form a distinct category among German sonnets. They include Friedrich Rückert's 72 "Sonnets in Armour" (Geharnischte Sonneten, 1814), stirring up resistance to Napoleonic domination; and sonnets by Emanuel Geibel written during the German revolutions of 1848–1849 and the First Schleswig War. In the wake of the First World War, Anton Schnack, described by one anthologist as "the only German language poet whose work can be compared with that of Wilfred Owen", published the sonnet sequence, Tier rang gewaltig mit Tier ("Beast Strove Mightily with Beast", 1920). The 60 poems there have the typical German sonnet form, but are written in the long-lined free rhythms developed by Ernst Stadler. Patrick Bridgwater, writing in 1985, called the work "without question the best single collection produced by a German war poet in 1914-18," but adds that it "is to this day virtually unknown even in Germany." In Dutch In the Netherlands Pieter Corneliszoon Hooft introduced sonnets in the Baroque style, of which Mijn lief, mijn lief, mijn lief: soo sprack mijn lief mij toe presents a notable example of sound and word play. Another of his sonnets, dedicated to Hugo Grotius, was later translated by Edmund Gosse. In later centuries the sonnet form was dropped and then returned to by successive waves of innovators in an attempt to breathe new life into Dutch poetry when, in their eyes, it had lost its way. For the generation of the 1880s it was Jacques Perk's sonnet sequence Mathilde which served as a rallying cry. And for a while in the early years of the new century, Martinus Nijhoff wrote notable sonnets before turning to more modernistic models. Following the Second World War, avant-garde poets declared war on all formalism, reacting particularly against the extreme subjectivity and self-agrandisment of representatives of the 1880s style like Willem Kloos, who had once begun a sonnet "In my deepest being I'm a god". In reaction, Lucebert satirised such writing in the "sonnet" with which his first collection opened: ::I/ me/ I/ me// me/ I/ me/ I// I/ I/ my// my/ my/ I But by the end of the 20th century, formalist poets such as Gerrit Komrij and Jan Kal were writing sonnets again as part of their own reaction to the experimentalism of earlier decades. Slavic languages Czech The sonnet was introduced into Czech literature at the beginning of the 19th century. The first great Czech sonneteer was Ján