Andreas Gryphius


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Gryphius, Andreas

 

Born Oct. 2, 1616, in Glogau; died there July 16, 1664. German poet and playwright. Son of a pastor.

The pessimistic mood of the sonnets, odes, epigrams, and religious songs of Gryphius (in Latin) reflected the collapse of Germany after the Thirty Years’ War (1618–48). His historical tragedies in the baroque style— Leo Armenius (1646; published, 1650), Carolus Stuardus (1649; published, 1657), Katharina von Georgien (1646–48; published, 1657), Papinianus (1659), and Cardenio and Celinde (1649; published, 1657—also deal with contemporary problems. Gryphius’ best comedies are Peter Squentz (published, 1657) and Horribilicribrifax (1659; published, 1663). The most realistic and democratic of Gryphius’ plays— The Beloved Briar Rose (1660)—is a comedy in the Silesian dialect; its heroes are German peasants.

WORKS

Werke: In einem Band. Weimar, 1963.

REFERENCES

Istoriia nemetskoi literatury, vol. 1. Moscow, 1962. Pages 381–89.
Purishev, B. I. Ocherki nemetskoi literatury XV-XVII vv. Moscow, 1955. Pages 311–29.
Bibichadze, A. A. Grifius i ego tragediia “Koroleva Gruzii Katarina.” Tbilisi, 1950.
Flemming, W. A. Gryphius.... Stuttgart, 1965. (Bibliography.)
Szyrocki, M. A. Gryphius. Tübingen, 1964. (Bibliography.)

IU. M. KAGAN

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Heredero de Opitz, el luterano Andreas Gryphius (1616-1664) proclama una resistencia pasiva: en el drama Papinianus, el legista magnanimo rechaza encubrir el fratricidio demente del que el rey Caracalla se ha declarado culpable.
They cover from the refutation of drama to the drama of refutation; the castrato as a rhetorical figure; family, city or state, and theater: Carlo Gozzi and the rhetoric of conservatism; rhetoric and early modern Latin drama: the two tragedies by the "Polish Pindar" Simon Simonides (1558-1629): Castus Joseph and Pentesilea; verse games: meter and interactional German in the Baroque plays of Andreas Gryphius; and rhetoric and the culture net: transnational agencies of culture.
The lyric poet Andreas Gryphius (1616-1664), who in 1636 knew his homeland only as a battleground, described the atrocities in grim detail in his sonnet "Threnen des Vatterlandes." The country was impoverished, and everywhere the arts suffered as never before.
Although poet Andreas Gryphius (1616-1664) was only twenty-three when this collection of one hundred sonnets first appeared in 1639, it was in fact the young poet's second published gathering of sonnets.
Kuhlmann also analyses the European-wide tradition of Latin Jesuit drama, which had an important influence, for example, on the tragedies of Andreas Gryphius. Erika Rummel's contribution on humanists as translators and editors also engages with neo-Latin literature, as well as examining the Reuchlin affair and humanist biblical scholarship, such as Erasmus's Greek-Latin New Testament of 1516.
The first leads us from the vesper prayers of Dante's Purgatorio through Abendlieder lyrics of seventeenth-century German Protestant poets such as Andreas Gryphius and Paul Gerhardt and Jesuits such as Friedrich von Spee to the mystical poetry of the same century inspired by the noche oscura, noche serena of St.
The second section contains seven sonnets dealing critically with the war in Iraq, recalling Andreas Gryphius's topical baroque sonnets.
Reading Andreas Gryphius: Critical Trends 1664-1993.
In addition to discussing the function of the Persian court in Andreas Gryphius's Katherina von Georgien, Tafazoli gives a coherent account of the reception of the Persian poet Sadi (13th century) in the Baroque as well as later by Herder.
While the reception of these English events is well known to scholars of German Baroque literature, owing largely to the excellent studies by Gunter Berghaus and the considerable scholarship on Andreas Gryphius's tragedy Carolus Stuardus, the associated visual materials are still largely unknown.
In addition to the voice of Manrique and its radical scrutiny of life's irreversible course, there is a quotation from a poem by the seventeenth-century German poet Andreas Gryphius, ending with the line: "Die schonheit ist wie Schnee, die Leben ist der Tod" (Beauty is like snow, life is death).
We are told early on that 'Andreas Gryphius was the greatest poet as well as the greatest dramatist of the seventeenth century in Germany' (p.xi) - the favourite is talked up at the expense of other writers of that period.