Background
Apel was born and died in Leipzig.
(This is a reproduction of a book published before 1923. T...)
This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ Die Aitolier: Tragödie Johann August Apel Weigel, 1806
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Apel was born and died in Leipzig.
His version of the traditional German Freischütz folk tale, "Der Freischütz" was published as the first story of the first volume of his and Friedrich Laun"s Gespensterbuch horror anthology (1811). Johann Friedrich Kind and Carl Maria von Weber drew on this version as the main source for the story of their opera Der Freischütz (1821), and even abandoned their working title to capitalise on the popularity of Apel"s tale. lieutenant was republished in its own book after Apel"s death.
Two of his other short stories ("Die Bilder der Ahnen" and "Die schwarze Kammer") were included in Jean-Baptiste Benoît Eyriès" Fantasmagoriana (1812), which was read by Lord Byron, Mary Shelley, Percy Bysshe Shelley, John William Polidori and Claire Clairmont at the Villa Diodati in Cologny, Switzerland during the Year Without a Summer, inspiring them to write their own ghost stories, including "The Vampyre" (1819), and Frankenstein (1823), which went on to shape the Gothic horror genre.
"Die Bilder der Ahnen" (translated by Sarah Elizabeth Utterson in Tales of the Dead (1813) as "The Family Portraits") especially influenced Mary Shelley, who described it in her introduction to the 1831 edition of Frankenstein:
His gigantic, shadowy form, clothed like the ghost in Hamlet, in complete armour, but with the beaver up, was seen at midnight, by the moon"s fitful beams, to advance slowly along the gloomy avenue. The shape was lost beneath the shadow of the castle walls.
But soon a gate swung back, a step was heard, the door of the chamber opened, and he advanced to the couch of the blooming youths, cradled in healthy sleep. Eternal sorrow sat upon his face as he bent down and kissed the forehead of the boys, who from that hour withered like flowers snapt upon the stalk.
I have not seen these stories since then
But their incidents are as fresh in my mind as if I had read them yesterday.
(This is a reproduction of a book published before 1923. T...)
(Lang:- German, Pages 202. Reprinted in 2013 with the help...)