Johann Ludwig Tieck

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Tieck, Johann Ludwig


Born May 31, 1773, in Berlin; died there Apr. 28, 1853. German writer.

Tieck, the son of an artisan, studied at the universities of Halle, Erlangen, and Göttingen between 1792 and 1795. He was a friend of W. Wackenroder and of Novalis. Tieck’s first important work was the epistolary novel William Lovell (1795–96), which was followed by the three-volume collection Folktales of Peter Lebrecht (1797), a stylized reworking of medieval chap-books that idealized the patriarchal world. In 1799 and 1800, Tieck was a member of a circle of romantic poets in Jena. He stated his aesthetic views in the philosophical novel Franz Stern-bald’s Wanderings (1798). Tieck’s plays, including Puss in Boots (1797; Russian translation, 1916), are light, satirical works in the style of Gozzi’s comedies. Themes from his Romantic Poems (parts 1–2, 1799–1800) were later used by E. T. A. Hoffmann, H. Heine, and R. Wagner. Tieck was the author of the historical novellas Revolt in the Cevennes (1826) and The Young Joiner (1836), based on the life of L. Camōes.

Tieck also translated Cervantes’ Don Quixote and several of Shakespeare’s plays and wrote works about the theater and dramaturgy.


Werke, vols. 1–3. Leipzig-Vienna [1892].
Der Geheimnisvolle und andere historische Novellen. [Berlin, 1963.]
In Russian translation:
[Soch.] In Nemetskaia romanticheskaia povest’, vol. 1. Moscow-Leningrad, 1935.


Istoriia nemetskoi literatury, vol. 3. Moscow, 1966.
Berkovskii, N. Ia. “Tik.” In his Romantizm v Germanii. Leningrad, 1973.
Thalmann, M. L. Tieck. Bern [1955].
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References in periodicals archive ?
Die Zweideutigkeit Des Wirklichen in Ludwig Tiecks Marchennovellen
Zu Ludwig Tiecks elisabethanischen Studien: Tieck als Ben Jonson Philologe.
See Hildegard Nabbe, "Die geheime Schrift der Natur: Ludwig Tiecks und Philipp Otto Runges Auffassung der Hieroglyphe," Seminar 25 1989): 12-36 and Oskar Walzel, "Die Sprache der Kunst," Jahrbuch der Goethe-Gesellschaft 1 (1914): 3-62.
Pater could have read this passage in the edition of Novalis' works by Ludwig Tieck and others; I quote from Novalis Schriften, Hrsg.
Indeed, during Tieck's lifetime her translation work was published entirely under her father's name, the famous romantic writer and translator Ludwig Tieck (1773-1853), who publicly referred to his daughter's work as that of his "young [male] friend" ("junger Freund") or "young [male] helper" ("junger Gehulfe") (Jansohn 4).
To be sure, Friedrich's art and artistic-philosophical outlook link him closely to the core Weltanschauungen of the early Romantic critics and writers like Ludwig Tieck, Wilhelm Heinrich Wackenroder, the brothers Schlegel, and E.
As a student in Jena, Brentano became acquainted with Friedrich von Schlegel and Ludwig Tieck, the leaders of the earlier phase of Romanticism.
In another problematic case of the relationship between gender and naming, the Schlegel-Tieck edition was named after Dorothea's father, Ludwig Tieck, who helped edit the translations but contributed none of his own, unlike Dorothea, who contributed six to the overall project (Coriolanus, Timon of Athens, Macbeth, Cymbeline, The Two Gentleman of Verona, and A Winter's Tale).
Unlike, say, Klopstock, Herder, Stolberg or Goethe, Ludwig Tieck is not a name that is readily associated with Macpherson's Ossian.
The fourteen papers cover a wide variety of topics surrounding the life and work of Ludwig Tieck.
In 1847 Gutzkow went to Dresden, where he succeeded Ludwig Tieck as literary adviser to the court theater.