ALM2204 ALMAN EDEBİYATI - II BAHAR YARI YILI

THE GERMAN ROMANCE ( ca.1800-1830 ) EXTRACTS OF THE TEXT

Novalis: The fairy tale of hyacinth and rose blossom
Individual steps in this text and subheadings for each step
1. The unusual love between hyacinth and rose blossom (lines 01-51)
2. The strange man from a strange land / arrival of a stranger.
Arrival of a Stranger / The Strange Stranger (lines 52-68)
3. The farewell to the stranger and the effect of what is left behind
Book (lines 68-75)
4. The new way of life of Hyacinth,
The search for the holy goddess Isis (lines 75-113)
5 .The encounter with a bunch of flowers and her advice (their help)

The help of the flowers (lines 113-132)

6. The fulfillment of the wish through the dream / The fulfillment of the
Longing (lines 132-146)

It's a fairy tale

The reasons :
The title is: "The fairy tale of hyacinth and rose blossom"
The introduction (beginning of the text): 'a long time ago ...'
The end (end of the text): formal "... as you wanted."
Content happy ending
Living things and non-living things have human characteristics.
unusual; supernatural transformations (hyacinth and rose petals are sometimes people sometimes flowers. They are in contact with all living beings and non-living beings.)
exaggerated adjectives; Beautiful girl, very young person, lonely, happy, strange, hair like golden silk, cherry-red lips
Intervention of supernatural forces;
the sorcerer (= the stranger)
the old woman in the forest
the holy goddess Isis
Use of time: The beginning, sequence and end of the action cannot be specified precisely. (general, skipping)
Intention: Search for your own happiness

This text is an art fairy tale?

The reasons
certain author : Friedrich von Hardenberg / NOVALIS

certain intention :Man seeks happiness in the distance,

it's actually near

The fairy tale of hyacinth and rose petals

The fairy tale of hyacinth and rose petals
THEME : Love between hyacinth and rose petals
TEACHING : The happiness that is sought in the distance
is actually nearby.
DREAM : a means of fulfilling longing

Novalis: Heinrich von Ofterdingen - First chapter

Table of contents
The first chapter of the novel "Heinrich von Ofterdingen" begins with a dream by the young man Heinrich von Ofterdingen. He dreams of a beautiful blue flower that fascinates him. He is convinced that his dream has some meaning. The blue flower is an anticipation of the climax and the goal of Heinrich's development. In the morning he talks to his father about it. But he does not believe that Heinrich's dream contains a
message. He finds dreams basically meaningless, but Heinrich sees them as a recovery from reality and the seriousness of life.

Summary
Summary
The parents were already falling asleep and Heinrich was lying on his bed and thinking about the stories of his private tutor, the court chaplain. After a while he fell asleep and found himself in another world. In the dream, Heinrich's life was more exciting and interesting than during the day. The world looked very different.
He dreamed of the strange animals and lived with diverse people. It was a colorful life: he died and got up again, loved to the highest passion and then was again separated from his beloved. The path led him through a dark forest.
He climbed a mountain, climbed over mossy stones. The higher he got, the lighter the forest became. At last he came to a large plain where he saw a large basin with a jet. He was swimming in this pool. The flood seemed to be a dissolution of lovely girls who instantly embodied themselves in the youth. Then he was on a soft rose at the edge of a spring with a tall, light blue flower. He saw nothing but the blue flower.
She touched him with her broad, shiny leaves. And he saw a girl's face in the blue flower. When he tried to touch the flower, his mother's voice suddenly woke him. It was already about noon.

He told his father about his troubled dreams. The father begins to share his thoughts about the dreams . In his opinion, dreams are foams. The times were no longer when divine visions were placed next to
dreams. Now the Holy Spirit spoke to us indirectly through the minds of wise and well-meaning men and through the way of life and the fate of pious people. But Heinrich was against it, for him they were
a defense against the regularity and ordinariness of life, a free relaxation of the bound imagination. The dream was a significant tear in the mysterious curtain. The metamorphoses of dreams made our
monotonous life richer. In addition, innumerable dream stories were found in the wisest books and the venerable court chaplain told them these stories. Heinrich thought his dream was important, in
contrast to his father. The mother reminded her husband of the dream he had had in Rome. After dreaming, he returned to Augsburg and married his mother. But it was natural for him, because he
already knew his wife and liked her. After his lust for the stranger, he felt a longing to own her. Then the father told them about his dream. The father's dream was a similar dream that Heinrich had
dreamed. The two dreamed of a blue flower and a girl.
He told his father about his troubled dreams. The father begins to share his thoughts about the dreams . In his opinion, dreams are foams. The times were no longer when divine visions were placed next to dreams. Now the Holy Spirit spoke to us indirectly through the minds of wise and well-meaning men and through the way of life and the fate of pious people. But Heinrich was against it, for him they were a defense
against the regularity and ordinariness of life, a free relaxation of the bound imagination. The dream was a significant tear in the mysterious curtain. The metamorphoses of dreams made our monotonous life richer. In addition, innumerable dream stories were found in the wisest books and the venerable court chaplain told them these stories. Heinrich thought his dream was important, in contrast to his father. The mother
reminded her husband of the dream he had had in Rome. After dreaming, he returned to Augsburg and married his mother. But it was natural for him, because he already knew his wife and liked her. After his lust for the stranger, he felt a longing to own her. Then the father told them about his dream. The father's dream was a similar dream that Heinrich had dreamed. The two dreamed of a blue flower and a girl.

THE DREAM THE FATHER'S ATTITUDE TO THE DREAM

Father: " DREAMS ARE FOAMS "
P.144, lines 22-25 “ The times are no longer when dreams were joined by divine visions, and we cannot and will not understand how those chosen men, about whom the Bible tells, felt. "
- The time that gods revealed themselves through dreams is over.
P.144, lines 27-35: “At the age of the world where we live, there is no longer any direct contact with heaven. The ancient stories and writings are now the only sources through which we are given a knowledge of the unearthly world as far as we need it; and instead of those express revelations, the Holy Spirit now speaks to us indirectly through the minds of wise and benevolent men and through the way
of life and the fate of pious people. "
- God's revelations today are indirect. The clergy (church people) and the reasonable people try to convey God's words to us.

HEINRICH'S ATTITUDE TO DREAM

AS.145, Z.7-11: “Isn't every dream, even the most confused dream, a peculiar phenomenon that is a significant tear in the mysterious curtain with a thousand folds in ours, even without thinking of divine fate Interior falls in? "
- The dream is a tear in the mysterious curtain. - Heinrich
BS.145, Z.11-14: "In the wisest books you can find innumerable dream stories from believable people, and you only remember the dream that the venerable court chaplain recently told us."
- The honorable private teacher court chaplain and the old wisest books also tell of the dreams .

HEINRICH'S ATTITUDE TO DREAM

C- p.145, lines 19-24: The dream seems to me a defense against the regularity and ordinaryness of life, a free relaxation of the bound fantasy, where it throws all images of life into one another, and the constant seriousness of the adult human being interrupts a happy child's game.
- Dreams are a liberation (protective barrier) from the regularity and ordinaryness of everyday life.
Adults have responsibilities and tasks, so they find life unbearable, monotonous. Through dreams they can play like a child, for example, that is, dreams save people from the heavily controlled monotonous life.

MOTHER'S ATTITUDE TO DREAM

P. 146, lines 7-11: “You were talking about dreams earlier,” said the mother, “you know that you told me about a dream that you had in Rome and that was the first to address you Thought to come to us in Augsburg and to woo me? "Heinrich's mother
- Heinrich's mother: Dreams play an important role in human life. Her father dreamed of her in Rome, then he came to her in Augsburg to woo her. In the end, after a dream, he married her.

FATHER'S REACTION TO MOTHER'S ANSWER

P.146, lines 12-15: " You remind me at the right time," said the old man; “I have completely forgotten this strange dream that occupied me long enough at the time; but he is proof of what I said about dreams. "
- The mother reminds the father that he has already dreamed of her. But he thinks that this dream is evidence of what he said about the dreams. - the father
P.146, lines 15-20: « It is impossible to have a more orderly and brighter one; I still remember every circumstance very clearly; and yet what did it mean? That I dreamed of you and soon afterwards felt seized by a longing to own you was quite natural: because I already knew you. "
- The father thinks that he dreamed of her because he knew her before. But first he wanted to fulfill his wish, get to know new countries and new people. After his wish was fulfilled, he dreamed of his current wife and married her. - the father

THE CURIOUS OF HEINRICH THE COLOR OF THE FLOWER

P.148, lines 16-20: "Oh! dearest father, tell me what color it was, ” called the son with a violent movement.
"I don't remember that, no matter how exactly I memorized everything else."
"Wasn't she blue?"
"It may be," continued the old man.
Father: dream and future education coincidence
Heinrich not a coincidence, but dreams have a meaning.

Novalis: Heinrich von Ofterdingen - Second chapter

Summary :
Heinrich had been very quiet and in a bad mood for some time. He always dreamed of the blue flowers. His mother believed that he was sick or fretful. At that time a couple of merchants traveled to Augsburg. Heinrich's grandfather lived there. The mother thought that her son needed a trip. For this reason she decided to go to Augsburg with her son. Heinrich was 20 years old and until now he has never left his hometown. He
always lived in his father's court. He didn't know the world that well. He said goodbye to his teacher and his father and sadly left his hometown. In this case, he understood what separation meant. The mother thought that he needs to get rid of his dreams. Therefore, during the trip, the mother and Heinrich talked to the merchants, who noticed that he had a talent as a poet. They had heard of many stories about poets and
singers. The merchants began to talk. The story they told it was about a clay artist.

In ancient times there was a rich musician who wanted to travel across the sea to a region. One day he found a ship on the bank. The boatmen assumed they would drive him over for the great reward. But
the treasures of the Tonkunstler appealed to the boatmen. They planned to throw him into the sea and distribute his treasure. Before they threw him into the sea, they let the Tonkunstler grant his last
wish. His last wish was to play his vocals. But the boatmen didn't want to hear the singing. Because they knew that his singing was enchanted and could influence them. Because of this, they didn't listen to
him. At the end of the chant he jumped into the water. But suddenly sea monsters and fish appeared because of this magic song. Then a monster saved him. And he reached the shore. He was very happy.
The boatmen had had a bloody fight during the division of the treasures. Some died and the rest couldn't rule the ship. That's why it went down. After a while the Tonkünstler starts to sing again with joy.
Then his friend "monster" came back with the treasure from Tonkünstler, which he had fetched from the bottom of the sea and left his treasure on the sand and went back. At the end of the story, the
Tonkünstler had his treasure back.
In ancient times there was a rich musician who wanted to travel across the sea to a region. One day he found a ship on the bank. The boatmen assumed they would drive him over for the great reward. But the treasures of the Tonkunstler appealed to the boatmen. They planned to throw him into the sea and distribute his treasure. Before they threw him into the sea, they let the Tonkunstler grant his last wish. His last wish was to
play his vocals. But the boatmen didn't want to hear the singing. Because they knew that his singing was enchanted and could influence them. Because of this, they didn't listen to him. At the end of the chant he jumped into the water. But suddenly sea monsters and fish appeared because of this magic song. Then a monster saved him. And he reached the shore. He was very happy. The boatmen had had a bloody fight during
the division of the treasures. Some died and the rest couldn't rule the ship. That's why it went down. After a while the Tonkünstler starts to sing again with joy. Then his friend "monster" came back with the treasure from Tonkünstler, which he had fetched from the bottom of the sea and left his treasure on the sand and went back. At the end of the story, the Tonkünstler had his treasure back.

I don't know, but I think I see two ways to get to the science of human history.

The one, laborious and unpredictable, with innumerable curves,

the path of development ;
the other; almost a leap, the path of inner contemplation .

It seems to us that you have a tendency to become a poet .

«You speak so fluently of the appearances of your mind, and you are not lacking in chosen expressions and appropriate comparisons. You also tend towards the wonderful, as the element of the poet. "
“I don't know,” said Heinrich, “how it comes. I have often heard poets and singers speak of them and have never seen one. Yes, I cannot even get an idea of their strange art, and yet I have a great longing to hear about it. It seems to me as if I understand better some things that I now have only vague suspicions in me. «

EFFECT OF ART AND THE ARTIST

In ancient times all of nature must have been more alive and meaningful than it is today. Effects which the animals now hardly seem to notice, and which people actually feel and enjoy alone, moved lifeless bodies at that time; and so it was possible for artful people on their own to make things possible and produce appearances which now seem utterly incredible and fabulous to us. It is said that ancient times in the countries
there were poets who, through the strange sound of wonderful tools, awakened the secret life of the forests, awakened the spirits hidden in the tribes, aroused dead plant seeds in desolate, desolate areas, and evoked blooming gardens, cruel animals tamed and savage people accustomed to order and morals, gentle inclinations and arts of peace stimulated in them, raging rivers turned into mild waters, and even the deadest stones
carried away in regular dancing movements. They are said to have been soothsayers and priests, lawgivers and doctors at the same time, in that even the higher beings have been drawn down by their magical art and instructed them in the secrets of the future, the proportion and the natural arrangement of all things, including the inner virtues and healing powers of numbers, plants, and all creatures revealed to them.

STORY OF A SOUND ARTIST

In these times it happened, among other things, that one of those strange poets or more musicians - although music and poetry may be pretty much one and perhaps belong together as well as mouth and ear, since the first only a mobile and responsive ear is - that this musician wanted to travel across the sea to a foreign country. He was rich in beautiful jewels and exquisite things that had been honored out of gratitude. He
found a ship on the bank, and the people in it seemed ready to take him to the desired area for the promised reward. But the luster and delicacy of his treasures soon aroused their greed so much that they agreed to get hold of him, toss him into the sea and afterwards to distribute his belongings among themselves. As soon as they were in the middle of the sea, they attacked him and told him that he was going to die because they
had decided to throw him into the sea.

He begged them for his life in the most touching way, offered them his treasures for ransom, and prophesied great misfortune for them if they carried out their purpose. But neither one nor the other could
move them: for they were afraid that he might one day betray their evil deed. Since he saw her so determined, he asked her at least to allow him to play his swan song before his end, then he would
voluntarily jump into the sea with his simple wooden instrument in front of her eyes. They knew very well that when they heard his magic song, their hearts would soften and they would be seized with
repentance; So they resolved to grant him this last request, but to keep their ears plugged while the song was in progress so that they would not hear anything, and so they could stick to their plan. This
happened. The singer started a wonderful, infinitely touching song. The whole ship sounded, the waves sounded, the sun and the stars appeared in the sky at the same time, and dancing flocks of fish and
sea monsters emerged from the green waters. The boatmen stood hostile alone with their ears tightly clogged, and waited impatiently for the song to end. It was soon over. Then the singer jumped into the
dark abyss with a cheerful forehead, his miraculous tool in his arm.
He begged them for his life in the most touching way, offered them his treasures for ransom, and prophesied great misfortune for them if they carried out their purpose. But neither one nor the other could move them: for they were afraid that he might one day betray their evil deed. Since he saw her so determined, he asked her at least to allow him to play his swan song before his end, then he would voluntarily jump into the
sea with his simple wooden instrument in front of her eyes. They knew very well that when they heard his magic song, their hearts would soften and they would be seized with repentance; So they resolved to grant him this last request, but to keep their ears plugged while the song was in progress so that they would not hear anything, and so they could stick to their plan. This happened. The singer started a wonderful, infinitely
touching song. The whole ship sounded, the waves sounded, the sun and the stars appeared in the sky at the same time, and dancing flocks of fish and sea monsters emerged from the green waters. The boatmen stood hostile alone with their ears tightly clogged, and waited impatiently for the song to end. It was soon over. Then the singer jumped into the dark abyss with a cheerful forehead, his miraculous tool in his arm.

He had scarcely touched the shining waves when the broad back of a grateful monster rose from beneath him, and it swiftly swam away with the astonished singer. After a short time it had reached the
coast he had wanted to go to and set him down gently in the reeds. The poet sang a happy song to his savior, and went away grateful. After a while he was walking alone on the shore of the sea and
complained in sweet tones about his lost treasures, which had been so dear to him as memories of happy hours and as a token of love and gratitude. While he was singing, his old friend suddenly came
rustling along in the sea, and from his mouth let the stolen treasures fall onto the sand. After the singer's jump, the boatmen immediately began to divide themselves into his legacy. At this division a
dispute had arisen among them, and had ended in a murderous struggle that cost most of their lives; the few that remained had not been able to rule the ship alone, and it was soon found on the beach,
where it failed and sank. They lost their lives with extreme hardship, and came ashore with empty hands and torn clothes, and so, with the help of the grateful sea animal that sought out the treasures in
the sea, they returned to the hands of their old owner. ''
He had scarcely touched the shining waves when the broad back of a grateful monster rose from beneath him, and it swiftly swam away with the astonished singer. After a short time it had reached the coast he had wanted to go to and set him down gently in the reeds. The poet sang a happy song to his savior, and went away grateful. After a while he was walking alone on the shore of the sea and complained in sweet tones
about his lost treasures, which had been so dear to him as memories of happy hours and as a token of love and gratitude. While he was singing, his old friend suddenly came rustling along in the sea, and from his mouth let the stolen treasures fall onto the sand. After the singer's jump, the boatmen immediately began to divide themselves into his legacy. At this division a dispute had arisen among them, and had ended in a
murderous struggle that cost most of their lives; the few that remained had not been able to rule the ship alone, and it was soon found on the beach, where it failed and sank. They lost their lives with extreme hardship, and came ashore with empty hands and torn clothes, and so, with the help of the grateful sea animal that sought out the treasures in the sea, they returned to the hands of their old owner. ''

People who do not value ART, pay with their lives.

ART is so magical that living and non-living beings strongly influence each other and set themselves in motion.
" SANATSIZ BİR MİLLETİN HAYAT DAMARLARINDAN BİRİ KOPMUŞ DEMEKTİR ."
MUSTAFA KEMAL ATATÜRK

Novalis: Heinrich von Ofterdingen - 4th chapter

Summary :
Heinrich, his mother and the merchants pass a castle, where they also take a break. In this castle, knights sit together at the table and sing crusade songs. They express hatred towards non-Christians. Heinrich is enthusiastic about this atmosphere and the life of the knight. Later he goes out and meets Zulima there, who was driven from her homeland, the Orient, and tells wistfully about her home and the friendliness there. She
blames Christians for their fate. Heinrich feels sorry for her and his enthusiasm for the war is completely extinguished. He is confronted with joy and suffering at the same time. He and his mother say goodbye the next day in sorrow and worry.

The knights sang the hymn of the cross in a loud voice

The grave is under wild heathens;
The grave where the Savior lay
Must suffer iniquity and ridicule
And is profaned every day.
It complains in a dull voice:
"Who will save me from this grimness!"

Where are his heroic disciples?

Christianity has disappeared!
Who is the Bringer of Faith?
Who will take the cross at this time?
Who breaks the most shameful of chains
And will the Holy Sepulcher save?

The cross blows high in the victory banner,

The cross blows high in the victory banner,
And old heroes come first.
The blessed door of paradise
Will be opened to pious warriors;
Everyone wants to enjoy happiness
To shed his blood for Christ.

To fight you Christians! God's hosts

Come to the promised land.
Soon the heathen will experience grim
The hand of the god of terror.
We'll soon be washing in a good mood
The holy grave with pagan blood

Lament of Zulima
Still breaks the dull heart
Not under a strange sky?
Hope comes pale shimmer
Still seeing me
Can I still imagine returning?
My tears fall like a stream
Until my heart breaks in sorrow
Far away are those youthful dreams!
The fatherland lies down!
Those trees have long been felled
And the old lock burned.
Terrible, like ocean waves
When a rough army came,
And paradise disappeared.

Zulima's attitude to the crusade

: “Do not believe what you have been told about the cruelty of my countrymen. Nowhere were prisoners treated more magnanimously, and your pilgrims to Jerusalem were also received with hospitality, only that they were seldom worth it. Most of them were useless, wicked people who marked their pilgrimages with boys' pieces, and who, of course, often fell into the hands of just vengeance. How calmly the Christians
could have visited the Holy Sepulcher without having to start a terrible, useless war that embittered everything, spreads endless misery, and forever separated the East from Europe. What was the owner's name? Our princes reverently honored the tomb of your saint, whom we also consider a divine prophet; and how beautiful his holy grave could have been the cradle of a happy agreement, the
occasion of eternal charitable alliances! ''

Mood, prompt in the first song

Mood, prompt in the first song
Crossing song calls on people to take part in the crusade to destroy people of other faiths.
Mood, prompt in the second song
The second song shows the consequences of the crusades. Crusades cause death, misery and displacement.
Desire, recommendation from Zulima
'... how beautiful the grave could have been the cradle of a happy agreement, the occasion of eternal charitable alliances.'
The grave could become a vehicle of friendship, peace.

ALM2204 ALMAN EDEBİYATI - II BAHAR YARI YILI

DIE GERMAN ROMANTIK (about 1800-1830 ) CHARACTERISTICS - AUTHORS
THE GERMAN ROMANTIC CHARACTERISTICS
GERMAN ROMANCE
French novels, medieval epics form the core of this term. The medieval epics, like the novels of this time, dealt with dreamy, fabulous, fantastic and adventurous events that were at the same time a model of the romantic epoch. Nicolai Hartmann said: "It is a way of life of its own". Julius Petersen says that it cannot be explained in a limited way. Romance is incessant and continuous.

a-earlier (older, Jena) romance

a-earlier (older, Jena) romance
In the earlier romantic period, some traces of the classical period are noticeable. Most of the time, philosophical, spiritual, intellectual and individual subjects were dealt with in a more speculative manner. Well-known representatives of this group were August Wilhelm Schlegel, Friedrich Schlegel, Friedrich von Hardenberg (Novalis), Ludwig Tieck, Wilhelm Wackenroder and others.
b-Late Romanticism (High Romanticism, Younger or Heidelberg Romanticism)
The late romanticists mostly worked on more artistic and irrational subjects. Well-known representatives of late Romanticism are: ETA Hoffmann, Achim von Arnim, Josef Görres, Josef von Eichendorf, Clemens Brentano, Brothers Grimm, Gustaf Schwab, JPHebel,
Two women writers also published independent works during the Romantic period. They are Betina Brentano and Annette von Droste Hülshof.

General characteristics of German Romanticism Romantic conception of life and art

* Life is an ever evolving movement
* A bird's eye view of everything, poetic representation of the world
* Philosophical consideration of nature
* Art is seen as a product of feeling in connection with religion,
* Feelings and dreams are expressed in art
* The subject of death is understood as the continuation of life in the hereafter
* Friendship, friendship group, independent femininity are preferred
* Music and painting have a strong influence in art
* "Blue flower" is a symbol of love in romance

* Poetry is a kind of formed feeling

* Poetry is a kind of formed feeling
* Fairy tales offer a wealth of possibilities for imagination.
* Composition of genres: narrative, poetry, fairy tale in the novel. There should be no boundaries between the literary genres, all literary genres are related. Feelings, dreams, night, adventure, experiences, sensitivity, etc. are discussed

Literary genres
Lyirk:
Poetry was one of the most important genres of this era. It was mostly a mixture of music and painting. In terms of content, emotions, the dreamy, a lot of phantasy, the night, death and a preference for sunrise and sunset were discussed. Romantic poetry is referred to as formed feelings.
Fairy tale:
Because the fairy tale offers a wealth of possibilities for imagination, it was one of the most popular genres of the time. The representatives of the art fairy tales were in the romantic era: Novalis ETA Hoffmann Ludwig Tieck, and Clemans Brentano.

Drama:
Drama:
The drama found no place in the poetry of this epoch because the romantics hold the opinion that the romantic is an introverted person (turned towards his inner world) and that his inner urges cannot be shown on the stage.
Novel :
The novel of this epoch often includes the literary genres of stories, poems, apherisms and fairy tales in - or behind one another. Because the Romantics believed that there should be no boundaries between literary genres and that all genres are related. The romantics tried to poetize the world, that is, the universe, in poetry, and see the novel as the best means of realizing this view. The themes most frequently used in Roman
were irrationality, feelings, dreams, night, adventurous, intellectual and individual questions, experiences and human sensitivity. Forerunners of this genus were Novalis, L. Tieck, Fr. Schlegel and ET A Hoffmann.

AUTHORS OF THE TIME - romance

Friedrich von HARDENBERG (NOVALIS)

Born in Oberwidsted in 1772, died in Weissenfels in 1801

He is known by the code name NOVALIS. In his childhood he was shy, weak, reserved and had a special motherly love. The young Novalis was interested in Latin, ancient Greek poems and novels. He studied law and mining in Leipzig and Jena. These are two areas that have nothing to do with each other, yet he examined nature with technical eyes. He brought mining and the humanities into harmony, with which he wanted
to discover the secrets of nature and thereby give way to his God. His lover Sophie von KÜHN was sick and died very young. He was very affected by this and dealt with subjects such as death, night and the mystery of the night in his works.

THE WORKS of NOVALIS

Fragments from 1800:
" APPRENTICE TO SAIS ": This is a fragment of a novel in which the romantic elements are also connected. Sais is a temple where the master and apprentices work to solve the mysteries of nature. In this work it is typical that there are also fairy tales here. One of them is "Fairy Tale of the Rose Blossom and Hyacinth".
" CHRISTIANITY OR EUROPE ": It is a religious and political work. Here he describes his ideal about a Christian-religious unity in Europe and longing for the Middle Ages, where he had found such unity. He wanted a second reformist and renaissance, but in the opposite sense.
" HEINRICH von OFTERDINGEN ": This work is published by Friedrich Schlegel after his death. This is an attempt at a novel, but it consists of a mixture of different epic genres such as fairy tales, short stories, songs, poems and aphorisms. It is an artist novel / educational novel, its style is simple and plain, the sentences are mostly short and main clauses. (Excerpts from this work (Chapters 1, 2, 4) will be worked on in the
class)

Ludwig TIECK (1773-1853)

He is the son of a veil master. At first he wanted to be an actor, but at the request of his parents he studied theology and philology. He translated Shakespeare's works into German with August Wilhelm Schlegel. In the beginning he served the Enlightenment, he not only designed his art according to the romantic conception, but the Enlightenment era also inspired him and influenced his art. It was only through the collaboration
with Wilhelm Wackenroder that L. Tieck was won over to the Romantic era. In its essence, intellect, imagination and exuberance of feeling resist each other. His poetic world is a realm of secret horror of supernatural fairy tales, tired melancholy and the highest romantic irony. In 1799 he was in Jena among the early romantics (Novalis, Schlegel, Schelling, Fichte). 1801-1803 in Dresden, acquaintance with Schiller and
Goethe, 1804-1805 trip to Italy, long stay in Rome and Florence. Try to gain a foothold in Vienna or Munich. After many journeys (Prague, France, England) he held famous reading evenings in Dresden as court counselor and dramaturge of the court theater. He was talented for drama, which is his own in this era. 1841 Call to Berlin, reader of the king.

THE WORKS of LUGWIG TIEK

Puss in Boots
L. Tieck wrote this fairy tale as part of a satirical literary comedy. Here the boundaries between the stage and the audience are removed. A miller, a locksmith, a cooper and a fisherman sit on the outer stage and gloss over the play on the inner stage (express political criticism). On the inner stage are Lorenz, Barthel, Gottlieb and the cat Heinze. After part of the play has been performed on the inner stage, those on the outer
stage will criticize. So the piece goes on. It was a modern invention at the time. Here you notice the first features of epic theater, it combines epic with drama. The people playing in the role of the audience give a criticism of the romantic climax.
FRANZ STERNBALDS WALKS, STORY OF MR WILLIAM LOVELL, FOLK TALES, LIFE AND DEATH OF SAINT GENOVEVA,
EMPEROR OCTAVIANUS, PHANTASUS, OF LIFE ABUNDANCE
VITTORIA ACCOROMBONA

JACOB and WILHELM GRIMM

Jacob and Wilhelm GRIMM were born in Hanau in 1785 and 1786, respectively; They spent their childhood in Steinau and came to Kassel in 1798 after the early death of their father, who worked there as a bailiff. They attended high school in Kassel and began studying law at the University of Marburg in 1802 and 1803, respectively. In 1806 Wilhelm GRIMM passed the lawyer exam, while JACOB finished his studies in
1805 without a final exam. Rather, he followed an invitation from his academic teacher FRIEDRICH KARL von SAVIGNY to Paris to help him evaluate medieval legal manuscripts.
After his return to Kassel in 1806 he became secretary at the War College, in 1808 private librarian to King JEROME von Westphallen and in 1809 State Council auditor. For many years Wilhelm GRIMM was unable to work because of illness. It was not until 1814 that he became a librarian at the Electoral Library in Kassel, while his brother, after the withdrawal of the French in 1813, became legation secretary in the
diplomatic service of the Electorate of Hesse; In this capacity he also took part in the Allied campaign to France and in the Congress of Vienna in 1815 and was also involved in the repatriation of stolen art treasures from France.

In 1816 he, like his brother, also became a librarian at the Electoral Library in Kassel. At the beginning of 1830, the GRIMM brothers accepted positions as professors and librarians at the University of
Göttingen. They took part in the protestation of the Göttingen Seven in 1837, were relieved of their office and expelled from the country.
In 1816 he, like his brother, also became a librarian at the Electoral Library in Kassel. At the beginning of 1830, the GRIMM brothers accepted positions as professors and librarians at the University of Göttingen. They took part in the protestation of the Göttingen Seven in 1837, were relieved of their office and expelled from the country.
After a two-year stay in Kassel, characterized by uncertainty and hopelessness, the Prussian king summoned them to Berlin in 1840, where they were given the opportunity to conduct their extensive research as professors at the Academy of Sciences with the right to give lectures at the university. In 1848, JACOB GRIMM, as an elected member of the constituency of Mülheim ad Ruhr, took part in the negotiations of the
constituent national assembly in the Paulskirche in Frankfurt, but then, disappointed and bitter, renounced further political activity.
WILHELM GRIMM died in 1859, followed by his brother JACOB in 1863.

LITERARY ACTIVITIES and THE WORKS OF BROTHERS GRIMM

Her scientific and literary work is such that its scope and, above all, its quality repeatedly arouse astonishment and arouse admiration. With all the fluency of their upbringing, their training, their professional activities as librarians and academy professors, despite their communal life, their scientific interests and the resulting research and publications initially developed differently after they started together, only to lead to joint
work again.
In between, Jacob GRIMM was mainly active in linguistics according to his skills ;
Wilhelm GRIMM - sickly, softer mind and cheerful disposition - turned decisively and primarily literary ventures to .
Legal history, text editions of medieval literature, grammar, religious studies and history are the research areas to which Jacob GRIMM devoted himself in particular. Wilhelm GRIMM published mediaeval as well as contemporary texts. A book written by him, which marks the beginning of sober scientific runne research in Germany, testifies to his linguistic and grammatical knowledge.

As the last, joint work, the GRIMM brothers began the publication of an extensive “German dictionary”, which was only presented in full more than a hundred years later as an all-German enterprise of the scientific academies in Berlin and Göttingen with a total of
thirty-two volumes from A to Z. With this joint work, which was adopted late and which is still growing in age according to the newly developed lexicographical basic rules, astonishingly far advanced, a joint work of their youth is reflected: the two-volume edition of the
“Children's and Household Tales”, which they have collected and edited for the text, to the extent of 156 fairy tales, which they were able to increase in subsequent editions up to 200 numbers in the last edition and to add 10 children's legends. Since then, this collection has
been distributed all over the world, at least in partial and individual editions, also in innumerable foreign language translations in a number of copies that can no longer be ascertained, and has made the name of the GRIMM brothers known in the remotest corners of the
world. And with her 'Notes' on the fairy tales, the fairy tale research that has now been conducted internationally begins.

In total, the GRIMM brothers published eight works together, Jacob GRIMM alone twenty-one, and the volume of his magazine articles and smaller publications amounts to almost four thousand pages in
an eight-volume reprint. Wilhelm GRIMM was the author or editor of eighteen works, and his magazine articles and smaller writings count almost two and a half thousand pages in a four-volume reprint.
In total, the GRIMM brothers published eight works together, Jacob GRIMM alone twenty-one, and the volume of his magazine articles and smaller publications amounts to almost four thousand pages in an eight-volume reprint. Wilhelm GRIMM was the author or editor of eighteen works, and his magazine articles and smaller writings count almost two and a half thousand pages in a four-volume reprint.
With these their scientific publications and with their activities as university lecturers and researchers, they actually established the scientific subjects that we summarize today under the term GERMANIC PHILOLOGY (also: German Philology). The considerable efforts and approaches of previous centuries in the history of language and literature were systematically organized by them, summarized according to scientific
principles and decisively further developed. As a result, a previously neglected part of cultural history, Germanic antiquity as a whole, became the subject of research.

Jacob GRIMM's “Deutsche Grammatik” (1819 / 1822-1837) builds on the comparative linguistics that has just been developed, treats all Germanic dialects historically and places them in the context of
Indo-European. His “Deutsche Rechtsaltentümer” (1828) were just as groundbreaking as his “Deutsche Mythologie” (1835) for the knowledge of religious ideas in the Germanic past. The “Children's and
Household Tales” (1812-1815) and the “German Legends” (1816-1818) stimulated research into fairy tales and legends and shaped them for more than a century. The two collections were and are no
longer recognized as having an influence on poetry and the visual arts, as well as on education and training in general. With them and their explanation, literary folklore emerged as a science since 1819.
Finally, the “German Dictionary”, combining etymology and semasiology, offers word research that has never been carried out in such a comprehensive, thorough and verifiable manner before; It is
therefore understandable that it became a model for comparable dictionaries in other language communities.
Jacob GRIMM's “Deutsche Grammatik” (1819 / 1822-1837) builds on the comparative linguistics that has just been developed, treats all Germanic dialects historically and places them in the context of Indo-European. His “Deutsche Rechtsaltentümer” (1828) were just as
groundbreaking as his “Deutsche Mythologie” (1835) for the knowledge of religious ideas in the Germanic past. The “Children's and Household Tales” (1812-1815) and the “German Legends” (1816-1818) stimulated research into fairy tales and legends and shaped them
for more than a century. The two collections were and are no longer recognized as having an influence on poetry and the visual arts, as well as on education and training in general. With them and their explanation, literary folklore emerged as a science since 1819. Finally,
the “German Dictionary”, combining etymology and semasiology, offers word research that has never been carried out in such a comprehensive, thorough and verifiable manner before; It is therefore understandable that it became a model for comparable dictionaries in
other language communities.
Jacob and Wilhelm GRIMM are referred to as the FOUNDERS OF GERMAN PHILOLOGY (GERMENISTICS).

Brothers Grimm researched, systematized and rewrote the origin and development of the German language, German literature, German mythology and German law. You have collected the German folk tales and published them in two volumes. For these reasons, they are
called the founders of German philology.

ALM2204 ALMAN EDEBİYATI - II BAHAR YARI YILI

YOUNG GERMANY PREMARCH (around 1830 - 1848-49)
HEINRICH HEINE: GERMANY A WINTER TALE
Caput I.
It was in the sad month of November
The days grew dreary
The wind tore the leaves from the trees,
I am traveling over to Germany.

And when I got to the limit

Then I feel a stronger knock
In my chest, I even believe
The eyes began to drip.

And when I heard the German language

That makes me feel strange;
I meant no other than the heart
Bleed to death quite pleasantly.

At the beginning of the poem the bad mood of time and nature is described. The narrator travels over to Germany during this time. When he gets to the border, he is excited and happy because he can now speak German.

A little harp girl was singing.

A little harp girl was singing.
She sang with real feelings
And wrong voice, but I became very
Touched by their game.

She sang of love and sorrow of love

Sacrifice and recovery
Up there in that better world
Where all suffering disappears.

She sang of earthly woes,

Of joys that will soon melt away
From the hereafter, where the soul indulges
Transfigured in eternal delights.

She sang the old renunciation song

The egg apopeia from heaven,
What you lull with when it grumbles,
The people, the big lout.

At the German border he sees a little girl who plays the harp and sings. She sings with real feeling and impresses the narrator. But for him her voice is wrong. The content of the song is about transience in the world where there is only suffering and pain. Love and joy are
only temporary. The real love and joy should be in the hereafter after death. this song is a lullaby from heaven. When people hear it, they fall asleep like a small child.
I know the way, I know the text
I also know the authors;
I know they secretly drank wine
And preached public water.

The narrator is not satisfied with the song sung. For him, what has been done does not correspond to what has been said. People who let the people sing this lullaby do not act according to these principles themselves. They don't do what they recommend to the people.

A new song, a better song

A new song, a better song
O friends, I will write poetry for you!
We want to be here on earth
Establish the kingdom of heaven.

We want to be happy on earth

And do not want to starve any more;
The lazy belly shouldn't feast,
What hardworking hands acquired.

There is enough bread growing here

For all human children
Also roses and myrtles, beauty and lust,
And sugar peas no less.

Yes, sweet peas for everyone

As soon as the pods burst!
We leave the sky
The angel and the sparrow.

And grow wings after death

So we want to visit you
Up there, and we, we eat with you
The most blissful pies and cakes.

A new song, a better song

It sounds like flutes and violins!
The miserere is over
The death bells are silent.

The narrator is not satisfied with the song sung. He is of the opinion that one can also lead a life like paradise on earth. Because on earth there are all kinds of objects and foodstuffs with which people can become happy. Since the spiritual promise to lead a friendly life only
after death, the narrator says that they only want to lead a happy life on earth. And if the promised life is to be true, they will experience it more closely. So he decides to write a new song contrary to the song of the harp girl. Life on earth is beautifully portrayed in the
song.

The maiden Europe is engaged

The maiden Europe is engaged
With the beautiful genius
The freedom, they are in each other's arms,
You indulge in the first kiss.

And the priest's blessing is missing

The marriage becomes valid no less -
Long live the groom and the bride,
And their future children!

A wedding poor is my song

The better, the new!
Go up in my soul
The stars of the highest consecration -

Enthusiastic stars, they blaze wildly,

Dissolve in torrents of flame -
I feel wonderfully strengthened
I could break oaks!

Ever since I stepped on German soil

Magic juices flow through me -
The giant touched the mother again,
And his strength grew again.

Europe is described as a virgin. It is engaged to the angel of freedom. But the Church does not give them permission to marry. But the marriage between the couple and their children does not lose its value. In the song there is also a place for this wedding and for the
stimulation of freedom, because since the narrator has been in his fatherland, he has been filling himself up to assert himself. He compares himself to the journey from mythology. The journey is the child of the earth and when he touches the earth, he fills himself stronger,
more powerful and can defeat his opponent.

. H. Heine: Germany a winter fairy tale

. H. Heine: Germany a winter fairy tale
Caput II
While the little one from heaven's lust
Trilled and made music,
Ward of the Prussian Douaniers
Visiting my suitcase.

Sniffed everything, rummaged around

In shirts, pants, handkerchiefs;
They were looking for lace, for jewelry stores,
Even for forbidden books.

You fools you are looking for in your suitcase!

You won't find anything here!
The contreband that travels with me
I've got it in my head.

From the first to the third stanzas the narrator is at the customs. He comes to Germany from France. The customs officers rummaged through his suitcase. In it they look for lace, jewelery shops and forbidden books because these things were forbidden by the Prussian
authorities. But they find nothing, since he has the forbidden in his mind, not as a material object.
Here I have the tips that are finer
As those of Brussels and Mechelen,
And I'll unpack my tips one day
They will tease and pant you.

I wear jewelry in my head

The future crown diamonds,
The temple jewels of the new god,
The great stranger.

And I have a lot of books in my head!

I can assure you
My head is a chirping bird's nest
From confiscated books.
Believe me, in Satan's library
Can't there be worse;
They are even more dangerous than that
From Hoffman von Fallersleben! -

From the fourth to the seventh stanzas, he says that he has all the forbidden things in his head. He has no books or jewelry stores in his suitcase. But there are many of these in his head as building blocks for the future. He has many messages in his head from these books.
These are against the ruling power and in comparison to the book by Hoffmann von Fallersleben "Unpolitical Songs" dangerous for them.

A passenger who stood next to me

A passenger who stood next to me
Realized me I should have
Now the Prussian Zollverein in front of me,
The great douan chain.

"The Zollverein" - he remarked -

»Will establish our nationality
He becomes the fragmented fatherland
Connect to a whole.

He gives us the outer unity,

The so-called material;
The spiritual unity gives us the censorship,
The truly ideal -

She gives us the inner unity

The unity in thought and senses;
We need a united Germany
Unite externally and internally. «

From the fourth to the seventh stanzas, he says that he has all the forbidden things in his head. He has no books or jewelry stores in his suitcase. But there are many of these in his head as building blocks for the future. He has many messages in his head from these books. These are against the ruling power and in comparison to the book by Hoffmann von Fallersleben "Unpolitical Songs" dangerous for them.
In the eighth and ninth stanzas there is a passenger standing next to him. He thinks that the Prussian Zollverein founded the German nationality.
The tenth and eleventh stanzas speak of the unity of Germany. Prussia forms the outer unity with the tariffs and the inner unity with the censorship. It also forms the unity in people's thoughts and senses.

After the Thirty Years' War, Germany is divided into about 300 small states. The strongest area is Prussia. Prussia and the other small German states united. They had built tariffs to protect the country. They think that they are creating the outer unity with the tariffs and
the inner unity with the censorship. But people are not free that way. With this poetry the poet criticizes royalty and power. The country needs a nationality. But this nationality is not obtained through censorship or customs. First the country needs a free internal unity,
then an external unity, which consists of this free, internal unity.
H. Heine: Germany a winter fairy tale
Caput V
And when I came to the Rhine bridge,
Well to the harbor jump,
Then I saw Father Rhine flowing
In the quiet moonlight.

"Greetings to me, my father Rhine,

How have you been
I have often thought of you
With longing and longing. "

There the narrator stands in the night, in the moonlight on the river Rhine. The poet calls him "Father Rhine". This river begins in Switzerland and flows through Germany and France and in some places
forms the border between Germany and France. With this, Father Rhine experiences all wars in history. Rhein always had worries and problems because of the wars. The poet and the Rhine have not seen
each other for 13 years. In the meantime, Father Rhein has experienced a lot of bad things.
There the narrator stands in the night, in the moonlight on the river Rhine. The poet calls him "Father Rhine". This river begins in Switzerland and flows through Germany and France and in some places forms the border between Germany and France. With this, Father Rhine experiences all wars in history. Rhein always had worries and problems because of the wars. The poet and the Rhine have not seen each other for 13
years. In the meantime, Father Rhein has experienced a lot of bad things.
Germany and France have always fought. They have damaged and polluted the Rhine. e.g. they filled the river with stones for war. Germans say: 'The Rhine is ours!' The French also say: 'The Rhine is ours!' two singers (Niklas Becker and Alfred de Müsset) write two songs about the Rhine. Niklas Becker is a German. And Alfred de Müsset is French. The situation of the Rhine is bad, although they write beautiful songs about
it. The Rhine is actually dirty and tired. But these singers say "The Rhine is as clean as a maiden". They blush the Rhine with blood.
The Rhine says 'The French are actually good people'. The poet says that the French are no longer the old French. Now the French are like Kant, Hegel and Fischte. The poet promises father Rhine to protect him and comforts him with his words. He will write a new, better song that promises a life of peace and freedom.

Verse 1-3:
Verse 1-3:
The poet comes to his father Rhein. The word "father" describes his great love for the Rhine. He greets him longingly. Rhein answers him with a growling and coughing voice like an old man.
Verse 3-7:
You haven't seen each other in 13 years. The Rhine is doing badly because it was badly damaged because of the wars. But Niklas Becker sings about him as if he were the purest maiden. When he hears this song, the Rhine would like to drown in itself.
Verse 7-13:
The French know better that the Rhine is no longer a virgin because they polluted the river's water with their waters of victory (blood). It seems to him that he is embarrassed and politically compromised by Niklas. Now the French are returning and he is ashamed of them. He used to ask for her to return because of the war. But now he's scared that they'll mock him for the song. Alfred de Müsset, who was one of the youngest
at the top, sang a song for him and mocked him. The father Rhine tells this to the poet.

Verse 13-21:
The poet comforts him: he says that he should not be afraid of the French mocking jokes. Because they are no longer the old French. Their pants are very different / red bloodstained and they have different heads. They speak of Kant, Fischte and Hegel and smoke tobacco and drink beer like the Germans. If Alfred mocks him again, they will tell that he went to women himself.

The French were revolutionaries before, were for freedom, equality and fraternity. Now they are just like the German philosophers. They think and act like the Germans now.
In the end, he says he'll be writing a better song soon. Peace and freedom are not far away.

Georg Büchner: DANTON'S DEATH

G. Büchner: Danton's death, act 1, scene 6
A ROOM
There are three people in this scene: Danton, Robespierre, and St. Just.
They are members of parliament. Danton and Robespierre are the leaders of the revolution.
The time is around the middle of the French Revolution (1794). Danton and Robespierre speak at the beginning of the scene. Robespierre thinks that the revolution is not yet complete and that the enemies of the revolution should be punished.
But Danton claims that the revolution must end and the republic should be established. He thinks that because of the quarrels, the country has become like a blood kettle. And he says, “We should end the revolution. We are not allowed to send people to the guillotine ”.
Then he accuses Robespierre with his inhuman thoughts. Danton thinks that Robespierre only lives for his righteousness and never thinks of others. He thinks; “With punish we cannot find a solution. The Republic is very useful for the solution. After this moment we must not kill innocent people ”.

But Robespierre does not agree with this opinion and they argue with each other. "Whoever prevents the revolution is on the side of the enemy, if Danton does that he will also be punished". Then Danton goes away.
After Danton leaves, St. Just comes into the room. He tries to convince Robespierre that he will accept Danton's arrest. He says; if Robespierre did not accept Danton's arrest, he and his friends would destroy him. He shows Robespierre some evidence (papers) and convinces Robespierre to arrest Danton.
In the end, Robespierre is left alone thinking that his old friends are moving away from him and so he is left alone.

. G. Büchner: Danton's death, 2nd act, 7th scene

. G. Büchner: Danton's death, 2nd act, 7th scene
THE NATIONAL CONVENT (THE PARLIAMENT)
A group of deputies discussed in the National Convention. Legendre is one of them. Four members of the National Convention have been arrested. Legendre says that Danton is one of them, the names of the rest of the Lenne are not. He would like to have had a privilege for her special fights. Therefore, such a man must be allowed to defend himself if he is accused of high treason. He thinks that the slaughter of the deputies
must be stopped.
Some deputies support Legendre's proposal. But some don't, Robespierre is one of them. He says that we cannot give any privilege to people. In the past, Chabort, Delaunei and Fabre have been good for us. But when they did something wrong, we punished them. What is the difference in favor of some men today? he says. In his opinion, Danton and his friends must be punished.
And St. Just is against Legendre's proposal. He compares the revolution with nature. In nature, when the branches that are spoiled are pruned, the new branches will be copiously healthier. In his opinion, the revolution is like nature. This is how these men should be punished. in this way the revolution develops more vigorously.

G. Büchner: Danton's death, 3rd act, 4th scene

G. Büchner: Danton's death, 3rd act, 4th scene
THE REVOLUTION TRIBUNAL (The Revolutionary Court)
This scene is between Danton and Herman (the judge). Herman asks his name, he gives an unexpected answer: “History will write that I was a forerunner of the revolution. Soon I will not be standing on this earth, my name will be buried in history ”.
Then Herman explains that the Convention (Parliament) accuses Danton of collaborating with King Louis 17th and the enemies of the Revolution, and of being on the side of feudalism.
He says, “Whoever accuses me, may I cover him with shame. Everything they say is a lie ”. He accuses his opponents; St. Just and Robespierre and his friends. Then he says that his life is no longer of any value to him and if they wanted, they can take his (Dantons) life too. He said "I'm going to die soon, you can take my life".
These conversations continue, at the end the audience cheers / supports everything Danton says. Herman tries to end the session, but Danton always defends himself high and says "The voice of someone who defends his honor and his life must ring your bell" and goes on to tell what he has done for France in the past. Then the applause grows louder. Then Herman speaks to Danton, “You need quiet, your voice is exhausted.
The next time you will decide on your defense and close the meeting ”.
At the end Danton says: "Now you know Danton after a few hours, and he wants to fall asleep in the arms of fame".

DANTON'S DEATH - AN OVERVIEW

BEFORE THE REVOLUTION
FEUDALISM CITIZENSHOLE
König + Papst finance owners, traders
Aristocracy + knight scholars, peasants, nobles,
Priest New Thoughts : Freedom, Equality,
Lawfulness, prosperity of the people

A fight against feudalism

Civil revolution in France - forerunners: Robespierre and Danton
The revolution lasts for a long time, the fall of kingship
Establishing a new parliament, but still no new government,
Mass murder

Splitting of the new forces

Splitting of the new forces
Continuation of the Revolution (Robespierre)
Reasons: there are still enemies and traitors, the revolution is not yet complete, belief in the power and anger of the people, mutual accusation of high treason

End of the revolution, beginning of the republic ( Danton)

Reasons: the need for moderation, rest, standstill, no more murder, the country becomes a kettle of blood,
Believe in common sense and mercy of the people
The revolution is eating its children
Taking advantage of the situation of some old and new rulers, loss of confidence among the revolutionaries and mutually guillotining each other and the weakening of the new power

For the people: - No improvement in the life of the people, hunger, hardship, blood, chaos, moral decay- The people are uneducated, insecure, not firmly determined, no longer trust each other - In the
beginning the people are for the revolution and revolutionaries (Danton + Robespierre) - Then more trust in Robespierre; the INVESTIGIBLE one
For the people: - No improvement in the life of the people, hunger, hardship, blood, chaos, moral decay- The people are uneducated, insecure, not firmly determined, no longer trust each other - In the beginning the people are for the revolution and revolutionaries (Danton + Robespierre) - Then more trust in Robespierre; the INVESTIGIBLE one
Enough :
The accelerated trial of Danton and his friends
Danton's execution with his friends
Failure of the revolution

Young Germany - Vormärz CHARACTERISTICS

Politically Engaged Poetry; realistic, this side of the world, combative
Against feudalism (monarchy and aristocracy)
For the bourgeoisie, for freedom of the press
Style: newspaper style; not a chronological narrative, but a juxtaposition technique
Genres: not a historical novel as in romanticism, but a time novel, politically
satirical poetry, a panorama of time

A comparison of the world and art conception of German Romanticism with the world and art conception of the pre-March of the “Young Germany”!
German romanticism
imaginative, utopian, dreamlike
artistic, invented
inner world of man
beyond, religiously directed
historical novel is preferred
no drama, dear novel, poetry and fairy tale
Model: national past (Middle Ages, Sturm und Drang),

Vormärz - Young Germany

Vormärz - Young Germany
worldly, realistic
Panorama of the time
Outside world, politically engaged
this side, combative
Timeline in the foreground
Drama, political poetry
Model: Enlightenment, Reformation period,
French Revolution

AUTHORS OF THE TIME

Heinrich Heine (1797-1856)
He was born in Düsseldorf as the son of a Jewish businessman, he studied law and did his doctorate in Göttingen, he wanted to become a professor, but because he was not a Christian, he was dismissed from the university. He then officially accepted the Christian religion in order to be accepted into Christian circles. Heine had lived in Paris since 1831, but he was inwardly connected to his homeland and indeed with a love-
hate relationship, he could not stop himself from criticizing and mocking Germany from afar, longing for Germany of Lessing and Goethe. H. Heine was a poet who was both highly praised and sharply attacked during his lifetime and after his death. He was a master who turned all values into simple things, but on the other hand a skeptical person in whom everything was ambiguous, he was also a master of irony.
H. Heine was / is read a lot because he represented the interests of the people / the oppressed. It was / is often banned because it criticized the authoritarian rule violently and strongly.

HEINES WORKS
THE RESIN JOURNEY (1826) It is a travel description from a four-week excursion that he undertook to the Harz region. The style is subjective, romantic, and in terms of content, the work is a fusion of poetry and descriptions of nature. The impressions written one inside the other are adorned with intellectual political and social ideas.
THE BOOK OF SONGS, ATTA TIROL, NEW POEMS
GERMANY A WINTER TALE, THE ROMANZERO:

GEORG BÜCHNER (1813-1837)

GEORG BÜCHNER (1813-1837)
He was born in Darmstadt as the son of a doctor. He got the first ideas for his upbringing from his mother, who was a lover of literature. He then read Schiller, Körner and Jean Paul, but under the influence of his father he was trained on the other side to study medicine. He went to the university in Giessen and published a political, revolutionary paper under the name "Der Hessische Landbote", whereupon he was persecuted
and therefore fled to his father in Strasbourg. There he became a lecturer in natural sciences and shortly afterwards he died at the age of 24.

Georg Büchner's WORKS

DANTONS TOD (1835) This drama is written in four acts and was created under the influence of the French Revolution. One of the greatest figures of the revolution, Danton no longer believes in the revolution, in his view the revolution cannot solve the material and ethical questions. Danton sees his efforts to put an end to the bruising, he has been misinterpreted and suspected. Passively and pessimistically, he sees his end
coming. "Dantons Tod" is the first consciously realistic German drama and a conscious departure from German idealism. Against the liberal heroes in the manner of Schiller, Büchner places the passive hero, who is only ruled in naturalism.
WOYZECK, LENZ, LEONCE AND LENA

ALM2204 ALMAN EDEBİYATI - II BAHAR YARI YILI

CIVIL REALISM
(Around 1850-1885)

Gottfried KELLER THE GREEN HEINRICH

Volume 1, Chapter 9 - Contents:
Heinrich was a poor boy whose father had died and who lived with his mother. Heinrich liked the language and could also speak it well. He knew the grammatical rules and vocabulary from Latin, French and Greek, so he made translations with ease. Heinrich had already learned spelling and punctuation in his first school. He slowly discovered his language skills . He memorized pedicures and phrases from the books he
read.

-His long essays drew the attention of his teacher. When the teacher wanted an answer as to where he got this style from, he was silent. The German teacher invited him home one day, but he didn't go. Soon after, the teacher died. A new teacher who replaced him covered
more tasks from life. He asked the students to write down their vacation trips. Since Heinrich did not have the opportunity to do so, he reached for fantasies and adventures from books he had read. But the teacher never asked him about it and thought that his German
was good enough. He also expected an invitation from this teacher, but he never did.

In some schools where classes were not based in Latin and Greek, the students were viewed as "nothing". Because without repetitions you just had an empty head. Actually the fear arose because if the old
methods weren't used to stop the students, they would start producing their own thoughts and learning only what they wanted. The teachers were also at a loss, because all their lives they had only heard
the same thing and returned the same thing with exchanged words. They viewed the students taught in Latin and Greek as good role models.
In some schools where classes were not based in Latin and Greek, the students were viewed as "nothing". Because without repetitions you just had an empty head. Actually the fear arose because if the old methods weren't used to stop the students, they would start
producing their own thoughts and learning only what they wanted. The teachers were also at a loss, because all their lives they had only heard the same thing and returned the same thing with exchanged words. They viewed the students taught in Latin and Greek as good
role models.
Some made an effort, traveled around at congresses, wrote books and criticized, made new suggestions which aroused an inner fire. After that, they returned to their work and worked according to the old method.

Most of the teachers explained the math exercises very quickly and in a few words. They never made sure that all of the students came with them. So out of 40 students, a maximum of 3 could progress,
which also applied to Heinrich.
Most of the teachers explained the math exercises very quickly and in a few words. They never made sure that all of the students came with them. So out of 40 students, a maximum of 3 could progress, which also applied to Heinrich.
Once a teacher who was teaching botany came and began to explain the terms very slowly, he mentioned the main points and made sure that the students could hold views in nature. This teacher soon fell ill and was quickly replaced by a new one. This returned the nature-
awakened students to their old learning style. He briefly talked about botany but soon switched to zoology, as it was his own subject.

The upbringing was wrong from the start, because the state only wanted teachers who practiced under the rules. Whoever didn't do it was a victim. In order to be able to change this mentality, one had to
wait until the old generation and educators died out so that a completely different feeling, seeing and hearing could spread. When Heinrich started a secondary school at the age of 15, which was attended
by aristocratic children, he became interested in a second subject besides languages , including painting .
The upbringing was wrong from the start, because the state only wanted teachers who practiced under the rules. Whoever didn't do it was a victim. In order to be able to change this mentality, one had to wait until the old generation and educators died out so that a
completely different feeling, seeing and hearing could spread. When Heinrich started a secondary school at the age of 15, which was attended by aristocratic children, he became interested in a second subject besides languages , including painting .
In the new school, the students faced a liberal teacher who had vowed to bring the aristocratic children to their senses. Resistance to the teacher began in the school. The students drove all kinds of nonsense to get rid of it. the parents influenced the school management that
it was even checked by an inspector.

Heinrich was actually a quiet boy, but even in him there were some feelings that he was doing mischief. One day the students happened to be moving in a large crowd to Teacher's house. Heinrich didn't
even want to come along because he felt sorry for the teacher opposite until he was called by the gang. But the look of the crowd conjured up like the scene of the popular movement and revolution.
Suddenly he appeared as the leader of the group and commanded the group up and down. They raided the home of the teacher who was seriously ill in bed. The teacher's mother chased the students away
with a broom. Immediately after this departure, all of the students were interrogated by the school commission and Heinrich was the only one to be discharged from the school. Everyone had given up his
name.
Heinrich was actually a quiet boy, but even in him there were some feelings that he was doing mischief. One day the students happened to be moving in a large crowd to Teacher's house. Heinrich didn't even want to come along because he felt sorry for the teacher opposite until he was called by the gang. But the look of the crowd conjured up like the scene of the popular movement and revolution. Suddenly he appeared as the
leader of the group and commanded the group up and down. They raided the home of the teacher who was seriously ill in bed. The teacher's mother chased the students away with a broom. Immediately after this departure, all of the students were interrogated by the school commission and Heinrich was the only one to be discharged from the school. Everyone had given up his name.

Now he wondered if the state had the right to take a child away from school.
And he thought that if he were an adult he would have his head cut off for such behavior.
Heinrich thinks that it means nothing else if you exclude a child from your upbringing, would you thereby behead the inner development, the spiritual life of that child?

His mother was sad because she did not have the opportunity to give her son private lessons. She is of the opinion that if Heinrich's father were still alive, he would not have completed his child's schooling.

THEODOR FONTANE: EFFI BRIEST Extract from the 12th chapter

It's a letter written by a young woman named Effi. She wrote this letter on December 31st. to her mother. Because she has not written a letter to her mother for a long time. She lives in Kessin far from her mother. Even though she is married, she feels alone and lonely. Her
husband calls her “a lovely toy”, which is why she almost feels like a child because Effi is much younger than him. She misses her parents and is longing for her home in Hohen-Cremen. She is not happy, dissatisfied with her life. She wants to visit her mother, but she is
expecting a child. She just tells her mother that she is pregnant. She doesn't invite her mother to Kessin because she has many reasons. She says that her house is actually not a real house, but an apartment for two people. In their opinion, the house is not convenient for
guests. She finds excuses for not receiving her mother at home in Kessin. In summer Kessin has a large crowd. Because tourists come here to go on vacation.
Effi is a lovely young woman. She is married to a district administrator. You live in Kessin. In this chapter Effi writes a letter to her mother who lives in Hohen-Cremen. In her letter she tells her mother about her feelings. While it is possible to be joyful and happy, she
cannot completely shed the feeling of being alone. But she will no longer feel alone because she has a child. If she is given birth, she would like to go to Hohen-Cremen. Actually she would like to invite her mother to Kessin, but she has some obstacles against this invitation.
Your county house is actually not a real house for the guests, but only an apartment for two people. Although they have a large hall and four small rooms on the first floor, these rooms are empty.

Effi cannot change this situation because the house is a haunted house . Afterwards, Effi tells a story of an old captain who was a China driver and his granddaughter, who was engaged to a young captain
and who suddenly disappeared at their wedding. There was also a young Chinese man whom the old captain brought with him from a trip to China and who was now his best friend. He kidnapped the
captain's granddaughter at their wedding. And he was found dead shortly afterwards. And his grave is after the cemetery. Effi is afraid of it because she saw him sitting on the grave while hiking. She also
saw him like a ghost when she was home alone one evening.
Effi cannot change this situation because the house is a haunted house . Afterwards, Effi tells a story of an old captain who was a China driver and his granddaughter, who was engaged to a young captain and who suddenly disappeared at their wedding. There was also a
young Chinese man whom the old captain brought with him from a trip to China and who was now his best friend. He kidnapped the captain's granddaughter at their wedding. And he was found dead shortly afterwards. And his grave is after the cemetery. Effi is afraid of
it because she saw him sitting on the grave while hiking. She also saw him like a ghost when she was home alone one evening.
Effi wants her mother not to reply to her message because she is reading her letters together with her husband. In the end, Effi writes that she has a New Year's Eve ball. Effi wants to dance and talk to this ball. She sends her greetings to her father and finishes her letter.

CIVIL REALISM (ca.1848 / 49-1885)

The historical and political basis
The term "realism" is defined differently by different philosophers and poets. Realism is often equated with the portrayal or reflection of reality in art. In order to separate realism from general meaning and their different applications, the term "poetic" or "bourgeois realism" is used for the epoch between the bourgeois revolution of 1848-49 and naturalism. The failure of the bourgeois revolution of 1848-49 changed the
historical, political, intellectual and literary situation in Germany. It is not arbitrary to equate the end of this period with the year of death of T. Fontane and CF Meyer, because the last decade of the 19th century was considered the new orientation date and literary development unfolded in many ways in this last decade. Politically, the period of "poetic realism" ends in Bismarck's reign.

The ideal bearer of the forty-eight revolution was the liberal bourgeoisie. The bourgeoisie fought for political self-determination and for the unity of the nation. The goal of this bourgeois-democratic
revolution was the achievement of national unity through freedom, and this represented the basic idea directed against the authoritarian-state monarchy . The failure of the revolution was related to the
contradiction of the movement itself. Because the bourgeoisie was not organized enough to put its ideas into practice, and because the bourgeoisie was split into a national-conservative wing and a
republican wing, it was not possible after the revolution to achieve the intended goal .
The ideal bearer of the forty-eight revolution was the liberal bourgeoisie. The bourgeoisie fought for political self-determination and for the unity of the nation. The goal of this bourgeois-democratic revolution was the achievement of national unity through freedom, and
this represented the basic idea directed against the authoritarian-state monarchy . The failure of the revolution was related to the contradiction of the movement itself. Because the bourgeoisie was not organized enough to put its ideas into practice, and because the
bourgeoisie was split into a national-conservative wing and a republican wing, it was not possible after the revolution to achieve the intended goal .

These revolutionary events drove the conservative reform bourgeoisie into the arms of the old feudal powers. A deep hopelessness and depression dominated the mood of the post-revolutionary years . The
principle of national unity triumphed over the desire for freedom. The bourgeoisie wanted a unified and powerful Germany at all costs, but they themselves did not believe in the solution to this problem.
The liberals then took Bismarck's side more and more, and they buried their hope for a liberal renewal of Germany.
These revolutionary events drove the conservative reform bourgeoisie into the arms of the old feudal powers. A deep hopelessness and depression dominated the mood of the post-revolutionary years . The principle of national unity triumphed over the desire for freedom.
The bourgeoisie wanted a unified and powerful Germany at all costs, but they themselves did not believe in the solution to this problem. The liberals then took Bismarck's side more and more, and they buried their hope for a liberal renewal of Germany.

Literature of the time

They don't have a specific center; each writer lived and wrote in a different city.
E.g. Gottfried KELLER: in Switzerland, in Munich, Heidelberg and Berlin.
Conrad Ferdinand MEYER: in Switzerland
Theodor FONTANE: in Neuruppin and Berlin
Theodor STORM: in Kiel

Literary genres: predominantly short story and novel

Topics: the immediate environment, moving from the country to the city, married life, education, but without reference to the political circumstances.
The development of the term "realism" was different for each individual author, right down to their individual works.

AUTHORS OF THE TIME

Theodor FONTANE (1818-1898)
Fontane, from Neuruppin, is willingly attuned to immediate reality. He came from French Huguenots, lived in Berlin and, like his father, became a pharmacist. As a writer, he began with travel and landscape descriptions, theater reviews and ballads. It was not until he was 60 that he came out with the historical novel “ Before the Storm ”.
This is followed five years later by the first of his social novels. Here he completely refrained from glossing over or veiling, and paints the life of his time, especially Berlin as it is, in a matter-of-fact, almost sober way. Here he is already close to the last form of realism, naturalism. But it does not just give the external picture, like later naturalism, but its content. In this way he creates a new mode of representation.
What he describes is the world of the old and new Berlin bourgeoisie, he has no relationship with the fourth layer (working class), the Prussian officials and officers and their women, the Brandenburg landed nobility or the nouveau riche. It shows their class concerns, their existence determined by “society”. He avoids ideological problems: “Keep still, keep quiet - just don't ask: why? Why? He said occasionally. His most
poignant novel is " Effi Briest " (1895):
The still childishly young Effi is married to the much older district administrator of Innstetten. The marriage takes place in the lonely Pomeranian seaside town, where Instetten acts correctly but rigidly, heartless and friendless. In her emotional loneliness, Effi gets involved in relationships with the cheerful district commander Major Crampas. He fell several years later in a duel with Instetten. Without considering the actual
question of spiritual guilt, the marriage is mechanically divorced according to custom. Not even the parents take the daughter in, so as not to give the appearance of approval. So she withers away lonely out of grief and remorse in Berlin and only the terminally ill is brought home by her parents. With them she dies.
" L'Adultera " (1882), " Der Stechlin " (1898), " Frau Jenny Treibel " (1893), " Irrungen, Wirrungen " (1888) and " Stine " (1890) are his other well-known novels.

Gottfried KELLER (1819-1890)

Gottfried KELLER (1819-1890)
He sees the movements of his time, is a liberal and a free spirit. Feuerbach's philosophy of this world has shaped his thinking, God and the hereafter hardly play a role in his attitude to life, but the "golden abundance of the world" is all the greater. To him belong all his love and receptive goodness. He has the keen eye-eye of the painter and a humor that springs from wisdom and forbearance.
It first drove him to painting and to the art academy in Munich. But he returned to his mother in Zurich, almost in failure. There he got involved in the political movement of the time, but was able to make a new start with a scholarship in Heidelberg under the influence of Ludwig Feuerbach. From 1850-1855 he tried to build a life as a writer in Berlin, but returned once more to Zurich. The honorable office of First State Clerk
finally secured an economic basis for his life. After fifteen years of conscientious administration, he devoted himself entirely to poetry.

In the development novel “ Der Grüne Heinrich ” (1854/55) he described his life, similar to Goethe in “Wilhelm Meister”: the story of a young person between romantic enthusiasm and resolute
affirmation of this world. In the first version of the novel, at the end he breaks ineptly and "cypress dark", in the second (1879/80) he pulls himself into active life.
In the development novel “ Der Grüne Heinrich ” (1854/55) he described his life, similar to Goethe in “Wilhelm Meister”: the story of a young person between romantic enthusiasm and resolute affirmation of this world. In the first version of the novel, at the end he breaks ineptly and "cypress dark", in the second (1879/80) he pulls himself into active life.
As a master, Keller also shows himself in his novels. They smile at people's weaknesses, admonish a serious outlook on life or show the tragedy that even the small world does not escape.
Under the title “ The People of Seldwyla ” (1856, 1874), Keller combined stories of quirky owls and confused lives. The most beautiful of these are “Clothes make the man” and “Romeo and Juliet in the village” ; it is the sad and beautiful story of two young people whose happiness is shattered by the hatred of their fathers. Every soul movement is traced extremely sensitively and the mood of nature is assigned to the inner
processes.
In the framework story “ Das Sinngedicht ” (1881) the conditions for a happy marriage are illuminated in several short stories. The “Züricher Novellen” (1878) again present a number of unusual eccentricities.
In the “ Seven Legends ” (1872), Keller affords himself quite free-spirited, but amiable and kind, the fun of recreating and transforming the legends of saints.

ALM2204 ALMAN EDEBİYATI - II BAHAR YARI YILI

GERMAN NATURALISM (around 1885 - 1900)
GERHART HAUPTMANN: RAILWAY KEEPER THIEL
Content of the present excerpt :
Thiel works as a railway attendant. He used to be married to a physically weak woman. But this woman died when she gave birth to her child, who is called Tobias. On her deathbed, Thiel promised to always take good care of the boy. While Thiel was at work, an old woman took care of Tobias. But she didn't look after well. Thiel married Lene to have a mother for Tobias. She was as big as Thiel.
Tobias' development was very slow. When he was two years old, he began to speak and walk. Thiel showed all his love and affection for his son Tobias. When the father's love increased, the stepmother's love decreased. When Lene had her own child, she treated Tobias worse and worse. She yelled at poor little Tobias and insulted him.
Once when Thiel went to work, Thiel forgot his meal at home and returned. Thiel has opened the door of the living room. He saw nervous woman. Lene was also upset Thiel because he came. Meanwhile Tobias has been crying in the corner. First he looked at his child Tobias. But then he looked at Lene's female body and remained under the influence of the sexuality of his second wife.
Without saying a word, Thiel took his food out of the oven and went to work. Tobias kept crying

Here the picture of a stepmother is presented. Railroad attendant Thiel married after the death of his wife because of the care of his son Tobias. With the birth of the second child, Tobias is completely despised and abused. Although Thiel happened to see the situation
himself, he remained under the influence of his wife's sexuality and ignored the case.
It cannot be said that all stepmothers or stepmothers are bad or good. In Turkey it is unfortunately the case that mostly stepmothers and also stepfathers act badly. But I have to say that the most important thing is love and it doesn't matter whether the parents are step or
not. Many families of their own are more cruel than stepparents.

G. HAUPTMANN: THE WEAVERS

ACT-II
LOCATION: Wilhelm ANSORGE's little room in Kaschbach in the Owl Mountains (in Silesia)
W. Ansorge and the BAUMERT family live together in the small parlor
The family includes father and mother Baumert, the older daughter Emma (22), the son August (20, idiotic), the younger daughter Bertha (15), the grandchild Fritz (4, son of Emma)
The family uses the space as a living room, bedroom, kitchen and study for weaving. The walls are glued with paper, a faint light penetrates through window holes clogged with straw. Brightly painted holy pictures hang on the wall. The people are very emaciated and wear outdated clothes.

The advertisers did not have any education, so they speak the dialect (Silesian).
The advertisers did not have any education, so they speak the dialect (Silesian).
The father brought the woven parchent to the factory. After the payment he will buy bread and coffee. The family is waiting for him at home. Little Fritz, crying, tells his mother that he is hungry, but the mother says that he should wait for grandfather because they have nothing to eat at home.
A neighbor, Mrs. HEINRICH, comes to the BAUMERT family and complains about her own situation. She is pregnant and has nine hungry mouths (children) at home, her husband is sick and is in bed. Except for her, nobody is currently working in the Heinrich family and they have nothing to bite at home. She hopes that she might get support from the Baumert family, since in the Baumert family the husband and the two
young girls are healthy and work.

Ms. Baumert describes her situation so badly that the girls work all year round for rent and a little bit of food and cannot afford a dress to go to church. She would rather die than life, because as a sick
woman she feels like a burden for the family.
Ms. Baumert describes her situation so badly that the girls work all year round for rent and a little bit of food and cannot afford a dress to go to church. She would rather die than life, because as a sick woman she feels like a burden for the family.

Shortly afterwards, the reservist Moritz JÄGER comes and tells of his time as a soldier in the city, that the dogs live better in the city than the people in the country (than the weavers).

ACTIVE
ACTIVE
Location: Private room of the parcel manufacturer Dreißiger in Peterswaldau.
A luxuriously furnished room in the frosty taste of the first half of the 19th century. The ceiling, the stove, the doors are white: the wallpaper is straight, small-flowered and has a cold, lead-gray tone. There is also red-covered upholstered furniture made of mahogany wood, richly decorated and carved, cupboards and chairs made of the same material and distributed as follows: on the right between two windows with cherry-
red damask curtains is the writing desk, a cupboard whose front wall can be folded down; Opposite him the sofa, not far from it an iron safe, in front of the sofa the table, armchairs and chairs; a gun cabinet on the back wall. These as well as the other walls are partially covered by bad pictures in gold frames. A mirror with a heavily gilded rococo frame hangs above the sofa. A simple door on the left leads into the hallway,
an open double door on the back wall leads into a salon overloaded with the same uncomfortable pomp. In the salon you can see two women, Mrs. Dressiger and Mrs. Pastor Kittelhaus, busy looking at pictures - also Pastor Kittelhaus in conversation with the candidate and private tutor Weinhold.

-The language: According to the art conception of the time KUNST = NATUR -X (exact reproduction of the fact) the people and their language use appear in the work.
For example, people like Mr. Dreißiger, Pastor Kittelhaus, private teacher Weinhold, police administrator Heide speak High German because they have enjoyed an education.
But the weavers speak their dialect (Silesian) because they have not attended school.
-Webers life:
The weavers work for the parcel manufacturer Mr. Dreißiger, they are underpaid.
Their salaries cannot offset their expenses, they have a poor diet,
work and live in poor conditions.

The weavers rebelled against the employer, Mr. Dreißiger

- Abuse of religion:
KITTELHAUS: extremely indignant. Doesn't this nonsense really still want to end? But now I really have to say: it is time for the police to intervene. Please allow me! He goes to the window. Now look at you, Herr Weinhold! These are not just young people, there are also old, sedate weavers running en masse. People who I have considered most honorable and godly for many years, they run with me. You take
part in this outrageous nonsense. You are trampling God's law . Do you want to protect these people now?

- Scholars' weaknesses:
WEINHOLD. Certainly not, Pastor, cum grano salis. They are hungry, ignorant people. They just express their dissatisfaction as they understand it. I don't expect such people ...
THIRTY. Candidate, I am very sorry ... I did not take you into my house to give me lectures on humanity. I must ask you to limit yourself to bringing up my boys, but for the rest of the time to leave my affairs to me, all to myself! Do you understand me?

- Abuse of the security forces:

POIZEIVERWALTER, about fifty-year-old man, of medium height, corpulent, full-blooded. He wears a cavalier uniform with a drag saber and spurs. Certainly not ... No, certainly not, Mr. Thirty! Have me at your disposal. Just calm down, I am entirely at your disposal . It's all right. In fact, I am very grateful that you had one of the main screamers arrested. I am very happy that this is finally going to work out. There are a
couple of peacemakers here that I've had on my pike for a long time.

-Effect of industrialization:
-Effect of industrialization:
With the invention of the steam engine in 1871, industrialization began in Europe. Employers and employees are at a disadvantage when competing with industry. In order to keep the price of the products low, the weavers are poorly paid.

-With the rebellion, the weavers spoil the house and factory of Mr. Dreißiger and he fled with his family. The military intervened and the uprising ended bloody and unsuccessful.

Today the conflicts between employers and employees are resolved according to legal laws. Employers have their associations and workers raise the unions. They represent the interests of their members. Working conditions and salaries are negotiated and regulated among
the employers' associations and the trade unions according to certain periods.

AUTHORS OF THE TIME

Gerhart HAUPTMANN ( 1862-1946)
Gerhart Hauptmann was born on November 15, 1862 in Ober-Salzbrunn (Silesia) as the son of the hotel owner Robert Hauptmann and his wife Maria (née Strähler).
After attending secondary school in Wroclaw, he began training in agriculture on an uncle's manor in Silesia. In October 1880 he entered the sculpture class at the Wroclaw Royal Art and Trade School. Hauptmann made a trip to the Mediterranean in 1883 and spent a year in Rome as a sculptor. The next year he joins the drawing class at the Royal Academy in Dresden. In 1885 he married Thienemann, with whom he had three
sons. The couple moved to Erkner (near Berlin), where they had contact with the naturalistic Berlin poet association "Durch". In 1887 he wrote his novella "Bahnwärter Thiel".
After a trip to the Silesian weaving region, he finished his most important work, the socially critical drama "Die Weber", initially in the Silesian dialect as "De Waber" in 1892. After the premiere in the Deutsches Theater, Kaiser Wilhelm II resigns from his box there, and the performance is banned by the Berlin police chief.
Hauptmann received the Grillparzer Prize in Vienna in 1896, which he received two more times.

In October of the same year Wilhelm II refuses to award Hauptmann the Royal Schiller Prize. In 1901 he moved to Agnetendorf, which became his permanent residence alternating with Berlin, Hiddensee
and later Italy. After taking part as a jury member in a trial against a farm worker accused of child murder, Hauptmann wrote the play "Rose Bernd" in April 1903, which premiered that same year. In
1904 he divorced his wife and shortly afterwards married Margarete Marschalk. The couple has a son. The six-volume edition of his works was published by Fischer Verlag in 1906, and in 1910 his first
major epic work, "The Fool in Christo Emanuel Quint", was published in the "Neue Rundschau". In 1912 he was awarded the Nobel Prize for Literature. In November 1918, a declaration by Hauptmann,
signed by numerous intellectuals and artists, was published in the "Berliner Tageblatt", in which the willingness of the artists to participate in the rebuilding was published. Hauptmann begins to actively
campaign for the young republic. In 1924 Hauptmann was an honorary member of the Academy of Fine Arts in Vienna and in 1928 he joined the Prussian Academy of Arts (poetry section). During a trip
to the USA in 1932 he received an honorary doctorate from Columbia University and was received by the American President in the White House. During the years of the Nazi regiment, to the
disappointment of many, Hauptmann did not express himself about National Socialism and withdrew from public life. His works will continue to be published, performed and filmed. His autobiography
"The Adventure of My Youth" appears in 1937. Gerhart Hauptmann dies on June 6, 1946 in Agnetendorf and is later buried in the monastery on Hiddensee.
In October of the same year Wilhelm II refuses to award Hauptmann the Royal Schiller Prize. In 1901 he moved to Agnetendorf, which became his permanent residence alternating with Berlin, Hiddensee and later Italy. After taking part as a jury member in a trial against
a farm worker accused of child murder, Hauptmann wrote the play "Rose Bernd" in April 1903, which premiered that same year. In 1904 he divorced his wife and shortly afterwards married Margarete Marschalk. The couple has a son. The six-volume edition of his works
was published by Fischer Verlag in 1906, and in 1910 his first major epic work, "The Fool in Christo Emanuel Quint", was published in the "Neue Rundschau". In 1912 he was awarded the Nobel Prize for Literature. In November 1918, a declaration by Hauptmann,
signed by numerous intellectuals and artists, was published in the "Berliner Tageblatt", in which the willingness of the artists to participate in the rebuilding was published. Hauptmann begins to actively campaign for the young republic. In 1924 Hauptmann was an
honorary member of the Academy of Fine Arts in Vienna and in 1928 he joined the Prussian Academy of Arts (poetry section). During a trip to the USA in 1932 he received an honorary doctorate from Columbia University and was received by the American President in
the White House. During the years of the Nazi regiment, to the disappointment of many, Hauptmann did not express himself about National Socialism and withdrew from public life. His works will continue to be published, performed and filmed. His autobiography "The
Adventure of My Youth" appears in 1937. Gerhart Hauptmann dies on June 6, 1946 in Agnetendorf and is later buried in the monastery on Hiddensee.

HIS WORKS
HIS WORKS
Railway attendant Thiel (novella 1887-1892)
Before Sunrise (Drama 1889)
The Weavers (Drama 1892)
The beaver fur (drama 1893)
Florian Geyer (drama 1896)
Fuhrmann Henschel (Drama 1898)
The beaver fur (drama 1893)
Hanneles Ascension Day (Drama 1893)
Rose Bernd (drama 1903)
The rats (drama 1911)
The fool in Christo Emanuel Quint (novel 1910)
The heretic of Soana (story 1918)
Before Sunset (Drama 1932)
Tetralogy about the sex of the Atrids (1941-1946)
Iphigenia in Delphi,
Ipigenie in Aulis,
Agamemnon's death
Elektra

Arno (Hermann Oscar Alfred) WOOD

Born on April 26th, 1863 in Rastenburg (East Prussia); died on October 26, 1929 in Berlin.
Holz came to Berlin with his parents (his father was a pharmacist) in 1875. At an early age he decided to devote his life entirely to literary work; he felt himself called to the reformer of German literature - a claim that he had to pay for with isolation and economic hardship. In Berlin he came into contact with the Hart brothers and their literary association "Durch". From 1887-92 he lived and worked with Johannes Schlaf; the
two became pioneers of German naturalism.
He is familiar with his formula; ART: Nature - X, ie art has the tendency to be nature again . At the same time, he developed “seconds style” to tell the facts step by step over time.

Works:
Works:
1889 Papa Hamlet (ore, joint work with Johannes Schlaf)
1890 The Selicke family (drama, collaborative work with Johannes Schlaf)
1891/92 The art. Their essence and their laws
1899 poetry revolution
1902 The tinsmiths. Lyric-satirical drama
1903 homecoming (together with Oskar Jerschke)
1908 solar eclipse (drama)
1913 Ignorabimus (tragedy)
1921 The liberated German word art
1924/25 First complete edition of Phantasus
1926 draft of a "German Academy" to represent the united German intellectual workers

GERMAN NATURALISM (around: 1885 - 1900)

Centers: Berlin and Munich

Magazines: Critical warfare society

by Heinrich and Julius HART by Michael Georg CONRAD

Representatives of the era: Gerhart HUPTMANN, Arno HOLZ,

Johannes SLEEP

Most important events of the time: industrialization (from 1871),

Moving from the country to the cities
Emergence of a new layer: working class,

Foundation of the "FREIEN BÜHNE"

Motto of the time: City air makes you free!

ARTISTIC CONCEPTION OF TIME

ARTISTIC CONCEPTION OF TIME

Art = nature - X; Faithful reproduction of the facts, no taboos, no limits in art,

no subjectivity of the artist
Effect of positivism: transferring the laws of nature to the life of society
Race, milieu and origin have a strong influence on a person's career
Influence of materialism, determinism
Representation of the interests and problems of the new "working class" (proletariat)
Foundation of the "Free Stage" in Berlin. She didn't have her own actors. Actors from different groups come together for a game, after the performance of the game they part again. So they are little affected by censorship and prohibition.

WEAKNESSES OF THE NATURALIST CONCEPTION OF ART

WEAKNESSES OF THE NATURALIST CONCEPTION OF ART
-Lack of genius, creation and aesthetic value of art
- It was mostly the report and description of that time

COMMONITIES

BETWEEN MARCH AND NATURALISM

-Both currents wage a struggle for the freedom of the lower class against authoritarian rule.
DIFFERENCES

BETWEEN MARCH AND NATURALISM

In the Vormärz one fought for the rights of the bourgeoisie against feudal rule.

In naturalism a struggle was waged for the new stratum of the working class against feudal rule and against the bourgeoisie, which became employers after industrialization.