Literature of the Sturm und Drang (Camden House History of by David Hill

By David Hill

"Sturm und Drang" refers to a suite of values and a method of writing that arose in Germany within the moment 1/2 the eighteenth century, a very excessive form of pre-Romanticism that has frequently been represented as marking the start of an autonomous sleek German tradition. The circle of writers round the younger Goethe, together with Herder, Lenz, Klinger, and later Schiller, felt annoyed by means of the Enlightenment international of cause, stability, and keep an eye on, and grew to become as an alternative to nature because the resource of genuine adventure. encouraged through Rousseau and Herder, through Shakespeare, and by way of folks tradition, they rebelled opposed to propriety and experimented with new literary varieties, their inventive power bursting via conventions that appeared staid and synthetic. The Sturm und Drang has frequently been pointed out by means of these trying to valid nationalism and irrationalism, yet students have extra lately emphasised the variety of the circulate and the hyperlinks among it and the Enlightenment. This quantity of essays by means of major students from the united kingdom, the united states, and Germany illuminates the guiding rules of the circulation, discussing its most crucial authors, texts, and ideas, and taking account of the range and complexity of the stream, putting it extra securely inside of late-eighteenth-century ecu background. the main target is on literature, and specifically at the drama, which was once of precise value to the Sturm und Drang. although, the essays additionally define the social stipulations that gave upward thrust to the flow, and attention is given to various currents of principles that underlie the stream, together with parts of proposal and our bodies of labor that conventional methods have tended to marginalize. individuals: Bruce Duncan, Howard Gaskill, Wulf Koepke, Susanne Kord, Frank Lamport, Alan Leidner, Matthias Luserke, Michael Patterson, Gerhard Sauder, Margaret Stoljar, Daniel Wilson, Karin Wurst.David Hill is a Senior Lecturer within the division of German experiences on the college of Birmingham, united kingdom.

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Extra info for Literature of the Sturm und Drang (Camden House History of German Literature)

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At the beginning of his novella Der arme Spielmann (The Poor Minstrel), which first appeared in the journal Iris for 1848, the year of European revolutions, Franz Grillparzer (1791–1872) compares the mass of the people streaming in through the city gates with flood waters, but the social connotations here in Werther over seventy years earlier are less specific. What Werther envisages, if one can reduce it to a rudimentary social content, is the collapse of a fragile, overcivilized order that stands in the way of true love, true art, true greatness, and nature.

If this view of the world had a certain inner consistency, and if the general conditions were ripe for it in 1770, why was that no longer the case in 1776 or 1786? Again, one must expect a range of explanations operating at different levels and shot through with imponderables. They involve individual decisions and fates, they involve processes of individual maturation, but somehow, the excitement of discovery and protest came to seem no longer quite so relevant. The writings of the Sturm und Drang were radical in their critique of the parameters that their predecessors had accepted, they were critical of all such restraints, and they were, despite all their posturing, critical of themselves.

In many cases the protest against the family is linked not so much to protest against a specific social or political structure, or even against “tyranny,” as against an imprecisely defined “other” that may take the form of the hierarchical order known as the family but may also take many other forms, including the ideological world of established, polite society. It is the reasonableness of an order that has been nurtured on the Enlightenment belief in reason but has lapsed into smugness and whose reasonable tolerance has become repressive tolerance because it denies the emotional depth of protest or the need for action.

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