The twins (drama)

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Data
Title: The Twins
Genus: Tragedy
Original language: German
Author: Friedrich Maximilian Klinger
Publishing year: 1776
Premiere: February 23, 1776
Place of premiere: Hamburg
Place and time of the action: Estate on the Tiber
people
  • Guelfo, father
  • Amalia, mother
  • Ferdinando, son
  • Guelfo, son
  • Grimaldi
  • Countess Kamilla
  • Doctor Galbo
  • Servants

Die Zwillinge is a drama in 5 acts by Friedrich Maximilian Klinger , which, along with the dramas Der Hofmeister by JMR Lenz and Goethes Götz von Berlichingen, is one of the three most significant theater pieces by Sturm und Drang . It is generally considered to be the best youth drama Klinger wrote during his studies. The drama addresses both the father-son conflict and the rivalry between brothers with subsequent fratricide as typical motifs of the Sturm und Drang (as with Johann Anton Leisewitz : Julius von Tarent ; Friedrich Schiller : Die Räuber ).

Emergence

Klinger sent the piece in 1775 for the "Hamburg competition" that Sophie Charlotte Ackermann and her son Friedrich Ludwig Schröder , principal of the Hamburg stage, had advertised on February 28, 1775. However , he never received the high fee of 100 thalers or 20 louis dor praised for this . The conditions for submitting a work were that it was moral enough for the stage, should consist of 3 or 5 acts, that the cost of the performance was not too high and that the number of actors involved was not too high and that it was written in prose language, if possible. In addition to Klinger, Johann Anton Leisewitz submitted his work Julius von Tarent . It is noticeable that both plays are about fratricide: In research today, it is assumed that Klinger through Johann Martin Miller , as well as Leisewitz members of the Göttingen Hainbund 1775 von Leisewitz 'plans to participate - he wrote his play in 1774 - and that has learned the approximate content and the template for his drama.

This template is the story of the death of the sons I. In both works by Duke Cosmo, which allegedly occurred in 1562 and 1635 in the histories of Thuanus was recorded and René-Aubert Vertot 1726 in the fourth volume of his work des Chevaliers hospitaliers Histoire retold has been. The constellation of a love affair does not appear here, it is added by Leisewitz and taken over by Klinger. The twins ends with the father's act of revenge on his son, who killed his brother, the template here includes the cover-up of what happened. However, Klinger took over the plot elements of the fratricide during the hunt, the return of the horse without a rider and Guelfo's denial of the act; however, these are not found in Leisewitz ' Julius von Tarent .

In the same year of the first performance by the Ackermannsche Gesellschaft in 1776 , Friedrich Ludwig Schröder published the drama in the first volume of the "Hamburg Theater".

action

First elevator

The first appearance provides a glimpse into a room in which Guelfo, the younger son of old Guelfo and twin brother of Ferdinando, and his friend Grimaldi are sitting at a table with wine bottles and reading Plutarch's “Brutus Leben”. Guelfo states that he finds it easier to identify with Cassius rather than Brutus. ("I feel the Cassius closer. And Grimaldi, that depends." I / 1) During the course of the evening, partly due to the wine consumption, Guelfo gets into a rebellious mood. First and foremost, he railed against his hated twin brother Ferdinando, whom his parents recognized as the firstborn and thus offered him privileges in the form of prestige, wealth and a befitting wedding with Countess Kamilla. The latter in particular is a thorn in the side of Guelfo, as he wants to marry Kamilla himself. He sees himself as both a better ruler and a better husband in contrast to Ferdinando. Grimaldi reaffirms Guelfo in claiming his rights.

In order to finally clarify the question of the firstborn, Guelfo calls the doctor Galbo, who was present at the birth, but who only confirms that one cannot be sure who the firstborn is. Amalia, Guelfo's mother, approaches her son, who is now almost mad, and tries to appease him with her love. She interprets his behavior as an illness ("Who knows what the Guelfo is! He is sick." I / 4) and represents this also to her husband Guelfo [called "old Guelfo" in the dramatic text]. This destroys Guelfo with the words "You are not my son!" (I / 4) Guelfo's emotional, desperate reaction, however, lets the father refrain from the cast out curse: He falls around Guelfo's neck and forgives him. The fifth appearance shows Guelfo alone, how he gets into a wild rage against his parents and brother ("He has them, has blessings, love, duchy - and Kamilla! Ha! I'm going mad!" I / 5)

second elevator

In the 1st and 3rd appearance of Act 2, Grimaldi's previous history and thus the reason for his melancholy and gloomy enthusiasm becomes known: Grimaldi had a love affair with old Guelfo's daughter, Juliette, which the father did not approve of. As the eldest son, Ferdinando enforced the father's will by forcing Juliette to separate from Grimaldi and instead marry a count. Juliette refused, however, and took her own life. Grimaldi hates Ferdinando and has been suicidal since Juliette's death, but apparently has no desire for revenge like Guelfo.

While Grimaldi and Guelfo are talking, Ferdinando and his bride Kamilla arrive, whose wedding is to be celebrated the next day. Guelfo sees this through a window and can only vent his anger by firing a pistol through another window. The warm welcome from father and mother shows how much the old Guelfo loves his older son Ferdinando. He also complains to Ferdinando about Guelfo's stormy, moody manner and blames the bad influence that Grimaldi exercises on Guelfo. They agree that Guelfo should be appeased through loving treatment, especially that of women. Ferdinando also reports that he saw his own ghost on arrival next to the oak trees in front of the castle.

Kamilla is left alone and Guelfo goes to see her. He wants to show her his affection, but she does not notice this and dismisses it as an illness. While they are looking at the sunset through a window together, Guelfo kisses Kamilla hard against her will. Ferdinando joins after Kamilla has been able to tear herself away from Guelfo and wants to flee to the door. When Ferdinando asked her, she remained silent about what had happened, but Guelfo wanted to provoke him and told him about his “sin kisses” (II / 6). Ferdinando, however, reacts understandingly to Guelfo's outburst of emotion. He tries to convince his brother of his love for him and his goodwill, but Guelfo is not ready for any reconciliation. To clarify, they arrange a ride the next morning.

third elevator

It is storm and night, weather and nature resemble Guelfo's stormy, wild disposition. He wakes up his friend Grimaldi, as he is approaching the frenzy and rising into the fantasy of fratricide. Guelfo reports how his father hit him with a lance in an argument that evening, whereupon he finally breaks with his father: "I was silent, looked at him and saw for a moment that he is not my father" (III / 1) . When Grimaldi falls asleep again, Amalia, Guelfo's mother, meets her son at the door. She reaffirms her love for Guelfo again and tries to bring him to his senses, but he grows so much into his anger and hatred of his brother that he strangles his mother to find out from her who is really the firstborn, him or Ferdinando. Amalia repeatedly asserts that Ferdinando is the firstborn, but Guelfo does not give in: he wants to find out from Amalia the exact progress of the birth. Amalia admits that she lost consciousness during the birth and that she therefore cannot know for sure who of the sons has the right to have the firstborn. When she woke up from the faint, her husband, old Guelfo, told her that Ferdinando was the firstborn. This fact confirms Guelfo in his suspicion against his father that he arbitrarily and wrongly named his brother firstborn.

Fourth elevator

Amalia and Kamilla are preparing for the upcoming wedding. Dark premonitions create a gloomy mood and do not allow anticipation to arise. Old Guelfo steps up to the two worried women and reports on Guelfo's ride, which swung himself on his wildest horse before sunrise. Ferdinando has also ridden out, but has not yet returned, which fills Amalia and Kamilla with fear and concern. Ferdinando's horse runs into the yard without a rider, but with blood on the saddle. Old Guelfo immediately wants to go out to find his son. Guelfo returns from his ride, but gives insane giggles that he doesn't know what happened to Ferdinando. When Guelfo remains alone in a room, he sees himself in the mirror. In search of the Cain's mark on his forehead, he cannot bear the sight of himself and smashes the mirror. When Grimaldi steps into the room, he immediately notices that Guelfo killed Ferdinando. This confesses to him the fratricide and now finally wants to find the sleep that was previously impossible for him in his rage.

Fifth elevator

In a gloomy room, Ferdinando's corpse lies on the bed, Amalia and Kamilla sit next to the corpse and cry, old Guelfo writhes in pain. The father immediately suspects Guelfo of fratricide, but Amalia and Kamilla continue to believe in Guelfo's innocence and defend him. When Guelfo walks into the room, he initially argues about the murder of his own brother with the words “Dude! I had no brother ”(V / 2). But when old Guelfo lifts the shroud and Guelfo sees his dead brother, he confesses to the murder ("I slew the one who looks at me with a rigid, cold eye that shakes his bloody locks and death. I killed him with a strong fist Oak. ") (V / 2). The old Guelfo curses his son and laments his fate with the biblical comparison: “I stand there like Adam when the righteous man was slain. Eva howls, the bride complains, Cain curses the old woman - revenge and woe! ”(V / 2). Amalia wants to stand as a protective shield in front of her son and protect him from his father's revenge, but old Guelfo pulls a dagger and stabs Guelfo. The drama ends with the father's exclamation: “I want to avenge Father Guelfo's son! deliver from the shame of Guelfo's son! live orphaned in misery - (pushes him down.) "(V / 2)

reception

The piece polarized already at the premiere: The representation of exuberant effects, increased by the dramaturgy into a “mere frenzy”, was too much for the “tenderly nervous parts” of the Hamburg audience - and later also for others. In Vienna, any further performances after the performance on January 11, 1777 by Emperor Joseph II were banned. In 1780, Gottfried August Bürger wrote in a letter in response to Georg Christoph Lichtenberg's invitation to take on a role in his performance of the twins that for him there was no role in it, the language was "exaggerated" and "not a single natural character included". Nevertheless, he also attests to the piece "strong [...] and beautiful [...] parts in detail".

At the time of printing in 1776, the climax of the literary trend, nine important dramas by Sturm und Drang were published . For the young contemporary poets of Sturm und Drang, Klinger's drama expressed the stormy and powerful par excellence. Heinrich Christian Boie described it as “a piece full of strength and, as it seems to me, overpowering.” However, the significance of the piece for the strikers and drivers is most clearly demonstrated by its inclusion in Karl Philipp Moritz 's autobiographical novel Anton Reiser : “Well, Back then, Klinger first brought the twins (emphasis in the edition as blocking) to the theater, and of course presented them with all kinds of art [...]. This terrible piece made an extraordinary effect on Reisern - it affected all of his feelings, as it were. - Guelfo believed himself oppressed from the cradle onwards - he believes that too - he thought of all the humiliations and insults to which he had been constantly exposed from his earliest childhood [...]. ”The passage in the novel takes hold still further elements from Klinger's drama and transfers them to the protagonist Reiser.

construction

Even if the drama suggests a historical background through the description of the place and the events of a time of feuds in Italy, there are still some anachronisms in it, such as B. playing the piano and speaking. Klinger makes no effort to depict a Renaissance Italy; rather, the piece relates to the contemporary present.

The form of the drama corresponds to the specifications of the Ackermann competition: the Aristotelian drama is preserved in its units, which tends to contradict the other drama theories of Sturm und Drang, especially with regard to Shakespeare reception. Klinger's previous dramas Otto and The Suffering Woman are also much more dissolute and open. There is hardly any action in the drama or any action is only reported. The climax of the father's argument with his son Guelfo only takes place in Guelfo's story to Grimaldi, only the final scene in which old Guelfo stabs his son is shown on the stage. The focus of the play is on Guelfo, he is present in most of the scenes or, if he is absent, the topic of the conversations revolves around the behavior of Guelfo. In contrast to other tragedies, a solution to the conflict never seems to be possible here. The affect-representing action alternates between emotional lows and highs Guelfos, which are characterized by reconciliation and falling out scenes with his mother and father. Basically, the piece is pervaded by a melancholy, gloomy mood, which is characterized by premonitions and omens (e.g. the appearance of Ferdinando's ghost in the same place where he was killed a day later).

Interpretation and research history

The twins belong to the most and most differently interpreted dramas of Sturm und Drang. Basically, interpretations arguing biographically and intellectual history dominate. Biographically, primarily because Klinger himself describes his drama as a “work of youth, a true expression of passion” and includes it as the only one of his youthful works in the final edition. Under the influence that the work had on contemporary strikers and pushers, the aspect of the "power guy" Guelfo, who turns his natural, quick-tempered passion against the entrenched feudal order, came into the center of the drama’s interpretation. In the further course of history this was also connoted politically, so Guelfo's rebellion was seen, especially in the sense of a Marxist class struggle, as a rebellion against the nobility and against an unjust society.

But Klinger's statements themselves raise doubts about this one-sided interpretation: He distances himself from his own affective actions, he uses poetry and writing as therapy to get rid of these passions. Only the more recent research from 1945, especially the non-German, which is not under the ideological influence of the "German power guy", sees the pathological traits of Guelfo, who look critically at the rampant implementation of his passions, the helpless being driven by his feelings. Both interpretive approaches can, however, be substantiated in the text and, despite an apparent contradiction, could function together and communicatively. This contrast is immanent in Sturm und Drang itself and expresses itself in an allegorical sense in Werther and Götz, as well as Grimaldi and Guelfo as the poles of the rebellious, strong power guy who demands his natural right, and the people sinking into melancholy and resigned who are weak through its social ties.

Individual evidence

  1. ↑ Cf. Cornelia Blasberg: A "copying original". FM Klinger's tragedy The twins between the cult of genius and tradition. In: Yearbook of the German Schiller Society , vol. 38, 1994, pp. 39-64, ISSN  0070-4318 , p. 39.
  2. ↑ See Andreas Huyssen: Drama des Sturm und Drang. Commentary on an epoch. Winkler, Munich 1980, ISBN 3-538-07031-8 , p. 190.
  3. ↑ See Richard Quabius: Generation relationships in the storm and stress . Böhlau, Cologne / Vienna 1976, ISBN 3-412-03176-3 .
  4. ↑ See the publication: Stefanie Wenzel: The motif of the hostile brothers in the drama of the storm and urge. Lang, Frankfurt a. M. 1993, ISBN 3-631-46009-0 ( Marburg German Studies, Vol. 14).
  5. ^ Edward P. Harris / Anna Poeplau: Klinger. In: Wilhelm Kühlmann (Ed.): Killy Literature Lexicon. Authors and works from the German-speaking cultural area . 2., completely revised Ed., Volume 6 Huh - Kräf, de Gruyter, Berlin 2009, pp. 487–489, p. 488. The term “competition” is misleading for our current understanding, since the amount of 20 Louisdor is offered for all manuscripts that meet the specifications was; see also: Huyssen 1980: Since Julius von Tarent und die Zwillinge had two pieces with a similar theme, it was not possible to include both in the program and so in the end a competition emerged. The twins were added to the repertoire, Julius von Taranto initially not, but later - even more successfully - performed.
  6. ↑ Cf. Friedrich Maximilian Klinger: The twins. Parallel printing of the editions of 1776 and 1794 . Edited by Edward P. Harris, Ekhard Haack and Karl-Heinz Hartmann, in: Ders .: Works. Historical-critical complete edition. Edited by Sander L. Gilman et al., Vol. 2, Niemeyer, Tübingen 1997, ISBN 3-484-28047-6 ( Reprints of German literary works. New series, Vol. 47 ), p. XVII. See here for a detailed presentation of the history of its origins and transmission.
  7. ↑ Cf. Matthias Luserke : Sturm und Drang. Authors - texts - topics . Reclam, Stuttgart 1997, ISBN 978-3-15-017602-3 , p. 13f.
  8. ↑ See in detail: Cf. Max Rieger: Klinger in the Sturm und Drang period . Bergsträsser, Darmstadt 1880, pp. 87-89.
  9. ↑ See Blasberg 1994, p. 52f.
  10. ↑ Cf. Karl S. Guthke: Afterword. In: Friedrich Maximilian Klinger: The twins . Reclam, Stuttgart 1972, ISBN 978-3-15-000438-8 ( Reclams Universal-Bibliothek 438), pp. 67-79, p. 67.
  11. ↑ The table of contents follows the edition: Friedrich Maximilian Klinger: Die Zwillinge . Reclam, Stuttgart 1972, ISBN 978-3-15-000438-8 ( Reclams Universal-Bibliothek 438).
  12. ↑ Huyssen 1980, p. 190.
  13. ^ Johann Friedrich Schütze: Hamburg theater history . Hamburg 1794, p. 445.
  14. ↑ Quoted from Rieger 1880, p. 97.
  15. ↑ Cf. Volker Hoffmann: The twins. In: Kindlers Literature Lexicon . 3., completely reworked. Ed., Metzler, Stuttgart 2009, ISBN 978-3-476-04000-8 , p. 166.
  16. ↑ Quoted from Rieger 1880, p. 105.
  17. ^ Karl Philipp Moritz: Anton Reiser . Edited by Christof Wingertszahn, in: Ders .: Complete Works. Critical and annotated edition . Edited by Anneliese Klingenberg et al., Vol. 1, Part I: Text, Niemeyer, Tübingen 2006, ISBN 978-3-484-15701-9 , p. 292.
  18. ↑ See Rieger 1880, p. 89.
  19. ↑ See Christoph Hering: Friedrich Maximilian Klinger. The man of the world as a poet. De Gruyter, Berlin 1966, p. 63f.
  20. ↑ Quoted from: Max Rieger: Klinger in his maturity . Bergsträsser, Darmstadt 1896, letter book p. 127.
  21. ↑ See Guthke 1972, pp. 71f.
  22. ↑ It is reasonable to assume that Klinger's title, the twins, not only referred to the pair of brothers, but also to friends from the same social position and with a similar story of suffering. See also: Gert Mattenklott: Melancholie in der Dramatik des Sturm und Drang, Metzler, Stuttgart 1968, p. 77.
  23. ↑ See Huyssen 1980, pp. 190-202; see here also for a comprehensive presentation of the state of research on interpretation.

literature

Primary literature

  • Friedrich Maximilian Klinger: The twins. Parallel printing of the editions of 1776 and 1794. Ed. Edward P. Harris, Ekhard Haack and Karl-Heinz Hartmann. In: Ders .: Works. Historical-critical complete edition. Edited by Sander L. Gilman et al., Vol. 2. Niemeyer, Tübingen 1997, ISBN 3-484-28047-6 ( Reprints of German literary works. New series, Vol. 47 ).
  • Friedrich Maximilian Klinger: The twins. Reclam, Stuttgart 1972, ISBN 3-15-000438-1 ( Reclam's Universal Library 438).

Secondary literature

  • Cornelia Blasberg: A "copying original". FM Klinger's tragedy The twins between the cult of genius and tradition. In: Yearbook of the German Schiller Society. Vol. 38, 1994, ISSN  0070-4318 , pp. 39-64.
  • Karl S. Guthke: Afterword. In: Friedrich Maximilian Klinger: The twins . Reclam, Stuttgart 1972, ISBN 3-15-000438-1 ( Reclam's Universal Library 438), pp. 67-79.
  • Edward P. Harris: Four Pieces in One. The genesis of FM Klinger's Die Zwillinge. In: Journal for German Philology. No. 4, Vol. 101, 1982, pp. 481-495. (Edition history of the work, see also: Klinger: Die Zwillinge. Parallel printing of the editions of 1776 and 1794. )
  • Edward P. Harris, Anna Poeplau: Klinger. In: Wilhelm Kühlmann (Ed.): Killy Literature Lexicon. Authors and works from the German-speaking cultural area . 2., completely revised Edition Volume 6 Huh - Kräf, de Gruyter, Berlin 2009, ISBN 978-3-11-021393-5 , pp. 487-489.
  • Christoph Hering: Friedrich Maximilian Klinger. The man of the world as a poet. De Gruyter, Berlin 1966.
  • Volker Hoffmann: The twins. In: Kindlers Literature Lexicon . 3., completely reworked. Ed., Metzler, Stuttgart 2009, ISBN 978-3-476-04000-8 , pp. 166f.
  • Andreas Huyssen: Drama of Sturm und Drang. Commentary on an epoch. Winkler, Munich 1980, ISBN 3-538-07031-8 .
  • Britta Kallin: Taming or Exciting? On the function of the female characters in FM Klinger's Die Zwillinge. In: Lessing Yearbook. Vol. 35, 2003, ISSN  0075-8833 , pp. 223-243.
  • Matthias Luserke: Sturm und Drang. Authors - texts - topics . Reclam, Stuttgart 1997, ISBN 3-15-017602-6 .
  • Eva Merwald: The revival of the biblical Cain-Abel myth in the tragedy “The Twins” by FM Klinger . Viademica, Frankfurt (Oder) 1998, ISBN 3-932756-42-8 .
  • Richard Quabius: Generational relationships in Sturm und Drang . Böhlau, Cologne / Vienna 1976, ISBN 3-412-03176-3 .
  • Max Rieger: Klinger in the storm and stress period . Bergstrasse, Darmstadt 1880.
  • Stefanie Wenzel: The motif of the hostile brothers in the drama of Sturm und Drang. Lang, Frankfurt a. M. 1993, ISBN 3-631-46009-0 , pp. 86-122 (Marburg German Studies Vol. 14).

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