Ferdinand Von Saar

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Saar, Ferdinand Von


Born Sept. 30, 1833, in Vienna; died there July 24, 1906. Austrian writer.

Saar began his literary career in 1859. He is the author of the tragedy Emperor Henry IV (1863–67) and of the popular drama The Good Deed (1885). His lyrical collections Poems (1882) and Viennese Elegies (1893) are marked by the influence of N. Lenau. Saar’s idyllic poem Hermann and Dorothea (1902) was influenced by Goethe. Saar’s best works are the novellas in the collections Austrian Novellas (1876; two additional editions, volumes 1–2, 1897), Camera Obscura (1901; two additional editions, 1904), and Tragedy of Life (1906). Saar learned the art of the realistic psychological short story from I. S. Turgenev.


Samtliche Werke, vols. 1–12. Leipzig [1909].
In Russian translation:
In the collection Avstriiskaia novella XIX v. Moscow, 1959. Pages 231–34.


Leicht, H. F. von Saar als Novellist. Munich, 1923.
Lukas, M. F. von Saar: Leben und Werk. Vienna, 1947.
Gassner, I. Das Bild Österreichs bei F. von Saar. Innsbruck, 1948.
Kretzschmar, H. F. von Saar. Cologne, 1965. (Bibliography.)


References in periodicals archive ?
occur: Kleist and Kafka, Grillparzer and Ferdinand von Saar, Schnitzler and Feuchtwanger, Max Frisch and even Lewis Carroll.
Even better is the chapter on Austrian writers, which acknowledges the philo-Semitism of Marie von Ebner-Eschenbach and reveals the contradictions in the lives and works of Ludwig Anzengruber and Ferdinand von Saar, culminating in a defence of the latter's great story Seligmann Hirsch (1889) as philo-Semitic.
The writer who provides the largest body of relevant material is Leopold von Sacher-Masoch, but works by Gutzkow, Bettine von Arnim, Annette von Droste-Hulshoff, Hebbel, Freytag, Raabe, Fontane, Grillparzer, Ebner-Eschenbach, Anzengruber, and Ferdinand von Saar are also examined, as are several tales by the Alsatian authors Erckmann and Chatrian.
Late in the century, Wilhelm Jensen and Carl Hauptmann (elder brother of Gerhart) link Gypsies to the pseudo-scientific discourse of racial difference and Social Darwinism, a trend that only intensifies in the work of Ferdinand von Saar and Otto Alscher.
Even worse, Stifter was an Austrian, as were the gifted realists Marie von Ebner-Eschenbach and Ferdinand von Saar - victims of a 'kleindeutsch', Prussocentric trend in literary history.
Casting his net more widely, Hettche provides a nicely differentiated summary of the three major currents in 'Grossstadtlyrik um 1890': the older poets of the Grunderzeit, Arno Holz and the Naturalists, and the Viennese Ferdinand von Saar.
The main chapters of the book, subdivided into the two parts 'Kindheitsgeschichten als Liebesgeschichten' and 'Liebesgeschichten als Lebensgeschichten' offers close readings of thirty-six narratives (most conventionally classified as novellas) by Marie von Ebner-Eschenbach, Ferdinand von Saar, Ferdinand Kurnberger, Jakob Julius David, F.
Here he is concerned with the anti-modern mentality and the stereotypical images of Jews projected in the writings of Friedrich Hebbel, Ferdinand von Saar, Wilhelm Raabe, and Thomas Mann.
Patricia Howe puts her finger on the problem in her stimulating essay on 'Realism and Moral Design', a comparison of texts by Fontane, Ferdinand von Saar, and Marie von Ebner-Eschenbach, when she says that the best Realist fiction displays a divergence between traditional morality and aesthetic quality.
The passages on Wilhelm Raabe's Chronik der Sperlingsgasse (why he chose this shallow early Raabe novel over his mature and challenging later works remains unclear) are rather unconvincing, and why no Austrian author, neither Ferdinand von Saar nor Marie von Ebner-Eschenbach, merits a single mention in a volume that obviously aspires to provide a broad overview is also incomprehensible.