Franz Grillparzer
Franz Grillparzer | |
---|---|
Dramatist | |
Language | Austrian German |
Nationality | Austrian |
Alma mater | University of Vienna |
Period | 1817 – 1872 |
Notable works |
|
Signature | |
Franz Seraphicus Grillparzer (15 January 1791 – 21 January 1872) was an
While writing during the period of Romanticism, Grillparzer's poetic language owes far more to the period of Classicism which reigned during his formative years. Committed to the classical ideals of aesthetic beauty and morality, his plots shy away from the realism which developed during his time, preferring instead to use the theater to address spiritual values, which in the words of the dying queen of his Libussa, would only come after the period of Materialism had passed. Due to the identity-creating use of his works, especially after World War II, he was named as the national poet of Austria.[3]
Biography
Franz Grillparzer was born in
Franz's father wished him to become a lawyer, and he entered the University of Vienna in 1807 as a student of jurisprudence. Two years later his father died, leaving the family in difficult circumstances. After obtaining his degree from the university in 1811, Franz became a private tutor for a noble family; then in 1813, he entered the civil service as a clerk at the Imperial Hofkammer (Exchequer) in Austria. In 1821, he unsuccessfully applied to the position of scribe at the Imperial Library, and later that same year, he was relocated to the Ministry of Finance. In 1832, he became director of the archives at the Imperial Hofkammer, a position he held until his retirement in 1856. Grillparzer had little capacity for an official career and regarded his position merely as a means of independence.[4]
From early youth, Grillparzer displayed a strong literary impulse. He devoted especial attention to the Spanish drama, and many of his works show the influence of Pedro Calderón de la Barca. In 1853, he wrote an autobiography of his life and times from birth to 1836. Among his posthumous writings are many fragments of literary, philosophic, and political criticism, all of them indicating a strong and independent spirit, not invariably just, but distinct, penetrating, and suggestive.[5]
It is characteristic of him that he expresses extreme dislike of
Of a quiet contemplative nature, Grillparzer shunned general society. He never married. He could seem cold and distant to strangers, but in conversation with people he liked, his real disposition revealed itself; his manner became animated, his eyes brightened, and a sarcastic but not ill-natured smile would play upon his lips. He often said that the art of writing poetry can neither be taught nor learned, but he also held that inspiration will not visit a poet who neglects to make himself master of his subject. Hence before writing a play he worked hard, striving to comprehend the spirit of the age he wished to represent. He was exceedingly fond of travel, and at different times visited all the leading European countries.[5]
After 1840, when his only comedy was rejected by the public, he almost passed from the memory of his contemporaries. Fortunately for him, his admirer
He was buried with an amount of ceremony that surpassed even the pomp displayed at
Early works up to Das goldene Vlies
From 1807 to 1809, Grillparzer wrote a long tragedy in
When Grillparzer began to write, the German stage was dominated by the wild plays of
Grillparzer followed this gothic drama with Sappho (1818), a drama of a very different type. Similar to Goethe's Torquato Tasso, Grillparzer dramatized the tragedy of poetic genius, showing how a poet must renounce earthly happiness to fulfill a higher mission.[4] After reading an Italian translation of this play, Lord Byron expressed his conviction that Grillparzer would be held in reverence by posterity.[5] Grillparzer's conceptions are not so clearly defined as Goethe's, nor is his diction so varied and harmonious; but the play has the stamp of genius, and ranks as one of the best works that attempt to combine the passion and sentiment of modern life with the simplicity and grace of ancient masterpieces.[5]
In 1821, Grillparzer completed his The Golden Fleece trilogy, a project that had been interrupted in 1819 when his depressed mother committed suicide, and by Grillparzer's subsequent visit to Italy. The trilogy opens with a one-act prelude, Der Gastfreund, then depicts, in The Argonauts (Die Argonauten) Jason's adventures in his quest for the Fleece. Medea, a tragedy of classic proportions, contains the culminating events of the story of Medea, which had been so often dramatized before.[4] Similarly to Sappho but on a larger scale, this trilogy is a tragedy of the heart's desire, the conflict of the simple happy life with that sinister power, be it genius or ambition, which upsets the equilibrium of life.[4] There is delicate art in the delineation of the mingled fascination and repulsion which Medea and Jason feel for each other, and when at last repulsion becomes the dominant force, Grillparzer gives splendid utterance to Medea's rage.[5] At the end, Medea bears the fatal Fleece back to Delphi, while Jason is left to realize the futility of human striving and earthly happiness. The end is bitter disillusionment; the only consolation renunciation.[4] Some critics consider Medea Grillparzer's highest achievement.
Historical tragedies
For his historical tragedy King Ottokar's Fortune and End (German:
A second historical tragedy, A faithful Servant of his Lord (Ein treuer Diener seines Herrn ), 1826, performed 1828), attempted to illustrate a more heroic theme; but the subject of the superhuman self-effacement of Bancbanus before his lord Duke Otto of Meran proved too uncompromising an illustration of Kant's categorical imperative of duty to be palatable in the theatre.[4] Liberal critics accused Grillparzer of promoting servility. At the same time, the play displeased the court, and its presentation was stopped. It hardly deserved to be made the subject of so much contention, for it is one of the least powerful of Grillparzer's later dramas.[5]
With these historical tragedies began the darkest decade of Grillparzer's life. They brought him into conflict with the Austrian censor – a conflict that grated on Grillparzer's sensitive soul, and was aggravated by his own position as a servant of the state. In 1826, he paid a visit to
To these troubles were added personal worries. In the winter of 1820/1821, Grillparzer had met and fallen in love with Katharina Fröhlich (1801–1879), but whether owing to a presentiment of mutual incompatibility, or merely owing to Grillparzer's conviction that life had no happiness in store for him, he shrank from marriage. Nevertheless, he was plunged into an abyss of misery and despair to which his diary bears heart-rending witness; his sufferings found poetic expression in the cycle of poems called Tristia ex Ponto (1835).[4]
More masterpieces and a setback
Still, during this time, Grillparzer completed two of his greatest dramas, Waves of the Sea and of Love (German: Des Meeres und der Liebe Wellen, 1831) and The Dream, a Life (
The Dream, a Life, Grillparzer's technical masterpiece, is in form perhaps even more influenced by Spanish drama; it is also more of what Goethe called a confession. The aspirations of Rustan, an ambitious young peasant, are reflected in the hero's dream, which takes up nearly three acts of the play. Ultimately Rustan awakens from his nightmare to realize the truth of Grillparzer's own pessimistic belief that all earthly ambitions and aspirations are vanity; the only true happiness is contentment with one's lot and inner peace. It was the first of Grillparzer's dramas that did not end tragically.[4] Grillparzer provided the text for Schubert's 'Mirjams Siegesgesang' (Miriam's Song of Triumph), Op. 136/D. 942.
In 1838 Grillparzer produced his only comedy, Woe to him who lies (German: Weh dem, der lügt). But Woe to him who lies, in spite of its humour of situation, its sparkling dialogue and its original premise — a hero who wins by invariably telling the truth, where his enemies invariably expect him to lie – was too strange to meet with approval in its day. Its premiere on 6 March 1838 was a failure. This was a severe blow to the poet, who turned his back forever on the German theatre.[4]
Later life and final masterpieces
In 1836, Grillparzer paid a visit to
With the exception of a beautiful fragment, Esther (1861), Grillparzer published no more dramatic poetry after the fiasco of Weh dem, der lügt, but at his death three completed tragedies were found among his papers. Of these,
Assessment
Grillparzer was an important figure in the Viennese theater of the 1840s when his greatest dramatic works were produced. Together with
Although Grillparzer was essentially a dramatist, his lyric poetry is in the intensity of its personal note hardly inferior to Lenau's; and the bitterness of his later years found vent in biting and stinging epigrams that spared few of his greater contemporaries. As a prose writer, he has left one powerful short story, Der arme Spielmann (1848), and a volume of critical studies on the Spanish drama, which shows how completely he had succeeded in identifying himself with the Spanish point of view.
Grillparzer's brooding, unbalanced temperament, his lack of will-power, his
Legacy and cultural references
This section needs additional citations for verification. (March 2017) |
- He is honoured in Austria with a pastry, the Grillparzer Torte.
- Outside Austria, the modern American reader is perhaps most familiar with Grillparzer via disparaging references to him in the popular John Irving novel The World According to Garp. The book features a story within a story entitled The Pension Grillparzer. Grillparzer is also referenced in Irving's novel A Son of the Circus, in which the protagonist had studied in Vienna.
- He is mentioned in the W. G. Sebald novel Vertigo.
- In the tenth of the German language film series, Die Zweite Heimat by Edgar Reitz, Reinhard and Esther read from a Grillparzer poem comparing the half moon to an incomplete, ambiguous life.
- In Vienna's Inner City, Grillparzerstraße (Vienna) was named after him in 1873. There is also a Grillparzerstraße in several other cities, including Graz, Linz, Salzburg, Innsbruck, Berlin, Dresden, Freiburg / Br., Hamburg, Mannheim and Munich. Double designations in Vienna resulting from incorporations were withdrawn.
- After his death, a monument was erected in the Volksgarten in Vienna; also by Leopold Schrödl in Baden.
- His portrait adorned the 100 Schilling banknote from 1954. The Mint Austria minted a 25 Schilling commemorative coin (bust picture) in 1964 and a 20 Schilling course coin (bust picture and Burgtheater ) in 1991 .
- The Austrian Post issued four occasions (1931, 1947, 1972 and 1991) special stamps with portraits of the writer.
- The Grillparzer Prizeand the Grillparzer Ring were named after him.
- The asteroid 30933was named Grillparzer in his honor.
- In Linz and in St. Pölten, elementary schools are named after him.
-
Monument in the Volksgarten, Vienna, Austria
Works
Dramas
- Blanka von Kastilien (Blanche of Castile, 1807–09)
- Spartakus (Spartacus, 1809)
- Alfred der Große (Alfred the Great, 1809)
- Die Ahnfrau (1817)
- Sappho (1818)
- The Golden Fleece (1821), trilogy consisting of
- Der Gastfreund
- Die Argonauten
- Medea
- Melusina (1822–23)
- König Ottokars Glück und Ende (The Fortune and Fall of King Ottokar, 1823)
- Ein treuer Diener seines Herrn (1826)
- Des Meeres und der Liebe Wellen (1831)
- Der Traum ein Leben (1834)
- Tristia ex Ponto (1835)
- Weh dem, der lügt (1838)
- Libussa (1848)
- Ein Bruderzwist im Hause Habsburg (1848)
- Die Jüdin von Toledo (The Jewess of Toledo, 1851)
- Esther (a fragment, 1861)
Novellas
- Das Kloster bei Sendomir (1827)
- Der arme Spielmann (1848)
See also
- List of Austrian writers
- List of Austrians
- Jenny Weleminsky, who translated Sappho and several of Grillparzer's poems into Esperanto
Notes
- ^ "Franz Grillparzer A Century of Criticism". Boydell & Brewer. Archived from the original on 2020-07-23. Retrieved 2020-07-23.
- ISBN 978-0-486-21770-3.
- ^ "Franz Grillparzer - one of the most contradictory poet personalities in Austria". Time Travel Vienna. 24 March 2021.
- ^ a b c d e f g h i j k l m n o p q r s public domain: Robertson, John George (1911). "Grillparzer, Franz". In Chisholm, Hugh (ed.). Encyclopædia Britannica. Vol. 12 (11th ed.). Cambridge University Press. pp. 597–598. One or more of the preceding sentences incorporates text from a publication now in the
- ^ a b c d e f g h i j k l m n This article incorporates text from a publication now in the public domain: Sime, James (1880). . Encyclopædia Britannica. Vol. XI (9th ed.). pp. 196–197.
External links
- Works by Franz Grillparzer at Project Gutenberg
- Works by Franz Grillparzer at Faded Page (Canada)
- Works by or about Franz Grillparzer at Internet Archive
- Works by Franz Grillparzer at LibriVox (public domain audiobooks)
- Works by Grillparzer from the eLibrary Austria Project (elib Austria full txts)
- Literary Encyclopedia: Grillparzer, Franz
- Remy, Arthur Frank Joseph (1913). Catholic Encyclopedia. .
- Encyclopedia Americana. 1920. .
- New International Encyclopedia. 1905.
.
- Grillparzer-Lebenslauf (in German)