Geliebte Teufelin (German Edition)
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Thirteen Images from the Dark Capriccio italien op. VI Nr. Gebet einer Jungfrau Gebet einer Jungfrau op. Eliot Horntrio Es-Dur op. I will see a rose at the end of the path Impromptu op. Introduttione teatrale D-Dur op. Kindertotenlieder Kislev Klarinettenkonzert Nr. XV Klaviertrio Nr.
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Le nozze di Figaro Le papillon et la fleur, En sourdine, Reve Symphonische Dichtung Nr. Azione invisibile per solista, Meinem Kinde op. Geburtstag von Quintett g-Moll op. Sextett aus Capriccio op.
Streichquartett e-Moll Streichquartett Es-Dur op. Symphonie Nr. In Genuine , Wiene failed to repeat his success in the same genre, although the film was also scripted by the talented Carl Mayer. Three Wiene films show an interesting range of subject matter.
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Der Puppenmacher von Kiang-Ning , a tragic-comedy with a script by Carl Mayer, and Raskolnikow , with fantastic sets by the Russian designer Andreiv, completed an interesting trilogy. From to Wiene worked in Austria, where he made other distinguished films. Der Rosenkavalier , meanwhile, a film adaptation of the Strauss opera, was co-scripted by Hugo von Hoff-manstahl. It included a special score arranged by the composer, who personally conducted the orchestra when it had its premiere at the Dresden State Opera House and at the Tivoli Cinema in London. Wiene returned to Germany, but his later work showed no special qualities and consisted of lightweight comedies with artists like Lily Damita, Dina Gralla, and Maria Jacobini.
While he covered a wide range of material in his films he never developed a personal style. His merit lay in encouraging many diverse talents and his ability to securing often outstanding contributions from them.
TEUFELIN GERMAN EDITION Original (PDF)
He controlled his productions, in most cases writing the scripts himself. Wiene lived in a great period of cinema, which he served in his fashion. Toggle navigation. And in the case of the poet of Weltschmerz the presence or absence of this quality may even decide whether he shall rise superior to his beclouded condition or perish in the gloom. The conclusion at which Radestock arrives is that genius, as the expression of the most intense mental activity, occupies the middle ground, as it were, between the normal healthy state on the one hand, and the abnormal, pathological state on the other, and has without doubt many points of contact with mental disease; and that although the elements which genius has in common with insanity may not be strong enough in themselves to induce the transition from the former to the latter state, yet when other aggravating causes are added, such as physical disease, violent emotions or passions, overwork, the pressure or distress of outward circumstances, the highly gifted individual is much more liable to cross the line of demarkation between the two mental states than is the average mind, which is more remote from that line.
If this can be asserted of genius in general, it must be even more particularly and widely applicable in reference to a combination of genius and Weltschmerz. We shall find pathetic examples in the first two types selected for examination. Having thus introduced the subject in its most general bearings and aspects, it remains for us to review briefly its historical background. Weltschmerz is essentially a symptom of a period of conflict, of transition.
The powerful reaction which marks the eighteenth century—a reaction against all traditional intellectual authority, and a struggle for the emancipation of the individual, of research, of inspiration and of genius—reached its high-water mark in Germany in the seventies. But with the unrestrained outbursts of the champions of Storm and Stress the problem was by no means solved; there remained the basic conflict between the idea of personal liberty and the strait-jacket of Frederician absolutism, the conflict between the dynastic and the national idea of the state.
Rousseau's plea for a simplified and more natural life had exerted a mighty influence. And what has a most important bearing upon the relation between these intellectual currents and Weltschmerz—these minds were lacking in the discipline implied in our modern scientific training. Scientific exactness of thinking had not become an integral part of education.
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Hence the difference between the pessimism of Ibsen and the romantic Weltschmerz of these uncritical minds. In accounting for the tremendous effect produced by his "Werther," Goethe compares his work to the bit of fuse which explodes the mine, and says that the shock of the explosion was so great because the young generation of the day had already undermined itself, and its members now burst forth individually with their exaggerated demands, unsatisfied passions and imaginary sufferings.
To quote the substance of Goethe's criticism:  Amid such influences and surroundings, occupied with fads and studies of this sort, lacking all incentive from without to any important activity and confronted by the sole prospect of having to drag out a humdrum existence, men began to reflect with a sort of sullen exultation upon the possibility of departing this life at will, and to find in this thought a scant amelioration of the ills and tedium of the times.
This disposition was so general that "Werther" itself exerted a powerful influence, because it everywhere struck a responsive chord and publicly and tangibly exhibited the true inwardness of a morbid youthful illusion. Nor did the dawning nineteenth century bring relief. No other period of Prussian history, says Heinrich von Treitschke,  is wrapped in so deep a gloom as the first decade of the reign of Frederick William III.
It was a time rich in hidden intellectual forces, and yet it bore the stamp of that uninspired Philistinism which is so abundantly evidenced by the barren commonplace character of its architecture and art. Genius there was, indeed, but never were its opportunities for public usefulness more limited. It was as though the greatness of the days of the second Frederick lay like a paralyzing weight upon this generation. And this oppressing sense of impotence was followed, after the Napoleonic Wars, by the bitterness of disappointment, all the more keenly felt by reason of this first reawakening of the national consciousness.
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Great had been the expectations, enormous the sacrifice; exceedingly small was the gain to the individual. All that was is no more; all that will be is not yet. Do not hope to find elsewhere the secret of our ills. This then in briefest outline is the transition from the century of individualism and autocracy to the nineteenth century of democracy. Small wonder that the struggle claimed its victims in those individuals who, unable to find a firm basis of conviction and principle, vacillated constantly between instinctive adherence to old traditions, and unreasoned inclination to the new order of things.
Werther is a type, just as truly as is Faust, though in a smaller way, and the malady which he typifies has its ultimate origin in the development of public life,—the very condition which this critic insists upon as a mark of Weltschmerz in the proper application of the term. Litzmann," Stuttgart, Cotta, undated.
II, p. IX, p. Paris, Charpentier.
VIII, p. Little or nothing is known concerning his remote ancestors. His great-grandfather had been administrator of a convent at Grossbottwar, and died of dropsy of the chest at the age of forty-seven. His grandfather had held a similar position as "Klosterhofmeister und geistlicher Verwalter" at Lauffen, to which his son, the poet's father, succeeded. An apoplectic stroke ended his life at the early age of thirty-six.
From the poet's references to them we judge them to have been entirely normal types of intelligent, lovable women, gifted with a great deal of good practical sense.
But while there are no sufficient historical grounds for the supposition that he brought the germ of his subsequent mental disease with him in his birth, we cannot fail to observe, even in the child, certain natural traits, which, being allowed to develop unchecked, must of necessity hasten and intensify the gloom which hung over his life. To his deep thoughtfulness was added an abnormal sensitiveness to all external influences. Like the delicate anemone, he recoiled and withdrew within himself when touched by the rougher material things of life.
It seems to have been this which first brought him into discord with the world:. If ever a boy needed a strong fatherly hand to guide him, to teach him self-reliance and practical sense, it was this dreamy, tender-spirited child.
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This overtook him early in life, for when but two years of age his father died. His widowed mother now lived for a few years in complete retirement with her two children—the poet's sister Henrietta having been born just a few weeks after his father's demise. But this re-established marital happiness was to be of brief duration, for in her second husband died, and the mother was now left with four little children to care and provide for.
The frequency with which death visited the family during his childhood and youth, familiarized him at an early age with scenes of sorrow and grief. No doubt he was too young when his father died to comprehend the calamity that had come upon the household, but it was not many months before he knew the meaning of his mother's tears, not only for his father, but also for his sister, who died in her infancy.
Referring to his father's death, he writes in one of his early poems, "Einst und Jetzt": . At his tenderest and most impressionable age, the boy was thus made sadly aware of the fleetingness of human life and the pains of bereavement.
We cannot wonder then at finding these impressions reflected in his most juvenile poetic attempts. His poem "Das menschliche Leben," written at the age of fifteen, begins:. But a time of still greater unhappiness was in store for him when he left his home at the age of fourteen to enter the convent school at Denkendorf, where he began his preparation for a theological course.
A more direct antithesis to all that his body and soul yearned for and needed for their proper development could scarcely have been devised than that which existed in the chilling atmosphere and rigorous discipline of the monastery. He had not even an incentive to endure hardships for the sake of what lay beyond, for it was merely in passive submission to his mother's wish that he had decided to enter holy orders. It was to isolate himself as much as possible from the world of harsh reality about him, to be alone, and there in his solitude to construct for himself an ideal world of fancy, a poetic dreamland.
Geliebte Teufelin (German Edition)
This mental habit not only remained with him as he grew into manhood, it may be said to have been through life one of his most distinguishing characteristics. It would be impossible to make room here for all the passages in his poems and letters of this period, which reflect his love of solitude and his habit of retreating into a world of his own imagining.
His letters to his friend Nast almost invariably contain some expression of his heart-ache. Nur Gedult!