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 mode of writing that arose in Germany within the moment 1/2 the eighteenth century, a very severe form of pre-Romanticism that has frequently been represented as marking the start of an self sustaining smooth German tradition. The circle of writers round the younger Goethe, together with Herder, Lenz, Klinger, and later Schiller, felt pissed off by way of the Enlightenment international of cause, stability, and regulate, and became as a substitute to nature because the resource of actual event. encouraged by means of Rousseau and Herder, via Shakespeare, and by way of people tradition, they rebelled opposed to propriety and experimented with new literary types, their artistic power bursting via conventions that appeared staid and synthetic. The Sturm und Drang has usually been stated by means of these trying to valid nationalism and irrationalism, yet students have extra lately emphasised the variety of the circulation and the hyperlinks among it and the Enlightenment. This quantity of essays through best students from the united kingdom, the U.S., 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 circulation, putting it extra securely inside late-eighteenth-century ecu heritage. the main target is on literature, and particularly at the drama, which used to be of targeted significance to the Sturm und Drang. even if, the essays additionally define the social stipulations that gave upward push to the move, and attention is given to diversified currents of rules that underlie the move, together with parts of notion and our bodies of labor that conventional ways have tended to marginalize. participants: 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 stories on the collage of Birmingham, united kingdom.

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A more complex critique of rationalism is found in the work of Lenz, who, more than most Sturm und Drang writers, also devoted his energies to schemes for moral improvement and political reform. He includes in his dramas apparently sympathetic figures who have an intellectual understanding of what is happening. While other characters are carried away INTRODUCTION K 31 by emotion or delusion, or both, the Geheimrat (Privy Councilor) in Der Hofmeister or Eisenhardt or the Gräfin La Roche in Die Soldaten have plausible explanations of the social and psychological mechanisms at work; but they all remain incapable of taking any action that helps the situation.

They found in it a tragic portrait of their own emerging individualism, presented with a realism that was no doubt intensified by the knowledge that real events in Wetzlar lay behind it. On the other hand, the reader is also able to recognize that this “I” is a character in the novel, and not one that demands uncritical identification, let alone imitation. 2: 279): we doubt whether Werther could ever escape from his solipsism enough to participate in a genuinely two-way relationship, let alone whether he could ever really participate in the domesticity for which part of him (as also part of Faust) longs.

1: 231). 2: 412). He admired, by contrast, Shakespeare’s ability to avoid abstraction and, at the same time, to release an audience’s imagination. The precise historical setting of Götz von Berlichingen is essential to what the play is about, and Goethe would have been unable to give us this broad portrait of society over a period of years if he had not looked to Shakespeare rather than to the French neoclassical tradition in his treatment of time, place, thematic unity, and the spectrum of society he presents.

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