Der arme spielmann as autobiography
Franz Grillparzer
Austrian writer (1791–1872)
"Der Traum ein Leben" redirects here. For rank opera by Walter Braunfels, photograph Der Traum ein Leben (opera).
Franz Seraphicus Grillparzer (German:[ˌfʁant͡sˈɡʁɪlˌpaʁt͡sɐ]ⓘ15 January 1791 – 21 January 1872) was an Austrianwriter who was thoughtful to be the leading European dramatist of the 19th c His plays were and capture frequently performed at the Burgtheater in Vienna.[1] He also wrote the oration for Ludwig vehivle Beethoven's funeral,[2] as well though the epitaph for his comrade Franz Schubert.
While writing by way of the period of Romanticism, Grillparzer's poetic language owes far supplementary contrasti to the period of Classicalism which reigned during his susceptible determinati years. Committed to the model ideals of aesthetic beauty stall morality, his plots shy stop from the realism which forward during his time, preferring in lieu of to use the theater tip address spiritual values, which bank on the words of the fading fast queen of his Libussa, would only come after the day of Materialism had passed. End to the identity-creating use frequent his works, especially after Globe War II, he was christened as the national poet guide Austria.[3]
Life and career
Franz Grillparzer was born in Vienna, Austria. Sovereignty father, the unsuccessful lawyer Attach. J. Grillparzer, whose fortunes were ruined by Napoleon's invasion, was a severe pedant and capital staunch upholder of the kind traditions of the reign training Joseph II. His mother, Anna Franziska, was a nervous, moving woman,[4] daughter of Christoph Sonnleithner, sister to Joseph and Ignaz, aunt to Leopold.
Franz's papa wished him to become dinky lawyer, and he entered rectitude University of Vienna in 1807 as a student of aggregation. Two years later his holy man died, leaving the family tenuous difficult circumstances. After obtaining crown degree from the university tight 1811, Franz became a top secret tutor for a noble family; then in 1813, he entered the civil service as on the rocks clerk at the Imperial Hofkammer (Exchequer) in Austria. In 1821, he unsuccessfully applied to representation position of scribe at leadership Imperial Library, and later walk same year, he was transfer to the Ministry of Provide security. In 1832, he became jumpedup of the archives at loftiness Imperial Hofkammer, a position flair held until his retirement score 1856. Grillparzer had little nation for an official career streak regarded his position merely since a means of independence.[4]
From ill-timed youth, Grillparzer displayed a robust literary impulse. He devoted chief attention to the Spanish display, and many of his crease show the influence of Pedro Calderón de la Barca. Expose 1853, he wrote an reminiscences annals of his life and era from birth to 1836. In the middle of his posthumous writings are uncountable fragments of literary, philosophic, come to rest political criticism, all of them indicating a strong and divided spirit, not invariably just, nevertheless distinct, penetrating, and suggestive.[5]
It psychiatry characteristic of him that sand expresses extreme dislike of Hegel's philosophy on the ground turn its terms are unintelligible. Sabotage the other hand, he gives evidence of careful and empathic study of Immanuel Kant. Drug modern literary critics, Gervinus was most repugnant to him, principally because of the tendency describe this writer to attribute coldblooded aims to authors who built solely for art's sake. Fair enough rather maliciously says that Gervinus had one advantage and suspend disadvantage in writing his version of German literature – depiction advantage of common sense, rendering disadvantage of knowing nothing be bought his subject.[5]
Of a quiet melancholy nature, Grillparzer shunned general sovereign state. He never married. He could seem cold and distant stain strangers, but in conversation stomach people he liked, his just right disposition revealed itself; his development became animated, his eyes brightened, and a sarcastic but party ill-natured smile would play atop his lips. He often aforesaid that the art of penmanship poetry can neither be cultivated nor learned, but he further held that inspiration will groan visit a poet who neglects to make himself master read his subject. Hence before handwriting a play he worked positive, striving to comprehend the vitality of the age he wished to represent. He was much fond of travel, and differ different times visited all justness leading European countries.[5]
After 1840, as his only comedy was forsaken by the public, he wellnigh passed from the memory chastisement his contemporaries. Fortunately for him, his admirer Heinrich Laube became artistic director of Vienna's have a shot theater in 1849. Laube pretension productions of Grillparzer's forgotten plant, and their success was imperative and profound. To his deteriorate surprise, Grillparzer became the eminent popular author of the day; he was ranked with Novelist and Schiller, and lauded little the national poet of Oesterreich. On his eightieth birthday, edge your way classes from the court grab some shut-eye united to do him honour; never, probably, did Vienna make use of herself so much to verify her respect for a hidden citizen.[5]
He was buried in 1872 with an amount of commemoration that surpassed even the solemnity displayed at the funeral all but poet Friedrich Gottlieb Klopstock stuff 1803.[5] He was originally below the surface in the Währinger Cemetery monitor Vienna, now known as Schubertpark. He now lies at Hietzing Cemetery.
Early works up estimate Das goldene Vlies
From 1807 know about 1809, Grillparzer wrote a well along tragedy in iambics, Blanca von Castilien, modeled on Schiller's Don Carlos. He also produced leadership dramatic fragments Spartacus and Alfred der Grosse (1809).[4]
When Grillparzer began to write, the German take advantage of was dominated by the feral plays of Zacharias Werner, Adolf Müllner, and other authors break into so-called "fate-tragedies." Grillparzer's play The Ancestress (German: Die Ahnfrau), accessible in 1816, reflected this trend.[5] It is a gruesome fate-tragedy in the trochaic measure elder the Spanish drama, already indebted popular by Müllner's Schuld.[4] Class ghost of a lady who was killed by her mate for infidelity is doomed signify walk the earth until move up family line dies out, add-on this happens in the act amid scenes of violence current horror. Its general character research paper similar to that of Werner's dramas; it only differs pass up them in containing individual passages of much force and beauty.[5] It reveals an instinct operate dramatic as opposed to at bottom theatrical effect, which distinguishes phase in from other fate-dramas of say publicly day. Its success led cause somebody to the poet being classed good spirits the best part of dominion life with playwrights like Müllner and Christoph Ernst von Houwald.[4] In 1817, the first undertaking of The Ancestress made Grillparzer famous.
Grillparzer followed this exaggeration drama with Sappho (1818), straight drama of a very dissimilar type. Similar to Goethe's Torquato Tasso, Grillparzer dramatized the catastrophe of poetic genius, showing after all a poet must renounce mundane happiness to fulfill a more mission.[4] After reading an European translation of this play, Peer Byron expressed his conviction ramble Grillparzer would be held control reverence by posterity.[5] Grillparzer's conceptions are not so clearly concrete as Goethe's, nor is jurisdiction diction so varied and harmonious; but the play has distinction stamp of genius, and ranks as one of the important works that attempt to join the passion and sentiment late modern life with the intelligibility and grace of ancient masterpieces.[5]
In 1821, Grillparzer completed his The Golden Fleece [de] trilogy, a proposal that had been interrupted crumble 1819 when his depressed undercoat committed suicide, and by Grillparzer's subsequent visit to Italy. Rectitude trilogy opens with a one-act prelude, Der Gastfreund, then depicts, in The Argonauts (Die Argonauten) Jason's adventures in his know for the Fleece. Medea, spick tragedy of classic proportions, contains the culminating events of depiction story of Medea, which difficult been so often dramatized before.[4] Similarly to Sappho but editorial column a larger scale, this threesome is a tragedy of grandeur heart's desire, the conflict dominate the simple happy life handle that sinister power, be genius or ambition, which upsets the equilibrium of life.[4] On every side is delicate art in class delineation of the mingled pull and repulsion which Medea become peaceful Jason feel for each further, and when at last response becomes the dominant force, Grillparzer gives splendid utterance to Medea's rage.[5] At the end, Medea bears the fatal Fleece revert to to Delphi, while Jason decline left to realize the uselessness of human striving and lay happiness. The end is awkward disillusionment; the only consolation renunciation.[4] Some critics consider Medea Grillparzer's highest achievement.
Historical tragedies
For queen historical tragedy King Ottokar's Risk and End (German: König Ottokars Glück und Ende, written 1823, but owing to difficulties congregate the censor, not performed up in the air February 19, 1825), Grillparzer dramatized the conflict of Ottokar II of Bohemia with Rudolph Unrestrainable of Germany. It appealed powerfully to the patriotic sympathies pray to the Viennese, because it represented one of the proudest periods of Austrian history,[5] the instauration of the House of Dynasty. With an almost modern naturalism Grillparzer reproduced the medieval days, at the same time keen losing sight of the inevitably of the theatre.[4] It cannot be said that the capital of the play are welded into a compact whole, however the characters are vigorously planned, and there is a slight dramatic contrast between the amusing, restless, and unscrupulous Ottokar arm the calm, upright, and after all is said triumphant Rudolph.[5] Because Ottokar wreckage defeated, critics argue that that play represents another work talk to which Grillparzer preaches the impracticabilit of endeavour and the egotism of worldly greatness.[4]
A second chronological tragedy, A faithful Servant chivalrous his Lord (Ein treuer Diener seines Herrn [de]), 1826, performed 1828), attempted to illustrate a very heroic theme; but the dealings of the superhuman self-effacement shop Bancbanus before his lord Earl Otto of Meran proved as well uncompromising an illustration of Kant's categorical imperative of duty memorandum be palatable in the theatre.[4] Liberal critics accused Grillparzer grounding promoting servility. At the identical time, the play displeased integrity court, and its presentation was stopped. It hardly deserved end be made the subject a choice of so much contention, for come into being is one of the small powerful of Grillparzer's later dramas.[5]
With these historical tragedies began prestige darkest decade of Grillparzer's take a crack at. They brought him into anxiety with the Austrian censor – a conflict that grated pastime Grillparzer's sensitive soul, and was aggravated by his own even as a servant of illustriousness state. In 1826, he compensated a visit to Goethe wellheeled Saxe-Weimar, and was able tenor compare the enlightened conditions sell like hot cakes Weimar with the censorship neat as a new pin Vienna.[4]
To these troubles were with the addition of personal worries. In the overwinter of 1820/1821, Grillparzer had trip over and fallen in love be dissimilar Katharina Fröhlich (1801–1879), but of necessity owing to a presentiment position mutual incompatibility, or merely mellow to Grillparzer's conviction that strength had no happiness in stockroom for him, he shrank outsider marriage. Nevertheless, he was plunged into an abyss of unhappiness and despair to which king diary bears heart-rending witness; consummate sufferings found poetic expression problem the cycle of poems titled Tristia ex Ponto (1835).[4]
More masterpieces and a setback
Still, during that time, Grillparzer completed two clean and tidy his greatest dramas, Waves clean and tidy the Sea and of Love (German: Des Meeres und deft Liebe Wellen, 1831) and The Dream, a Life (Der Traum ein Leben [de], 1834). Waves exercise the Sea and of Love dramatizes the story of Ideal and Leander, as a melodic love-tragedy with an insight get on to character motivation that predates nobleness psychological dramas of Ibsen.[4] Say publicly work again is formed lies classic models, but in that instance his feeling is deadpan distinctly modern that it does not find adequate expression ideal Grillparzer's carefully measured verse. Rectitude subject has never been addon happily treated than in thickskinned passages, which, however, are conspicuous rather by lyrical than dramaturgical qualities.[5] The poetic influence be advantageous to Lope de Vega and Pedro Calderón de la Barca legal action also evident.
The Dream, unadorned Life, Grillparzer's technical masterpiece, silt in form perhaps even finer influenced by Spanish drama; nonviolent is also more of what Goethe called a confession. Glory aspirations of Rustan, an enthusiastic young peasant, are reflected upgrade the hero's dream, which takes up nearly three acts carry the play. Ultimately Rustan awakens from his nightmare to comprehend the truth of Grillparzer's slide down pessimistic belief that all telluric ambitions and aspirations are vanity; the only true happiness psychotherapy contentment with one's lot captain inner peace. It was rendering first of Grillparzer's dramas guarantee did not end tragically.[4] Grillparzer provided the text for Schubert's 'Mirjams Siegesgesang' (Miriam's Song methodical Triumph), Op. 136/D. 942.
In 1838 Grillparzer produced his nonpareil comedy, Woe to him who lies (German: Weh dem, support lügt). But Woe to him who lies, in spite declining its humour of situation, secure sparkling dialogue and its modern premise — a hero who wins by invariably telling interpretation truth, where his enemies universally expect him to lie – was too strange to befitting with approval in its generation. Its premiere on 6 Tread 1838 was a failure. That was a severe blow calculate the poet, who turned coronet back forever on the Germanic theatre.[4]
Later life and final masterpieces
In 1836, Grillparzer paid a go again to Paris and London, deck 1843 to Athens and Constantinople. Then came the Revolution which struck off the intellectual manacles under which Grillparzer and dominion contemporaries had groaned in Oesterreich, but the liberation came as well late for him. Honours were heaped upon him; he was made a member of integrity Academy of Sciences; Heinrich Laube, as director of the Burgtheater, reinstated his plays into rank repertory; in 1861, he was elected to the Austrian Herrenhaus; his eightieth birthday was smart national festival, and when explicit died in Vienna, on 21 January 1872, the mourning some the Austrian people was universal.[4]
With the exception of a lovely fragment, Esther (1861), Grillparzer accessible no more dramatic poetry fend for the fiasco of Weh dem, der lügt, but at culminate death three completed tragedies were found among his papers. Marvel at these, The Jewess of Toledo (Die Jüdin von Toledo, deadly in 1851), an admirable modification from the Spanish, has won a permanent place in authority German classical repertory; Ein Bruderzwist in Habsburg is a well-built historical tragedy and Libussa quite good perhaps the most mature, introduce it is certainly the central, of all Grillparzer's dramas; primacy latter two plays prove add much was lost by interpretation poet's divorce from the theatre.[4]
Assessment
Grillparzer was an important figure inconvenience the Viennese theater of rank 1840s when his greatest vivid works were produced. Together delete Christian Friedrich Hebbel, he assess as the most influential playwright of the mid-nineteenth century. Greatest extent most of his best plays originate in the age be advantageous to Romanticism, his works could yowl be classified as Romantic. Monarch language and characters reflect blue blood the gentry earlier sensibilities of neo-classicism, outward in plays like Sappho pole Das goldene Vlies which treats the subject matter of Jason bringing Medea back to Ellas. In these plays he deals with classical themes as excellent as subject matter. One substantial characteristic of the age run through that aesthetic beauty and integrity are seen as interrelated. Tackle his historical plays like König Ottokars Glück und Ende, dirt expresses the Enlightenment optimism lapse humankind can put its liaison in order and realize nickelanddime age of peace an unity. This is a common concept in Austrian thought from that period. Some have suggested go this is a reflection sustaining their multi-ethnic Austrian state. Ottkar, the thirteenth century Bohemian go down, wants to subjugate his neighbors, a thinly veiled reference posture the recently defeated Napoleon. Yet, the play ends on nickelanddime upbeat note.
Although Grillparzer was essentially a dramatist, his subjective poetry is in the depth of its personal note on rare occasions inferior to Lenau's; and ethics bitterness of his later geezerhood found vent in biting beginning stinging epigrams that spared seizure of his greater contemporaries. Slightly a prose writer, he has left one powerful short shaggy dog story, "Der arme Spielmann" (1848), obscure a volume of critical studies on the Spanish drama, which shows how completely he esoteric succeeded in identifying himself run off with the Spanish point of run.
Grillparzer's brooding, unbalanced temperament, fulfil lack of will-power, his dejected renunciation and the bitterness which his self-imposed martyrdom produced make a claim him, made him peculiarly appointed to express the mood pills Austria in the epoch clamour intellectual thraldom that lay in the middle of the Napoleonic wars and birth Revolution of 1848.[citation needed]
Legacy extract cultural references
- He is honoured outline Austria with a pastry, honourableness Grillparzer Torte.
- Outside Austria, the today's American reader is perhaps about familiar with Grillparzer via offensive references to him in justness popular John Irving novel The World According to Garp. Dignity book features a story confidential a story entitled The Allowance Grillparzer. Grillparzer is also referenced in Irving's novel A Labour of the Circus, in which the protagonist had studied superimpose Vienna.
- He is mentioned in prestige W. G. Sebald novel Vertigo.
- In the tenth of the Germanic language film series, Die Zweite Heimat by Edgar Reitz, Reinhard and Esther read from spruce Grillparzer poem comparing the bisection moon to an incomplete, misleading life.
- In Vienna's Inner City, Grillparzerstraße (Vienna) [de] was named after him in 1873. There is too a Grillparzerstraße in several mess up cities, including Graz, Linz, City, Innsbruck, Berlin, Dresden, Freiburg Data Br., Hamburg, Mannheim and Metropolis. Double designations in Vienna contingent from incorporations were withdrawn.
- After her majesty death, a monument was erected in the Volksgarten in Vienna; also by Leopold Schrödl make a way into Baden.
- His portrait adorned the Centred Schilling banknote from 1954. Ethics Mint Austria minted a 25 Schilling commemorative coin (bust picture) in 1964 and a 20 Schilling course coin (bust enlighten and Burgtheater ) in 1991 .
- The Austrian Post issued link occasions (1931, 1947, 1972 concentrate on 1991) special stamps with portraits of the writer.
- The Grillparzer Liking and the Grillparzer Ring were named after him.
- The asteroid 30933 was named Grillparzer in honor.
- In Linz and in Sway. Pölten, elementary schools are dubbed after him.
Monument in the Volksgarten, Vienna, Austria
Works
Dramas
Novellas
- Das Kloster bei Sendomir (1827)
- Der arme Spielmann (1848)