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Ludwig Tieck
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Author
    (May 31, 1773-April 28, 1853)
    Born in Berlin, Germany
    Birth name was Johann Ludwig Tieck
    German poet, translator, editor, novelist, and critic
    Wrote poems 'Leben und Tod der heiligen Genoveva' and 'Leben und Tod des kleinen Rotkäppchens'
    Wrote over 40 short novels, including 'Die Geschichte des Herrn William Lovell' (1795-1796), 'Volksmarchen' (1797), 'Franz Stenbalds Wanderungen' (1798), 'Phantasus' (1812 - 1816), 'Dichterleben' (1826 - 1831), 'Schriften' (1828 - 1846), 'Vittoria Accorombona' (1840), 'Gessamelte Novellen' (1852 1854), and 'Nachgelassene Schriften' (1855)
    Wrote dramas 'Karl von Berneck' (1797), 'Ritter Blaubart' (1798), 'Der gestifelte Kater' (1798), 'Prinz Zerbino' (1799), 'Leben und Tod der heiligen Genoveva' (1800), and 'Kaiser Octavianus' (1804)
    Wrote German translations of Cervantes' 'Don Quixote' (1799-1801) and Shakespeare's 'The Tempest' (1799)
    Early leader in the Romantic movement of the late 18th and early 19th centuries
    He referred to himself in third person.
    He sometimes used the pen name 'Peter Leberecht' ('live right' in German).
    He depicted Dante crushing the modern critic in the Garden of Poetry of 'Prinz Zerbino.'
    The surprise twist ending of his 'Eckbert the Fair' is widely believed to have been his sister's contribution.
    His later novels turn away from fantasy, instead offering harsh criticism of the Young Germany movement and the Romantic movement.
    He's responsible for the inexplicable Huntsman character in the Little Red Riding Hood stories (he added him when adapting it from Perrault's French for a play).
    Like Schiller, he went by his middle name, which hasn't stopped scholars from identifying him as 'Johann,' confusing the hell out of people in both cases.
    He was one of Germany's foremost intellectual writers, but is rarely read today outside of Germany, overshadowed by his contemporaries Goethe, Schiller, and Kant (mainly because critics now find his stories to be confusing, anachronistic, and incoherent).
    He claimed to have met Mozart at a performance of his own opera during his widely publicized Berlin journey, but no other account mentions the composer attending, so it can't be verified.
    He has been called one of the 'Founding Fathers' of the Romantic literary movement.
    He served in the court of King William IV of Prussia near the end of his life.
    He influenced Richard Wagner's opera 'Tannhäuser' and Judith Weir's opera 'Blonde Eckbert'.
    He was influenced by Torquato Tasso, whom he features as a character in 'Vittoria Accorombona.'
    He was as popular with the elite German aristocracy as he was with the working class 'plebs.'
    He was versatile - excelling at epic poetry, musical comedy, fairy tales, literary criticism, and bourgeois tragedy, equally well.
    His work was revolutionary in that it emphasized emotion over the intellect, seamlessly weaving enchantment and fantasy with psychological realism.
    He is one of the few German writers whose work does not lose its musicality when it is translated from its original for into English (the only other exception being perhaps Goethe).
    But, he's also one of many German writers whose works are read less in schools on a discriminatory basis (thanks to Hitler).
    Margaret Fuller idolized him almost as much as Goethe, patterning her own fiction after his and teaching his works at her Boston 'conversations' for women in the 1830s.
    It is believed that his fairy tales served as a likelier model for the Brothers Grimm's original 'Children's and Household Stories' than Perrault's, as the Brothers were collecting the stories around the time that Tieck's were published.

Credit: BoyWiththeGreenHair


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