MARTIN OPITZ, THE TRANSLATOR: A SECOND LOOK

MARTIN OPITZ, THE TRANSLATOR: A SECOND LOOK Frederick M. Rener MARTIN OPITZ, THE TRANSLATOR: A SECOND LOOK Martin Opitz (1597-1639), known to earlier generations as the 'father of German poetry' and to literary critics since the last century as an uninspired versifier, has again become the object of scholarly attention after a long period of neglect. Laudable as this renewed interest is, its accomplishments to date have not succeeded in substantially improving his reputation as a poet. The old charge that his poetic production is not the fruit of personal experience and emotions but consists for the most part of material (ideas and words) borrowed from foreign sources often through straight translation, is even more true to-day since additional sources have recently come to light. What has changed in Opitz scholarship of late is the tone used by the critics. This is due in no small measure to the tendency to judge him by seventeenth century standards as they become known and applied.' In the study of Opitz' translation much work remains to be done because scholarly efforts to discover Opitz' foreign source,s have not been matched by a corresponding thrust into the study and discovery of the principles which guided him in his translations. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Daphnis Brill

MARTIN OPITZ, THE TRANSLATOR: A SECOND LOOK

Daphnis , Volume 9 (3): 477 – Mar 30, 1980

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Publisher
BRILL
Copyright
© Copyright 1980 by Koninklijke Brill NV, Leiden, The Netherlands
ISSN
0300-693X
eISSN
1879-6583
D.O.I.
10.1163/18796583-90000045
Publisher site
See Article on Publisher Site

Abstract

Frederick M. Rener MARTIN OPITZ, THE TRANSLATOR: A SECOND LOOK Martin Opitz (1597-1639), known to earlier generations as the 'father of German poetry' and to literary critics since the last century as an uninspired versifier, has again become the object of scholarly attention after a long period of neglect. Laudable as this renewed interest is, its accomplishments to date have not succeeded in substantially improving his reputation as a poet. The old charge that his poetic production is not the fruit of personal experience and emotions but consists for the most part of material (ideas and words) borrowed from foreign sources often through straight translation, is even more true to-day since additional sources have recently come to light. What has changed in Opitz scholarship of late is the tone used by the critics. This is due in no small measure to the tendency to judge him by seventeenth century standards as they become known and applied.' In the study of Opitz' translation much work remains to be done because scholarly efforts to discover Opitz' foreign source,s have not been matched by a corresponding thrust into the study and discovery of the principles which guided him in his translations.

Journal

DaphnisBrill

Published: Mar 30, 1980

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