Summary

Various Encyclopaedia Britannica, 11th Edition…

It is a peculiarity of German literature that in those ages when, owing to its own poverty and impotence, it was reduced to borrowing its ideas and its poetic forms from other lands, it sank to the most servile imitation; while the first sign of returning health has invariably been the repudiation of foreign influence and the assertion of the right of genius to untrammelled expression. Thus Germany’s periods of literary efflorescence rarely coincide with those of other nations, and great European movements, like the Renaissance, passed over her without producing a single great poet.
Source: Gutenberg

Various Encyclopaedia Britannica, 11th Edition…

Logau’s three thousand epigrams (Deutsche Sinngedichte, 1654) afford a key to the intellectual temper of the 17th century; they are the epitome of their age. Here are to be seen reflected the vices of the time, its aping of French customs and its contempt for what was national and German; Logau held up to ridicule the vain bloodshed of the war in the interest of Christianity, and, although he praised Opitz, he was far from prostrating himself at the dictator’s feet. Logau is an epigrammatist of the first rank, and perhaps the most remarkable product of the Renaissance movement in Germany.
Source: Gutenberg

Various Encyclopaedia Britannica, 11th Edition…

Fine Arts.—Perhaps the chief advantage which Germany has derived from the survival of separate territorial sovereignties within the empire has been the decentralization of culture. Patronage of art is among the cherished traditions of the German princes; and even where—as for instance at Cassel—there is no longer a court, the artistic impetus given by the former sovereigns has survived their fall. The result has been that there is in Germany no such concentration of the institutions for the encouragement and study of the fine arts as there is in France or England.
Source: Gutenberg

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