Horribilicribrifax Teutsch
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| Title: | Horribilicribrifax Teutsch |
| Genus: | Joke game, baroque comedy , comedy |
| Original language: | German (partly Italian, see the history section ) |
| Author: | Andreas Gryphius |
| Publishing year: | probably 1663 (undated); first dated print 1665 |
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Horribilicribrifax Teutsch (from Latin horribilis cribrum , so the terrible sieve [maker] , so the usual interpretation) is a joke game in five acts by Andreas Gryphius . The first edition appeared undated, probably 1663, under the title "ANDREÆ GRYPHII HORRIBILICRIBRIFAX Teutsch", although the story was written between 1647 and 1650.
"The beginning often fears what the end jokes about."
action
The first elevator
After a traveled by Wortvermengungen various foreign words and languages preface of Daradiridatumtarides over the alleged theft of this story is the first elevator primarily is to highlight the most important people their views on love in general and first sympathies as well as tensions between the characters.
For example, Capitain Daradiridatumtarides, “Windbreaker of a Thousand Murder”, and his servant Don Diego blaspheme Palladius, who, in his opinion, is wrongly in favor of Selene because he is interested in her.
Antonia and Selene plague money and famine , which is why Antonia plans to marry her daughter soon. She suggests all kinds of potential lovers to her, but to no avail.
Flaccilla and Sophia are in a similar situation, but originally come from a good family and a higher class . In the first act, Sophia pleads for faith and Christian teaching, which, in her opinion, is the only hope. The vanitas idea becomes clear here; also the doubts about such teachings that arose after the 30-year war , because her mother reacts skeptically.
Sempronius and Cyrilla finally also talk about love, but here the dialogues escalate into a comic communication problem for the first time (see #Comic ), at the end of which Sempronius finally manages to get Cyrilla to hand over a letter. He pays her two ducats in advance and also offers her to dress her again if the job goes well.
The second elevator
Initially, horrible scripture is deeply vulgar in various languages about the emperor, because he made peace with the Kingdom of Sweden beyond his knowledge .
Coelestina and Camilla meet for the first time on Horribilicribrifax. This is where the first conflict arises when Coelestina confronts Horribilicribrifax with her suspicion that he was just playing his love for her. However, he dismisses the allegations in horror, speaks himself more and more furiously and finally even offers her various, obviously dangerous acts to prove his love for her. Although she continues to seem averse, his page doesn't seem to be of much help to him either, as he appears here for the first time with fecal humor and defames his master with an embarrassing hunting story, which he initially disguises as a heroic story. Coelestina and Camilla are quite amused, but Horribilicribrifax insults his page and tries, ashamed, to save the situation by trying to persuade Coelestina to spend an evening together.
The two women then move on resolutely and meet Palladius, who seems to be insecure, indicating his feelings to Coelestina and continues to reveal his self-doubts that he is not worthy of her.
Afterwards, old Cyrilla manages to come past the maidservants disguised as a cloth dealer and give Coelestina the letter from Sempronius with a brief explanation. However, this leads to a Coelestina indignant Wutrede, Cyrilla as "Kuppelhure" and worse in which they denounced and even beat up in the wake of their pages, smeared with feces and can throw.
Afterwards, Cyrilla returns to her employer Sempronius in a pitiful state. Another illustrious dialogue, marked by misunderstandings, breaks out between the two. Again she mostly understands different dishes or again that she is a whore . In the end, however, she succeeds in telling Sempronius how she fared with Coelestina, whereupon, full of pity, he leads her into the warm house.
The third elevator
At the beginning of the third act, Palladius first complains to his servant Bonosus of his suffering. He can't explain why Selene doesn't seem interested in him, even though he is of high class. He blasphemed Daradiridatumtarides as a gossip and world-famous big liar.
After repeated, misleading exchanges , in which Cyrilla again predominantly understands "food" and "whore", Sempronius sends Cyrilla to Coelestina again.
For her part, Coelestina asks Camilla to speak to Palladius again for her in order to sound out her chances with him.
Shortly afterwards, the first big rhetorical exchange of blows breaks out in the form of a comical battle of words between Horribilicribrifax and Sempronius. Both try to duel each other intellectually, but in the process clumsily mix up different languages and commit time and again " swine " when choosing their technical terms and using grammar , which in turn appear awkward and funny. After Harpax advises them to get along and both have realized that they are rhetorically on the same level, the duel ends peacefully. At the end of the third act, Rabbi Isaschar also appears for the first and last time. The latter explains to Antonia the worthlessness of the chain that Daradiridatumtarides gave her daughter Selene as a present and which she wanted to move. In addition, he weighs his reputation with a boisterous rant about his dishonesty, because he owes him additional money.
The fourth elevator
In Act Four, Flacilla sells her daughter's hair to Cleander for a dozen ducats. He recognizes her from earlier times, when she still had money, takes pity and asks his servant Dionysius whether he still knows her daughter. He fervently tells him about the most beautiful and at the same time poorest Sophia. Cleander then immediately demands Sophia and, if she does not want to, even to deliver her to his court by force.
When Camilla Coelestina reports that Palladius intends to marry Fraulein Eudoxia, Coelestina mourns again that Palladius now seems out of reach for her.
There follows an amusing scene in which the visibly drunk Florianus meets Antonia and Selene. He has just come from a ceremony in the wake of the upcoming wedding of Coelestina and Marshal Palladius and is delighted to announce that he will marry his wife Rosinchen. Finally, Selene gives him a letter for Palladius.
Daradiridatumtarides also has to deal with Cyrilla's problems of understanding in act four. Again, a comic situation arises from the communication problem, which culminates again in the fact that Cyrilla complains about being scolded by everyone today as a whore.
The fifth elevator
The fifth act begins dramatically, Floranius brings Selene and Antonia a letter in which Palladius breaks the wedding. Selene then passed out.
When she meets Daradiridatumtarides at the gates of the city shortly afterwards and both realize that neither of the two is wearing the other's gift ( ring and necklace ), they argue about it. The argument escalates, and after Selene gives up the wedding on Antonia's recommendation, Daradiridatumtarides resigns, angry and offended in his pride. Selene announces that she wants to talk to Horribilicribrifax.
During this conversation Harpax is also present, who comes up with embarrassing stories about his master (→ compare #The second act ). Horribilicribrifax tries to save the situation this time by pretending that he only wants to know how to kill Daradiridatumtarides, and thereby loses himself in excessive exaggeration.
This is followed by the meeting of the two seemingly identical opponents, Daradiridatumtarides and Horribilicribrifax. First they threaten each other with more and more martial murder, then they seem to delight in listing their most glorious and glorious deeds. Suddenly, however, both notice that they know each other from earlier times and forget about the argument, the tensions ease. This regained friendship is immediately put to the test, because Dionysius challenges it to fight shortly afterwards. But instead of one of the two attacking, they prefer to get excited by asking the other with sarcastic politeness to attack their mutual opponent for the first time. Since neither of them seems to trust each other, Dionysius strikes and chases the two speakers away.
Sempronius and Cyrilla finally get together in the end and even decide to get married like the other couples.
In the final scene, after Sophia has been forcibly handed over to the court as ordered and prepared for the upcoming wedding, Dionysius and Camilla are promoted and the aged grand speakers Daradiridatumtarides and Horribilicribrifax are each assigned a small urban regiment .
Then the big wedding feast is prepared.
History of origin
The epilogue of Gerhard Dünnhaupt's edition shows that the origin of the content of this comedy could only be determined recently. Accordingly, Gryphius used an Italian model of one of the most famous Capitano actors of the Commedia dell'arte , Francesco Andreini (1550–1624) and his work “Le bavure del Capitano Spavento” ( Venice , 1607).
However, Gryphius has exaggeratedly doubled the title hero of the reference work by creating two completely equal opponents with Horribilicribrifax and Daradiridatumtarides, which also seem to be completely interchangeable in essence and only differ in phases because of the foreign languages they use.
structure
At first glance, the comedy is traditionally divided into five acts. The sequence of scenes, however, is actually a relatively loose series of variations on the seeming-to-be theme.
The various relationships between the characters appear diffuse at times and, above all, at the beginning, the individual characters appear again and again in new constellations in their own storylines, with only the title hero running through all five storylines as a connecting link.
The lovers finally find each other and at the end there is symbolic marriage, a typical outcome for a comedy .
Language and rhetoric
The language is certainly the most noticeable thing in this joke game. The high style of contemporary rhetoric is disturbed here by the interlingual blending of the most diverse languages ( Italian , French , Spanish , ancient Greek , Latin , Hebrew and a magic language of Cyrilla) and styles (sometimes wild insults alternate with often clumsy, false, high rhetorical figures) . Elaborate language is often hinted at, but in the next moment it alternates with simple insults and rabble-rousing phrases. The dialogues of Cyrilla and Harpax's malicious remarks regarding his master are only mentioned here as a few examples. Various sociolects and functiolects are also mixed within German . Gryphius here varies between minority languages , the legal language or the interplay of spoken and written German.
Comic
Similar to his recently published Peter Sequence (or Absurda Comica) , Gryphius also plays in "Horribilicribrifax" with the people's lack of command of foreign languages and technical terms . This can be observed most noticeably in the repeated motif of the uneducated dome whore Cyrilla. She tries to interpret any foreign language according to its wording , which creates amusing communication situations. For example, Sempronius tries to ask Cyrilla for a favor of delivering a sales letter to Coelestina. Due to their lack of language skills and the fact that some languages are mixed up (see #Language and rhetoric ), however, this usually understands sentences that are in the context of the word "whore".
The servants of Horribilicribrifax and Daradiridatumtarides also form another humorous element. According to the tradition of the Trappola role, they try to imitate the pseudo-sovereign handling of their respective role models in order to simultaneously criticize them with (sometimes defamatory) sarcastic marginal remarks about their actions.
Intention and criticism
Regarding the name Horrbilicribrifax goes another theory assumes that the title describes not only the name of the protagonist, but also free translated it as (lat. Horribilis scribrifax, so) terrible hack denounced.
During the Thirty Years' War , the mercenary occupations in large parts of Germany led to a mix of languages.
This was a controversial topic among scholars at the time, and this is where Gryphius seems to come in. Be it to criticize this debate, or simply to caricature it and thus instrumentalize it as the leitmotif of his joke game; opinions differ here. There is no doubt that this topic, which was widely discussed at the time, contributed to the success of the work, as it can still be perceived as topical today in times of everyday intercultural understanding .
expenditure
- Andreas Gryphius: Horribilicribrifax Teutsch (= Reclams Universal Library . No. 688). Edited by Gerhard Dünnhaupt . Reclam, Stuttgart 2013, ISBN 978-3-15-000688-7 (Biograph. Supplementary edition. 2002).
Web links
- Horribilicribrifax Teutsch. In: Project Gutenberg-DE
- The literature of the 17th century - 9th comedies - 9.2 Andreas Gryphius: Horribilicribrifax ( Memento of June 11, 2007 in the Internet Archive ), pp. 2–4. In: literaturwissenschaft-online.uni-kiel.de. 2006, accessed on March 28, 2017 (PDF; 38 kB).
- Alexander Nebrig: Mixture of languages and arrogance. On the ethics of "barbarolexis" in Andreas Gryphius' "Horribilicribrifax Teutsch". In: komparatistik-online.de. 2014 (PDF; 275 kB)
Individual evidence
- ↑ Andreas Gryphius on the beginning. In: gutzitiert.de, accessed on March 28, 2017.