German romantic poet, born in Ludwigsburg (Swabian) in 1804, and died in 1875. Despite the brevity of his work, and its constant fluctuations between the tenets of the Romantic movement and the aesthetic ideas that came to learn and practice, he/she is considered one of the preeminent figures of German romanticism.
His first vocation was the religious, which led him to form in church Protestant and, subsequently, to serve as pastor in Stuttgart. However, it could more in him the passion for creating literary, manifest when still serving his Church. Thus, in 1838 a first compilation of its verses, accused romantic trend, which gathered the longing of student, poured love songs, epigrams and other circumstantial poems clearly inspired by ancient narrative poetry and traditional ballads of their land it gave to the printing press. These ballads reflect an idealized and harmonic relationship between man and nature, in the middle of a sweet musicality that leaves betray how Mörike warned perfectly cosmetic changes that were occurring at the time. However, and the evidence of these transformations, the poet took refuge in a fictional romance where he/she still had too much weight the romantic spirit. Much of the German literary criticism includes these verses of Mörike (particularly, his amorous sonnets) between the most beautiful lyrical poems of their language.
But before being brought to light his poems, Eduard Mörike had already published an early work, entitled Maler Nolten (the painter Nolten, 1832), the novel in which already appeared several poems that reflect this desperate attempt to harmonize with the nature human life. It's a typical story romantic, clearly influenced by the works of Goethe and Tieck, seasoned with multiple elements autobiographical and topped by this tragic end that seems to require the genre.
In 1843, Eduard Mörike abandoned his religious Ministry to devote himself to the cultivation of literary creation. However, the difficulties that spanned his marital life, which led him to separate from his wife, directly affected his poetic inspiration. After a long period of silence, in 1853 he/she published another work in prose, entitled Der Stuttgarter Hutzelmänlein (the Goblin's Suttgart, 1853), in which his fondness for the fantastic elements still seems to anchor you in the romanticism, at the time that take hold of aesthetic postulates and narrative procedures which already participate in the new current realistic. Finally, landing in this new trend was consummate that perhaps his best work, a short novel entitled Mozart auf der Reise nach Prag (Mozart on the way to Prague, 1856). In it, as if it were a historical Chronicle, Mörike presents a thorough, imaginative reconstruction of what could be one day in the life of the great Austrian composer, when it had already reached its creative maturity.
In General, can be said that Eduard Mörike (who also wrote several tales of traditional type) was one of the most important writers of European romanticism, and, at the same time, one of the main representatives of this antirromantica reaction that, in his country, wine commanded by the Biedermeier movement.