Sturm und Drang

/shtoorddm' oont drddahng"/

1. a style or movement of German literature of the latter half of the 18th century: characterized chiefly by impetuosity of manner, exaltation of individual sensibility and intuitive perception, opposition to established forms of society and thought, and extreme nationalism.

2. tumult; turmoil; upheaval.

[ < G: lit., storm and stress]

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(German; "storm and stress")

German literary movement of the latter half of the 18th century characterized by a revolt against what the writers saw as the Enlightenment cult of rationalism and the sterile imitation of French literature.

It exalted nature, intuition, impulse, instinct, emotion, fancy, and inborn genius as the wellsprings of literature. Influenced by Jean-Jacques Rousseau, Johann Gottfried Herder, and others, it took its name from the title of a play by Friedrich von Klinger (1752–1831). Dramatic works were the movement's most characteristic product. Its most gifted representatives were Friedrich Schiller and Johann Wolfgang von Goethe, whose Sorrows of Young Werther (1774) epitomizes its spirit.

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▪ German literary movement

      (German: “Storm and Stress”), German literary movement of the late 18th century that exalted nature, feeling, and human individualism and sought to overthrow the Enlightenment cult of Rationalism. Goethe and Schiller began their careers as prominent members of the movement.

      The exponents of the Sturm und Drang were profoundly influenced by the thought of Rousseau and Johann Georg Hamann, who held that the basic verities of existence were to be apprehended through faith and the experience of the senses. The young writers also were influenced by the works of the English poet Edward Young, the pseudo-epic poetry of James Macpherson's “Ossian,” and the recently translated works of Shakespeare.

      Sturm und Drang was intimately associated with the young Goethe. While a student at Strasbourg, he made the acquaintance of Johann Gottfried von Herder (Herder, Johann Gottfried von), a former pupil of Hamann, who interested him in Gothic architecture, German folk songs, and Shakespeare. Inspired by Herder's ideas, Goethe embarked upon a period of extraordinary creativity. In 1773 he published a play based upon the 16th-century German knight, Götz von Berlichingen, and collaborated with Herder and others on the pamphlet “Von deutscher Art und Kunst,” which was a kind of manifesto for the Sturm und Drang. His novel Die Leiden des jungen Werthers (1774; The Sorrows of Young Werther), which epitomized the spirit of the movement, made him world famous and inspired a host of imitators.

      The dramatic literature of the Sturm und Drang was its most characteristic product. Indeed, the very name of the movement was borrowed from a play by Friedrich von Klinger, who had been inspired by the desire to present on the stage figures of Shakespearean grandeur, subordinating structural considerations to character and rejecting the conventions of French Neoclassicism, which had been imported by the critic Johann Christop von Gottsched. With the production of Die Räuber (1781; The Robbers) by Schiller, the drama of the Sturm und Drang entered a new phase.

      Self-discipline was not a tenet of the Sturm und Drang, and the movement soon exhausted itself. Its two most gifted representatives, Goethe and Schiller, went on to produce great works that formed the body and soul of German classical literature.

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