| Karl Ludwig Börne | |
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Painting by Moritz Daniel Oppenheim |
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| Born | Loeb Baruch May 6, 1786 Frankfurt am Main, Germany |
| Died | February 12, 1837 (aged 50) Paris, France |
| Resting place | Pere Lachaise Cemetery |
| Occupation | Writer Political philosopher |
| Education | Gießen Halle University University of Heidelberg |
| Notable work(s) | (1822) Der Esskunstler (1826) Denkrede auf Jean Paul (1829) Mono graphie der deutschen Postschnecke (1829-1834) Dramaturgische Bltter (1837)Menzel der Franzosenfresser |
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Karl Ludwig Börne (6 May 1786 – 12 February 1837) was a German political writer and satirist.
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Karl Ludwig Börne was born Loeb Baruch on May 6, 1786, at Frankfurt am Main, son of Jakob Baruch, a banker. His grandfather had been a government bureaucrat.[1]
Börne and his brothers were privately tutored by Jacob Sachs, and later by Rector Mosche. At age fourteen, he studied medicine with Professor Hetzel at Gießen. After a year, he was sent to study medicine at Berlin under a physician, Markus Herz, whose house he lived in. At age sixteen, Baruch became infatuated by his patron's thirty-eight-year-old wife, Henriette Herz.[2] After her husband died in 1808, he expressed his adoration in a series of letters. When he enrolled at Halle University, she was influential in his boarding with Professor Reil. He studied constitutional law and political science at University of Heidelberg and Giessen. There he received his PhD in 1809 with the dissertation Ueber die Geometrische Vertheilung der Staatsgebiete.[1]
On his return to Frankfurt, now constituted as a grand duchy under the sovereignty of the prince bishop Karl von Dalberg, he received (1811) the appointment of police actuary in that city.
In 1814 and he had to resign his post due to his ethnicity. Embittered by the oppression suffered by Jews in Germany, he took to journalism and edited the Frankfurt liberal newspapers Staatsristretto and Die Zeitschwingen.
In 1818 he converted to Lutheran Protestantism, changing his name from Loeb Baruch to Ludwig Börne.[3] From 1818 to 1821 he edited Die Wage, a paper distinguished by its lively political articles and its powerful but sarcastic theatrical criticisms. This paper was suppressed by the police, and in 1821 Börne took a pause from journalism and led a quiet life in Paris, Hamburg and Frankfurt.
After the July Revolution (1830), he hurried to Paris, expecting to find society nearer to his own ideas of freedom.[4][5] Although to some extent disappointed in his hopes, he did not look any more kindly on the political condition of Germany; this lent additional zest to the brilliant satirical letters (Briefe aus Paris, 1830–1833, published Paris, 1834),[6] which he began to publish in his last literary venture, La Balance, a revival of Die Wage. The Briefe aus Paris was Börne's most important publication, and a landmark in the history of German journalism. Its appearance led him to be regarded as a leading thinker in Germany.
He died in Paris in 1837.
Börne's works are known for brilliant style and for thoroughly French satire. His best criticism is to be found in his Denkrede auf Jean Paul (1826), a writer for whom he had warm sympathy and admiration; in his Dramaturgische Bltter (1829–1834); and the witty satire, Menzel der Franzosenfresser (1837). He also wrote a number of short stories and sketches, of which the best known are the Mono graphie der deutschen Postschnecke (1829) and Der Esskunstler (1822). Two portraits of him, by the Jewish painter Daniel M. Oppenheim,are in the Israel Museum Collection.
The first edition of his
The city of Boerne, Texas, founded by German liberal immigrants (Forty-Eighters), is named after him.