Abstract
This essay examines Hagedorn's early satires and his Rococo songs in order to tease out the enormous shifts in poetic content and in the role of poetic form that occurred in the first half of the eighteenth century. Hagedorn's endeavors are linked to Baumgarten's early investigations into sensate cognition. I argue that both writers discover an indispensable epistemological function of the lyric that relies on poetry's specific mediality to generate, observe, and evaluate cognitive processes in the encounter of self and world.
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