Weimar Classicism - Wikipedia Weimar Classicism From Wikipedia, the free encyclopedia Jump to navigation Jump to search German literary and cultural movement, whose practitioners established a new humanism This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. Find sources: "Weimar Classicism" – news · newspapers · books · scholar · JSTOR (February 2017) (Learn how and when to remove this template message) Weimar's Courtyard of the Muses (1860) by Theobald Freiherr von Oer. Schiller reads in the gardens of Tiefurt Mansion, Weimar. Amongst the audience are Herder (second person seated at the far left), Wieland (center, seated with cap) and Goethe (in front of the pillar, right). Weimar Classicism (German: Weimarer Klassik) was a German literary and cultural movement, whose practitioners established a new humanism from the synthesis of ideas from Romanticism, Classicism, and the Age of Enlightenment. It was presumably named after the city of Weimar, Germany, because the leading authors of Weimar Classicism lived there.[1] The Weimarer Klassik movement lasted thirty-three years, from 1772 until 1805, and involved intellectuals such as Johann Wolfgang von Goethe, Johann Gottfried Herder, Friedrich Schiller, and Christoph Martin Wieland; and then was concentrated upon Goethe and Schiller during the period 1788–1805. Contents 1 Development 1.1 Background 1.2 Cultural and historical context 2 Aesthetic and philosophical principles 3 Primary authors 3.1 Goethe and Schiller 4 Primary works of the period 4.1 Christoph Martin Wieland 4.2 Johann Gottfried Herder 4.3 Johann Wolfgang (von) Goethe 4.4 Friedrich (von) Schiller 4.5 By Goethe and Schiller both in collaboration 5 Selected literature 5.1 Primary 5.2 Secondary 6 See also 7 Notes 8 External links 8.1 Primary sources 8.2 Other sources Development[edit] Background[edit] The German Enlightenment, called "neo-classical", burgeoned in the synthesis of Empiricism and Rationalism as developed by Christian Thomasius (1655–1728) and Christian Wolff (1679–1754). This philosophy, circulated widely in many magazines and journals, profoundly directed the subsequent expansion of German-speaking and European culture. The inability of this common-sense outlook convincingly to bridge "feeling" and "thought", "body" and "mind", led to Immanuel Kant's epochal "critical" philosophy.[clarification needed] Another, though not as abstract, approach to this problem was a governing concern with the problems of aesthetics. In his Aesthetica of 1750 (vol. II; 1758) Alexander Baumgarten (1714–62) defined "aesthetics", which he coined earlier in 1735, with its current intention as the "science" of the "lower faculties" (i.e., feeling, sensation, imagination, memory, et al.), which earlier figures of the Enlightenment had neglected. (The term, however, gave way to misunderstandings due to Baumgarten's use of the Latin in accordance with the German renditions, and consequently this has often led many to falsely undervalue his accomplishment.[2]) It was no inquiry into taste—into positive or negative appeals—nor sensations as such but rather a way of knowledge. Baumgarten's emphasis on the need for such "sensuous" knowledge was a major abetment to the "pre-Romanticism" known as Sturm und Drang (1765), of which Goethe and Schiller were notable participants for a time. Cultural and historical context[edit] Following Goethe's competition with and separation from Wieland and Herder, the movement Weimar Classicism is often described to have occurred only between Goethe's first stay in Rome (1786) and the death of Schiller (1805), his close friend and collaborator, underrating especially Wieland's influence on German intellectual and poetic life. Therefore, the Weimar Classicism could also be started with the arrival of Wieland (1772) and extended beyond Schiller's death until the death of Wieland (1813) or even of Goethe himself (1832). In Italy, Goethe aimed to rediscover himself as a writer and to become an artist, through formal training in Rome, Europe's 'school of art'. While he failed as an artist, Italy appeared to have made him a better writer. Schiller's evolution as a writer was following a similar path to Goethe's. He had begun as a writer of wild, violent, emotion-driven plays. In the late 1780s he turned to a more classical style. In 1794, Schiller and Goethe became friends and allies in a project to establish new standards for literature and the arts in Germany. By contrast, the contemporaneous and efflorescing literary movement of German Romanticism was in opposition to Weimar and German Classicism, especially to Schiller. It is in this way both may be best understood, even to the degree in which Goethe continuously and stringently criticized it through much of his essays, such as "On Dilettantism",[3] on art and literature. After Schiller's death, the continuity of these objections partly elucidates the nature of Goethe's ideas in art and how they intermingled with his scientific thinking as well,[4] inasmuch as it gives coherence to Goethe's work. Weimar Classicism may be seen as an attempt to reconcile—in "binary synthesis"—the vivid feeling emphasized by the Sturm und Drang movement with the clear thought emphasized by the Enlightenment, thus implying Weimar Classicism is intrinsically un-Platonic. On this Goethe remarked: "The idea of the distinction between classical and romantic poetry [Dichtung[5]], which is now spread over the whole world, and occasions so many quarrels and divisions, came originally from Schiller and myself. I laid down the maxim of objective treatment of poetry, and would allow no other; but Schiller, who worked quite in the subjective way, deemed his own fashion the right one, and to defend himself against me, wrote the treatise upon 'Naïve and Sentimental Poetry.' He proved to me that I myself, against my will, was romantic, and that my 'Iphigenia,' through the predominance of sentiment, was by no means so classical and so much in the antique spirit as some people supposed. "The Schlegels took up this idea, and carried it further, so that it has now been diffused over the whole world; and every one talks about classicism and romanticism—of which nobody thought fifty years ago."[6] The Weimar movement was notable for its inclusion of female writers. Die Horen included works by several women, including a serially published novel, Agnes von Lilien, by Schiller's sister-in-law Caroline von Wolzogen. Other women published by Schiller included Sophie Mereau, Friederike Brun, Amalie von Imhoff, Elisa von der Recke, and Louise Brachmann.[7] Between 1786 and Schiller's death in 1805, he and Goethe worked to recruit a network of writers, philosophers, scholars and artists to their cause. This alliance later became known as 'Weimar Classicism', and it came to form a part of the foundation of 19th-century Germany's understanding of itself as a culture and the political unification of Germany. Aesthetic and philosophical principles[edit] These are essentials used by Goethe and Schiller: Gehalt: the inexpressible "felt-thought", or "import", which is alive in the artist and the percipient that he or she finds means to express within the aesthetic form, hence Gehalt is implicit with form. A work's Gehalt is not reducible to its Inhalt. Gestalt: the aesthetic form, in which the import of the work is stratified, that emerges from the regulation of forms (these being rhetorical, grammatical, intellectual, and so on) abstracted from the world or created by the artist, with sense relationships prevailing within the employed medium. Stoff: Schiller and Goethe reserve this (almost solely) for the forms taken from the world or that are created. In a work of art, Stoff (designated as "Inhalt", or "content", when observed in this context) is to be "indifferent" ("gleichgültig"), that is, it should not arouse undue interest, deflecting attention from the aesthetic form. Indeed, Stoff (i.e., also the medium through which the artist creates) needs to be in such a complete state of unicity with the Gestalt of the art-symbol that it cannot be abstracted except at the cost of destroying the aesthetic relations established by the artist.[citation needed] Primary authors[edit] Goethe and Schiller[edit] Although the vociferously unrestricted, even "organic", works that were produced, such as Wilhelm Meister, Faust, and West-östlicher Divan, where playful and turbulent ironies abound,[8] may perceivably lend Weimar Classicism the double, ironic title "Weimar Romanticism",[9] it must nevertheless be understood that Goethe consistently demanded this distance via irony to be imbued within a work for precipitate aesthetic affect.[10] Schiller was very prolific during this period, writing his plays Wallenstein (1799), Mary Stuart (1800), The Maid of Orleans (1801), The Bride of Messina (1803) and William Tell (1804). Primary works of the period[edit] Christoph Martin Wieland[edit] Alceste, (stage play, 1773, first on stage: Weimar, May 25, 1773) Die Geschichte der Abderiten, (novel on ancient Abdera, Leipzig 1774-1780) Hann und Gulpenheh, (rhymed novel, Weimar 1778) Schach Lolo, (rhymed novel, Weimar 1778) Oberon, (rhymed novel, Weimar 1780) Dschinnistan, (tom. I-III, Winterthur 1786-1789) Geheime Geschichte des Philosophen Peregrinus Proteus, (novel, Weimar 1788/89; Leipzig 1791) Agathodämon, (novel, Leipzig 1796-1797) Aristipp und einige seiner Zeitgenossen, (novel on Aristippus, tom. I-IV, Leipzig: Göschen 1800-1802) Johann Gottfried Herder[edit] Volkslieder nebst untermischten anderen Stücken (1778–1779, ²1807: Stimmen der Völker in Liedern) Ideen zur Philosophie der Geschichte der Menschheit (essays, tom. I-IV, 1784–1791) Briefe zur Beförderung der Humanität, (collected essays, 1791–1797) Terpsichore, (Lübeck 1795) Christliche Schriften, (5 collections, Riga 1796–1799) Metakritik zur Kritik der reinen Vernunft, (essay, Part I+II, Leipzig 1799) Kalligone, (Leipzig 1800) Johann Wolfgang (von) Goethe[edit] Egmont ("Trauerspiel", begonnen 1775, im Druck 1788) Wilhelm Meisters theatralische Sendung (nvel, ab 1776, im Druck 1911) Stella. Ein Schauspiel für Liebende (stag play, 1776) Iphigenie auf Tauris ("Iphigenia in Tauris", stage play, printed 1787) Torquato Tasso (stage play, 1780-, printed 1790) Römische Elegien (written 1788–90) Venezianische Epigramme (1790) Faust. Ein Fragment (1790) Theory of Colours 1791/92) Der Bürgergeneral (stage play, 1793) Reineke Fuchs ("Reineke Fox", hexametric epos, 1794) Unterhaltungen deutscher Ausgewanderten ("Conversations of German Refugees", 1795) Das Märchen, ("The Green Snake and the Beautiful Lily", fairy tale, 1795) Wilhelm Meisters Lehrjahre ("Wilhelm Meister's Apprenticeship", novel, 1795/96) Faust. Eine Tragödie ("Faust" I, 1797-, first print 1808) Novelle (1797- ) Hermann und Dorothea ("Hermann and Dorothea", hexametric epos, 1798) Die natürliche Tochter (stage play, 1804) Die Wahlverwandtschaften ("Elective Affinities", novel, 1809) Friedrich (von) Schiller[edit] Don Karlos, (stage play, 1787) Über den Grund des Vergnügens an tragischen Gegenständen, (essay, 1792) Augustenburger Briefe, (essays, 1793) Über Anmut und Würde, (essay, 1793) Kallias-Briefe, (essays, 1793) Über die ästhetische Erziehung des Menschen, ("On the Aesthetic Education of Man", essays, 1795) Über naive und sentimentalische Dichtung, (essay, 1795) Der Taucher, (poem, 1797) Die Kraniche des Ibykus, (poem, 1797) Ritter Toggenburg, (poem, 1797) Der Ring des Polykrates, (poem, 7987) Der Geisterseher, ("The Ghost-seer", (1789) Die Bürgschaft, (poem, 1798) Wallenstein (trilogy of stage plays, 1799) Das Lied von der Glocke (poem, 1799) Maria Stuart ("Mary Stuart", stage play, 1800) Die Jungfrau von Orleans ("The Maid of Orleans", stage play, 1801) Die Braut von Messina ("The Bride of Messina", stage play, 1803) Das Siegesfest (poem, 1803) Wilhelm Tell "(William Tell", stage play, 1803/04) Die Huldigung der Künste (poem, 1804) Demetrius (stage play, incomplete, 1805) By Goethe and Schiller both in collaboration[edit] Die Horen (edited by Schiller, periodical, 1795–96) Musenalmanach (editorship, many contributions, 1796–97) Xenien (poems, 1796) Almanach (editorship, mane contributions, 1798–00) Propyläen (periodical, 1798–01) See also: works by Herder, works by Goethe, and works by Schiller. Selected literature[edit] Primary[edit] Schiller, J. C. Friedrich, On the Aesthetic Education of Man: In a Series of Letters, ed. and trans. by Wilkinson, Elizabeth M. and L.A. Willoughby, Clarendon Press, 1967. Secondary[edit] Amrine, F, Zucker, F.J., and Wheeler, H. (Eds.), Goethe and the Sciences: A Reappraisal, BSPS, D. Reidel, 1987, ISBN 90-277-2265-X Bishop, Paul & R.H. Stephenson, Friedrich Nietzsche and Weimar Classicism, Camden House, 2004, ISBN 1-57113-280-5. —, 'Goethe's Late Verse', in The Literature of German Romanticism, ed. by Dennis F. Mahoney, Vol 8 of The Camden House History of German Literature, Rochester, N. Y., 2004. Borchmeyer, Dieter, Weimarer Klassik: Portrait einer Epoche, Weinheim, 1994, ISBN 3-89547-112-7. Buschmeier, Matthias; Kauffmann, Kai: Einführung in die Literatur des Sturm und Drang und der Weimarer Klassik, Darmstadt, 2010. Cassirer, Ernst, Goethe und die geschichtliche Welt, Berlin, 1932. Ellis, John, Schiller's Kalliasbriefe and the Study of his Aesthetic Theory, The Hague, 1970. Kerry, S., Schiller's Writings on Aesthetics, Manchester, 1961. Nisbet, H.B., Goethe and the Scientific Tradition, Leeds, 1972, ISBN 0-85457-050-0. Martin, Nicholas, Nietzsche and Schiller: Untimely Aesthetics, Clarendon Press, 1996, ISBN 0-19-815913-7. Reemtsma, Jan Philipp, "Der Liebe Maskentanz": Aufsätze zum Werk Christoph Martin Wielands, 1999, ISBN 3-251-00453-0. Stephenson, R.H., 'The Cultural Theory of Weimar Classicism in the light of Coleridge's Doctrine of Aesthetic Knowledge', in Goethe 2000, ed. by Paul Bishop and R.H. Stephenson, Leeds, 2000. —, 'Die ästhetische Gegenwärtigkeit des Vergangenen: Goethes "Maximen und Reflexionen" über Geschichte und Gesellschaft, Erkenntnis und Erziehung', Goethe-Jahrbuch, 114, 1997, 101-12; 382-84. —, 'Goethe's Prose Style: Making Sense of Sense', Publications of the English Goethe Society, 66, 1996, 31-41. —, Goethe's Conception of Knowledge and Science, Edinburgh, 1995, ISBN 0-7486-0538-X. Wilkinson, Elizabeth M. and L.A. Willoughby, '"The Whole Man" in Schiller's theory of Culture and Society', in Essays in German Language, Culture and Society, ed. Prawer et al., London, 1969, 177-210. —, Goethe, Poet and Thinker, London, 1972. Willoughby, L.A., The Classical Age of German Literature 1748-1805, New York, 1966. See also[edit] Ernst Cassirer S. T. Coleridge J. G. Fichte Jena Romanticism Johann Georg Hamann Johann Gottfried Herder Friedrich Hölderlin A. v. Humboldt W. v. Humboldt C. G. Jung C. G. Körner Johann Heinrich Meyer Karl Philipp Moritz Friedrich Nietzsche Jean-Jacques Rousseau F. W. J. Schelling Weltliteratur Christoph Martin Wieland Notes[edit] ^ "Weimar", Wikipedia, 2019-05-05, retrieved 2019-06-04 ^ Cf. Nivelle, Les Théories esthétiques en Allemagne de Baumgarten à Kant. Bibliothèque de la Faculté de Philosophie et Lettres de l'Université de Liège (Paris, 1955), pp. 21 ff. ^ Borchmeyer, op. cit., p. 58. ^ Vaget, Dilettantismus und Meisterschaft. Zum Problem des Dilettantismus bei Goethe: Praxis, Theorie, Zeitkritik (Munich: Winkler, 1971). ^ The German word has its English equivalents in "poetry" and "fiction". ^ Johann Wolfgang von Goethe, Conversations With Eckermann (1823-1832).M. Walter Dunne (1901). ^ Holmgren, Janet Besserer, The Women Writers in Schiller's Horen: Patrons, Petticoats, and the Promotion of Weimar Classicism (Newark, Delaware: University of Delaware Press, 2007). ^ Bahr, Die Ironie im Späwerk Goethes: "Diese sehr ernsten Scherze": Studien zum West-östlichen Divan, zu den Wanderjahren und zu Faust II (Berlin: Erich Schmidt Verlag, 1872). ^ Borchmeyer, op. cit., p. 358. ^ Goethe's letter to Friedrich Zelter, 25.xii.1829. Cf. "Spanische Romanzen, übersetzt von Beauregard Pandin" (1823). External links[edit] Primary sources[edit] "On the Sublime" by Schiller "Introduction to the Propyläen" by Goethe Other sources[edit] Weimar Classicism in Literary Encyclopedia Klassik Stiftung Weimar (in German) Goethes Allianz mit Schiller (in German) Der späte Goethe (in German) Centre for Intercultural Studies—Ernst Cassirer and Weimar Classicism English Goethe Society Goethe Society of North America v t e German-language literature Related articles German language History of Germany History of Austria History of Switzerland History of Liechtenstein Old High German literature Middle High German literature Sturm und Drang Weimar Classicism Romanticism Literary realism Weimar culture Exilliteratur Austrian literature Swiss literature German studies Related categories Austrian writers German writers Liechtenstein writers Swiss writers in German Reformation era literature Medieval literature Der von Kürenberg Dietmar von Aist Reinmar von Hagenau Hartmann von Aue Walther von der Vogelweide Wolfram von Eschenbach Albrecht von Johansdorf Heinrich von Morungen Gottfried von Strassburg Legends about Theoderic the Great Nibelungenlied Early modern literature Simon Dach Paul Fleming Hans Folz Hans Jakob Christoffel von Grimmelshausen Andreas Gryphius Christian Hoffmann von Hoffmannswaldau Johann Michael Moscherosch Martin Opitz Hans Sachs Angelus Silesius Anthony Ulrich, Duke of Brunswick-Wolfenbüttel Georg Wickram 18th century Barthold Heinrich Brockes Christian Gellert Johann Wolfgang von Goethe Johann Christoph Gottsched Johann Christian Günther Friedrich Hölderlin Friedrich Gottlieb Klopstock Jakob Michael Reinhold Lenz Gotthold Ephraim Lessing Novalis (Friedrich von Hardenberg) Jean Paul Friedrich Schiller Johann Gottfried Schnabel Christoph Martin Wieland 19th century Bettina von Arnim Ludwig Achim von Arnim Clemens Brentano Georg Büchner Adelbert von Chamisso Annette von Droste-Hülshoff Marie von Ebner-Eschenbach Joseph von Eichendorff Theodor Fontane Gustav Freytag Jeremias Gotthelf Franz Grillparzer Jacob Grimm Wilhelm Grimm Gerhart Hauptmann Christian Friedrich Hebbel Johann Peter Hebel Heinrich Heine Georg Herwegh Paul Heyse E. 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François Raynal Marquis de Sade Anne Robert Jacques Turgot Voltaire Geneva Firmin Abauzit Charles Bonnet Jean-Jacques Burlamaqui Jean-Louis de Lolme Pierre Prévost Jean-Jacques Rousseau Antoine-Jacques Roustan Horace Bénédict de Saussure Jacob Vernes Jacob Vernet Germany Justus Henning Böhmer Carl Friedrich Gauss Johann Wolfgang von Goethe Johann Gottfried von Herder Theodor Gottlieb von Hippel Wilhelm von Humboldt Immanuel Kant Gottfried Wilhelm Leibniz Gotthold Ephraim Lessing Georg Christoph Lichtenberg Moses Mendelssohn Samuel von Pufendorf Friedrich Schiller Christian Thomasius Gabriel Wagner Christian Felix Weiße Christoph Martin Wieland Thomas Wizenmann Christian Wolff Greece Neophytos Doukas Theoklitos Farmakidis Rigas Feraios Theophilos Kairis Adamantios Korais Ireland George Berkeley Robert Boyle Edmund Burke John Toland Italy Cesare Beccaria Gaetano Filangieri Ferdinando Galiani Luigi Galvani Antonio Genovesi Francesco Mario Pagano Giovanni Salvemini Pietro Verri 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Tauris The Natural Daughter Torquato Tasso Prose Elective Affinities The Green Snake and the Beautiful Lily The Sorrows of Young Werther Wilhelm Meister's Apprenticeship Wilhelm Meister's Journeyman Years Autobiographical Dichtung und Wahrheit Italian Journey Journals Propyläen Natural sciences Metamorphosis of Plants Theory of Colours colour wheel Conversations Gespräche mit Goethe Related Christine Vulpius (wife) Katharina Elisabeth Goethe (mother) Goethean science Weimar Classicism Goethe-Institut Goethe Medal Goethe House in Weimar National museum House and museum (Frankfurt) Goethe-Gesellschaft Goethe Monument (Berlin) Goethe–Schiller Monument (Weimar) Goethe–Schiller Monument (Milwaukee) Goethe Prize Goethe Society of North America Goetheanum Goethe in the Roman Campagna (1787 painting) Young Goethe in Love (2010 film) v t e Friedrich Schiller Plays The Robbers Semele Fiesco Intrigue and Love Körners Vormittag Don Carlos Wallenstein Wallenstein's Camp The Piccolomini Wallenstein's Death Mary Stuart The Maid of Orleans The Bride of Messina William Tell Die Huldigung der Künste Demetrius Selected poems Ode to Joy Resignation Die Götter Griechenlandes Das verschleierte Bild zu Sais Die Teilung der Erde Xenien Der Handschuh Der Taucher Die Kraniche des Ibykus Ritter Toggenburg Der Gang nach dem Eisenhammer Der Ring des Polykrates Der Kampf mit dem Drachen Die Bürgschaft Das Lied von der Glocke Nänie Der Antritt des neuen Jahrhunderts Das Siegesfest Selected prose works The Criminal of Lost Honour The Ghost-Seer A magnanimous act Selected philosophical works The Theatre considered as a Moral Institution Über den Grund des Vergnügens an tragischen Gegenständen Augustenburger Briefe On Grace and Dignity Über das Pathetische Kallias-Briefe On the Aesthetic Education of Man On Naïve and Sentimental Poetry Über das Erhabene Historical works What is universal history and why does one study it? 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