[2] It was inspired by literary societies, real and imagined ones, such as the Serapionsbrüder (The Serapion Brethren) of ETA Hoffmann,[3] however as Richard Taruskin noted, the concept was most realized in Schumann's reviews of his fellow composers and their aesthetic styles.
The imagined "league" comprised mainly the warring identities within Schumann, namely Florestan, Raro, and Eusebius, respectively symbolising the extroverted and introspective sides of his personality.
"[8] In a quotation from 1888, the purpose of the group is made clear through Schumann's address to Otto, I expect Wieck has told you that a new musical periodical is coming out, which is to be the representative of poetry, and will mercilessly attack all the weaknesses of the age...Of course, you help us in a passive sense as it is, by writing, but beside that we require active criticism to make victory quite certain.The name "Davidsbündler" already appears in Schumann's first musical essay, "The Davidsbündler" which was published in Karl Herloßsohn’s newspaper "Der Komet" (The Comet) in December 1833.
Its narrator finds a paper shred thrown out of a window by a "Swedish head with a crooked nose" bearing the following message on its backside: "Finder!
[10] In the same year 1834 Schumann composed three pieces carrying the titles "Florestan", "Eusebius" and "Marche des Davidsbündler contre les Philistins" in his Carnaval.