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This historical and critical survey of German drama in the eighteenth and nineteenth centuries provides an introduction to major authors and works from Lessing, through Goethe, Schiller and Weimar Classicism, to Kleist, Grillparzer and Hebbel. F.J. Lamport traces the rise and development in the German-speaking world of the last form of "classical" poetic drama to appear in European literature. This development is seen as reflecting the intellectual and political ferment both within Germany and throughout Europe.
The Origin of German Tragic Drama is Walter Benjamin's most sustained and original work. It begins with a general theoretical introduction on the nature of the baroque art of the sixteenth and seventeenth centuries, concentrating on the peculiar stage-form of royal martyr dramas called Trauerspiel. Benjamin also comments on the engravings of Durer and the theatre of Calderon and Shakespeare. Baroque tragedy, he argues, was distinguished from classical tragedy by its shift from myth into history. Georg Lukacs, an opponent of Benjamin's aesthetics, singled out The Origin of German Tragic Drama as one of the main sources of literary modernism in the twentieth century.
Professor Williams focuses on the classical period of German literature and theatre, when Shakespeare's plays were first staged in Germany in a relatively complete form, and when they had a potent influence on the writings of German drama and dramatic criticism.
Excerpt from The History of the Chorus, in the German Drama In the lyrical portion of the Greek drama music, poetry and dancing were all brought into requisition. 8 The poetry was, however, in all cases the important part of the perfor mance, while the music and dancing served to interpret and add vividness to the meaning of the words. But the dance as a feature of Greek tragedy must be distinguished from the modern dance. The Greek dance was essentially mimetic in character; its principal function being to interpret and illustrate the poetry by appropriate gesticulation. Aristotle defines the tragic dance as an imitation of actions, characters and emotions by means of postures and rhythmical move ments.9 AS a rule the motions were grave and majestic, and more like walking than dancing in the modern sense. The music of the Greek tragedy was also simple in character. The choral odes were chanted in unison, syllable after syllable. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.