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* TIDE WATERS. 276 HEDGE. the common-law rule applying to non-tidal waters, which vests title to the middle of the stream in the riparian owners, but that title and dominion thereto belong to the Crown for the use and benefit of the public. Further, by the English law the power of legislation over both tidal and non-tidal waters is vested in Parliament. Private rights to shores and to lands beneath tidal waters can be acquired only by express grant, prescription, or usage. In England the recipient of such grant cannot sus- tain a claim prejudicial to the public user. In the United States the right of State legislatures to alienate this right of public domain has not been accurately defined. The Supreme Court of the United States has recognized this riglit so far as it does not substantially impair the in- terests of the public. Instances of such valid grants are those made to a municipality for docks and like commercial facilities, grants to railroads for right of way, and grants to owners of uplands for beneficial enjoyment or commercial purposes. Impediments to navigation in tidal waters unless authorized by a competent power are nuisances and may be abated. When by un- avoidable accident a vessel is sunk and the owner abandons control, he is not Ihable for injuries caused thereby, though navigation is obstructed. See such articles as Riparian Rights; High Seas; Mare Clausum, etc., and consult Gould, The Law of Waters (3d ed., Albany. 1900) ; Coul- son and Forbes, The Law Relating to Waters ('2d ed.. London, 1902). TIDORE, te-do'ra. A small island of the Molucca Archipelago, situated oil the west coast of Gilolo, a few miles south of Ternate (q.v.). It is important as the seat of the Sultan of Ti- dore, who, under Dutch supervision, exercises authority over parts of Gilolo, New Guinea, and neighboring islands. See Moluccas. TIE. In music, an arch drawn over two notes on the same degree, uniting them so that they are played or sung as one single note of the same value. See Syncopation. TIECK,tek. Christian Friedeich ( 1776-18.51). A German sculptor, born in Berlin, pupil of Sehadow there, and of David d'Angers in Paris. In 1801-05 he was employed at Weimar, where he associated with Goethe, and designed his bust, which he afterwards also executed in marble for the Walhalla. In 1805 he went to Italy, re- turning to Germany in 1809, at the invitation of Crown Prince Ludwig of Bavaria. For this patron he executed at Munich and Carrara a large number of busts, including those of the Prince himself, of Schelling, of Humboldt, and of his brother, Ludwig Tieck. In 1819 he began his celebrated series of mvtliological sculptures for the Royal Theatre at Berlin, and in 1820 he was made professor at the Berlin Academy. This work occupied him until 1829, when he began the series for the Berlin iluseum. which include the bronze group of "Horse Tamers" upon the roof, and a statue of Schinkel in the corridor. Tieck was one of the principal representatives of the school founded by Ranch. His technique, however, was less naturalistic than that of Raueh, and smoother and more detailed in execu- tion. TIECK, LiTJWiG (1773-1853). A German ro- mantic novelist, translator, and critic, brother of the preceding, born in Berlin. After studies at Halle, Giittingen, and Erlangeu and four years of literary work in Berlin, Tieck went to .Jena in 1799 and joined the Schlegels and Novalis iu their romantic agitation. Leaving Jena, he went to Dresden, moved to Frankfort on the Oder, visited Italy (1805), England and France ( 1817), and in 1825 became director of the Dres- den Court Tlieatre after having since 1819 been the centre of a literarj- circle there. Royal favor brought him in 1841 back to Berlin, where his dramatic talents were used in the production of several Greek plays. Tieck's significant literary career opens with Abdallah (1795), Steriibalds Waiideriingen ( 1798), and Il'i7/iaHi Lovell (1795- 96), all novels of "storm and stress.' His youth- ful imagination ran riot also in medifEval legends and fairy tales, e.g. the three volumes of Volks- marchen (1797), among, which were versions of Puss in Boots, Bluebeard, and Red Riding. Hood. A comedy. The World Topsy-Turvij (1799), Die rerkehrte Welt, proclaimed even more emphati- callj' his period of romantic revolt. To this year belong also the ultra-romantic Pliantasien iiher die Kunst, full of enthusiasm and of a mystic religiosity. His Romantische Dichtiingen (2 vols., 1799 and 1800) were the first work to show the direct influence of association with the Schlegels. They were followed by an admirable translation of Don Quixote (1799-1801) and by Kaiser Octarianiis (1804), his longest novel. This period of rapid production was succeeded by a nervous breakdown. After his recovery his work is less mystic, less erratic, moi'e artistic, e.g. Phantasus (1812-17), and an edition of L'lrich von Lichtenstein's Frauendienst (1812), but Tieck did not reach the complete maturity of his genius till his visit to England, the direct results of which are Shakespeares Vorselinle (1823-29), Dramafurgische Blatter (182(5), and his noble continuation of Schlegel's translation of Shakespeare. Indirectly the same influence is seen in the yorellenkranz (1831-35; 12 vols., 1853). Tieck's Works are in 28 volumes (1828- 54). Some tales and novels are translated by Cavlyle and by Thirlwall. Consult the German studies by Kopke (Leipzig. 1855), Friesen (Vi- enna, 1871), and Steiner (Berlin, 1893). Car- lyle's Essay on Tieck vas published in 1823 and introduced him to English readers. TIEDGE, ted'ge, Christoph August ( 1752- 1841). A Cierman poet, born at Gardelegen, Prussian Saxony. After studying jurisprudence at Halle, he occupied positions as secretary and tutor at Magdeburg, Ellrich, and Halberstadt, and in 1799 "settled in Berlin. There he met Elisa von der Recke, whom he accompanied on a journey to Italy in 1804-06, remaining afterward her faithful companion, first in Berlin and from 1819 on at Dresden, where, placed beyond ma- terial care by his friend's last will, he continued to live imtil death. Some singable lyrics, of which "Sehone Minka. ich muss scheiden" is still imforgotten. first established his reputation, and Vrania iiher Gott. Unsterhliehkeit vnd Freiheit (1800: I'Sth ed.. 1862). a lyric-didactic poem, in- spired by the ethics of Kant, enjoyed wide popu- larity in the beginning of the nineteenth century. A kind of sequel to it were the Wanderungen durch den Markt des Leben-s (1833). Among his other poetical eff'orts. the Elegien and vermischte Gedichte (1803) met with the greatest success.