By John D. Baildam

This can be the 1st complete research of Herder's preoccupation with the music of Songs, Baildam considers the significance of this poetry in his considering, and examines his commentaries and translations of 1776 and 1778. regardless of Herder's claims on the contrary, his personal cultural place is printed in his translations, and in his certain interpretation of the paintings because the voice of natural, paradisal love. beginning with Herder's curiosity within the tune of Songs among 1765 and 1778, this booklet units his reflections within the wider context of his relativistic perspectives at the nature of poetry, modern German tradition, and the significance of primitive poetry generally and the poetry of the Bible particularly. Then Baildam appears at present literary severe theories with implications for Herder's translations of those 'Lieder der Liebe', and discusses Herder's theories of language and translation compared to German translation theories. Herder's examining of the music because the so much primitive, normal and stylish instance of Hebrew poetry is positioned within the context of previous and modern interpretations, his opinion of that's tested. within the final a part of the publication, there's an appraisal first of Herder's commentaries themselves, analysing how the main points mirror his total thought of the paintings, after which of his translations, evaluating them with one another, with the Lutheran textual content to which Herder eventually directed his readership, and with the Hebrew textual content. A concluding bankruptcy reports the reception of Herder's paintings, and 3 appendices provide a parallel presentation of Herder's translations of 1776 and 1778, Luther's translation of 1545, and Goethe's translation of 1775.

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Goethe followed Herder's view that the Song of Songs was a collection of songs rather than a single unit. Although he initially regarded the work as lyric poetry, he changed his view in 1820 after the appearance of Friedrich Wilhelm Carl Umbreit's translation and commentary (see Haupt, Biblische Liebeslieder, p. vi). 24. ') appears as a postscript to Lavater's letter to Herder in Aus Herders Nachlafi: Ungedruckte Briefe, II, Letter 47, p. 171. 25. ), Brief e an Hamann, p. 136. 50 Paradisal Love persuaded him to take up his work of 1772 again, leading to final publication in 1778.

Von und an Herder, I, p. 63. Herder undoubtedly had in mind the recension of his work in ADB XXXVII/2 (1779), pp. 478-83. However, while this was not exactly appreciative of Herder's Lieder der Liebe, it was not particularly scathing either. Moreover, the Gothaische gelehrte Zeitungen, 89. Stuck, 7 November 1778, pp. 729-31, ran a favourable review of Lieder der Liebe, quoting from VIII, pp. 529-30 and 535. (See Hans-Jiirgen Gaycken, Johann Gottfried Herder und seine zeitgenossischen Kritiker: Herderkritik in der Allgemeinen Deutschen Bibliothek [Europaische Hochschulschriften, Series I, 853; Frankfurt am Main: Peter Lang, 1985], pp.

38. 'The Theory of Translation in the Eighteenth Century', Neophilologus 6 (1921), pp. 241-50. 36 Paradisal Love of many translations, especially due to the susceptibility of Europe at the time to foreign influence, and the interest in Oriental literature was served through them. Translations bore witness to changes which had a fundamental influence on currents of feeling about life and art. In the second half of the eighteenth century the idea of a universal, timeless criterion of excellence gradually gave way to an awareness of and respect for the distinctions between civilizations produced by diverse locations in time and place.

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