Most were from the elite Feliks Dzerzhinsky Guards Regiment, named after the ferocious founder of Lenin’s security police, the Cheka, and writing poetry was anything but a hobby for them. This view was solemnly accepted by the Circle of Writing Chekists, selected members of the Stasi-the East German secret police-who wrote poetry and met once a month to read and criticize one another’s verse.
According to Philip Oltermann’s The Stasi Poetry Circle, he “believed that sonnets structurally mirrored the Marxist view of historical progress,” the materialist version of Hegelian three-stage dialectic from “an idea, the thesis, to a contradiction of that idea, the antithesis, to a solution that resolves the tension between these two ideas, the synthesis.” Thrilled by his discovery, Becher wrote that “the sonnet makes its content life’s law of motion…statement, contrast and resolution in a concluding statement.” The poet Johannes Becher, once East Germany’s minister of culture, compared the essence of the German Democratic Republic (GDR) to a sonnet.
William Shakespeare’s best-remembered sonnet compared someone to a summer’s day.
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