this is so weak and powerless that it cannot seize and hold on to the offenders. They are therefore the stronger natures, the free, independent ones in relation to the wavering state with its hesitant arrangements. So by their public exit they say boldly and publicly: We declare the being that you want to call a state to have perished; here in the fields, mountains and forests we are temporarily forming the real, true state, based on freedom, in contradiction to all those tormenting, narrow-minded inhibitions and incomprehensible conditions that you want to call laws! Everything that can tear itself away, that wants to enjoy freedom, comes to us, and sooner or later our attitude must be that ruling in the country, from our strength a new constitution, a better fatherland must develop, and the bad robbers, the narrow-minded , wise self-interested people, the timid egoists, banished by us, sit behind their rotten walls and worm-eaten laws, in which they themselves no longer believe .

In this context, Kern says that Tieck may be disappointed with the state development in Germany, but the poet hopes that he will rely on the strength of the healthy. Tieck thinks revolution is useful and necessary.

logic

One of the strong points of the novel is its solid logical basis. Tieck works out very plausibly how the backers of the assassins previously became mortal enemies of the Accoromboni family. All the more astonishes a few, not quite understandable at first sight:

  • The reader loses sight of Camillo Mattei and suddenly the boy is presented as a galley slave in chains. His uncle, the priest Vincenz from Tivoli, once asked the Accoromboni about his nephew's whereabouts: The young kid ran away from me for a long time, but not to Rome, as I imagined; Father and mother have not seen him at all since he came to see me. Now I wanted to ask you ... whether he had come to see you here . But this detail is lost in the abundance of facts in the opening chapters of the novel. In addition, it is not reported how Camillo got on the wrong track.
  • The same applies mutatis mutandis to the more detailed circumstances of Bracciano's death. The Duke succumbs to his “crafty enemies”, probably this Mancini. At this break too the reader flips back helplessly to the question Who was Mancini? to answer. Vittoria helps with the backtracking: It is the contemptible Mancini, a bourgeoisie of murderers, who brought us the note from my unhappy brother that fateful night. Since then, Marcello has repeatedly and urgently warned me about this person who is in the pay of our persecutors. Vittoria speaks of the night when her first husband Peretti was killed: there was a loud knock on the gate, as if someone was in a hurry to bring important news. The servant opened the door and was quietly astonished that the raw, unsteady Mancini, one of the most suspicious companions in Rome, was allowed to enter so boldly and so late . According to Wagner-Egelhaaf, Tieck once briefly entered fantastic literature with the depiction of Bracciano's end - in connection with alchemy and mystery .

Testimonials

  • Regarding the choice of material: It was in 1792 when I read Webster's tragedy : " The white Devil, or Vittoria Corombona " .
  • Regarding the “truth”: Much of this novel is not invented, but presented according to the truth. In 1576, on the night of Julius 11, Pietro the Medici murdered his wife Eleanor of Toledo in his country house , and Julius 16 of the same year died in an enigmatic manner in the lonely castle of Paul Giordano , Duke of Bracciano, his wife Isabella .
  • Concerning the narrative intention: A painting of time, of the decay of the Italian states, should illuminate the soul painting as the shadowy side and raise it into the true light .
  • In a letter dated April 17, 1840 about his “Italian Novella” : “I worked the novel itself with great love and never-ending enthusiasm” .

reception

  • Gundolf places Tieck on a par with Walter Scott and Manzoni .
  • Only "extreme characters" act in the novel, but all of them are subject to social "constraints".
  • Vittoria Accorombona is a female tasso .
  • In the novel, the aesthetic is confronted with the brutal everyday reality.
  • In the novel there is no Jesus Christ who dies for people. The reader will only be happy when he sees Vittoria as a martyr.
  • Vittoria accepts all of Bracciano's crimes. The reader cannot tolerate that.
  • Schwarz reads the novel as an example of a conflict between the bourgeoisie and the nobility. The middle-class Accoromboni family is confronted with the powerful Orsini . In addition, the novel thrives on time criticism. In this context, it could be possible that Tieck moved his novel to the 16th century in order to escape the censorship that had become strict after 1819 . After all, the work was created after the July Revolution of 1830 and before the German Revolution in 1848 .
  • On the one hand, it seems that Tieck feels a little uncomfortable in the company of self-confident women and, on the other hand, he is writing against the patriarchy.
  • The salons of Henriette Herz in Berlin and Adelheid Reinbold in Dresden could have been the godfather of the literary circle of Accoromboni.
  • The research literature on Tieck's work is very extensive. But the novel received less attention at first. Paulin suspects two reasons for this. First, this late work did not appear in The Scriptures. Second, the dialogues about art seem a little artificial in the narrative context.
  • Interpretation: Schwarz goes into detail about the ancient mythological component of the novel.
  • It could be possible that Tieck Stendhal's novella Vittoria Accoramboni , published in Paris in 1839, knew. Congruences could possibly come from the same sources.
  • The historical person Vittoria would not have been the poet she presented Tieck as.

literature

source
  • Ludwig Tieck: Vittoria Accorombona. Historical novel. Edited and with an afterword by Joachim Lindner . Publishing House of the Nation. Berlin 1968 (2nd edition) 374 pages
expenditure
  • Marianne Thalmann (Ed.): Ludwig Tieck: Vittoria Accorombona. A novel in five books pp. 539–814 in: Ludwig Tieck, works in four volumes; based on the text of the writings from 1828–1854, taking into account the first prints. Volume IV: Novels. Darmstadt 1978.
  • Uwe Schweikert (ed.): Ludwig Tieck: writings . Vol. 1-28. Reimer Berlin 1828-1854. Vol. 12. Vittoria Accorombona, Abundance of life, forest loneliness. Writings 1836-1852 . Deutscher Klassiker Verlag 1986. 1469 pages, ISBN 978-3-618-61520-0
  • Vittoria Accorombona in the Gutenberg-DE project
Secondary literature
  • Wolfgang Taraba: Ludwig Tieck. Vittoria Accorombona pp. 329–352 in Benno von Wiese (ed.): The German Roman. From baroque to late romantic . Düsseldorf 1965
  • Johannes P. Kern: Ludwig Tieck: poet of a crisis . Pp. 184-194. Lothar Stiehm Verlag Heidelberg 1977. 243 pages. Volume XVIII of the Poetry and Science series
  • Ernst Ribbat: Ludwig Tieck. Studies in the conception and practice of romantic poetry. Pp. 229-234. Athenäum Verlag Kronberg / Ts. 1978. 290 pages (habilitation thesis, Westfälische Wilhelms-Universität Münster), ISBN 3-7610-8002-6
  • Roger Paulin: Ludwig Tieck . Pp. 88-90. JB Metzlersche Verlagsbuchhandlung Stuttgart 1987. Series: Metzler Collection; M 185, 133 pages, ISBN 3-476-10185-1
  • Gerhard Schulz : The German literature between the French Revolution and the restoration. Part 2. The Age of the Napoleonic Wars and the Restoration: 1806–1830. Munich 1989. 912 pages, ISBN 3-406-09399-X
  • Armin Gebhardt: Ludwig Tieck. Life and complete works of the “King of Romanticism” pp. 308–312. Tectum Verlag Marburg 1997. 354 pages. ISBN 3-8288-9001-6
  • Martina Schwarz: The bourgeois family in Ludwig Tieck's late work. “Family” as a medium of time criticism. Pp. 219-279 in: Epistemata. Würzburg scientific writings. Literary Studies series, Bd. 403. Königshausen & Neumann Würzburg 2002. 315 pages, ISBN 3-8260-2289-0
  • Martina Wagner-Egelhaaf: Verque (e) r and absurd. On the relationship between law, gender and poem in Tiecks Vittoria Accorombona (1840) . P. 151–170 in: Detlev Kremer (Ed.): Die Prosa Ludwig Tiecks . Münster work on international literature. Volume I. Aisthesis Verlag Bielefeld 2005. 196 pages, ISBN 3-89528-486-6

Individual evidence

  1. ^ Wagner-Egelhaaf, p. 151
  2. ↑ Schwarz, p. 219, 13. Zvo
  3. ↑ Schwarz, p. 219, 4. Zvo
  4. ↑ Source, p. 7, 2. Zvo
  5. ↑ Source, pp. 359-360
  6. ↑ Source, p. 150, 17. Zvo
  7. ↑ Source, p. 8, 4. Zvo
  8. ↑ Source, p. 23, 5th Zvu
  9. ↑ Source, p. 24, 1. Zvu
  10. ↑ Source, p. 25, 18. Zvo
  11. ↑ Source, p. 4, 18. Zvo
  12. ↑ Source, p. 40, 12. Zvo
  13. ↑ Source, p. 66, 17. Zvo
  14. ↑ Source, p. 78, 13. Zvu
  15. ↑ Source, p. 212, 5. Zvo
  16. ↑ Source, p. 212, 3. Zvo
  17. ↑ Source, p. 78, 3rd Zvu
  18. ↑ Source, p. 65, 13. Zvu
  19. ↑ Source, p. 212, 14. Zvo
  20. ↑ Source, p. 194, 16. Zvo
  21. ↑ Source, p. 347, 7th Zvu
  22. ↑ Source, p. 148, 11. Zvu
  23. ↑ Source, p. 298, 4th Zvu
  24. ↑ Source, p. 144, 10. Zvu to p. 148, 12. Zvo
  25. ↑ Source, p. 207, 10. Zvo to p. 209, 15. Zvu
  26. ↑ Source, p. 248, 3rd Zvo to p. 249, 11th Zvu
  27. ^ Source, p. 301, 1st to 17th Zvo
  28. ↑ Source, p. 319, 15. Zvu to p. 320, 14. Zvu
  29. ↑ Wolfgang Taraba quoted in Schwarz, p. 219, 13. Zvo
  30. ↑ Kern, p. 190, 13. Zvu
  31. ↑ Kern, p. 193, 6. Zvo
  32. ↑ Kern, p. 191, 2. Zvo
  33. ↑ Kern, p. 191, 8th Zvu
  34. ^ Gebhardt: Subtitle
  35. ↑ Source, p. 202
  36. ↑ Kern, p. 188, 14th Zvu
  37. ↑ Kern, p. 189, 3rd Zvu
  38. ↑ Kern, p. 188, 4th Zvu
  39. ↑ Source, p. 127 below
  40. ↑ Source, p. 100, 1. Zvo
  41. ↑ Source, p. 322, 1. Zvo
  42. ↑ Source, p. 321, 5th Zvu
  43. ↑ Source, p. 241, 9. Zvu
  44. ^ Wagner-Egelhaaf, p. 165, 2. Zvo
  45. ^ Foreword by Tiecks in the first edition of July 1840, in: Source, p. 359, 5th Zvo
  46. ^ Foreword by Tiecks in the first edition of July 1840, in: Source, p. 360, 1. Zvo
  47. ^ Foreword by Tiecks in the first edition of July 1840, in: Source, p. 360, 8. Zvo
  48. ^ Tieck, quoted in Gebhardt, p. 311, 11th Zvu
  49. ↑ cited in Ribbat, p. 229, 6. Zvu to p. 230, 1. Zvo
  50. ↑ Ribbat, p 230 below, p 231 above
  51. ↑ Ribbat, S. 234, 21. ZVO
  52. ↑ Ribbat, S. 234, 13. ACR
  53. ↑ Kern, p. 194, 4. Zvo
  54. ↑ Kern, p. 193, 16th line vu
  55. ^ Wagner-Egelhaaf, p. 164, 3. Zvo
  56. ↑ Schwarz pp. 219-279
  57. ↑ Schwarz p. 233 below, footnote 687 on p. 234
  58. ↑ Schwarz p. 277
  59. ^ Schwarz, p. 221
  60. ↑ Paulin, p. 90 above
  61. ↑ Black S. 242-263
  62. ↑ Lindner in the source, pp. 357/358
  63. ↑ Schulz p. 520, 8. Zvo