Statische Gedichte () is a 1948 poetry collection by the German writer Gottfried Benn. It was well received by German critics and treated as the culmination of Benn's poetry. It had an influence on Martin Heidegger's late philosophy.
Contents Previouslypublished Title 1941–1944 Ach, das ferne Land 1945–1946 Quartär 1944 Chopin 1945–1946 Orpheus' Tod 1939 Verse 1941 Gedichte Bilder 1920–1940 Welle der Nacht 1930–1933 Am Saum des nordischen Meer's 1935 Tag, der den Sommer endet 1937 Die Gefährten 1944 Dann 1944 V. Jahrhundert 1935 Astern 1944 September 1943 Alle die Gräber 1943 Wenn etwas leicht 1941 Ein Wort 1943 Gärten und Nächte 1933 Sils-Maria 1943 Ein später Blick 1943 Nachzeichnung 1927 In Memoriam Höhe 317 1943 Verlorenes Ich 1941 Henri Matisse: „Asphodèles“ 1938 Ist das nicht schwerer 1943 St. Petersburg – Mitte des Jahrhunderts 1943 Mittelmeerisch 1936 Einsamer nie 1936 Wer allein ist 1934 Spät im Jahre Suchst Du Der Traum Anemone 1936 Turin 1936 Leben – niederer Wahn 1935 Ach, das Erhabene Sommers 1941 Abschied Die Form Statische Gedichte
Reception The book was very well received by German critics, who in many cases treated it as the pinnacle of Benn's poetry. The dominant view of German critics in the 1950s was that Benn had created his own path within modernist poetry, starting in expressionism and culminating with Statische Gedichte. An exception was , who argued that Statische Gedichte was a dead end, whereas Benn's poetry after it influenced the next generation of German poets, the Neue Lyrik of the 1960s.
Statische Gedichte influenced Martin Heidegger during his late period, when he became more interested in the poetic. According to Martin Travers, Heidegger was especially influenced by Statische Gedichte in his 1950 essay collection Off the Beaten Track and 1957 essay "Das Wesen der Sprache".
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