The Weimar edition of Luther's works, also known as the Weimarer Ausgabe (WA), is a critical complete edition of all writings of Martin Luther and his verbal statements, in Latin and German. During the period of economic decline in the second half of the 17th century, the German courts and the educated class had sought to profit from the progressive developments in France by adopting not only the standards of French civilization but also its language. In it Schiller also reflects on the difference between himself, the “sentimental” writer, and his envied friend Goethe, the “naive” poet. Then came the literary periodicals, as edited by Lessing and others; these concentrated on aesthetics. His most influential philosophical works were Briefe über die ästhetische Erziehung des Menschen (1795; Letters upon the Aesthetic Education of Man), Über Anmut und Würde (1793; “On Grace and Dignity”), and Über naive und sentimentalische Dichtung (1795–96; Naive and Sentimental Poetry). The Kantian notion of the sublime allowed Schiller to articulate an ideal of the subjection of Neigung (“impulse”) to Pflicht (“duty”), which results in an inner composition and control expressed outwardly in grace and composure. This recovery was accompanied by a new understanding of man’s ability to master nature and by a belief in his rational capacity to set his own moral course. Werther narrates the desperate love affair of a sensitive young poet-dilettante with a married woman; it ends in the young man’s suicide. Sharing this exoticism with the Romantics, Goethe nevertheless was able to adapt the mode to his own expressive needs. It deals with the fate of the bourgeois poet in courtly society and arises from Goethe’s own dilemma at the court of Weimar. The major representative of the Enlightenment in German literature was Gotthold Ephraim Lessing. It demonstrated that tragedy need not be limited to the highborn, as Gottsched had maintained in his interpretation of Aristotle’s Poetics. Goethe and the Sciences: A Reappraisal Dorothea Kuhn (auth. Über beides wollen wir in nachfolgenden Paragrafen einige Regeln und Andeutungen geben [ ...]" Gliederung Résumé Goethe Schiller Werke The movement (from 1772 until 1805) involved Herder as well as polymath Johann Wolfgang von Goethe (1749–1832) and Friedrich Schiller (1759–1805), a poet and historian. He shared their interest in Greek antiquity but not their nationalist politics, their inclination toward Catholicism, or their idealization of the Middle Ages. He introduced the Miguel de Cervantes model of Don Quixote in his Die Abentheuer des Don Sylvio von Rosalva (1764; The Adventures of Don Sylvio von Rosalva) and the Henry Fielding model of Tom Jones and Joseph Andrews in his Geschichte des Agathon (1766–67; The History of Agathon). He surmounted Gottsched’s strictures, declaring in 1759, in Briefe, die neueste Literatur betreffend, Nr. Un article de la revue Romanticism on the Net (Numéro 28, november 2002) diffusée par la plateforme Érudit. © 2020 Springer Nature Switzerland AG. All radio streams and radio stations at one glance. Kleist was more affected by the violence of his period than any other German writer and made the display of violence a central topic of his works. Dec. 10, 2020. But human striving would be in vain if it were not for the “Liebe von oben” (“supernal love”), the divine love embodied in Margarete. Im 18. Frontmatter was published in Aufklärung und Weimarer Klassik im Dialog on page I. Jahrhundert entwickelt sich die Klassik: die sogenannte Bewegung der Evolution, die sowohl aus der Aufklärung als auch aus dem Sturm und Drang stammt. Changing the conventions of the epistolary novel from an exchange of letters to a passionate monologue, Goethe captured and addressed the malaise and Weltschmerz (“world-weariness”) of his generation. He was a transitional figure, belonging to the Enlightenment as well as to the Sturm und Drang movement. Hölderlin was able to revive with considerable success genres of Greek poetry—the Horatian ode, the elegy, and the Pindaric ode—in German literature and to fuse his love for his native land with the longing for ancient Greece. Schiller’s Mary Stuart attains sublimity by facing her death with a noble dignity that overcomes all desire and worldly ambition and makes her in death superior to her successful rival, Elizabeth. In spite of the hero’s incomplete and modest Bildung, Wilhelm Meisters Lehrjahre became a model for the German novel of education until the 20th century. Johann Gottfried von Herder, who had abandoned a comfortable position as pastor in provincial Riga (then part of the Russian Empire) on the Baltic Sea in order to pursue philosophical interests, was a central figure in this movement. Nathan der Weise shows that Lessing was involved in one of the central theological debates about religious revelation in 18th-century Germany, a debate in which he yielded neither to orthodoxy nor to superficial rationalism. His epistolary novel Hyperion; oder, der Eremit in Griechenland (1797–99; Hyperion; or, The Hermit in Greece) integrates ideals of Platonic philosophy into a revolutionary concern for the restoration of the ancient poetical and intellectual grandeur of a Greece that had come under Turkish domination. His alleged discovery of a Germanic genre—the Bardiet (adapted from barditus, Tacitus’s term for a Germanic war song, and signifying a lyrical drama of national content)—was pure fiction, but the occasion revealed the nationalistic overtones of 18th-century German literature. Einstein's 'cosmic religion', which reflects Spinoza, also echoes Goethe's remark (Ibid., Item from ): Man must cling to the belief that the incomprehensible is comprehensible. The play was first conceived as a religious statement opposing Protestant orthodoxy rather than as a stage play, but the censorship that threatened to curtail Lessing’s long drawn-out polemics against dogmatic Protestant theologians encouraged him to make it a powerful drama. With the dramatization of problems of primogeniture (Leisewitz, Klinger, and Schiller), fratricide as a motif assumed biblical dimensions. The major achievement of the Enlightenment in Germany was the formation of a public opinion expressing the concerns of the educated middle class of writers and readers. With his continuation of Wilhelm Meister as an archival novel in Wilhelm Meisters Wanderjahre, Goethe approached 20th-century Modernism. Blog. It was at Schiller’s insistence that Goethe resumed his major work, Faust, Part I, which he completed three years after Schiller’s death in 1808. How to create a webinar that resonates with remote audiences Goethe’s poetry of this period was characterized by exoticism, an assimilation of foreign genres and styles, such as those of Chinese or, especially, Persian poetry. DER WEIMARER KLASSIK Diana Bogdan&Tea Ștefanache Merkmale Werke Kurze Definition Begriff Jede Epoche holt sich ihren Anteil an der antiken Kultur,formt sich ihr eigenes Bild von der Antike.Die Weimarer Klassik orientierte sich an der griechischen und römischen Antike,die den A father has one precious ring but three sons whom he loves equally. This amalgamation brought large parts of the art collection belonging to the Dukes of Saxe-Weimar-Eisenach under the Klassik Stiftung’s roof. She softens the harshness of the “barbarian” king Thoas, calling forth his forgiveness by throwing herself and her brother completely at his mercy and facing death rather than lie to save her family. Goethe completed his Renaissance drama Torquato Tasso (1790) on the eve of the French Revolution. But their illusions of divine grace are shattered when a churchman incites a frightened mob to slay the two “sinners” (whose misdeed is understood to have caused the earthquake). The novelists, introducing the autobiographical novel, continued a search for authentic bourgeois voices that had begun during the Enlightenment. According to Schiller, all truly modern literature is “sentimental”; “naive” poetry is a lost mode from a no-longer-attainable phase of creativity, one that is only recoverable in individual geniuses like Goethe, not in the spirit of the contemporary world. Enlightenment optimism envisioned progress as attainable through education and science. His protagonist, Wilhelm Meister, progresses through a series of metamorphoses of role and character, eventually abandoning ill-conceived plans for a career in the theatre. With this play Lessing was far ahead of his time, not only in terms of religious tolerance but also in his dramatic subversion of one of the stereotypes of European religious anti-Semitism: the evil Jew and his beautiful daughter. His final, blank-verse drama, Nathan der Weise (1779; Nathan the Wise), is representative of the Enlightenment. With this stress on pity and on compassion, Lessing interpreted Aristotle in terms of Christian middle-class virtues and established Shakespeare as the model for German dramatists to follow. Zensur und Kultur Zwischen Weimarer Klassik und Weimarer Republik mit einem Ausblick bis heute [Censorship and Culture. Klassik Landmark Apartment in Sarjapur Road - Klassik Landmark is an extravagant residential project developed by Klassik Enterprise Pvt Ltd coming up in one of the best residential locations of Bangalore. He is so moved by her honesty and trustfulness, by what Goethe would call some years later her “pure humanity” (reine Menschlichkeit), that he releases her and her Greek countrymen to return home. The latter, a scholar and professor glutted with dry book learning and hungry for experience, resorts to magic, arranges a pact with the Devil, and embarks on a journey with his new companion, Mephistopheles, that leads him straight to Margarete and their fatal love affair. Leibniz wrote most of his essays in French or in Latin, which was the language of university scholarship. (1785–90; Anton Reiser: A Psychological Novel), Ulrich Bräker’s Lebensgeschichte und natürliche Ebenteuer des Armen Manns im Tockenburg (1789; “Life Story and Natural Adventures of the Poor Man in Tockenburg”), and Heinrich Jung-Stilling’s Heinrich Stillings Jugend: eine wahrhafte Geschichte (1777; “Heinrich Stilling’s Youth: A True Story”). An exciting chapter of German history was written 100 years ago in Weimar: With the ratification of the constitution at the German National Theatre the first democratic republic was born within German borders and was named after Weimar. Neither of his two major novels, Siebenkäs (1796–97; title is the hero’s name) and Titan (1800–03), qualifies as a bildungsroman. They perceive the cataclysm as an act of redemptive grace sent by God. Schiller developed his ideas of Anmut (“grace”) and Würde (“dignity”) under the influence of Immanuel Kant. Recovery from the devastating Thirty Years’ War was reflected in the cultural life of the Holy Roman Empire and in the various German states. How to create your brand kit in Prezi; Dec. 8, 2020. The meeting of Goethe and Schiller in Weimar and Jena in 1794 began not only a friendship but also a dialogue that proved mutually productive and creative. Weimar Classicism was a German literary and cultural movement, whose practitioners established a new humanism from the synthesis of ideas from Romanticism, Classicism, and the Age of Enlightenment. I am this Nobody!” It was Lessing who became, through his own impressive output of plays and theoretical writings for the theatre, the founder of modern German literature. Aufklärung und Weimarer Klassik im Dialog [Enlightenment and Weimar Classicism in Dialogue] In addition, Gottsched edited some of the first German moral weeklies (so called because they were published for the moral edification of the middle class), which were patterned after English models such as The Spectator and The Tatler. He constructed a model for the universe as an absolutist state with God as the monarch, or central monad, which all other monads, including man, reflect and strive to emulate. Iphigenie rescues her brother Orestes from the death to which he is condemned by the harsh customs of the island of Tauris, where she lives in exile. He feels that he can no longer glorify his noble patron and the aristocratic society that nurtures and protects him but must respond to a higher calling that commands him to express his individual suffering. Herder’s theory legitimated the study of folk literature and privileged its naive but expressive discourse as a model for 18th-century poetry. The first literary reforms in Germany between 1724 and 1740, however, were based on French 17th-century Classicism. Be on the lookout for your Britannica newsletter to get trusted stories delivered right to your inbox. Herder conceived the idea of cultural relativism and historicism that regards each culture as possessing a distinct collective identity, an “ethnic soul” (Volksseele) that allows it to be studied and judged within its own context. Jan. 20, 2021. The distinction of also possessing a classical period was first arrogated for German literature in the nineteenth century under the pressure of strong national feeling. Discover online now. Jahrhunderts die Zeit, in der das Viergestirn Wieland, Goethe, Herder und Schiller in Weimar wirkte. From Weimar Classicism to Weimar Republic and Beyond] His West-östlicher Divan (1819; Poems of the West and the East) is a collection of poetry in imitation of Ḥāfeẓ and other Persian poets. With his play Miss Sara Sampson (1755), Lessing also introduced to the German stage a new genre: the bürgerliches Trauerspiel (“bourgeois tragedy”). With the first cantos of his epic poem Der Messias (1748; The Messiah), Friedrich Gottlieb Klopstock succeeded in re-creating the visionary heroism of Milton’s theological epics in a German poem on the life of Christ. Jean Paul was opposed to Goethe and Schiller as well as to the Romantics, and with his humour he tried to maintain a middle path between the opposing schools of literature. The parable implies that Christians, Jews, and Muslims are involved like the three brothers in a competition to prove by ethical conduct—rather than by prejudice, warfare, and bickering over dogma—the truth of their respective religions. Dependent mostly upon princely patronage, cultural life became decentralized and very provincial. Drei umfangreiche Kapitel stellen exemplarische literarische Werke Schillers und Goethes vor, geordnet nach Lyrik, Dramatik und Erzählformen. Der Ausdruck Weimarer Klassik bezeichnete im Verständnis des 19. Considering popular German culture plebeian and vulgar, the aristocracy read only French literature and listened to Italian opera. In the final scene, Tasso, exiled in favour of the courtier and diplomat Antonio, embraces his rival, who saves him from self-destruction and helps him to accept his new identity as a bourgeois poet. An important accomplishment of their friendship was the completion of Goethe’s Faust, Part I (1808). Weimarer Klassik / 1.. COVID-19 Resources. Blog. Die Weimarer Klassik dauerte etwa bis zu Goethes Tod 1832. Faust’s soul is wrested from the Devil partly by the intercession of his former beloved, Margarete, who comes to earth from heaven, in a chorus including other redeemed women as well as the Mater Gloriosa (“Glorious Mother,” an epithet for the Virgin Mary present in Catholic litany), to receive Faust’s earthly remains and to inspire the closing lines of the drama: A chorus of angels sings that his redemption is realized through his “constant striving”: “Wer immer strebend sich bemüht,/ Den können wir erlösen” (“We can give redemption to him who struggles in constant questing”). Goethe’s Die Leiden des jungen Werthers (1774, but substantially revised in 1787; The Sorrows of Young Werther) was an immense success, not only in Germany but also throughout Europe. Die Freundschaft zwischen Goethe und Schiller – weit mehr als ein Zweckbündnis? As passionate in rebellion as it was futile in reform, Werther reflected its generation’s opposition to societal convention and at the same time their inability to effect change. Diese Einführung skizziert die Diskussion über eine um Goethe und Schiller gruppierte ›Weimarer Klassik‹ und beschreibt ihre Voraussetzungen, Kontexte und Programmatik. The Sturm und Drang (“Storm and Stress”) movement, with its emphasis on feeling and individualism, has often been described as having developed in opposition to the Enlightenment, but it also adapts and extends such basic ideas of early 18th-century rationalism as natural law, constitutional government, and the rights of the middle class, especially those of middle-class women. The Enlightenment as a European movement had begun in England and Holland and spread from there to France. The cosmic drama of the play’s final scenes is an apocalyptic allegory reminiscent of Dante’s Divine Comedy. His concept of Humanität (“humanism”), reconciling intellect and feeling, provided continuity between the Enlightenment and Weimar Classicism. Goethe’s novel Die Wahlverwandtschaften (1809; Elective Affinities), with its emphasis on the supranatural and spiritual as well as on the sainthood of the female protagonist, is an example of this new style. In Emilia Galotti (1772), his major “bourgeois tragedy,” Lessing adapted the Roman legend of Virginia to the setting of 18th-century absolutism: a father is forced to kill his own daughter in order to protect her from seduction by an absolutist prince. He functioned, instead, as the barrier to be overcome. https://doi.org/10.1007/978-3-476-04771-7, Springer-Verlag GmbH Deutschland, ein Teil von Springer Nature 2019, COVID-19 restrictions may apply, check to see if you are impacted, J.B. Metzler Humanities (German Language). Nationalism links Kleist to the Romantic Movement, which made a fierce and revolutionary patriotism into one of its programmatic features. In lyric poetry, the Sturm und Drang movement continued in admiration of the standards set by Herder in his essay on Ossian and by Klopstock in his poetry. This topic also formed the core of Goethe’s Urfaust (begun in the early 1770s but not published until 1887), the first version of his treatment of the Faust figure. Kleist pushed beyond the borders of Weimar Classicism with his dramas on Greek subjects (Amphitryon in 1807 and Penthesilea in 1808) and his historical dramas (Die Hermannsschlacht, or “Hermann’s Battle,” dealing with the defeat of the Romans by Germanic tribes under Arminius [Hermann] in ad 9, and Prinz Friedrich von Homburg, a play about the conflict of Prussian military law and human compassion; both plays were posthumously published in 1821), while his novellas (Erzählungen, 1810–11; Eng. When it finally arrived in Germany, English authors became the models for German literature to follow during the latter half of the 18th century, after the influence of French Classicism had faded. Part of Springer Nature. But Goethe and Schiller did not shun modern genres, such as the ballad or, in Goethe’s case, the novel. The dramatic protagonists of his Classical dramas (particularly Mary Stuart and Joan of Arc) embody the ethical message essential to grace and dignity by maintaining Humanität in the face of adversity. By the 1750s the effort to demonstrate that German was capable of literary expression led to a search for roots in national history and a discovery of an indigenous German tradition in folk songs and ballads. Another of Wieland’s major contributions was his prose translation of Shakespeare into German, which served as an inspiration to Sturm und Drang dramatists. In Minna von Barnhelm (1767), Lessing’s most successful comedy, he deals with love and honour in 18th-century Prussia. It was presumably named after the city of Weimar, Germany, because the leading authors of Weimar Classicism lived there. According to Lessing, Shakespeare’s tragedies arouse fear, pity, and compassion more successfully than the dramas of French Classicism. He also initiated a reform of the German theatre aimed on the one hand against the Baroque extravagance of the aristocratic theatre and on the other against the vulgarity of popular theatre. The greater drama of 1808 fits this tragic love story into the cosmic frame of a wager between God and Mephisto, modeled on the wager of God with Satan in the biblical book of Job. The dramatic conflicts are oriented to the conflicts of the three religions involved—Judaism, Christianity, and Islam—and coalesce in the love of a Knight Templar for the daughter of Nathan, the wise Jew who embodies the ideal of humanity. Faust can be redeemed because of his striving for God and the supernal love that comes to his aid. Sophie von La Roche, Wieland’s onetime fiancée and his protégé, wrote the first woman’s novel by a German, Geschichte des Fräuleins von Sternheim (1771; History of Lady Sophia Sternheim); its female protagonist inhabited contemporary German and English society. Weimar Classicism was the “shared achievement” (as T.J. Reed puts it in his 1984 biography Goethe) of Goethe and Schiller and is considered the culmination of German literature. Next to the young Goethe, and the young Friedrich Schiller as a latecomer in 1781 with Die Räuber (The Robbers), the major dramatists were Jakob Michael Reinhold Lenz, Friedrich Maximilian Klinger, Johann Anton Leisewitz, Heinrich Leopold Wagner, and Friedrich Müller. trans. It took Goethe more than 10 years to adapt himself to life at the court. An influential group of Göttingen poets named themselves the Göttinger Hain (“Göttingen Grove”) in 1772 after a line from a Klopstock poem stressing the authenticity of native poetry vis-à-vis Classical Greek models, thus demonstrating their enthusiastic allegiance to Klopstock. Learn how Johann Wolfgang von Goethe's failed love affairs inspired his works. After his father's death he came under the tutelage of his godfather Johann Adam Freiherr von Ickstatt who, like his father, was a professor of law at the University of Ingolstadt. His last drama, Demetrius (1805)—on the deluded pretender to the Russian throne at the end of the 16th century—remains a fragment. Christoph Martin Wieland was the foremost novelist of the German Enlightenment. (Weimar Classicism owes its name to Goethe’s and Schiller’s residence at Weimar.) The dramatic conflicts are oriented to the conflicts of the three religions involved—Judaism, Christianity, and Islam—and coalesce in the love of a Knight Templar for the daughter of Nathan, the wise Jew who embodies the ideal of humanity. By the middle of the 18th century, however, after decades of exhaustion, stagnation, and provincialization, a significant cultural and literary revival occurred that was to provide the basis of one of Germany’s most exalted literary periods, the Weimar Classicism of the 1790s (sometimes called the “age of Goethe”). The Klassik Stiftung Weimar was the result of a merger between the Stiftung Weimarer Klassik and the Kunstsammlungen zu Weimar (Weimar Art Collections) which took effect on January 1, 2003. Opposition arose on various fronts. In Kleist’s tale Das Erdbeben in Chili (“The Earthquake in Chile”), from the Erzählungen volume, a nun (who has borne a child) and her lover are saved from execution and suicide, respectively, by an earthquake that destroys all of Santiago and their persecutors. Its primary proponent was Johann Christoph Gottsched, a professor at Leipzig whose Versuch einer kritischen Dichtkunst vor die Deutschen (1730; “Essay on a German Critical Poetic Theory”) provided examples for German writers to follow. Three other writers belonging to this post-Classical period are Jean Paul (Johann Paul Friedrich Richter), Friedrich Hölderlin, and Heinrich von Kleist. The play’s core was the infanticide tragedy Urfaust (from the 1770s), in which a village girl, Margarete, is destroyed along with her whole family by her love affair with Faust. Although this nationalism cannot be compared to that of the 19th and 20th centuries, it showed the central role of literature in the formation of German national consciousness. Lessing reinterpreted Aristotle in his Hamburgische Dramaturgie (1767–69; Hamburg Dramaturgy), asserting that the cathartic emotions of pity and fear are felt by the audience rather than by figures in the drama. The existence of a Volksseele, in Herder’s view, creates national destinies: to realize and perfect the authentic characteristics of the Volk and prevent their nature from being lost through ignorance or foreign dominance. Goethe’s Iphigenie, in blank verse, marks the beginning of Weimar Classicism, with its projection of objectivity of form and a new ethical message of Humanität in opposition to barbarism. Listen to Klassik Radio internet radio online for free on radio.net. In his drama Die Hermannsschlacht and his Erzählungen novella Die Verlobung in St. Domingo (The Engagement in Santo Domingo), the concept of violence as a just means in the fight against imperialism takes on strong anti-French overtones, reflecting the emergence of modern German nationalism in the wars against Napoleon. The other novels of this period show lower-middle-class protagonists in works such as Karl Philipp Moritz’s Anton Reiser, 4 vol. Both were aware that they could not repeat the achievements of Greek Classicism but that an infusion of Classical Greek aesthetics would contribute to new forms for their culture and literature, forms suited to the character of their time. While Herder contributed two seminal essays, on Ossian (the counterfeit 3rd-century Gaelic poet created by James MacPherson) and on Shakespeare, to the volume Von deutscher Art und Kunst (1773; “Concerning German Character and Art”), the Sturm und Drang manifesto on language and drama, he continued to support Enlightenment ideas in his Briefe zur Beförderung der Humanität (1793–97; “Letters for the Advancement of Humanity”). An international team of literary and social historians investigate here diverse forms of formal and informal censorship practices. The concept of Bildung (“formation”), linked to Humanität as harmonious development of individuality, was central to Goethe’s work. Home » Archive by category 'Weimarer Klassik ' Goethes und Schillers Bündnis im Spiegel ihrer Dichtungen! To Leibniz this was the best of all possible worlds. Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube. of him in like measure within myself, that is my highest wish. His Journal meiner Reise im Jahr 1769 (Journal of My Travels in the Year 1769) is a diary of his ocean journey from Riga to Nantes, France, and at the same time an allegory of a progress away from unthinking German provincialism to the kind of strongly individualistic rebellion that was to set the tone for his generation of German intellectuals and poets.

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