Thesis--Indiana University. / Issued also in microfilm form. Vita. Includes bibliographical references.

Thesis (Ph. D.)--Case Western Reserve University, 1974. / Includes bibliographical references (leaves 415-439).

In the following study, the writer has considered the figure of the knight as it appears in Eichendorff'a narrative prose works, particularly the two novels, "Ahnung und Gegenwart" and "Dichter und ihre Gesellen", and two Märchennovellen, "Die Zauberei im Herbste" and "Das Marmorbild". The knight is not necessarily good: he may embody evil principles, or, through weakness, succumb to the daemonic forces in nature. Generally, however, the knight possesses strong religious faith and its attendant virtues of loyalty, patriotism, and service to others. Whereas Eichendorff's strong religious stand varies from the usual Romantic pattern, his association of art and metaphysics is typically Romantic: the knight may also be a poet or become a priest. The knights of the Napoleonic era, that is, those in "Ahnung und Gegenwart", turn away from society, but those in the later works participate actively in mundane affairs. Indeed, in the end, Eichendorff comes to acknowledge the incidence of chivalrous behaviour in persons not born to knightly estate. / Arts, Faculty of / Central Eastern Northern European Studies, Department of / Graduate

O presente trabalho tem por objetivo analisar poemas do escritor e poeta alemão Joseph von Eichendorff (1788-1857), ainda pouco conhecido e estudado no Brasil. Nossa análise visa apontar as confluências entre sua poética e a tradição da melancolia e, principalmente explorar a forma sui generis que o poeta se utiliza do tema. Para isso, selecionamos cinco poemas para compor o corpus do trabalho, a saber, Sehnsucht [Anseio, 1834], Im Herbst [No Outono, 1837], Wehmut [Melancolia, 1815], Wehmut [Melancolia, 1837] e Mondnacht [Noite ao luar, 1837]. Em nosso trabalho, não pretendemos abordar a história da melancolia de maneira minuciosa, mas destacamos os principais pontos que interessam às análises do corpus. Mais do que elencar elementos da melancolia nos versos do autor, nosso propósito é mostrar a maneira singular que a melancolia toma forma, em suas poesias, como um afeto que é parte constituinte de seu fazer poético. O diálogo entre as poesias analisadas e a melancolia parte de um ponto em comum: a música. Entendemos que a música é essencial para a obra de Eichendorff; seu poema Wünschelrute [Forquilha] pode ser entendido como motto de sua poética: Schläft ein Lied in allen Dingen,/ Die da träumen fort und fort,/ Und die Welt fängt an zu singen,/ Triffst du nur das Zauberwort ao poeta cabe lançar mão da palavra mágica, a poesia, despertando a canção adormecida em todas as coisas. A música é o ponto de partida para a rememoração, que leva o eu lírico, ora a uma busca melancólica pelo passado, ora a uma Sehnsucht (um anseio infinito) por terras longínquas, num desejo melancólico pelo lar. Através de sua linguagem singela, a poesia de Eichendorff mostra um eu lírico atento aos ruídos que surgem à sua volta, e trazem à tona ruínas de uma pátria distante e ansiada, de um passado perdido e saudoso, que, mesmo por breves instantes, por intermédio da palavra, pode ser revisitado. / This dissertation aims to analyze poems written by the German poet and writer Joseph von Eichendorff (1788-1857), an under-studied author in Brazil. Our study intends to point the confluences between his poetry and the tradition of melancholy, and mainly to explore the sui generis treatment of the subject developed by the author. Thus, five poems were selected to build our corpus: Sehnsucht [Yearning, 1834], Im Herbst [In Fall, 1837], Wehmut [Melancholy, 1815], Wehmut [Melancholy, 1837] e Mondnacht [Moonlit Night, 1837]. In this work, we do not intend to offer a comprehensive history of melancholy, but only to highlight the main topics related to the analysis of our corpus. Rather than just listing elements of melancholy in the writers verses, our goal here is to show the particular way in which melancholy takes form in his poetry: as a tenderness belonging to his poetic process. The dialogue between these poems and melancholy has one point in common: music. Music seems to be essential to Eichendorffs work. His poem Wünschelrute [Divining rod] can be understood as a motto of his poetry: Schläft ein Lied in allen Dingen,/ Die da träumen fort und fort,/ Und die Welt fängt an zu singen,/ Triffst du nur das Zauberwort the poet uses this magical word, the poetry, to awake the sleeping song of all things. Music is the starting point of remembrance, which takes the poetic persona either to a melancholic search for the past or to a Sehnsucht (an infinit wish) for foreign lands in a melancholic desire for his home. With its delicate language, Eichendorffs poetry shows a persona aware of the noises emerging around him, which bring up the ruins of a distant and desired homeland, of a lost and longing past which can be briefly revisited only through the use of language.

O presente trabalho tem por objetivo analisar poemas do escritor e poeta alemão Joseph von Eichendorff (1788-1857), ainda pouco conhecido e estudado no Brasil. Nossa análise visa apontar as confluências entre sua poética e a tradição da melancolia e, principalmente explorar a forma sui generis que o poeta se utiliza do tema. Para isso, selecionamos cinco poemas para compor o corpus do trabalho, a saber, Sehnsucht [Anseio, 1834], Im Herbst [No Outono, 1837], Wehmut [Melancolia, 1815], Wehmut [Melancolia, 1837] e Mondnacht [Noite ao luar, 1837]. Em nosso trabalho, não pretendemos abordar a história da melancolia de maneira minuciosa, mas destacamos os principais pontos que interessam às análises do corpus. Mais do que elencar elementos da melancolia nos versos do autor, nosso propósito é mostrar a maneira singular que a melancolia toma forma, em suas poesias, como um afeto que é parte constituinte de seu fazer poético. O diálogo entre as poesias analisadas e a melancolia parte de um ponto em comum: a música. Entendemos que a música é essencial para a obra de Eichendorff; seu poema Wünschelrute [Forquilha] pode ser entendido como motto de sua poética: Schläft ein Lied in allen Dingen,/ Die da träumen fort und fort,/ Und die Welt fängt an zu singen,/ Triffst du nur das Zauberwort ao poeta cabe lançar mão da palavra mágica, a poesia, despertando a canção adormecida em todas as coisas. A música é o ponto de partida para a rememoração, que leva o eu lírico, ora a uma busca melancólica pelo passado, ora a uma Sehnsucht (um anseio infinito) por terras longínquas, num desejo melancólico pelo lar. Através de sua linguagem singela, a poesia de Eichendorff mostra um eu lírico atento aos ruídos que surgem à sua volta, e trazem à tona ruínas de uma pátria distante e ansiada, de um passado perdido e saudoso, que, mesmo por breves instantes, por intermédio da palavra, pode ser revisitado. / This dissertation aims to analyze poems written by the German poet and writer Joseph von Eichendorff (1788-1857), an under-studied author in Brazil. Our study intends to point the confluences between his poetry and the tradition of melancholy, and mainly to explore the sui generis treatment of the subject developed by the author. Thus, five poems were selected to build our corpus: Sehnsucht [Yearning, 1834], Im Herbst [In Fall, 1837], Wehmut [Melancholy, 1815], Wehmut [Melancholy, 1837] e Mondnacht [Moonlit Night, 1837]. In this work, we do not intend to offer a comprehensive history of melancholy, but only to highlight the main topics related to the analysis of our corpus. Rather than just listing elements of melancholy in the writers verses, our goal here is to show the particular way in which melancholy takes form in his poetry: as a tenderness belonging to his poetic process. The dialogue between these poems and melancholy has one point in common: music. Music seems to be essential to Eichendorffs work. His poem Wünschelrute [Divining rod] can be understood as a motto of his poetry: Schläft ein Lied in allen Dingen,/ Die da träumen fort und fort,/ Und die Welt fängt an zu singen,/ Triffst du nur das Zauberwort the poet uses this magical word, the poetry, to awake the sleeping song of all things. Music is the starting point of remembrance, which takes the poetic persona either to a melancholic search for the past or to a Sehnsucht (an infinit wish) for foreign lands in a melancholic desire for his home. With its delicate language, Eichendorffs poetry shows a persona aware of the noises emerging around him, which bring up the ruins of a distant and desired homeland, of a lost and longing past which can be briefly revisited only through the use of language.

Zugl.: Bayreuth, Univ., Diss., 2008

Inaug.-Diss.--Tubingen. / Vita. Bibliography: p. 143-145.

In Ahnung und Gegenwart Eichendorff makes no specific reference to the subject of happiness. Because of this, this theme must be explored indirectly through an analysis of the society and characters depicted in the novel. By abstracting those characteristics which Eichendorff describes as creating happiness in the society and the individual one can construct a thesis representing his views in this regard. In this novel Eichendorff contrasts two societies— the artificial permissive society of the court, whose attitudes he satirizes, and the wholesome rural society, whose attitudes he condones. The latter conserves the traditional Christian-Germanic virtues of "treue Sitte und Frömmigkeit" and, as such, one assumes, represents the author's ideal of the truly happy society. Eichendorff recognizes individual differences and realises that human beings seek happiness in many different ways. He realizes that men and women differ radically in this respect. Men seek happiness primarily through a career. Women seek it in love. Eichendorff also realizes the variation in human temperament which transcends sexual differences. He realizes that extroverts seek happiness actively in the world— possibly in some political commitment—and are likely to seek fulfillment through marriage. (This is true of Leontin.) Introverts, on the other hand, tend to seek fulfillment through their own inner resources—through the practice of art or religion. They are also more apt to sublimate their desire for human love into some aesthetic or spiritual ideal. (This is true of Friedrich.) But although Eichendorff does not prescribe any particular form of human fulfillment, he does prescribe the conditions under which happiness is to be sought. He is convinced that there are certain inner qualities which the individual must possess if he is to achieve it. These are the same qualities which motivate the ideal rural society, "treue Sitte und Frömmigkeit," morality and religion. Only by subjecting himself to these ordering influences can the individual attain peace and harmony, the fruits of happiness. If the individual does not subject himself to them, his life becomes disordered and he shatters on life. Morality is necessary to protect the individual from disturbing emotional experiences which may disrupt his life. Spirituality is necessary to ensure the inner equilibrium which is conducive to happiness. Eichendorff, however, does not present a facile, Victorian view of life. Although he stresses the necessity of morality and religion as bases of an ordered and happy life, he nowhere promulgates the naive view that all individuals are capable of exercising these virtues. He realizes that all individuals are limited by heredity and environment and that, consequently, "will-power" itself is an inherited, or acquired, characteristic. Not all individuals, when frustrated in their search for happiness have the capacity to restrain themselves by morality or sublimate themselves in religion. (Thus, Romana commits suicide, Erwin dies of a broken heart, and Rudolf escapes into a life of magic.) Eichendorff does not give preference to any particular form of human fulfillment. Nevertheless it is not unreasonable to assume that Friedrich, from whose viewpoint the novel is written, represents Eichendorff1s ideal of human development. Friedrich is a contemplative, a self-contained personality able to attain fulfillment through his own inner resources. He is able to experience the joy of creativity and that of an intimate relationship with God, profound human experiences unrelated to the vicissitudes of the external world. His happiness is thus more enduring than- that of those who seek it outside of themselves. And yet, although he is physically isolated from the world, he has the assurance of serving it in the most meaningful manner. Through his prayers as a religious he hopes to reawaken those forces of morality and religion which alone will restore happiness to his society. / Arts, Faculty of / Central Eastern Northern European Studies, Department of / Graduate

M.A. ( German Language) / Please refer to full text to view abstract

Habilitationsschrift--Freiburg i.B. / Bibliography: p. 253-266.