Contents:
Bodmer and Breitinger insisted that the poet could create as well as imitate, arguing that the primal source [Urgrund] of all poetic beauty is the New and that the Marvelous was the ultimate degree of the New, thus the most important poetic element; furthermore, that the Marvelous occupies a position between truth and falsehood, as it is so close to true, that it is possible and, thus, not a lie.
The debate continued to roil around a second issue: Homer is, as far as we know, the very first to undertake this kind of work and accomplished it with such fortune or rather with such skill […] and is held up as the paradigm to all of his successors […] thus, Homer is the father and the first inventor of this poem, and consequently a truly great intellect, a man of special ability [ It was against this backdrop that the Nibelungenlied was rediscovered in Hoping to interest Bodmer in the text, the discoverer, Jakob Hermann Obereit , did his best to relate the barely read text to the topics of the Literaturstreit: If one compares the ancient poetry of the Greeks and Swabians [Germanic group] to our poets of the new British and Klopstockian taste, what does one see?
The difference between Nature and Artifice. Bodmer and Breitinger shared with Gottsched a desire to encourage good literature through good criticism but also wanted to prove that German-speaking lands already had produced a literature as worthy of praise as that of other Western Europeans. In contrast to Gottsched, who rejects medieval courtly epic as inferior to ancient heroic poetry, Bodmer works hard to integrate the Nibelungenlied into contemporary aesthetics and the new patriotism of the late 18th century.
In the introduction to Chriemhild's Revenge , Bodmer expresses his ambivalence about the quality of the Nibelungenlied.
Every new combat situation surpasses the last in greatness, danger and confusion. The poet is also more similar to Homer in this regard than some others are, that he seldom lets us think of the poet; he engages us with the plot alone, and makes us readers into hearers. The Lament of the Nibelungen: If one would reduce the exorbitant number of warriors and temper a few other things of that sort, we would have a work in which the childish tendency to the excessive and the falsely marvelous would be flattered the least; where, on the contrary, the love of martial virtues and tangible deeds would be dealt with absolutely adequately.
Everything is in the ideas of the poet's chivalrous times, and written according to the conventions most appropriate to his contemporaries.
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In the execution there is an attractive simplicity and great clarity, things that have counted for much in all cultures and in all ages … Bodmer also argues that the unknown author of the Nibelungenlied would have done things differently had he lived in a more enlightened age in which other narrative techniques had reigned:. If he had had the concept [of plot unity], it would have been easy for him to incorporate most of the preceding stories with the part about the revenge in such a way that the unity of the plot would not have suffered.
Bodmer posits that the power of the Nibelungenlied is it is not artistry, but a more primitive kind of talent: Eschilbach and his contemporaries writing narrative poems had no concept of plot unity and the whole. Rather, they believed that they had to develop the life of their heroes from their birth on to death; and they are very careful to apologize if they leave out a few bits of news for us.
I cut all these parts, and, I think, with the same justification Homer had to leave out the kidnapping of Helen, the sacrifice of Iphigenia and all that happened during the ten years before the dispute between Achilles and Agamemnon, to which he only occasionally alludes, as if to familiar things. Ironically, it is Bodmer's appreciation for the text that leads him to make changes to the text, becoming an active collaborator through his suppression of the bulk of the text.
At the close of the introduction, Bodmer reflects on the project of popularizing the Nibelungenlied:.
I do not know, if I may flatter myself with the hope that my encouragements will have some effect; I dare not expect much, as I see that the [medieval courtly romance] Eneas by [Heinrich von Veldeke], that second Aeneid adapted according to the mentality and taste of the twelfth century, of which such an old, complete and true manuscript exists, which is granted to scholars for their use so compliantly, has found neither editor nor enthusiast nor publisher until now. Bodmer was right to suspect that a wide and positive reception of the Nibelungenlied would not be forthcoming.
The initial unpopularity of the text may be explained by way of Bodmer's own attitude; the deleterious effects of reading of the Nibelungenlied against the Homeric form reduces the medieval epic to a copy of a tale from Greco-Roman antiquity. A poem like the Nibelungenlied , which did not replicate the antique ideal, could not be embraced in 18th-century Germany.
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