Abstract
Weckherlin’s ode Drunckenheit does not confine itself to indulgence in the anacreontic mode as an opposite pole to the exhausting everyday life of a diplomat who, from his English exile, tried to support the protestant cause in his native country shaken by war. Rather it is war that is manoeuvred into the poetic bacchanalia and by that the Opitzian reform of poetry, which is developed from the art of war. Thus it is not only the suppressed vernacular tradition of the 16th century that is being put forward against this reform, but the very heart of the latter, the reform of versification.
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