Of dwarves, perversion, and patriotism: Schubert's Der Zwerg, D. 771

Nineteenth Century Music

Volumn 21, Issue 2, 1997, Pages 177-207

  Youens, Susan ^a  

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EID: 62449254170     PISSN: 01482076     EISSN: None     Source Type: Journal    
DOI: 10.2307/746897     Document Type: Article

References (134)

1. The citation comes from the end of the ninth scene, or "Straße," with the doctor, the captain, and Woyzeck. The captain's full speech is: "Mir wird ganz schwindlig vor den Menschen, wie schnell, der lange Schlingel greift aus, es läuft der Schatten von einem Spinnbein, und der Kurze, - das zuckelt. Der Lange ist der Blitz und der Kleine der Donner. Haha, hinterdrein. Grotesk! grotesk!" (see Georg Büchner, Woyzeck in Weike und Briefe, ed. Werner Lehmann [Munich, 1980], p. 170)
2. Pär Lagerkvist, The Dwarf, trans. Alexandra Dick (New York, 1945
3. original edn., Dväigen [Stockholm, 1944]), pp. 29-30. The Hofzwerg Piccoline, twenty-six inches tall, is a symbol of evil who regards himself as the embodiment of his master's true, that is, evil and manipulative, self
4. John Reed, The Schubert Song Companion (Manchester, England, 1985), p. 143
5. André Robert, L'idée nationale autrichienne et les guerres de Napoléon: L'Apostolat du Baron de Hormayr et le salon de Caroline Pichler (Paris, 1933), p. 387
6. A sketchy biography of the writer by Collin's friend Joseph von Hammer-Purgstall appears in Matthäus von Collin, Nachgelassene Gedichte, ed. Joseph von Hammer, vol. II (Vienna, 1827), pp. ix-xl
7. The sketchiness was due in part both to self-censorship on Hammer's part and objections from the increasingly pedantic Metternich censorship bureau, which kept a close watch on Collin's journal activities. See Karl Glossy, "Ein Gutachten Joseph Schreyvogels über Matthäus von Collins poetischen Nachlaß," in Festschrift August Sauer zum 70. Geburtstag des Gelehrten am 12. Oktober 1925, dargebracht von seinen Freunden und Schülern, ed. Reinhold Backmann (Stuttgart, 1925), pp. 223-32
8. Other facts about Collin's early life can be gleaned from his biography of his brother Heinrich; see "Über Heinrich Joseph Edlen von Collin und seine Werke," in Heinrich Joseph von Collin's sämtliche Werke, vol. 6, ed. Matthäus von Collin (Vienna, 1814), pp. 249-447
9. Matthäus von Collin, Dramatische Dichtungen, 3 vols. (Pest, 1813 and 1817). Calthon und Colmal appeared in the 1813 first volume, along with the historical play Friedrich den Streitbaren, Collin's translation of Corneille's Le Cid as Der Cid, and the tragedy Marius. The two other small volumes that appeared four years later in 1817 contained the five-act historical drama Bela's Krieg mit dem Vater (first published separately in Tübingen by J. G. Cotta in 1808), Die feindlichen Söhne, Der Tod Heinrichs des Grausamen, Die Kunringet, and Dei Streit am Grabe
10. See Caroline Pichler, geborne von Greiner, Denkwüidigkeiten aus meinem Leben, vol. I, ed. Emil Karl Blümml (Munich, 1914), pp. 382-83, for Pichler's moving account of Heinrich von Collin's death, brought about, she believed, by the strain of his dual occupations as civil servant and poet
11. One hot summer afternoon, she recounts, Heinrich visited her house in Friedrich Schlegel's company, drank water mixed with raspberry juice in his favorite glass goblet, and complained of exhaustion. A few days later, he died, and Schlegel brought her the sad news. For "An meinen Bruder Matthäus Casimir," see Heinrich Joseph Edler von Collin, Gedichte (Vienna, 1812), pp. 10-11
12. See also Ferdinand Laban, Heinrich Joseph Collin: Ein Beitrag zu Geschichte der neueren deutschen Literatur in Oesterreich (Vienna, 1879)
13. According to Herbert Seidler, "Matthäus von Collins Literaturkritik. Zu den Anfängen der Literaturwissenschaft in Österreich," in Die Österreichische Literatur: Ihr Profil an der Wende vom 18. zum 19. Jahrhundert (1750-1830), ed. Herbert Zeman, vol. II (Graz, 1979), p. 656
14. Collin tutored the Emperor's son until 1818, but Silvester Lechner, in "Zwischen bürgerlichem Anspruch und absoluter Herrschaft. Matthäus von Collins Rezensionen in den Wiener 'Jahrbüchern der Literatur' (1818 bis 1824)" (Zeman, Die Österreichische Literatur, I, 267), points out that Collin's stipend for editorship would not have been sufficient to support him and that the tutoring role continued beyond 1818
15. To cite one example of Dietrichstein (1775-1864) as composer, his 10 Lieder von A. Freyherrn von Steigentesch (Vienna, [1810?]) were published in collaboration with the guitar virtuoso Mauro Giuliani, who provided the guitar accompaniments
16. Briefe an Friedrich Baron de la Motte Fouqué von Chamisso, Chézy, Collin, ed. Albertine Baronin de la Motte Fouqué (Berlin, 1848), letter of 27 November 1820, p. 73, cited in Lechner, "Zwischen bürgerlichem Anspruch und absoluter Herrschaft," p. 257
17. See Per Daniel Amadeus Atterbom, Reisebilder aus dem romantischen Deutschland: Jugenderinnerungen eines romantischen Dichters und Kunstgelehrten aus den Jahren 1817 bis 1819, ed. Elmar Jansen (Stuttgart, 1970), pp. 233-34
18. See Maria Paulina Prins, Joseph Freiherr von Hormayr: Van apostel der oostenrijks-nationale gedachte tot pionier der duitse eenheid (Assen, 1928)
19. Brigitte Leuschner, ed., Schriftstellerinnen und Schwesterseelen: Dei Briefwechsel zwischen Therese Huber (1764-1829) und Karoline Pichler (Marburg, 1995)
20. Gustav Zimmermann, Hr. von Hormayr und die Lebensbilder aus dem Befreiungskriege (Leipzig, 1844)
21. Lena Jansen, Karoline Pichlers Schaffen und Weltanschauung im Rahmen ihrer Zeit (Graz, 1936)
22. Karl Glossy, "Hormayr und Karoline Pichler," in Jahrbuch der Grillparzer-Gesellschaft, vol. 12 (1902)
23. rpt. in Karl Glossy, Kleinere Schriften: Zu seinem siebzigsten Geburtstage (7. März 1918) (Vienna, 1918), pp. 195-215
24. Gertrude Prohaska, Dei literarische Salon det Karoline Pichler (Ph.D. diss., University of Vienna, 1946)
25. and Joseph Wihan, "Matthäus von Collin und die patriotisch-nationalen Kunstbestrebungen in Österreich zu Beginn des 19. Jahrhunderts," in Euphorion: Zeitschrift füt Literaturgeschichte, ed. August Sauer, 5. Ergänzungsheft (Leipzig, 1901), pp. 93-199
26. In her poem, "In das Stammbuch des Freyherrn von Hormayr. 1808," Caroline Pichler lauded Hormayr's pedagogical mission to teach Austrians their own history by focusing on heroic figures (stanza 2), "Angeglüht von diesen Heldenbildern, / Hochgesinnt für Vaterland und Recht, / Strebest du die Starken stark zu schildern, / Lehrend das entartete Geschlecht. / So hast du in's Herz der Zeitgenossen / Deiner Brust Begeisterung ergossen" (see Pichler, Sämmtliche Werke, vol. 22 [Vienna, 1829], p. 90)
27. Pichler, Denkwüidigkeiten aus meinem Leben, p. 307. Ridler was a history professor at the University of Vienna and a director of the university library, while Vierthaler was appointed director of orphanages in Vienna in 1807. Joseph Freiherr von Hormayr's Oesterreichischer Plutarch, oder, Leben und Bildnisse aller Regenten und der berühmtesten Feldherren, Staatsmänner, Gelehrten und Künstlet des österreichischen Kaiserstaates, 20 vols. (Vienna, 1807-14) was a compendium of the lives of Austrian kings, generals, statesmen, scholars, and artists
28. "Über den poetischen Gebrauch des historischen Stoffes" appeared in the Archiv für Geographie, Historie, Staats-und Kriegskunst (8 and 10 Jan. 1810), pp. 17-19
29. To demonstrate the point in practice as well as in theory, the essay is followed by Heinrich von Collin's historical ballad "Kaiser Max, auf der Martinswand in Tyrol. 1493" (p. 19 - about an episode in the life of the Habsburg ruler Maximilian I [1459-1519], who cut quite a swash as "der letzte Ritter" and whose numerous military campaigns often ended in defeat). Matthäus von Collin's essay "Über die Nationale Wesenheit der Kunst" appeared in the Archiv für Geographie, Historie, Staats- und Kriegskunst (11, 14, and 16 Oct. 1811), pp. 513-24
30. Cited in Karl Glossy, "Hormayr und Karoline Pichler," p. 198. Despite the literally flowery language of this quotation, Glossy points out that Hormayr in his historical writings "die Kraft der Darstellung fehlte" (p. 197)
31. Johannes von Müller, "Über den Einfluß der Alten auf die Neuern," Archiv für Geographie, Historie, Staats- und Kriegskunst (25 Jan. 1811), pp. 49-52. The quotation comes from p. 51
32. Hormayr's meteoric rise to prominence via a cascade of publications was followed by a meteoric fall from grace. Never a diplomatic creature, the choleric historian found himself increasingly in disfavor with the Emperor Franz and with Metternich, both of whom saw the notion of national patriotism as a dangerous survivor of the anti-Napoleonic days. After years of projects praised but unfunded or brought to a halt by censorship, Hormayr left Austria in the year of Schubert's death and went to Bavaria, where he turned his fecund pen to gall-and-brimstone attacks on Franz I and his "creature," Prince Metternich. Even before his departure, Caroline Pichler had lamented his ruination in a letter of 1822 to her friend Therese Huber: "Hormayr hat sich viele Feinde auf den Hals gezogen. Ganz kann ich sein Streben nicht billigen, aber ich kenne, achte und bedauere ihn. Er ist, wie mir scheint, eine Ruin dessen, was er war und zu werden versprach" (see Glossy, "Hormayr und Karoline Pichler," pp. 207-08)
33. Friedrich Schiller, Wallensteins Tod in Sämtliche Werke, vol. 2: Dramen II, ed. Gerhard Fricke and Herbert Göpfert (Munich, 1962), p. 419
34. See also Karl Glossy, "Schiller und Österreich: Mit Benützung ungedruckter Briefe und Aktenstücke," Österreichische Rundschau, 21 (1 Nov. 1906)
35. rpt. in Karl Glossy, Kleinere Schriften, pp. 18-37
36. August Wilhelm Schlegel, "Vorlesungen über dramatische Kunst und Literatur," Siebenundteißigste Vorlesung, in Sämmtliche Werke, vol. 6, ed. Eduard Böcking (Leipzig, 1846), p. 433
37. See Joseph von Hammer-Purgstall's biographical preface to Matthäus von Collin, Nachgelassene Gedichte, I, xxx
38. In Joseph von Hammer-Purgstall, Erinnerungen aus meinem Leben 1774-1852, ed. Reinhart Bachofen von Echt (Vienna, 1940), Hammer-Purgstall writes of going to the theater frequently with the brothers Collin and of summer tramps in the mountains with Matthäus, despite the latter's thick-set physique, ill suited to such exertions (pp. 180 and 182 respectively). In 1811 he writes that his work at the library and the evenings at Caroline Pichler's salon had brought him into closer contact with the Collin brothers, Friedrich Schlegel, and Hormayr (p. 205)
39. Matthäus von Collin, "Über die nationale Wesenheit der Kunst," p. 515. Matthäus also wrote an essay, "Ueber das historische Schauspiel," for Friedrich Schlegel's Deutsches Museum, vol. II (1812)
40. Hormayr himself, inspired by Matthäus Collin's Babenberger dramas, wrote the plays Friedrich von Österreich and Leopold der Schöne, performed at the Burgtheater in 1805 and 1806 respectively. It, however, was left to Franz Grillparzer in König Ottokars Glück und Ende to perfect the genre so enthusiastically espoused earlier
41. See Karl Gutkas, Die Babenberger in Österreich (St. Pölten and Vienna, 1976), pp. 33-43
42. Karl Gutkas and Franz Trischler, Kuenringer und Babenberger in der Geschichte und in den Dramen von Matthäus von Collin: Bausteine zui Heimatkunde des Hohen Waldviertels II (Zwettl, 1975)
43. and Rosemarie Wehowsky, Matthäus von Collins dramatisches Schaffen im Zusammenhang mit der nationalen Wiederbelebung Österreichs zu Beginn des 19. Jahrhunderts (Bückeburg, 1938). One notes the date of the last source, contaminated by its author's declared allegiance to Nazism
44. Collin, Dramatische Dichtungen, I, 6
45. Collin tampered with the historical reports, which state that Friedrich took a dislike to his wife for unknown reasons
46. See Helga Prosl, Der Freundeskreis um Anton von Spaun: Ein Beitrag zur Geistesgeschichte von Linz in der Biedermeierzeit (1811-1827) (Ph.D. diss., Leopold-Franzens Universität, Innsbruck, 1951)
47. Pichler's sole passage about Schubert in her memoirs - "Auch Schubert habe ich gekannt" - consists entirely of wonderment at his "fast unbewußt" creativity, which she compares to the mysteries of animal magnetism and other "geheimnisvollen Fähigkeiten der Psyche," also to butterflies' wings hidden in the pupa until miraculously revealed to the light. See Pichler, Denkwürdigkeiten aus meinem Leben, I, 294
48. See also Otto Erich Deutsch, Schubert: Die Erinnerungen seiner Freunde (Leipzig, 1957), pp. 29-30 and 155
49. Deutsch, Schubert: Die Erinnerungen, pp. 209 and 239 respectively
50. Matthäus von Collin, Nachgelassene Gedichte, II, 140-41
51. On nature as symbol, see Simon Schama, Landscape and Memory (New York, 1995)
52. on mountains, see Schama's "Rock," pp. 385-513
53. See Charles Rosen, "Mountains and Song Cycles," in The Romantic Generation (Cambridge, Mass., 1995), pp. 124-220
54. Friedrich Schlegel, "Athenäums-Fragmente" in Kritische Friedrich Schlegel Ausgabe, vol. II: Charakteristiken und Kritiken I (1769-1801), ed. Hans Eichner (Munich, 1967), fragment 305 on p. 217 and fragment 389 on p. 238
55. Wolfgang Kayser, The Grotesque in Art and Literature, trans. Ulrich Weisstein (New York, 1966, original edn., Das Groteske: Seine Gestaltung in Malerei und Dichtung [Oldenburg, 1957]), p. 58
56. See Johann Wolfgang von Goethe, Die Faustdichtungen, ed. Ernst Beutler (Zürich, 1950), p. 274
57. Clemens Brentano, "Geschichte vom braven Kasperl und dem schönen Annerl," in Werke, ed. Friedhelm Kemp, vol. II (Munich, 1963). The premonitory episode is on p. 795, the grim dénouement on p. 802
58. Schlegel, "Athenäums-Fragmente," in KFSA, vol. II, fragment no. 424, pp. 247-48
59. See Roger Armand Weigert, Incroyables et Merveilleuses (Paris, 1955)
60. François Gendron, La Jeunesse sous Thermidor (Paris, 1983)
61. Albert Mathiez, La Réaction Thermidorienne (Paris, 1929)
62. Jules and Edmond Goncourt, Histoire de la Société Française pendant le Directoire (Paris, 1864)
63. and Christopher Hibbert, The Days of the French Revolution (New York, 1980), p. 272
64. See Georges Duval (1772-1853), Souvenirs thermidoriens (Paris, 1844), II, pp. 76-85 (chap. 14), for a description of this particular "danse macabre." Duval, a purveyor of fictions, is not to be trusted regarding certain historical details in his reminiscences of the Terror and of Thermidor, but his account is riveting. "Atroce plaisanterie, insulte infâme aux mânes encore sanglants de leurs pères! scandale révoltant, scandale inoü dans les annales des peuples, et que la révolution seule pouvait offrir!", he thunders (p. 78), while noting with approval that one good aspect of the Thermidorian reaction was "la résurrection de la toilette" (p. 79)
65. See Karl Glossy, "Die Vermählung der Erzherzogin Maria Louise mit Napoleon I. (Aus dem Tagebuch eines Wieners)," in Wiener Kommunal-Kalender und Städtisches Jahrbuch for 1903
66. rpt. in Glossy, Kleinere Schriften, pp. 438-55
67. In The Emperor of the Gulls, in his Stolen Gear, King George III says, "What have we here, eh? A fellow that has stolen some dollars and made a crown of them, eh? And then wants to pass them off for sterling," while a British laborer exclaims, "Dang it, why a looks as though a'd burst! a'l ne'rr be zo big as one of our oxen tho'." Napoléon tells the British king, "There, Brother, there, I shall soon be as big as you; it's a real Crown, but it is cursed heavy; my head begins to ache already. I say, can't we have a grand meeting like Henry VIII and Francis I?"
68. (see A. M. Broadley, Napoleon in Caricature, vol. I, facing p. 215)
69. In The Cossack Extinguisher, the Cossack says, "I'll extinguish your little French farthing rushlight, Master Boney," and Napoléon exclaims, "Death and Fury! How I burn with Rage. These Frightful - Contempable [sic] Cossacks has [sic] Clouded all my hope" (see Broadley, Napoleon in caricature, facing p. 325, and the collection of Napoleonic caricatures at Houghton Library, Harvard University)
70. Her detestation of Napoléon is a recurring theme, as when she tells of the "festivities" in Vienna for Napoléon's birthday on 15 August. The Viennese were ordered to illuminate their windows; a shopkeeper accordingly prepared a huge, lighted transparency with the lines, "Zur / Weihe / An / Napoleons / GeburtS / FEST." The capital letters at the beginning of each line and at the end spell out "ZWANGSFEST." See Pichler, Denkwürdigkeiten, I, 353-54
71. Sabine and Ernst Scheffler, So zerstieben getraeumte Weltreiche: Napoleon I. in der deutschen Karikatur (Stuttgart, 1995), pp. 162-63, also the collection of Napoleonic caricatures at Houghton Library, Harvard University
72. Broadley, Napoleon in Caricature, II, 124
73. The "Wanted" notice is reproduced in Sabine and Ernst Scheffler, So zerstieben getraeumte Weltreiche, pp. 156-57
74. On pp. 104-05, one also finds Johann Christoph Erhard's Giose [sic] Rarität aus Frankieich of 1813-14, in which a huckster tells a roomful of people that they can "for very little money see the little man" seated in a small chair placed on a tabletop
75. See Veronique Dasen, Dwarfs in ancient Egypt and Greece (New York, 1993)
76. Later, Hofzwerge served in the mixed capacities of court jester, tutor or companion to the royal children, and advisors; the evil dwarf Piccoline in Lagerkvist's The Dwarf rails against the supposition that his small size puts him on a par with children but is immensely proud of his position as the Duke's advisor. There is an immense quantity of German and Austrian dwarf lore; the entry "Zwerge und Riesen" in E. Hoffmann-Krayer and Hanns Bächtold-Stäubli, Handwörterbuch des Deutschen Aberglaubens, vol. IX (Berlin, 1941), consumes over one hundred pages dense with abbreviations (pp. 1008-1138)
77. See also Wendelin Marwede, Die Zwergsagen in Deutschland nordlich des Mains (Würzburg, [1933?])
78. Felix Lindner, Zur Geschichte der Oberonsage (Rostock, 1902)
79. Fritz Meyers, Riesen und Zwerge am Niederrhein: Ihre Spuren in Sage, Märchen, Geschichte und Kunst (Duisburg, 1980)
80. Claude Lecouteux, Les nains et les elfes au Moyen Age (Paris, 1988)
81. Fritz Wohlgemuth, Riesen und Zwerge in der altfranzösischen eizählenden Dichtung (Stuttgart, 1906)
82. Jean Alexandre Havard, Les nains célèbres depuis l'antiquité jusques et y compris Tom-Pouce (Paris, 1845)
83. Martin Monestier, Les Nains (Paris, 1977)
84. and Vernon J. Harward, Jr., The Dwarfs of Arthurian Romance and Celtic Tradition (Leiden, 1958)
85. In Kleine Menschen - Große Kunst: Kleinwuchs aus künstlerischer und medizinischer Sicht, ed. Alfred Enderle, Dietrich Meyerhöfer, and Gerd Unverfehrt (Hamm, 1992), pp. 120-21, one finds reproduced a woodcut engraving by Urs Graf (ca. 1485-ca. 1528) of Christ brought before Herod, in which a dwarf in the left foreground holds a chain to which a monkey is attached. In the Meister des Aachener Altares's three-winged altarpiece of ca. 1510 (pp. 122-23), a dwarf appears in the foreground of the Ecce homo panel with a chained monkey, which paws at the dwarf's hair. If the images are unsettling, so is the latter-day treatise, in which the editors diagnose the specific medical deformities in each depiction of dwarfism
86. See Paulette Choné, Daniel Ternois, Jean-Marc Depluvrez, and Brigitte Heckel, Jacques Callot 1592-1635, exhibit at the Musée historique lorrain in Nancy, France, 13 June-14 September 1992 (Paris, 1992), p. 227
87. See also Andrea Gatti, "L'iconografia musicale popolare nell' opera di Jacopo Callot e Stefano Della Bella," in Rassegna di studi e di notizie 13 (Milan, 1986), pp. 303-33
88. See Jacques Callot, Das gesamte Werk - Druckgraphik, 2 vols. (Munich, n.d.), II, 1094-1106
89. In 1814 Ernst Theodor Amadeus Hoffmann would publish his Fantasie-Stücke in Callots Manier: Mit einer Vorrede von Jean Paul (Bamberg), which begins with an encomium to Callot. "Warum kann ich mich an deinen sonderbaren fantastischen Blättern nicht satt sehen, du kecken Meister! - Warum kommen mir deine Gestalten, oft nur durch ein Paar kühne Striche angedeutet, nicht aus dem Sinn?", the author asks, praising Callot for his irony
90. See E. T. A. Hoffmann, Sämtliche Werke in sechs Bänden, vol. II/1: Fantasiestücke in Callots Manier, ed. Hartmut Steinecke, Gerhard Allroggen, and Wulf Segebrecht (Frankfurt am Main, 1993), pp. 17-18
91. See Callots Neueingerichtetes Zwergenkabinett, ed. Wilhelm Fraenger (Erlenbach-Zürich, 1921)
92. also Günther Bauer and Heinz Verfondern, Barocke Zweigenkarikaturen von Callot bis Chodowiecki (Salzburg, 1991)
93. See Günther Bauer, Salzburger Barockzwerge: Das barocke Zwergentheater des Fischer von Erlach im Mirbellgaiten zu Salzburg (Salzburg, 1989). The "Zwerglgarten" includes twelve dwarfs representing the months of the year ("The Dwarf with a Goose" for November, "The Dwarf with a Garden Vase" for April, and so forth)
94. Gerd Gaiser, "Antigone und der Gartenzwerge" in Gib acht in Domokosch: Erzählungen (Munich, 1959), pp. 263-68
95. Johann Wolfgang von Goethe, the entry for 16 November 1808 in Tagebücher (Zürich, 1964), p. 293
96. Pichler wrote a poem to accompany a copy of the Nibelungenlied, which she sent to the abbot Ladislaus von Lilienfeld ("An denselben, mit dem Nibelungen-Lied"), beginning, "Heimisch in des schönen Ostreichs Grundes / Sind die Wunder, die du hier wirst finden, / Unser ist der Nibelungen Hort. / Wie du folgst der Donau reichen Spuren, / Bis zu deines Vaterlandes Fluren, / Zieht das Lied begleitend mit dir fort" (see Pichler, Sämtliche Werke, vol. 22, pp. 178-80)
97. See also Anton Ritter von Spaun, Heinrich von Ofterdingen und das Nibelungenlied: Ein Versuch den Dichter und das Epos für Oesterreich zu vindiciren (Linz, 1840). The book ends with a Musikbeilage: the first four strophes of the Nibelungenlied set to nine different Austrian folk melodies - mostly dance tunes - with piano accompaniment. The forced wedding between such simple specimens of musical Schwung and a darkly grim thirteenth-century masterpiece constitutes quite an incongruity
98. Friedrich Rückert in his 1839 poem "Sigurd unter den Gänsen" mocked the dilettantism of writers who flocked to the Nibelungenlied "wie jugendliche Leser/ oder wie ein Heer von Recensenten" (see Friedrich Rückerts gesammelte poetische Werke, vol. 7 [Frankfurt am Main, 1868], p. 57)
99. Schondochs Gedichte, ed. Heinrich Heintz (Breslau, 1908), pp. 83, 85-86
100. August Lütjens briefly mentions Die Königin von Frankreich in his study of Dei Zwerg in der deutschen Heldendichtung des Mittelalters (Breslau, 1911), p. 10
101. See also Jutta Strippel, Schondochs "Königin von Frankreich": Untersuchungen zur handschriftlichen Überlieferung und kritischer Text (Göppingen, 1978)
102. Eberhard Gottlieb Graff, Diutiska: Denkmäler deutscher Sprache und Literatur, aus alten Handschriften zum ersten Male theils hrsg., theils Nachgewiessen und Beschrieben, vol. III (Stuttgart, 1829), pp. 378-79
103. There are other examples of dwarfs in medieval romance: Hartmann von Aue's Arthurian tale Erec begins with an episode in which the dwarf Maliclisier in the service of the knight Iders beats the lady Enite and slashes the unarmed Erec across the face with his whip. The title character in Laurin, an anonymous Middle High German poem probably written in the second half of the thirteenth century, is a dwarf whose immense strength is derived from a magic girdle; although he fiercely defends his rose garden from intrusion, he is finally bested by the knight Dietrich von Bern. See Hartmann von Aue. Erec. Mittelhochdeutscher Text und Übertragung, trans. Thomas Cramer (Frankfurt, 1972)
104. and Laurin: Ein altdeutsches Gedicht, ed. Oskar Schade (Leipzig, 1854)
105. See Friedrich de La Motte-Fouqué, Briefe an Friedrich Baron de la Motte Fouqué, pp. 55-74, for the Fouqué-Collin letters
106. "Der Schuß aus der Feldschlange" appears on the first page of the Archiv füt Geographie, Historie, Staats- und Kriegskunst (3 and 5 Feb. 1812)
107. Arno Schmidt, Fouqué und einige seinei Zeitgenossen: Biographischer Versuch (Karlsruhe, 1958), p. 346
108. Pellegrin [pseudonym for Friedrich Heinrich Baron de La Motte-Fouqué], Zwei Schauspiele (Berlin, 1805, reissued in Friedrich de la Motte-Fouqué, Ausgewählte Diamen und Epen, ed. Christoph F. Lorenz, 2 vols. [Hildesheim, 1994])
109. See Der grosse Wolfdieterich, ed. Adolf Holtzmann (Heidelberg, 1865)
110. The Wolfdietrich Epic in the Dresdener Heldenbuch, ed. Edward A. H. Fuchs (Louisville, 1935)
111. Orneit und Wolfdietrich, nach der Wiener Piaristenhandschrift, ed. Justus Lünzer, Edlen von Lindhausen (Tübingen, 1906)
112. and Ortnit and Wolfdietrich: Two Medieval Romances, trans. J. W. Thomas (Columbia, S.C., 1986)
113. See also Friedrich von Schwaben aus der Stuttgarter Handschrift, ed. Max Hermann Jellinek (Berlin, 1904); there was, furthermore, a manuscript of this tale in the Österreichische Nationalbibliothek Wien cod. 2984 (I). The Jerome episode occurs later in the work, beginning with line 2, 425
114. See also Brigitte Schöning, "Friedrich von Schwaben": Aspekte des Erzählens im spätmittelalterlichen Versroman (Erlangen, 1991), in particular, the section entitled "Im 'Minnegefängnis'?! - Die Zwergenkönigen Jerome," pp. 115-23
115. Christian Heinrich Spiess, Das Petermännchen: Geistergeschichte aus dem dreizehnten Jahrhunderte (Frankfurt, 1795, facs. rpt., Frankfurt, 1971)
116. The novel was translated into English as The Dwarf of Westerbourg, from the German of J. C. Spietz [sic] (London, 1827)
117. Jutta and Günter Griebel, Zwerge typisch deutsch: WERBEzwerge-WerbeRIESEN: Ein Ausstellung des Deutschen Gartenzweig-Museums (Berlin, 1992)
118. The authors invent a scholarly field dubbed "nanology"; imply that a Siegfried is only possible when there is also an Alberich; and wonder whether Helmut Kohl was born as a garden dwarf. See also Ursula Hegi, Stones from the River (New York, 1994)
119. and Kathryn Harrison, Poison (New York, 1995); in the latter, the dwarf Eduardo poisons the French-born Spanish queen María Luisa, wife of the seventeenth-century monarch Carlos II
120. See Alexander Zemlinsky, Der Zwerg: Ein tragisches Märchen für Musik in einem Akt, frei nach O. Wilde's "Geburtstag der Infantin" von Georg C. Klaren (Vienna, 1921). When the dwarf, who was given to the Infanta on her eighteenth birthday by a far-off sultan (faint echoes of Orientalizing perversion are hinted in the choice of gift), proclaims his love, the Infanta mocks him; at first pretending to go along with his fantasies of rescuing her from dragons, of being her savior "stark und schön wie des Donatello David," she tells him finally, "Du bist greulich . . . du bist wie ein Tier."
121. See Jörg Lanz von Liebenfels, Theozoologie, oder Die Kunde von den Sodomsäfflingen und dem Götter-elektron (Vienna, 1905)
122. Wilfried Daim, Der Mann, der Hitler die Ideen gab: Jörg Lanz von Liebenfels (3rd edn. Vienna, 1994)
123. and Nicholas Goodrick-Clarke, The Occult Roots of Nazism - Secret Aryan Cults and Their Influence on Nazi Ideology: The Ariosophists of Austria and Germany, 1890-1935 (New York, 1992)
124. Leslie Fiedler, Freaks: Myths and Images of the Secret Self (New York, 1978), p. 137. Fiedler's chap. 1 is devoted to dwarfs
125. Matthäus Edlen von Collin's Nachgelassene Gedichte, II, 151
126. See chap. 4 of my Schubert's Poets and the Making of Lieder (Cambridge, 1996)
127. A few years later, Clemens Brentano would write a poem entitled "Die Erde war gestorben" for Louise Hensel (1798-1876), with whom he, Wilhelm Müller, and several others were in love. In this poem, withdrawal of the woman's gaze kills: (stanza 2 of 3) "Du bietest mir zu trinken / Und blickest mich nicht an / Läßt du die Augen sinken / So ist's um mich getan" [italics mine]. See Clemens Brentano, Gedichte, ed. Wolfgang Frühwald, Bernhard Gajek, and Friedhelm Kemp (Munich, 1977), pp. 375-76
128. Lawrence Kramer, Music as Cultutal Practice, 1800-1900 (Berkeley and Los Angeles, 1990), p. 113
129. See chap. 4 of my Schubert, Müller, and Die schöne Müllerin (Cambridge, 1997) for a discussion of Schubert's "revision" of "Mein!", not by altering the text but by choosing to heighten one level of events in the poet's words while drastically de-emphasizing another
130. Both Erlkönig and Der Zwerg constitute a hybrid of Lied and ballad. Philipp Spitta described Erlkönig as closer to the former than the latter in his essay "Die Ballade" in Spitta, Musikgeschichtliche Aufsätze (Berlin, 1894)
131. Hugo Wolf would later borrow the same device for his An den Schlaf to a text by Eduard Mörike
132. Schubert would do something very similar in his setting of "Die böse Farbe" from Die schöne Müllerin, D. 795. The miller lad realizes as he is singing the word "totenbleich" that he is actually contemplating his own death, and the shock sends him reeling in midword. Between "toten-" and "-bleich," Schubert jolts the music upward in a massive deceptive motion at m. 20
133. In the recorded performance of Der Zwerg by Ann Murray, mezzo-soprano, and Graham Johnson, piano, for The Hyperion Schubert Edition, vol. III (Hyperion Records Limited CDJ33003, 1989), the singer renders the words "sie sagt's" as "a sudden high leap of strangled terror . . . The silk chord is pulled tight." The soft, thin, appropriately strangled tone is effective, but it is not in accord with the more violent dynamics indicated in the first edition
134. Ludwig Tieck, Die Gemälde horn Werke in vier Bänden, vol. III: Novellen, ed. Marianne Thalmann (Munich, 1965), p. 33