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Franz Grillparzer. Lithograph by Josef Kriehuber, 1841.

Franz Seraphicus Grillparzer (15 January 1791, Vienna – 21 January 1872) was an Austrian writer who is chiefly known for his dramas.

Early life

Franz Grillparzer was born in Vienna, Austria on 15 January 1791. His father, E.J. Grillparzer, was a severe pedant and a staunch upholder of the liberal traditions of the reign of Joseph II, and was an advocate of some standing. His mother, Anna Franziska, was a nervous, highly-strung woman who belonged to the well-known musical family of Sonnleithner.

After a desultory education, Grillparzer 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 first became a private tutor; then in 1813, he entered the civil service as a clerk at the Imperial and Royal 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 and Royal 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.

He was originally buried in the Wahringer Cemetery in Vienna, now known as Schubertpark. He now lies in Hietzinger Friedhof.

Early works up to Das goldene Vlies

In 1817 the first performances of his tragedy The Ancestress (Die Ahnfrau) made him famous, but before this he had written a long tragedy in iambics, Blanca von Castilien (1807-1809), modeled on Friedrich von Schiller's Don Carlos; and the promising dramatic fragments Spartacus and Alfred der Grosse (1809). The Ancestress is a gruesome fate-tragedy in the trochaic measure of the Spanish drama, already made popular by Adolf Müllner in his Schuld; but Grillparzer's work is a play of real poetic beauties, and reveals an instinct for dramatic as opposed to merely theatrical effect, which distinguishes it from other fate-dramas of the day. Unfortunately, its success led to the poet being classed for the best part of his life with playwrights like Müllner and Houwald. The Ancestress was followed by Sappho (1818), a drama of a very different type; in the classic spirit of Goethe's Torquato Tasso, Grillparzer unrolled the tragedy of poetic genius, the renunciation of earthly happiness imposed upon the poet by his higher mission.

In 1821, Grillparzer completed his The Golden Fleece (Das goldene Vlies) 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. The theme is similar to that of Sappho, but on a larger scale; it is again the 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. The end is bitter disillusionment, the only consolation renunciation. Medea, her revenge stilled, her children dead, bears the fatal Fleece back to Delphi, while Jason is left to realize the nothingness of human striving and earthly happiness.

Historical tragedies

For his historical tragedy König Ottokars Glück und Ende (1823, but owing to difficulties with the censor, not performed until February 19, 1825), Grillparzer chose the conflict of Otakar II of Bohemia with Rudolph I of Germany. With an almost modern realism he reproduced the medieval setting of the play, at the same time not losing sight of the needs of the theatre; through Ottokar's fall, it is controversially argued that Grillparzer again preached the futility of endeavour and the vanity of worldly greatness. A second historical tragedy, Ein treuer Diener seines Herrn (1826, performed 1828), attempted to embody a more heroic gospel; but the subject of the superhuman self-effacement of Bankbanus before Duke Otto of Meran proved too uncompromising an illustration of Kant's categorical imperative of duty to be palatable in the theatre.

With these historical tragedies began the darkest ten years in the poet's life. They brought him into conflict with the Austrian censor - a conflict which 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 Goethe in Weimar, and was able to compare the enlightened conditions which prevailed in the little Saxon duchy with the intellectual thraldom of Vienna.

To these troubles were added personal worries. In the winter of 1820-1821, he 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. Whatever the cause may have been, the poet was plunged into an abyss of misery and despair to which his diary bears heartrending witness; his sufferings found poetic expression in the fine cycle of poems bearing the significant title Tristia ex Ponto (1835).

Slip into depression

Still, during this time, Grillparzer completed two of his greatest dramas, Des Meeres und der Liebe Wellen (1831) and Der Traum, ein Leben (1834). The earlier play dramatizes the story of Hero and Leander, as a love-tragedy full of poetic expression and with an insight into character motivation that predated the psychological dramas of Ibsen. The poetic influence of Lope de Vega and Pedro Calderón de la Barca is also felt. Der Traum, ein Leben, Grillparzer's technical masterpiece, is in form perhaps even more Spanish; it is also more of what Goethe called a confession. The aspirations of Rustan, an ambitious young peasant, are shadowed forth 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 doctrine that all earthly ambitions and aspirations are vanity; the only true happiness is contentment with one's lot and inner peace.

Der Traum, ein Leben was the first of Grillparzer's dramas which did not end tragically, and in 1838 he produced his only comedy, Weh dem, der lügt. But Weh dem, der lügt, in spite of its humour of situation, its sparkling dialogue and the originality of its idea - namely, that the hero 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 March 6, 1838 was a failure. This was a severe blow to the poet, who turned his back forever on the German theatre.

Later life and final masterpieces

Franz Grillparzer's Tomb

In 1836, Grillparzer paid a visit to Paris and London, in 1843 to Athens and Constantinople. Then came the Revolution which struck off the intellectual fetters under which Grillparzer and his contemporaries had groaned in Austria, but the liberation came too late for him. Honors were heaped upon him; he was made a member of the Academy of Sciences; Heinrich Laube, as director of the Burgtheater, reinstated his plays into the repertory; in 1861, he was elected to the Austrian Herrenhaus; his eightieth birthday was a national festival, and when he died in Vienna, on the January 21, 1872, the mourning of the Austrian people was universal. 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, The Jewess of Toledo (Die Jüdin von Toledo, written in 1851), an admirable adaptation from the Spanish, has won a permanent place in the German classical repertory; Ein Bruderzwist in Habsburg is a powerful historical tragedy and Libussa is perhaps the most mature, as it is certainly the deepest, of all Grillparzer's dramas; the latter two plays prove how much was lost by the poets divorce from the theatre.

Assessment

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 pessimistic renunciation and the bitterness which his self-imposed martyrdom produced in him, made him peculiarly adapted to express the mood of Austria in the epoch of intellectual thraldom that lay between the Napoleonic wars and the Revolution of 1848; his poetry reflects exactly the spirit of his people under the Metternich regime, and there is a deep truth behind the description of Der Traum, ein Leben as the Austrian Faust. His fame was in accordance with the general tenor of his life; even in Austria a true understanding for his genius was late in coming, and not until the centenary of 1891 did the German-speaking world realize that it possessed in him a dramatic poet of the first rank; in other words, that Grillparzer was no mere Epigone of the classic period, but a poet who, by a rare assimilation of the strength of the Greeks, the imaginative depth of German classicism and the delicacy and grace of the Spaniards, had opened up new paths for the higher dramatic poetry of Europe.

Cultural references

  • He is honored in Austria with a pastry, the Grillparzertorte.
  • Outside of Austria, the modern 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 also features a story within a story entitled The Pension Grillparzer.

Works

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Dramas

Novellas

  • Das Kloster bei Sendomir (1827)
  • Der arme Spielmann (1848)

See also

External links

References


Quotes

Up to date as of January 14, 2010

From Wikiquote

I love the pride whose measure is its own eminence and not the insignificance of someone else.

Franz Seraphicus Grillparzer (January 15, 1791January 21, 1872) was an Austrian dramatic poet.

Sourced

  • Let the famous not denounce fame. Far from being empty and meaningless, it fills those it touches with divine power.
    • Sappho, act 1, sc. 5 (1818)
  • Why do comparisons of words and tone poems (poetry and music) never take into consideration that the word is a mere signifier, but that the sound, aside from being a signifier, is also an object?
    • Notebooks and Diaries (1820)
  • When mundane, lowly activities are at stake, too much insight is detrimental—far-sightedness errs in immediate concerns.
    • Libussa, act 1 (1848)
  • I'd wish the government took honest people into consideration, it shows enough consideration for scoundrels.
    • On the Admissibility of Capital Punishment, from Notebooks and Diaries (1836)
  • I love the pride whose measure is its own eminence and not the insignificance of someone else.
    • Libussa, act 2 (1848)

External links

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1911 encyclopedia

Up to date as of January 14, 2010

From LoveToKnow 1911

FRANZ GRILLPARZER (1791-1872), the greatest dramatic poet of Austria, was born in Vienna, on the 15th of January 1791. His father, severe, pedantic, a staunch upholder of the liberal traditions of the reign of Joseph II., was an advocate of some standing; his mother, a nervous, finely-strung woman, belonged to the well-known musical family of Sonnleithner. After a desultory education, Grillparzer entered in 1807 the university of Vienna as a student of jurisprudence; but two years later his father died, leaving the family in straitened circumstances, and Franz, the eldest son, was obliged to turn to private tutoring. In 1813 he received an appointment in the court library, but as this was unpaid, he accepted after some months a clerkship that offered more solid prospects, in the Lower Austrian revenue administration. Through the influence of Graf Stadion, the minister of finance, he was in 1818 appointed poet to the Hofburgtheater, and promoted to the Hofkammer (exchequer); in 1832 he became director of the archives of that department, and in 1856 retired from the civil service with the title of Hofrat. Grillparzer had little capacity for an official career and regarded his office merely as a means of independence.

In 1817 the first representation of his tragedy Die Ahnfrau made him famous, but before this he had written a long tragedy in iambics, Blanca von Castilien (1807-1809), which was obviously modelled on Schiller's Don Carlos; and even more promising were the dramatic fragments Spartacus and Alfred der Grosse (1809). Die Ahnfrau is a gruesome "fate-tragedy" in the trochaic measure of the Spanish drama, already made popular by Adolf Milliner in his Schuld; but Grillparzer's work is a play of real poetic beauties, and reveals an instinct for dramatic as opposed to merely theatrical effect, which distinguishes it from other "fate-dramas" of the day. Unfortunately its success led to the poet's being classed for the best part of his life with playwrights like Milliner and Houwald. Die Ahnfrau was followed by Sappho (1818), a drama of a very different type; in the classic spirit of Goethe's Tasso, Grillparzer unrolled the tragedy of poetic genius, the renunciation of earthly happiness imposed upon the poet by his higher mission. In 1821 appeared Das goldene Vliess, a trilogy which had been interrupted in 1819 by the death of the poet's mother - in a fit of depression she had taken her own life - and a subsequent visit to Italy. Opening with a powerful dramatic prelude in one act, Der Gastfreund, Grillparzer depicts in Die Argonauten Jason's adventures in his quest for the Fleece; while Medea, a tragedy of noble classic proportions, contains the culminating events of the story which had been so often dramatized before. The theme is similar to that of Sappho, but the scale on which it is represented is larger; it is again the 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. The end is bitter disillusionment, the only consolation renunciation. Medea, her revenge stilled, her children dead, bears the fatal Fleece back to Delphi, white Jason is left to realize the nothingness of human striving and earthly happiness.

For his historical tragedy Konig Ottokars Glieck and Ende (1823, but owing to difficulties with the censor, not performed until 1825), Grillparzer chose one of the most picturesque events in Austrian domestic history, the conflict of Ottokar of Bohemia with Rudolph von Habsburg. With an almost modern realism he reproduced the motley world of the old chronicler, at the same time not losing sight of the needs of the theatre; the fall of Ottokar is but another text from which the poet preached the futility of endeavour and the vanity of worldly greatness. A second historical tragedy, Ein treuer Diener seines Herrn (1826, performed 1828), attempts to embody a more heroic gospel; but the subject - the superhuman selfeffacement of Bankbanus before Duke Otto of Meran - proved too uncompromising an illustration of Kant's categorical imperative of duty to be palatable in the theatre. With these historical tragedies began the darkest ten years in the poet's life. They brought him into conflict with the Austrian censor - a conflict which 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 Goethe in Weimar, and was able to compare the enlightened conditions which prevailed in the little Saxon duchy with the intellectual thraldom of Vienna. To these troubles were added more serious personal worries. In the winter of 1820-1821 he had met for the first time Katherina Frohlich (1801-1879), and the acquaintance rapidly ripened into love on both sides; 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. Whatever the cause may have been, the poet was plunged into an abyss of misery and despair to which his diary bears heartrending witness; his sufferings found poetic expression in the fine cycle of poems bearing the significant title Tristia ex Ponto (1835).

Yet to these years we owe the completion of two of Grillparzer's greatest dramas, Des Meeres and der Liebe Wellen (1831) and Der Traum, ein Leben (1834). In the former tragedy, a dramatization of the story of Hero and Leander, he returned to the Hellenic world of Sappho, and produced what is perhaps the finest of all German love-tragedies. His mastery of dramatic technique is here combined with a ripeness of poetic expression and with an insight into motive which suggests the modern psychological drama of Hebbel and Ibsen; the old Greek love-story of Musaeus is, moreover, endowed with something of that ineffable poetic grace which the poet had borrowed from the great Spanish poets, Lope de Vega and Calderon. Der Traum, ein Leben, Grillparzer's technical masterpiece, is in form perhaps even more Spanish; it is also more of what Goethe called a "confession." The aspirations of Rustan, an ambitious young peasant, are shadowed forth 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 doctrine that all earthly ambitions and aspirations are vanity; the only true happiness is contentment with one's lot, "des Innern stiller Frieden and die schuldbefreite Brust." Der Traum, ein Leben was the first of Grillparzer's dramas which did not end tragically, and in 1838 he produced his only comedy, Weh' dem, der liigt. But Weh' dem, der liigt, in spite of its humour of situation, its sparkling dialogue and the originality of its idea - namely, that the hero gains his end by invariably telling the truth, where his enemies as invariably expect him to be lying - was too strange to meet with approval in its day. Its failure was a blow to the poet, who turned his back for ever on the German theatre. In 1836 Grillparzer paid a visit to Paris and London, in 1843 to Athens and Constantinople. Then came the Revolution which struck off the intellectual fetters under which Grillparzer and his contemporaries had groaned in Austria, but the liberation came too late for him. Honours were heaped upon him; he was made a member of the Academy of Sciences; Heinrich Laube, as director of the Burgtheater, reinstated his plays on the repertory; he was in 1861 elected to the Austrian Herrenhaus; his eightieth birthday was a national festival, and when he died in Vienna, on the 21st of January 1872, the mourning of the Austrian people was universal. With the exception of a beautiful fragment, Esther (1861), Grillparzer published no more dramatic poetry after the fiasco of Weh' dem, der liegt, but at his death three completed tragedies were found among his papers. Of these, Die Jiidin von Toledo, an admirable adaptation from the Spanish, has won a permanent place in the German classical repertory; Ein Bruderzwist im Hause Habsburg is a powerful historical tragedy and Libussa is perhaps the ripest, as it is certainly the deepest, of all Grillparzer's dramas; the latter two plays prove how much was lost by the poet's divorce from the theatre.

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 pessimistic renunciation and the bitterness which his self-imposed martyrdom produced in him, made him peculiarly adapted to express the mood of Austria in the epoch of intellectual thraldom that lay between the Napoleonic wars and the Revolution of 1848; his poetry reflects exactly the spirit of his people under the Metternich regime, and there is a deep truth behind the description of Der Traum, ein Leben as the Austrian Faust. His fame was in accordance with the general tenor of his life; even in Austria a true understanding for his genius was late in coming, and not until the centenary of 1891 did the Germanspeaking world realize that it possessed in him a dramatic poet of the first rank; in other words, that Grillparzer was no mere "Epigone" of the classic period, but a poet who, by a rare assimilation of the strength of the Greeks, the imaginative depth of German classicism and the delicacy and grace of the Spaniards, had opened up new paths for the higher dramatic poetry of Europe.

Grillparzer's Sdmtliche Werke are edited by A. Sauer, in 20 vols., 5th edition (Stuttgart, 1892-1894); also, since the expiry of the copyright in 1901, innumerable cheap reprints. Briefe and Tagebiicher, edited by C. Glossy and A. Sauer (2 vols., Stuttgart, 1903). Jahrbuch der Grillparzer-Gesellschaft, edited by K. Glossy (the publication of the Grillparzer Society) (Vienna, 1891 ff.). See also H. Laube, Franz Grillparzers Lebensgeschichte (Stuttgart, 1884); J. Volkelt, Franz Grillparzer als Dichter des Tragischen (NOrdlingen, 1888); E. Reich, Franz Grillparzers Dramen (Dresden, 18 94); A. Ehrhard, Franz Grillparzer (Paris, 1900) (German translation by M. Necker, Munich, 1902); H. Sittenberger, Grillparzer, sein Leben and Wirken (Berlin, 5904); Gustav Pollak, F. Grillparzer and the Austrian Drama (New York, 5907). Of Grillparzer's works, translations have appeared in English of Sappho (1820, by J. Bramsen; 1846, by E. B. Lee; 1855, by L. C. Cumming; 1876, by E. Frothingham); and of Medea (1879, by F. W. Thurstan and J. A. Wittmann). Byron's warm admiration of Sappho (Letters and Journals, v. 171) is well known, while Carlyle's criticism, in his essay on German Playwrights (1829), is interesting as expressing the generally accepted estimate of Grillparzer in the first half of the 19th century. See the bibliography in K. Goedeke's Grundriss zur Geschichte der deutschen Dichtung, 2nd ed., vol. viii. (5905). (J. G. R.)


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Simple English

Franz Grillparzer (born Vienna, 15 January 1791 - died Vienna, January 21, 1872) was an Austrian dramatist and poet. His dramas include three plays (a “trilogy”) called Das Goldene Vliess (The Golden Fleece). Two other famous plays are Des Meeres und der Liebe Wellen (The Waves of the Sea and of Love) and Der Traum, ein Leben (The Dream, a Life). Although he said he was not interested in prose his short story Der arme Spielmann (The poor minstrel) is probably the best known of his works and one of the best short stories of the 19th century. Grillparzer wrote the funeral speech for Beethoven's funeral in 1827.

An Austrian pastry is named after him: the Grillparzertorte.


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