The evil spirit Lumpacivagabundus

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Data
Title: The evil spirit Lumpazivagabundus or The dissolute shamrock
Original title: The evil spirit Lumpacivagabundus or The dissolute shamrock
Genus: Magic posse with singing in three acts
Original language: German
Author: Johann Nestroy
Literary source: The great lot of Carl Weisflog
Music: Adolf Müller senior
Publishing year: 1833
Premiere: April 11, 1833
Place of premiere: Theater an der Wien
Place and time of the action: "The action takes place partly in Ulm, partly in Prague and partly in Vienna."
people

→ The list of persons follows the manuscript from first hand, where there are changes to the print edition, these are indicated in [italics]

  • Stellaris , the fairy king
  • Fortuna , ruler of luck, a powerful fairy
  • Brillantina [ Brillantine ] , her daughter
  • Amorosa , a powerful fairy, protector of true love
  • Mystifax , an old wizard
  • Hilaris , his son
  • Fludribus , son of a magician
  • Lumpacivagabundus [ Lumpazivagabundus ] , an evil spirit
  • Leim , a carpenter's companion, wandering craftsperson [craft boy]
  • Zwirn , a tailor's journeyman, wandering craft trainee [craft boy]
  • Kneipp [ Knieriem ] , a shoemaker 's fellow , wandering craftspursche [craft boy]
  • Pantsch , Wirth and hostel father in Ulm
  • Fassl [ Fassel ] , head servant in a brewery [in a brewery]
  • Nanette [ Nannette ] daughter of the landlord
  • Sepherl, Hannerl , waitresses
  • a peddler [ a pedlar ]
  • a master shoemaker
  • a Zimmergesell [ a journeyman carpenter ]
  • three guild masters [(do not appear)]
  • Strudl , host of the Golden Nockerl in Vienna
  • Hobelmann , master carpenter in Vienna
  • Peppi , his daughter
  • Anastasia [ Anastasia Hobelmann , his niece]
  • A foreign
  • Gertrud , housekeeper in Hobelmann's house
  • Reserl , maid there
  • a foreign
  • Hackauf , a master butcher in Prague
  • a Mahler [ a painter ]
  • first, second [second] servant [at Zwirn]
  • first, second [second] companion [at Zwirn]
  • Mr. von Windwachl
  • Herr von Lüftig
  • Herr von Papillion [(does not occur)]
  • Wolckenstecher , an aviator [(does not occur)]
  • Signora Palpetti [ Signora Palpiti ]
  • Camilla, Laura , their daughters
  • Wirth, landlady in a village tavern not far from Vienna
  • a farmer
  • a traveler [ a traveler (Stellaris)]
  • a zither player [(does not occur)]
  • a market woman [(does not occur)]
  • a man with a bagpipe [(does not appear)]
  • Magicians, magicians and their sons, nymphs and genii, [furies], guests, people, farmers, craftsmen from various guilds, etc.

Der böse Geist Lumpacivagabundus or Das liederliche Kleeblatt , in the print edition Der böse Geist Lumpazivagabundus or Das liederliche Kleeblatt , is a magical farce of the Alt-Wiener Volkstheater written by Johann Nestroy . It was premiered on April 11, 1833 in Vienna as a "benefit performance" for the poet and printed in 1835. With the two unlisted pieces Genius, Schuster and Marqueur (1832) and Der Feenball (1833), Nestroy had already anticipated the theme and large parts of the Lumpacivagabundus text.

content

→ The table of contents follows the manuscript firsthand

The old wizards complain to Stellaris that Lumpacivagabundus seduces their sons into rubbish. When Stellaris asks Fortuna to give the sons their junked fortune back, Lumpaci laughs at the lucky fairy, because that won't improve a single one of them. Hilaris openly confesses this and admits:

"There is only one means that will hold me fast on the path of virtue, it is Brillantine's hand." (Act I., Scena 2)
Johann Nestroy (Kneipp / Knieriem), Carl Carl (glue), Wenzel Scholz (thread); hand-colored copper engraving ( Wiener Theaterzeitung 1834)

Lumpaci then explains that he is defeated because Amorosa is more powerful than Fortuna. Fortuna angrily denies Amorosa's greater power and refuses to marry, but has to accept Stellaris' saying that she must not do this unconditionally. That is why she demands that three poor, easy-going fellows can be made happy by her and that she only surrenders if two of them still want to remain rags.

The chosen ones are the craftsmen Kneipp, Leim and Zwirn, all of whom have become wandering companions for different reasons: Kneipp because of his love for alcohol ( "Ein Maaß G'mischtes." ), Leim because of his supposedly hopeless love for Peppi Hobelmann and Zwirn because a fun life is paramount to him.

Fortuna lets the three of them dream the same lottery number 7359 that night in the inn and when they pool all their remaining money and buy the ticket, they make the main prize of 100,000 thalers. Then they parted ways, Leim wants to try to get his Peppi in Vienna after all, Zwirn wants to go out into the world and in the future be more Don Juan than a tailor, Kneipp wants to move from one wine cellar to the other because the world is up anyway Year by a comet. However, they decide to meet again in a year.

Glue: "And today over's year on the first autumn day on which Gedächtnißtag our happiness - we come every three zusamm in Vienna beym Master Planing man, there I am either happy or learn her where to find me in my misfortune." ( I. Act, Scena 13)

With Hobelmann the misunderstanding clears up quickly, the glue has been wandering and he successfully applies for Peppi's hand. In Prague, Zwirn fell into the hands of deceitful "friends" who took full advantage of him. Signora Palpetti wants to couple one of her daughters to him, who use all kinds of tricks to get on with thread.

Camilla (Laura): "My wällische debate has been misled some but you bey he will know soon that you are a Burkerstorferinn." (Actus II, 22 ste  Scene)

Zwirn wants to impress his guests with a balloon flight, to whom the drunk Kneipp unexpectedly joins. Through his speeches, the others learn the truth about Zwirn's true position as a tailor journeyman and he is embarrassed. The balloon takes off with Kneipp as the only passenger. [The balloon scene is missing in the print version]

Nestroy at the comet song (photograph from 1861)

On the agreed anniversary, Zwirn and Kneipp, who have both made their fortunes, come to Hobelmann's house, where the landlord reads them an alleged letter from Leims. Except for 100 thalers, which he gave Hobelmann for safekeeping, he was poor again and was sick in the Nuremberg hospital. His two friends immediately decide to beg their way to Nuremberg and bring Leim the 100 thalers. Moved by their friendship, Leim joins them and promises them that he will always take care of them. But as the first Kneipp does not want to be properly supplied, but rather drink his schnapps in the tavern as always ( "In the tavern you have to be, that's the pleasure, then the worst drink is a hogu." ). And changing his life is no longer worthwhile, the world-destroying comet is coming anyway; here Kneipp sings the comet song .

Zwirn also wants to leave again, he certainly can't stand the solid life, and Leim can't change his mind either. He tries in vain to at least convert Kneipp, but he escapes through the window. The two rags meet in an inn and decide to go on tour again. The scene changes, Stellaris asks Fortuna to admit her defeat, she declares herself defeated by Amorosa and brings Brillantina and Hilaris together. Stellaris has the inhabitants of the earth brought to the fairy kingdom, where Leim and Peppi appear as a happy couple, but the fairy king is in doubt about the two incorrigible ones.

Amorosa: “I want to take care of you. But where should true love in a completely different shape to appear. " (III. Act, 18 th  Scene)

Kneipp and Zwirn appear kneeling on the stage and are threatened with a rod by their future wives.

[Instead, the print version shows a look into the future, in which thread and knee strap also lead a happy domestic life]

Factory history

For director Carl Carl's so-called “Carneval Theater” in his Theater an der Wien , Johann Nestroy wrote the play Der Feenball , which was explicitly announced as a carnival farce and whose first and last act takes place in Carnival and the second act in Venice, the stronghold of Italian Carnival, is set. This work should complete the program of the Carneval Theater. But since The Magician February Johann Baptist Freys (with Couplettexts Nestroy) came on stage late, there was no time for the fairy ball and Nestroy presented it - partially reworked - under the new title The evil spirit Lumpacivagabundus .

As a source for the fairy ball and thus also for the Lumpacivagabundus , Nestroy used the story The Great Loos by Carl Weisflog (1770–1828) from his anthology Phantasiestücke und Historien , as well as the piece Schneider, Schlosser und Tischler by Josef Alois Gleich ( 1772–1841), performed on July 30, 1831 in the Theater in der Leopoldstadt , as well as parts of his own, unlisted play Genius, Schuster und Marqueur (1832). The reason for the fairy ball was the fear of comets rampant in 1832 , triggered by the appearance of the Encke and Biela comets , as well as Halley's comet expected for 1834/35 (see also the background information on the famous comet song ).

The work gives a glimpse of the hopeless situation of unemployed craftsmen due to the poor economic situation, the inhumane working conditions of the pub staff with the barely veiled role of the waitresses as animation girls, which together with the comet and cholera fear of this time lead to fatalism and hope for a miracle (lottery win) led. This was also understood by contemporary audiences as a social charge.

Nestroy played the Kneipp / Knieriem, Wenzel Scholz the Zwirn, Carl Carl the glue, Friedrich Hopp and then Ignaz Stahl the Hobelmann and Nestroy's partner Marie Weiler at the premiere the Camilla, then alternating with Dem.  Elise Zöllner the Laura.

In the period from April to December 1833 alone, there were over sixty performances in the Theater an der Wien and the work remained in the program. In German-speaking countries, in Graz , Pest , Prague , Stuttgart , Karlsruhe , Preßburg and Berlin , the play was already played in 1833, but in Weimar the play suffered from diarrhea in front of the audience at the court theater in 1835; in Baden near Vienna in 1833 before the imperial family Franz I who were staying there , in 1839 before the Russian heir to the throne (the later Tsar Alexander II ), in 1840 before the King of Saxony Friedrich August II. and in 1841 before the Saxon princesses Amalie (who were under wrote plays himself under the pseudonym Amalie Heiter) and Auguste .

As a unique case in Vienna's theatrical life, the play was performed at the same time in June 1838 at the Theater in der Leopoldstadt and at the Theater in der Josefstadt , with ensemble members from these two suburban theaters and with great success. At Director Carl's last performance at the Theater an der Wien on April 30, 1845, the audience could see excerpts from various successful pieces, with the abridged first act of Lumpacivagabundus forming the end. Nestroy, Scholz and Alois Grois played . The play also remained a crowd puller on Carl's new stage, the Theater in der Leopoldstadt, now called the Carltheater.

On April 30, 1860, a performance took place in Munich's Royal Court and National Theater in which the three craft boys were portrayed by the then famous dwarf actors Jean Piccolo, Jean Petit and Kiss Joszi.

A current couplet strophe of January 11, 1862, performed in the Treumann Theater , in which Nestroy mocked the Prussian generals who allegedly defeated Napoleon III. had kissed the hand, caused protests in the Berliner Kreuzzeitung . Nestroy had to pay a fine of 15 guilders for this extempore. He returned the favor at the next performance with a new verse of the comet song :

“The journal in Berlin calls us bankrupt Austria
Impertinenter, they still talk about Vienna there in the theater
But hear a few Prussians say something about Prussia,
run right away as the offended and do a sue.
E'm just afraid and afraid
I say, the world will definitely not be long anymore ...! "

At Nestroy's last performance in Vienna on March 4, 1862, only two months after this affair, he said goodbye to the Viennese audience with the knee strap, “that is, in the role in which, a generation earlier, he first revealed the essence of his new comedy to them had. "(quote from Otto Rommel )

Nestroy's handwritten manuscript contains title page, list of persons, as well as scenes 8–22 from Act II, and from III. Act scenes 1–11 and 17–19; all other scenes are stage transcripts, revised by Nestroy, by an unknown hand. A shortened version of Act I by hand has also been preserved.

Müller's score exists only in a copy by a third party, on which the composer added the note “ property of the composer” (Rommel therefore wrongly accepted an original score).

Contemporary criticism

The piece was consistently reviewed very positively by the critics, two of which are listed in excerpts:

Heinrich Adami wrote in the Vienna theater newspaper Adolf Bäuerles on April 13, 1833 (No. 75, p. 303 f.):

"The plot is interesting and quite lively, the dialogue is humorous, [...] the situations are well laid out and used, but there are several of the inserted song texts that should guarantee this farce many repetitions."

After a first, rather short and unfriendly review in Wanderer on April 13, a correction was made the very next day (No. 104, p. 4), a discrepancy that between the two critics of this magazine with the call numbers "2" and "4" was also ascertainable in the autumn of 1833 during the discussion of the Nestroy work by Robert der Teuxel :

“The material is not new, but the author has worked on it with a dexterity and humor that claims to be preferable to all previous adaptations. With particular luck, the 2nd act is treated, just like the finale of the same act, which was repeatedly demanded stormily. "

Nestroy's “Kometenlied” was mentioned with particular praise, as did Scholz and the ladies customs officers and hamlets.

Further positive reviews could be read in the collector , the Viennese magazine for art, literature, theater and fashion , im Aufmerksamen (Graz).

The castle actor Karl Ludwig Costenoble noted in his diary (published Vienna 1889 on p. 154) an episode of April 16, 1833:

“ La Roche came and was very outraged by the idea of ​​a farce that he saw in the Theater an der Wien. Nestroy's play 'Lumpacivagabundus' appealed to us because of its comical if equivocal [ ambiguous ] ideas, not only for the audience but also for us members of the Burgtheater. La Roche was the only one who wrinkled his nose and said that something like that belonged in the buffoon shop. - La Roche in Vienna will soon put an end to this weimar, aesthetic scrupulousness. "

Later interpretations

In 1908 Otto Rommel classified the work in the category of those reformatory and magical pieces "in which spirits guide and help intervene in people's lives, so that the ghost scenes only form a framework for the scenes from real life" (quote) . He also counted The Magic Journey into the Age of Knights , The Feenball, Müller, Kohlenbrenner and Armchair Carriers , The Equality of Years and The Families Zwirn, Knieriem and Leim .

According to Franz H. Mautner , Lumpacivagabundus was not only one of the most played pieces by Nestroy, but also, in the opinion of his contemporaries, thanks to the new realism, the beginning of Nestroy's “real” folk pieces, intended to suppress the old antics.

As early as 1982, Helmut Ahrens stated that the work had initially been based on the common formula of the improvement piece, but the pessimism about the immutability of the human character, which was still rather hidden in Gleich's original, was already more pronounced with Nestroy. That is why Ahrens called the Lumpacivagabundus a magic game that does not enchant, but demystifies. The parable shows the rise and fall of the three craftspeople, the powerlessness of chance happiness against fatefully predetermined life courses. The untrustworthy "happy" ending (not yet available in the manuscript version), which was later added as a poem, was merely grafted on for the sake of the audience. However, Nestroy questioned this outcome in his play Die Familien Zwirn, Knieriem and Leim anyway.

Siegfried Diehl noted:

“[...] the new, the realistic drawing of the milieu, the satirical portrayal of desolate conditions, which suddenly replaced the inadequacy of the tried and tested amusement makers Hanswurst, Kasperl and Thaddädl. The enthusiasm for the unheard-of piece also grew out of a strange misunderstanding: It was precisely that which was celebrated as the author's positive worldview, which was only available in an ironic final morale. "

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Film adaptations

Radio plays

Walter Sedlmayr , Herbert Kroll and others ( Radio Munich )

text

literature

  • Helmut Ahrens: I'm not auctioning myself off to the laurel. Johann Nestroy, his life. Societäts-Verlag, Frankfurt am Main 1982, ISBN 3-7973-0389-0 .
  • Fritz Brukner , Otto Rommel: Johann Nestroy, Complete Works. Historical-critical complete edition, second volume, Verlag von Anton Schroll & Co., Vienna 1924.
  • Siegfried Diehl: Johann Nestroys pessimistic antics. In: Franz H. Mautner: Johann Nepomuk Nestroy Comedies. (= Insel Taschenbuch Nr. 1742). Insel Verlag , Frankfurt am Main 1979.
  • Franz H. Mautner (Ed.): Johann Nestroys Komödien. Edition in 6 volumes. Volume 1, Insel Verlag, Frankfurt am Main 1979, OCLC 7871586 .
  • Otto Rommel: Nestroys Works. (= Golden Classics Library). Choice in two parts. German publishing house Bong & Co., Berlin / Leipzig / Vienna / Stuttgart 1908.
  • Friedrich Walla : Johann Nestroy; Pieces 5. In: Jürgen Hein , Johann Hüttner , Walter Obermaier , W. Edgar Yates : Johann Nestroy, Complete Works, Historical-Critical Edition. Jugend und Volk, Vienna / Munich 1993, ISBN 3-224-16924-9 , pp. 65–187, 297–618.

Web links

Individual evidence

  1. ↑ Nestroy nevertheless used the term Act in the text
  2. ↑ stellaris = Latin. belonging to the stars
  3. ↑ Fortuna = Roman goddess of luck
  4. ↑ brillare = Italian. To shine
  5. ↑ Amorosa = Latin. the lover
  6. ↑ hilaris = Latin. cheerful, happy
  7. ↑ Fludribus = Latinized joke formation of fludern, flutter; see also Fludriwudri = Viennese whirlwind, whirlwind (for a child)
  8. ↑ Lumpacivagabundus = composed of Lumpazi (rascal, rascal) and vagabond (tramp)
  9. ↑ Kneipp also Kneif = cobbler's knife
  10. ↑ changed by censorship
  11. ↑ Pansch = from panschen / pantschen , to mix with inferior quality
  12. ↑ Strudl, strudel = Austrian dessert, with apples, poppy seeds or the like. filled
  13. ↑ Nockerl = cooked little dumpling ( spaetzle ) as a side dish, from the Italian gnocchi
  14. ↑ in Austria the butcher is as meat hacker called
  15. ↑ Windwachl = feather fan to light a fire, here meant as a relaxed fellow
  16. ↑ papillon = French Butterfly, moth
  17. ↑ Verlag der kukWallishausser'schen Hofbuchhandlung, Vienna, Hoher Markt No. 1
  18. ^ Walla: Johann Nestroy; Pieces 5. p. 75.
  19. ↑ G'mischtes = drink mixed from light and dark beer
  20. ^ 1 thaler was 2 guilders, a ducat was 4½ guilders, a guilder was 120 kreuzers, a twenty kreuzer was 20 kreuzers, and a groschen was 3 kreuzers
  21. ^ Walla: Johann Nestroy; Pieces 5. p. 96.
  22. ↑ Purkersdorf was an important post office near Vienna at that time
  23. ^ Walla: Johann Nestroy; Pieces 5. p. 110.
  24. ↑ Hogu = corruption of French. skin goût = venison taste, high taste
  25. ^ Walla: Johann Nestroy; Pieces 5. p. 132.
  26. ^ Text in Walla: Johann Nestroy; Pieces 5. pp. 222-255.
  27. ↑ Facsimile of the theater slip in Walla: Johann Nestroy; Pieces 5. p. 621.
  28. ^ Walla: Johann Nestroy; Pieces 5. p. 317.
  29. ↑ Dem. Or Dlle. is the abbreviation for Demoiselle (= Fräulein), the name used to describe the unmarried women of an ensemble; the married actresses were titled Mad. (Madame)
  30. ↑ Facsimile of the theater ticket for the first and fourth performance in Walla: Johann Nestroy; Pieces 5. pp. 623-624.
  31. ↑ Playbill in the Münchener Tages-Anzeiger
  32. ↑ Manuscript collection in the Vienna City Hall , call number IN 29.276
  33. ^ Bruckner / Rommel: Johann Nestroy, Complete Works. Historical-critical complete edition, AMS Press, 1973, XV. Volume, p. 351.
  34. ↑ Manuscript collection of the Vienna library in the town hall, call number IN 64.443
  35. ↑ Manuscript collection in the Vienna City Hall, call number IN 78.847
  36. ↑ Music collection of the Vienna library in the town hall, signature MH 667
  37. ^ Walla: Johann Nestroy; Pieces 5. pp. 350-355.
  38. ^ A Quodlibet as a trio with a choir between Zwirn, Camilla and Laura
  39. ^ Rommel: Nestroy's works, selection in two parts, Golden Classics Library, German publishing house Bong & Co., Berlin / Leipzig / Vienna / Stuttgart 1908, pp. XXVI, XXX.
  40. ^ Mautner: Johann Nestroys Komödien. P. 315.
  41. ↑ Helmut Ahrens: I am not auctioning myself off to the laurel. Pp. 114, 128-131.
  42. ^ Diehl / Mautner: Johann Nepomuk Nestroy Komödien. P. 11.