Das geistliche Lied des Pietismus in Deutschland und Dänemark: Zu den Übersetzungen und Originalliedern Hans Adolph Brorsons
The present article investigates pietist spiritual song in Germany and Denmark focussing on the Danish bishop, translator and author of hymns Hans Adolph Brorson (1694–1764). After a discussion of problems concerning the distinction between hymn and spiritual song als literary genres, hymns by Laure...
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| Format: | Electronic Article |
| Language: | German |
| Check availability: | HBZ Gateway |
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
Vandenhoeck & Ruprecht
1990
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| In: |
Jahrbuch für Liturgik und Hymnologie
Year: 1990, Volume: 33, Pages: 168-182 |
| Online Access: |
Volltext (lizenzpflichtig) |
| Summary: | The present article investigates pietist spiritual song in Germany and Denmark focussing on the Danish bishop, translator and author of hymns Hans Adolph Brorson (1694–1764). After a discussion of problems concerning the distinction between hymn and spiritual song als literary genres, hymns by Laurentius Laurenti, Christian Friedrich Richter and others are examined. It is concluded that the pietist spiritual song in Germany is based on the whole spectrum of baroque hymnody. The hymns by Johann Rist, Paul Gerhardt and Johann Scheffler are of special importance, but also the hymns from earlier periods are found to have a profound bearing on emotionality and style in pietist hymnody. It emerges that the peculiarity of the pietist spiritual song does not consist in its religious emotionality but is connected to the revivalist stressing of eschatological perspective, missonary tendency and psychological depth. Abouth two thirds of the hymns in Brorson's famous hymnbook Troens rare Klenodie (The Rare Treasure of Faith, 1739) consists of translations from German, and in that connection the authors mentioned above play an important role. Brorson's translations, as well as his own hymns, are characterized by a combination of the concrete and realistic style of Danish hymnody with the spirituality of the German hymn tradition. He develops an openness towards the extrasensory aspects of religious experience, which takes the form of sensualistic and organic metaphors. In the posthumous Svane-Sang (Swansong, 1765) the problems concerning Brorson's relation to the activities in Denmark of the Moravian Brethren form the background for an intensified love of Christ and a visionary longing for heaven. |
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| ISSN: | 2197-3466 |
| Contains: | Enthalten in: Jahrbuch für Liturgik und Hymnologie
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