German Baroque Poetry, 1618-1723

German Baroque Poetry, 1618-1723

Author: Robert Marcellus Browning

Publisher: University Park : Pennsylvania State University Press

Published: 1971

Total Pages: 312

ISBN-13:

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The first in a projected series of volumes tracing the development of the German lyric from circa 1620 to the 20th century. Professor Browning provides an excellent, well-organized survey of the general development of German poetry, as well as a thorough analysis of the specific schools and poets and their themes. This study focuses upon a critical and historical evaluation of the works of Opitz, Gryphius, Gunther, and their contemporaries as well as upon those of the 17th-century mystics, mannerists, and eroticists. Among these Professor Browning has selected those poets most likely to appeal to modern sensibilities, while maintaining the historical frame of reference necessary to the understanding of Baroque poetry.


Mystical Love in the German Baroque

Mystical Love in the German Baroque

Author: Isabella van Elferen

Publisher: Scarecrow Press

Published: 2009

Total Pages: 384

ISBN-13: 0810861364

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Mystical Love in the German Baroque: Theology, Poetry, Music identifies the cultural and devotional conventions underlying expressions of mystical love in poetry and music of the German baroque. It sheds new light on the seemingly erotic overtones in settings of the Song of Songs and dialogues between Christ and the faithful soul in late 17th- and early 18th-century cantatas by Heinrich Sch tz, Dieterich Buxtehude, and Johann Sebastian Bach. While these compositions have been interpreted solely as a secularizing tendency within devotional music of the baroque period, Isabella van Elferen demonstrates that they need to be viewed instead as intensifications of the sacred. Based on a wide selection of previously unedited or translated 17th- and 18th-century sources, van Elferen describes the history and development of baroque poetic and musical love discourses, from Sch tz's early works through Buxtehude's cantatas and Bach's cantatas and Passions. This long and multilayered discursive history of these compositions considers the love poetry of Petrarch, European reception of petrarchan imagery and traditions, its effect on the madrigal in Germany, and the role of Catholic medieval mystics in baroque Lutheranism. Van Elferen shows that Bach's compositional technique, based on the emotional characteristics of text and music rather than on the depiction of single words, allows the musical expression of mystical love to correspond closely to contemporary literary and theological conceptions of this affect.


German Baroque Writers, 1580-1660

German Baroque Writers, 1580-1660

Author: James N. Hardin

Publisher: Dictionary of Literary Biograp

Published: 1996

Total Pages: 488

ISBN-13:

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Essays on writers of German baroque literature, primarily prose fiction and poetry in German and in Latin, including religious tracts, works by theologians and mystics, as well as a vast body of alchemical, astrological and quasi-scientific literature published in the Holy Roman Empire of the German Nation. Many important works during the first half of the seventeenth century are adaptations or translations of works from other languages.


Poetry and Parental Bereavement in Early Modern Lutheran Germany

Poetry and Parental Bereavement in Early Modern Lutheran Germany

Author: Anna Linton

Publisher: OUP Oxford

Published: 2008-04-10

Total Pages: 337

ISBN-13: 0191552771

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In early modern Europe it has been estimated that up to one in two children did not survive to the age of ten. In the light of this high mortality rate, some historians have argued that parents did not form close relationships with their children, especially the very young. This is clearly refuted by the testimony of bereaved parents such as Martin Luther, and by the volume of consolatory writings produced for grieving families in early modern Lutheran Germany. The authors, clergymen and lay people, regarded grief as a deep wound which required treatment, and they applied the balm of consolation through sermons, tracts and occasional poetry. This study analyses these writings, focusing particularly on the neglected genre of the epicedium (funeral poem). It asks how and why poetry was used to counter the affective impact of parental bereavement, and considers what makes it a suitable vehicle for consolation. The poems, which are analyzed against the contemporary theological, philosophical, and poetological background, are taken from Leichenpredigten (printed funeral booklets), as well as from collections by two contrasting poets, Paul Fleming (1609-40), an unmarried man who wrote to console others, and Margarethe Susanna von Kuntsch (1651-1717), who lost thirteen of her fourteen children. The study seeks to rehabilitate a neglected genre and participates in discussions on the sociology of death, Lutheran teachings about death and mourning, literary presentations of mortality and loss, and the depiction of children and parent-child relations in literature.


German Secular Song-books of the Mid-seventeenth Century: An Examination of the Texts in Collections of Songs Published in the German-language Area Between 1624 and 1660

German Secular Song-books of the Mid-seventeenth Century: An Examination of the Texts in Collections of Songs Published in the German-language Area Between 1624 and 1660

Author: Anthony J. Harper

Publisher: Routledge

Published: 2018-02-05

Total Pages: 334

ISBN-13: 1351752480

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This title was first published in 2003. The secular song of the 17th century represents a relatively neglected area of German culture. In this book, Anthony J. Harper first studies the songs of the two great models of the time, Martin Opitz and Paul Fleming, following this with an analysis of the song-books and collections from three regions: the North-East, Central Germany, and the North. The procedure is thus both historical and geographical. The texts of these songs are examined in relation to structural principles, thematic range and stylistic treatment. Harper establishes common features and regional variations of this genre, which involves love-poetry, songs of manners with colourful portrayals of everyday life, and comic songs in a lower stylistic register. Particular attention is paid to the work of Albert and Dach in Konigsberg, Finckelthaus, Schirmer, Krieger and Schoch in Leipzig and Dresden, and Rist, Voigtlander, Zesen, Greflinger and Stieler in the Hamburg region. Where appropriate, the book assesses the role of musical settings, while not seeking to offer technical insights into musical matters. Of value to scholars of German literature, this study should also be of interest to musicologists working on the Renaissance and Baroque periods.