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Versuch Einer Critischen Dichtkunst (German, Hardcover) / Author: Johann Christoph Gottsched ; ; Essays, journals, letters & other prose works, Literature: texts, Language & Literature, Books. Release date: September Authors Copyright © Loot™ Online (Pty) Ltd. All rights reserved. This is but one of many places in Gottsched's oeuvre where the theologian in him of the subtitle of the first (as well as the second) edition of the Critische Dichtkunst, viz. "Uberall aber gezeiget wird, Date das innere Wesen der Poesie in einer. Gottsched critische dichtkunst online dating. The Christian Dating Website that Brings You Closer to Christian Singles Faster Than Any Other Service. Discover.
Being the perception of a perfection, the apprehension of beauty is accompanied by pleasure. Gottsched therefore rejects the subjective account of beauty: Aesthetic pleasure reduces itself to the perception of a perfection, the components of which could be made explicit.
In other words, this perception could lead to rational knowledge and could thus be reduced to knowable rules. Every category of beauty, and every type of poetic or artistic beauty, rests on specific rules those of architecture, of music, of painting, of tragedy, of epic that nonetheless share some common fundamentals, namely, the notions of order, proportion, correlation between the parts and the whole, and the appropriateness of the rules to the specific function of the object.
Teil 3 Versuch einer Critischen Dichtkunst. Variantenverzeichnis
The rules of poetry and liberal arts are therefore neither subjective nor variable; they are brought out by the best specialists of each domain and confirmed by experience and reflection. In this context, aesthetic taste depends on understanding as it judges the sensation of a beautiful thing. Good taste that is, correct taste consists, according to Gottsched, of "judging adequately, from a simple sensation, of the beauty of a thing for which we lack clear and distinct knowledge.
Here, Gottsched's rationalism almost forces him into a contradiction: If taste is an indistinct judgment, does its improvement—which is the avowed goal of Gottsched's normative poetics—lead to the development and enrichment of aesthetic sensibility or does it rather perfect judgment and, hence, dissolve taste into knowledge? Only with Baumgarten's Aesthetica, and its notion of sensible knowledge, will this problem, inherent to any aesthetic rationalism, find a credible answer.
In his analysis of the "poet's character," Gottsched applies the Wolffian theory of the mind's faculties to Boileau's classic conception of poetic production.
For Gottsched, the "divine gift" traditionally attributed to the poet comes down to having a natural disposition for poetic imitation. Among the faculties the poet must have, wit ingenium, Witzor the capacity to easily perceive similarities between things, is the most important. But the mind must also be supported by a strong power of imagination, which Gottsched understands as the power to reproduce concepts we have already had on the occasion of present sensations and on the basis of the principle of resemblance, and perspicacity, which consists in perceiving nuances and differences within things.
Merely having these faculties, however, is insufficient: He is seen to better advantage in his dramas, of which he wrote more than fifty for performance by his scholars. With the exception of J. BuchholtzH.
As the cultivators of the bombastic and Euphuistic style of the Italians Guarini and Marini, and of the Spanish writer Gongora, Lohenstein and Hofmannswaldau touched the lowest point to which German poetry ever sank. But this aberration of taste was happily of short duration.
Versuch Einer Critischen Dichtkunst (German, Hardcover)
Although socially the recovery of the German people from the desolation of the war was slow and laborious, the intellectual life of Germany was rapidly recuperating under the influence of foreign thinkers. Samuel PufendorfChristian ThomasiusChristian von Wolff and, above all, Gottfried Wilhelm Leibnitzthe first of the great German philosophers, laid the foundations of that system of rationalism which dominated Germany for the better part of the 18th century; while German religious life was strengthened and enriched by a revival of pietism, under mystic thinkers like Philipp Jakob Spenera revival which also left its traces on religious poetry.
Such hopeful signs of convalescence could not but be accompanied by an improvement in literary taste, and this is seen in the first instance in a substitution for the bombast and conceits of Lohehstein and Hofmannswaldau, of poetry on the stricter and soberer lines laid down by Boileau. The methods of Hofmannswaldau had obtained considerable vogue in Hamburg, where the Italian opera kept the decadent Renaissance poetry alive.
But the influence of English literature was not merely destructive in these years; in the translations and imitations of the English Spectator, Tatler and Guardian—the so-called moralische Wochenschriften—it helped to regenerate literary taste, and to implant healthy moral ideas in the German middle classes.
He reformed and purified the stage according to French ideas, and provided it with a repertory of French origin; in his Kritische Dichtkunst he laid down the principles according to which good literature was to be produced and judged. As Opitz had reformed German letters with the help of Ronsard, so now Gottsched took his standpoint on the principles of Boileau as interpreted by contemporary French critics and theorists.