Art ballad

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In addition to the folk ballad, the art ballad is one of two important types of ballad . The German scholar Wolfgang Kayser distinguished the ballad in the subspecies ghost ballad , horror ballad , the natural magic or historical ballad , Destiny ballad and knight - hero ballad and Nordic ballad . The typology is further complemented by the social and legendary ballad.

features

If one speaks of ballads colloquially , it is commonly understood to mean the art ballads of the 18th, 19th and 20th centuries.

The ballad form began with Gottfried August Bürger's ballade Lenore (1773). It was inspired by a collection of English and Scottish ghost ballads as well as by Johann Gottfried Herder's collection of Voices of the Nations in Songs .

In Sturm und Drang , the art ballad was largely retained as a popular form of poetry. Since the art ballad particularly combines the three basic forms of literature ( lyric , epic and drama ), Goethe describes it as the “original egg of poetry”.

Friedrich Schiller , Johann Wolfgang von Goethe , Ludwig Uhland , Heinrich Heine , Joseph von Eichendorff , Theodor Fontane , Conrad Ferdinand Meyer and Bertolt Brecht are considered outstanding German-speaking poets of ballads . Furthermore Gottfried August Bürger , Adelbert von Chamisso , Clemens Brentano , Eduard Mörike , Annette von Droste-Hülshoff , Friedrich Hebbel , Detlev von Liliencron , Agnes Miegel and Frank Wedekind . In the second half of the 20th century Georg Britting , Marie Luise Kaschnitz and Peter Huchel . In English-language literature Robert Burns , Samuel Taylor Coleridge , Dante Gabriel Rossetti, and Rudyard Kipling . As French representatives Eustache Deschamps , François Villon , Clément Marot and Gérard de Nerval .

realism

The turn to the medieval, Nordic subject, as well as the preferred portrayal of heroes, was at the same time a departure from trend literature and the world pain of the end of Romanticism. The now almost forgotten poet Moritz von Strachwitz shaped the plot ballads of his time. The protagonists are often Nordic heroes, as in The Heart of Douglas . The story itself is secondary, heroism and action are in the foreground. In addition to Thomas Percy and Walter Scott , he shaped the ballad poetry of the young Theodor Fontanes . In his heroic ballad Archibald Douglas he ties in with Strachwitz, but the conflict is no longer represented by external events, but rather carried into inner-psychological processes. The Men and Heroes Collection . Eight Prussian songs signified a departure from the Nordic prehistory and the conventional hero figure. In the poem of the same name, King Gorm Grymme is the victim of a curse for which he is responsible, after he himself brings the news of the death of the heir to the throne and beloved son. At the same time, the popularity of the Dougal and the now forgotten collection was based on a zeitgeist determined by patriotism and nationalism. In Fontane's later ballads such as John Maynard and Die Brück 'am Tay , Walter Hinck sees the emergence of a new type of hero. In terms of media history, the change to the previous ballad poetry is visible. Fontane was inspired by newspaper reports for his two ballads, and in John Maynard the captain calls out to his helmsman with a mouthpiece (verse 33). Hinck calls the simple ballad Herr von Ribbeck auf Ribbeck im Havelland “a legendary ballad of human friendliness that is close to wisdom” and “one of the most humane we have”. Although the hero of the ballad is a nobleman, Sabine Becker sees everyday issues and the use of the dialect an "objectification of lyric writing". Like Fontane, Conrad Ferdinand Meyer made his debut as a ballad poet. He took the material for his famous historical ballads from the Middle Ages or early modern times , for example in The Gliding Purple , The Rose of Newport or The Feet in Fire . According to Winfried Woesler, Meyer was less concerned with conveying history than with a “basic humanistic concern”.

naturalism

With the advent of naturalism, the ballad lost its dominant position. According to Walter Müller-Seidel, a turning point can be observed around 1900: “Since naturalism, since symbolism and expressionism, this poetry is over. An era has come to an end and with it an aesthetic that was valid for a century. ”Contrary to the label of“ anti-ballad naturalism ”, it could be argued that the spokesman for naturalism in Germany Arno Holz with Een Boot is still one that is still known today Ballad wrote, although he caricatured the genre in the figure of the ballad character Uwe Schievelbein . Similar to Otto Ernst Ballade Nis Randers , Holz Ballade is based on realism, which is why naturalistic ballad poetry is justifiably assigned a rather insignificant role, such as a lack of independence. A certain exception is Detlev von Liliencron's poetry , which cannot be attributed to naturalism, but was created at the same time. His ballads are characterized by formal and motivic renewals, for example in the heroic ballads Trutz, blanke Hans and Pidder Lüng or in Die Musik geht and Der Blitzzug . Walter Hinck points out that the fisher Pidder Lüng , although clearly belonging to a lower social class, does not differ from the hero of the Nordic ballad and that Liliencron falls behind Fontane in the conception of his hero.

Neo-romanticism

In the Göttingen muse almanac, the neuromanticists Börries von Münchhausen , later Agnes Miegel and Lulu von Strauss and Torney, took care of reviving the genre. In 1906 Münchhausen published the treatise On the aesthetics of my ballads. Building blocks for the aesthetics of the German ballad , in which he not only expressed his understanding of the genre, but also the anti-naturalistic tendency of his poetry. While he presented the view of the nobility in his historical ballads such as the peasant uprising or the Huns' procession , Strauss and Torney thematized the simple life of peasants and fishermen. In addition to romantic motifs, mystification and the subconscious were added, as in Miegel's ballad Die Frauen von Nidden or Ina Seidel's rain ballad . Gertrud Kolmar's volume of poems Das Preußische Wappenbuch and the ballad cycle Robespierre contain numerous ballad-like poems. The neo-romanticism helped the ballad to regain popularity, but remained consciously traditional in its design. Poets like Stefan George and Georg Trakl , who cannot be assigned one-sidedly to neo-romanticism, wrote neo-romantic ballads like Das Lied or Melusine und Ballade . The attempt to renew the ballad in the sense of neo-romanticism is regarded as a failure in research.

expressionism

Despite a few counterexamples, the genre was to continue to lose importance in Expressionism. According to Walter Hinck, there was a "major departure from the ballad in general". In his study, Srdan Bogosavljevic names the Germanists Fritz Pratz and Heinz Piontek, who saw the expressionist ballad realized in the Hebrew Ballads of Else Lasker-Schüler and in Georg Trakl's Junge Magd , as advocates of excellent ballad art within expressionist poetry. According to Bogosavljevic, the heroic gesture is alien to the hero, rather it is an isolated and suffering creature. Georg Heym's four sonnets on the French Revolution can be seen as a formal innovation .

Literature of the Weimar Republic

The ballad was renewed in 1902, apart from neo-romanticism and expressionism, by the playwright Wedekind in his poem The Aunt Murderer . Although a cabaret text and belonging to the genre Moritat of a folk-oriented poetry, the drastic substance that comes from the Bänkelsang, which is expressed in a succinct expression with a simple choice of words, renewed the ballad poetry immensely.

literature

Anthologies

  • Hans Benzmann (ed.): The German ballad . Hesse & Becker, Leipzig 1913.
  • Hans Fromm (Ed.): German Ballads . 4th edition Hanser, Munich 1965.
  • Hartmut Laufhütte (Ed.): German ballads . Reclam, Stuttgart 2012, ISBN 978-3-15-008501-1 .
  • Matthias Reiner and Burkhard Neie (eds.): And another fifteen minutes to Buffallo. German ballads . Insel, Berlin 2013, ISBN 978-3-458-20006-2 .
  • Wulf Segebrecht (Ed.): German Ballads. Poems that tell dramatic stories . Hanser, Munich 2012, ISBN 978-3-446-23995-1 .
  • Hans Peter Treichler (ed.): German ballads. Folk and art ballads, bank singing, mortiats . Manesse-Verlag, Zurich 1993, ISBN 3-7175-1840-2 .

Monographs

  • Walter Hinck : The German ballad from Bürger to Brecht. Criticism and attempt at reorientation . 2nd edition Vandenhoeck & Ruprecht, Göttingen 1972, ISBN 3-525-33261-0 .
  • Wolfgang Kayser : History of the German Ballad . Junker and Dünnhaupt Verlag, Berlin 1936.
  • Hartmut Laufhütte: The German art ballad. Foundation of a genre history . Winter, Heidelberg 1979, ISBN 3-533-02765-1 .
  • Gottfried Weißert: Ballad . 2nd edition Metzler, Stuttgart 1980, ISBN 3-476-10192-4 .

Essays

  • Srdan Bogosavljevic and Winfried Woesler (eds.): The German ballad in the 20th century . In: Yearbook for International German Studies . Peter lang, Bern 2009, ISBN 978-3-03911-628-7 .
  • Gunter E. Grimm (Ed.): German Ballads . Reclam, Stuttgart 1988, ISBN 3-15-008457-1 .
  • Christian Freitag (Ed.): Ballade. Topics - texts - interpretations . Bamberg 1986, ISBN 3-7661-4336-0 .
  • Walter Müller-Seidel (Ed.): Ballad research . Verlagsgruppe Athenäum Hain Scriptor Hanstein, 1980, ISBN 3-445-02038-8 .

Textbooks for teaching

  • Norbert Berger: hour sheets ballads. Teaching models for grades 5-11 . 7th edition Klett, Stuttgart 2004, ISBN 3-12-927332-8 .
  • Norbert Berger: Materials Ballads . Klett, Stuttgart 2007, ISBN 3-12-269090-X .
  • Kurt Groom: The German Ballad. Ways to interpret them at the intermediate level . 3rd edition Diesterweg, Frankfurt am Main 1966.
  • Edgar Neis: We interpret ballads. Materials for understanding classical and modern ballads. Bange, Hollfeld 1968.

Individual evidence

  1. ↑ Dietmar Goltschnigg: pre-industrial realism and literature of the period . In: Viktor Žmegač (ed.): History of German literature from the 18th century to the present . Vol. 2, 3rd edition Beltz, Weinheim 1996, ISBN 978-3-407-32117-6 , p. 48.
  2. ↑ Cf. Walter Hinck : The German Ballad from Bürger to Brecht. Criticism and attempt at reorientation . 2nd edition Vandenhoeck & Ruprecht, Göttingen 1972, p. 91.
  3. ↑ Cf. Walter Hinck : The German Ballad from Bürger to Brecht. Criticism and attempt at reorientation . 2nd edition Vandenhoeck & Ruprecht, Göttingen 1972, p. 97.
  4. ^ Walter Hinck : The German ballad from citizens to Brecht. Criticism and attempt at reorientation . 2nd edition Vandenhoeck & Ruprecht, Göttingen 1972, p. 97.
  5. ^ Sabine Becker: Bürgerlicher Realismus . A. Francke, Tübingen 2003, p. 333.
  6. ↑ Winfried Woesler: Ballad and Historicism. The historical ballad of the 19th century . C. Winter, Heidelberg 2000, ISBN 3-8253-1093-0 , p. 283.
  7. ^ Walter Müller-Seidel: The German Ballad. Outlines of their history . In: Rupert Hirschenauer (ed.): Paths to the poem . Vol. 2. Munich 1963, p. 82
  8. ^ Kurt Bräutigam: Modern German Ballads ("Erzählgedichte"). Try to interpret them . Diesterweg Verlag, Frankfurt am Main 1968, p. 7.
  9. ^ Karl Riha: Moritat, Song, Bänkelsang. On the history of the modern ballad . Sachse and Pohl, Göttingen 1995, p. 17.
  10. ↑ See Peter Sprengel: History of German-Language Literature 1900-1918. From the turn of the century to the end of the First World War to the end of the First World War . CH Beck, Munich 2004, ISBN 3-406-52178-9 , p. 601.
  11. ↑ a b Cf. Rudolf Wildbolz: Art Ballad . In: Werner Kohlschmidt and Wolfgang Mohr (eds.): Reallexikon der deutschen Literaturgeschichte . Vol. 1, 2nd edition, Berlin / New York 2001, ISBN 3-11-017252-6 , p. 908.
  12. ↑ Cf. Walter Hinck : The German Ballad from Bürger to Brecht. Criticism and attempt at reorientation . 2nd edition Vandenhoeck & Ruprecht, Göttingen 1972, p. 99.
  13. ↑ Cf. Srdan Bogosavljevic: The Ballad in Expressionism . In: Srdan Bogosavljevic and Winfried Woesler (eds.): The German Ballad in the 20th Century. Yearbook for international German studies . Peter lang, Bern 2009, ISBN 978-3-03911-628-7 , p. 49.
  14. ↑ Cf. Thomas F. Schneider: “A contribution to the knowledge of the essence of the German people”. The instrumentalization of the ballad in the extreme political right and in national socialism 1900-1945 . In: Srdan Bogosavljevic and Winfried Woesler (eds.): The German Ballad in the 20th Century. Yearbook for international German studies . Peter lang, Bern 2009, ISBN 978-3-03911-628-7 , p. 125.
  15. ↑ Bengt Algot Sørensen: Fin de siècle . In: Bengt Algot Sørensen (Hrsg.): History of German literature: From the 19th century to the present . Vol. 2, 3rd edition, CH Beck, Munich 2010, ISBN 978-3-406-59248-5 , p. 135.
  16. ^ Walter Hinck : The German ballad from citizens to Brecht. Criticism and attempt at reorientation . 2nd edition Vandenhoeck & Ruprecht, Göttingen 1972, p. 117.
  17. ↑ Cf. Srdan Bogosavljevic: The Ballad in Expressionism . In: Srdan Bogosavljevic and Winfried Woesler (eds.): The German Ballad in the 20th Century. Yearbook for international German studies . Peter lang, Bern 2009, ISBN 978-3-03911-628-7 , p. 41.
  18. ↑ Cf. Srdan Bogosavljevic: The Ballad in Expressionism . In: Srdan Bogosavljevic and Winfried Woesler (eds.): The German Ballad in the 20th Century. Yearbook for international German studies . Peter lang, Bern 2009, ISBN 978-3-03911-628-7 , pp. 52-53.
  19. ↑ Walter Hinck: Situations of German lyric poetry. From Luther to the present day - 100 poems with interpretations. Göttingen 2000, p. 119.