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The Awareness of Time and Eternity in the German Lyrics of Andreas

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The Awareness of Time and Eternity in the German Lyrics of Andreas THE AWARENESS 01 TIME AND ETEINITY IT THE GERMkN LYRICS OF ANDREAS CRYPHIUS by Edith Katherine Evenhuis B.A. Honours, submittea in fulfilment of the requirements for the degree of Doctor of Philosophy, University of Tasmania, NovPmber 1975. T MKS ^ Record Copy STATEMENT I, the undersigned, herewith declare that the following thesis contains no material which has been accepted for the award of any other degree or diploma in any university, and that, to the best of my knowledge and belief, the thesis contains no copy or paraphrase of material previously published or written by another person, except when due reference is made in the text of the thesis. PC• v. 44111444- 5 TABLE OF COT:TENTS: INTRODUCTION. Page 1. CHAPTER I. The life and Background of Andreas Gryphius. Page 3. CHAPTER II. The Awareness of Time and Eternity in Gryphius' Works. Page 15. CHAPTER III. The Awareness of Transience. Page 29. CHAPTER IV. The Awareness of Human Transience. Page CHAPTER V. The Transience of Human Values. Page 14. CHAPTER VI. The Concept of Human Life. Page 1;9. CHAPTER VII. The Uonquest of Time. Page 167. CHAPTER VIII. The Awareness of Time and Eternity as refle:tted in Structure and Imagery. Page 1814.. CHAPTER IX. The Awareness of Time and Eternity reflected In Gryph's Uf3e of Allegory and Emblem. Page 229. CONCLUSION. Page 24..S. Selective Bibliography in Alphabetical Order. Page 2!!.9. Bibliography of Primarv Sources. Page 260„ THE AWARENESS OF TIME AND ETERNITY IN THE GERMAN LYRICS OF ANDREAS GRYPHIUS Abstract of Thesis submitted by Edith Katherine Evenhuis B.A. Honours for the degree of Doctor of Philosophy, University of Tasmania, November 1975. The intention of this thesis has been to demonstrate the centrality of Gryphius' awareness of time and eternity in his German lyrics. By way of introduction, we have looked briefly at the poet's life and background, as well as at the concept of poetry prevalent in his era. In the main body of the thesis we have then proceeded to discuss.the,:, poet's awareness of time and eternity as revealed, firstly., in the theme and subject matter of his German lyrics, secondly, in structure and imagery. Wherever relevant, reference has been made to his drama and funeral t.;. dissertations. Having attempted to define the concepts of time and eternity - as far as possible in terms of Gryphius' own statements - we have then dealt With'the poet's predominant themes: transience of universe, world-system, man and his values, human life, the use and conquest of time - always within the wider context of the awareness of time and eternity. From the above analysis we have arrived at the following conclusions: • far from being torn apart by the dichotomy between time and eternity, Gryphius' whole creative personality is orientated towards the ultimate integration of the two. This is not to deny, in any way, his profound sense of the transience and futility of the things of time in themselves. But here his awareness does (i ) not end. While refusing to ascribe any eternal or eternalising qualities to anything born of, or created in, time, he is swift to recognise that the temporal may well serve as a pointer to the eternal. He also believes in the potential of every individual to conquer time, not by any of the temporal means, whose spuriousness he decries, but by availing himself of the ultimate conquest of time accomplished by Christ. It is still within this essentially Christian framework that we have viewed Gryphius' use of structure and imagery. In examining his exploitation of the sonnet form, we have pointed to a definite correspondence between structure and the view of life presented, it being virtually impossible, in Gryphius' serious sonnets, to speak of intricacy of form for its own sake. Similarly, in the domain of imagery, we have detected a clear purpose behind his incorporation of even the most conventional metaphors and similes. We have shown that Gryphius' frequent use of allegory and emblem is highly symptomatic of his assessment of time in the light of eternity: it is not just that merely incidental or accidental phenomena from the material realm may assume universal and spiritual significance, but rather that, according to Gryphius' conviction, the temporal assumes value, significance and durability only as it is brought into focus with the eternal. In our final conclusion we have noted that, for Gryphius, the only unit of time to which man may lay any claim is the moment. Depending on the individual's attitude towards it, it is either an elusive, moving point in the inexorable course of time or the very point at which eternity offers itself to us. INTROTTCTION.' The subject of this thesis is the awareness of time and eternity in the German lyrics of Andreas Gryphius, reference being made, wherever relevant, to his dramatic and prose writings, in particular the 7uneral Dissertations. It is not, however, our intention to deal with his Latin works. By way of introduction to the main body of the thesis, we have included a short biographical chapter in which we have attempted to draw attention to thoee facets of the Poet's life, background and experience that appear to have a bear- ing on his poetry. Thus we have emphasised Gtyphius' immense learning, his , scientific curiosity and above all, his acute sense of vocation as a Chrisian in secular life - all o-)7 which attributes are reflected in his literary works. In passing, we have cianced at the general concept of the poet's role in Gryphius' era,. noting, once again, the importance attached to the notion of social resnonsibility.. It is this aspect that we .stress before commencing the .discussion of our central topic. Translated into the specific terms of this thesis: we have expressed Gryphius'. poetic vocation as the r.easlily accepted respOnsibility of opening men's eyes to their condition, of freeinp: them from their enslavement to time and of pointing them towards eternity. The thesis proper is die.i(4..ed into two main sections. In the first section, the poet's awareness of time and eternity in its relationship to the predominsmt themes of his works is discussed. The second section is concerned with the wey in which Glyphius makes use of structure and imagery to give shape to his bosie 2 dualistic awareness, attention being focussed on the significance of his exploit- ation and manipulation of the sonnet-structure, as well as on his use of allegory and emblem. This present work does not purport to be a synthetic analysis of critical texts on gryphius. Our intention throughout is to discuss gryphius' Weltanschauung, as far as possible, in terms of his own statements. Invariably, our point of den,lrt- ure has been his lyrics, whose ideological, content we have then attempted to elucid- ate and expand by reference to his own dramas and funeral dissertations, rather than to secondary literature. However, this does not mean that we disavow our inlebte- ness to the authors listed in the selective bibliography. Nevertheless, at this stage we mu -it emphasise that, being far from expert on the subject of theology, ,se have tended to disregard those works which have a purely theologieal approach. On the other hand, given the undeniably Christian orientation of Or7phius' writings, we have preferred not to take up cudgels with critics who attempt to 5.mpose an a(nes!,ic or atheistic perspective on his works. Our primary soirees throughout have been the gesamtausgabe der deutsehsl .)Imehl- en 7rerke Bd. feVII, referred to in our thesis as c.a., Marian Szye'oeki and Hugh Pow- ell, Max T'Tiemeyer Verlk;, MsiwTen, 1963 (we have chosen this edition, in prefereeicc to others, for the sake of convenience and relative completeness, in spite of some doubtful readings) and the Original edition of the Dissertationes FUnebres, abbrev- iated Dise. Fun., Edition. Treschern, Leipzig, 1667•. 3 CRAFTER T. THE LIFE AND BACKGROTIND OF ANDREAS GRYPHrTS. Andreas Gryphius was born in Glogau, Silesia, nn the 2nd. of October 1616, two years before the outbreak of the Thirty Years' War. An orphan by the time he was twelve - his father, an archidiakonus in the Lutheran church, died in 1620 and his mother in 1628 - his childhood and early youth were difficult and un- settled and dogged by a long series of illnesses and mishaps. There is, moreover, some indication that his relationship with his stepfather, Michael Eder, in whose care his mother's death left him, was not particularly cordial. Owing to the state of war in his homeland, his education waa continually in- terrupted, as, for instance, in 1628, when Glogau was occupied br• the Lichtenatein Dragoons and Gryphius was forced to take refuge in Driebitz, with his stepfather who was the Lutheran paeter there. During the next two years Gryphius studded o. at home, under Eder's tutelage. Early in 1631, after a fruitless attempt to find lodgings in 01.1itz, where he had hoped to attend. the Gymnasium, he witnessed the razing of Glogau by fire. Eventually his stepfather found him a place in a school at Fraustalt, and hers, thanks to his conside2ab1e scholastic abilities, he was able to help himself oat financially by tutoring the sons of well-to-do families. In May 163/I:, he set sail for the prosperous merchant-city oC Danzig, exper- iencing a close encounter with death when his ship ran :!oato a violent storm. In Danzig, then part of tha kingdom of Poland and endowed with special rights and privileges, Le found himself, for the first time, in a material and intellectual climate conducive to the development of the arts and the pursuit of learning.
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