Wilhelm Hauff

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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Hauff, Wilhelm


Born Nov. 29, 1802, in Stuttgart; died there Nov. 18, 1827. German romantic writer.

Hauff studied theology at the University of Tübingen from 1820 to 1824. His talent was evidenced in the Fairy Tale Almanac (3 vols., 1826–28), in which, particularly in “The Story of Little Muk” and “The Cold Heart,” he combined a mastery of the Oriental and German folktale traditions with a keen interest in contemporary problems. His short stories, such as The Beggar-woman From the Pont des Arts (1826), and his historical novel Lichtenstein (1826; Russian translation, 1887), which is written in the manner of W. Scott, played a certain role in the development of critical realism in 19th-century German literature.


Sämtliche Werke, vols. 1–4. Edited by W. Scheller. Leipzig [1956].
In Russian translation:
Skazki. Ivanovo, 1959.


Istoriia nemetskoi literatury, vol. 3. Moscow, 1966.
Hofmann, H. W. Hauff. Frankfurt am Main, 1902.


The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
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Based on a fairy-tale by Wilhelm Hauff, the movie is one of the few remaining family-friendly flicks from the Austrian silent film era.
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He quotes the well-known examples, like Clemens Brentano (Gockel und Hinkel), Wilhelm Hauff (JudSuss), Wilhelm Raabe (Hungerpastor), Karl Immermann (Die Epigonen) Wilhelm Busch (Die fromme Helene, Plisch und Plum), Felix Dahn (Kampf um Rom), and Freytag of course, but again the book leaves the reader with the impression that German literature from Romanticism to Realism was entirely antisemitic.
Hoffmann, Hans Christian Andersen and the neglected Wilhelm Hauff, to identify certain common thematic complexes.
Lenau, Wilhelm Hauff (1802 - 27), and Gustav Schwab (1792 - 1850), was a primarily conservative group, interested in the preservation of tradition, and was already very like the postromantic Biedermeier movement.
Though rarely read today, Wilhelm Hauff's Jud Suss is a watershed work in German cultural history.
In other words, the available source material provided ample compost for the twenty-five-year-old Wilhelm Hauff's imagination, as he attempted to make sense of a piece of local history whose brutality seemingly challenged many of his own sensibilities and values.
These are years of brief spans of talent (like Wilhelm Hauff, 1802-27) or genius (like Franz Schubert, 1797-1828).