First published in 1981. This study concentrates on the exponents of the central period of German Romanticism, regarding as characteristic the mode in which the poet’s self becomes active only in response to external stimuli, most notably those of landscape. The author traces the main strands of thought and interests that preoccupy Romantic writers; the revolutionary attitude that is yet differentiated from that of writers like Byron by the lack of emphasis on individualism, the dualism of the bourgeois world and the ‘inner self’, the interest in language as an agency for the regeneration of the German spirit, and the concentration on folk-themes and the idea of Wanderung. This title will be of interest to students of literature.
Major figures treated include Gryphius, Lessing, Schiller, Goethe, Grillparzer, Hebbel, Schnitzler, and Brecht. There is no competing work in English."--BOOK JACKET.
Menhennet traces the main strands of thought and interest that preoccupy the Romantic writers: the revolutionary attitude that is differentiated from that of writers like Byron by the lack of emphasis on individualism; the dualism of the bourgeois world and the "inner self;" the interest in language as an agency for the regeneration of the German spirit; and the concentration on folk themes and the idea of Wanderung.
Major figures treated include Gryphius, Lessing, Schiller, Goethe, Grillparzer, Hebbel, Schnitzler, and Brecht. There is no competing work in English."--BOOK JACKET.
Johann Jakob von Grimmelshausen (1622-76) wished to be taken seriously as a writer, which by and large, in his own day, he was not. He was in fact the author of the first great German novel, Der abentheuerliche Simplicissimus (1688), out of which arose a kind of cycle of `Simplician' novels. Later generations have made up for this neglect, and established him as an accomplished satirist and profound allegorist, who confronted the temporal and eternal issues of the seventeenth century. This study sets out to show, principally through detailed textual analysis, that Grimmelshausen's `Simplician style' allows of the co-existence of general religous and moral concerns with a spontaneous response to the individual vitality, curiousness, and above all, humour of life, which is the motive force of true storytelling. In addition, while the constituent novels of the `Simplician Cycle' should be and are considered as separate entities, the author's claim that they should also be seen as a coherent whole cannot be brushed aside, and this becomes a progressively more important theme.
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