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Excerpt from The Soliloquy in German Drama In the family of dramatic conventions no member has played so important a role, and on the other hand none has had so ignominious an ending, after a most glorious career, as the soliloquy. In its present crushed and lowly estate, it forcibly reminds one of the last years of the great exile at St. Helena. After centuries of the greatest popularity with both playwright and audience, the soliloquy has at last met with the fate of most popular idols and been ruthlessly ousted from its comfortable throne. This revulsion of feeling occurred in the final decades of the nineteenth century, when "the leading playwrights of every modern language began to display a distaste for the monolog, with Ibsen setting the example of renunciation." There seems to be a consensus of opinion regarding Ibsen's stimulating influence on the technic of modern drama, an influence which manifested itself particularly in the disappearance of the soliloquy from the drama. Mr. Hamilton says: "The present prevalence of objection to soliloquy and aside is due largely to the strong influence of Ibsen's rigid dramaturgic structure." Mr. Henderson, commenting upon Ibsen's remark that his "League of Youth" is written "without a single monolog, in fact, without a single aside," declares: "In this respect, I believe Ibsen sounded the deathknell of the monolog, the soliloquy, the aside, and by his practice soon rendered ridiculous those dramatists who persisted in employing these devices." 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.
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Luchino Visconti's trilogy of films Ludwig, Death in Venice and The Damned explore the complex relationship between the themes and ideals of German Romanticism and their impact on the catastrophe of the Third Reich. The personality and works of Richard Wagner to a large extent epitomize German Romanticism as a whole, while the writings of Thomas Mann and Friedrich Nietzsche provide the greatest critique of this dark and troubled but sublime and emotionally overwhelming culture. Along with contrasting approaches to this subject by other filmmakers such as Hans-Jurgen Syberberg, Ken Russell and Tony Palmer, this book explores how the preoccupations of the German Romantic movement led to Nazism, and contrasts the ways in which filmmakers have presented this continuum. The book also discusses the impact of Wagner's musical dramas on the art form of the cinema itself.