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Extra resources for Schiller: National Poet--Poet of Nations: A Birmingham Symposium (Amsterdamer Beitraege zur neueren Germanistik 61) (Amsterdamer Beitr'age Zur Neueren Germanistik,)

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Much opéra comique transmitted certain core values, though arguably they had a more critical edge to them in France: for example the contrast between town and country and between court and bourgeoisie; the education of one or more of the characters into right thinking; the idyllic nature of country life. These elements quickly became the staples of Iffland’s plays and constituted the winning formula for plays such as Die Jäger. Ein ländliches Sittengemälde, which went on being performed until the middle of the nineteenth century.

This edition will be cited henceforth as MA with volume and page numbers. 28 Goethe reversed some of Schiller’s changes for the 1806 production, which was then repeated some twenty times at the Weimar theatre. On Iffland as Egmont see, for example, the comment of Genast concerning rehearsals for Egmont: “Goethe las den Egmont, und abgesehen davon, daß sein Vortrag etwas zu markiert war, habe ich nie den Egmont so darstellen sehen, wie er ihn las: Iffland stand weit hinter der Auffassung Goethes zurück”.

1782. In: Rudolf Schlösser: Friedrich Wilhelm Gotter. Sein Leben und seine Werke. Ein Beitrag zur Geschichte der Bühne und Bühnendichtung im 18. Jahrhundert. Leipzig 1894 (Theatergeschichtliche Forschungen 10). P. 123. 1784. In: Die Grenzboten. Zeitschrift für Politik und Literatur 13 (1854). II. P. 436. 41 ist zu erringen, so ist die Moral des Fiesko die größte des Lebens” (NA 21. 91). We can sense the artificiality of this argument and indeed Dalberg’s insistence on changes robbed the play of its only logical dramatic outcome.

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