the word poetry designates on the one hand the field of the poetic works, on the other hand them common (of them in addition, detachable) a quality.

In first meaning made the word in 19. Century in the scientific discourse speaking about literatureplace. The “poetic works” became the” literary “, its “Poetizität” (their poetic quality) became” litre air quotation “, so the parallel word creations of the process. As text group 19 leaves themselves since that. Century nearly only now again-seized the lyric poetry as“Poetry” designate. The tendency is strengthened by the international linguistic usage: “Poetry” is in English to a large extent the equivalent for the German word “lyric poetry” - the word “poetry” pulled itself, term-historically seen from the generic term for the poetic kinds into the niche of undefined small kindsback, when speaking of “literature” displaced the old speaking of “poetry”.

In the second meaning the word in transferred speaking lives away, which affects the aesthetics of one moment and the effect on the perception, outgoing from it. Onecan be it shown seized by the “poetry of a picture (a situation, one instant, a quiet action, a film)”. The word meant here mostly as much as the asseveration, one can seize what particularly affects one there, hardly into words,perceptibly and therefore hardly statable it is so tender, finely, quietly, hardly - a poem (so the secret statement) can make still suspectable if necessary (the usual linguistic statement here superior), what now the special, a seizing is. Itself onto this place expanding word use found in the Surrealismus the most interesting advocate. André Breton spoke puzzlingly becoming ordinary of the “poetry of the everyday life” , Paul Éluard “more intended” of and “unintentional ” poetry , Jacques Prévert pulled that in response into the poetry. A puzzling andRecent discovery of the everyday life was spoken with it so much the word, as unpoetischsten things new meaning pulled to a poetry, which from the allegedly gewöhnlichsten.

Table of contents

the complex of the poetic kinds: History

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Antique one, the Middle Ages, Renaissance (provisional)

the term poetry seems to have essentially summarized production in bound language in the antique one. (Someone, which is been versed with antique linguistic usage, would be welcome, in order to summarize, which here the Poetologien at generic spectrumgave and which against it in the linguistic usage all poetry was. The same clarifying will require the word for the Middle Ages. Does the Scholastik fall back to Aristoteles ? Does one seize the “poetry” as text corpus? Were there alternative terms for the field of the poetry?)

With the Renaissance scholarly efforts articulated themselves to again-justify the poetry. Poetry on latin won new weight in completely Europe.

against all scholarly defaults: The opera becomes the central kind of high poetry, 1600-1730

with that 17. Century becamePoetry in the national languages a central topic in the European gel honouring SAMness.Literature language became French - after latin the second language of the gel honouring SAMness, poetry assumed a central rank in the arrangement of the high national language and became from that Académie Française characteristically promoted. The market of the poetry hardly developed regardless of its in the courses, which planned the scholarly debates. The divergence busy particularly strongly in the German linguistic area, in in the course 17. Century is late the scholarly promotionthe national language began.

In the area of the dramatic kinds the opera with that had 17. Century the place of the high drama taken. After their theory it was the equivalent of the Greek tragedy, from which one knew that her (thoseExistence of the choirs suggested) of music was accompanied. The opera did not follow the measure gifts of the antique tragedy - high action connected with a disaster, in whose center heroes of high head were located - however, their area was much morethe höfische celebration and in late 17. Century a urbaner commercial theatrical enterprise. Propagandists of the opera referred to the change of the times and took for its drama in requirement that the antique tragedy was created for completely different purposes, asit the theatre in the presence in the high spectrum to fulfill had. In the low field the comedy faced the opera in a broad fanning out of national Geschmacksrichtungen . Tragedies in verses became in 17. Century primarily within the academic range, and thereparticularly for the school teaching writes.

The Epik had developed still less in accordance with the poetologischen defaults: Epi large works developed particularly in panegyrischen, political propaganda and a scholarly contest. On the market of printed writings placed itself in17. Century weariness of high language in verses . Amusing Epen like the English Hudibras, the politically loaded counterpart of the Don Quijote, had a certain market meaning; particularly in the satire the verse survived and with it thosePoetry.

If one refrained from the opera (and it neighbouring the production fields of the Oratoriums and the Kantate) and from the amusing Epos, then the poetry with that flourished to 17. and 18. Century as commercial production of a market, that it toospecific opportunities needed: Anniversaries, weddings, deaths required to be up-stylized with poems. Large events had the poets since the antique one lively, in which culture left themselves poets kommerzielleren everywhere for order work to pay. The poems became within fewer hours in thatRule as “Carmina” and thus without large defaults at verse forms writes and for the participants of the funeral, which wedding or the anniversary distributes into the pressure given and during the event. The status of the opportunity poems was not high, it pulledthe poetry into the most substantial discredit.

Poetry became, so the perception, the end 17. Century strengthened, a field of massive production without deeper claim of quality - it proved in particular with the market of the opera and the höfischen Maitressenwesen,as with the urbanen European business the female and male opera star, which tightened the opera, as increasingly scandalous. The novel emerged at the edge as interesting kind, which the carmen epicum, which could have beerben heroische Epos. Here frightenedoff the fact that the novel in its language had said good-bye in the larger novellistischen production from the search to style height and even an increasing business with private and public scandals operated. Few selected novels - Cervantes Don Quixote and Fénelons Telemach - received as poetic achievements attention (and Versifizierungen), which they should make poetry in the pure sense of the word.

the poetry reform, 1700-1850

a reform of the poetry had in-complained the gel honouring SAMness since arising the pressure nature, onlyat the beginning 18. Century seized the reform calls. The gel honouring SAMness addressed 18 with its portion of the book market at the beginning. Century over a broad interest of public. In particular the review nature offered itself as platform to articulate reform desires in the public interest. Thatfirst step of the poetry reform aimed in 18. Century on a re-organization of the dramatic range. Tragedies in verses should win own status beside the opera (if this as falsegone poetic kind of the market urge did not leave itself).

Market force achieved thosePoetry reform however only in the middle 18. Century, as it in the civil tragedy in Prosa - as successors of the antique tragedy - got involved. The step permitted it in the same moment, the novel, as it to Richardson and falling thing in variantshigh, heroischer and amusing production had again-defined to permit as successors of the antique Epos in verses. In a development of the aristotelischen Poetik Prosa was accepted as potentially poetic language. The drama found its facing with the new tragedy and one Comedy new Klassizität, the Epik had with amusing and serious novels a pair of traditions, which considered to the aristotelischen breakdown of the Epos. A third range was formed for that with the remaining poem forms, the lyric poetry.

The days of the poetry asGeneric field were with the same development counted: The poetry debate took place since the 1750ern within the literature criticism . Literature was to be again-defined a little later: in the closer sense of word poetry. Modern literature stories 19. Century expressed this. George Gottfried Gervinus sold itsStandard work in the conceptual bridging as history of the poetic national literature of the Germans.

Second speaking had seized on place since the 1730ern in the German poetry discussion around itself: Speaking of seal and Dichtkunst - first seized that text corpusthe poetry, the latter setting of tasks for the Poetologie, the science, which the good poet with knowledge controlled if not genius. Meaning won a speaking of seal end 18. Century in the qualitative Ausdifferenzierung, which manufactured themselves on the market now,between true, high seal and one indiskutabel becoming mass-produced goods. The development those the words poets and poet in German each other opposite took, are here symptomatic for the change of the market. The word “poetry” lost meaning as scientific andwithdrew itself into subjective speaking of “poetic quality”; it survived the range, which was combined as last into a literary kind in the neighbouring European languages as the word for the lyric poetry.


important Poetiken

  • Aristoteles, Poetik (Greek/German). Translated and given change of Manfred wagoner (Stuttgart: Reclam, 1994).
  • Horaz, De arte poetica in: Quintus Horatius Flaccus: Opera, lat. /dt. With an epilog hrsg. by Bernhard Kytzler (Stuttgart: Reclam, 1992).
  • Nicolas Boileau Despréaux, L'art poétique (Paris, 1674).
  • Daniel George Morhof, instruction of the German language and poetry (Kiel 1682; 3. Aufl., Luebeck and. Leipz. 1718).
  • Menantes = Christian Friedrich Hunold, the all-newest kind of arriving at the pure and galanten poetry(Hamburg: G. Dear nickel, 1707).
  • Johann Christoph Gottsched, attempt of a critical Dichtkunst for the Germans (Leipzig, 1730).

in the view of the poetry term important texts

Wikiquote: Poetry - quotations

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