![]() ![]() The same text also appeared on at least one commercial broadside but it looks like Arnim was the author (see Steig, pp. Here we find another version of this piece. At around the same time Achim von Arnim compiled and published a broadside of Kriegslieder. The French were on a winning streak and the future for Prussia and the rest of fragmented Germany looked rather bleak. It was the time of the Napoleonic Wars, not long after the battle of Austerlitz. One may say there was a great demand for patriotic war and battle songs that year. There were many more martial songs of all kinds in the Wunderhorn. Mörschel, a military chaplain (at Google Books). There was also a new translation of Tyrtaeus' elegies, this time for the use in schools by one D. Gleim's former friend Karl Wilhelm Ramler in Berlin published - one book for both armies (!) - Kriegslieder für Josephs und Friedrichs Heere (at Google Books) where all the tired clichés including the death for the fatherland were recycled once again. Christian Gottlieb Contius from Saxony wrote Lieder zum Feldzuge 1778 (at UB Halle). These texts sounded weak compared to the original Kriegslieder. 67 ) but otherwise the new anthology wasn't really successful. ![]() Gleim sent a copy to Herder who was very impressed (see Herder, Briefe 4, No. Gleim's Preußische Kriegslieder were published again (at UB Göttingen) and he also wrote new war-songs that were printed as Preußische Kriegslieder, im März und April 1778 (at BSB). Nonetheless there was a new flood of saber-rattling songs by German poets. The War of Bavarian Succession - later called the "potato war" - would come to an end already a year later without any battles. It should be noted that at that time another war was in the making and would start soon. 85) written in 1777 he pleaded: "O hätten wir diese Gesänge noch oder fänden wir sie wieder". And later in Über die Wirkung der Dichtkunst auf die Sitten der Völker in alten und neuen Zeiten ( p. 5), Herder expressed his patriotic longing for the lost songs of the old "bards" collected by Charlemagne. In the introduction to his first unpublished attempt at an anthology, the Alte Volkslieder (1773, SWS 25, p. In fact there were many songs about war and fighting in the Volkslieder, but nearly all of them from other countries and he deeply regretted the lack of relevant German songs, the "battle and freedom chants" of the old Germanic people. He understood war as one of the basic situations that inspired songs: "the martial nation sings about the feats of its ancestors and cheers itself up to feats" (Alte Volkslieder, 1773, in SWS 25, p. Gleim's war songs and especially Lessing's introduction to the Kriegslieder were of great importance for Herder when he developed his concept of "Volkslied" (see Gaier in HW 3, pp. In fact German poetry remained very martial even though at that time no war was going on. ![]() "Hermann the Cheruscan" had already become a great "hero" from the past and his fight against the Romans was regularly celebrated by patriotic poets. 205) as well as some pseudo-Germanic "bardic" odes like "Hermann und Thusnelda" ( pp. Klopstock also added some more battle songs (see pp. But we can see that Heinrich was at that time already established as a hero of German history. I wonder if he perhaps knew about Vogel's obscure epic. To avoid misunderstandings he replaced Friedrich with Heinrich I., the "German" king who won the battle against the Magyars. I should mention that only in 1771 Klopstock managed to publish an updated version of his "Kriegslied" as "Heinrich der Vogler" in his Oden ( pp. But the war songs remained and were still read and sung. Otherwise not much had changed and nobody had won anything. Many soldiers and civilians were dead and Prussia was nearly ruined. The war ended in 1763 with the peace of Hubertusburg. ![]()
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