By Walter Grunzweig
During this first finished learn in English of Walt Whitman's reception within the German-speaking international locations, Walter Gr?nzweig posits a really extensively dependent proposal of tradition, embodying a large choice of components equivalent to excessive literature, politics, adolescence routine, sexuality, and different subcultures.
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Extra info for Constructing German Walt Whitman (Iowa Whitman Series)
It is also reflected in his Whitman publications. Borrowing from Ludwig Feuerbach's philosophy of religion, he identifies Whitman with Christ in order to undermine the transcendent function of the Son of God. Triumphantly, Knortz states: "The central questions of religion hardly ever worried him [Whitman]" (KK, 39). "If, at times, he [Whitman] does use the name of 'God,' this refers only to his own moral feeling, with which he invested man and nature. 9 His defense of the Children of Adam and the Calamus poems must be seen in conjunction with this aim: "Natural modesty has been turned into a laudable virtue by the representatives of Christian religion, for whom the human body, referred to by Luther as a bag full of maggots, is the origin of all sins.
Long have they pass'd" in Whitman's poem does not mean that the whole scene is no longer a vivid psychological experience for the lyrical persona dreaming its night-marish dream. Freiligrath, though, by repeating "längst" (long ago) four times, poeticizes this passage. The affinity to the sentimental line "Lang, lang ist's her" (long, long ago) in a famous German folksong is obvious and almost completely removes the poem's sharp edges. Finally, the translation of Whitman's "callous composure," showing the strain on the human observer, with "schwieliger Ruh" (tranquillity, even peace) fits this overall picture very well.
He incorporates the enormous and confused intellectual efforts of the century and allows them to find their true direction. 22 Unlike Knortz, Rolleston did not view Leaves of Grass as a direct sociopolitical force. The acquaintance with Whitman's poetry (an "altogether serious business," TWR, 38) would nevertheless have personal consequences for the life of the reader: " . . the questions about our lives which will arise may be dangerous, whether they are answered or not . ). . (LG, 412) In contrast to Knortz, who wanted to do away with old (European) myths and who regarded Whitman as the poet of science, Rolleston wanted to overcome modern positivism with the aid of Whitman's poetry.
Constructing German Walt Whitman (Iowa Whitman Series) by Walter Grunzweig