Joseph von Eichendorff as a young manEichendorff, etching by Franz Kugler, 1832Eichendorff's birthplace, Lubowitz Castle, Ratibor (photo from 1939). It was destroyed in March 1945 during theUpper Silesian Offensive. The territory was awarded to Poland afterWorld War II.The remains of Lubowitz Castle,Racibórz (Poland), 2008. Note Eichendorff's portrait on the wall. The German inscription (Keinen Dichter noch ließ seine Heimat los) translates to "No poet's homeland has ever relinquished its hold on him", a quote from his novelDichter und ihre Gesellen.Matthias Claudius' works, vol.1Heidelberg Castle byCarl Blechen, 1829
Joseph Karl BenediktFreiherr von Eichendorff (German:[fɔnˈaɪçn̩dɔʁf]; 10 March 1788 – 26 November 1857) was a German poet, novelist, playwright,literary critic, translator, andanthologist.[1] Eichendorff was one of the major writers and critics ofRomanticism.[2] Ever since their publication and up to the present day, some of his works have been very popular in German-speaking Europe.[3]
Eichendorff first became famous for his 1826 novellaAus dem Leben eines Taugenichts (freely translated:Memoirs of a Good-for-Nothing)[4] and his poems.[5] TheMemoirs of a Good-for-Nothing is a typicalRomantic novella whose main themes arewanderlust and love. The protagonist, the son of amiller, rejects his father's trade and becomes a gardener at a Viennese palace where he subsequently falls in love with the local duke's daughter. As, with his lowly status, she is unattainable for him, he escapes to Italy – only to return and learn that she is the duke's adopted daughter, and thus within his social reach.[1] With its combination ofdream world andrealism,Memoirs of a Good-for-Nothing is considered to be a high point of Romantic fiction. One critic stated that Eichendorff'sGood-for-Nothing is the "personification of love of nature and an obsession with hiking."[6]Thomas Mann called Eichendorff'sGood-for-Nothing a combination of "the purity of the folk song and the fairy tale."[7]
Many of Eichendorff's poems were first published as integral parts of his novellas and stories, where they are often performed in song by one of the protagonists.[8] The novellaGood-for-Nothing alone contains 54 poems.[9]
Eichendorff, a descendant of an old noble family, was born in 1788 atSchloß Lubowitz near Ratibor (nowRacibórz, Poland) inUpper Silesia, at that time part of theKingdom of Prussia. His parents were thePrussian officer Adolf Freiherr von Eichendorff (1756–1818) and his wife, Karoline néeFreiin von Kloche (1766–1822), who came from an aristocraticRoman Catholic family.[10] Eichendorff sold the family estates inDeutsch-Krawarn, Kauthen, and Wrbkau and acquired Lubowitz Castle from his mother-in-law. The castle'sRococo reconstruction, which was begun by her, was very expensive and almost bankrupted the family.[11] Young Joseph was close to his older brother Wilhelm (1786–1849). From 1793 to 1801, they were home-schooled by tutor Bernhard Heinke. Joseph began writing diaries as early as 1798, witnesses to his budding literary career.[12] The diaries present many insights into the development of the young writer, ranging from simple statements about the weather to notes about finances to early poems. At a young age, Eichendorff was already well aware of his parents' financial straits. On 19 June 1801, the thirteen-year old noted in his diary: "Father travelled toBreslau, on the run from his creditors," adding on 24 June, "mom become terribly faint."[13] With his brother Wilhelm, Joseph attended the Catholic Matthias Gymnasium in Breslau (1801–1804). While previously preferring chapbooks, he was now introduced to the poetry ofMatthias Claudius andVoltaire'sLa Henriade, an epic poem about the last part of the wars of religion andHenry IV of France in ten songs. In 1804 his sister Luise Antonie Nepomucene Johanna was born (died 1883), who was to become a friend of Austrian writerAdalbert Stifter. After their final exams, both brothers attended lectures at theUniversity of Breslau and the Protestant Maria-Magdalena-Gymnasium. Eichendorff's diary from this time shows that he valued formal education much less than the theatre, recording 126 plays and concerts visited. His love forMozart also goes back to these days.[14] Joseph himself seems to have been a talented actor and his brother Wilhelm a good singer and guitar player.[15]
Together with his brother Wilhelm, Joseph studied law and the humanities inHalle an der Saale (1805–1806), a city nearJena, which was a focal point of theFrühromantik (Early Romantics).[2] The brothers frequently attended the theatre ofLauchstädt, 13 km where theWeimar court theatrical company performed plays byGoethe.[16][17]In October 1806Napoleon's troops took Halle and teaching at the university ceased. To complete their studies, Wilhelm and Joseph went to theUniversity of Heidelberg in 1807, another important centre ofRomanticism. Here Eichendorff befriended romantic poetOtto Heinrich von Loeben (1786–1825), metAchim von Arnim (1781–1831) and possiblyClemens Brentano (1778–1842).[18][19] In Heidelberg, Eichendorff heard lectures byJoseph Görres, a leading member of the Heidelberg Romantic group, a "hermitic magician" and "formative impression",[20] as Eichendorff later explained.[21]In 1808 the brothers finished their degrees, after which they undertook an educational journey to Paris,Vienna, andBerlin. In Berlin they came into closer contact with Romantic writers such as Clemens Brentano,Adam Müller, andHeinrich von Kleist.[19] To further their professional prospects, they travelled toVienna in 1810, where they concluded their studies with a state examination diploma. Wilhelm procured employment in the Austrian civil service, while Joseph went back home to help his father with managing the estate.[22][23]
From Eichendorff's diaries we know about his love for a girl, Amalie Schaffner,[24] and another love affair in 1807–08 during his student days inHeidelberg with one Käthchen Förster.[25] His deep sorrow about the unrequitted love for the nineteen-year-old daughter of a cellarman inspired Eichendorff to one of his most famous poems,Das zerbrochene Ringlein (The Broken Ring).
Although Chase's translation weakens the second line fromblut’ge Schlacht (bloody battle) to "in fight" this, actually, happens to be much closer to the historical truth, since Eichendorff's participation in theLützow Free Corps seems to be a myth – in spite of some authorities asserting the contrary.[27]
In 1813, when conflict flared up again, Eichendorff tried to join the struggle againstNapoleon,[28] however he lacked the funds to purchase a uniform, gun, or horse, and, when he finally managed to get the money necessary, the war was all but over.[29]
His parents, to save the indebted family estate, hoped that Eichendorff would marry a wealthy heiress, however he fell in love with Aloysia von Larisch (1792–1855),[30] called 'Luise', the seventeen-year-old daughter of a prominent, yet impoverished Catholic family of nobles. The betrothal took place in 1809, the same year Eichendorff went to Berlin to take up a profession there. In 1815, the couple was married in Breslau's St. Vinzenz church[30] and that same year Eichendorff's son Hermann was born, followed in 1819 by their daughter Therese. In 1818, Eichendorff's father died and in 1822 his mother. The death of his mother resulted in the final loss of all the family's estates in Silesia.[31][32]
During the period, infant mortality was very high.[33] Both Eichendorff's brother Gustav (born 1800) and his sister Louise Antonie (born 1799) died in 1803 at a very young age, as did two of Eichendorff's daughters between 1822 and 1832.[34] The poet expressed the parental sorrow after this loss in the famous cycle "Auf meines Kindes Tod".[35] One of the poems in this series conveys an especially powerful sense of loss in this era:
Die Winde nur noch gehen Wehklagend um das Haus, Wir sitzen einsam drinnen Und lauschen oft hinaus.
Translation:
Only the winds are wandering Around the house and moan, And by the window harking We sit inside, alone.
With his literary figure of theGood-for-Nothing Eichendorff createdthe paradigm of the wanderer. The motif itself had been central to romanticism sinceWilhelm Heinrich Wackenroder andLudwig Tieck undertook their famousPfingstwanderung (Whitsun excursion) in theFichtel Mountains in 1793, an event that began the Romantic movement.[37] Travels through Germany, Austria, and France rounded off Eichendorff's education, however, he himself was not much of a hiker. Apart from some extensive marches on foot during his school and college days (for example from Halle to Leipzig, to see popular actorIffland),[38] he only undertook one lengthy tour, traversing for seventeen days theHarz mountains with his brother in 1805, a trip partly undertaken using the stagecoach, as witnessed by his diary.[39] Eichendorff was less of a romantic wanderer, but rather displaced again and again by changes of location necessitated by his official activities. The following trips, mainly undertaken by coach or boat, are documented:
Eichendorff residence inKöthen, where he lived from April to October 1855
Eichendorff worked in various capacities as Prussian government administrator. His career began in 1816 as unpaid clerk in Breslau. In November 1819, he was appointed assessor and in 1820 consistorial councilor for West and East Prussia inDanzig, with an initial annual salary of 1200 thalers. In April 1824, Eichendorff was relocated toKönigsberg as "Oberpräsidialrat" (chief administrator) with an annual salary of 1600 thalers. In 1821, Eichendorff was appointed school inspector and, in 1824, "Oberpräsidialrat" in Königsberg.[42] In 1831, he moved his family to Berlin, where he worked as Privy Councilor for the Foreign Ministry until his retirement in 1844.[30]
Grave of Joseph von Eichendorff in Nysa (Neiße), Poland
Eichendorff's brother Wilhelm died in 1849 inInnsbruck. That same year, there was a Republican uprising and the Eichendorffs fled toMeißen andKöthen, where a little house was purchased for his daughter Therese (now a von Besserer-Dahlfingen) in 1854. In 1855, he was much affected by the death of his wife. In September he traveled toSedlnitz for the christening of his grandchild. Shortly after he made his very last trip, dying of pneumonia on 26 November 1857 inNeiße. He was buried the next day with his wife.[43]
Friedrich Schlegel, painting by Franz Gareis, 1801Josef Görres by August Strixner, lithograph (after a painting byPeter von Cornelius)Title page ofDes Knaben Wunderhorn, 1806, a major influence on Eichendorff's poetry
The two writers who had the greatest early influence on Eichendorff's artistic development wereFriedrich Schlegel, who established the termromantisch (romantic) in German literature,[44] andJoseph Görres. While the writers who gathered around Schlegel inclined more to philosophy and aesthetic theory, the adherents of Görres became mainly known as writers of poetry and stories.[45] Both movements, however, greatly influenced intellectual life in Germany by emphasising the individual, the subjective, the irrational, the imaginative, the personal, the spontaneous, the emotional, the visionary, and the transcendental over classical precepts.[46] One of their fundamental ideas was the "unity of poetry and life".[47]
Eichendorff shared Schlegel's view that the world was a naturally and eternally "self-forming artwork",[48] Eichendorff himself used the metaphor that "nature [was] a great picture book, which the good Lord has pitched for us outside."[49] Arnim's and Brentano's studies and interpretations of theVolkslied (folk song) deeply influenced Eichendorff's own poetry and poetology.[50]
Arnim's and Brentano's anthologyDes Knaben Wunderhorn: Alte deutsche Lieder, a collection of songs about love, soldiers, wandering, as well as children's songs, was an important source for the Romantic movement. Similar to other early 19th-century anthologists such asThomas Percy, Arnim and Brentano edited and rewrote the poems in they collected. "Everything in the world happens because of poetry, to live life with an increased sense and history is the expression of this general poetry of the human race, the fate performs this great spectacle," is what Arnim said in a letter to Brentano (9 July 1802).[51]
Although Eichendorffs poetry includes many metric forms ranging from very simple elegiac couplets and stanzas tosonnets, his main artistic focus was on poems imitating folk songs.[52]A comparison of forms shows that Eichendorff'slyricism is "directly influenced by Brentano and Arnim".[53][54]
Following the model ofDes Knaben Wunderhorn, Eichendorff uses simple words ('naturalness'), adding more meaning ('artificiality') than dictionary definitions would indicate. In this sense, "His words are rich in connotative power, in imaginative appeal and in sound."[55]
Certain expressions and formulas used by Eichendorff, which are sometimes characterised by critics as pure cliché,[56] actually represent a conscious reduction in favour ofemblematics. In Görres' poetology "nature is speaking"[57] us. But before it can happen, the wonderful song sleeping in each thing must be woken up by the poet's word:[58] One notable example used by Eichendorff is theZauberwort (magic word) – and one of Eichendorff's most celebrated poems, the four-line stanzaWünschelrute (divining rod), is about finding such aZauberwort:
Title page of Eichendorff'sGedichte (Poems), Halle, about 1907
Wünschelrute
Schläft ein Lied in allen Dingen, die da träumen fort und fort, und die Welt hebt an zu singen, triffst du nur das Zauberwort.
Translation:
Wishing Wand
A song sleeps in all things around Which dream on and on unheard, And the world begins to resound, If you hit the magic word.
The titles of Eichendorff's poems show that, besides themotif of wandering, the two other main motifs of his poetry were the passing of time (transience) and nostalgia. Time, for Eichendorff, is not just a natural phenomenon but, as Marcin Worbs elaborated: "Each day and each of our nights has ametaphysical dimension."[60] The morning, on the other hand, evokes the impression that "all nature had been created just in this very moment,"[61][62] while the evening often acts as amysterium mortis with the persona pondering transience and death.
Eichendorff's other main motif, nostalgia, is described by some critic as a phenomenon of infinity.[63] However, there is a number of different interpretations. According to Helmut Illbruck: The "simple-minded Taugenichts (...) feels continually homesick and can never come to rest."[64] Katja Löhr distinguishes between nostalgia as an emotion consisting of two components — longing and melancholy: "The inner emotion of longing is to long for, the inner emotion of melancholy is to mourn. As an expression of deep reflection, longing corresponds with intuition (Ahnen), grieving with memory."[8]Theodor W. Adorno, who set out to rescue Eichendorff from his misled conservative admirers, attested: "He was not a poet of the homeland, but rather a poet of homesickness".[65] In sharp contrast,Natias Neutert saw in Eichendorff's nostalgia a dialectical unity of an "unstable equilibrium of homesickness and wanderlust at once".[66]
For a long time it had been argued that Eichendorff's view of Romanticism had been subordinate to religious beliefs. More recently, however, Christoph Hollender has noted that Eichendorff's late religious and political writings were commissioned works, while his poetry represents a highly personal perspective.[67]
Eichendorff summed up the Romantic epoch stating that it "soared like a magnificent rocket sparkling up into the sky, and after shortly and wonderfully lighting up the night, it exploded overhead into a thousand colorful stars."[68]
While other authors (such asLudwig Tieck,Caroline de la Motte Fouqué, Clemens Brentano andBettina von Arnim) adapted the themes and styles of their writing to the emergingrealism, Eichendorff "stayed true to the emblematic universe of his literary Romanticism right through to the 1850s,"[69] Adorno stated: "Unconsciously Eichendorff's unleashed romanticism leads right up to the threshold ofmodernism".[70]
Über die ethische und religiöse Bedeutung der neuen romantischen Poesie in Deutschland (On the ethical and religious significance of the new romantic poetry in Germany), (1847)
Der deutsche Roman des 18. Jahrhunderts in seinem Verhältniss zum Christenthum (The German novel of the 18th century in its relationship to Christianity), (1851)
Geschichte der poetischen Literatur Deutschlands, (1857)[73]
Oberschlesische Märchen und Sagen (Upper Silesian fairytales and sagas) (1808–1810),[73] including five fairy tales (with their respective classification in theAarne-Thompson-Uther Index):[74]
Die schöne Craßna und das Ungeheuer, variant ofBeauty and the Beast (tale type ATU 425C);
Die Prinzessin als Küchenmagd, variant ofAllerleirauh (mostly tale type ATU 510B);
Eichendorff monument inPrudnik, erected in 1911Eichendorff monument in Ratibor byJohannes Boese. Erected in 1909, it was removed in 1945 when the Soviets occupied Silesia and disappeared shortly thereafter. Areplacement was put up in 1994.Monument in front of Silesia House
HKA XII: Briefe 1794–1857. Text. Ed. by Sibylle von Steinsdorff (1993).
HKA XV/1: Übersetzungen I. Erster Teil. Graf Lucanor von Don Juan Manuel. Geistliche Schauspiele von Don Pedro Calderón la Barca I. Ed. by Harry Fröhlich (2003).
HKA XV/2: Übersetzungen I. Zweiter Teil. Geistliche Schauspiele von Don Pedro Calderón la Barca II. Ed. by Harry Fröhlich (2002).
HKA XVI: Übersetzungen II. Unvollendete Übersetzungen aus dem Spanischen. Ed. by Klaus Dahme (1966).
HKA XVIII/1: Eichendorff im Urteil seiner Zeit I. Dokumente 1788–1843. Günter and Irmgard Niggl (1975).
HKA XVIII/2: Eichendorff im Urteil seiner Zeit II. Dokumente 1843–1860. Ed. by Günter and Irmgard Niggl (1976).
HKA XVIII/3: Eichendorff im Urteil seiner Zeit III. Kommentar und Register. Ed. by Günter and Irmgard Niggl (1986).
HKA II: Epische Gedichte.
HKA VII: Dramen II. Satirische Dramen und Dramenfragmente. Ed. by Harry Fröhlich.
HKA X: Historische und politische Schriften. Ed. by Antonie Magen
HKA XIII: Briefe an Eichendorff. Ed. by Sibylle von Steinsdorff.
HKA XIV: Kommentar zu den Briefen (Bd. XII und Bd. XIII). Ed. by Sibylle von Steinsdorff.
HKA XVII: Amtliche Schriften. Ed. by Hans Pörnbacher.
Joseph von Eichendorff, Werke, 6 Bde. (Bibliothek deutscher Klassiker) Hrsg. von Wolfgang Frühwald. Deutscher Klassiker-Verlag, Frankfurt am Main 1985–93
Joseph von Eichendorff:Ausgewählte Werke. Ed. by Hans A. Neunzig. Nymphenburger, Berlin 1987.ISBN3-485-00554-1
Wolfdietrich Rasch (Ed.):Joseph von Eichendorff. Sämtliche Gedichte. Deutscher Taschenbuch Verlag, Munich, 1975.ISBN3-446-11427-0
^Joseph Freiherr von Eichendorff:Memoirs of a Good-for-Nothing. Ungar, New York 1955.ISBN0804461341
^Cf. Jürgen Thym:100 Years Of Eichendorff Songs. Recent Researches in the Music of the Nineteenth and Early Twentieth Centuries, vol. V; A-R Editions, Inc. Madison 1983, p. viii.ISBN0-89579-173-0
^Cf. Ernst Alker:Die deutsche Literatur im 19. Jahrhundert (1832–1914), 2nd ed., Kröners Taschenbuch vol. 339, Stuttgart 1962, p. 27.
^abCf. Katja Löhr:Sehnsucht als poetologisches Prinzip bei Joseph von Eichendorff. Epistemata, Würzburger Wissenschaftliche Schriften, Reihe Literaturwissenschaft vol.248, Würzburg 2003, p.12-13.ISBN3-8260-2536-9
^Cf. Wolfdietrich Rasch (Ed.):Joseph von Eichendorff. Sämtliche Gedichte. Deutscher Taschenbuch Verlag München, 1975, p.502/503.ISBN3-446-11427-0
^Cf. Günther Schiwy:Eichendorf. Der Dichter in seiner Zeit. Eine Biographie. Verlag C.H. Beck, München 2000, p.30 f.ISBN3-406-46673-7
^Cf. Paul Stöcklein:Joseph von Eichendorff. In Selbstzeugnissen und Bilddokumenten. Rowohlts Monographien. Ed. by Kurt Kusenberg, Rowohlt Verlag, Reinbek 1974, pp.47, 163.ISBN3-499-50084-1
^Cf. Günther Schiwy:Eichendorf. Der Dichter in seiner Zeit. Eine Biographie. Verlag C.H. Beck, München 2000, pp. 32–33, 97.ISBN3-406-46673-7
^Cf. Günther Schiwy:Eichendorf. Der Dichter in seiner Zeit. Eine Biographie. Verlag C.H. Beck, München 2000, pp.96–97.ISBN3-406-46673-7
^Cf. Paul Stöcklein:Joseph von Eichendorff. In Selbstzeugnissen und Bilddokumenten. Rowohlts Monographien. Ed. by Kurt Kusenberg, Rowohlt Verlag, Reinbek 1974, pp.33, 47, 49, 163.ISBN3-499-50084-1
^Cf. Paul Stöcklein:Joseph von Eichendorff. In Selbstzeugnissen und Bilddokumenten. Rowohlts Monographien. Ed. by Kurt Kusenberg, Reinbek 1974, p.62.ISBN3-499-50084-1
^Further reading: F. Maak:Das Goethetheater in Lauchstädt. D. Häcker, Lauchstädt 1905.
^Cf. Wolfdietrich Rasch (Ed.): "Joseph von Eichendorff". Sämtliche Gedichte. Deutscher Taschenbuch Verlag München, 1975, p. 502-503.ISBN3-446-11427-0
^abCf. Paul Stöcklein:Joseph von Eichendorff. In Selbstzeugnissen und Bilddokumenten. Rowohlts Monographien. Ed. by Kurt Kusenberg, Reinbek 1974, pp. 163–164.ISBN3-499-50084-1
^Deeper insights cf. Günther Schiwy:Eichendorf. Der Dichter in seiner Zeit. Eine Biographie. Verlag C.H. Beck, München 2000, pp. 214–221.ISBN3-406-46673-7
^Cf. Hans Jürg Lüthi:Dichtung und Dichter bei Joseph von Eichendorff. Francke Verlag, Bern 1966, pp. 68–71, 155 f.
^Cf. Wolfdietrich Rasch(Ed.):Joseph von Eichendorff. Sämtliche Gedichte. Deutscher Taschenbuch Verlag München, 1975, p. 502.ISBN3-446-11427-0
^Cf. Günther Schiwy:Eichendorf. Der Dichter in seiner Zeit. Verlag C.H. Beck, Munich 2000, p.97.ISBN3-406-46673-7
^Cf. Günther Schiwy:Eichendorf. Der Dichter in seiner Zeit. Verlag C.H. Beck, Munich 2000, pp.240–247.ISBN3-406-46673-7
^In:German Poetry from 1750 to 1900. Ed. by Robert M. Browning. The German Library, vol.39. The Continuum Publishing Company, New York 1984, p.146-147.
^Cf. Fritz Martini:Deutsche Literaturgeschichte. Von den Anfängen bis zur Gegenwart. Alfred Kröner Verlag, Stuttgart 1984, p.346.ISBN3-520-19618-2
^Cf. Paul Stöcklein:Joseph von Eichendorff. In Selbstzeugnissen und Bilddokumenten. Rowohlts Monographien. Ed. by Kurt Kusenberg. Rowohlt Verlag, Reinbek 1974, p.164.ISBN3-499-50084-1
^Cf. Paul Stöcklein:Joseph von Eichendorff. In Selbstzeugnissen und Bilddokumenten. Rowohlts Monographien. Ed. by Kurt Kusenberg., Reinbek 1974, pp. 164–165.ISBN3-499-50084-1
^Cf. Paul Stöcklein:Joseph von Eichendorff. In Selbstzeugnissen und Bilddokumenten. Rowohlts Monographien. Ed. by Kurt Kusenberg. Reinbek 1974, pp.164–167.ISBN3-499-50084-1
^Cf. Klaus Günzel:Romantikerschicksale. Eine Porträtgalerie. Berlin 1988, p.219.ISBN3-373-00157-9
^Cf. Günther Schiwy:Eichendorf. Der Dichter in seiner Zeit. Eine Biographie. Verlag C.H. Beck, München 2000, pp. 686–688.ISBN3-406-46673-7
^J. A. Cuddon:The Penguin Dictionary of Literary Terms & Literary Theory, revised by C. E. Preston. England 1999, p.768.
^J. A. Cuddon:The Penguin Dictionary of Literary Terms & Literary Theory, revised by C. E. Preston. England 1999, p.770.
^Cf. Robert König:Deutsche Literaturgeschichte. Bielefeld/Leipzig 1886, p.521.
^Quoting after Natias Neutert:Foolnotes. Smith Gallery Booklet, Soho New York 1980, p.7, see Friedrich Schlegel:Gespräch über die Poesie. In: Paul Kluckhohn (Ed.):Kunstanschauung der Frühromantik. Deutsche Literatur, Reihe Romantik. Vol.III, Philipp Reclam jun., Leipzig, 1937, p.191.
^Cf. Hartwig Schulz:Eichendorffs satirische Dramen. In: Michael Kessler/Helmut Koopmann:Eichendorffs Modernität. Akten des internationalen, interdisziplinären Eichendorff-Symposions 6.-8. October 1988, Akademie der Diözese Rottenburg-Stuttgart. Stauffenburg Colloquium, Vol.9., Tübingen 1989, p.146.ISBN978-3-8260-3951-5
^Cf. Ludwig Achim von Arnim:Briefwechsel 1802–1804. Vol.31, Max Niemeyer Verlag, Tübingen 2004. p.57
^Cf. R.G. Bogner:Joseph Eichendorff Gedichte, in: Ralf Georg Bogner (Ed.):Deutsche Literatur auf einen Blick. 400 Werke aus 1200 Jahren. Ein Kanon. Darmstadt 2009, p.205.ISBN978-3-89678-663-0
^Cf. Horst Joachim Frank:Handbuch der deutschen Strophenformen. 2nd, revised ed., Tübingen/Basel 1993, p.107.
^Cf. Edward A. Bloom/Charles H. Philbrick/Elmer M. Blistein:The Order of Poetry.Brown University, New York 1961, p.2.
^Cf. Reinhard H. Thum:Cliché and Stereotype. An Examination of the Lyric Landscape in Eichendorff's Poetry. In: Philological Quarterly no. 62,University of Iowa 1983, pp. 435–457.
^Cf. Joseph Görres:Gesammelte Schriften, ed. by Wilhelm Schellberg on behalf of the Görres-Gesellschaft, Köln 1926, vol.IV, p.2 and V, p.274. – Cf. also Gerhard Möbus:Eichendorff in Heidelberg. Wirkungen einer Begegnung. Diederichs Verlag, Düsseldorf 1954.
^Joseph von Eichendorff, cited in Hans Jürg Lüthi:Dichtung und Dichter bei Joseph von Eichendorff, Bern 1966, p.69
^Natias Neutert:Foolnotes. Very Best German Poems. Smith Gallery Booklet, Soho New York 1980, p. 7. See also the installation at the Frankfurter Goethe-Haus and Deutsches Romantik-Museum, Frankfurt
^Cf. Marcin Worbs:Zur religiösen Aussage der Poesie Joseph von Eichendorffs. In: Grazyna Barabara Szewczyk/Renata Dampc-Jarosz (Ed.):Eichendorff heute lesen, Bielefeld 2009, p.69.ISBN978-3-89528-744-2
^Cf. Peter Paul Schwarz:Aurora. Zur romantischen Zeitstruktur bei Eichendorff. Ars poetica. Texte zur Dichtungslehre und Dichtkunst. Vol. 12, ed. by August Buck et al., Bad Homburg 1970, p.60.
^Cf. Marshall Brown: Eichendorff's Time of day. In: «The German Quarterly», No.50, 1977, pp.485–503.
^Cf. Sybille Anneliese Margot Reichert:Unendliche Sehnsucht. The concept of Longing in German romantic Narrative and Song. Dissertation Yale University, Ann Arbor, Michigan, 1994.
^Cf. Helmut Illbruck:Nostalgia. Origins and Ends of an Unenlightened Disease, Evanston Illinois, p.153.ISBN9780810128378.
^Cf. Theodor. W. Adorno:Zum Gedächtnis Eichendorffs. In:Noten zur Literatur I, Frankfurt am Main, 1963, p.112.
^Cf. Natias Neutert:Foolnotes, Soho, New York 1980, p.7.
^Cf. Christoph Hollender:Der Diskurs von Poesie und Religion in der Eichendorff-Literatur. In:Wilhelm Gössmann (Ed.): Joseph von Eichendorff. Seine literarische und kulturelle Bedeutung. Paderborn/Munich/Wien/Zurich 1995, p.163-232.
^Quoted after Robert König:Deutsche Literaturgeschichte. 18th edition. Verlag Velhagen & Klasing, Bielefeld/Leipzig 1886, p.521.
^Cf. Dirk Göttsche/Nicholas Saul (Ed.):Realism and Romanticism in German Literature/Realismus und Romantik in der deutschsprachigen Literatur, Bielefeld 2013, p.19;ISBN978-3-89528-995-8
^Cf. Theodor W. Adorno:Zum Gedächtnis Eichendorffs. In: Noten zur Literatur I, No.47, Frankfurt am Main, 1963, p.119.
^This collection was supported by Adolf Schöll, a classic philologist and literary historian, whom the poet had met in 1832 in Berlin.- Cf. Harry Fröhlich (Ed.):Zur Edition. In: Joseph von Eichendorff:Sämtliche Werke des Freiherrn Joseph von Eichendorff. Historisch-kritische Ausgabe, begründet von Wilhelm Kosch/August Sauer. Fortgeführt von Herrmann Kunisch/Helmut Koopmann. Bd. I. Stuttgart/Berlin/Köln 1994, p. 11.
^Cf. Hans Jürg Lüthi:Dichtung und Dichter bei Joseph von Eichendorff. Francke Verlag, B.ern 1966, 307–308.
^abCf. Hans Jürg Lüthi:Dichtung und Dichter bei Joseph von Eichendorff. Francke Verlag, Bern 1966, p. 307-308.
^Zarych, Elżbieta. "Ludowe, Literackie I Romantyczne W Górnośląskich Baśniach I Podaniach (Oberschlesiche Märchen Und Sagen) Josepha von Eichendorffa" [Folk, literary and romantic character of Upper Silesian fairy tales (Oberschlesiche Märchen und Sagen) by Joseph von Eichendorff]. In:Joseph von Eichendorff (1788–1857) a Česko-Polská kulturnÍ a Umělecká pohraničÍ: kolektivnÍ Monografie. Edited by Libor Martinek and Małgorzata Gamrat. KLP – Koniasch Latin Press, 2018. pp. 75–94.http://bohemistika.fpf.slu.cz/wp-content/uploads/2014/11/eichendorff-komplet.pdf
^Cf. Jürgen Thym:100 Years Of Eichendorff Songs. Recent Researches in the Music of the Nineteenth and Early Twentieth Centuries, vol. V., A-R Editions, Inc. MadisonISBN0-89579-173-0
Theodor W. Adorno: "Zum Gedächtnis Eichendorffs". In:Noten zur Literatur I. Bibliothek Suhrkamp 47, Frankfurt am Main 1963. pp. 105–143.
Hans Brandenburg:Joseph von Eichendorff. Sein Leben und sein Werk. Beck, Munich 1922.
Dirk Göttsche / Nicholas Saul (eds.):Realism and Romanticism in German Literature / Realismus und Romantik in der deutschsprachigen Literatur. Aisthesis, Bielefeld 2013.ISBN978-3-89528-995-8
Klaus Günzel:Die deutschen Romantiker. 125 Lebensläufe. Ein Personenlexikon. Artemis & Winkler, Düsseldorf / Zürich 1995.ISBN3-7608-1229-5
Rufus Hallmark:German Lieder in the Nineteenth Century. Schirmer, New York 1996.ISBN0-02-870845-8.
Helmut Illbruck:Nostalgia. Origins and Ends of an Unenlightened Disease. Northwestern University Press, Evanston Illinois, 2012.ISBN9780810128378.
Hans Jürg Lüthi:Dichtung und Dichter bei Joseph von Eichendorff. Francke Verlag, Bern 1966.
Sybille Anneliese Margot Reichert:Unendliche Sehnsucht. The Concept of Longing in German Romantic Narrative and Song. Dissertation, Yale University 1995.
Günther Schiwy:Eichendorff. Der Dichter in seiner Zeit. Eine Biographie. C.H. Beck, Munich 2000.ISBN3-406-46673-7
Oskar Seidlin:Versuche über Eichendorff. Vandenhoeck & Ruprecht, Göttingen 1965.
Paul Stöcklein:Joseph von Eichendorff in Selbstzeugnissen und Bilddokumenten. Rowohlts Monographien 84, Reinbek bei Hamburg 1963. ISBN B0094MO2DQ
Jürgen Thym:100 Years Of Eichendorff Songs. Recent Researches in the Music of the Nineteenth and Early Twentieth Centuries, vol. 5. A-R Editions, Madison 1983.ISBN0-89579-173-0
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