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Ludwig Tieck ~ 1773 – 1853
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Ludwig Tieck ~ 1773 – 1853


Johann Ludwig Tieck (31 May 1773 – 28 April 1853) was a German poet, translator, editor, novelist, writer of Novellen, and critic, who was one of the founding fathers of the Romantic movement of the late 18th and early 19th centuries.

Tieck was born in Berlin, the son of a rope-maker. His siblings were the sculptor Christian Friedrich Tieck and the poet Sophie Tieck. He was educated at the Friedrichswerdersche Gymnasium, where he learned Greek and Latin, like most preparatory schools required. He also began learning Italian at a very young age from a grenadier he became acquainted with. Through this friendship, Tieck was given a firsthand look at the poor, which could be linked to his work as a Romanticist. Later, he attended the universities of Halle, Göttingen and Erlangen. At Göttingen, he studied Shakespeare and Elizabethan drama.

In 1794 he returned to Berlin, and attempted to make a living by writing. He contributed a number of short stories (1795–1798) to the series of Straussfedern, published by the bookseller C. F. Nicolai and originally edited by J. K. A. Musäus, and wrote Abdallah (1796) and a novel in letters, William Lovell (3 vols. 1795–1796).



Adoption of Romanticism[edit]

Tieck's transition to Romanticism is seen in the series of plays and stories published under the title Volksmärchen von Peter Lebrecht (3 vols., 1797), a collection which contains the admirable fairy-tale Der blonde Eckbert, which seamlessly blends exploration of the paranoiac mind with the realm of the supernatural, and the witty dramatic satire on Berlin literary taste, Der gestiefelte Kater. With his school and college friend Wilhelm Heinrich Wackenroder (1773–1798), he planned the novel Franz Sternbalds Wanderungen (vols. i–ii. 1798), which, with Wackenroder's Herzensergiessungen (1798), was the first expression of the romantic enthusiasm for old German art.

In 1798 Tieck married and in the following year settled in Jena, where he, the two brothers August and Friedrich Schlegel and Novalis were the leaders of the new Romantic school. His writings between 1798 and 1804 include the satirical drama, Prinz Zerbino (1799), and Romantische Dichtungen (2 vols., 1799–1800). The latter contains Tieck's most ambitious dramatic poems, Leben und Tod der heiligen Genoveva, Leben und Tod des kleinen Rotkäppchens, which were followed in 1804 by the remarkable "comedy" in two parts, Kaiser Oktavianus. These dramas, in which Tieck's poetic powers are to be seen at their best, are typical plays of the first Romantic school; although formless, and destitute of dramatic qualities, they show the influence of both Calderón and Shakespeare. Kaiser Oktavianus is a poetic glorification of the Middle Ages.

In 1801 Tieck went to Dresden, then lived for a time at Ziebingen near Frankfurt, and spent many months in Italy. In 1803 he published a translation of Minnelieder aus der schwäbischen Vorzeit, between 1799 and 1804 an excellent version of Don Quixote, and in 1811 two volumes of Elizabethan dramas, Altenglisches Theater. From 1812 to 1817 he collected in three volumes a number of his earlier stories and dramas, under the title Phantasus. In this collection appeared the stories Der Runenberg, Die Elfen, Der Pokal, and the dramatic fairy tale, Fortunat.

In 1817 Tieck visited England in order to collect materials for a work on Shakespeare (unfortunately never finished) and in 1819 he settled permanently in Dresden; from 1825 on he was literary adviser to the Court Theatre, and his semi-public readings from the dramatic poets gave him a reputation which extended far beyond the Saxon capital. The new series of short stories which he began to publish in 1822 also won him a wide popularity. Notable among these are Die Gemälde, Die Reisenden, Die Verlobung, and Des Lebens Überfluss.

More ambitious and on a wider canvas are the historical or semi-historical novels, Dichterleben (1826), Der Aufruhr in den Cevennen (1826, unfinished), Der Tod des Dichters (1834); Der junge Tischlermeister (1836; but begun in 1811) is an excellent story written under the influence of Goethe's Wilhelm Meister; Vittoria Accorombona (1840), the story of Vittoria Accoramboni written in the style of the French Romanticists, shows a falling-off.

Later years

In later years Tieck carried on a varied literary activity as critic (Dramaturgische Blätter, 2 vols., 1825–1826; Kritische Schriften, 2 vols., 1848); he also edited the translation of Shakespeare by August Wilhelm Schlegel, who was assisted by Tieck's daughter Dorothea (1790–1841) and by Wolf Heinrich, Graf von Baudissin (1789–1878); Shakespeares Vorschule (2 vols., 1823–1829); the works of Heinrich von Kleist (1826) and of Jakob Michael Reinhold Lenz (1828). In 1841 Friedrich Wilhelm IV of Prussia invited him to Berlin where he enjoyed a pension for his remaining years. He died on 28 April 1853 in Berlin.

Literary significance

Tieck's importance lay in the readiness with which he adapted himself to the emerging new ideas which arose at the close of the 18th century, as well as being a trailblazer in his own right with Romantic works such as Der blonde Eckbert. His importance in German poetry, however, is restricted to his early period. In later years it was as the helpful friend and adviser of others, or as the well-read critic of wide sympathies, that Tieck distinguished himself.

Tieck also influenced Richard Wagner's Tannhäuser. It was from Phantasus that Wagner based the idea of Tannhäuser going to see the pope and Elisabeth dying in the song battle.



Yaad Kuch Aata Nahin, Yeh Hua Kab Se...Ho Gaya Mushkil Chhupaana Raaz Yeh Sab Se...Tum Kaho To Maang Loon Main Aaj Kuch Rab Se Rabba mere rabba rabba, rabba mere rabba,Is pyaar ko main kya naam doon Roshni se bhare bhare..Bhare bhare naina tere..Chhooke bole na chhoona mujhe Suraj hua maddham, chaand jalne laga..Aasmaan yeh haai kyoon pighalne laga..Main thehra raha, zameen chalne lagi.. Bheeghi Bheeghi Raaton Mein, Phir Tum Aao Na...Asi Barsaton Mein Aao Na.. Humko Humise Chura Lo, Dil Mein Kahin Tum Chhupa Lo,Hum Akele Kho Naa Jaaye, Door Tumse Ho Naa Jaaye,Paas Aao Gale Se Lagaa Lo Toota Toota ek parinda...Jo bhi kaal hua kal bhi phir aayaga Hai...Tumse milke dil ka hai jo haal kya kahe..Ho gaya hai kaisa yeh kamaal kya kahe Ruka Ja, Oh Jaana Wali Ruka Ja...Nazara Mein To Tera Bhura Sa Sahi..Adami Mein Bhura Nahi Dil Ka Aja Re, Aja Re Oh Mere Dilbar Aja..Dil Ki Pyaas Buja Ja Re...Oh Noorie kabhie kabhie mere dil mein khayaal aata hai...ke jaise tujh ko banaya gaya hai mere liye..ke jaise tujh ko banaya gaya haiKitna bechain hoke tumse mila...Tumko kya tha khabar tha main kitna akela ..Ke kitna mohabbat hai tumse...Hai...Tumse milke dil ka hai jo haal kya kahe..Ho gaya hai kaisa yeh kamaal kya kaheTujhe dekha to yeh jaana sanam..Pyaar hota hai deewana sanam..Tujhe dekha to yeh jaana sanam.Tujhe dekha to yeh jaana sanam..Pyaar hota hai deewana sanam.Ab ahan se kahan jaaye hum..Teri bahon mein mar jaaye hum Aksar is duniya mein anjaane milte hain,Anjaani raahon mein milke kho jaate hain,Lekin hamesha voh yaad aate hain Na kajre ki dhaar, na motiyon ke haar,Na koi kiya singaar phir bhi kitni sundar ho,Tum kitni sundar ho Na jaane mere dil ko kya ho gaya..Abhi to yahin tha, abhi kho gaya..Ho gaya hai tujhko to pyaar sajna..Lakh kar le tu inkaar sajna..Dildaar sajna, hai yeh pyaar sajna



Dil Dooba Dil Dooba...Neela Akho Mein Yeh Dil Dooba.. Neela Neela Amber Per Chand Jab Aye...Aisa Koi Saathi Ho ..Aisa Koi Premi Hoi Jaanam Dekh Lo Mit Gayeen Dooriyaan..Main Yahaan Hoon Yahaan Hoon..Yahaan Hoon..Yahaan...Kaisi Sarhadein...Kaisi Majbooriyaan..Main Yahaan Hoon Yahaan Hoon..Yahaan Hoon..Yahaan...Tum Chhupaa Na Sakogi Main Vo Raaz Hoon...Tum Bhulaa Na Sakogi Vo Andaaz Hoon...Goonjtaa Hoon Jo Dil Mein To Hairaan Ho Kyon...Main Tumhaare Hi Dil Ki To Aavaaz Hoon...Main Yahaan Hoon Yahaan Hoon..Yahaan Hoon..Yahaan... Aisa muhje tu na dehka na...seeena se laga loonga, tum ko tumse chura loonga...dil mein chupa loonga Gila Gila Dil Gila.. Mila mila mila koi mila ...Teri Ha Adaar Laga sab se judaa hai dil tuje per fida hai... Dhoom Dhoom let ya body do the talking..Dhoom Dhoom be the fire thats buring..Dhoom machaalay dhoom machaalay dhoom Tere Liye Hum Hai Jiye..Hota ke siya...Dil mein Magar chalte reha chaahat ke Diya... Zara zara bahekta hai, mahekta hai,Aaj to mera tan badan, main pyaasi hoon,Mujhe bhar le apni baahon mein Dheera dheera se mera zindagi mein ana...tumsi pyar huma hai kitna jaana jaana Pyar ke isa khel mein..do dil aur mehl mein, tera peecha na chodunga soniya Mera mehboob sanam, tera ashiq hogaya hum...milaka nazaaro se nazaar tera pyaar mein kogaya hum... Wada Raha Pyar Se Pyar Ka, Hum Na Hoga Juda, Dil Ke Dhadkhan Sunrha Hai Mera Khudda Dheera Dheera Se Mera Zindagi Mein Ana...Tumsi Pyar Huma Hai Kitna Jaana JaanaSaamne hain raastein, hum guzar jaaye...Ya kisi ke vaaste hum thaher jaaye...Ab yahan tak aa gaye hain, ab kidhar jaaye...Jaaduuuuuuu teri nazar...Kushboo tera baadan..tu har kar, ya nah kar...Kali nagin ke jaise..Zulfe teri kali kali..Sagar ko moti aur..Suraj ko tu dati hai lali..Kali nagin ke jaise..Zulfe teri kali kaliYeh din yeh mahine saal guzar jaayenge mere yaar..Magar itna rakhna khayaal..Jeena sirf mere liye, jeena sirf mere liye..Kasam se jeena sirf mere liye, jeena sirf mere liye Banno ki saheli resham ki dori..Chhup chhupke sharmaaye dekhe chori chori..Yeh maane ya na maane main to ispe mar gaya..Yeh ladki haai allah, haai haai re allah Tum paas aaye, yun muskuraaye,Tumne na jaane kya sapne dikhaaye,Tum paas aaye, yun muskuraaye,Tumne na jaane kya sapne dikhaaye,Ab to mera dil jaage na sota hai,Kya karoon haaye, kuch kuch hota hai
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