German Palaeontology Poetry

Eduard Morike (1804-1875) is described by the Chambers Biographical Dictionary as "weak, hypochrondrical, unhappily married and lazy." Still, he was to make a fossil collection of about 500 specimens, and at a time when professionalism and avocational was still somewhat blurred, without formal education he still wanted a post in the natural sciences. He did make a small mark, however, in the literary arena. Carolin Duttlinger (2007, Oxford German Studies, vol. 36) examines two of his works, Der Petrefaktensammler and Gottliche Reminiscenz in Moricke's Fossils: The Poetics of Palaeontology.

Unfortunately, neither are translated in this review [Furtrher, I lack any ability to comment on matters poetic. Yet, it is quite interesting to examine from strictly historical perspectives the intertwine of science and literature, especially in the 19th century.], but Duttlinger expresses that "Fossils played a dual role" for Morike, "while they underlined the fleetingness of transience of human life, they also embodied a reassuring sense of permanence and stability in their ability to preserve the past and transcend historical change."

After his Vicar service, the intellectual pursuits led him to science, particularly palaeontology, which provided for a brief time a "therapeutic function" in retirement. Morike's poetry in conjunction was able to include scientific terminology, the blend of the aesthetic and the scientific, forming imagery that was quite unique. Further, as in Gottliche Reminiscenz, the blending of Christian thought into the mix was threatening, some "arguing that the motif of Jesus holding a fossil entails a confrontation between theology and palaeontology."

His poems reflect "on the visual art, its capacities and shortcomings, both in relation to literature and against the wider backdrop of a world whose rapid expansion of knowledge is reflected in changing conceptions of time and history."

Another one of those interesting characters who experimented with literature and science, or the oddly conceived aesthetics of scientific objects.