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Johann Ludwig Tieck was a German poet, translator, editor, novelist, and critic, who was part of the Romantic movement of the late 18th and early 19th centuries.
Tieck's importance lay in the readiness with which he adapted himself to the new ideas which arose at the close of the 18th century, rather than in any conspicuous originality. His importance in German poetry is restricted to his early period. In later years it was as the helpful friend and adviser of others, or as the well-read critic of wide sympathies, that Tieck distinguished himself.
Tieck also influenced Richard Wagner's Tannhäuser. It was from Phantasus that Wagner based the idea of Tannhäuser going to see the pope and Elisabeth dying in the song battle.
Slowly but surely this fucking year 2016 comes to an end. Apart from the coming four years, this was probably the most shameful one in a long time. Thinking about that I found that this book came at just the right time for me. It’s probably another case of “the book picks the reader and not vice versa”. Whenever I found the time to read a few pages of THE SCARECROW I was beautifully distracted from all the crap that’s piling up right now. Ludwig Tieck gradually grows to become my favorite author of the German Romanticism period – behind Jean Paul of course; but that goes without saying.
I don’t like to say much about the content. The story is packed with themes and the individual scenes are, except for a few, just gorgeous and easy and funny, but not silly (or maybe a little silly, but good silly, if you know what I mean). There is a scientist, an alchemist, an artist whose best work, namely the scarecrow, suddenly disappears, a mysterious gentleman building an even more mysterious cultural academy, a curious doctor who promises to heal by magnetism, a young woman who likes to marry a military officer, who in turn fucked up his chances by uttering a certain swearword (which the readers have to find out for themselves), and a bored & boring Prince who can be sold to just about any artwork, and – last but not least – there are a whole lot of fabulous elves and fairies, which are really going to mess with the mortals.
You cannot ask for more from a “fairy tale novella in five acts”, can you? The whole thing is spiced by references to the political and social state of affairs during the so-called Vormärz (the time before the march revolution of 1848/49 in Germany), and quite a lot of literary criticism (of Tieck’s contemporaries, and himself).