The German Genius

Auernheimer, Franz Grillparzer: Der Dichter Österreichs (Vienna: Ullstein, 1948), pp. 48–61.
10. Franz Grillparzer, Selbstbiographie , ed. Arno Dusini (Salzburg and Vienna: Residenz, 1994). An interesting mix of everyday comment and reflections on art and philosophy.
11. Hermann Glaser, ed., The German Mind of the Nineteenth Century: A Literary and Historical Anthology (New York: Continuum, 1981), p. 212.
12. Robert Pichl, “Tendenzen der neueren Grillparzer Forschung,” in Pichl, et al., eds., Grillparzer , pp. 145ff.
13. Marcel Reich-Ranicki has released in Germany his own canon of works, of which Green Henry is number 4 (Reclam, Ditzingen, 2003).
14. Even the love element, especially the love element, emerges slowly, gently. See Gerhard Neumann, Archäologie der passion zum Liebenskonzept in Stifters “Der Nachsommer ,” in Michael Minden, et al., eds., Stifter and Modernist Symposium (London: Institute of German Studies, 2006), pp. 60–79; and Lily Hohenstein, Adalbert Stifter: Lebensgeschichte eines Überwinders (Bonn: Athenäum, 1952), pp. 226ff.
15. See in particular Michael Minden, “Der grüne Heinrich and the Legacy of Wilhelm Meister,” in John L. Flood, et al., eds., Gottfried Keller: 1819–1890 (Stuttgart: Hans-Dieter Heinz Akademischer Verlag, 1991), pp. 29–40; but also Wolfgang Matz, Adalbert Stifter, oder, Diese fürchterliche Wendung der Dinge: Biographie (Munich: Deutscher Taschenbuch Verlag, 2005). See also Lukács, German Realists , p. 199.
16. Todd Kontje, The German Bildungsroman: History of a National Genre (Columbia, S.C.: Camden House, 1993), pp. 26–27.
17. Ritchie Robinson, Heine (London: Weidenfeld & Nicolson [Peter Halban], 1988), p. vii. Lukács, German Realists , p. 106.
18. Robinson, Heine , p. 7. See also Kerstin Decker, Heinrich Heine: Narr des Glücks; eine Biografie (Berlin: Propyläen, 2007).
19. Robinson, Heine , pp. 10–11.
20. Edda Ziegler, Heinrich Heine: Leben, Werk, Wirkung (Zurich: Artemis & Winkler, 1993). See also Robinson, Heine , p. 13; and Lukács, German Realists , p. 103.
21. For his poems of this period, see S. S. Prawer, Heine: The Tragic Satirist (Cambridge: Cambridge University Press, 1961), pp. 141ff.; Marcel Reich-Ranicki, Der Fall Heine (Stuttgart: Deutsche Verlags-Anstalt, 1997); and Robinson, Heine , p. 20.
22. Robinson, Heine , p. 22.
23. Ibid., p. 27.
24. Ibid., p. 81.
25. For a discussion, see Reich-Ranicki, Der Fall Heine , pp. 86ff., quoting from Heine’s letters.
26. Robinson, Heine , p. 87.
27. Ibid., p. 93.
28. For the last poems, see also Prawer, Heine , pp. 222f. Lukács, German Realists , p. 155.
29. Jan-Christoph Hauschild, Georg Büchner: Studien und neue Quellen zu Leben, Werk und Wirkung (Königstein: Athenäeum, 1985), pp. 35ff. and 47f.
30. Raymond Erickson, Schubert’s Vienna (New Haven, Conn., and London: Yale University Press, 1997), pp. 5f.
31. Ibid., p. 290.
32. Gerbert Frodl, et al., eds., Wiener Biedermeier: Malerei zwischen Wiener Kongress und Revolution (Munich: Prestel, 1992), pp. 35–43.
33. Erickson, Schubert’s Vienna, pp. 40ff. Hans Ottomeyer, et al., eds., Biedermeier: The Invention of Simplicity; An Exhibition at the Milwaukee Art Museum, the Albertina in Vienna, Deutsche Historische Museum in Berlin , 2006. Includes a chapter on the rediscovery of Biedermeier and one on the aesthetics of Biedermeier furniture. Probably the definitive work, visually speaking, for the moment. Schonberg, Lives of the Great Composers , p. 101. See also George Marek, Schubert (London: Robert Hale, 1986), pp. 110–111. Marek says these evenings were, as often as not, “drinking orgies.” But they were well attended and, on one occasion, by a princess, two countesses, three baronesses, and a bishop.
34. For Carnaval , see Ronald J. Taylor, Robert Schumann: His Life and Work (London: Granada, 1982), pp. 113–116 and 127–128. See also John Daviero, Crossing Paths: Schubert, Schumann, and Brahms (Oxford: Oxford University Press, 2002); and Alice M. Hanson, Musical Life in Biedermeier Vienna (Cambridge: Cambridge University Press, 1985).
35. Taylor, Robert Schumann , pp. 320–321; and Schonberg, Lives of the Great Composers , p. 148.
36. Clive Brown, A Portrait of Mendelssohn (New Haven, Conn., and London: Yale University Press, 2003), pp. 74ff.
37. Ibid., pp. 430–432.
38. Celia Applegate, Bach in Berlin: Nation and Culture in Mendelssohn’s Revival of the St. Matthew Passion (Ithaca, N.Y.: Cornell University Press,