Friedrich Gottlieb Klopstock

Contents

1. Overview
2. Etymology
3. Cultural Impact

Friedrich Gottlieb Klopstock (1724–1803)

“Klopstock” redirects here. For the surname, see Klopstock (surname) . For the asteroid, see 9344 Klopstock .

Friedrich Gottlieb Klopstock

Klopstock by Johann Caspar Füssli (1750) Born (1724-07-02)2 July 1724

Quedlinburg , Holy Roman Empire Died 14 March 1803(1803-03-14) (aged 78)

Hamburg , Holy Roman Empire Language German Genre

• Poetry

Literary movement •

• Neoclassicism • Sentimentalism [ citation needed ]

Spouse Meta Moller Johanna Elisabeth von Winthem

Friedrich Gottlieb Klopstock (German: [ˈklɔpʃtɔk]; 2 July 1724 – 14 March 1803) was a German poet whose work, particularly his epic poem Der Messias (“The Messiah”) and the poem Die Auferstehung (“The Resurrection”), left an indelible mark on German literature . The latter, in fact, was famously set to music as the finale of Gustav Mahler ’s monumental Symphony No. 2 . Klopstock’s significant contribution was to liberate German poetry from the pervasive influence of French literary models, opening it up to new avenues of exploration and expression. He was a pivotal figure in the transition from Neoclassicism to the burgeoning sensibilities of Sentimentalism .

Biography

Early life

Klopstock’s birthplace in Quedlinburg

Klopstock’s journey began on 2 July 1724, in the historic town of Quedlinburg , where he was born the eldest son of a lawyer. His formative years were divided between his birthplace and the estate of Friedeburg , a property his father had leased on the banks of the Saale river. This period was characterized by a happy childhood, where his physical development was prioritized, fostering a strong, healthy constitution and a notable skill in horsemanship.

At the age of thirteen, Klopstock returned to Quedlinburg to attend the local gymnasium . His academic pursuits continued in 1739 when he enrolled in the esteemed classical school of Schulpforta . It was here that his talent for versification, particularly in Greek and Latin , began to flourish. While he also produced commendable idylls and odes in German during this time, his initial ambition to pen an epic poem centered on Henry the Fowler was eventually set aside. This shift was influenced by his encounter with John Milton ’s Paradise Lost , which he experienced through Johann Jakob Bodmer ’s translation.

Even as a student, Klopstock had already conceived the ambitious plan for Der Messias, the work that would largely define his enduring fame. On 21 September 1745, upon concluding his studies, he delivered a compelling “departing oration” on epic poetry —Abschiedsrede über die epische Poesie, kultur- und literargeschichtlich erläutert—before proceeding to Jena to study theology . It was during his time in Jena that he drafted the initial three cantos of Der Messias in prose. Dissatisfied with the academic atmosphere at Jena, Klopstock transferred in the spring of 1746 to Leipzig . There, he became associated with a vibrant circle of young literary figures who contributed to the influential periodical Bremer Beiträge . It was within the pages of this publication that the first three cantos of Der Messias were anonymously published in 1748, presented in hexameter verse.

Denmark and Germany

Portrait of Friedrich Gottlieb Klopstock circa 1779 by Jens Juel

The publication of these cantos marked the dawn of a new era in German literature, and the identity of the author was soon widely recognized. In Leipzig, Klopstock also composed a number of significant odes, the most renowned among them being An meine Freunde (1747), which he later revised into Wingolf (1767). He departed from university studies in 1748 and took up a position as a private tutor within the family of a relative in Langensalza . This period was marked by personal turmoil due to an unrequited love for a cousin, a sentiment that deeply affected his emotional state and is often referred to as his “Fanny” in his odes.

Seeking solace, Klopstock eagerly accepted an invitation in 1750 from Johann Jakob Bodmer , the very translator of Paradise Lost , to visit him in Zürich . Initially, Klopstock was met with considerable kindness and respect, which helped to restore his spirits. However, Bodmer’s expectations were not entirely met; he discovered that the poet behind the deeply spiritual Messias possessed a strong engagement with worldly matters, leading to a subtle cooling of their relationship.

It was at this critical juncture that Klopstock received a significant offer from Frederick V of Denmark . Recommended by his influential minister Count von Bernstorff (1712–1772), the Danish monarch invited Klopstock to reside in Copenhagen with an annual stipend of 400 thalers , with the expectation that he would complete his epic Der Messias there. Klopstock accepted this generous proposal.

While en route to the Danish capital, Klopstock passed through Hamburg , where he encountered Margareta, known affectionately as Meta Moller and later as “Cidli” in his odes. They were married in 1754. Meta was the daughter of a Hamburg merchant and a fervent admirer of Klopstock’s poetry. Their shared happiness was tragically short-lived, as she succumbed to complications from childbirth in 1758, leaving Klopstock utterly devastated. His profound grief is poignantly captured in the fifteenth canto of Der Messias.

Following his wife’s death, Klopstock published her collected writings, Hinterlassene Werke von Margareta Klopstock (1759). These works reveal a spirit of remarkable tenderness, sensitivity, and deep religious conviction. Elizabeth Smith later produced an English translation of memoirs concerning Frederick and Margaret Klopstock in London in 1808. Additionally, Klopstock’s correspondence with the English novelist Samuel Richardson was published in 1818, offering further insight into their relationship.

Depression and Messias

Klopstock’s personal life continued to be shadowed by melancholy. The loss of his wife plunged him into a period of deep depression, stifling his creative inspiration and leading his poetry to become more introspective. Despite these personal struggles, he remained in Copenhagen, continuing his work. Influenced by Heinrich Wilhelm von Gerstenberg , Klopstock began to turn his attention towards Norse mythology . He believed that these ancient myths held the key to revitalizing German poetry, offering a distinct alternative to classical themes.

In 1770, a political shift occurred in Denmark when King Christian VII dismissed Count Bernstorff. Klopstock, however, remained loyal to Bernstorff and retired with him to Hamburg , importantly retaining his Danish pension and the honorary title of councillor of legation.

The year 1773 saw the publication of the final five cantos of Der Messias. The following year, Klopstock outlined his vision for the reform of German letters in Die Gelehrtenrepublik (1774), a treatise that proposed a “Republic of Scholars.” In 1775, he embarked on a journey southward. During this travels, he encountered Johann Wolfgang von Goethe and spent a year at the court of the Margrave of Baden in Karlsruhe . In 1776, he returned to Hamburg, now holding the title of Hofrath and receiving a pension from the Margrave in addition to his continuing stipend from the Danish king. He would reside in Hamburg for the remainder of his life.

Last years

Klopstock’s final years were spent in the quiet retirement he had always preferred, punctuated only by occasional gatherings with his closest friends. His primary occupation was philology and linguistic studies, and he showed little active interest in the evolving landscape of contemporary German literature. However, he expressed fervent support for the American War of Independence and the ideals of the French Revolution . He was even honored with a diploma of honorary citizenship by the French Republic . Yet, deeply disturbed by the violent excesses that the Revolution had unleashed in the name of liberty, he ultimately returned the diploma.

At the age of 67, Klopstock entered into a second marriage with Johanna Elisabeth von Winthem, a widow and the niece of his late wife. She had been a close confidante for many years. Klopstock died in Hamburg on 14 March 1803, and his passing was mourned across Germany. He was interred with significant ceremony in the churchyard of the village of Ottensen , laid to rest beside his first wife.

Works

Der Tod Adams. Hermanns Schlacht (1823)

Der Messias

Painting of Klopstock by Maria Elisabeth Vogel

The genesis of Der Messias lies in Klopstock’s early aspirations to excel as an epic poet. The central theme of the work is Redemption , explored through an epic lens. In his endeavor to align his narrative with the theological tenets of the Church, Klopstock drew heavily upon established Christian literary traditions.

John Milton ’s Paradise Lost served as a significant model for Klopstock’s epic. The poem consumed twenty-five years of his creative life. Upon its initial release, Der Messias ignited widespread public enthusiasm and was subsequently translated into seventeen languages, inspiring numerous imitations.

Odes and dramas

Klopstock found a more expansive canvas for his distinctive lyrical talent in his odes. [3] These poems often drew inspiration from Norse mythology or delved into profound religious themes. Among his most celebrated and widely translated odes are An Fanny, Der Zürchersee, Die tote Klarissa, An Cidli, Die beiden Musen, Der Rheinwein, and Die frühen Gräber. His religious odes frequently took the form of hymns , with Die Frühlingsfeier being considered one of his most exquisite compositions.

His dramatic works also represent a significant facet of his oeuvre. In plays such as Hermanns Schlacht (1769) and Hermann und die Fürsten (1784), Klopstock paid homage to the legendary deeds of the ancient Germanic hero Arminius . Other dramatic works, including Der Tod Adams (1757) and Salomo (1764), drew their narratives from the Old Testament . The composer Sigrid Henriette Wienecke drew upon Klopstock’s texts for her musical drama Fader Vor. Klopstock immortalized his memorable visit to the Swiss Au peninsula in the 1750s through his evocative Ode an den Zürichsee (“Ode to Lake Zurich ”).

It is widely acknowledged that Klopstock’s hymn “Die Auferstehung” provided Gustav Mahler with the inspiration for the climactic final movement of his Second Symphony . Mahler incorporated Klopstock’s hymn, augmenting it with his own verses to achieve a personal resolution within the symphony, notably during the funeral of Hans von Bülow in 1894.

Among his published odes and hymns is Der am Kreuz ist meine Liebe, a piece that, in a shortened and revised form, is now included in the 2013 Catholic hymnal, Gotteslob .

Prose

Beyond Die Gelehrtenrepublik, Klopstock authored Fragmente über Sprache und Dichtkunst (1779) and Grammatische Gespräche (1794). These works offered substantial contributions to the fields of philology and the study of German poetry’s history.

Correspondence

In keeping with the customs of his era, Klopstock maintained an extensive correspondence with his contemporaries, friends, and fellow writers. These letters have been compiled and published in various collections. Notable among these are:

• K. Schmidt, Klopstock und seine Freunde (1810); this collection forms the basis for Klopstock and his friends, a series of familiar letters spanning the years 1750 to 1803, translated and introduced by Elizabeth Benger (London, 1814).

• Christian August Heinrich Clodius [de], Klopstocks Nachlass (1821).

• Johann Martin Lappenberg , Briefe von und an Klopstock (1867).

Editions

Klopstock’s collected works, Klopstock’s Werke, were first published in seven quarto volumes between 1798 and 1809. Concurrently, a more comprehensive twelve-volume octavo edition was released (1798–1817), with an additional six volumes added in 1830. Subsequent nineteenth-century editions appeared in 1844–1845, 1854–1855, and were notably edited by R. Boxberger in 1879 and R. Hamel in 1884. A selection edited by F. Muncker was published in 1893. A critical edition of the Odes, prepared by Franz Muncker and J. Pawel, was published in 1889, accompanied by a commentary by Johann Heinrich Joseph Düntzer (1860, with a second edition in 1878).

Goethe’s description

In his autobiography, Dichtung und Wahrheit , Johann Wolfgang von Goethe shared his personal impressions of Klopstock: “He was of small stature, but well built. His manners were grave and decorous, but free from pedantry. His address was intelligent and pleasing. On the whole, one might have taken him for a diplomatist. He carried himself with the self-conscious dignity of a person who has a great moral mission to fulfil. He conversed with facility on various subjects, but rather avoided speaking of poetry and literary matters.”

Legacy

Klopstock’s profound impact on German literature is undeniable. His deliberate expansion of poetic vocabulary and his meticulous attention to prosody significantly influenced the poets who followed him. [6] By challenging the dominance of Alexandrine verse, he effectively ushered in a new epoch in German literature , laying crucial groundwork for the artistic achievements of figures like Friedrich Schiller and Johann Wolfgang von Goethe . [7] In Denmark, an oak tree, estimated to be 800 years old, where Klopstock had spent time, was named in his honor, a testament to his enduring presence. [8]

Notes

• ^ Rines, George Edwin, ed. (1920). “Klopstock, Friedrich Gottlieb”. Encyclopedia Americana .

• ^ a b • “Klopstock, Friedrich Gottlieb, 1724-1803”. Library of Congress. 4 August 2025. Retrieved 23 September 2025.

• ^ a b c d e f g h i j k l m n o p q r s One or more of the preceding sentences incorporates text from a publication now in the public domain : • Hugh Chisholm , ed. (1911). “Klopstock, Gottlieb Friedrich”. Encyclopædia Britannica . Vol. 15 (11th ed.). Cambridge University Press. pp. 847–848.

• ^ a b • Ripley, George; Dana, Charles A., eds. (1879). “Klopstock, Friedrich Gottlieb”. The American Cyclopædia .

• ^ • Michael Steinberg (1995). The Symphony. New York and Oxford: Oxford University Press. p. 291. ISBN 0-19-506177-2.

• ^ • Daniel Coit Gilman ; Peck, H. T.; Colby, F. M., eds. (1905). “Klopstock, Friedrich Gottlieb”. New International Encyclopedia (1st ed.). New York: Dodd, Mead.

• ^ • Reynolds, Francis J., ed. (1921). “Klopstock, Friedrich Gottlieb”. Collier’s New Encyclopedia . New York: P. F. Collier & Son Company.

• ^ • “Danish Tree Register”. dendron.dk. Archived from the original on 2021-12-01. Retrieved 2020-01-30.