By Jens Rieckmann
Stefan George (1868-1933) is in addition to Hugo von Hofmannsthal and Rainer Maria Rilke one of many pre-eminent German poets of the 20th century. He additionally had an enormous, albeit debatable and provocative position in German cultural heritage. it truly is normally agreed that he performed an important half within the transition of German literature to Modernism, really in poetry. whilst he used to be an outspoken critic of modernity. He believed that merely an all-encompassing cultural renewal may keep smooth guy. even supposing George is frequently associated with the l'art pour l'art flow, and even supposing his inventive recognition was once shaped via eu aestheticism, his poetry and the writings that emerged from the poets and intellectuals he collected round him within the George Circle are principally a scathing statement at the political, social, and cultural scenario in Germany on the flip of the century. George, who was once imbued with the belief of the poet as a prophet and priest, observed himself because the Messiah of a brand new Hellenism and a brand new Reich led via an highbrow and aesthetic elite including males who have been bonded jointly via their allegiance to a charismatic chief. the various values that George proclaimed, between them a glorification of strength, of heroism and self-sacrifice, have been seized upon by means of the nationwide Socialists, and as a result his writings and people of his circle have been thought of via a few to be proto-fascist. It didn't support his popularity that once the second one international struggle a lot of the feedback of his works used to be practiced through uncritical, hagiographic George worshippers.
In fresh years, besides the fact that, there was a renewed and impartial curiosity between students and critics in George and his circle. The wide-ranging and unique essays during this quantity discover anew George's poetry and his contribution to Modernism, the relation among his imaginative and prescient of a brand new Reich and fascist ideology, and his significance as a cultural critic.
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Additional resources for A Companion to the Works of Stefan George
Eine wahre Artisten-Kunst, die [. ” George, who was imbued with the idea of the poet as a prophet, visionary, priest, and educator, saw himself as the Messiah of a New Hellenism and a New Reich led by an intellectual and aesthetic elite consisting exclusively of males bonded together through their allegiance to a charismatic leader. Initially, the German fascists seized upon some of the themes George articulated in his later works, particularly in Der Stern des Bundes and Das Neue Reich, among them a glorification of heroism, selfsacrifice, and the envisioning of a leader who would restore the “Secret Germany,” for the present Germany had almost succumbed to the onslaught of modernity.
Heidelberg: Lothar Stiehm, 1972. Hofmannsthal, Hugo von. Sämtliche Werke. Vol. 31. Ed. Ellen Ritter. : S. Fischer, 1991. Hofmannsthal, Hugo von, und Rudolf Pannwitz. Briefwechsel 1907–1926. Ed. Gerhard Schuster. : S. Fischer, 1994. Keilson-Lauritz, Marita. Von der Liebe die Freundschaft heißt: Zur Homoerotik im Werk Stefan Georges. Berlin: Verlag rosa Winkel, 1987. Landmann, Edith. Gespräche mit Stefan George. Düsseldorf/Munich: Helmut Küpper vormals Georg Bondi, 1963. Landmann, Georg Peter. Vorträge über Stefan George.
The first principle of his poetics is the reticence of art. In deference to that design, this essay will take up George’s thinking about poetics — his view of the poetic calling, of the nature of poetry, and of his own poetic practice — chiefly as his own poems on the topic formulate and explore it. Poems occupied with such concerns appeared in almost every one of his books. In keeping with this intent, the aim will be to approach these poems as expressive forms rather than, as sometimes has been done, as paraphrasable content only.