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“... It’s ages since I got over being a sexual psychopath,’ Wedekind wrote, ‘and yet, I shall never forget it: those were happy days.’ His Diary of an Erotic Life is a record of those happy days between 1887, when he was 23, and 1894. A few pages of short entries cover the period 1908 to 1918. That was the year he died, after several botched operations on his appendix ...”

“... need to open a box, she herself is trouble personified. Pabst’s film is based on two plays by Frank Wedekind, The Earth Spirit (1895) and Pandora’s Box (1904). His Lulu is a feral relative of the beautiful, damaging kept women who haunt 19th-century theatre and opera. A prologue to the first play tells us that she was ‘created to do harm, to ...”

“... criticism. Kraus’s first ambition had been to be an actor. His contemporary, the playwright Frank Wedekind, thought Kraus had missed his vocation by not working in the theatre. He would describe himself instead as ‘perhaps the first case of a writer who simultaneously experiences the process of writing as an actor’. Just as the mask was one of ...”

“... and artistic milieu, where he frequented literary salons and met men like Hugo von Hofmannsthal, Frank Wedekind and Stefan Zweig. He had become well known by 1914, publishing two volumes of essays on subjects ranging from economics to morality. In his essays on art he rejected what he saw as the modernism of the French Impressionists and advocated the ...”

“... direct the play with himself in one of the male roles, Klaus in the other; Erika Mann and Pamela Wedekind, the daughter of the playwright Frank Wedekind, would be the two young women. The ambitious Gründgens, who was born in 1899, had a reputation in Hamburg but not in Berlin. At one point, as they worked on the ...”

“... you would expect a clever young man to read – the French symbolist poets, Stefan George, Rilke, Wedekind, Nietzsche – but he was also interested in street cries and fairground songs, whose rhythms found their way into his earliest ballads. When war broke out he was attracted by the idea of heroic sacrifice, and the first money he earned from his writing ...”

“... and party-goer, famous for singing his own cabaret songs to the guitar; already influenced by Wedekind, Büchner and Rimbaud, he thought at 18 that he wrote better. Much of this account is new to English readers, who will at least be encouraged to think of Brecht as extraordinarily good company, amusing and brilliant, rather than a heavy philosopher best ...”