Die deutsche Barockliteratur im literarischen Kanon

Abstract

Although ›baroque‹ in the meaning of ›bombastic mannerism‹ seems to exclude canonization, a few baroque authors and texts have, by taking manifold historical hurdles and proving original and exemplary, passed into the canon of German literary history, mainly some poetry and the novel Simplicissimus. Even if the 17th century was hardly ever discussed in debates on canon, it turned out that only multiple fulfilment of the most common criteria could grant a survival. This applies in a strict sense merely to Gryphius and Grimmelshausen, who constitute a minimal canon, which is confirmed by statistics on syllabi and recommended readings, and even more so with regard to German studies abroad. The canonical selection is effectively fixed by editions and proportions within works of literary criticism. Reappearing reading lists show that canon is text, that it is based on or formulated as a catalogue, in critical or fictional mode. For literature as a textual system tends to form a canon already by itself, not only on behalf of external necessities. The small actual baroque canon should be secured in order to make its empty places profitable for university studies.