Sonnets of Catharina von Greiffenberg

siders a selected feature of the text-imagery-within a system of opposed principles: subjectivity versus objectivity, the personal versus the representative, symbol versus allegory.His method has the virtues and the.vices of contrastive analysis.It illuminates dramatically how Baroque poetry differs from the poetry of the succeeding period and permits precise description of the difference.But it uses a system of antinomies derived from a theory of poetry more appropriate to the later period, and it is not equipped to observe how Baroque poetry fares outside this set of contrasts.Hans Pyritz's examination of Paul Fleming's love poetry, published in 1932, assumes a different bearing on the problem of Baroque poetry and Erlebnisdichtung. 4 Pyritz posits the distinction and works anterior to it, exploring Petrarchism, one of the literary traditions which converged in this poetry, and its emergence in the motifs of Fleming's work.In his closing chapters Pyritz juxtaposes Fleming's poetry and the theory of Erlebnisdichtung at length.Here again we find the limitations of a theory not appropriate to the earlier poetry: Pyritz searches for a relationship between a poem and an experience of the poet and overlooks the possibility of a poem which functions apart from this relationship.Recent work on the German Baroque lyric lies in the succe~sion of Pyritz and Fricke.Both Karl Otto Conrady and Dietrich Walt,er Jons examine traditions which contributed to the poetry-Conrady the Latin tradition since the classical period and Jons the emblematic tradition-and each concerns himself with selected features of poetic texts -Conrady with rhetorical figures and Jons with emblematic motifs. 5Both elaborate on the difference between lyric poetry of the Baroque and of a later period.Neither undertakes to examine a text comprehensively.To these studies and to the scholarly tradition to which they belong we owe a wealth of finely perceived information on the prevalent assumptions in the seventeenth century and the special processes at work in the literature.Without this knowledge we cannot understand the Baroque.Among other things, it protects against incommensurate, uninformed, or airily speculative attempts to construe the literature.To say that there are certain questions that these studies do not raise and certain competences of literature which they do not see is not a categorical reproach but merely the old observation that every system of inquiry has its own horizons and none is exhaustive

Art · Composition (language) · Literature · Chemistry · German Literature and Culture Studies · Historical Influence and Diplomacy

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