LEADER 03762oam 22005174a 450 001 9910524848903321 005 20230621140508.0 010 $a0-8018-1049-3 010 $a1-4214-3497-0 035 $a(CKB)4100000010460913 035 $a(OCoLC)1125189894 035 $a(MdBmJHUP)muse78488 035 $a(oapen)https://directory.doabooks.org/handle/20.500.12854/88943 035 $a(MiAaPQ)EBC29139084 035 $a(Au-PeEL)EBL29139084 035 $a(oapen)doab88943 035 $a(OCoLC)1526860485 035 $a(EXLCZ)994100000010460913 100 $a20700515d1970 uy 0 101 0 $aeng 135 $aur|||||||nn|n 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 14$aThe Drama of Language$eEssays on Goethe and Kleist 205 $a1st ed. 210 $cJohns Hopkins University Press$d2019 210 1$aBaltimore,$cJohns Hopkins Press$d[1970] 210 4$dİ[1970] 215 $a1 online resource (viii, 175 p.) 311 08$a1-4214-3498-9 311 08$a1-4214-3499-7 327 $aCover -- Copyright -- Contents -- Foreword -- Introduction: Of Order, Abstraction, and Language -- 1. Language as Form in Goethe's Prometheus and Pandora -- 2. "The voice of truth and of humanity": Goethe's Iphigenie -- 3. The Consistency of Goethe's Tasso -- 4. Die natürliche Tochter: Goethe's Iphigenie in Aulis? -- 5. Egmont and Prinz Friedrich von Homburg: Expostulation and Reply -- 6. Heinrich von Kleist: The Poet as Prussian -- 7. Kleist's Hermannsschlacht: The Lock and the Key -- Notes -- Index. 330 $aOriginally published in 1970. For Sigurd Burckhardt, literary interpretation began with the discovery of an "inconsistency" in a text. Minimizing the possibility that the writer has "unconsciously" fallen into an inconsistency in the use of material, the true interpreter, Burckhardt believes, abandons a tendency to "correct" the writer and seeks instead a new formulation by which the inconsistency can be seen as a part of a work's essential unity. "Whether I search for the meaning of a word or for the meaning of my life," he wrote, "I am looking for something under which I can subsume the otherwise unrelated and meaningless particular so as to place it in a larger order." That method, so characteristic of Burckhardt's criticism, underlies his studies of Goethe and Kleist and unifies the essays of this volume. Prior to his death in December 1966, Professor Burckhardt had considered the possibility of collecting his writings on Goethe and Kleist. One essay had never been published; others had appeared only in German or were available in scattered sources. The preparation of the essays for publication, a service of professors Bernhard Blume and Roy Harvey Pearce, makes possible this impressive demonstration of their late colleague's interest in German literature. The seven critical studies are introduced by an essay that makes explicit the concern for language implicit throughout the volume. Burckhardt proceeds by close adherence to the text and by analysis of its writer's use of language and structure. He interprets Goethe's Prometheus, Pandora, Iphigenie, Tasso, Die natürliche Tochter, and Egmont and Kleist's Prinz Friedrich von Homburg and Die Hermannsschlacht. 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