Peter Szondis pathbreaking work is a succinct and elegant argument for distinguishing between a philosophy of the tragic and the poetics of tragedy espoused by Aristotle. The first of the books two parts consists of a series of commentaries on philosophical and aesthetic texts from twelve thinkers and poets between 1795 and 1915: Schelling, Holderlin, Hegel, Solger, Goethe, Schopenhauer, Vischer, Kierkegaard, Hebbel, Nietzsche, Simmel, and Scheler. The various definitions of tragedy are read not so much in terms of their specific philosophies, but rather in the way their views assist in analyzing tragedies with an aim to establish a general concept of the tragic.
The second part presents exemplary analyses of eight tragedies: Sophocles'"Oedipus Rex," Calderons "Life Is a Dream," Shakespeares "Othello," Gryphius "Leo Armenius," Racines "Phaedra," Schillers "Demetrius," Kleist's "The Schroffenstein Family" and Buchner's "Danton's Death." The readings neither presuppose a concept of the tragic determined by context (as in Hegel's idea of the conflict between two orders of right), nor do they focus exclusively on the texts explicit contents. Instead, they elaborate the dialectical or aporetic structures at the heart of the tragic. The works analyzed represent the four great epochs of tragic poetry: the age of Greek tragedy; the Baroque era in Spain, England, and Germany; French Classicism; and the age of Goethe.

Peter Szondi is widely regarded as being among the most distinguished post-war literary critics. This first English edition of one of his most lucid and interesting series of lectures, translated by Martha Woodmansee and with a foreword by Joel Weinsheimer, opens up his work in hermeneutics for English-speaking readers. The question of what is involved in understanding a text occupied Biblical and legal scholars long before it became a concern of literary critics. Peter Szondi here traces the development of hermeneutics through examination of the work of 18th-century German scholars. Ordinarily treated only as prefigurations of Schleiermacher, the work of Enlightenment theorists Johann Martin Chladenius, George Friedrich Meier and Friedrich Ast yields valuable unsight into the material theory of interpretation, on which a practical interpretive metholody might be built.

Peter Szondi's "Celan Studies" marked the beginning of critical work on Paul Celan, the most important German poet of the second half of the twentieth century.
The book's three studies each concentrate on a different Celan poem. "The Poetry of Constancy: Paul Celan's Translation of Shakespeare's Sonnet 105" investigates a historical turn from a poetry that claims to present its object to a poetry that only promises to do so. "Reading 'Engfuhrung'" follows the movement of poetic language into territory undisclosed to epistemic reason. "Eden" addresses "Du liegst," a poem on the murder of Rosa Luxemburg and Karl Liebknecht; Szondi actually was with Celan when the poem was written. It analyzes the relation between the historical facts to which a poem refers and its composition.
The book contains, as appendixes, Szondi's notes for three more projected studies of Celan poems, left unwritten at the time of his death in 1971.

Peter Szondi is widely regarded as being among the most distinguished post-war literary critics. This first English edition of one of his most lucid and interesting series of lectures, translated by Martha Woodmansee and with a foreword by Joel Weinsheimer, opens up his work in hermeneutics for English-speaking readers. The question of what is involved in understanding a text occupied Biblical and legal scholars long before it became a concern of literary critics. Peter Szondi here traces the development of hermeneutics through examination of the work of 18th-century German scholars. Ordinarily treated only as prefigurations of Schleiermacher, the work of Enlightenment theorists Johann Martin Chladenius, George Friedrich Meier and Friedrich Ast yields valuable unsight into the material theory of interpretation, on which a practical interpretive metholody might be built.

Peter Szondi's "Celan Studies" marked the beginning of critical work on Paul Celan, the most important German poet of the second half of the twentieth century.
The book's three studies each concentrate on a different Celan poem. "The Poetry of Constancy: Paul Celan's Translation of Shakespeare's Sonnet 105" investigates a historical turn from a poetry that claims to present its object to a poetry that only promises to do so. "Reading 'Engfuhrung'" follows the movement of poetic language into territory undisclosed to epistemic reason. "Eden" addresses "Du liegst," a poem on the murder of Rosa Luxemburg and Karl Liebknecht; Szondi actually was with Celan when the poem was written. It analyzes the relation between the historical facts to which a poem refers and its composition.
The book contains, as appendixes, Szondi's notes for three more projected studies of Celan poems, left unwritten at the time of his death in 1971.

Peter Szondis pathbreaking work is a succinct and elegant argument for distinguishing between a philosophy of the tragic and the poetics of tragedy espoused by Aristotle. The first of the books two parts consists of a series of commentaries on philosophical and aesthetic texts from twelve thinkers and poets between 1795 and 1915: Schelling, Holderlin, Hegel, Solger, Goethe, Schopenhauer, Vischer, Kierkegaard, Hebbel, Nietzsche, Simmel, and Scheler. The various definitions of tragedy are read not so much in terms of their specific philosophies, but rather in the way their views assist in analyzing tragedies with an aim to establish a general concept of the tragic.
The second part presents exemplary analyses of eight tragedies: Sophocles'"Oedipus Rex," Calderons "Life Is a Dream," Shakespeares "Othello," Gryphius "Leo Armenius," Racines "Phaedra," Schillers "Demetrius," Kleist's "The Schroffenstein Family" and Buchner's "Danton's Death." The readings neither presuppose a concept of the tragic determined by context (as in Hegel's idea of the conflict between two orders of right), nor do they focus exclusively on the texts explicit contents. Instead, they elaborate the dialectical or aporetic structures at the heart of the tragic. The works analyzed represent the four great epochs of tragic poetry: the age of Greek tragedy; the Baroque era in Spain, England, and Germany; French Classicism; and the age of Goethe.