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Ovid and Homer in ‘German Rhymes’ (Ovid und Homer in ‘teutschen Reymen’)
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This contribution examines the relationship between vernacular translations of the sixteenth century and the history of the epic poetry genre in the seventeenth. To this end, it systematically analyses the Early Modern High German translations of Ovid’s Metamorphoses and Homer’s Iliad and Odyssey and identifies the various reasons why translators decided in favour of prose or verse. Of all the protagonists of the German reception of antiquity – including such figures as Jörg Wickram, Simon Schaidenreisser, and Johannes Baptista Rexius – it is the Meistersinger Johannes Spreng of Augsburg who most consistently chose rhyme for his translations of the classical epics into German.
Title: Ovid and Homer in ‘German Rhymes’ (Ovid und Homer in ‘teutschen Reymen’)
Description:
This contribution examines the relationship between vernacular translations of the sixteenth century and the history of the epic poetry genre in the seventeenth.
To this end, it systematically analyses the Early Modern High German translations of Ovid’s Metamorphoses and Homer’s Iliad and Odyssey and identifies the various reasons why translators decided in favour of prose or verse.
Of all the protagonists of the German reception of antiquity – including such figures as Jörg Wickram, Simon Schaidenreisser, and Johannes Baptista Rexius – it is the Meistersinger Johannes Spreng of Augsburg who most consistently chose rhyme for his translations of the classical epics into German.
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Escrito en el lienzo: Ovidio y el Billete de Amor en <em>La Enferma de Amor</em> de Jan Steen, pintor holandés del Siglo de Oro = Written on the Canvas: Ovid and the Billet-Doux in <em>The Lovesick Maiden</em> by Jan Steen, Golden
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