Showing papers on "Lyricism published in 1966"
TL;DR: For instance, the authors pointed out that the nature of German poetry was fundamentally altered by the end of the sixteenth century through the influence of Romance and ancient classical models. But the substance of his call for a reformation of German letters had been pronounced earlier, without direct issue, for example, by Theobald Hock in the Schdnes Blumenfeld (1601) and by Theodorakopoulos in 1601, and yet practically all commentary in the twentieth century on the culmination of Renaissance lyrical changes has been only a revision of the first adequate investigation by
Abstract: Because our sensitivity for rhythm and diction is historically conditioned, it is only a seeming paradox that, after Luther, "really" native German verse sounds strange to us. The nature of German poetry was fundamentally altered by the end of the sixteenth century through the influence of Romance and ancient classical models. Martin Opitz (1597-1639), as modern criticism has come to recognize, did not usher in the new fashions; rather they were present at the start of the seventeenth century in the work of Georg Rudolf Weckherlin (1584-1653) and others, who could not have benefited from his formulations.1 Opitz' renown stemmed from his codification of Renaissance literary aesthetics on the threshold of the German " Baroque," from his leadership in the production of native models, and from his timely inspiration to other poets, but the substance of his call for a reformation of German letters had been pronounced earlier, without direct issue, for example, by Theobald Hock in the Schdnes Blumenfeld (1601). Yet practically all commentary in the twentieth century on the culmination of Renaissance lyrical changes has been only a revision of the first adequate investigation by Max von Waldberg, who pointed to the famous Zinkgref " anthology," appended to Opitz' Teutsche Poemata (1624), as the decisive turning point in style.2 Waldberg provided the outline for later
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