Genealogy of the Tragic by Billings Joshua

Author:Billings, Joshua
Language: eng
Format: epub
Publisher: Princeton University Press
Published: 2014-05-30T04:00:00+00:00

*General bibliography on the major figures is given in the previous chapter. For background on the ancient/modern distinction in the period, see Peter Szondi, “Antike und Moderne in der Ästhetik der Goethezeit,” in Poetik und Geschichtsphilosophie I, ed. Senta Metz and Hans-Hagen Hildebrandt (Frankfurt: Suhrkamp, 1974). David S. Ferris, Silent urns: Romanticism, Hellenism, modernity (Stanford: Stanford University Press, 2000). Particularly important for the argument of this chapter is Hans Robert Jauß, “Schlegels und Schillers Replik auf die ‘Querelle des anciens et des modernes,’” in Literaturgeschichte als Provokation (Frankfurt: Suhrkamp, 1970). Jauß is largely followed by two recent and more in-depth discussions: Oergel, Culture and identity; Urs Müller, Feldkontakte, Kulturtransfer, kulturelle Teilhabe: Winckelmanns Beitrag zur Etablierung des deutschen intellektuellen Felds durch den Transfer der “Querelle des anciens et des modernes” (Leipzig: Leipziger Universitätsverlag, 2005).

1 There is a tension, never fully resolved by Schiller, between his understanding of “naive” and “sentimental” as historical categories (differentiating ancient and modern poetry) and modes of writing (differentiating two relations to nature, which can obtain in any time and place): see Szondi, “Antike und moderne,” 149–83.

2 See Karl Heinz Bohrer, Das absolute Präsens: die Semantik ästhetischer Zeit (Frankfurt: Suhrkamp, 1994), 128, which deplores Schiller’s Geschichtsphilosophie. The opposing case is stated by Alt, Schiller: 2, 224–27.

3 Bäuerle, Kommunikation: 66.

4 See Stefan Matuschek, “Winckelmänner der Poesie: Herders und Friedrich Schlegels Anknüpfung an die Geschichte der Kunst des Altertums,” Deutsche Vierteljahrsschrift für Literaturwissenschaft und Geistesgeschichte 77 (2003).

5 KFSA 23, 212 (to A. W. Schlegel, 18.11.1794) mentions an essay concerning “Beurtheilung des Aeschylus, Sophokles, Euripides,” and plans for a history of tragedy crop up repeatedly in the letters.

6 See Ernst Behler, “Einleitung: Friedrich Schlegels Studium-Aufsatz und der Ursprung der romantischen Literaturtheorie,” in Friedrich Schlegel, Über das Studum der griechischen Poesie: 1795–1797 (Paderborn: Schöningh, 1981), 35–51. Schlegel’s repeated use of the word “revolution” cannot, though, be divorced from the political completely.

7 Towards the end of the essay, Schlegel reinterprets the doctrine of Nachahmung as imitation of “the spirit of the whole—the pure Greekness” rather than any particular “local form” (Study 83–84; KFSA 1, 346–47).

8 See Jauß, “Schlegels und Schillers Replik.” Another way of putting this point is that the Querelle is simply not a useful lens through which to view Schlegel, though it may be for Schiller.

9 Cf. also the following two Xenien.

10 Joachim Latacz, “Schiller und die griechische Tragödie,” in Tragödie: Idee und Transformation, ed. Hellmut Flashar (Stuttgart: Teubner, 1997), 243.

11 Major recent articles concerning Schiller and Greek tragedy miss the significance of the exchanges with Goethe: Latacz, “Schiller und die griechische Tragödie”; Ernst-Richard Schwinge, “Schiller und die griechische Tragödie,” in Schiller und die Antike, ed. Paolo Chiarini and Walter Hinderer (Würzburg: Königshausen & Neumann, 2008).

12 On Goethe’s theory of tragedy, see Marie-Christin Wilm, “Die ‘Construction der Tragödie’: zum Bedingungsverhältnis von Tragischem und Ästhetischem in Goethes Tragödientheorie,” Goethe-Jahrbuch 123 (2006); Boyle, “Goethe’s theory of tragedy.”

13 On the influence of Aristotle on Wallenstein, see Hartmut Reinhardt, “Schillers Wallenstein und Aristoteles,” Jahrbuch der deutschen Schillergesellschaft 20 (1976).

14 See Hans Feger, Poetische Vernunft: Moral und Ästhetik im Deutschen Idealismus (Stuttgart: Metzler, 2007), 105–34.

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