In times of emigration, the strict lyrical form of the sonnet had a special position and meaning, above all for the emotionally agitated poets themselves, who identified a lot with their emotive texts. Especially among German authors of the inner emigration, the sonnet was considered the „Modeform des Widerstandes“ , as it was the dominating genre – and this is for several reasons, which are going to be examined in the course of this essay.
First of all, one highly interesting fact has to be mentioned: The sonnet could and can only be found conspicuously seldom in national socialist lyric anthologies because, having its roots in a roman tradition, the form was considered to be “artfremd” and “undeutsch” – and, hence, it was not appropriate to the taste of the German national socialist ‘Reichschrifttumskammer’. The common opinion of the time was that the sonnet was too ‘bright’ for the German nature, so that – on top of everything – this strict lyrical form was regarded as “Typikum der antifaschistischen Kräfte”.
This essay attempts at exemplarily outlining how and why the form of the sonnet was applied by poets in the time of the Second World War, especially by a number of German authors. What are the extraordinary features this lyrical form offered (and still offer) various artists in a time so full of emotions, of fear, despair, but also hope and anger? And how did poets make use of these features; how did they develop them?
These questions are to be illuminated by looking at a number of concrete examples of wartime poets, which will certainly display a colourful demonstration not only of different working methods and applications of the sonnet form, but also of divergent feelings and ways to handle a gruesome fate.
Table of Contents
I. INTRODUCTION
II. THE SONNET – AN EXTRAORDINARY FORM
III. SONNET POETS IN GERMANY
III.I Reinhold Schneider
III.II Rudolf Hagelstange
III.III Johannes R. Becher
III.IV Erich Fried
III.V Albrecht Haushofer
III.VI Jesse Thoor
III.VII Bertolt Brecht
IV. CONCLUSIVE SUMMARY
V. APPENDIX: EXAMPLE OF AN ENGLISH SONNET WRITER
VI. Bibliography
Objectives and Thematic Focus
This paper examines why the sonnet became a dominant and significant literary form for German authors, particularly those in inner emigration or exile, during the Second World War. It explores how this rigid poetic structure served as both an artistic refuge and a powerful tool for political expression, reflection, and resistance against the terror of the era.
- The historical and literary significance of the sonnet during WWII.
- The function of strict poetic forms as a means of "inner emigration" and resistance.
- Comparative analysis of how different poets utilized the sonnet to process wartime experiences.
- The evolution of the sonnet from a traditional form to a "lyric weapon."
- The role of the sonnet in preserving cultural heritage amidst destruction.
Excerpt from the Book
III.V Albrecht Haushofer
Analogical elements can be found in the poetry of Albrecht Haushofer (1903-1945), who also assumed the pseudonyms Jürgen Dax and Jörg Werdenfels and became famous for his collection Moabiter Sonette, which he wrote while he was arrested by the Gestapo. The poet himself did not outlive the publication of his emotional lyric bequest: Shortly before Berlin was delivered, he was murdered – and in the pocket of the coat Haushofer’s dead body was wearing, his brother found 80 sonnets: just those Moabiter Sonette; Albrecht Haushofer, who had been killed almost 3 weeks before, was still embracing them.
Since he had once cooperated with the Nazis, Haushofer knew very well about their fascist apparatus of power. In his sonnets, the German author tries to extensively reflect and enlighten the difficult question of debt, alluding frequently to life and work of well-known and influential personalities of history. His Moabiter Sonette were very popular among his contemporaries, since many of them are filled with the belief in a better Germany and with faith in the potential of resistance of the German culture.
Like his Austrian ‘colleague’ Fried, Haushofer sometimes uses the image of winter – but, in contradiction to Fried, he inspires this metaphor with the idea of hope. Accordingly, his sonnet no. 11 ends:
Doch ahnt ein Winter schon den Frühlingswind.
Summary of Chapters
I. INTRODUCTION: This chapter contextualizes the sonnet as a "Modeform des Widerstandes" and explains its status as an "artfremd" form within the National Socialist aesthetic.
II. THE SONNET – AN EXTRAORDINARY FORM: This section analyzes the paradox of the sonnet's strict, conservative structure and its immense flexibility, highlighting its utility for poets during wartime.
III. SONNET POETS IN GERMANY: This central chapter presents a cross-section of various poets—including Schneider, Hagelstange, Becher, Fried, Haushofer, Thoor, and Brecht—demonstrating their diverse applications of the sonnet.
IV. CONCLUSIVE SUMMARY: This final section synthesizes the findings, describing the sonnet's role as a "lyric weapon" and reflecting on its potential misuse or decay in the post-1945 era.
V. APPENDIX: EXAMPLE OF AN ENGLISH SONNET WRITER: This appendix briefly introduces the British poet Bernard Gutteridge to provide an international perspective on war poetry in the sonnet form.
VI. Bibliography: Lists the primary and secondary sources consulted for the research.
Keywords
Sonnet, World War II, Inner Emigration, Resistance Literature, Lyric Weapon, Reinhold Schneider, Rudolf Hagelstange, Johannes R. Becher, Albrecht Haushofer, Erich Fried, Bertolt Brecht, Jesse Thoor, Moabiter Sonette, Cultural Memory, Formalism.
Frequently Asked Questions
What is the primary focus of this research paper?
The paper investigates the reasons why German poets during the Second World War frequently chose the sonnet—a traditional and strict lyrical form—as their primary means of expression during a period of extreme political turmoil.
What central themes are explored in the text?
Central themes include the role of literature as a form of resistance, the function of rigid poetic structures in processing trauma, the concept of "inner emigration," and the tension between traditional form and political content.
What is the main objective of the author?
The objective is to illustrate through concrete examples how the sonnet evolved into a "lyric weapon" used by poets to combat fear, chaos, and the pressure to forget during wartime.
Which scientific method does the author employ?
The author uses a qualitative literary analysis, performing a "cross-section" study of selected poets and their works to illustrate the multiplicity and breadth of sonnet applications during the war.
What is covered in the main section of the paper?
The main section provides an analysis of seven specific poets—Reinhold Schneider, Rudolf Hagelstange, Johannes R. Becher, Erich Fried, Albrecht Haushofer, Jesse Thoor, and Bertolt Brecht—each demonstrating different approaches to the sonnet.
Which keywords best characterize this work?
Key terms include Sonnet, World War II, Resistance, Inner Emigration, Lyric Weapon, and Memory, reflecting the intersection of formal literary structure and historical struggle.
Why was the sonnet considered a form of "resistance" in Nazi Germany?
It was considered resistance because the Nazi regime often viewed the sonnet as "artfremd" (alien) and "undeutsch," making its use a defiant act of holding onto high culture and order amidst the perceived barbarity of the state.
What makes the case of Albrecht Haushofer particularly unique?
Haushofer is unique because he wrote his famous "Moabiter Sonette" while imprisoned by the Gestapo, and his death shortly before the war's end adds a tragic, poignant layer to the discovery of his poems in his clothing after he was murdered.
- Citation du texte
- Sabine Buchholz (Auteur), 2006, The sonnet in World War II, Munich, GRIN Verlag, https://www.grin.com/document/82633
