Word: weltschmerz
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Dates: during 1960-1969
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...arbitrary and listless business. "What I've tried to show," says Carroll, "is that there are no schools; there is only one poet at one time reading his poem." He has included many good examples of lyric and pastoral verse, in addition to the intensely personal expressions of Weltschmerz and separation that are still much favored by young poets. But unlike much of the so-called academic poetry, these poems rarely intimidate with pretentiousness or with allusions to obscure mythologies. Missing, too, is the musty odor of coterie and connoisseurship...
John Crowe Ransom says that Jarrell wore a "triple crown"-"a pure Pity, an embracing Weltschmerz, and a wry ironic Wit." The pity sometimes seemed absent from his own reviews. Alfred Kazin recalls a sideswipe in which Jarrell wrote that some crypto poet's work had "hidden treasures," but that finding them was "like looking for the gold in sea water." This sort of wit provided the sparkle to his otherwise brackish novel, Pictures from an Institution...
...program opened and closed with two "heavies" from choral literature. Brahms' Schick-salslied, Op. 54, is one of those perrenial favorites of college glee clubs, not terribly difficult to put together and always effective. The singers also made the most of Holderlin's Weltschmerz. Accompanist Robert Kopelson's two-piano arrangement was the best thing next to a full orchestra. He and Lowell Lindgren played it admirably, managing to succeed in spite of Prof. Schmidt's inconquerable compulsion to conduct even them...
...literary critic for the "liberal" magazine Novy Mir. Though Sinyavsky is known in the West as a supporter of the late Boris Pasternak and has penned essays on Picasso and Robert Frost, his delicate style just did not seem to fit. Tertz writes with a heavy undercurrent of Jewish Weltschmerz, Sinyavsky with a gentle wit reflecting his Russian Orthodox background...
...Fados sound like torch songs sung from the top of a mosque: sobs, wails, cries from the soul. Even when performed by as dulcet a fadista as Amália, they are more forlorn than a foghorn, more despairing than a moan. Fado means destiny in Portuguese, and the Weltschmerz of a good fado gets a physical grip on its audience; like "ffillie Holiday's blues, fados encourage a state of mind well beyond the reach of popular music...