Ernst von Houwald
Ernst von Houwald (1778-1845) was a German nobleman and writer known for his contributions to early Romantic literature, particularly in the genre of tragedy. Born into a declining noble family, he received his education at the Pädagogium in Halle, where he was influenced by pietistic ideals. Alongside his lifelong friend Karl Wilhelm Contessa, von Houwald pursued studies in law and public administration at the University of Halle. He married Auguste von Haberkorn, with whom he had nine children, and they lived on various estates in Lower Lusatia.
Von Houwald's government career began with his role as a provincial deputy and later as a provincial syndic, where he focused on addressing the social issues resulting from the Napoleonic Wars. While his administrative duties limited his literary output, he is recognized as one of the main authors of German Romantic tragedies of fate, producing nine dramas characterized by their avoidance of darker themes often found in the genre. His literary activity peaked between 1817 and 1824, and he was noted for his didactic children's literature, which gained some recognition beyond Germany. Despite his significant impacts, von Houwald's works faded into obscurity after his death, although he left behind a legacy of compassion through his public service.
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Ernst von Houwald
- Born: November 29, 1778
- Birthplace: Germany
- Died: January 28, 1845
Biography
Ernst von Houwald was the son of Gottlob Karl Williband von Houwald, president of the regional law court, and his wife Auguste von Houwald (née von Knoch). He was born into the nobility, but at a time when social and political changes were eroding inherited wealth. Ernst and his brother Heinrich were tutored in the family castle, Schlo� Straupitz, until 1793, when they went to a secondary school in Halle, the Pädagogium. The pietism of the school chancellor, August Hermann Niemeyer, would later inform von Houwald’s writing.
Von Houwald’s best friend at the Pädagogium was Karl Wilhelm Contessa (Salice-Contessa) (1777-1825), who was also an aspiring writer. The two subsequently lived together from 1799 to 1802 while von Houwald studied law and public administration at the University of Halle. They remained lifelong friends.
In 1806, von Houwald married Auguste von Haberkorn. Through marriage he acquired the Sellendorf estate, where the couple lived until 1821. He had already bought the Craupe estate with his inheritance following his father’s death in 1799, but later sold it. Ernst and Auguste had nine children of their own, and also raised two foster children. In 1816, the widowed Karl Contessa and his son came to live with them and stayed until 1824.
In 1821, von Houwald leased the Sellendorf estate and moved his household to an estate in Neuhaus near Lübben. His life there was punctuated only by occasional trips to Dresden or Berlin to see performances of his plays. He remained on the periphery of the literary scene.
Von Houwald became a provincial deputy for Lower Lusatia in 1805. The Napoleonic Wars kept Europe in turmoil until 1815, and von Houwald’s administrative duties included placing children who had been orphaned, and trying to combat the widespread poverty resulting from the wars. In 1821, von Houwald was appointed provincial syndic for Lower Lusatia. The area had been transferred from Saxony to Prussia, so he had to adjust to the Prussian style of administration. His increased responsibilities as syndic virtually put an end to his creative writing. In 1824, von Houwald cofounded one of Germany’s first savings banks. He worked conscientiously in his government post until his sudden death of a stroke. His death was widely mourned, because he had helped many people.
At the time of his death, von Houwald’s literary works were already all but forgotten. His creative period was mainly between 1817 and 1824, when he enjoyed the close collaboration of Contessa. Von Houwald and Adolf Müllner (1774-1829) are considered the main authors of German Romantic tragedies of fate. Von Houwald managed to write his nine dramas in the genre without resorting to plots involving incest, patricide, fratricide or infanticide. He had an extensive vocabulary, but had difficulty constructing dramas of more than two or three acts, and had problems with versification. His pietistic values made him well suited as an author of didactic children’s literature, and his successful works in that genre were translated into English during his lifetime.