Ludwig Uhland

Uhland and Goethe

On September 3, 1786, Goethe set off on his Italian journey from Karlsbad. It brought him a rebirth of his intellectual life. Italy satisfied his thirst for knowledge and his artistic needs. He stood in awe before the works of art that gave him a deep insight into the imaginative life of the Greeks. He describes the feeling that these works of art awakened in his soul in his "Italian Journey". "At every moment" he felt called upon to contemplate them in order to "develop from the human form the circle of divine formation, which is perfectly complete, and in which no main character is missing as little as the transitions and mediations." He has "a conjecture that the Greeks proceeded according to the very laws by which nature proceeds, and which he is on the track of". He expresses how he perceives this realization as a spiritual rebirth with the words: "I have seen much and thought even more: the world opens up more and more; even everything that I have known for a long time only becomes my own. What an early knowing and late practicing creature is man!" - His feelings towards the creations of ancient art rise to the level of religious fervor: "These high works of art, as the highest works of nature, were produced by human beings according to true and natural laws. Everything arbitrary and imaginary collapses: there is necessity, there is God."

Since Goethe had immersed himself in such an ideal of art, he saw everything in a new light. For him, this ideal becomes the yardstick for judging every phenomenon. One can observe this even in small things. When he was in Girgenti on April 26, 1787, he described his impressions with the words: "In the wide space between the walls and the sea, there are still the remains of a small temple, preserved as a Christian chapel. Here, too, half-columns are beautifully connected to the ashlar pieces of the wall, and both are worked into each other, most pleasing to the eye. You can feel exactly where the Doric order has reached its perfect measure."

As chance would have it, on the same day that Goethe expressed his conviction of the high significance of ancient art by linking such words to a subordinate phenomenon, a man was born who summarized his almost opposite creed in the sentence:

Not in cold marble stones,
Not in temples, dull and dead,
In the fresh oak groves,
Weaves and rustles the German God.

Uhland's boyhood

This man is Ludwig Uhland, who was born in Tübingen on April 26, 1787. When he concluded his poem "Freie Kunst" on May 24, 1812 with the above words, he was certainly not thinking of saying anything against Goethe's view of the world. Nor should they be cited in the sense of presenting a contrast between Goethe and Uhland. But they are indicative of Uhland's whole character. His path in life had to be different from Goethe's. Just as Goethe's whole inner being came to life before the "high works of art" of the ancients, so did Uhland's when he immersed himself in the depths of the German folk soul. Faced with this popular soul, he could have exclaimed: "There is necessity, there is God." He has this feeling when, wandering through the forest, he admires the native nature:

No better pleasure at this time,
Than to penetrate the forest,
Where thrush sings and hawk cries,
o deer and roe deer leap.

He has the same feeling when he writes about Walther von der Vogelweide, reflecting on the art of German antiquity: "Among the old German singers, he deserves the name of the patriotic one. No one has, like him, recognized and felt the peculiarity of his people, how bitterly we hear him complain and reproach, with proud enthusiasm he sings elsewhere the praise of the German land, above all others, many of which he has wandered through: You shall speak: willekommen!"

Uhland's ancestry and youthful development were highly conducive to the development of his folkloristic tendencies. His father's family was an old Württemberg family, rooted with all its attitudes and customs in the part of the country to which it belonged. His grandfather was an ornament to the University of Tübingen as a professor of theology, and his father worked as a secretary at this university. Her gentle, imaginative mother came from Eßlingen. These were favorable circumstances in which the quiet, introverted, outwardly awkward, even clumsy, but inwardly cheerful and enthusiastic for everything great and beautiful boy grew up. He was able to spend a lot of time in his grandfather's library and satisfy his thirst for knowledge in various fields. He enjoyed immersing himself in descriptions of important personalities and stories of great world-historical events as much as in descriptions of nature. Serious poems in which the life of the soul of deep people was expressed, such as those of Ossian and Hölty, made a great impression on him early on. This early Ernst Ludwig Uhland was far removed from all cowardice. If his high forehead indicated his sensible disposition, his beautiful blue eyes and cheerful disposition betrayed the deepest joy of life and the interest he could take in the smallest pleasures of existence. He was always there for all the fun games, jumping, climbing and skating. Not only could he spend hours sitting in a corner, engrossed in a book, but he could also wander through the woods and fields and devote himself entirely to the beauties of natural life. All learning was easy for him with such a disposition. Uhland's ability to master the external means of poetry became apparent early on. The occasional poems that he addressed to parents or relatives at parties show how easy verse and stanza form became for him.

Study and inclination. Uhland and Romanticism

The outward course of study was forced upon Uhland by circumstances. He was only fourteen years old when his father was promised a family scholarship for his son if he studied law. Without having any inclination for this course of study, he took it up. The way he spent his apprenticeship is characteristic of his entire character. He literally split into two personalities. One personality was devoted to his poetic inclinations, his imaginative, cozy world view, his immersion in the history, legends and poetry of the Middle Ages; the other to the conscientious study of law. On the one hand, the Tübingen student lives in a stimulating devotion to everything that his "heart's desire" draws him towards, on the other hand, he appropriates the subjects of his professional studies so perfectly that he can conclude them with a doctoral thesis that has met with the approval of the most competent scholars. -

The first poems that Uhland incorporated into his works date from 1804. The two ballads "The Dying Heroes" and "The Blind King" reveal a basic trait of his personality. Here he already lives in an imaginary world taken from Germanic prehistory. His love for this world has borne the most beautiful fruit for him. The sources of genuine folklore, the essence of the folk soul, were opened up to him through this love. As a poet and as a scholar, he drew the best strength from this love. And it was almost innate in him. He could say of himself that it was not only through study that German prehistory opened up to him, but that he sensed it when he gazed at the high cathedrals of the old cities. Scholarship only gave him clear, distinct ideas about what he had felt from his youth. - His immersion in the German Middle Ages was one of the characteristics of the literary movement known as Romanticism at the beginning of the nineteenth century. Ludwig Tieck, de la Motte Fouqúe, Clemens Brentano, Achim von Arnim and others were all promoters of this movement. They sought in piety and depth of mind a cure for the damage that the dry and often shallow "Enlightenment" of the eighteenth century had done to the spirit. As certain as it is that the pursuit of enlightenment, the recourse to one's own understanding and reason in matters of religion and outlook on life had a beneficial effect on the one hand, it is also certain that the critical stance towards all religious tradition and all old traditions brought about a certain sobriety on the other. The Romantics felt this. That is why they wanted to help the extreme, overly one-sided and understanding spirit of the times by delving into the prehistoric life of the soul. The view of art, which saw its ideal in the ancient Greek world and which had reached its zenith in Goethe and Schiller, also appeared to them to be a danger if it forgot its own people above the foreign antiquity. They therefore endeavored to revive interest in genuine German folklore.

Such a current of the times must have found an echo in Uhland's heart. He must have felt happy during his university years to live in a circle of friends who shared his inclinations in this direction. Those who live in a pronounced world view easily see only the dark side of an opposing one. And so it was that Uhland and his childhood friends in Tübingen fought in their own way against the excesses of the Enlightenment and old-fashioned views that seemed to them to contradict German folklore. They expressed their resentment against this in a "Sonntagsblatt", which they could only publish by hand. Everything they had to say against the art movement, which was represented in the Stuttgart "Morgenblatt für gebildete Stände", they put down on paper. An essay in the Sonntagsblatt "Über das Romantische" (On Romanticism) provides clarity about Uhland's attitude. Certain traits of his soul, which can already be found here, remained with him throughout his life. "The infinite surrounds man, the mystery of the Godhead and the world. What he himself was, is and will be is veiled from him. These mysteries are sweet and terrible." He did not want to speak about the mysteries of existence with sober reason; he wanted to leave the primal reasons for existence as mysteries to which feeling can indulge in vague intuition, of which only the sensing imagination should form an idea in free images, not sharply outlined ideas through reason. He preferred to seek poetry in the unfathomable depths of the popular soul rather than in the high artistic laws of the Greeks. "Romanticism is not merely a fantastic delusion of the Middle Ages; it is high, eternal poetry that depicts in images what words can scarcely or never express, it is a book full of strange magical images that keep us in contact with the dark world of spirits." To express the secrets of the world through anything other than images of the imagination seemed to him like profaning these secrets. This is the attitude of the twenty-year-old Uhland. He retained it throughout his life. It is also clearly contained in the letter he sent to Justinus Kerner on June 29, 1829. June 1829, when the latter had presented him with his book on the "Seerin von Prevorst": "If you will allow me to express the impression that our last conversations left on me, it is this: what is yours in these works, what emerges pure and unclouded from your observation and view of nature, I am assured of the most beautiful benefit for all those who are aware that one will never penetrate the wonderful depths of human nature and worldly life without the living imagination..."

Circle of Friends

The times that Uhland spent with his university friends were times that he himself described as "beautiful, joyful". Justinus Kerner, the rapturous Swabian poet, Karl Mayer, Heinrich Köstlin, a physician, Georg Jäger, a naturalist, and Karl Roser, Uhland's later brother-in-law, were all part of the circle. In 1808, Karl August Varnhagen von Ense, who was personally close to a number of Romantics and lived entirely according to their views, joined the circle. Uhland's poetry during this period bears the hallmark of the Romantic spirit in many respects. He sings of figures and circumstances from the world of medieval legends and history; he immerses himself in the emotional worlds of these prehistoric times and reproduces them characteristically. Even in the poems that do not refer to the Middle Ages, a romantic tone prevails as the basic mood. This tone sometimes takes on a rapturous, sentimental character. It is expressed, for example, in the song "Des Dichters Abendgang". The poet indulges in the delights of the sunset on a walk and then carries the impression of it home with him:

But when around the sanctuary,
The dark clouds roll down,
Then it is done, you turn back,
blessed by the miraculous.
In silent emotion you will go,
You carry the blessing of the song within you;
The light that you saw there,
Shines mildly around you on dark paths.

Moods of a similarly romantic spirit are expressed in the songs: "An den Tod", "Der König auf dem Turme", "Maiklage", "Lied eines Armen", "Wunder", "Mein Gesang", "Lauf der Welt", "Hohe Liebe", and others from Uhland's student days. And the same romantic imagination prevails in the romances and ballads that Uhland wrote at the time: "Der Sänger", "Das Schloß am Meere", "Vom treuen Walter", "Der Pilger", "Die Lieder der Vorzeit" and others.

And yet: for all the romantic mood in Uhland's character and for all the sympathy he had for the Romantic movement, there is a contrast between him and Romanticism proper. This grew out of a kind of contradictory spirit. Its main proponents wanted to oppose artistic poetry, as represented by Schiller, and the Enlightenment with something that was deeply rooted in popular life and the mind. Through study and scholarship, they came to the times in which, in their opinion, the spirit of the people and natural piety of the heart prevailed. In Uhland's case, the folkloristic and depth of feeling was present from the outset as a fundamental trait of his nature. If one therefore finds in many Romantics, for example in de la Motte Fouque and Clemens Brentano, that their striving for the Middle Ages, for the original folklore, has something sought after about it, that it often even appears only like an outer mask of their nature, then these traits are something quite natural in Uhland. He had never distanced himself in his thinking and feeling from the simplicity of the folk spirit; therefore he never needed to seek it. He felt comfortable and at home in the Middle Ages because the best aspects of it coincided with his inclinations and feelings. With such inclinations, it must have been quite an experience for him when Achim von Arnim and Clemens Brentano published "Des Knaben Wunderhorn" (1805) in Heidelberg, in which they collected the most beautiful flowers of folk poetry.

Journey to Paris. Diary

In 1810, the poet had completed his studies, his state and doctoral examinations were behind him. He could think about looking around the world and searching for the nourishment for his spirit that he craved. Paris had to attract him. There were the manuscript treasures of old folk and heroic poetry, which could give him the deepest insight into the connections between the life and work of the past. The journey to the French capital and his stay there had a lasting effect on his entire life. He left Tübingen on May 6, i8io and arrived back home on February 14 of the following year. From i810 to 1820, Uhland kept a detailed diary, which was published by J. Hartmann. These notes are invaluable for understanding his personality, especially those relating to the Paris trip. Silent as Uhland generally is, he also proves to be in this diary. Feelings and thoughts are only sparsely interspersed between the purely factual details that are recorded. These are all the more significant. They give us a deep insight into his soul. He traveled via Karlsruhe, Heidelberg, Frankfurt, Mainz, Koblenz, Trier, Luxembourg, Metz, Verdun and Chalons. He writes: "My stay in Karlsruhe, which lasted from Monday to Sunday (May 7 to 3), will always be a precious memory for me." There he met the poet of the "Alemannic poems", Johann Peter Hebel. This genuinely folksy personality attracted Uhland immensely. He later wrote about his stay in Karlsruhe when he was in Koblenz: "Evening memories of Karlsruhe with tears." A diary entry that refers to the Rhine trip shows how Uhland liked to pursue mysterious connections in life and build his contemplative imagination on them: "Old view of Bacharach. The jolly, unknown journeyman with the post horn, which he blew badly, but whose notes were transfigured in the echo. The traveler from Breslau who suddenly emerged with his flute. Singing and music on the ship. Strange coincidence with my song: the little ship." Three months earlier, he had written the poem "Das Schifflein" ("The Little Ship"), in which he had described the experience, which now really came before his eyes, from his imagination. The diary shows us in many places that Uhland also pursued such things in later life, which cast a mysterious spell on the imagination, although they seem to defy rational contemplation. On April 3, 1813, for example, he wrote down a dream he had had. A girl was tempted by a reckless lover to enter the attic of a house and have herself played on a piano which, according to an old legend, must never be played because the player and the person who hears the notes will immediately age and die. Uhland sees himself in the company of his beloved. He feels the age within him; and the scene ends terribly. Uhland writes: "One could explain this dream as follows: the piano is the sin that lurks hidden somewhere in even the most pious home, waiting to be appealed to. The girl's lover is the devil, he knows how to handle the sin so that at first it sounds quite innocuous, ordinary. The sound becomes sweeter and sweeter, more and more enticing, holds fast with magical power, then it becomes terrible, and in wild storms the once pious and peaceful house perishes." Particularly characteristic in this respect, however, is a note from March i, 1810. "Night's idea for a ballad: the legend that those close to death believe they hear music could be used in such a way that a sick girl thought she heard a spiritual, supernatural serenade outside her window, as it were." This idea stuck so firmly in his mind that he expressed it on October 4 in Paris in a poem entitled "Serenade". This poem describes a dying girl who does not hear "earthly music", but who believes that "angels are calling me with music". Compare this with what Uhland wrote down on 8 June 1828 with reference to a dream, and you will recognize how such traits reveal something lasting in his character: "Among the surprising phenomena of a future world will also be that, just as we will have heavenly thoughts and feelings, so also for the expression of these a new organ will open up to us, a heavenly language will break out of the earthly one. The splendor and pomp of the present language cannot give us an idea of this, nor can the calm and (animated) silence of the language of the older German poets, just as in my song heaven wants to open up in the silence of Sunday morning, just as only when it is completely silent can the sounds of the aeolian harp or the harmonica be heard." At the same time, this shows how Uhland's whole way of imagining things had to lead him to the "silence and language of the older German poets", with whom he felt so closely related.

In Paris, Uhland found what he was looking for. He immersed himself in old French and Spanish literature. The substantial essay "Das altfranzösische Epos", which appeared in the journal "Die Musen" in 1812, was the first result of these studies. He conceived the idea of a poem: "The King of France's Book of Fairy Tales", which, however, was never realized. He meets the poet Chamisso and spends pleasant days with him. He also meets Varnhagen again. A note dated November 17, 1981 shows what Uhland was pursuing with his studies in Paris: "Certain conception of the tendency of my collection of old French poetry: mainly saga, heroic saga, national saga, living voice, with the artistic, the bourgeois, etc." He is persistent in copying manuscripts. It is hard to say what fruit Uhland would have gained from his stay in Paris if it had not been curtailed from the outside. He needed the permission of the King of Württemberg to stay abroad. Unfortunately, his father had to inform him in December that royal permission for a further stay would not be granted. However, the poet not only became acquainted with the treasures of the Paris library, but also with the other treasures and beauties of the great cosmopolitan city. From his notes and letters we can see how he made it a point to study life and art, and how his view broadened. - What Paris meant to him is clear from the gloomy mood that initially afflicted him after his return. The prospect that he would now have to take up some kind of legal position added to this mood. One bright spot, however, was his acquaintance with Gustav Schwab, the poet of popular romances and songs and splendid writings on virtue, who was studying in Tübingen at the time. He became a loyal, devoted friend to Uhland. The level to which Uhland had worked his way up to in his poetic work is shown by his creations: "Roland's Shield Bearer", "St. George's Knight" and the magnificent "The White Stag", along with many others from this period. However, he had already achieved the high perfection of form that we encounter here earlier, as can be seen from one of his most popular ballads: "Es zogen drei Bursche wohl über den Rhein", which was written in 1809. On the other hand, the poems written after the Paris period clearly show how his imagination had been enriched by his immersion in the past. He is now not only capable of vividly depicting foreign material, but also of creating a complete harmony of content and manner of presentation in all external aspects of verse and rhythm.

Uhland as a civil servant

After his return from Paris, Uhland had to look for a job. He had the opportunity to familiarize himself a little with the practical side of the profession by being entrusted with a number of defence cases in criminal matters and also the conduct of civil proceedings in the years i8i1 and 1812. The experience he gained from this did not exactly make the profession of a lawyer seem desirable to him. He was therefore satisfied when he was offered the opportunity to join the Ministry of Justice as an unsalaried secretary, but with the certain assurance that he would receive a salary before the end of the year. He took up his post in Stuttgart on December 22. - The life he now entered had many downsides for him. His official duties brought with them many difficulties. He had the task of dealing with the lectures that the minister gave to the king about the courts. The independent and straightforward manner in which Uhland drafted these lectures caused the minister some concern. After all, he was primarily concerned with creating as favorable an impression as possible with his reports. In addition, Uhland found it very difficult to connect with other people. It so happened that he was not accepted as a member of a circle of friends that met every Monday and Friday evening in a pub under the name "Schatten-Gesellschaft" until September 1813, although he had already attended one of the evenings on December 18, a few days after his arrival. Köstlin, Roser and others belonged to this circle. The strenuous work in the office and the unattractive life meant that Uhland did not feel very encouraged to be creative at the beginning of his stay in Stuttgart. How he nevertheless found his way inwardly and how his personality developed can be seen from statements such as the one in a letter to Mayer dated January 20, 1813: "Of course, I have not yet written any poetry, but in this outward isolation from it, poetry is becoming clearer and more alive to me inwardly, as is often the case with more distant friends."

External events could only excite Uhland's poetic power to a limited extent. He was able to devote himself completely to them as a character, as a man of action. This is shown by his later self-sacrificing activity as a politician. Poetry was awakened in him, where it bore the most beautiful fruit, by an inner spiritual impulse. That is why the great struggle for freedom, in which his heart was fully involved, inspired him to write only a few songs. However, they show how his personality was interwoven with his people's striving for freedom. The "Lied eines deutschen Sängers", "Vorwärts", "Die Siegesbotschaft" and "An mein Vaterland" are songs with which he joined the chorus of freedom singers. - The salary that Uhland had been promised was not forthcoming for a long time. He grew tired of waiting and was otherwise not very satisfied with his position. For these reasons, he left the service of the state in May 1814. He now set up as a lawyer in Stuttgart. Although this profession also gave him little satisfaction, he felt happier with the external independence he now enjoyed. The source of his poetry also flowed more abundantly again. In 1814, he wrote the "Metzelsuppenlied" and the ballads "Graf Eberstein", "Schwäbische Kunde" and "Des Sängers Fluch".

Edition of the "Gedichtes" and the "Vaterländische Gedichte"

In the fall of 1815, Uhland was able to publish the collection of his poems. Cotta, who had turned down an initial offer from the publisher in 1809 due to the "circumstances of the time", now agreed to take over the work. If this publication enabled the poet Uhland to become known in wider circles, it would soon provide an opportunity to do so with regard to his personal strength of character and soul. From now on, he actively intervened in the political affairs of his homeland. - In 1805, significant constitutional changes had been introduced in Württemberg. In the course of the turmoil caused by Napoleon in Germany, Duke Friedrich II had succeeded in making Württemberg an independent state and in 1806 he was granted the title of king. During this time, the state had also achieved significant territorial expansion. At the same time, however, the regent deprived the state of its old constitution, which was based on medieval institutions. Even though much of this constitution no longer corresponded to the new times, the Swabian people clung tenaciously to their inherited rights; at least they did not want to have new laws unilaterally imposed on them by the government. An antagonism developed between the king and the people, which lasted through the years of turmoil until the Congress of Vienna in 1815. After the negotiations of this congress, the people hoped for a reorganization of their political conditions in a liberal sense. As early as 1815, the king presented a draft constitution to a convened assembly. However, it met with the approval of neither the nobility nor the people. The latter demanded that completely new conditions should not be created arbitrarily, but that the old conditions should be transformed into new ones by negotiation, with full recognition of the rights of the estates that had been abolished in 1805. A second draft constitution presented by the king in 1816 also failed due to popular resistance. In that year the king died; his efforts to create new conditions in the country, disregarding the old rights, were initially continued by his successor, Wilhelm II. - Uhland's political convictions coincided with those of the people. Just as he clung with reverence to the products of the Middle Ages in intellectual life, so in public life the traditional institutions had something so deeply justified for him that his innermost feelings were outraged when they were arbitrarily and unilaterally shaken. He took the view that no one was authorized to give the people a new right, but that the owners of the "old, good law" must retain it until they themselves create innovations on the basis of it. It was in this sense that he expressed himself in 1816 in the poem: "The old, good right"; he wanted this "right", the "well-deserved fame of centuries proven, which everyone loves and honors from the heart like his Christianity". As in this poem, he expressed his conviction in a number of other poems. They were published from i815 to 1817 in small brochures as "Vaterländische Gedichte". They had a strong effect on his fellow countrymen. People appreciated this man, who was free-minded and democratic at heart, and increasingly revered him as one of the best guardians of Württemberg's national rights. As a result, people longed for the time when he would have reached the necessary age to become a member of the state parliament. Until then, namely until his thirtieth year, he could only work as a writer for the rights and freedom of his country.

"Duke Ernst". Dramatic attempts"Ludwig the Bavarian". Dramatic plans

Even before this time, the world also got to know Uhland as a playwright. In 1817, he completed his tragedy "Herzog Ernst", which he had begun in September of the previous year. It deals with the fate of the Swabian Duke Ernst, who repeatedly took up arms against his stepfather, Emperor Conrad II of Franconia (1024-1039), and who met his death in 1030 with his friend Werner of Kyburg while defending his supposed rights against the emperor. Uhland poured all his enthusiasm for the German Middle Ages and his Swabian homeland into this drama. Even if the dramatic liveliness of the work is rightly missed, the warmth of the portrayal and its lyrical power have always been admired. It was performed for the first time in May 1819 at the Stuttgart Court Theater and was a great success. - Uhland developed the greatest dramatic power in the first act, which presents a picture of harrowing entanglements. Gisela, the Emperor's wife, who has given him her sons Ernst and Hermann from her first marriage, asks her husband to release her son Ernst, who has been imprisoned on Gibichenstein for two years, on the day of his coronation as Roman king, where everyone is allowed to beg for favors. Her son had rebelled through youthful exuberance and because he believed he had a right to the Burgundian kingship, because the emperor had claimed this land for the empire. Gisela pleads for a pardon for the sorely tried man, who had a "semblance of right" for himself and whose young heart could easily be outraged. The Emperor is willing to grant the request if Ernst submits and relinquishes Burgundy. The scene in which Ernest appears, gaunt, pale and aged, is poignant. He is to be enfeoffed with Swabia if he renounces Burgundy and hands over his loyal friend Werner, who has always stood by him. He agrees to the first condition; he does not want to become a traitor to Werner under any circumstances. Like Ernst, the Emperor does not abandon the position he has once taken. Ernst and Werner remain loyal to each other. The imperial ban and the church ban hit them both. They are once again at the mercy of misfortune. Everything else now develops with iron consistency until Ernst and Werner's downfall, even if the dramatic life no longer rises to the heights reached in the first act.

"Herzog Ernst" was not Uhland's first dramatic work, although it was the first that he completed. If you follow his dramatic drafts, you can see how persistently he worked on his perfection in this field of poetry and how he always made new approaches in this direction. One can therefore describe "Herzog Ernst" as the rich fruit of years of striving. At the time of his university studies, he tried his hand at a free adaptation of Seneca's play "Thyestes", which has been preserved. (Cf. Adalbert von Keller, Uhland als Dramatiker, p. r5 ff.) - The plan for an Achilles tragedy dates from the year i805. What Uhland wrote about it to Leo Freiherr von Seckendorf on March 6, 1807, shows how deeply he wanted to delve into the mysteries of life and fate with this drama: "About two years ago I began to draft a tragedy, Achilleus Tod. It was intended to portray the idea that even if fate prevents us from carrying out our decisions, if we have only fully and firmly grasped them within ourselves, they are nevertheless complete. What remains a fragment in reality can be a great whole in the idea. The idea remains untouched by fate. Various reasons, but especially my preference for the romantic, which the Greek ground was not up to, kept me from realizing it." It is a pity that nothing of the draft has survived, for one could gain insight from it into the way in which Uhland's Romantic spirit felt alien to the Greek cultural element. - After less significant dramatic attempts, Uhland became interested in the story of Francesca of Rimini in 1807. He was reading Dante's "Divine Comedy" at the time and thus became familiar with the material. The tragedy he wanted to work out from it occupied him for several years. He abandoned the plan in 1810 for a reason that we learn more about in a letter to Karl Mayer dated February 6, 18io: "I lack the leisure, inner peace and vitality to do anything bigger, for example Franceska; I can only do everything in fragments." The plan and individual scenes have survived (see Keller, Uhland als Dramatiker, p. 91 fl.) - Uhland received the inspiration for a drama "König Eginhard" from an old folk book. As an excerpt book shows, he made excerpts from this folk book in 1809. Justinus Kerner was also attracted to the Eginhard saga. He adapted it into a Chinese shadow play, which was published in Karlsruhe in 1811. The book from which Uhland took the legend is called: "Riesengeschichte oder kurzweilige und nützliche Historie von König Eginhard aus Böhmen, wie er des Kaisers Otto Tochter aus dem Kloster bringen lassen, usw. Item, how the great giants attacked the same kingdom etc. All described in a very useful and instructive way by Leopold Richtern, a native of Lambach in Upper Austria." Part of the Eginhard drama is the dramatic fairy tale "Schildeis", which Uhland published in 1812. - Uhland also attempted to write jocular plays during his student days. "The Uninhabited Island" and "The Bear" are two such plays. The latter is a farce set in Spain, which Uhland wrote together with Justinus Kerner in 1809. The year 1809 also saw the composition of a short comedy, "Die Serenade", which is also set in Spain. On ar. January i810, Uhland informs Kerner in a letter that he is working on a drama entitled "Tamlan and Jannet". It was to be a fairy tale dramatized from a Scottish ballad. A hint in the letter also reveals why this plan did not come to fruition. Uhland writes: "I have worked out the first act and another scene for Tamlan. It is to be three acts. You will receive a few scenes from it. Junker David is a changeling abandoned by the elves instead of the stolen Tamlan. As soon as Tamlan returns, he disappears. The discords dissolve into harmony, Absalon finds the desired music." Uhland drew inspiration for the two poems "Harald" and "Die Elfen" from this material. -

It is understandable that Uhland had doubts about his dramatic talent after the failure of so many dramatic attempts. We learn of such doubts from a letter to J. Kerner dated 2i. January 1810: "With my inner restlessness, with my other, so varied occupations, nothing greater, more elaborate has been possible for me so far. And my talent for drama?" These words come after the mention of a tragedy sketch, "Benno", which Uhland wrote down in two days at the end of December 1809 (see Keller, Uhland als Dramatiker, p. 289 ff.) - Uhland wanted to deliver a truly romantic drama with his "Eifersüchtiger König" (Jealous King), the idea for which he communicated to his friend Kerner on 2i. January i810: "At last I have sketched a Scottish ballad (in Herder's folk songs) "The Jealous King" into a drama, albeit a slight one at first. The idea is to dissolve the hero and his story into poetry, into legend, precisely into the underlying ballad. Squire Waters leaves his father's house and goes to court; a minstrel joins him as the song that echoes the knightly life of action. Waters pleases the queen. The jealous king throws him into prison and has him executed; the flourishing life has come to an end. The minstrel leaves the court, the song goes out into the country. Water's parents and siblings sit at home by the fireside at night. They have a craving for scary fairy tales. The lost Minstrel enters and sings the ballad of Waters' death. The Queen's love for Waters is to be treated in such a way that she favors her dearest lady-in-waiting's inclination towards Waters, as it were in order to love him directly." Unfortunately, nothing has survived of the execution of this plan, which is rooted entirely in Uhland's romantic sensibility. - In 1814 and 1815, Uhland completed the short drama "Normännischer Brauch". He received the inspiration for it from old French poetry. The basic idea is given by the "Normännischer Brauch", that hospitality is rewarded. - A fragment: "Charlemagne in Jerusalem" was probably written in 1814. A letter from Uhland to J. Kerner dated March 28 reveals that the poet was working on a dramatic adaptation of the Hohenstaufen prince Konradin at the time. The diary shows that in July 1818 he read "Hahn's Reichsgeschichte über Otto von Wittelsbach und Konradin" in order to gain material for his drama. On July 14, he even wrote: "More vivid conception of Konradin". Nevertheless, only one scene was realized. He must have finally convinced himself that the material was not suitable for dramatic adaptation. This can be seen from a letter written on September 30, 1854 to Chief Justice Hein in Ulm, in which he states: "Because I myself, like many others, have once tried my hand at a Konradin, I know from experience that this historical subject seems to be more suitable for drama than it really is." - After so many futile attempts in the field of dramatic art, it must have filled Uhland with deep satisfaction when he wrote the last scene of his "Herzog Ernst" on July 14, 1817. On November 7, 1816, he had complained in a letter to Varnhagen von Ense: "Two poems occupy me, a narrative in stanzas, Fortunat und seine Söhne, on which, however, I have not completed more than two songs in two years, and a 'Trauerspiel', Herzog Ernst von Schwaben, which I cannot begin to complete unless I can hope to work it off in one piece. But my situation still won't allow me to do that." - The legend of the "Weiber von Weinsberg" preoccupied Uhland in 1816 and he wanted to work it into a dramatic farce, but this also remained a fragment. His planned Nibe-Jungen drama, the draft of which dates back to 1817, was also never realized. On the other hand, he was able to send the completed manuscript of the historical play "Ludwig der Bayer" to Munich on May 24, 1818. King Max Joseph had offered a prize for a drama based on Bavarian history, and Uhland had entered his work in the competition. The poet spoke about this drama in a letter to his parents on May 25th: "I have faithfully adhered to history in this and have faithfully used the documents still available. Also, since a play from Bavarian history was expressly requested, there are undoubtedly historians on the commission who are well qualified to judge it." Uhland wanted to express a "symbol of German tribal unity" in the play. It depicts the battle between Duke Ludwig of Bavaria and Frederick the Fair of Austria in 1322. The poet has portrayed a magnificent picture of German loyalty and strength of character in the personality of Frederick, who is captured and released by Louis for the purpose of working for peace in his homeland and who, true to his promise, voluntarily returns to captivity when he fails to mediate. The drama did not receive the prize. But that Uhland himself was satisfied by it is clear from the fact that he devoted himself to new dramatic plans after its completion. One of these is a short play: "Welf", of which only the beginning was written down in 1818, another: "Der arme Heinrich", of which only a small part was also written down in 1818. In 1819, the poet was occupied with "Otto von Wittelsbach" and "Bernardo del Carpio", for which he took the material from Spanish history. He wanted to deal with the heroic deeds of one of the most popular personalities in Spain. He only produced a prose sketch of "Otto von Wittelsbach", a draft of "Bernardo" and two fragments in verse. The last dramatic plan that occupied Uhland was in 1820, when he wanted to deal with the story of Johannes Parricida. From a suggestion he made to Gustav Schwab, we learn that Uhland wanted to put much of his own fate into this play. He said: "It was with him as it was with me. He was unlucky in everything." Nothing is known of an execution of this idea. It was the last to inspire Uhland to create in the dramatic field. The muse of this art never visited the poet again.

MarriageUhland as a representative of the peopleWalther von der Vogelweide

The above words about the plan for "Johannes Parricida" show how deeply upset Uhland's soul was at the failure of many a life plan. But just at the time when this disgruntlement seems to have taken hold of the poet's soul most strongly, a happy turnaround occurs in his life. On January 16, 1820, he became engaged to Emilie Vischer, the sister-in-law of his friend Karl Roser. The marriage took place on May 29 of the same year. This marked the beginning of a forty-two-year marriage that made Uhland happy in every respect. One need only read the magnificent work: "Ludwig Uhland's Leben. Compiled from his estate and from his own memory by his widow" to get an idea of the rarest union of souls based on intimate mutual understanding.

If you want to judge Uhland's character, you need only familiarize yourself with his behaviour on the wedding day. The wedding ceremony was at three o'clock. The bridegroom spent the morning in the Ständehaus, where he also returned after the ceremony. The dutiful man did not want to allow himself a day off, which he would have had to take away from his work as a member of parliament. By this time, the poet was already fully involved in political life. In 1819, he was elected as a deputy from Eßlingen to the Assembly of the Estates, which had been convened to discuss the creation of a constitution. He was also appointed to the commission that had to work on the address of thanks to the king. This address is in fact essentially a work by Uhland. It bears the stamp of his character. It was written in a masculine manner, emphasizing freedom and justice, but sparing all prejudices of those in power. Uhland was a member of the deputation that had to present it. To celebrate the signing of the constitution on September 24, the "Herzog Ernst" was performed in Stuttgart on October 29. Uhland wrote a prologue to it, in which he characterized his relationship to political affairs in a striking and lively manner. In the performance, he brought the events of the present into a meaningful relationship with the facts of his drama. He characterized the time in which his hero lived: "This is the curse of the unhappy land, where freedom and law lie prostrate, that the best and the noblest must consume themselves in fruitless harm ..." "How different, if law and order, freedom and justice had risen up from stormy times and planted themselves firmly!" ... Uhland was also elected to the first state parliament, which convened in January 1820, as a representative of his home town of Tübingen. He held this office for six years with the conscientiousness that characterizes the course of his wedding day.

In addition to his political work, Uhland devoted himself to the study of German prehistory. During these years, his interest was focused on the great medieval poet Walther von der Vogelweide. He felt a deep affinity with Walther's nature. Like Uhland himself, Walther was also a poetic and political personality. From the German conditions of his time, the twelfth and thirteenth centuries, he characterized the great singer. But Uhland himself was too pithy a character not to know and to see through everywhere how only a personality of a decidedly individual nature could be affected by the circumstances of the time in the way that Walther was. He knew what belonged to the times and also what belonged to man's own soul. And he took a deep look into the soul of his hero. He portrayed his character with a vividness that is difficult to achieve, how he suffered and what he wanted. How Walther cries out in poetry the cries of pain caused by his time, how he finds solace and healing in his art: Uhland has drawn this with delicate but decisive lines. These are soft outlines through which the image of the personality in Uhland's work presents itself to our souls, but they are outlines that reveal in every point the master of biographical art, who knows exactly how to find the boundary where overly sharp lines distort the character sketch into an arbitrary, if not caricature. And the figure of Walther in Uhland's drawing also becomes a symbol of the German nation. As peculiar as the soul of the individual personality is painted, everywhere we see the threads through which it is connected to the essence of the German national soul. - Uhland was only able to portray Walther von der Vogelweide because his studies were not limited to his narrow circle. He showed the same interest in the whole of German prehistory. During this time, he also worked on a "Representation of the Poetry of the Middle Ages". However, only the section on "Minnegesang" was completed, which was added to his collection "Schriften zur Geschichte und Dichtung" after Uhland's death. The work on "Walther von der Vogelweide" appeared in 1822. How little Uhland pursued these studies as a mere scholar is shown by his behavior on his travels, especially his honeymoon, which he was able to embark on after completing his work for the state parliament on July 8, 1820. The couple traveled throughout Switzerland. Everywhere we find Uhland eagerly endeavoring to get to know the customs, ideas and views of the people, everywhere he pursued the imagination of the country folk in their poetry and legends. What he hears from the mouths of the people themselves enlivens his eager studies, which he undertakes wherever he finds suitable material for his purpose in libraries. - Uhland's research was held in the highest esteem by his learned contemporaries. The explorer of German folklore, Joseph von Laßberg, visited him in 1820 and became his ardent admirer. This was important for Uhland, as Laßberg was in contact with the most important German classical scholars of the time and was also able to arrange written or personal contact with them for Uhland.

Politics and research. University professor

In addition to the strictest understanding of his duties, Uhland was also characterized by wise moderation in all his actions. This makes his personality appear harmonious in the best sense of the word. Once he had taken on something, he gave himself to it with his whole soul. He put all his energy into it. But he never wanted one side of his profession to be compromised by the other. He lived in his research and at the same time achieved the most extraordinary things as a politician from 1819 to the end of 1826. In the latter year, however, he felt that the politician in him should not be allowed to push back the researcher any further. For this reason, he did not want to be re-elected to parliament in the following years. He wrote to his father in 1825: "It is my considered decision not to accept election this time. By enduring the seven troubled years, I believe I have fulfilled my civic duty in this respect.

I cannot be expected to exclude myself from any other profession and purpose for another six years, apart from the fact that I would otherwise lack the desire and love that is required above all for such a sphere of activity." He did not allow himself to be re-elected for the time being. All the more reason for his desire to teach to grow ever greater and greater as a result of his research. For a long time, all his hopes in this direction remained unfulfilled. In 1829, the Württemberg government finally decided to appoint Uhland as an extraordinary professor of German language and literature in his home town at the suggestion of the academic senate of Tübingen University. He was now able to move to the latter. His lectures were among the most stimulating imaginable. All who heard them were full of praise and enthusiasm. Uhland was not a brilliant orator; he read his well-thought-out explanations, which were based on the most thorough research, from the manuscripts. Despite this unpretentious manner, he had the most profound effect. He presented his audience with the history of German poetry in the Middle Ages, in the fifteenth and sixteenth centuries, as well as the history of legend and myth among the Germanic and Romance peoples. Particularly useful for his students were the "exercises in oral and written presentation" that he set up. Each participant in these could practise reciting speeches he had written himself or declaiming poems under Uhland's careful guidance, or could submit essays which were subjected to detailed criticism by the teacher. - Uhland's lectures were published after his death in his collected

writings. They offer a complete picture of his academic work. Strangely enough, he did not deliver his inaugural lecture until the third year of his teaching career, on November 22, 1832. It can also be found in his writings. It deals with the saga of Duke Ernst, whom he was able to depict as clearly and vividly as a scholar at the time as he had previously portrayed him dramatically as a poet.

Death of the parents

The joy that Uhland's parents felt when their son returned to them was great. But this joy was short-lived. In the spring of 1831, the mother fell ill and died on June 1 of the same year. Shortly afterwards, on August 29, the father followed. The warm relationship between the son and his parents is expressed in the poem "Nachruf" (Obituary), which he sent to their graves. It contained the simple but deeply painful lines: "They let the pious funeral song fade away, fade away; in my breast a gentle sound from you never dies away." And rarely has anyone expressed their grief in such haunting words as those in the obituary: "The death knell sounded so sad to me otherwise, so anxious; since you were rung by it, it has been the sound of home to me."

New political activity. Dismissal from the teaching profession."On the myth"

It was not granted to Uhland for long to remain in a profession that would have met his innermost needs like no other. The people, whose advocate he had been in such a devoted manner for years, demanded his strength anew when the election for the Assembly of Estates to be convened the following year took place in 1832. He was elected deputy for the provincial capital and could not reconcile it with his conscience to deny himself the demands of his country. The French July Revolution had also deeply stirred emotions in Germany. For a man who, like Uhland, was prepared to give his life for justice and freedom at any time, important political tasks were once again at hand. He was one of the personalities in the Chamber who resolutely opposed the dangerous measure by which the government was to be granted special powers to maintain order. Since, in the opinion of Uhland and his friends, the way in which these powers were to be granted infringed on the rights of the people, they voted against them. The result was a dissolution of the chamber and new elections. Uhland was once again appointed to represent the people. The government soon found his work uncomfortable. They wanted to get rid of the deputy by saying that he was indispensable at the university and therefore could not be given leave to fulfill his duties as a deputy. Although he was truly devoted to his teaching position, there was no doubt in his mind that in such a case he would have to let his inclination take a back seat to his duties to the country and therefore take his leave as a professor. He was "very gladly" granted his resignation in May. He now devoted himself with all his strength to the office of representative of the people. A number of important bills were introduced at his suggestion. He only retired from this office again in 1838.

His dismissal from his teaching post did not interrupt the pursuit of his research work. He was able to present his studies on the "Myth of Thor" to the world as early as 1836. In the following years he wanted to treat the "Myth of Odin" in the same way, but he left the manuscript lying around. It was only published after his death. Both works are as perceptive as they are soulful. Uhland pointed to the peculiarities of the creative popular imagination, which expresses a meaningful view of nature and a religiously deepened spiritual life in the form of myth. These works were complemented by the collection of German folk songs, which occupied him well into his forties. In 1844 and 1845 he was able to publish a large number of collected folk songs. He wrote a treatise explaining the essence of the folk song, which was only published from his estate.

The magic of Uhland's poetry

In the period from 1816 to 1834, Uhland wrote very few poems. Unless there was a strong inner compulsion, he renounced all poetic activity. He is one of those personalities who are true to themselves in the strictest sense of the word. He probably never forced himself to write a poem. And since the muse only spoke to him at certain times, there are large gaps between the epochs of his poetic production. The year 1834 was another fruitful period. Magnificent ballads and romances belong to this period. "Die Geisterkelter", "Das Glück von Edenhall", "Das Singental", "Die versunkene Krone", "Die Glockenhöhle", "Das versunkene Kloster" were written at this time. He also wrote the songs: "Abendwolken", "Die Lerchen", "Dichtersegen", "Maientau", "Wein und Brot", "Sonnenwende", "Die Malve", "Reisen".

The unique character of Uhland's poetry appears in these poems in a serene manner. The cozy tone of the songs, the meaningful vividness, the expression of a pure, loving feeling for nature appear in an outer form that has increased to the highest artistry. The ballads are imbued with the high ethical core of the poet's personality. It is part of the essence of Uhland's ballad and romance poetry that one always feels his heart beating, his soul rejoicing and suffering, when he tells facts in his simple, true way. Therein lies the magic of Uhland's poetry. He also puts his innermost feelings into his narrative poems; he always says what he feels about things and people. But by expressing his innermost feelings, he also knows how to let his personality recede behind the depiction. His creations reveal the complete unpretentiousness of a highly sensible man who is allowed to live his life to the full because his manner always appears modest and natural to the highest degree. When he talks about things, it seems as if the things alone speak. He feels so much with the nature and the heart of his fellow man that one always follows his sentiments, even when he speaks entirely from his personal point of view. It cannot be denied that the expression of the poet's feelings impairs the dramatic vividness of the narrative; but Uhland expresses himself in such a simple, truthful, thoroughly natural way that one does not feel the expression of his personality to be lacking in his ballads and romances. - And his feeling for nature is just as simple and great as his feeling for human destinies and actions. His eye looks at the creations of the world with serious joie de vivre. Only rarely does he strike a note of exuberance or exuberant cheerfulness. His outlook on life is always directed towards seeing the majesty and harmony in things. The moods of the times of day and seasons, the graceful and terrifying aspects of natural works and processes elicit the same vivid images and sounds that penetrate the soul. There is rarely anything sentimental in his feelings, although they are always characterized by softness and gentleness. Even in the poems in which he expresses his feeling for nature, the visual and emotional content flow into one another in an unforced manner.

Elected to the National Assembly. The year of the revolution.The last years of his life. Letter to Alexander von Humboldt

The satisfaction that the poet derived from his political activities diminished. And he may well have felt a sense of redemption when he made the firm decision not to accept another election as a deputy in 1838. He now lived a quiet, secluded life in his home town, completely devoted to his research. In 1836 he had bought his own house with a garden, from which he was granted a charming view of the wonderful Neckar valley. A number of trips to Austria, southern and northern Germany brought variety to his undemanding scholarly life. In 1846, he met Jakob and Wilhelm Grimm, the great German linguists and legend researchers, in person in Frankfurt am Main. -- Then came the turmoil of the revolutionary year 1848, and Uhland was one of the first to tremble with hope for a new era of freedom and national happiness. His fatherland was also gripped by the desire for freedom. Uhland's friend and fellow politician, Paul Pfitzer, with whom he had fought through many a storm in the Diet, was a member of the liberal ministry that was appointed. As a result, Uhland was asked to join the committee that was to prepare a new federal constitution in Frankfurt. Soon afterwards, he was elected to the German National Assembly from the districts of Tübingen and Rottenburg. Because he did not want to be both a representative of the people and a representative of the government, he resigned from the committee and devoted himself entirely to the negotiations of the People's Assembly. He belonged to the liberal center party. For a man like Uhland, who was able to see the situation more clearly than others, cherished expectations soon gave way to bitter disappointment. It did not take him long to realize that the various proposals made for the unification of Germany on a liberal basis had little chance of being realized. These proposals were a mixed bag: Prussian hereditary emperor, directorate, elective emperor, republican constitution. Uhland could draw little courage to intervene in the negotiations from all that was being said at the time. He was not a personality who indulged in hopeless radicalism. In addition to a resolute sense of independence and a noble enthusiasm for freedom, he also had the determined will to strive only for what was possible in the circumstances. Within the realm of the possible, however, he always advocated what was most in keeping with his sense of freedom. Thus, on June 29, 1848, he did not vote for Archduke Johann, but for Baron von Gagern for the office of Reichsverweser. Only rarely did he feel compelled to appear as an orator. When he did, he spoke weighty words. His entire feeling and thinking is expressed in the words he uttered on January 22, 1849 in the course of a speech against a hereditary emperor: "No head will shine over Germany that is not anointed with a drop of democratic ole." Following the King of Prussia's rejection of the German imperial dignity, those members of the parliament who were attached to this idea resigned. The rest of the representatives moved to Stuttgart. Uhland persevered in the rump parliament, despite his opposition to its relocation to Stuttgart. He felt it was his duty to remain among the men who wanted to continue fighting for their ideals. The situation in Stuttgart was the most difficult imaginable right from the start. The majority of the rump parliament was in favor of electing a regency of five people to lead the empire. Uhland was the leader of the opponents of this decision. He had only five like-minded people. He expected nothing from such a form of government. In the following days, the Württemberg government tried to prevent the meetings of the people's representatives by military force because they had decided to raise five million as a levy for the formation of a people's army. Uhland and his friends nevertheless wanted to go to the meeting on June 18. The military prevented them from doing so. They had to give way. So Uhland was one of those who fought the parliamentary battle to the last in those memorable days, and who could say to themselves that they had only given way to violence. - Only once more was Uhland called to the political scene, for a very short time. In 1850, he had to take part in the State Court, which had to pass judgment on the government's actions during the revolutionary period. Here, too, he once again stood up for the rights of the people in vain by advocating the condemnation of the Minister of Foreign Affairs, Baron von Wächter, who had not submitted important political decisions to the Estates in accordance with the constitution.

From then on, Uhland lived only for his scientific and literary work. He devoted himself to his research into the history of legends and began collecting folk songs. He also entered a new field. He wanted to work through the legends of his own homeland. He only managed to carry out a small part of this plan.

Until the last days of his life, Uhland retained the full vigor that was always characteristic of him. His domestic happiness was always unclouded; he took great pleasure in bringing up two foster sons. One was Wilhelm Steudel, whom he took into his home as a fifteen-year-old boy. The father of the prematurely orphaned child was Uhland's friend, Dean Steudel in Tübingen. In 1848, the son of Uhland's sister, who had already died in 1836, lost his father. Uhland also devoted himself to the upbringing of this boy. - The poet was deeply saddened by the death of his old faithful friend Justinus Kerner in February 1862. It is not unlikely that a cold at the funeral was the cause of his fatal illness. He was unable to recover and died on November 13, 1862. The funeral services held in many places proved that Uhland's work had gradually come to be fully appreciated. The poet was loved in the widest circles of the people, the scholar of legends and myths was held in high esteem by his peers, the politician with his genuinely masculine sense of independence was revered as a role model. In the last period of his life, he proved this sense in a rare way. In December 1853, he was made a Knight of the Order pour le m£rite. He rejected the dignity with the significant words: "I would be in irreconcilable contradiction with literary and political principles, which I do not flaunt but have never denied, if I were to accept the honorary position that has been conferred on me and which is also associated with an elevation in rank. This contradiction would be all the more cutting as, after the shipwreck of national hopes, on whose planks I have floated, it would not suit me well to be adorned with decorations, while those with whom I have gone together in many and important things, because they went on in the last disruption, are doomed to the loss of homeland, freedom and civil honor, even to the death sentence." He addressed these proud words to Alexander von Humboldt, who informed him of the award. Humboldt did everything in his power to persuade the poet to accept. He remained unbending. He also rejected the order for science and art intended for him by the Bavarian king.