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Franz Grillparzer was not a man of extravagance either in phrase or conduct. His life as an individual and artist is marked by a reticence, an aversion to the unveiling of the inner SOul,1 that is perhaps best matched by the concise style and expression of his works. This art of effective restraint is particularly visible in the dramas where often a single word or indeed an utter silence carries the greatest emotional impact. There is an absolute lack of sound and fury signifying nothing; even in the frenzy of inspiration 2 Grillparzer carefully chooses words that best convey his thoughts and for purely emotional release he turns to another medium which he sharply distinguished from poetry: to music. If this poet then who knows no empty phrases applies terms like 'betrothed of the gods',3 'mother of all greatness',4 'mighty 5 lever of the universe', 'messenger of divine happiness'6 to one and the same concept at different times, we may assume that he here expresses something deeply anchored in his being. And indeed, the motif of concentration ('Sammlung') and inspiration ('Begeisterung') is one that we meet again and again in the poetry, the diaries and the dramas. This emotional state is at all times highly revered and greatly sought by the poet - it is, in fact, made a condition of creative productivity and, as the years pass, finally develops into a condition of life itself in the prophecy of 'Libussa'.
In this first comprehensive survey of criticism on Grillparzer, Dr. Roe highlights the main areas of critical debate and provides a chronological account of the major trends and developments: through periods of misunderstanding and neglect or of political appropriation in the cause of Nazism or Austrian nationalism, and through recent decades dominated by various schools of thought, whether sociological or psychoanalytical. The book will be of interest to scholars and students of Austrian and European literature, Austrian culture, and literary theory and criticism.
Figuring the Female explores language as a cultural document for an intervention into the ways that female alterity is framed in the ancient world. Grillparzer creates a new way of being that is primarily discursive in which the once unintelligible female figure may be known and heard.
This volume brings together fifteen essays by scholars which were first presented at a conference held in Oxford in September 1997 to mark the bicentenary of Schubert's birth. This collection of essays examines a variety of aspects of cultural and social life in Austria in the first half of the nineteenth century but also explores the perpetuating of myths and stereotypes derived from those years and the ways in which the Biedermeier period continued to influence later generations, not least in their repeated attempts to create an image of the good old days based on the age of Schubert before the chaos of the 1848 revolution and the construction of the RingstraBe. Major figures from literature and culture are well represented (Grillparzer, Nestroy, Stifter, Bauernfeld) but an important focus of the volume is on lesser known writers who were responsible for the creation of the Biedermeier myth: Frankl, Bartsch, Lux and others. A further group of essays is concerned with general topics such as Austrian identity, the existence of a specifically Austrian strand of philosophy, and changing attitudes towards nature.
In Grillparzer's Libussa William Reeve provides an important interpretation of a work that has received little detailed attention from European and American critics. The play has been dealt with in a broader context in numerous monograph-length overviews or introductions to Grillparzer, but this is the first time that it has received the careful consideration it deserves.
Reeve provides a detailed discussion of Klesel's importance in Ein Bruderzwist in Habsburg and examines possible predecessors for the Federfuchser: Wurm from Friedrich von Schiller's Kabale und Liebe, the Sekretär in Johann Wolfgang von Goethe's Die natürliche Tochter, and Leonhard in Friedrich Hebbel's Maria Magdalene. He focuses on the features they share, such as deep-seated resentment of social superiors who, by a mere accident of birth, have power over them and, above all, the cunning that they use to overcome their social disqualifications.
A study of songs composed by Schubert in the final six years of his life.
The Plays of Grillparzer presents a compilation of the works of Franz Grillparzer, a famous Austrian dramatist, with emphasis on the significant features of his dramatic technique. This book presents some generalizations about what characterizes his tragedies and makes them effective. Comprised of five chapters, this book starts with an overview of Grillparzer's two plays for the popular stage, namely, Die Ahnfrau (1897) and Der Traum ein Leben (1834). This text then reviews the characteristics of Grillparzer's Greek tragedies wherein he prefers direct action to narrative. Other chapters examine the classic spirit of his second poetic drama, Sappho, which is characterized as halfway between a tragedy of fate and a tragedy of character. The final chapter examines the characterization in Grillparzer's third play, Libussa, wherein he uses an unusual extent to explain a situation, or the speaker's plans and emotions. This book is a valuable resource for readers who are interested in Franz Grillparzer's works.