8 Germany and the Netherlands: Tragic Seneca in Scholarship and on Stage
All translations are mine. In the beginning, he is baroque, vainly baroque, and only after many years he may achieve […] modest and subtle complexity. It is in this sense that the Italian Jesuit Emanuel Tesauro reads the biblical passage in his handbook on rhetoric: If you listen to the one who says it [i. I want the inscription on the Cross to remain as I have written it.
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But if you read the autograph of the divine mind, it is a witty and ingenious conceit. For if you consider that the inscription on the Cross I. Peroche considerato che il Titolo della Croce I.
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Gehlen, , 63, my translation. Thus, Christian baroque universality presupposes betrayal, and even mere repetitions can have treacherous effects.
Figur des barocken Trauerspiels zwischen Gryphius und Kleist Paderborn: De Baudelaire a Benjamin Paris: If, however, the divine author can only affirm himself in this utterly ironic way, in which revelation and betrayal coincide, representation threatens to dissolve into ambiguity: It is in this sense that the universal theatre of salvation reappears in Borges as a Historia universal de la infamia.
Universal history of salvation One of the major political events of 17th century European history certainly was the execution of Charles Stuart I, King of England, in , who was condemned to death for high treason, because he waged war against the English parliament. Monarchists as well as anti-monarchists all over Europe sensed the enormity of the execution and tried to come to terms with it in a flood of pamphlets, essays, sermons and dramas. Representations of Charles I, ed.
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Cambridge UP, , — Niemeyer , Abb. And indeed, he was canonized as martyr and saint after the restoration of monarchy in Its universal law is the fall of the great who are crushed by their own power, but who can prove their greatness and holiness by maintaining spiritual constancy in their fall. Unlike Jesus, Charles was accused of high treason, and thus the more serious defenders of monarchy are hard-pressed to explain why a traitor can still be a Christ-figure.
I would like to discuss it here as a representative example of the baroque martyr-play and its way of dealing with the problem of betrayal. Eine Sammlung von Einzelinterpretationen Stuttgart: Das Gedicht wurde zur Zeit des Barocks geschrieben und ist in zwei Quartette und zwei Terzette eingeteilt.
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Das seit dem fruhen Mittelalter verbreitete und Carolin Catharina Wolf, Barock, 23 Quellen im Literaturverzeichnis, Sprache: Keine Epoche der europaischen La vita et 1a lirica di Andrea Gryphius. Instituto Superiore Navale, 5. I Agree This site uses cookies to deliver our services, improve performance, for analytics, and if not signed in for advertising.
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