About the Shakspearo mania

from Wikipedia, the free encyclopedia
This article or section needs to be revised: Please change the formatting of the individual references → H: Individual references # References to → Wikipedia: Citation rules # Adjust the comparison with the individual references
Please help to improve it and then remove this marking.

Grabbe

About the Shakspearo mania is a theatrical-critical treatise by Christian Dietrich Grabbe . Created in 1827, it was first printed in the same year in Frankfurt am Main.

Staggering “between respect and reproach, between the urge for independence and the pressure of conventions”, Grabbe criticizes Shakespeare and “the Shakespeare image of romanticism ” and worries about the German stage.

Grabbe writes

against Shakespeare

Grabbe introduces his criticism with respect: “No one will pay homage to Shakspeare more truthfully than I do. His all-round genius ... ”Even during the carefree disparagement of the great English playwright, the 25-year-old writer rows back once and for all:“ I only ask you to allow myself the admission: that I really consider the Midsummer Night's Dream to be a completed masterpiece ”. But Grabbe puts it into perspective: "Shakspeare is big, very big, but not without school, manner and manifold mistakes and extremities". The tragedy poets Aeschylus , Sophocles and also Corneille , Racine and Voltaire are greater than "Shakspeare". The Englishman also stands behind Molière with the comedy writers : "Shakspeare has neither avoided so many mistakes in comedy nor done so much good as Molière".

against the romantics

Grabbe regrets: After Schiller's death and after Goethe wrote less, “the romantics ruled without hindrance”. Wilhelm Schlegel's lectures “On Dramatic Art and Literature” (1809–1811) are criticized. Grabbe's accusation: Schlegel only emphasized “pity”. "Shakspeare" is more about "anger, horror, horror, hatred, love, revenge and self-sacrifice". Grabbe actually wants to “smash” Tieck . The ungrateful graveyard assesses Tieck as the more dangerous opponent, because Schlegel can "only reflect back", while "with Tieck everything is creative power". Tieck's contributions in Schlegel-Tieck's translations are first mentioned with praise and then dismissed as independent poems, i.e. as not appropriate to the original.

for the German theater

Grabbe stands alone in the corridor, since "with Teck's literary fame a whole school of aesthetes repeats him". He also takes little pleasure in the domestic audience, "because the German has a dull awe of what he does not understand". Grabbe is annoyed about the "follow-up prayer". He wants to “stand on his own two feet” and tries “the more recent times, especially since the French Revolution”, in which “Shakspeare” is to be “surpassed”.

Self-testimony

Grabbe wrote the essay quickly "without looking up a single book".

reception

  • Grabbe speaks "as a critic, not as a theorist".
  • Grabbe interfered with his treatise in the "most important dramatic controversy of the 19th century" - in the answer to the question: "Shakespeare or Schiller?" Grabbe wrote against the glorification of Shakespeare "at the expense of Schiller" by the Romantics .
  • With his attack on Tieck Grabbe wanted to "advertise for himself". But neither the attacked nor other romantics reacted.
  • This “ eclectic hodgepodge” of “different strands of tradition and historical perspectives” had “little influence” on German drama .
  • Ehrlich takes the script as a "commitment to the Aristotelian- classical drama". Sengle is reminded of "Biedermeier Classicism".
  • Grabbe took Schiller for his "patriotic tendency" in the script.

literature

First edition

  • Christian Dietrich Grabbe: Dramatic poems by Grabbe. Along with a treatise on the Shakspearo mania. Joh. Christ. Hermannsche Buchhandlung GF Kettembeil, Frankfurt am Main 1827. First and second volume. 384 pages. Cardboard volumes with colored cover paper (floral pattern) and spine labels.

expenditure

  • Rudolf Gottschall (Ed.): Christian Dietrich Grabbe's all works. First and second volume. Reclam jun., Leipzig 1875, (2nd edition, 2 volumes. XLIV + 424 + 448 pages). Blind and gold embossed canvas.
  • About the Shakspearo mania. In: Grabbe's works in two volumes. Second volume. Aufbau-Verlag Berlin and Weimar 1987, ISBN 3-351-00113-4 , ( Library of German Classics. Published by the National Research and Memorial Sites of Classical German Literature in Weimar), pp. 355–386, comments by Hans-Georg Werner Pp. 428–432 (edition used).

Secondary literature

  • Ladislaus Löb: Christian Dietrich Grabbe. Verlag JB Metzler, Stuttgart et al. 1996, ISBN 3-476-10294-7 , pp. 97-103.
  • Roy C. Cowen: Christian Dietrich Grabbe - playwright of unsolved contradictions. Aisthesis Verlag, Bielefeld 1998, ISBN 3-89528-163-8 , pp. 189-209.
  • Gero von Wilpert : Lexicon of world literature. Biographical and bibliographical concise dictionary based on authors and anonymous works. German authors A – Z. 4th completely revised edition. Kröner, Stuttgart 2004, ISBN 3-520-83704-8 , p. 211.

Web links

Individual evidence

  1. ↑ Edition used, Berlin and Weimar 1987, p. 428
  2. ↑ Löb, p. 34
  3. ↑ Löb, p. 37, 10. to 21. Zvo
  4. ↑ Edition used, Berlin and Weimar 1987, p. 369, 3. Zvo
  5. ↑ Edition used, Berlin and Weimar 1987, p. 377, 13. Zvu
  6. ↑ Edition used, Berlin and Weimar 1987, p. 381, 5th Zvu
  7. ↑ Edition used, Berlin and Weimar 1987, p. 383, 2nd Zvu
  8. ↑ Edition used, Berlin and Weimar 1987, p. 364, 5. Zvo
  9. ↑ Edition used, Berlin and Weimar 1987, p. 365
  10. ↑ Löb, p. 34, 6th Zvu
  11. ↑ At his repeated request, Tieck had promptly recommended the young Grabbe to others several times from Dresden and had also given generous access to his select Dresden circle of friends. These efforts by Tiecks are z. B. in Löb, pp. 15-20, documented.
  12. ↑ Edition used, Berlin and Weimar 1987, p. 366, 7. Zvo
  13. ↑ Edition used, Berlin and Weimar 1987, p. 367
  14. ↑ Edition used, Berlin and Weimar 1987, p. 368
  15. ↑ Edition used, Berlin and Weimar 1987, p. 385 above
  16. ↑ Edition used, Berlin and Weimar 1987, p. 385 below
  17. ↑ Edition used, Berlin and Weimar 1987, p. 428, 21. Zvo
  18. ↑ Cowen, p. 107, 15. Zvu
  19. ↑ Cowen, p. 112, 18. Zvu
  20. ↑ Löb, p. 36, 9. Zvu
  21. ↑ Löb, p. 34, 3rd Zvu
  22. ↑ Peter Hasubek (Tübingen 1990), cited in Löb, p. 36, 6. Zvo
  23. ↑ Löb, p. 37, 4th Zvu
  24. ↑ Lothar Ehrlich (1986), cited in Löb, p. 36, 8. Zvo
  25. ↑ Friedrich Sengle (Stuttgart 1980), cited in Löb, p. 36, 11. Zvo
  26. ↑ Löb, p. 36, 12. Zvo