Abstract
Abstract This article focuses on Opitz’s well-known song “Ach Liebste/ laß vns eilen” and its intercultural contexts. While so far mainly ancient texts (Horace/ carpe-diem motif) as well as sonnets and odes of Ronsard have been analyzed as models and intertextual references, the author here examines the Air de Cour “Ma belle je vous prie” by the French composer Gabriel Bataille as a model. The analysis shows that Opitz, although clearly oriented on the French Air, makes decisive translational changes: Opitz translates the courtly semantics of time of the Air into a typically Protestant-bourgeois vocabulary reflecting temporal acceleration and economization.
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