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The Taugenichts has no such exalted destiny. He is not a hero, that is, not a person with exceptional gifts who is singled out for a special task. He is an ordinary person: a thoroughly physical, natural being, but he is also aware, intuitively rather than reflectively, of higher spiritual realities. Friedrich and Tamino represent the spiritual man, Papageno and the Taugenichts the natural man, something much closer to the human norm.
Amid a desolate landscape, surrounded by the destructive energies of the whirlpool, stands a rock surmounted by a cross. Here a real phenomenon acquires an allegorical meaning as the destructive aspect of Nature, drawing all life down to death and annihilation. The Cross planted on the rock represents the assurance of eternal life.
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Despite the unmistakable guidance supplied by Eichendorff in the sentence quoted, this image requires active interpretation by the reader. Its meaning must be sought and found, not merely read off. And, even in prompting the reader, the novelist steps down from his position of authority and becomes instead a mediator.
For the meaning he points out to the reader is not an arbitrary construction by the novelist, but is encoded in the natural world as created by God. It is sometimes claimed that the Romantics roundly rejected allegory in favour of symbolism.
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Rather, they rejected tedious and contrived allegories, which merely required the translation of abstract qualities into concrete equivalents. The Romantics took up the ancient conception of the book of Nature.
Everything in nature, from the structure of crystals to the constellations, contained a meaning which might be disclosed at privileged moments. Eichendorff has rearranged geography to fit the demands of the imagination, just as he did in Ahnung und Gegenwart, where some characters emigrate to America from a seaport apparently located in South Germany.
Time is even more bewildering. References to actual places and seasons lure us into a fictional structure which is really shaped by a symbolic system. Werke, Vol. His spatial world contains two boundaries: the standpoint of the observer and the remote distance. What lies between need only be vaguely indicated, for its importance lies in awakening a sensation of yearning. Travelling, in Eichendorff, is an expression of the divine discontent which cannot ultimately be satisfied with anything less than a heavenly destination.
Only the Philistines, with their limited imaginations, are content to stay at home. The Taugenichts himself, as his anonymity suggests, is not a character constructed by the rules of nineteenth-century mimetic realism, but a representative figure. He is often compared to animals: a bittern p.
He also has a healthy appetite. However, the Taugenichts rates the luxurious Italian fare less highly than the picnics he enjoys in a German setting. Michael Perraudin has found a dozen instances within a smallish fictional corpus two novels and six short stories. This trait confirms his affinity with the natural world.
Its hero was intended as a modern equivalent of the medieval minstrel and poet who professed undying attachment to his unattainable lady-love. First, it makes him dissatisfied with a merely natural, physical existence. It inspires a range of new emotions: yearning, melancholy, and sorrow. Peter wept bitterly when the crowing of the cock brought home to him that he had betrayed his Master.
In Mimesis, Erich Auerbach discusses the New Testament story of Peter as an instance of tragic realism, where an ordinary humble person experiences profound emotions which are described in straightforward everyday language. Commentators have generally dismissed these on the grounds that the Taugenichts cannot have any deep feelings.
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But he does, and his emotional changes signalize his spiritual growth. Here as elsewhere Aurelie is associated with flowers natural growths, linking her with the Taugenichts as natural man. The lily in particular is part of the traditional iconography of the Virgin Mary. However, the Taugenichts sees not only the flesh-and-blood Aurelie but also her reflection in the water.
Mirroring is a frequent motif in Romantic literature broadly defined, suggesting how things exist both in the physical world and also in the mental world of subjective reflection. With Eichendorff, the motif of mirroring is nudged in a spiritual direction by the image of the angel moving against the background of the sky. The Virgin features later in the text when the Taugenichts meets German artists in Rome, one of whom uses him as a Eichendorff, Aus dem Leben eines Taugenichts 55 model for a shepherd-boy in a painting of the adoration of the child Jesus by the shepherds.
In the earlier story Das Marmorbild, Venus is the demonic female whose statue wakens to new life each spring and who tries to seduce the hero Florio away from his faith and virtue. But real geography, as elsewhere in the story, has given way to symbolic topography. In the previous paragraph, the city of Rome, seen from the distance, was compared to a long streak of cloud, and that in turn to a sleeping lion, surrounded by mountains like giants watching over him. The lion represents the dormant power of paganism, and the giants, the seven hills of Rome, are to be imagined not as protecting him but as protecting humanity against the danger that he might reawaken.
There is a remarkable affinity here between Eichendorff and Heine, who repeatedly explored the conflict between Christianity and paganism. For Heine, the pagan gods symbolized irrational and destructive forces which could be reawakened by modern revolutionaries who unthinkingly made a cult of violence.
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Eichendorff, by contrast, does not politicize them. Rather, he contrasts the pagan past with the Christian future. For as the Taugenichts approaches Rome, it comes to look like the heavenly Jerusalem of the Revelation of St John, a city with lofty towers, gates, and golden domes, guarded by angels.
The Taugenichts resists temptation, continues directly on his way, and finally attains his goal. The image of the heavenly city prefigures the ultimate spiritual goal of his life, as does his appearance in the painting of the Adoration of the Shepherds. Although allegory here occupies the foreground, the story does not need to be equally allegorical throughout. Its tone accordingly changes when the Taugenichts actually enters Rome: we are in modern Rome, and almost the only people he meets there are German painters.
The painters evidently belong to the Nazarene school which was founded by German artists in Rome around in the hope of reviving the religious art of Raphael and other Renaissance painters. Motifs of comic failure and frustration abound. When he takes the Taugenichts back to his garret room, he finds that the key is inside the locked room, and has to kick the door open.
The room proves to be so untidy that it takes some time to find a knife with which to prepare bread and butter. This suggests the Biblical Tower of Babel which was intended to reach to heaven, but was cast down by divine intervention; the builders all found themselves speaking different languages so that they could not collaborate on any other impious enterprise.
By these light touches, Eichendorff suggests that art risks setting itself up as a rival to religion, an alternative way to heaven, like the Tower of Babel. One is singing, another is playing the guitar, and a third is beating time. Zum 7. High art, we are given to understand, is a reproduction of a reproduction.
The tableau reproduces a written description which in turn reproduces a painting which itself depicts a natural scene.
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Though often seen as an arch-Romantic, Eichendorff was sceptical about many aspects of Romanticism. Finally both sides are swept away by the ancient giant Grobianus, another warning against stirring up primeval forces. The genuine art that Eichendorff admires is embodied in the Taugenichts himself and in his fiddle.
As an exponent of folk-song, he embodies the value placed by Herder and the Romantics on folk-song as the genuine expression of the national soul. For, unlike Romantic nationalists, Eichendorff places art in a religious context. Unser Reich ist nicht von dieser Welt! Ritchie London, But even that is not quite true. Eichendorff avoids the polarity of artist and Philistine that we find in other Romantics, whether polemically in Brentano or good-naturedly in Hoffmann. In the castle, the role of the workaday Philistine is played by the porter.
Finally, however, the Taugenichts and the porter are reconciled. The conclusion looks like a reconciliation between work and poetry.
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These two adjustments to the reality principle make Aus dem Leben eines Taugenichts not so much a Romantic work as a Biedermeier one. Although it may have become a landmark of Romanticism in the eyes of generations of German readers, it satirizes Romanticism by showing how much Romantic art has declined into posturing, and it gently debunks Romantic illusions by providing a happy ending, marriage to a real, compatible, affectionate woman, and even an admission that the Philistines are not so bad after all.
The historic visit was the culmination — or rather, the anticlimax — of a walking tour that Heine had taken that autumn, and the prose work inspired by the journey quickly became a landmark in German literature. The memorable encounters that characterise the Harzreise are held together by a fictional travel itinerary based on the actual route followed by Heine when he embarked on his journey through the Harz region in the autumn of From there he travels to Clausthal-Zellerfeld to view the famous silver mines of the region before stopping off to view the sights of Goslar.
After an unintended detour towards Bad Harzburg he ascends the increasingly popular tourist destination, the Brocken mountain, and concludes his journey in the picturesque river valleys of the Ilse, the Bode and the Selke. The first and most popular of all his prose writings, the author regarded it as the work that first established his name with the reading public. Contemporaries immediately recognised that Heine had, at the very least, established a new form of travel writing, so popular at the time.