Franz Grillparzer

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Franz Seraphicus Grillparzer (Jan 1791 – 21 January 1872) is an Austrian writer best known for his dramas.

He also wrote the oration for Ludwig van Beethoven's funeral.

Early works up to Das goldene Vlies

Grillparzer wrote a long story in iambics, Blanca von Castilien, based on Schiller's Don Carlos from 1807 to 1809. Spartacus and Alfred der Grosse (1809), as well as the dramatic fragments from the Spartacus and Alfred der Grosse (1809).

The German stage was dominated by Zacharias Werner, Adolf Müllner, and other writers of so-called "tragedies" when Grillparzer began to write. The Ancestress (German: Die Ahnfrau), published in 1816, reflected this trend. Grillparzer's The Ancestress (German: Die Ahnfrau) reflected this trend. It's a horrific fate-tragedy in the trochaic sense of the Spanish drama that has long been embraced by Müllner's Schuld. The ghost of a lady who was killed by her husband's infidelity is not expected to walk the earth until her family line dies, and this takes place in the play amid scenes of brutality and terror. Its general appearance is similar to that of Werner's dramas; it only differs from them in that it contains individual passages of considerable power and beauty. It reveals an instinct for dramatic rather than strictly dramatic effect, which distinguishes it from other fate-dramas of the day. The poet's success culminated in him being praised for the best part of his life with playwrights such as Müllner and Christoph Ernst von Houwald. The first appearances of The Ancestress in 1817 made Grillparzer famous.

Grillparzer continued this gothic romance with Sappho (1818), which was a drama of a different sort. Grillparzer's Torquato Tasso dramatized poetic genius's tragic epoch, demonstrating how a poet must abandon earthly pleasure to fulfill a higher purpose. After reading an Italian version of this play, Lord Byron expressed his doubt that Grillparzer would be kept in reverence by posterity. Grillparzer's ideas are not as concrete as Goethe's, nor is his diction so varied and harmonious; nevertheless, the performance has the stamp of genius, and it is ranked as one of the finest attempts to bring together modern life's excitement and enthusiasm with the simplicity and grace of ancient masterpieces.

Grillparzer's second trip to Italy in 1821 ended his The Golden Fleece trilogy, a scheme that had been postponed in 1819 due to his deceased mother's suicide, and by Grillparzer's subsequent visit to Italy. Der Gastfreund, a one-act precursor, is the first act in The Argonauts (Die Argonauten) Jason's quest for the Fleece. Medea, a tragedy of epic proportions, includes the conclusion of Medea's tale, which had not been so often dramatized before. This trilogy is similar to Sappho, but on a larger scale, it is a tragedy of the heart's aspiration, the struggle with the simple happy life with that sinister power, whether it be genius or desire, which upsets the balance of life. Medea and Jason's love for each other is a delicate art, and Grillparzer gives Medea's ferocious utterance. Medea returns to Delphi with the deadly Fleece, while Jason is left to discover the futility of human striving and earthly joy. The end is bitter disappointment; consolation is the only consolation renunciation. Medea Grillparzer's greatest achievement is regarded by some commentators.

Later life and final masterpieces

Grillparzer paid a visit to Athens and London in 1836. Then came the Revolution that tore the intellectual fetters under which Grillparzer and his contemporaries groan in Austria, but liberation came too late for him. Honours were heaped on him; he was made a member of the Academy of Sciences; Heinrich Laube, the opera's director, brought his plays back to the repertory; in 1861, he was elected to the Austrian Herrenhaus; his eightieth birthday was a national festival; and the Austrian people's remembrance was universal; on January 21, 1872, they died in Vienna.

With the exception of a stunning fragment, Esther (1861), Grillparzer published no more poetic poetry after the fiasco of Weh dem, der lügt, but three complete tragedies were discovered among his papers. The Jewess of Toledo (Die Jüdin von Toledo, an outstanding Spanish version), has gained a permanent place in the German classical repertory; Ein Bruderzwist in Habsburg is perhaps the most mature of all Grillparzer's dramas, as it is undoubtedly the most mature; the latter two plays reveal how much was lost by the poet's departure from the theatre.

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