The dead dance, the "Danse macabre", has been widely used as a motif in art, literature and music since the fifteenth century, from France, from all over Europe, but the origins of the genre are still in the fog of conflicting theories. The "European dance of death-Association" is not, as one might think, to study the folk dance troupe of the Gothic scene, but a community of scientists and lay people, who has taken on the task of collecting the dead dance representations from the middle ages to the present, and to preserve, where appropriate, prior to destruction or loss. In the network of the organization occurs, the heading "dances of death in the world's literature contains" among other things seals of Goethe, Eichendorff, Heine, Rilke, and Brecht. It is the untitled "dance"-poem by Friedrich Rückert, published in 1888 by his daughter, Marie posthumously published "Poetic diary" and certainly one of the strangest edits is driving the Plot ever is missing there.
The founder of the Frankfurt anthology, and not only he, expected the Poet Rückert (1788-1866), under the "small masters". Large and there's no disputing the merits of the Schweinfurt-born linguistic genius as a philologist, Linguist and Translator, as a mediator between the Orient and the Occident. Downright self-indulgent in his poem production, which includes around 25000 works: In the nineteenth century, they filled in anthologies and almanacs, in the twentieth, at the poetry albums. Ludwig van Beethoven, Franz Schubert, Robert Schumann, Johannes Brahms and Richard Strauss wrote songs to texts by Rückert, but only the sound of some of his (a total of four hundred) "Kindertotenlieder" and five other poems by Gustav Mahler had him as a poet in the cultural memory continues to live on, what's the part of the editor and the philological work of mediation by Hans Wollschläger owes.
The bones of the hand from the mind carousel
Already, the contemporaries of the discrepancy of linguistic artistry, and a certain amount of substance poverty irritated in His poetic. He was Graphomane known, and always wore a small writing-book, and the rhyming is literally where he went, and stood and Traded, later only rarely revised. The exotic forms and meters, which he cycles as a scholar he met, and tested it with nimmermüdem word game zeal and a rhyme desire, which seems at times obsessively, on a thousand occasions, even in private, ester or banalster art. and So it was that, in addition to extensive orientalizing poem, an excessive amount of opportunity lyrics, the people appeared to be many critics of this strange "empty". The Anton Webern traditional dictum of Gustav Mahler: "is The lyric from first Hand, all other poetry second-Hand", which was, of course, on a small, hand-picked selection is available in front of this Background are still a few puzzles.
Recent research illuminates that, Rückert sought to stage by means of language as a lyrical subject and the soul moods to explore, as it is for the majority of the romantic Poets binding had become: he was, rather, the language itself, which he understood as a kind of magical Instrument. He dreamed of a now lost Ur-language, in the once-sound, meaning, and the subject coincided with the bedichtete object was, as it were, bodily cure, create. If he, the notorious melancholy, outlines of lectures under the impression of death to grief and loss experience, he was not seeking the adequate expression for the sensation, but celebrated in the obsessive repetition of a "Re-get" the Lost and the rhyme-mania, the healing of the Separation wound, "together sound", he introduced as his Long and didactic poem "the wisdom of The Brahmans" is indicated on the "context of sense".
Date Of Update: 12 July 2020, 10:19
