Massacre upon Massacre 3 August - Dusseldorf Well, maybe it isn't the case that the entire book is about people being slaughtered, but when you reach the end it certainly feels like it, with the last quarter of the story involving a huge revenge slaughter in the Hungarian king's home. In fact it appears as if, with the exception of a couple of people, nobody actually comes out of this story on top — and the thing is that other than being a bit of a pompous git, Siegfried didn't do anything w Massacre upon Massacre 3 August - Dusseldorf Well, maybe it isn't the case that the entire book is about people being slaughtered, but when you reach the end it certainly feels like it, with the last quarter of the story involving a huge revenge slaughter in the Hungarian king's home.
The Nibelungenlied in the Early Years of its Rediscovery The best-known German epic today, the Nibelungenlied, was also popular with medieval audiences. Written approximately years ago, some 35 mostly partial manuscript versions still survive, attesting to its broad appeal.
To this end, Chriemhild marries the powerful King Etzel and when the Burgundians visit his court she sets her plan into motion. In the end, Hagen, Etzel, Chriemhild, and her Burgundian kinsmen and a host of others die in a horrific battle.
Sometime before the end of the 16th century, the poem fell into obscurity and remained forgotten untilwhen a 13th-century manuscript was found in the Royal Library of Hohenems in Voralberg, Austria. The chance discovery was made by a local doctor who recognized its significance and sent it to Johann Jakob Bodmer, a professor of Swiss history renowned for his work on German-language poetry.
Discovered at this particular historical moment, the Nibelungenlied was not judged on its own terms, but rather against Homer. Despite significant reservations about its quality, German literary critics did what they could to popularize the newfound poem so that they too might have a national epic.
I would like to welcome you to the exhibit with a brief introduction to the early reception history of the Nibelungenlied and to the poetics debate that informed it.
Opitz and Some Questions of Relevance to the Reception of the Nibelungenlied In the centuries during which the Nibelungenlied was lost, a new tradition of poetic theory developed in Germany; the most prominent of the early theorists, Martin Opitz, led his contemporaries to the first flowering of German poetry in the modern era with Das Buch von der Deutschen Poeterey or The Book of German Poetics in In it, Opitz describes poetic technique and encourages the reader to become a writer.
Perhaps a hundred similar theoretical works followed on the heels of The Book of German Poetics, but most were imitations or extrapolations.
The Nibelungenlied Community Note includes chapter-by-chapter summary and analysis, character list, theme list, historical context, author biography and quizzes written by community members like you. Bekker, Hugo. The Nibelungenlied: A Literary ashio-midori.como: University of Toronto Press, Deals at length with the four main characters and . The Nibelungenlied was one of the most popular poems of its age, and is probably the best-known Germanic poem from the Middle Ages. Most literary analysis of the poem began after , and soon Germany embraced the poem as a work of nationalism, often comparing it with Homer's Iliad.
An examination of The Book of German Poetics demonstrates that the status of German art in relation to that of other nations was a thorny subject well before the rediscovery of the Nibelungenlied.
In the Teutsche Poemata alsoOpitz writes: We Germans, as we came somewhat later to Latin and Greek together with the liberal arts and nonetheless surpassed and left behind us all other nations in the rich increase of the most learned people, we hope the same for our own poetry, which, despite the protracted wars, rises and stirs so much everywhere that it seems in this case also we will in time surpass all foreign peoples.
Reason enables us to determine what is most like Nature, but rather than imitating Nature directly, as Aristotle suggests, one should follow the example of the ancient Greeks, who are the first and best imitators of Nature.
As such, they should be followed without exception; historical circumstances should not be allowed to come between the poet and perfection.
This preference for the ancients and his understanding of them as paradigmatic precludes the appreciation of German literature per se. Bodmer and Breitinger insisted that the poet could create as well as imitate, arguing that the primal source [Urgrund] of all poetic beauty is the New and that the Marvelous was the ultimate degree of the New, thus the most important poetic element; furthermore, that the Marvelous occupies a position between truth and falsehood, as it is so close to true, that it is possible and, thus, not a lie.
The debate continued to roil around a second issue: Homer is, as far as we know, the very first to undertake this kind of work and accomplished it with such fortune or rather with such skill […] and is held up as the paradigm to all of his successors […] thus, Homer is the father and the first inventor of this poem, and consequently a truly great intellect, a man of special ability [ It was against this backdrop that the Nibelungenlied was rediscovered in Hoping to interest Bodmer in the text, the discoverer, Jakob Hermann Obereitdid his best to relate the barely read text to the topics of the Literaturstreit: If one compares the ancient poetry of the Greeks and Swabians [Germanic group] to our poets of the new British and Klopstockian taste, what does one see?
The difference between Nature and Artifice. In contrast to Gottsched, who rejects medieval courtly epic as inferior to ancient heroic poetry, Bodmer works hard to integrate the Nibelungenlied into contemporary aesthetics and the new patriotism of the late 18th century.
In the introduction to Chriemhild's Revenge, Bodmer expresses his ambivalence about the quality of the Nibelungenlied.
Every new combat situation surpasses the last in greatness, danger and confusion. The poet is also more similar to Homer in this regard than some others are, that he seldom lets us think of the poet; he engages us with the plot alone, and makes us readers into hearers.
If one would reduce the exorbitant number of warriors and temper a few other things of that sort, we would have a work in which the childish tendency to the excessive and the falsely marvelous would be flattered the least; where, on the contrary, the love of martial virtues and tangible deeds would be dealt with absolutely adequately.
Everything is in the ideas of the poet's chivalrous times, and written according to the conventions most appropriate to his contemporaries. In the execution there is an attractive simplicity and great clarity, things that have counted for much in all cultures and in all ages … 24 Bodmer also argues that the unknown author of the Nibelungenlied would have done things differently had he lived in a more enlightened age in which other narrative techniques had reigned: If he had had the concept [of plot unity], it would have been easy for him to incorporate most of the preceding stories with the part about the revenge in such a way that the unity of the plot would not have suffered.The Nibelungenlied (Middle High German: Der Nibelunge liet or Der Nibelunge nôt), translated as The Song of the Nibelungs, is an epic poem from around written in Middle High ashio-midori.com anonymous poet was likely from the region of ashio-midori.com Nibelungenlied is based on an oral tradition that has some of its origin in historic .
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I. INTRODUCTION: the first paragraph in your ashio-midori.com begins creatively in order to catch your reader’s interest, provides essential background about the literary .
After all, theNibelungenliedwas not written in a vacuum; its antecedents are multiple and complex, and the manner in which the poet dealt with them is very much a matter of relevant investigation.
Unfortunately, endeavors to reconcile the two basic and sometimes mutually antagonistic approaches to the epic have so far been unsuccessful.
Pepperdine University Literary Style Guide ver. (04/03/) Page 1. Pepperdine University Literary Style Guide.
INTRODUCTION. Editorial Stance. Pepperdine University has adopted a unified literary style for both print and electronic media, “Modal Analysis of the Improvisations of .
The Nibelungenlied Community Note includes chapter-by-chapter summary and analysis, character list, theme list, historical context, author biography and quizzes written by community members like you. Introduction to German Literature from the Enlightenment through and Neidhart), the Nibelungenlied, the courtly epics Erec, Parzival, and Tristan, and the satirical epic Helmbrecht.
Literary and stylistic analysis of prose works by Tieck, Kleist, Stifter, Gotthelf, Droste-Hulshoff, Storm, Keller, and Hauptmann.