This article offers an account of wettern (weathering) in German drama of the 1770s, with focus on works by Goethe, Klinger, Lenz, and Herder. Extant scholarship on this period tends to stress the religious and rhetorical origins, as well as the allegorical function, of meteorological imagery. Against these readings, this article argues that instances of wettern must be read literally, insofar as the works under examination are informed by then-emerging meteorological science, whose hallmark is the synthesis of formerly separate phenomena (e.g., lightning, clouds, sunlight, storms) into a continuous process with a unified internal dynamic. On this account, the dynamization of weather in modern meteorology sparked a dynamization of rhetorical formula in German dramatic language, whereby wettern became prototypical of the dynamic speech that others have observed to appear in 1770s drama. To reveal the programmatic significance of wettern across these works, attention is given, first of all, to metafictional moments that assert a necessary relation between weather and drama as a medium, and, second, to the overlooked role of weather in Herder’s early theory of language, which was a formative influence on the authors considered here. In both cases, Lessing’s disparaging view of scientific and dramatic representations of meteorological phenomena is offered, by way of contrast, to show how the poetics of weather developed in and through wettern departed from the status quo of aesthetic theory.

中文翻译：

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“Sie scheint auch mehr zu donnern und zu blitzen, als zu reden.” Zur Meteorologisierung der Sprache im Drama der 1770er Jahre

本文介绍了 1770 年代德国戏剧中的潮湿（风化），重点介绍了歌德、克林格、伦茨和赫尔德的作品。关于这一时期的现有学术倾向于强调气象图像的宗教和修辞起源，以及寓言功能。这篇文章反对这些解读，认为必须按字面意思来解读潮湿的实例，因为正在检查的作品是由当时新兴的气象科学提供信息的，其标志是以前分离的现象（例如，闪电、云、阳光、风暴）的综合) 变成一个具有统一内部动态的连续过程。因此，现代气象学中天气的动态化引发了德语戏剧语言中修辞公式的动态化，借此，wettern 成为其他人观察到出现在 1770 年代戏剧中的动态语言的典型。为了揭示这些作品中潮湿的计划意义，首先要关注元小说时刻，这些时刻断言天气和戏剧作为媒介之间存在必要的关系，其次，天气在赫尔德的早期理论中被忽视的作用语言，这对这里考虑的作者产生了形成性影响。在这两种情况下，莱辛对气象现象的科学和戏剧性表现的贬低观点，作为对比，展示了天气诗学是如何在潮湿中发展的，以及如何脱离美学理论的现状。首先，元小说时刻断言天气和戏剧作为媒介之间的必要关系，其次，天气在赫尔德的早期语言理论中被忽视的作用，这对本文所考虑的作者产生了形成性影响。在这两种情况下，莱辛对气象现象的科学和戏剧性表现的贬低观点，作为对比，展示了天气诗学是如何在潮湿中发展的，以及如何脱离美学理论的现状。首先，元小说时刻断言天气和戏剧作为媒介之间的必要关系，其次，天气在赫尔德的早期语言理论中被忽视的作用，这对本文所考虑的作者产生了形成性影响。在这两种情况下，莱辛对气象现象的科学和戏剧性表现的贬低观点，作为对比，展示了天气诗学是如何在潮湿中发展的，以及如何脱离美学理论的现状。