Re: Jedermann Summary in englisch

Re: Jedermann Summary in englisch


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Urheber : Konrad Heumann Datum : June 27, 19100 at 20:09:20:

Bezieht sich auf Jedermann Summary in englisch Urheber Thomas Brecht vom June 25, 19100 at 12:51:59:

Vgl. v.a. Twentieth-Century Literary Criticism. Vol. 11. Detroit 1983, p. 288-313.

Vgl. ferner u.a. H.A. Hammelmann: Hugo von Hofmannsthal. Bowes & Bowes 1957, p. 35ff.:

In 'Jedermann' and 'Das grosse Salzburger Welttheater', still trying to base himself on a form of dramatic representation earlier than the modern 'literary' theatre, he turned with far greater success to the medieval western tradition of the allegorical religious spectacle. Jedermann ... is derived from the English morality Everyman. Sir George Franckenstein, after seeing a performance in London, had drawn Hofmannsthal's attention to the old play, and the poet himself likens his own work to a mere 'cleaning off the cobwebs from an old clockwork so that with the chiming of the hours the old figures will appear again'... The essay 'Das alte Spiel vom Jedermann' shows that Hofmannsthal was above all concerned that his play be taken by a simple, naive audience as an unfolding of es-sential Christian truths and moral attitudes, and - whether he succeeded as fully as he believed, and whether or not the magnificent setting on the Salzburg Domplatz, where Jedermann is usually performed, actually gave him, as he believed, 'a crowd of spectators where the gap between the educated and the people has disappeared' - it is perhaps not permissible to judge such an attempt by literary standards alone. Impressive though the spectacle is, it makes one wonder whether it might not have gained if performed as a dumb show. To some extent this may be due to the language of the play; all the figures speak in exactly the same rather self-conscious idiom which is largely modelled on the homely 'Knüppelreim' of Hans Sachs, the Nuremberg shoemaker-cum-poet, but strikes one in fact as 'antique', a second-hand language with a period flavour not very happily resurrected. The figures, moreover, declaim each for himself, not so much addressing each other as the spectator - a feature no doubt to some extent inherent in a repre-sentation in which we are all on the stage, but one which tends to give the later part of this 'human fairy tale in Christian dress more' and more the aspect of a sermon.

The message of 'Jedermann' is that this life is part of a greater life; that the world is but a passing stage, and that, for our actions on it, we shall all be called to account on the Day of Judgement. When Hofmannsthal returned to allegory some ten years later with Das grosse Salzburger Welttheater ... God, 'the Master', actually tells a personified World to stage this life as a play.



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