Gustav Wasa (Brentano)

from Wikipedia, the free encyclopedia
Clemens Brentano
(1778-1842)

Gustav Wasa is a literary satire by Clemens Brentano , written in 1798, in the early summer of 1800 under the title “Satires and poetic games by Maria. First ribbon. Gustav Wasa ”was published by Wilhelm Rein in Leipzig as the author's first book.

Kotzebue

In his farce, Brentano satirized two pieces by the then popular German playwright August von Kotzebue ; the comedy "The Hyperborean donkey" and the play "Gustav Wasa" . By dedicating the latter piece to the editors of the Athenaeum , Kotzebue attacks Schlegel . He had known himself as the Hyperborean - as one who sacrificed Donkey to Apollo so that the god could delight in the wondrous leaps of these animals. Kotzebue has a certain Karl appear in his play, by whom he means Friedrich Schlegel . At the end of the play, Karl is sent to the madhouse.

Wasa

Brentano uses a few episodes from the youth of his title hero Gustav Wasa . The action begins at the beginning of 1520, when Wasa, who has already been accommodated in Hollstein for six months by Lübeck's mayor Nikolaus Brömse , wants to leave for her native Sweden. In the fight against the Danish king Christiern , Gustav Wasa was taken prisoner from which he had managed to escape.

Otherwise there is an encounter with Margaretha Löwenhaupt , one of his later wives, and another liberation campaign, this time initiated and personally carried out by his dear sister Margaretha Wasa.

content

Page 58 of the Hyperborean donkey

Brentano takes the prince, Baron von Kreuz, his daughter Malchen and Frau von Berg into the scene from Kotzebue's play. The prince invites the baron and his family to the residence. Kotzebue will perform his comedy “Gustav Wasa” there in honor of Hansen's wedding. Hans, the son of Frau von Berg's and Malchen's bridegroom, fears that he will not understand the comedy. The prince, who wants to appoint Hans head forester, dispels the concerns. You drive into the residence in the prince's hunting cart pulled by the donkey. The prince rides the donkey.

A library

The playwright Seneka thinks that the "damn comedies" disrupted the peace of the house in the library. Tertullian and Ovid dismiss the comedy as a sweet drink. The hyperborean donkey calms the Roman poets: Kotzebue will "have a lot of fun" at Gustav Wasa . Kotzebue's pieces, children of a folk poet, including “ Misanthropy and Remorse ”, speak up and immediately object. It's all about being funny. Valerius Maximus , Saint Cyprian , Properz , Minutius Felix , Cicero and Julian Apostata - author of the Barthasser - but take the Roman side. A chat - Prince de Conty - is replaced by a librarian. A book under the librarian's arm, a volume entitled “Swedish History”, mocks Kotzebue's handling of the sources. Suddenly “ Schiller's Glocke ”, Woldemar and Jakob Böhm also have their say.

Public places

The path to the inner theater leads the viewer through a public garden , a moss hut , an inn and the outer theater . Monsieur Subscription, Brentano calls him Abon, is bored in the public garden and hopes for amusement from Mr Betedoux, a wage lakay called Lakay. To pass the time, Schlegel's “ Lucinde ” and the allegedly unpoetic “Prince Zerbino” are criticized by Tieck . Without further ado, the cord is twisted for the innocent subscriber. After the crime, the Lakay carelessly pulls his etiquette out of his pocket and looks up how to deal with the hanged man. Baron von Kreuz passes the inn. In the dining room people talk badly about the Kotzebueschen pieces. They should be performed in the dark. The subscription is hanging on the theater. The hanged man can even speak. In the boxes of the theater, petite women and also the Baron von Kreuz with an attachment - "people of the country" - are welcomed by the box spirits. A little pure German poet is mentioned - JP Richter . With Brentano the columns, the walls, arabesques and the whole building have their say. Female viewers have expectations. There should be something to laugh about. One would like to be seen and moved with sufficient lighting.

First elevator

In a village near Lübeck, Gustav Wasa has been in hiding for months as an ox boy. Erich Banner, sent by the Danish King, is coming. He should catch the convict. Gustav and the Lübeck mayor persuade the nobleman to change his mind so that the envoy weeps over Sweden's difficult fate. Gustav is allowed to sail home with a good skipper. The Swedish army is waiting for him there.

This swing is even too much for the theater spirit:

Good for the house!
Hail the break!

he exclaims.

The performer bass violin is asked to give the storm a little support during Gustav Va's crossing. Kotzebue, the author of the piece, blames the symphony for some cases of illness in the audience immediately before the first act. Narrow-mindedness is rampant.

second elevator

When Gustav lands in Sweden accompanied by the mayor of Lübeck, he is greeted by Margaretha Löwenhaupt:

Here I am promised you for the second time
And I firmly hope that in a few weeks
You smelled your fatherland in Christian.

The followers grumble:

With such delicately poetic speeches
Let's not free Sweden by God.

...

On! let's go on gathering an army
And stop stammering so sweetly.

The place of action changes. In Kolmar , Margaretha Wasa frees her brother from a dungeon. Margaretha is not squeamish about the enemy during the act:

You can buy your death here!
If you have the mind to follow
So I'm going to blow up the magazine.

Kotzebue is happy because a councilor likes the piece. The bass violin has to ground the grumbling of the Swedish people about the tyrants of Christians. The second part of the symphony cannot be performed because someone who fell ill with the first part died. Instead of straining your ears, you now want to strain your noses and sprinkle Arabic smoke powder. Talia regrets the author, whose conscience torments him because he let Mr. Abon untied.

third elevator

Gustav Wasa sleeps last. The "author of this farce" must entertain the audience:

Quietly! silence! beloved gentlemen,
You yawning here in colorful rows ...

This is the calm before the storm. The author, this “terrified poet”, feels threatened. "Heavy Lerm" is approaching. He's got that from his simplicity! He wrote everything down and had it performed. The "people" and "people" take the hanged Mr. Abon down, carry him into a "death house" and "fall asleep over the Wasa".

Quote

  • The librarian: "Ew'ge will never be worn out."

shape

Brentano contaminates Kotzebue; sometimes brazenly rewrote his creations in Knittelverse . Dead objects have their say. For example, the lamp says: “Let's take a look at the person.” Gustav Wasa talked about Louis Capet , a person who was not yet born. Of course, the piece is teeming with forms that are now unusual. For example, Gustav Wasa says: "And that's why I smelled myself."

Testimonials

  • Weimar in July 1798: In a letter to Heinrich Remigius Sauerländer Brentano announces a "satire against Kotzebue and his donkey".
  • Marburg, May 1802: Brentano thanks his sister Bettina for praising the piece. He thinks this is not justified.

reception

  • Early romanticism in Jena
    • Friedrich Schlegel told his brother that you couldn't laugh at the piece.
    • Dorothea Schlegel wrote to Schleiermacher on June 16, 1800 , that the farce, written in Tieck's manner, was “heartily stupid and mad”.
    • Pfeiffer-Belli criticizes Brentano's dogged satirical efforts. The "joke flowers" are "mostly wanted and unpleasant". The young Brentano wanted to approach the “ Jenenser intellectual greats ” with the piece “trustingly” . The approach of the "fool and fellow traveler" failed. According to Riley, the piece is "neither witty nor entertaining".
    • According to Schulz, Kotzebues and Brentanos pieces have one thing in common - Schlegel and his early romanticists from Jena are mocked.
    • Schulz portrays the young Brentano as Teck's imitator.
  • Innuendo
    • What is meant in Brentano's text is difficult to grasp for the reader in the 21st century. For example, the “people” say: “We have already read that about the Mahomet .” Goethe's translation of Voltaire's play came out two years after the Wasa . Or the “author” regrets: “The tragedy Octavia will not be performed next, which was anonymously sent in from Berlin for assessment because it could not be appreciated.” At every turn the reader encounters apparently sunken, difficult to retrieve knowledge.
    • Tertullian quotes from his treatise on Roman gaming and Julian the Apostate from his Barthasser .
    • Schulz emphasizes the overflowing wit and the associated opacity of the piece in places. He quotes a saying that is attributed to Marianne von Willemer . Brentano has no imagination at all, it has it.
  • fun
    • According to Schultz, the court centaur is probably a portrait of Hufeland and humanity a portrait of Herder .
  • Further leading
    • Riley names works by J. Kotzur (dissertation Breslau 1932), F. Kemp (Munich 1966), M. Thalmann (Berlin 1974), W. Bellmann and H. Schultz.

expenditure

  • Wolfgang Frühwald (Ed.), Friedhelm Kemp (Ed.): Clemens Brentano, Works, Volume IV - Drama . Contains: Gustav Wasa, Ponce de Leon, Die Lustigen Musikanten, Aloys and Imelde (prose version) and The Foundation of Prags. 960 pages. Carl Hanser. 3rd edition January 1, 1966, ISBN 978-3-446-12654-1

literature

  • Wolfgang Pfeiffer-Belli: Clemens Brentano. A romantic poet's life. 214 pages. Herder publishing house, Freiburg im Breisgau 1947. Direction de l'Education Publique GMZFO
  • Werner Vordtriede (ed.): Clemens Brentano. The poet about his work. 324 pages. dtv Munich 1978 (© 1970 Heimeran Verlag Munich), ISBN 3-423-06089-1
  • Konrad Feilchenfeldt : Brentano Chronicle. Data on life and work. With illustrations. 207 pages. Carl Hanser, Munich 1978. Series Hanser Chroniken, ISBN 3-446-12637-6
  • Werner Bellmann : “'Bedlam' and 'Kasperle' on the literary Schützenplatz in Jena. On Brentano's early satirical work “[esp. to the drama 'Gustav Wasa']. In: Aurora. Yearbook of the Eichendorff Society , year 42 (1982) pp. 166–177.
  • Hartwig Schultz : Brentano's '' Gustav Wasa '' and his hidden creation story of romantic poetry. In: Clemens Brentano. Contributions to the Colloquium in the Free German High Foundation 1978 . Edited by Detlev Lüders. Tübingen 1980. pp. 295-330.
  • Werner Bellmann: An unknown self-disclosure by Brentano on "Gustav Wasa". In: Clemens Brentano. Contributions to the Colloquium in the Free German High Foundation 1978 . Edited by Detlev Lüders. Tübingen 1980. pp. 331-333.
  • Werner Bellmann: A commentary on Brentano's "Gustav Wasa". In: Aurora. Year of the Eichendorff Society , Volume 47 (1987) pp. 176-178.
  • Helene M. Kastinger Riley : Clemens Brentano. Metzler Collection, Vol. 213. Stuttgart 1985. 166 pages, ISBN 3-476-10213-0
  • Gerhard Schulz : The German literature between the French Revolution and the restoration. Part 1. The Age of the French Revolution: 1789–1806. 763 pages. Munich 1983, ISBN 3-406-00727-9
  • Hartwig Schultz: Clemens Brentano. With 20 illustrations. 224 pages. Reclam Stuttgart 1999. Series of literature studies. Universal Library No. 17614, ISBN 3-15-017614-X

Quoted text edition

  • Hartwig Schultz (Ed.): Gustav Wasa. Pp. 1–180 in Jürgen Behrens / Wolfgang Frühwald / Detlev Lüders (ed.): Clemens Brentano. All works and letters. Volume 12. Dramas I. 970 pages. Linen. W. Kohlhammer, Stuttgart 1982, ISBN 3-17-007043-6

Web links

Individual evidence

“Source” means the quoted text output in the form (page, line from above).

  1. Riley, p. 130, 12. Zvu
  2. ^ Vordtriede, p. 87, 4th Zvo
  3. Feilchenfeldt, p. 26, entry "at the latest before July 29th" 1800
  4. Kotzebue: The Hyperborean donkey: appropriation
  5. Riley, p. 130 below to p. 131 above
  6. ^ Riley, p. 131, 8th to 14th Zvo
  7. Kotzebue: The Hyperborean donkey: people
  8. Kotzebue: The Hyperborean donkey: The prince sends Karl to the madhouse
  9. Brentano also calls him Kristian (source, p. 117, 3rd line)
  10. Source, p. 99, 12th line.
  11. Source, p. 119, 14th line.
  12. ^ Source, p. 137, 1st line.
  13. 138, 15th Z. and 23rd Z.
  14. Source, p. 144, 13th line.
  15. Source, p. 159, 6th line.
  16. Source p. 168 middle and p. 169, 20. Z.
  17. Source, pp. 23,13
  18. ^ Riley, p. 130 middle and p. 131, 10th Zvu
  19. Source, p. 102, 4th line.
  20. Source, p. 105, 4th line.
  21. Source, p. 117, Z. 13 (today: avenge - avenged)
  22. ^ Vordtriede, p. 87, first note
  23. ^ Vordtriede, p. 87, second note
  24. ^ Riley, p. 154, 5th Zvu
  25. ^ Vordtriede, pp. 88/89
  26. Pfeiffer-Belli, p. 61 top to p. 62 middle
  27. Riley, 132, 3rd Zvu
  28. Schulz, p. 546, 25. Zvo
  29. Schulz, p. 546, 17. Zvo
  30. Source, p. 161, 7th line.
  31. Source, p. 164, 6th line.
  32. Riley, p. 132, 4. Zvo
  33. Schulz, p. 546, 4th Zvu
  34. Schultz anno 1999, p. 154 middle
  35. ^ Riley, p. 141, first entry