The Origin of German Tragic DramaVerso Books, 09.06.2009 - 256 Seiten Cited by Lukács as a principal source of literary modernism, Walter Benjamin’s study of the baroque stage-form called Trauerspiel (literally, “mourning play”) is the most complete document of his prismatic literary and philosophical practice. Engaging with sixteenth- and seventeenth-century German playwrights as well as the plays of Shakespeare and Calderón and the engravings of Dürer, Benjamin attempts to show how the historically charged forms of the Trauerspiel broke free of tragedy’s mythological timelessness. From its philosophical prologue, which offers a rare account of Benjamin’s early aesthetics, to its mind-wrenching meditation on allegory, The Origin of German Tragic Drama sparkles with early insights and the seeds of Benjamin’s later thought. |
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action aesthetic allegorist allegory ancient Andreas Gryphius antiquity appears Aristotle artistic baroque drama baroque Trauerspiel beauty become Benjamin Birken Borinski Calderón Cardenio character characteristic chorus Christian classicism concept Counter-Reformation creature Creuzer criticism death dialectic divine doctrine drama of fate dramatist element emblem emblematic essence expression fact figures genre German baroque German Trauerspiel Giehlow Goethe Greek Gryphius guilt Hallmann hand Harsdörffer Haupt human idea intention intriguer Kabbalah knowledge language latter Leo Armenius linguistic literary literature Lohenstein Maria Stuarda Mariamne Marsilius Ficinus martyr-drama meaning melancholy Melencolia modern moral mourning nature Nietzsche Novalis object origin Papinian phenomena philosophical play poetic poetry precisely prince Renaissance representation revealed romantic romanticism Saturn Schriften sense seventeenth century Shakespeare significance Sophonisbe speak spiel spirit Sturm und Drang style stylistic symbol theatre theory things tion tragedy tragic hero Trauer truth tyrant unity Ursprung verism Walter Benjamin word writing