Focus Fall 1995.tif 162 FOells on Literalllr Jews. A Chall enge to Hitl erism' eisig zurucksandte, ist (reilich fli r ihr Ve rhalten vom Schicksal berei ts hart gezlichtigt wo rden: als die Reddktion nach einem historischen Roman zum Preise ihres hochh ei ligen Fridericus suchte, vemgte ihr unfeh lbarer RJ.sseinslin kl . . . so griindlich, daa sie das Erzeugnis einer voll judi::chen Fede!" erkor ... 1- Ouly 1937: 2). · ParOl.llels to Giinthe r Wallrafis investiga tion of the Bild ZeilUng ue striking. Wallr.l.fi tries to prove that the polit ical message of the paper is to be found in the sports sect ion. Ludwig Tieck and the Renaissance: Q uestions of Canon on the Cusp of Realism Jennifer Cizik Marshall ~ ver the years, scholars have bestowed a pletho ra of names and I.!!W t itl es upon Ludwig Tieck, including, blll cen ainly not limited 10, "Konig der Romamik," "Vater der Romamik , n "das Schulbeispiel flir den romamischen Character" (SlOpp 256) . "the 'invemor' ot \YIaldeinsamkeit" and "rhe originat o r of the mondbeglanue Zaubernach," (Gries (57). What arises from thi s li sting is an info rmal confirmation of the commonly held notion that Tieck's oeuvre be· longs part and parcel [Q the Romamic movement. Yet for all of the seeming agreement abot][ Tieck's role as an originator and main pro· ponent of the Romantic spirit, there is still a lot of controversy among scholars about his work.s. One pithy summation of the problem claims t hat Tieck has never been "als geistige Einheil erfalh worden, sondern immer romamischer Torso geblieben- (Thalmann 117). This image of the to rso, something broken and incomplete, refers to the status of Tieck criticism in which hi s early works, with thei r Waldeinsamkeic and Zwbernachl, have come 10 be so far privileged above his later production as to leave his most mature writings in a shadow of comparative critical neglect. To give yet another critica l summation: "Victoria Accorombona, Ludwig Tieck's Meisterwerk ... ist heute fast vergessen" (Taraba 329). This may seem to be an oxymo­ ron , that a "Meisterwerk" can be "vergesse n," but a quick look al lhe criticism bears thi s out. For example: in two of the standard literary biographi es of Tieck, Edwin Zeydel's 1935 Lltdwig Tieck, the GemUlII RomamtclSt and Roger Paulin's 1985 Llldwlg Tleck, a Literary Blogra. pby, a total of seven pages are devoted to di scussion oi VlltoYia A ccorombo,14. Perhaps even more disturbing is the fac t that these seven pages also happen to be riddl ed with incorrect summari es of lhe ac­ tion of the book and serious misrepresentations of its style and goals.! In spite of Tieck's position as a recog nizably "canoni zed" writer, this FQCu~ 071 Lil~ralll1· Vol. 2, No.2 (199,) 164 FoCtls on Literatur appellation seems to apply only to the well-known early works, such as Der gestiefelte Kafer, Der blonde Eckbert, and Franz Sternbalds \'Vandertmgen. What is excluded, or as it were, "forgonen," are the works of Tieck's maturity like Victoria Accorombona, bur also includ. ing Des Lebens Dberflllfl and DeT Junge TischlenneiJler. These wo rks are seldom read and even less often discussed in undergraduate courses and ~cholarly journals. Many theories exist as to why the mature pro­ duclIon of such a well-known writer would attract so little inreresr: some readers locate the problem in the financial pressures Tieck expe­ rienced during his later years, which they feel forced him to produce inferior wo rks; others point to a general lack of, or at least wan ing, talent, a lack of "'character," growing anistic and political conserva­ tism, or his increased focus on editing and critical writing. But the crux of the problem, which none of these explanat io ns takes into ac­ count, is the difficulties inherem in presenting a unified reading of a polarized production. Tieck's late works simply do not resemble the Romanticism of his earlier works: they show instead a move toward realism and historical narrative. Some critics make it very clear that they cannot accept this seem­ ingly innocuous descript ion of the modulation in Tieck's sty le over the course of his career. Others recognize that something is wrong with the state of Tieck research, but cannot seem to pinpoint, much less overcome, the difficulties. But before this problem can be prop­ erly interpreted in terms of its causes, it is first necessary to establish a firm understanding of the change in Tieck 's style which lies at the roO[ of this critical disagreemelll. One of the most fruitful methods for choosing examples in this comext is based not only lipan the his­ torical progession of T ieck's career as a writer, but also on the au thor's depiction of history in his works, mare specifically the period of the Italian Renaissance and the ways in which his attitude toward this era and his use of historical material changes drastically over the course of fifty years. The two works which provide the most elaborate and contrasting depictions of this period are the early Franz Sternbalds \'(Iandenmgen, published in J798 , and the much later Villoria Accorombona, published in 18+0. Franz Sternbalds Wandertmgen is easily recognizable as a work which fits into any basic definition of Romantic style. The prose is hyb r idized with the inclusion of numerous poetic insertions, and all Questions of Canon 165 of the most common Romantic tropes, like art, nature, Phancasie, Sehnsuchl, and Wanderlust figure p rominently in the story. The novel opens in Germany, but from the beginn ing of the book it is made clear that the eponymous protagonist, a young paimer, is bound for Italy, the land of Raphael and Michelangelo. The act ion of the novel takes place around 1520, which can be determined by the references to the death of Raphael, but one does nOt get much of a sense of Italy or the Renaissance from the book, as it is on ly in the last ten pages or so of the existing fragment that Franz Stern bald actually reaches Rome, his goal. Furthermore, Franz's only eyewitness description of the eter­ nal city is aCluaIly quite pale in comparison wit h the fantasies and dreams of Rome related in the first pan of the novel. A blazing su nset and a view of St. Perer's are the only details which are given as a cu lmination for all of Stern bald's visions. Rome, and Italy by extension, are abstracted instead into a gener­ alized utopia, a sort of Valhalla for the gods of the Kt01SlTeligion, and realistic details are never given the chance fO prove or disp rove this cha racteriza tion. R ome is "Friih li ng," a place w hich is in its "glanzendste Epoche," and where experiences transform lhe artist (es­ pec ially the German an ist) so that he may truly appreciate art. It is a place wit hout cares, which refreshes the sou l, where '~YJollust die Vogel wm Singen abtreibt, wo jeder kiihle Baumschatten Liebe dufret, wo es dem Bache in den Mund gelegt ist, von Wonne zu rieseln und zu scherzen"(380). It is also the place where Franz finds the woman whose image has haunted him, and who, he had been tOld, was dead. But no ne of [hese positive characterizations give the reader any sense of place and time as anything other than an artistic utopia. This attitude IS confirmed in a cha pter authored by Tieck in the nearly contempora neous work, J-/erzensergiejlullgen eiTles KU1l5t/iebenden Kloslerbruders. The chapler is entit Jed "Sehnslicht nach Italien," but the narrator's longing for this place is stated only in terms of its role as a "Kunstheimat" and little else. In fact, this shan chapter repeatedly undermines the concept of actual!y traveling LO Italy: the entire passage is said to have been wr itten by someone who has never been there, and the narrative voice of the monk characterizes those who have been to Italy with a dismissive "so mane her reist hin und kommt zuriick und weiB dann nicht wo er gewesen ist lind was er gesehen hat ... " (12). The narrator continues in this vein, expressing 166 FoCIJS on Literality a childish disbelief thai this place could be so far away. yet when some­ one sp reads a map out before him he loses himself in reveries: "ich d\](chwandere mit meinem Geiste die StadIt, Flecken und Dorfer­ aeh! und fiihle nur loU bald, daB alles Einbildung sei" (12). Embddung it is indeed, nor juSt the [rip, but the emire concept of [he perfect "gelable Land def Kunst" (12). One of the very few elements that lend any sense of the historical pbce and time to Franz Slernbalds Wandenmgen are the numerous names of contemporary anists given in the book. The most impor­ tant of these is Raphael, but Franz. is informed early in hi s journey [hat Raphael is dead, which makes the question of historically accu­ fate ponrayal a moot one. Although copious real names of Ita lian anists of the period are given, none of the other characters among the Italians is featured and developed, aside from certain cliche attributes such as their lust for life and love of art. In fact, the only one to whom any characterizat ion is attached is Francesco Rustici, about whom the anecdote is related that his "Gutherzigkeit" causes him to give all of his money away. Even if this anecdote were historically accurate, it would still be a unicum in the text in this respect. It is commonly held that this portrayal of the Ital ian Renaissance in Franz Scernbalds WandeYlmgen is derived not from any historical research but rather from another fictional portrayal of that famous place and time, namely Johann Jakob Wilhelm Heinse's A rdiugbello lind die gliickseligen Instln (1787), which is also credited as being the first German Kiinstlerromall (paulin 263). This means that Tieck's early portrait of the Renaissance is adapted not from history, but rather from literature, at least once removed from the recorded events of the time. T he inception of the novel Viuorkz Accorombona is also in some ways based upon literature, as it is known that Tieck first heard of the figure Viuoria (or Virginia) Accorombona (or Corombona) through his research into English literature, the source being John Webster's 1612 play "The White Devil." Although Vinoria was probably attrac­ tive to Tieck because she was, according to several sources, a poet (Landau 312), Tieck makes it dear in his introduction to the novel that his method and goals in the composition of this novel are very different from those demonstrated in Franz Stembald. First, he lists a nllmber of sources in which he researched references to the historical Vittoria.2 He admits that much in his version of the story is invented, but he seems [Q regret this need for fiction, explaining that these de- Questions of Canon 167 partures from th~ historical record occur only bec,lUse of gaps In the accounts of her life. Also in this introduction, Tieck sets iorth what a~most. sounds like a Rankean program of representation Mwie es elgemilch gewesen war": "Vieles in diesem ROlnJ.n is{ aber IlIcht erfll~ld.en, sonder.n der Wahrheit gemaB dargestelh .... Ein Gemalde der Zeit, des Vertalls der Ttalienischen Suaten sollte das Seeienaema:ldc al~ Schanenseite erhellen, und in das wahre Licht erhebenD .!>(54 1-2). T~eck .also goes on t? criticize Webster for his "Verleumduog" of Vlttona, and states hiS desire to rehab iii me tillS figure, while at the same time unflinchingly depicting the backdrop of a Renaissance soci­ ery which is no longer.tn artist's utOpia, but "Vedall" and "Schatten­ seite." . I ~ is this "Gemalde rler Zeit" and the linguistic sty le with which it IS painted which sets Viuorta Accorombona so fa r apart from Franz Scembalds \'(Ialldenmgen, and from Tieck's stylist ic association with the Romantic school altogether. For this novel bears none of the stan­ dard markings of the Romantic prose work, slll:h as one would find in Novalis, Eichendorff, or indeed Tieck's own early writinos. Rather tha~ following the spi ritual journey of a single male prota;onist, the maIO cha racter.is both female and fairly mature at the opening of the nove~. Panegyncs to nature and springtime are subordinated {Q every­ day life and the family cri~s brought about by tht! harshness of the times. Perhaps the most telling stylistic departure from the Romantic prose style, however, is the lack of any lyrical insertions in the novel at all. This is not to say that poetry does not playa role in the novel for the poetry of Vinoria and her circle is often featured. But thes~ poems are always given in prose form, often with the disclaimer "'ein Gedicht dessen Inhah ohngefahr dieses war ... " (58·.). Tieck does not want to put words (and German words at that) into his re-c reation's m~u t h, and he does nor want to disrupt the prose flow of the novel with lyrical interjections. no maner how warranted they may be by the course of events. It can be conjectured that this shift in prose sty le stems no~ o~ly from a change in representational goals, but also from a ~ha~ge I.n lHenry mo~els, for the writing of this novel follows lipan Tleck s dIscovery of SIr Waher SCOll, whom he much admired and whose stylist ic influence can be seen in Villona A ccoromborta . ' The technique through which the image of Italy is presented in the novel is also very different from that llsed in Franz Scembalds \'(/anderungen, which basically consisted of various cha racters saying 168 FoCtis on Lileratur positive blll abstract things which they attributed to Italy. In this novel, very little is actually said explicitly, with the one real exception of ViCtoria's statement near the beginning of the novel: wie schrecklich und gespenSlisch mir diesmal die Stadt ,·orkomnlt. Dies groBe ewige Rom, urn d;ls uns so viele Fremde beneiden, und den Aufemh;alt don als einen gluckseligen preisen­ o wie greulich, furchterfi.i!lt, emsetzlich erscheinen mir diesmal seine Stl'aBen lind PHitze!!ch habe eine Vorempfindung, als wenn mirdolt das allergroBte Ungluck meines Lebens begegnen, als wenn ieh don umergehen musse. (587-8) This utterance sets the tone for Tieck's development of the Italian state and society as an impersonal main character in the novel. Tieck carefully represents the various levels of this society, and shows how each of these groups lives its life in disharmony wi th the ideals of beauty and art embodied in his protagonist. The Church hierarchy, as represented in the figures of Cardinal Farnese and Vittoria's brother, Ottavio, is shown to be lustful and hypocritica l, doling Out favors when it suits them and withholding them when there is hope of per­ sonal gain. The nobi lity is characterized as idle, frivo lous, morally lax, and violent. "Das Volk" is more concerned with folk tales than realities, spreading rumors during Vinoria's incarceration " ... von Bezauberung, Gift, Gespenstern und Gestandnissen auf der Foher" (764-). In fact, of all the various levels of th is society, the bandits re­ ceive rhe mOSt sympathet ic ponrayal, for although they are posited as the enemies of the stare and agents of chaos, they are primarily "good" citizens of the merchant middle class, driven by viol em times to vio­ lent measures, who at least have [he integrity [Q recognize honor in others and keep their word, once given. It is this vision of the entire spectrum of a fallen society that culminates in the murder of the ex­ traordinarily talented and beautiful Vinoria. This reading is under­ scored by the fates of the other talented or good and innocent charac­ ters in the novel, such as Torquato Tasso, another art is{ figure whose fate is parallel to Vinoria's own, and Count Pepoli, whose indefati­ gable efiom to gain the release of his cousin from the custody of the bandits only leads to his arrest for complicity with them and his later mu rde r in the Pope's jail. Questions of Canon 169 Within this framework of the depiction of Renaissance sociery as a whole and the figure of Vinoria in particular, Tieck is faithful 10 his historical sources, while also achieving his goal of reversing the char­ acterizations in Webster's drama.} H e does bend and adapt the histori­ cal record in some places, mostly in the omission of details such as Vinoria's reputation as a spendthrift with elaborate tastes, which would have impeded his goal of rehabilitating her character. It is also oireo pointed out that the "Salonkuhur" portrayed in the novel is an anach­ ronism out of the nineteenth centu ry. But overall, when looked at in the wider perspective of Ihe development of the historica l novel in Germany, it isstriking that Tieck produced a work so well constructed and so serious in its portrayal of history at this time with so little in the way of native examples! The questi ons that remain at the end of th is discussion center around the issues of why these changes occurred in Tieck, and why they have attracted so little critical anemion. The change is after all quite striking: in this novel Tieck has repudiated not only the tropes of R omantic ism (such as the image of Renaissance haly as a "Kunstheimat"), but also the language and the emi re I heoretical stand­ point of the Romantics. Some evidence as to why and how this hap­ pened can be found in Tieck's letters, especially those exchanged with the Breslau history professor Friedrich von Raumer, in which Tieck writes of growing tensions with the Schlegels, a dislike for E.T.A. H offmann, and a growing sense that a poet like himself should ap­ proach hi.itory in the same manner as a histo rian (Zeydel 866). An­ other imponam source in this context are Tieck's essays, espec ially "Goethe und seine Zeit" (1828). In this essay, Tieck discusses the po­ litica l and moral dimension of the work of an, that reflects the spirit of its time and makes visible the intersection of history and COntem­ porary society, while also lifting society up to a higher form of ex ist­ ence. Tieck also expresses in the essay:l view of art as interdependent with society, a concept which imp lies certain social and historical re­ sponsibilities for the artist. Thiscommentary is underscored by Ticck's reaction to a review of Viltorta A ccorombolla wrinen by c.r Braniss, a professor of philosophy at Breslau. What Braniss saw in the novel was JUSt such a contemporary resonance, a warning to Tieck's own time portrayed in the clash of revolutionary forces to the detriment of art and beauty. Tieck greeted this reading with the overwhelm- 170 Focus on Literatur ingly positive statement "\'\felche Freude, auf diese An verstanden zu werden" (Lillyman 133), and saw to it that the essay was reprinted with the novel. Only one modern critic has made any furrher anempr to find politica l resonances in thi s rext, bur in order to do so he refers back to the horrors o f revolutionary France occuring at the lime of Tieck's first exposure to the Vinor ia Accorombona material, in 1791, a poim in time when Tieck would hardly have been receptive to this kind of thinking (Kern 185). One other critic has read the roughly contemporaneous work Des Lebens Oberjllljl (lSJ9) as a political state­ ment. but has nor extended this reading to ViuoniZ A ccoyombona. as Tieck seems to have wanted. One at" the possible reasons why this interesting problem has nOt attracted more scholarly attention could be the fact that there is no standard modern critical edition ofTieck's works and letters. This is a particular hindrance in the case of the lwers, which exist in 50 sepa­ rate places, 3:1d the critical essays, which have not been reprinted in full since the 1848 Leipz.ig edition. Compounding this is the strength of the long·standing perception of Tieck as a Romamjc, discussed in the introduction above. This Tieckbdd may weil have been established as early as during Tieck's own lifetime, for as he became more and more distant from the Romantic circle, he also failed to endear him­ self ro the Young Germans, who rejected him for his politics (KJeu 38-39) . Hence, the originally positive reception of Vittoria AccoTombona was unable to maintain any momentum, and the late Tieck could soon be grouped with "den wlweisen vergessenen Dichrern des 19. Jahrhundens" (paulin 249) JUSt like his Realist coun­ terparts Auerbach, Alexis, Spielhagen, and a host of others.5 Forty years ago, Marianne Thalmann wrote about the state of Tieck criti­ cism: "Tieck mu~ vor allem wiedergelesen werden. .. Eine Gesamtschau braucht den Romantiker nicht zu morden, damit cler Realist lebe, aber das Cliche vom Romantischen mag sich wandeln mussen" (123). This statement is as true radar as when Thalmann first made it. Only through such a unified vision of his works can the conundnLm of Tieck scholarship be rectified, and only then can the change in his literary style be studied and pursued as an important aspect of any understanding of this enigmatic and talented writer. Yale UniverSity Questions of Canon 17 l Notes I It is in Zeydel's five p:oges that the misquotations of the text are !ouud: for example he claims that Bracciano is in jail when Vinoria is kill ed (he is actual! y long dead) and that Tieck's main source of information is Webster (whom Tieck refutes in the preface). Paulin's twO pages present a reading 01 the novel based on "d-as Wunderbare," which makes the text sound like a Hoffmann tal e. I Tieck lists his sources as including Quadrio, Tiraboschi, Riccoboni , Marosini , and Lebret. ) This aspect of the novel can be best seen in the chart compiled by Christiane Keck in her book RenaiHance and Romanticism, 20. • The appea rance of this novel in 1840 is after all quite early, only three years after Berthold Auerbach's Spinoza novel and predating Willibald Alexis' Die /-Jasen des Herm von Bredow by more than si x. ! The suengrh of this enduring one·sided readi ng of Tieck has ;llso been demonstr.Hed in modern scholarship, for a large number of dissertarions and minor books dealing with this aspect of his writing cropped up in the early part of this century, only to be quickly discounted or outstripped by the mndard, insufficient readings. Works Cited Concn, Franz. Die Form der hislorischell Novelle bei Llldwig Tied: . Kalil: ~,1. Gladbach, 19 14. Gries, Fra uke. ··Two Cri tica l Essays by Ludwig T ieck: On Literature and it! Sociological Aspects" l\ /ollatsl,ejie 66. 2 ( 197-1): 157- 165 . Kcck, Christ iane.Renaissallce and Romanticism: 'neck·s Conceplion ofell/­ lura/ Declille as Portrayed ill his ··Villoria Accorombona. ,. Beme: Herben Lang, [976. Kent, Johannes.Llldwig 7"ieck: Dichter einer Krise. Heidelberg. LOlhar Stiehm Verlag, 1977. K lett , Dw ighL 'fieck Rezeplion: Das Bild Ludwig Tiecks ill dell Lilerallirgescl!ich!en des 191en Jahrhllllderts. Heidelberg: Carl Winter UJliversWilsverlag, 1989. Landnu, Marcus. ·' Vi uoria Accoro mbona ill der Di chtung im Verhfi ltnis zu ihrel wahrcn Geschicht e." Euphorioll 9 ( 1902): 3 10-3 16 Li eske, Rudolf. Tiecks Abwelldllllg VOlt de,. Romamik Berlin: Verlag Doktor Emil Ebering, 1933 . Li ll yman, William. Reality's Dark Dream. Berlin : De Gruyler, 1979 172 Fonts on Lileratur Paulin, Roger . "Ocr alte Tieck.'Zur Litera/liT der Restaurat;ofuepoche; 1815- /8018. Ed. Jost Hemland and Manfred Windfuhr. Stuttgart: 1.B. Mel2lersche, 1970. -. Ludwig neck . Stuligart : 1.8. Metzlersche, 1987. - . Ludwig Tieck, A Lirerary Biography. Oxford: Clarendon, 1985 . Stapp. Elis.1beth. " Wandlung des Tieckbildes: Ein Literamrberi cht." DVL(F7 ( 1939): 252-276. Taraba, Wolfgang. "Viuoria Accorombona. 'DeT Deutsche Roman YOIII Barack bis zlir Geglmwarr. Ed. Benne von Wi ese. Vol. I. Dusseldorf: Bagel, 1963. 329-352. Tha lmann, Ma riann e. " Hundert Jahre T ieckrorschung.'i\/onalshefle 45.3 (1953) ' 113-123. - . Ludwig Tteck. Der fleilige von Dresden. Berlin : De Gmyter, 1960. Tieck. Ludwig.Ausgewdhlte krirische Schriften. Ed. Emst Ribba1. Ttibingcll: EmSI Ribbat, 1975. -. Franz Siernbalds /Va/lderungen. Stuttgan: Redam, 1979. - . "Seimsuch l n3ch Italien." ln W.H. Wackenroderflerzenserglej3lmgen ei/les Kunst/iebenden Klosterbruders. Dilzingen: Reciam, 1985, 12· 13. -. RomanI!. Mlinchen: Winkler, 1963. Weibel, Oskar. necks Renaissancedichfllng. Bern: Paul Haupt, 1925. Zeydel, Edw in. Ludwig Tieck, 1he Gem/an Roma/lticist. Princeton: Princeton, 1935. - . "Ludwig T ieck und Friedrich RauIller. " PAU.A 48.3 (1929) : 863·893. Klopstock: National-patriotische Gedanken eines deutschen Poeten StefanJux .. us AniaB se ines zweihundertjah rigen Geburtslags im Jahre 1924 rill wurde Friedrich Gottl ieb Klops[Ock zur Ehre in Deutschland eine Miinze gep ragt. Zwei Insch riften wurd igen Klopslock als Poeten der Religion und des Patr iotismus. Auf der einen Seite der Medaille ist der erste Vers des "Messias" eingravien: "Sing, unsterblicheMuse, der sundigen Menschen ErlOsung" (1: 1).1 Auf der anderen Seite befinden sich Verse seiner pat riotischen Ode "Mein Vaterland": "Ich sinne dem edlen, sch reckenden Gedanken nach,l Deiner wert zu sein. mein V,ml,nd" (4, 216). D aB Klopstocks Parriotismus auf einem religiosen Fundament steht, bzw. seine Religiositiit immer auch national iSI, iSI Grundvoraus­ setzung fur das Verstand nis vo n Klo pstocks nat ional-patriotischer Lire ralur und sol! deshalb im folgenden erHiulen werde n . Die Isol ierung von Klopstocks national-patrioti.schen Gedanken aliS ihrem literarischen KOntexI und die T rennung von ihre r pietislischen Gru ndlage mhnen dazu, daB Klopstock fiir die nalionalislisch-mili tanre P ropaganda der Befreiungsk r iege. des wilhelminischen und faschistischen D eutschlands miBbraucht werden konnre. Ob die von eioem Literalurwissenschaftler aufgezeigten "gefahrlichsten Wirkungen aus dem Klopslockschen Laboratorium der Phamasie" {Kaiser 168) clem Dichter direkt anzulaslen sind oder ob ihm die tragische Rolle eines "Zauberlehrlings'" zukommr, sei dem individuellen Uneil des Lesers uberlassen . Die Forschungsl iteratur cler Nachkriegszeil hat sich jedenfalls mehr cler poetologischen Fragestellungen in Klops(Qcks L)"rik angenommen u nd sich eher dem empfindsam-pietistischen Dichter der Liebe, der Freundschaft. der Natur und der R eligion zugewandt. Diese Untersuchung sol! sich auf cl rei Facenen von Klopstocks Patriotismus beschdinken, wie sie sich in seineo Oden, Epen llnd Prosastlicken FOCUSQIl LiuralurVol. 2, N o. 2 (1 995)