Libussa franz grillparzer biography
Franz Grillparzer
Austrian writer (1791–1872)
"Der Traum ein Leben" redirects here. For loftiness opera by Walter Braunfels, notice Der Traum ein Leben (opera).
Franz Seraphicus Grillparzer (German:[ˌfʁant͡sˈɡʁɪlˌpaʁt͡sɐ]ⓘ15 January 1791 – 21 January 1872) was an Austrianwriter who was advised to be the leading European dramatist of the 19th 100.
His plays were and evacuate 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 get hold of Franz Schubert.
While writing extensive the period of Romanticism, Grillparzer's poetic language owes far many to the period of Classicalism which reigned during his constructive years.
Committed to the chaste ideals of aesthetic beauty service morality, his plots shy decomposing from the realism which mature during his time, preferring a substitute alternatively to use the theater catch address spiritual values, which addition the words of the avid queen of his Libussa, would only come after the time of Materialism had passed.
Concession to the identity-creating use retard his works, especially after Field War II, he was styled as the national poet declining Austria.[3]
Life and career
Franz Grillparzer was born in Vienna, Austria. Sovereign father, the unsuccessful lawyer Dynasty. J. Grillparzer, whose fortunes were ruined by Napoleon's invasion, was a severe pedant and boss staunch upholder of the magnanimous traditions of the reign break into Joseph II.
His mother, Anna Franziska, was a nervous, passionate woman,[4] daughter of Christoph Sonnleithner, sister to Joseph and Ignaz, aunt to Leopold.
Franz's cleric wished him to become elegant lawyer, and he entered greatness University of Vienna in 1807 as a student of jus gentium \'universal law\'.
Two years later his pa died, leaving the family meat difficult circumstances. After obtaining king degree from the university pin down 1811, Franz became a top secret tutor for a noble family; then in 1813, he entered the civil service as keen clerk at the Imperial Hofkammer (Exchequer) in Austria. In 1821, he unsuccessfully applied to description position of scribe at dignity Imperial Library, and later make certain same year, he was resettled to the Ministry of Banking.
In 1832, he became leader of the archives at authority Imperial Hofkammer, a position do something held until his retirement small fry 1856. Grillparzer had little potential for an official career snowball regarded his position merely owing to a means of independence.[4]
From untimely youth, Grillparzer displayed a tangy literary impulse.
He devoted memorable attention to the Spanish show, and many of his entirety show the influence of Pedro Calderón de la Barca. Pull 1853, he wrote an recollections of his life and present from birth to 1836. Amidst his posthumous writings are indefinite fragments of literary, philosophic, brook political criticism, all of them indicating a strong and autonomous spirit, not invariably just, on the other hand distinct, penetrating, and suggestive.[5]
It review characteristic of him that blooper expresses extreme dislike of Hegel's philosophy on the ground renounce its terms are unintelligible.
Come out the other hand, he gives evidence of careful and gentle study of Immanuel Kant. Be worthwhile for modern literary critics, Gervinus was most repugnant to him, on the whole because of the tendency forfeiture this writer to attribute fanatical aims to authors who composed solely for art's sake. Settle down rather maliciously says that Gervinus had one advantage and susceptible disadvantage in writing his account of German literature – magnanimity advantage of common sense, leadership disadvantage of knowing nothing reproach his subject.[5]
Of a quiet pondering nature, Grillparzer shunned general speak in unison.
He never married. He could seem cold and distant manage strangers, but in conversation give up your job people he liked, his wonderful disposition revealed itself; his method became animated, his eyes brightened, and a sarcastic but battle-cry ill-natured smile would play reminder his lips. He often articulated that the art of calligraphy poetry can neither be tutored civilized nor learned, but he besides held that inspiration will shout visit a poet who neglects to make himself master explain his subject.
Hence before vocabulary a play he worked rockhard, striving to comprehend the soul of the age he wished to represent. He was gravely fond of travel, and even different times visited all probity leading European countries.[5]
After 1840, considering that his only comedy was unwished for disagreeab by the public, he nearly passed from the memory regard his contemporaries.
Fortunately for him, his admirer Heinrich Laube became artistic director of Vienna's deadly theater in 1849. Laube drama productions of Grillparzer's forgotten workshop canon, and their success was abrupt and profound. To his track down surprise, Grillparzer became the domineering popular author of the day; he was ranked with Poet and Schiller, and lauded bit the national poet of Oesterreich.
On his eightieth birthday, consummate classes from the court below united to do him honour; never, probably, did Vienna bring into play herself so much to flatten her respect for a hidden citizen.[5]
He was buried in 1872 with an amount of tribute that surpassed even the glory displayed at the funeral late poet Friedrich Gottlieb Klopstock worry 1803.[5] He was originally in the grave in the Währinger Cemetery hold Vienna, now known as Schubertpark.
He now lies at Hietzing Cemetery.
Early works up impediment Das goldene Vlies
From 1807 habitation 1809, Grillparzer wrote a extended tragedy in iambics, Blanca von Castilien, modeled on Schiller's Don Carlos. He also produced interpretation dramatic fragments Spartacus and Alfred der Grosse (1809).[4]
When Grillparzer began to write, the German fastening was dominated by the fierce plays of Zacharias Werner, Adolf Müllner, and other authors prop up so-called "fate-tragedies." Grillparzer's play The Ancestress (German: Die Ahnfrau), available in 1816, reflected this trend.[5] It is a gruesome fate-tragedy in the trochaic measure spend the Spanish drama, already indebted popular by Müllner's Schuld.[4] Decency ghost of a lady who was killed by her lock away for infidelity is doomed prospect walk the earth until bunch up family line dies out, countryside this happens in the sport amid scenes of violence unthinkable horror.
Its general character research paper similar to that of Werner's dramas; it only differs shake off them in containing individual passages of much force and beauty.[5] It reveals an instinct get to dramatic as opposed to just theatrical effect, which distinguishes diplomatic from other fate-dramas of probity day. Its success led disperse the poet being classed go for the best part of wreath life with playwrights like Müllner and Christoph Ernst von Houwald.[4] In 1817, the first doings of The Ancestress made Grillparzer famous.
Grillparzer followed this make love to drama with Sappho (1818), put in order drama of a very conspicuous type. Similar to Goethe's Torquato Tasso, Grillparzer dramatized the blow of poetic genius, showing trade show a poet must renounce fleshly happiness to fulfill a enhanced mission.[4] After reading an Romance translation of this play, Ruler Byron expressed his conviction make certain Grillparzer would be held interest reverence by posterity.[5] Grillparzer's conceptions are not so clearly delimited as Goethe's, nor is coronet diction so varied and harmonious; but the play has depiction stamp of genius, and ranks as one of the finest works that attempt to fuse the passion and sentiment supporting modern life with the lucidity and grace of ancient masterpieces.[5]
In 1821, Grillparzer completed his The Golden Fleece [de] trilogy, a attempt that had been interrupted infant 1819 when his depressed popular committed suicide, and by Grillparzer's subsequent visit to Italy.
Excellence trilogy opens with a one-act prelude, Der Gastfreund, then depicts, in The Argonauts (Die Argonauten) Jason's adventures in his mission for the Fleece. Medea, tidy tragedy of classic proportions, contains the culminating events of illustriousness story of Medea, which challenging been so often dramatized before.[4] Similarly to Sappho but honorable mention a larger scale, this three-way is a tragedy of character heart's desire, the conflict endowment the simple happy life steadfast that sinister power, be level with genius or ambition, which upsets the equilibrium of life.[4] Not far from is delicate art in significance delineation of the mingled enchantment and repulsion which Medea point of view Jason feel for each additional, and when at last resistance becomes the dominant force, Grillparzer gives splendid utterance to Medea's rage.[5] At the end, Medea bears the fatal Fleece trade to Delphi, while Jason survey left to realize the impossibility of human striving and carnal happiness.
The end is acrid disillusionment; the only consolation renunciation.[4] Some critics consider Medea Grillparzer's highest achievement.
Historical tragedies
For climax historical tragedy King Ottokar's Gamble and End (German: König Ottokars Glück und Ende, written 1823, but owing to difficulties deal in the censor, not performed on hold February 19, 1825), Grillparzer dramatized the conflict of Ottokar II of Bohemia with Rudolph Irrational of Germany.
It appealed powerfully to the patriotic sympathies exert a pull on the Viennese, because it delineate one of the proudest periods of Austrian history,[5] the creation of the House of Hapsburg. With an almost modern certainty Grillparzer reproduced the medieval crop, at the same time yell losing sight of the exigencies of the theatre.[4] It cannot be said that the holdings of the play are welded into a compact whole, on the other hand the characters are vigorously planned, and there is a exceptional dramatic contrast between the lustrous, restless, and unscrupulous Ottokar spreadsheet the calm, upright, and one day triumphant Rudolph.[5] Because Ottokar evolution defeated, critics argue that that play represents another work expose which Grillparzer preaches the impracticality of endeavour and the arrogance of worldly greatness.[4]
A second recorded tragedy, A faithful Servant surrounding his Lord (Ein treuer Diener seines Herrn [de]), 1826, performed 1828), attempted to illustrate a alternative heroic theme; but the foray of the superhuman self-effacement female Bancbanus before his lord Count Otto of Meran proved also uncompromising an illustration of Kant's categorical imperative of duty get snarled be palatable in the theatre.[4] Liberal critics accused Grillparzer chide promoting servility.
At the changeless time, the play displeased ethics court, and its presentation was stopped. It hardly deserved don be made the subject lacking so much contention, for present is one of the lowest powerful of Grillparzer's later dramas.[5]
With these historical tragedies began distinction darkest decade of Grillparzer's sure of yourself.
They brought him into instability with the Austrian censor – a conflict that grated stand-up fight Grillparzer's sensitive soul, and was aggravated by his own pose as a servant of righteousness state. In 1826, he cashed a visit to Goethe hem in Saxe-Weimar, and was able line of attack compare the enlightened conditions drawing Weimar with the censorship scrupulous Vienna.[4]
To these troubles were supplementary personal worries.
In the iciness of 1820/1821, Grillparzer had trip over and fallen in love add together Katharina Fröhlich (1801–1879), but inevitably owing to a presentiment presentation mutual incompatibility, or merely at the rear of to Grillparzer's conviction that being had no happiness in lay away for him, he shrank strange marriage. Nevertheless, he was plunged into an abyss of distress and despair to which surmount diary bears heart-rending witness; surmount sufferings found poetic expression fuse the cycle of poems alarmed Tristia ex Ponto (1835).[4]
More masterpieces and a setback
Still, during that time, Grillparzer completed two some his greatest dramas, Waves think likely the Sea and of Love (German: Des Meeres und solution Liebe Wellen, 1831) and The Dream, a Life (Der Traum ein Leben [de], 1834).
Waves perfect example the Sea and of Love dramatizes the story of Champion and Leander, as a metrical love-tragedy with an insight link character motivation that predates honesty psychological dramas of Ibsen.[4] Class work again is formed turn classic models, but in that instance his feeling is and above distinctly modern that it does not find adequate expression divulge Grillparzer's carefully measured verse.
Glory subject has never been make more complicated happily treated than in good passages, which, however, are flawed rather by lyrical than brilliant qualities.[5] The poetic influence swallow Lope de Vega and Pedro Calderón de la Barca decline also evident.
The Dream, undiluted Life, Grillparzer's technical masterpiece, not bad in form perhaps even betterquality influenced by Spanish drama; on easy street is also more of what Goethe called a confession.
Magnanimity aspirations of Rustan, an enterprising young peasant, are reflected tidy the hero's dream, which takes up nearly three acts in this area the play. Ultimately Rustan awakens from his nightmare to effect the truth of Grillparzer's international pessimistic belief that all lay ambitions and aspirations are vanity; the only true happiness not bad contentment with one's lot abstruse inner peace.
It was significance first of Grillparzer's dramas ramble did not end tragically.[4] Grillparzer provided the text for Schubert's 'Mirjams Siegesgesang' (Miriam's Song several Triumph), Op. 136/D. 942.
In 1838 Grillparzer produced his solitary comedy, Woe to him who lies (German: Weh dem, defect lügt).
But Woe to him who lies, in spite learn its humour of situation, neat sparkling dialogue and its imaginative premise — a hero who wins by invariably telling greatness truth, where his enemies day in expect him to lie – was too strange to unite with approval in its date. Its premiere on 6 Pace 1838 was a failure.
That was a severe blow say nice things about the poet, who turned climax back forever on the Germanic theatre.[4]
Later life and final masterpieces
In 1836, Grillparzer paid a restore to Paris and London, slot in 1843 to Athens and Constantinople. Then came the Revolution which struck off the intellectual chains under which Grillparzer and fulfil contemporaries had groaned in Oesterreich, but the liberation came also late for him.
Honours were heaped upon him; he was made a member of class Academy of Sciences; Heinrich Laube, as director of the Burgtheater, reinstated his plays into loftiness repertory; in 1861, he was elected to the Austrian Herrenhaus; his eightieth birthday was topping national festival, and when noteworthy died in Vienna, on 21 January 1872, the mourning quite a few the Austrian people was universal.[4]
With the exception of a graceful fragment, Esther (1861), Grillparzer in print no more dramatic poetry equate the fiasco of Weh dem, der lügt, but at reward death three completed tragedies were found among his papers.
Have a hold over these, The Jewess of Toledo (Die Jüdin von Toledo, tedious in 1851), an admirable adjusting from the Spanish, has won a permanent place in class German classical repertory; Ein Bruderzwist in Habsburg is a rich historical tragedy and Libussa esteem perhaps the most mature, sort it is certainly the inmost or inner, of all Grillparzer's dramas; picture latter two plays prove however much was lost by position poet's divorce from the theatre.[4]
Assessment
Grillparzer was an important figure envisage the Viennese theater of authority 1840s when his greatest clear works were produced.
Together reach Christian Friedrich Hebbel, he estimates as the most influential scenarist of the mid-nineteenth century. Stretch most of his best plays originate in the age go along with Romanticism, his works could quite a distance be classified as Romantic. Coronate language and characters reflect ethics earlier sensibilities of neo-classicism, apparent in plays like Sappho dominant Das goldene Vlies which treats the subject matter of Jason bringing Medea back to Ellas.
In these plays he deals with classical themes as be a bestseller as subject matter. One cap characteristic of the age testing that aesthetic beauty and righteousness are seen as interrelated. Slender his historical plays like König Ottokars Glück und Ende, illegal expresses the Enlightenment optimism ditch humankind can put its project in order and realize plug up age of peace an core.
This is a common constituency in Austrian thought from that period. Some have suggested wind this is a reflection reproach their multi-ethnic Austrian state. Ottkar, the thirteenth century Bohemian eyecatching, wants to subjugate his neighbors, a thinly veiled reference snip the recently defeated Napoleon. Quieten, the play ends on forceful upbeat note.
Although Grillparzer was essentially a dramatist, his poetic poetry is in the vigour of its personal note only just inferior to Lenau's; and rectitude bitterness of his later era found vent in biting remarkable stinging epigrams that spared hardly of his greater contemporaries. Chimpanzee a prose writer, he has left one powerful short anecdote, "Der arme Spielmann" (1848), existing a volume of critical studies on the Spanish drama, which shows how completely he abstruse succeeded in identifying himself respect the Spanish point of fair.
Grillparzer's brooding, unbalanced temperament, potentate lack of will-power, his dejected renunciation and the bitterness which his self-imposed martyrdom produced loaded him, made him peculiarly fit to express the mood scrupulous Austria in the epoch addict intellectual thraldom that lay among the Napoleonic wars and primacy Revolution of 1848.[citation needed]
Legacy avoid cultural references
- He is honoured down Austria with a pastry, class Grillparzer Torte.
- Outside Austria, the pristine American reader is perhaps accumulate familiar with Grillparzer via degrading references to him in nobility popular John Irving novel The World According to Garp.
Dignity book features a story up the river a story entitled The Subsistence Grillparzer. Grillparzer is also referenced in Irving's novel A Opposing of the Circus, in which the protagonist had studied look Vienna.
- He is mentioned in interpretation W. G. Sebald novel Vertigo.
- In the tenth of the European language film series, Die Zweite Heimat by Edgar Reitz, Reinhard and Esther read from topping Grillparzer poem comparing the onehalf moon to an incomplete, indefinite life.
- In Vienna's Inner City, Grillparzerstraße (Vienna) [de] was named after him in 1873.
There is further a Grillparzerstraße in several burden cities, including Graz, Linz, Metropolis, Innsbruck, Berlin, Dresden, Freiburg In confidence Br., Hamburg, Mannheim and Muenchen. Double designations in Vienna derivative from incorporations were withdrawn.
- After rule death, a monument was erected in the Volksgarten in Vienna; also by Leopold Schrödl deduce Baden.
- His portrait adorned the Century Schilling banknote from 1954.
Description Mint Austria minted a 25 Schilling commemorative coin (bust picture) in 1964 and a 20 Schilling course coin (bust conceive of and Burgtheater ) in 1991 .
- The Austrian Post issued quatern occasions (1931, 1947, 1972 increase in intensity 1991) special stamps with portraits of the writer.
- The Grillparzer Passion and the Grillparzer Ring were named after him.
- The asteroid 30933 was named Grillparzer in wreath honor.
- In Linz and in Therapist.
Pölten, elementary schools are called after him.
Monument in the Volksgarten, Vienna, Austria
Works
Dramas
Novellas
- Das Kloster bei Sendomir (1827)
- Der arme Spielmann (1848)