HAMBURG DRAMATURGY By G. E. LESSING With a New Introduction by VICTOR LANGE Chairman, Department of Germanic Languages and Literatures ‘Princeton University DOVER PUBLICATIONS, INC. NEW YORK oyxxii VICTOR LANGE Selected Bibtigrophy Garland, HLB. Lessing. Cambridge, 1997 Gombrich, EAH, “Lessing,” in Proceedings of the British “Aeudeny, 1967. London, 1958, 188-156. Kommerell, M. Lessing wd Avistotetes. Frankiurt, 1997 Lessing, G.E. Werle, ed, Pelersen-Olehausen. Berlin, 1925 1020." (Volume V contains the best Carman text of the Hamburgische Dramatsgi). a THamburgiscke Drematurgic, ed 0. Mann. Stuttgart, 1058, Pascal, R. Shakespeare se Germany. Cambridge, 1981. Robertson, GJ. Lessing's Dramatic Phoory, ed, E. Purdie, ‘Cambridgs, 1989. Sime, J. Lessing: His Life ond Writiugs. 2 vols. London, isi ‘Vail, C.C.D. Lessing's Relation to the English Language “ind Literature. New York, 1986 PREFACE Ir will bo easily guested that the now management of tho looal tate is the eatin ofthe presmat publication, ts ohjeot ie to respond to the good intentions that mnt be atisibuted to the gentlemen who propose to under: fake the wanazcumne They hiv Ghomacnes sony faplained cher istantion, and the better portion of tho pb, both within sad without our city, ave. given to Thoin ‘utteroncos tho approval which svery voluntary texertion for the general good may expect to meat with i "Hs tue that pooplo are always and everywhere to be foaud who, judging others by themeel ves ce nothing Ot Diddon designs in every good undertaking. his form of satasatin “ight pay "he. permed fon. Only. when the aimed hidden designs, provoke the fayalust dhe objet lao, when their inaliciows envy UMisy undermining this cbject in order 9 frustato these assim desiges, then they must bo formed that they fe the most costemptitle members of human society. “Happy the spot where these wrotahes do not give tho toao 9 tocoty, whero tho greator mass of wllalispost ‘zone Keep thom in the Younds of rxpect snd do not fulbr that the better portion of a whole community Yooome the prey of thelr cabal that patritio ebjets Tncome @ ropreach to thir petty sneering witt ‘ay Hamborg bo so hupey mall thet concer ite vwolth and it Feedom = Bar Toppy! it desorves to be thus2 GB, LESSING Wes Sloe made ggatin othe improvement oc ea. eae ae reat theatre !)—suggestions that may long form a subject of eee ey tere "Pall eur fs ih Seesatt ha ena ‘waa his fret and foremost saying: “Tho care of working. eee ec me ring, tim coe tke ethos amp obaand Som ual set a the alt Sool ems remap tar egreded Fr oe tana ge pa he Sere en meg ca ay SF ranma tnt nen Ay salt amine seine rh, nh tae be span tak li of oto he ne tar ld aa ee aes SS fot ae Ma Fa ing er Be a eee Tate provements neoded by our theatre oould quickly and a, 2 ee will be economised; whether taste and judgment will he ee ee a ee rue uly ine cn en inl ie le gamete taper anne alr ay hae fn gon ei gomeau anDe Fee een sealer my aes Ts ft Sa yy Ltde qisstar mae ot ds inalt aS grey die er asad nat fhe pene sad rie cera ave bmn capital a mat, des bine in tno depen of ee ee gee gis eal cele career aon ars erate Bema oe ame fh ors of cunt, Seces HAMBURG DRAMATURGY 3 wee nnn se tee wcities Smee a esac oa thr dmocafeaeSog “Vogretly fear that the German stage is mare the Bartha fren ea » sy oan a nes eon toa pio celee Prod ork rien Tey will always! outetrip him who wanders’ oim- aie aa Semmes SC a late gt sony, | fa if maatenpin wold 0% ea & a ee eB Ei ariel, EAs ft eae Rate Beal i ede eek feta yah enn mens renege e ee pele ie tales eno a ts aa ETS ee ti, is eit is Sonakiene ee ee es Se eb tonne ay en cote aren unmet ay se etcetera so ‘ {s°to injure both, The acior lores heart and the poet if made ell-confient ‘boro all, tis tho sotor who may in this pautoalar domand) the greatest eoverity and inpurtalty. Tho foolenon of te pot say bo epi a aby ine, ror resing dean bs always ght spain efore cour eyen. But the at of the actr fo trnatory fn ite don, His good and bad pase Yy mepidly, tad nob ‘cldom the passing mood of th spectator ia mots aooounte4 6. LESSING able than the actor for the more or loss vivid impression rotucl upos kia. "A beautiful figure, a fascinating mien, a speaking eyo, 4 charming gait,a awoot intonation, « melodious voiee, aro ‘things that eannot be oxpreasod in words. Still they aro neither the only nor the greatost perfections of the actor. ‘Valustlo gifteof nature are very necessary to his ealling, ut thos fy uo means als Torte nas! everywhero think with the post he must even think for him in plaoes whero the poct has shown himself human.DRAMATIC NOTES, ‘No. 1—May 1, 1707, Tax theatre was eicnflly openod on the 2nd of last maonth with the tragedy ‘lindo and Sophoonis’ *Olindo and Gopbronin is Ehe'work of 2, young Pooh, an ina postion inoomplste work ts theme to-well- Encode’ panto a Yumo. Ie ts not aty fo. covers & touching litte for nto 6 touching Gram. "rot soa fie toto to vent ‘now completions an te exlnge separate unotions into seonen,” Bue to prevent thean now ‘Sliplctions fot weakening the Sntclea or inareriog Stl probity; to transfor Sasa from thepolatof vie Safoaor inh el tanpane of ach prune to Jee paasonearino before cho extn of the spatator ia of Mesoibing them, aad to let them grow op without hort in sud leary continy thet Srhethor ho wil ono; thn fin which in nodal, and Which gona does withont Knowing i, without tedioualy ‘sapling tote? and which ete loverncaendcevouss ie'ynin ts imitare. bin “Olindo and Sophronia’ Tamo appear to havo ae ee ie Ee Ving th ator has depitel the strength of nahi. so'Tasso in the force wished to depict the strength of loves ‘There it was the hero sol of dy that goveiss to to feat of fandaip, here ft ie religion that given to ove fe epportonty of evincing tall a allie power, But religlll, whlch Thum only Suee aaa menos which love6 c. LESSING [oa eee ee ees serail Meee ate re Sai aR pe Be Saeanh ot Soe ssealees ea alae aetna smerny ig noe pone Bore se nt ig awn nd aed aero ay apr apres an : ee ea Mehmeti bt ono ro er ero ii un tothe seas tite Sesto Ghee mae afte nt fe up oe Game, Wa SREP tees rie eres Se ei retool a pe ol ret Been a ie con ont ty bare ere Sp Sores, lett ae nae a ae ome fry gl hg vat gn te ee Pe PUL a me WA are ares iinet eee la Sof wes Dos ee bog oly Comat anes ae tote rare earlad SULA UN ceca atseaa eat ade gy, on mn ee enn rae Gb sey gut 2 pos te meres bi ober b coud wets fr rll soa ng br tn eres onc He fen eres orn nen i ag ak By cd gay Te he Bl re Mad op Bin rbot ee pha per id he Se oy ee hee ee Senctamie he be haces eet eines tod ico te, eed fb sored hye eae See ca gel of Se Nant oe ah ot the gravo or wishes for nothing but thst this union, mye te yot loser ani more intima, tat ho may prs Beart to heart and that ho may give forth his soul upon her lips, ‘This admirablo contrast betwoen a lovable, calm, ‘entirely transoondental dreamer and a hot passionaio youth Nol] HAMBURG DRAMATURGY 7 is utterly Tot in Cronogh’'s version. They aro both of the hills! uniformity, both ave their heads full only of fharlgndom. And aot enough that ho and. aho wish to dio for religoa, Evander wishos to do the same and even Serene fs nee fl inclined. Hiere Fwish to melo double remark which, roe in sain, will uve young tragie poste from committing ame ‘hain Ut oot son indatsare fo arousadmieation, ‘Doct st not be too lavish of the, for what we noo often, what we ee i many pereoua, no longer excites {stonishment” ‘Brery Christiania Olfado aud Sophronia’ olde Ying martyred and dying as easy 98 diaking ass ofwater. "Wo fens there ious brivadoes wo ofan fat of ao any most, Sat Whey low all ee "Tho aecond rmask oooeros Chaistan tragedies in par- euler. "Theis heroor aro generally martyrs. Now wo live in'an ago whon tho voico of healthy rou sepunde ‘a0 louly to allow every fanatic who Tuohes into death teantonly, withowt need, without reed for al in tin aten, {0 sone to hitonef the tile of « martyr. We Know too well today how to distinguish the fale mnchye ‘om the er, but. despite tho former as miueh a wo severe nce the Tater, and at most they extre from mae holy tear for ths Hindus and folly of which we aso Staite Bt fain oon leg ner that tragedy should evoke, If therefore the. post ‘chooses «shanty for i hora let him bo careful to give to hus actions tho, purest snd most inconerovortsblo motives, Jet im place hita in a unaltorable necosiy of tag tho stop that exposes hin to danger, lot him nok afer hima to eck death earelassly or iasleatly challenge itso hie pious horo beccme® an objoct of ou distaste, ond even The religion that ho seas to honour may safer thereby. Lhavo alreay sald that {could oaly be a superstition ‘hat Ted Olinda tosial the fag from fhe mooie as om cuptible ae that which we despise ia the Wiser Temenor, Trades novexcuse tho post Ghat there ware ages when sac superstition wee general and could mabeist ado by side trith muny exellent qualities, that there sill aro coun. tris where it would be nothing strange for pious 3gno-8 G. LESSING so. 2 ance, or he wrote his tragedy as little for those ages a8 the intended that it should be performed in Boheania oF Spain. Tho good author, be hecf whateverspocies he will, it he does not write merely 40 show his wit and Teaming, Ihae ever the best and moet intelligent of hie time ane country before his eyes and be only condesoends to writs ‘What pleases and can touch these. Dven the dramatic ‘ntior, f he lowers himeslf to tle aol, lowers bimeelt ‘uly ia order that he may enlighten and improve the mass ‘ot to oonflem them in their prejudices or in their Jignoble mode of thoaght, No.2, “Yet another remark sito bearing on Christan sagodiee aight be made about the convarnion of Cloriuda. Cone Vineal though we may be of the immediate operons of ‘race, yot they can Plage Title on the tage, what Everything Ct has vo do with the character of tho per> fonages tus arise from natural cause We oun only folerate, mirtolee in the physical world inthe moral fverything mist vtsin itt datural’ cours, because the Ber ft tn fhe sl of th oral wok” The rotives fr every aeelva, for evary clange of opinion oF ven thoughts, ust bo carefully balanced agent each ‘ther #o ae to to in accordanoe with the Hypothetieal ‘haraoter, and mast nover prndice more than they could ie In acoordaace with ezit probability. ‘The poet, Ep lent of dla may pos heat of deluding eto ‘oveslole misproporticns of thin kind, nt ho only deceivee reae and aan ate a ola back to pplauc ho has foro from we.” Apiying thes remarks ae rt tan of th hn a ee nt phonies gpovchoa and acts cond Rave sone pity in Citinds, bot were sch tn nspotet to works conta {nv poroon who had no netural disposition to enthusiast, ‘Tuas alo makes Clorinda eubraoe Christianity, but fn hor lost hous only after she hae cent heard that hor prenia wore also inclined to this faith wabtle weighty eto whot mitt the operation of. ight ever areas it Woro, entwived with je course of natural events,No.19] HAMBURG DRAMATURGY o “Mehomet? itis the epitome, tue quinteaence soto peak, | ofthe tie of this impostor: fanaticism shown, in acon | tho “most eautifal an pllloophical pioture that has ‘vor bon drawn of this agora monster No. 19, 1 pri orga 10 ten tt sot aay Me 2 om, tt Hangar tre” Batts ge ts ase ta oe BRE Sal arin cok re CP arene caaaral get ie tale au | Sabie Rive tf cre ns SOUR peg eer ana eee ee Sch Siete nel ele re ele oe | RIESSEP En cag Re cnn | emirates, teu dna | RSCG Tes tig pid een, | ‘but hoe formed his taste from rules necessitated by the nadaro of the abject. ‘Now Avistotlo has log ago decided how far tho tragio ‘oct ned regard historical assursey: not fart than Ses fombles a well-constructed fable werewith no can cumbing ‘eto, ss not make anol seven iemmn zeally hnpponod, but because it happened in such soars ‘so wil Searosly bo able to lavené more Rly or hee feet sie pice If fs he sat cn on ‘true cao is wee but to atarch thoough History ‘ook dove not roward ie labour, “And how pany eee Tinthes opel fw ly ata thee ht someting can happen fzom the lac that has hapereds ‘what prevents us on deciing an ently fotos is areallyuuthento occurence ofwhich we havernewer hen before? "What isthe frst thing that makes s history we able? Toit nt ita iteraal probability? And is abe sation offndiforencewhather this prota betantemed ‘by no witnessor or traditions, or Ey such ay have meee ‘ome within our knowledge?’ Its uoruned quite wither ison, tha it on of the objets of the sage Whang82 6. 8. LESSING Wo, ‘live the memory of great men. For that we have his- tory and not the stage, From tho stago wo aro not ta Jeatn what such and sich an indivitnal man bas done, bat What every mun of a certein chisaotar would do under certain given circumstances. ‘Tho object of tragedy is ‘nore philosophical than the cbjoct of history, and itis de sgading hor from hor trao diguity to employ hor a8 « mere ‘Pauogyo of fimous men or omiense her €0 feed national pride. ‘Tho! tensletion of elmo" ie én prose. But would sve not rather hear nervous melodiout prose than vapid {ud forced verses? Among all our thyme tranalatons ‘ore will bo searealy half & dosen that sto toler: ‘Aud T must not even be taken at may word an asked intuition i docs it epey our Isbour to expend industry on Faench vere tall wo have produoel wmo in on fa igungo a oratory and correct an grammatical wn cold? fom the contrary wo tana the whole potiel drone of ‘ho ren into our pro, our prose will not trong this Tyscomo very postal Tt will he wall far remowed fom ‘tho hybrid fone that has resulted oot of the pros ranela: {icon of Engin pot in ef an of i olde {aplors snd imagen, together with « measured cadence Constraction, socal druukands who dace without musi. ‘Tho expreseons will, at most, not raised bowe evaxy- dlay speech, mors than theatrioal eclatation should Bo tel sore the comson tone of sorial conversion. Ad efor X wih our prowio translator ight many fn tore although Kam 201 ata of Uo opiaon of Hondar de Je Divi, that melee ie of itself childish constrain to ‘hick to dramatic oot least of all should subuat, For Thor the only quetion isto choos the Tessor of fo evils; ‘ilber f matides sna aul emphasis to verification, oF to fein the ato to the fe Hond den Motion ‘panloned for his opinion, ho was thinging of «longo in which tho shyt of pootry i move tickling ofthe vats fal eamnot onsite th of expreaicns, In dur language on the other hand ite someting more, we 0.21) HAMBURG DRAMATURGY 3a approach far more elesaly to the Grosks who were abla to fndicato by tho moeo shythm of their versa what passions ‘ote expired, “The French versee have only tho value of surmounted diticltia, nd outsinly thi na mierablo ‘alae ‘Herr Borohers played the part of Antenor uncommonly well... Horr Bordhors hat very much talent and th ‘lon shld au our Zavousab opinion of him, that ho {san ready to aot old porta an young onsa.” The shows bis, Jove for bis art sud # connoisiens thus ditingaishes him At onco fom many other young aators who want forever ta thine on tho stage, and whooo potty vanity to be sven sud ‘ubmirod in nothing Dut gallant aaiable pasts often con Stikates their faretoot at only vocation for the stage. No. 21, ‘On, the tweniy-reventh cvening ‘Nanine? by Mt do ‘Voltaio, wan penton “Nasino'? aned salad eiton when thin piece fat quent. at wo ide th Wnt S1"tone that give ue? Nothing more snd nothing Tom than a de shonld. ttle must be no bl of fare ‘Tin oo betrays of tho omtints, the eter ie Tes Titer for both pone ad spectator. The ancien's rarely fret i tran ctor hon nip, He ‘araly know threo of fdur tint indicate the chit por: forage or reveal snything of tho plot To thewe ben Gaulacs Mier Glioma Bat How ia ie tha non han notid thet ony Salt thin tite bulonge fo Plnatee? inutow called his play’ Gloria, ag ho Samed ancther Trucatostus. Miles must bo tho addition of some grain ravion, Tt is tru that the boastor whom Plautus portsaya isa eoldier, but his bousts do not ouly concern his position saul his niitary deeds, Ho is quito as boastfal on the gube jct of love; ho vaunts iimseli to be not only the bravest, 3 alap tho most amiablo and boautifil of mea. Both ea5 G. B, LESSING (vo. 24. We inde fn, ord plo, bet on rma od Seale A, hme gos ba oe an od Se qiete rol, eter in operant esses naar ciao ean ere congas mates cae ee Apes Grom al noes ot oe fata he goof Ge by en ied ah te peso lool ye ene tat ea eee cee ee of Roting tte sera nae Cem eS eras naa Pe ae eas ane aca ieee spice cue eile of comedian eae aanse eae eee 2 re ha made ta cme ge eaten vraag ee eee ree are ata Seatouia raat eae tele engi of Some ae Dorcel, are = sheep. Tl hs ew te lng oe eee aes lel aa ae eae ee ata eee ayuara es Sept ch teate aed ehh sy ssc, Sat pot gb te et het a taba i hereon Che ed ue areata eee eecicaata Sent tn etadaneta no Mintig TPS See eae ea eee ae SE hee tana ae SES ete ee eae oe escheat Tere ate Hey zi an ies bogoee pee eta ta eh Nin tage nothing the meen il sera teeing, he wma fe ‘wily should « play not havo two tillee? “Have we not ee age ee ‘nd with two names confusion is more dificalt than with Do Omi Mb ap. 38 | | Nod HAMBURG DRAMATURGY 55 ee eer soe, inn le te Ten et serge tis ol, Hee may Soren as ces, Cover Poe, sO ali es mak” a i Boat pay toa ey a iy at oma tema pari Sra ee age anim te Pay pitino tie cal Dae ECS Waals Ba oo a oe a a tegen ona a se a a he el i Bey ad eb anaes Fane Heh a age Ne mene Mig sake cmap. Ube mis ee ree ody, Ibe ny emcee a a ee rope tii Me pan Cae eat Diet ohn ity. Ap ely ge, Sin nye ath 2 ey ala eign Se cee eee ee, ee ee ioe oe oo a a se eee lene a 0 sre se ogee rior ere ee Beis GBs Sak Jen ho sy ae wo erp eel despre ee an 9 Tmo ae a wale eee frig Ue is et Sorc cee mame as apg Se ea of sh ape om, sai pez hohe a ie oe nie ne er de Oe atte Spee mi te cto oe ae Tea tig ach at phe Tine ata aa Ona TER Hel cn Gel ae er ee a cane Sm ym minha Oe ohn eA i one aan he aera gee capi, ged i ae, eS ek ines cee a oe56 CB LESSING Uso. 22. ‘hese words, mado such an impression on the alloted Tady, tnt sho had to quit tho oom shaken by laughter, all fillowed her loughing ; tho invalid herselh whch alo hneard iy nearly coed with loughing.” Soni he sae in anor lacs orem allowed. hia sods to lntgh while they ore deciding tho fae of the ‘orld, over the, ludicrous soruples of Vulcan. Hector Thuighs at to fear of he little gon while Andromache is shedding hot teara. Te-will even happen that in the taidllo of the horrors of alti, of a fre, or somo sic fevent, an idea, "a catual joke, ovoleo” uncontrollable Taughier, notwithstanding sll or anxiety, all our qity, At tho Battlo'of Speyer « Tegimont wae command to ive no quarter. “A German effoor begued for thant Qe Brenchmtn, wom ho ‘ettionals pl, Ask he what yom like, ss only act far ifs, 1 Sanaot accommodate you Svith that” “This maneté van fom mouth to monty the Aliens langhod and murdered. How much sooner ten will laughter follow ‘thetic emotions ine comaly? Doos not Alemens touch we?” ‘Doce not Sooia ink a laugh?” What miserable and folilelsbonr thea toon ‘one thisexpertencol™ Very goot. But does not M.de Volta also contona against otporioaco when he scares a. wholly sesous comedy tole a spcnnan tions iffy? "Peviage his contention, waea he wrote, was not yet against eye ene: at Tat tne har wae 3 “ata Eo fe famille"; end thors ie much that genius most realy ate fit, before wo cat recognise tas posible No, 22. nthe shivth, evening’ Thomas Croll “Tho Karl of ax” was peed This tragedy in alert the only or able namber of plays writen bythe younger Gonntle fiat fas maintained ita character as’ oh aulng play ae ho French stage, And f belie iti wll are fee quently performed on tho German ogo than oo French. THe dats trom 167%, foray yoas aftr Culprenoe bat tented the sue theme, play of of the consider:e 6. B, LESSING [Soa ‘ reality, that havo induced the author to choose this fact rather than another as the subject of his play? If it is the characters, then the question is instently decided hhow far tho poct may depart from historical aocnracy. Ina that does not concarn tho. characters, as far 0s hho likes. Only tho characters must romain’ secred to him, ‘To strengthen those, to depict them in their best light ig all that be may add on his own avosunt: the smallest essential change would snnul the reasona why they bear these and not other names, and nothing” offends ‘ub more than that for which we ean find no reason, No. 24, __ Tf the charscter of Comeilc's Elizabeth isthe yootioal fel ‘of the trae character Cat history hae gives to this queen if we Std init the ireoletion, the oantradietons, He anaioty, nemorso, despair which aid. bolall oF could really have hefulen a pros and tondor hoart like Dat of Blizsboth wader {hie oF that cicwmetance of life i those feelings, T ay, havo been portrayed with truc colours, ‘hen the yout bas dono all tat his duty ab port requires of him,” To examine hia work, obronology’ in haad, to tring ig fre tho Segment aot of tory tha by say proce tectinony’ for every dato, for very carta Mihn oven of thw Sarvons what won kistor al is {in doubt, i to mistake his ‘calling, whilo it is moro cavilling when it proooas from those to "whom wo cannot Stiibmés such mistmderstanding. ‘Tras, im M. do Voliaire Ht might easly, be_ncither aninanderstanding nor shine. Tor Valtnins is ime a ‘gio poot and singuestionstly afar greates one than the Yyoungdr Comeillo. Otherwiso it would he posit to be Iaster of aa art and yet to havo false conooptions come ‘hat art,” "Anid as rogers chem, al the world Knows that thin is not is anner.” What looks Uke 3 ecaionaly Sn his works fo nothing but waywardaes from shear waywardness ho mow and then. playa the port fbistrian Sa poetic in history that of philosopher, and fa poy tow, a5 ho td know for nothing that Bliaboth was sixty- No.2] HAMBURG DRAMATURGY 6 ight yeara ol when sho had the eat! beheaded? alow in love in or ity ighth your “Added to tis Fiieabeth's large now, whet ludicrous whimsicalities ast avise therefromn’ Only aftar all, these merry drolleros are to be fowad in the commentary on the tragedy, justin tho very place where they have no business to be,” ‘The poet ‘and have been justified in saylug to his commentator ‘Acar Mr. Annotator, thess devilries belong: to your ‘univerral history, not to my toxt. For it ip faleo that ty Elizaboth ie siaty-eight yours old. Pray show me vie Tee eid Whe in thre my pay that Dinders you from assuming her to be about t ‘age as Fasex? You say: But she was not the samo ogo. Which sho? The Hlizabeth in your “Rapin de Thoyras hat may be, But why aid you read, “Mapin do Thyra’? “Why arw You so leared? Why do you round that Eliabeth with mine? Do you seroatly believe that tho zemembranco af what they have reed it “Rapin de ‘Thoyran’ at somo past timo will be moro ‘iviily present this or Cs pason among the audience, {Esp else genni wee fomted acts in ber prime will make upon him?” For he go my ‘liauboth, and hie own eyes convince him that St is ot ‘Your eexaenariat Elizabeth, Or will he beliovo “Rapin de'Thnyras’ more than his own even?” ‘That also cou tho. post explain, the part of Lasen, ‘Your Essex in “Rapin de 'Uaoyras’” hi Could say, "it tly the enpicyo of no. What tat ono assumes Yo be, ‘his i; had that one would perhaps have done for tho {queen under favourable izcunstunces, mino has done. Wig you hear that the. queen hore? ada this Will you not believe my queen xg auch as “Rapin do Thoyiaee’? My Haver i o nan of worth,» great man, ‘at proud and infloibie, "Yours waa in’ trath neither treat nor woud; not iafexibe; no much the wor for USn.” Ie ea re at he vas grt an ene ‘ouoagh to justify mo in giving his nelno to the character ave abetted thoahom iy ia ot history in dialogue, History is In hort tage for tragedy nothing but a starchouso of names wherewith ‘we are ted to amocinto certain charactors. Tf tho poet6 6. B, uEssiNa coat finds in hislory eixeumstancos that are convenient forthe ‘tlomment or idividealising of his eubject) wel, let hut ‘ue thom. Only this should be counted tr ede a merit "tho contrary i erm, Haoapting ths point of historical avurney, Tam ve ready to utc to the reat of M. de Volts’ eitoians ‘Hisox' ie modioere play, both an rogers intriguo and syle. 'To malo the ott the sighing lover of an Irton; 12 bing hi he geal ure fom dopa tat ae ‘tanot bo ia, than from s-nable pride which will not let Khim descend t excusm and prayern’ that was dhe most ‘nfortunate conception that Comeilo ever eonesved, bat ‘which az © Freuclunan, be could not help having. The syle which fn weak in the original, hae’ become’ almost jet 'n the Gansatin, But tokens a whole th play ‘logs not want in iatarest, and bas here and there eoae fehitons Vines, that are however happior ia French than Jn Gormna. "The setory” adds M'do. Voltaire, por Aiowlarly the provincial onts, are vory fond of playing the oF Peers, ncaumo they can appear with an embro jared ribbon under their ‘large Blue sibbon ‘over their shonters. ‘Tho earl is @ hes of the wt ‘dex, who is pursed through envy this makes an Zc he number af good tragedies gl ation ot le otal, ‘ro not quito ad, will stil attract that “those. whi spectators if only they are supported hy good aot ete nly they xpported by goo: general statemeut by various separate obsorvations, that ae aa acuta ai they are corzect, and HGH Tleht he yall to reall ts fotne uprnanta- tion, I will therefore retail the chief of these. here, firmly convinced that criticism docs not interfere with enjoyment and that there who have learnt to judge « piece tho most soverely aro alwaye those that visit the Theatre the most frequently. “‘The part of Cecil is secondary end a very chilly ‘one. ‘To paint such fawning fatterors the poet mut. be taster off thoco colours wherewith Haoine painted kis Narviseus, ‘Tho Duchess of Ineton ag he paints her is a ‘virtuous woman, who neither desired to drew ‘down on herself the angor of hor queen by her love for the Nom HAMBURG DRAMATURGY 6 crs onary Serre, Tce wnd irom mec wt CLAS ie ata Short am Ear uit Ba SHS ela and dingy he TA SPW a NSS oe Set le eat sear Sinaia acre Silent alts Pvuach a eat et SarM Ley of cenel a SAE Samat SUES at arpa Bera is te dt Mhetiei'syeor eaten mec ea Ry nels Nato se indeks eet nt HA TERIA MD einen Oleh rere Se hn, Ph ah LPR art eae Oa be Gets i Sas ecules ste hea eg" Auta he SE DOE Voce Sh fe mete ate Sy aoe a Tate elinted Pes i neal ee Sea rs igees draft ub sete Et hewn a SELUC Te ee a Ew wi Sate aw al pl. Fepresnte to the queen that op ‘eee dope That everyting was #0 be. fnned fromm tho Ketig and nation of in judge” Neverthe ba Sprests to tho queen’ twerey. "Wy neal he do ths iotakd mot ola hie friend gulity? What is the spoctator to bee? “e dos ot Know what to ake die of {ho eats omspirsey or of the queen's regard for him, “Salisbury fells the quoen' that 0° eas siguataro has been forgo. "Yet it does not cooue to the queen to Investigate such’ ax important poiat. Nevertheless ax a {queen aah ata lover sho waa Donnd 90 to do, Ske Soce ot oven roply to this suggestion whieh she thould have6 GB, Lessing (o.35, seized upon eagerly. Sho only roplien that tho cal is proul and tints oles ufon ie ang for meray «hat wy should he ano for merey if his Signature aa forged?” No. 2% Se eee ho dio rather than convineo the queen? His th view fete piles eg comin gen nin Dargie ny Incapfey ton yo Saran ee al sla eel Sig sci fn Peed a 1st lv fe sites Mi el tet soa ho for hea ae sho Bp pom ea Se ote oi ran optics Oy aa a sung te Fala clin in se artes gee cat Spin SAP a Sima Soke ca, er (ehiehith BASS SAS ede bi mee itn err ny pen Hl meer pe hi iaiissce Eevee he in mel tat ah stray pie ee he STEAD ef ee date at phen rie rom tle Sri hhimself only with the sontiznents of pride that are so fat. SSE laa tae shoul Salar petserlad aad yet Wo ey bee pened sien megan et oe fy ba ee, Teeeneditars aie tag maa epee nti Tt et man wales eiancese afeatacta ai deat ie te ma rei en etapa rag set Woe a at a wee hk REE Jo pt om iio ea Teh ae ek on Enow how it is that ia auch plays: good gotore always Teer foe ash ‘A masterpico tsNoma HAMBURG DRAMATURGY 3 Asken in this direction by the anlar of composers of SetPatematis ytophonies” Jn vocal mutio the tether he coprcaioa to mucky the weakest aud. most vel Ielng fs strengthened aid desitod by the ‘words. In Hstdhaenta tang on the contrary, this helps com ete eatag and iesays nothing {i dow not ey that RGN out euprom very emphatially.” The musician ‘Mest amply his Ect power bet, he matt chon among Ue felon scribe of tne only thos that expres 0 otlon mast doitely. "We shal bent hwy elem. Se compar wth othr ae Teeter eat thay have in common, wo all ds oWPbat ae toad plonsare we shall thuw di iat a adi wo shall thus derive trib Tee leet Sn te tepaag of eau megegemen of our theatre psn have boo ten ‘rior the orchestra ant able men have been fous willing THRSP Ue huede and propore models of tha rma Seppttion, that have succeded ingond expectation. For “Gio an Syn ir er compel rea yuhony, and ihe secnd representation Sf Sondra" atudel by meh a one fom tho hand of Hore Reticle of Batlin. No. 27. innsio, Nethowever in fig; forthe mors {il ntosn sey th an be eaedia ‘Sords sit jenot poh to escape fling into general praise Tofos ckclomatlons and bridcing erations and Guse Tres uninstrnotiveto the amatouras (hey are nauseous to hermestar whom we sock tobonour. No.1 mean to speak Ino of the intentions that the taster hao had and of the uivens he has employed to attain hivend. "Tho opening eympliny consis of threo movements. ‘The tet movement ie lango wih oboes and nts beside Yiliney the busy parti teenglioued by tassoons, ‘Tho xpreeion a eric, soot wld and agitated; tho fsloner to fo capect'a Gramm of thin nature. Bat not tf this nature only; fendernes, remorse, onscionc,um G. LEssiInG DX. 2% Insnility play their pars azo, and the secoud movement am aislanfe with muted viling and bassoon, 1 ooeupied ‘rich inyatevioun and plaintive tones In te third mee- Jhent te enotioual and the stately tones ate mingle for {Goon wi waa slenour, St fppreaching th tors of her glory and aati glory tikes UWBpe oe eat aloe to encivo ie The shaver Alegreio aud tho lnatrumcats aro the same at in the [stem moon et tha oer si ton avo phrases they play together, ‘The mnsic tetween the eels hae throughout osly one single movensent, whose oxpression sefors 40 what has ‘geno bofare. A cocond that hfers to tho coming docs not oem. bo approved by Here Agsiosla. T'am mich of his ‘piaion in is Por dhe run sto epi nothing for the Doct; the tragie post loves the unexpected, the sudden, Ihore dan any olen; ke dows not like fo betty hi design fd the musis woot betray him i fieatod th comiss passion, It in diferent with the overture it cannot ref Boanything preceding, and even the overture mrt only Indies the general tendeney of the play and not more sivongly or deeidedly than the ttle dotn” We may show {he spettetar the goal to which he fy to attain, Ut tho ‘aeious pate by which ho i €o attain it mst bs entire Fdden Zoe him.” This reason againnt a snond moves Senn“ div om evedration andi conilrmed by another thet belong to the an fot ‘or teuning iat tie persons Such rn fo two conscoutive nets are opposed one to another, the two ‘movements woul naturally have tobe of equally opposite hart.” Nv Lon well compan Sow tp nn tarry tn over om any” one pssion to ita very epposite ‘witht npleamnt wibloeo} he doer w gralally ant Slowly, he ascends tho lader'rong hy rung ether up or town, withont making any juin. Bat ext the mation tl this? Granted. that he’ cut do thie in a poo ot rl Jeng can be, sn to dak ate ‘ppaeel pices rine not the jump from toca to stormy, from he tender to tho cruel be neces marked and have all the ofensive taits that any Sule traneltion has in nature uch ae om davkneas to Tight, No.2] HAMBURG DRAMATURGY % from cold to heat? Now we melt with sympethy aud fuildenly woarotorage, "Why? How? Agaidat whom? Againal the porsen for woth our sul way all ity? oF ‘against another? Music cannot deine al this! 38 only vein mcd an wnt 0 foe Deresiving w corectsejtence for our feclingy; we fel at ‘wodoim's dream, and ail tere wadeined senstions are tnore fatigeing an agrecable, Now poetry mover les sa Togo the thread of our sonation, herb we know not ouly what wo are ta fel, but also why we ate to feel Mt an Saly this knowledge makes the sudden transition nt only Twatable but also pleasant.” Indeed this explanation, Gf suldentewnsitions I ou of the great advratager that dusioatéins om its union with poetry, nay perhaps ths ‘ery greatest, “For it isnot nearly no needle 40 congue fencal eensitons ia msi wach aa pleasure, toa eartein {dividual causo for pleasure, becauve tess davk unecrtain Sensations are sil very agrecnble, But itis needful to fle oppored aud” cnisediclory sensations ‘by. Whore dite deen that words alone tan convey, 0 That ‘not oly maniaid things maybe noted but deo the: con ‘Roxio exiting botween Shen maaifold things, “Now in ‘ip double movement adopted betwen the acts of a play, {his connexion would only be sabeequently explained soe should only Tear afterwards why we must pros from one ton to tuother totally opponte and that ie sp good a8 JF ve nover now, sf as tho mb ia eoncneneds "Phe leap has ind ita ad effot and has not ofentod us the lee ‘Beause we now perosive it oyght not to have oftnded ‘on Now iesmust nod be supposed that henoo all ssuphonies ave to bo condemned bosaan tho whole consist of neveral Inovencnts that aro diferent one fom another and eich of ‘whlch expremessomething diferent from tho olka Thay ‘xpress something diforent but not something opposed sor father thoy express the sae only inv didleedy master A symphony thob oxpresce in itt vasious movement, copes pains ta outer Only oon pon ust ralo jn s aymphony and each soparelo movement Zust cnunciato aad awaken in wu the pat pasion, oly ‘with various modifiations, according tothe depres 9 iis sirength and vivacty or anwrding’ to the atted inte_ comune a ee ian heme ran, perte rnnny ari eet ep ot an met mie he iegot eres a nee sine Ge 2 Be Ee ene Me pie el of Se fel algetree Ocenia inca gin age nh oreo orehte ho yapereriaes so nena ey i all ree Set cs Nea as ne ore tee ie oe en ne ea reef eiirene osm, fa ihe ce nies cen fieioy mek eee aerate ees ie aed eet mer veinsmeremenfe to ot ere Rob har ras rns Tene PSE sea enn i cal ged eect et Ane ————— anreetrla fre Ha nptn pt agoteriy ep ign reer onrate chee Gree Rake its ba ctr lot pe ene Ue is leet ame anh, en ces het mA et po eae te a "lance, tastes eee ce irae Matar the pon ks omitiod and a llegar B ninar Sit coed ao eg Bs tenes aspen oop et Eh a Hoe Sor a iit some en eed a watt ay th ts Loran nepal | No.2] “HAMBURG DRAMATURGY nm ee ey cote la Tne gone are sot iat he ogy te hg tong ere pany sie noe gi oie aa eer een eee so cme a ta Se pen, fe sng aed hacen by iy oli web pees peut a rene ean th ed er Hae ph ah by eri lr emt oi i to oe Pao tare aca haneee SOE Mae gl mek ee eat ae ele sree Wt Soles, ce gue et tal ad tg fe Tat dee Oy Bana rr an tr cy, ee fan ite ccm i Bi ates oie go, pawerarty oo tia Phare ey eA ha the gone amie ee Apc es ena aelgarae eon No. 28, Qs the thirty-fourth evening Roguad’s ‘Dita war performed. grand fst brought out his Distt” in 1607 and it did not moet with the loast fivour. Thisty-four years Tater, when the comedians brought it out again, it found ‘great favour, "Which public was in the aight?” Perhap Beither of thom wore'so far wroug. ‘The severe puliic condemned the piece as n0 good, formal comedy, as Which ‘no doubt. the author iamued it, ‘The other public reoaived it's nothing more than it ia; a fxoq an absurdity to make thom laugh; thoy laughed and were thankful, ‘The fret public thought :— “non gatis ext isu diducore xiotam Anaitorie s 2 and the second :— “Ht est quedam tamen hie quoquo virtua." vo. porter nt et SY8 GB LESSING Go 28, Exoopting for the versifeation, whieh aypens to bo ‘ory latlty and carelons this comedy cxnaot have piven Teoard aol trou ‘ho carat of hi chk per ‘mage bo found fully sketched in La Dirayére. He bad tng todo. at to tht tho chit rly parti iat ction, pstly to soomant them. What he hao adiod of Eis own is "There jn nothing to objoct ton this verdict, bt against another eis hot attacks tho. poot on tho tore of Solty, there he more. “hn ahentanaded por fii to bo no maf fora onmedy. And why not To Le ' ‘Sheont, tie wud, ia a malady, miaforeane and mo vice, Shnvabgent man doosrwea niiotly aa ttle a8 ono who has ‘ho headache. Comedy mst only concer itvlt with such faults ag can be modied. Whoever iv anent hy nature fn nrit this ax Belo by moans of sidioul, as hough be Bim fais it then trae hat sbvence of mind is a diseaso of ‘he eon! that cannot bo caved wih our best exertions? In i relly moro a natoral dofoot than a bol habit? T ‘uinot belloro ft Ror are wonatmastersof ou attention? Sst ot in our power to exert ito betract 5h a wall? ‘Aull what le is abpent-mindedgoas tha false ws of our ‘itention? The abent peson thinks, only he dee not thine {hat which ho should thle in aosordaton wilh his pre= sent sonmcus improions. Hie mind is not asleep, mot Shumbedy not inactive, ie i only abwont, busy eliowhers, Dut jad wll ba telah soul lo bs iter tin the mind's proper faction tbo present at tho fstual changes of the Body. Kt osts pains fo Sisaoonstern ‘the mind of tis ite proper function, and. should it be Imponiblo to aconatom ie again thereto? ‘Well, yt now granted tht absen oof mind is inourable, sp ie wii tht Gomoly would aly Tough 3 oral faults, and not at incurable defects? absurdity, every oontrast of seality and deficiency ds Isughable, “But loughter and derision ate far apart. Wo ‘can laugh af a man, ooeasionally ough about him, gat inthe lt ding, Tadlputable and own as this diferono iy et all the quibbloy which Rousseau lately made against tho use of comedy ouly eeeNo.2] HAMBURG DRAMATURGY 89 eet eet ae Bosra hs 2, mars tee Sues? ha eee ee iis dreams, cab aittatatis Goce acim atremaoe fan EEG Fete ans arn ost ape etic Si tt iol mige aus, einem er Renmmeareae hte, Eph noraape cana nee Soke mam rare ode haters tint se Eg vaiycctetens athe SLO ane Damion ae wae wry young when the fora Seen atatt a ion co cera ne Seatac haute Soeur ted me wa No. 82, Cornell could have gone back atl farther for examples fom the ancients. Many really deem. that Gracey in Greece srs invented 10 keep alive the memory OF great and) macrellous event Chat tla Sit purpeno Suto tread careful tho fovkprints of inary and to Uiverge neither fo aight nor loft, Wat they aro meteken. ‘For Dhan sro Ltt historial sccracy quit usre- jet He ona pon sul sharp nee fom Gn that eccomnt, ‘Bat without saying that Solon Indurtoo!lepsiation better than poston, th coreusions ‘hiok night be draw from his rebuke cane eval in a Tiferent aneoner. Under ‘Theapia art already employed all privileges btore could prove tell worthy of tise ‘on Whe score of wility. ‘Thespis yondered, invented, let ‘amillar personages tay and a>. what he deze, but bo Perhaps didnot tow how to make hisiaventions probeble 1 Dagens Latin 1 § 28,90 . B LESSING Ove. 9, ana instructive, Solon therfore perceived in. them only {he untrue without the lost suspicion of their willy ‘Hie wan jesus ageiost a poinm, which ean easily be of ‘Ml efeeé i it dost not eas with ita antidote T gveally foot that Solon ‘would also. have naned the invention of the great. Corel wothing ut miser- ‘ble isn For wherufore all thean inventions? Do th ‘ender anything more protable in the history wherewi Ihe overloade them? “They are_not even probable in Sao, Bona of em very wondetl txartions of his power of invention, aa yet ke should Trave known that not the mere fo of fhventta, bat Invention conformable tite purpose, macia creative mind "Tho poot finds i. history a woman who murders her aad ns, “Goh. dol ca awaken tere and ity aud ho lakes hold of to treat tan trugedy. Dut Fistory tll him no moro than tho bare tet nd this aahomible as its unamoal Tt furnishes at most threo feonan, andy devoid of all detailed cizeumetanoes threo Improlable wenen.. What therfore dows the poo! do? the dewerves this name more or lest; toe improb- bility or the meagre brevity will peom to" Liat the reatet wantin his plage “Te be ia dh Seat condition, ho will consider above all clio how to invent a rerio of eaten and eflscte by which Acco Improbebioerimen conld be scoounted fer” mert aturlly: Not eatafed with resting the probability ‘upon Listaioal authority ho will enteavour yo to oO struct the cliracters of ia personages, wil endeavour to neosseltats one from anoduer the events tat pacy hi omtapi or trgoomio tame (ot Rats eegegr ene rer net geel Touciendowndataction of Lay's hough hilo toe isos tna t wold conte eet, Tk prove tat jt {he example of mato which i io juntty 0 combination of wan govt with fail meat can july au er corre cone170 GE, LESSING (xe. well every dramatic monsicr that has neither plan, nor Sennen bor ennai, Taio of mata wal onequently either be vo priuiple of ert, or i i ell emain oq, St would by leans of art cease to be ar ‘Atleast Ti would be no higher art. than that art which Inmitates the coloured veine of marble in plaster of Pari; heir dizection and. couse may go a" they Hike tho Biangeet cannot Ie eo strange but that iting seem ‘natural; only that doea not teem natural in wich to veh symmeteyy proportion and equal de shown, in ‘which foo mel laeecn of that which in very ther at, cousttuts art, In thie donee the mort lubed s io Srorm, the most arbitrary the bat “Ont suthor might have spoken quite diffrently so criti “What he tere acoms to upyors so elaborately, he ‘vould beyond doubt have condeuiiel as a monstrosity of Datbarous tastes or a least asthe Sat atime ofa art ruviving among an unealivated people, the form of which 4has been dotermined ly a combination ‘of some accilental cases or by chance, Fut bn which season and Telesion Itavetaken listo or bo part. “He seould hardly exy that {he frst inventor of mixed plays (nace the word once ‘there, why’ shoald I nat tos 1e2)“atrove to intake nature ‘an fufuly ae the Greeks sought to besntify it ‘Those words “faithful” and beautiful” applied to ho ‘unitation of natare as tho object of intaon, ar malject to many mizomooptions, ‘There ate. yersong who wil ‘ot ada of any ature which oe ca initate foo fieh- Fally, they insist that even what diepleass ug in naire, Hise win itl natin by mae of faatin, rhe aro other who regard beautifying aatury as a whi; a nataro that intends to be more beawtifal than Ziature fb jst on tat aosount not nature. Both decane ‘hemaclved to bo admires of the ooly nitare auch 2 she 4s oe en noting Yo aes th oto ating to id "the former would necessarily admire the Gotbio ‘aed ply an he ator ol di ess loam in tho mastrpicos of the ancients, ‘But ruppore this were n0t the conmequenos? Tf thos ag aa igh tare counon oy. lay alate should yet jeunes agunat tho No. 703 HAMBURG DRAMATURGY m ristoro of the farcical and intoesting. If thes others, jaoustrous as they deem everything that desiree to be Vetter and more beautifal than nature, cau yot wander rough the holo Gresk theatze without Anding. the least obstacle ou this acco, how should we explain this contradiction ” ‘Wo should necessarily have 40 retrace our steps and retract that whioh we imsistel on before concerning the ‘ovo species, but how aust wo deéract without invalvin ourecves in new dificultie? Tho. comprisod of such Ulooi-and-thunder tragedies concarming whose worth we dispute, with han le, with the ordinary course of the ‘world, fe sil 0 correot. T will throw ut « few thougbls, which i thoy are not ‘thorough enough may suggest more thoroagh ote. fy chief thought is this’ itis true and yet wot trwe that the gamigtagedy of Goths investio alta copied ata Ye only imitates it foitfully in one hele and ently: neglets the other, itimitates te natar of phenomena ‘without in the least rogerding the nature of our feelings sind emtions. seething i et ‘Tn nature everything is comestod, ovorything i intar- woven, everything changes with everything, every hing. Inerges from one into another. ‘Tut sooording 20 this false vasoty its uly a play for an nite apie In order that finite epirite may have their share of this ‘enjoyment, they must have the power to aot up asbitrary Timilg, they must havo tho powor to eliminate and £0 seuide their attention at-will. ‘This power we exercise at all momenta of our life ‘without this power the would be no life for us from too iauy various foclings we shiould fool nothing, wo aout ie the conntant pry of priest imprest wo should sowing WI ream witht J it we drenta. Phe puspose of farts to save us this abstraction in tho realms of tho beauti- ‘ful, and to render the fixing of our attention easy tous. All in nature that we might wish to abstract in our thoughts from an objoct or a combination of various objects, bo it in time orin place art voally abstracts for us and coords us thiaobject ar this combination of various objects as purely, anu tenwuly as the sensations they are to provoke err ee reer re12 G. B LEssING Dx. 70 If wo aro witnesses ofan important snd touching event, and another ovent of tiding tnport travers i re week ‘kad evato th distractions of our sttention thas threatened ‘Wo abstract from i and it must needa rovole us to fd ‘hat aguin fp ant which we winked away in natore Only if this event im ste progrees neste all shdoa cof intent and ono does not merely fellow npon the other, Ut of meoosity evalves fom ih gravity provokes Tanghter sues ploasre oF nc rad, direct that an rhsfcton of the one or tho other in ropesible tows then yo we of demand i rom kan ark know how 6 ‘sow prot from this impomnblty ‘Dat choogh of thi it iw evident whither Tam tepding On! the Vorty-S8h evening, Roma play of * Brothers” and St. ois’ Oras" wore played, “he fer play may yon a» Gotan Giga, fhoagh iin ani aa Km to Broth of eres Hehe en said that Moline abv drow from thie soares snd notably in hie “Heolo den Maria"! Mo Voltaire Inakee bis comments on this fact and I gladly quoto Mf. te Voltsive's commontet Something mayr bw larat from {he most tring, if nt always that seat he says therein, let at wh fe old avg! «Erte se tie gradus est falsa intelligere” CL cannot. remember 4! this moment where this adage ia written) and T know ‘na aathor inthe world on whom ta try whether we bere ‘stalod to this St rung of wiedom, 20 wll as on M. do ‘Voltaire, and for tho samo reason T'Keow no other bo could Tess help ug 9 ttain the tonond rung: “seemmdua ‘ora oogmceceres" thinly that “a. ite would est Srrango his method according to this adage.” Fiwt Tet ‘ia search for some one from ‘whom he ca ier, be will ‘hen gradually approach his subject and tho Tost will follow of it wn asoord. Tonnfesa that to this ond, L havo in the prosont work mainly’ chosen tho Prone, writer? and among those Mh. do Voltsze.expocially. Whoower deems this method more superficial. tha ‘thorough, let him low that even the thorough Aristo nearly always employed it, “Bolet Aristotsles, querere Pg in uista eapa_guo of his expostians ‘rho apyens to lie under my hand. Atgua loo facit now Na721 HAMBURG DRAMATURGY a3 femoro et cam, aod ce Inbefactatie pelant! BE do Voltaire would exclaim, Now 1 am a Pedant only from want of sdf-conhdence, No. 78. On the forty-eighth evening Horr Weiss's tragedy of “Richard TIE! as peformed, oe ° Thi play fn ogistonsly aco of our met important nigel drama iv i 2 benates which sunt rove that ie woxld not have been beyond tho power of re ost to awd the false wih wih tay ee ator slag nd tot had flcent omfdense a himall. ‘fakery ad alonly bough the a dent of suo il and fn ab wap but Hee Wee it no Fools thin onl is own et wan already compel ‘He says: “ Although I shall lose much by this compsrison, ila df nd nT fav ut teen ely of Dlagiasion. "But pecbays it woul havo bean emer fo ‘Sul laglrd on Sakapar!” Si cl wo at suppost such an acto be posible What las bon” of Huser, chat i would be ane Ao Hera of i ay Lahn of ween bo sa tray ail of Sabespeare. ‘There fou impress ie Teadt of his Beauties which at oneo exclain to ll io trl aa Shakespearean oe freg betty ‘“ho'has the elfcoutdone to place isl beste a? ‘Shakespeare must‘ siadil aot pluntered, If we have gh Shakar ut tf Eo what ers ti st Selena Ho mut ek “lear how tice ttn hem upen hat tae, Gat ho metre bogey een "Now fu Shakenpere'e whelo ply do not know ono single ons, not oven a ingle epech which err Wels Cott Nave tno an stands Iten fhe smallest orton, ff Shakenyero ar ut scoring fo the greet aneure of Sie Mstoneal plays ani thene stand fo tages of Fronh tal ch ana lange ease sands to eiinitare Folating neon stare rng.” What aertaloan ns {hon ta rom Sho former to tuein de latier’ Peron178 G. B LESSING Dia. 78. feels compassonste mourning with Blectra weeping ever lher bots uy for abe thinia the misfortune haa ten Dlagoand bewails tho low aie has sustained, What wo foe It eihesipht of Pilokttersulering ie likewise ompacsion, but ofa diferent nature, beeaune te torments sustained by this virtuoss man are prenent and befall him befor our Cyos, "Bat when Gilipos i terrel at tho sudden dence {God of tho great avers when Mostze ia slarmel at song feos hen row pl wn vito Derlex Jaou iv afraid on heariog meatoning epoeoh from two wae wont fo ho go tnde, rat a3 fe “then?” Alwaya tho sane compassion} hut eompacsion feroe, compassionate alarm, compassionate foc, ho movements are vious, but the ence af tho emotion is Tal ones the ano. "Poros all lov ia connected with @ ‘illingnese to put ourselves im the place of tho beloved histo we mst share ll nds of suring with them, rho conyexrotay ered crane. "Why the Should not high, torr, mgo,jnonsy, revenge, in fact i forty of unpleasant etgtions even Cary not excepted, spring from companion? We iy se hareyy how aw: Torly tho grentor part of the at critica have diviied Tagle pusigis into teror and compassion, ‘Terror and Coup In thon Ghatscal terror no-eompassion? ‘Sor'whom oe the spestator are when Moropo drew the dagges spon her'own sun? Surely aot for himselt tut foFedigitthaswhowe preservation we #0 sincerely ose; for tho deluded queen who rogards him aa the inure chro. “Tat we ny tend 9 al eo patson tho diepearure felt at the present misfortunes 0 ‘other, i wilt eal distingihfom empasion in all other fe Droporly so called not only terror lings ‘communicated to us by another pers No.3. ‘Those ideas aro so correct, ao clear, 69 luminous that it seems to us overy one might and ong to have had them, verthelest I will not attribute the acute observations of ‘pew philoropher to the anciont one; Tam too well fsoquainged with tho merits of the doctrine of mix eeusa- No.1] HAMBURG DRAMATURGY 119 a sep ume iy hn eo, nd Seed teases eateries fhe od ciel aca est ah race enna ne ental eae ce a eae rel tly ta hl a ning a gas me eon pts, Pa es og ae te fay of eeu gee ely ern, oe Lae Screed Fo ee el ee eas FEI I ee aa pear ceded ong ip ly oe of gai fo sotcgemis ba tan fly terri fem pelo a for a of ok aoe ee ea al tne han she pomy, Jt te sal an astern es Seed ene ne meen eae cone, Se ih ene cect neat Seen ees Samer tagsocety a snag chr pent tree throng Nn ee ee as PRP SeuNrS ie he eis Pees eas eee aes ental Saha pee fem epee wil nd etry foe vie be et pe at, Smet me sys fot ot se a ral nll Ioath tal ha Teg he atari hae oe cota ng Og, Ba en sh or Tek es Gy bak ot gan Ey Tern inher ew rt, la eating a rte ty ined ier hie a a atm etn, SE fa hl ages come ge eb ant he i ntl mi of Mts ee ee eerie res180 G. B LESSING (Xo. 8. See eee ce shoppe pnof cgieno te re ti ine nc os ae sk ier a al tte sn hm ee A ent trogen og in Hero, sey. ty oh fe Sis eel fa rl win fr gy tn ae elm Sag we age hates gts ce ee ae Te instanco, why tragedy could ot and should not excite in a ane ES "Lage oy in smi Asia ba eae ieee otlen ae as ae ser, dire ain at meen Feat Seti pe ta sfc gnee a ng nie pre a at pocre,, Mer ae oe eee ere ae oe ee cee feet tint he Une a ea aera re ‘eft hal a SR ans aE frre al el sy eae Se apo ome in io folg oe eee eae sel ae Reel rd Sp tg poe a tape ea cr ae ta tin, Wich ‘wo shonld fo if it wore Ueateing a ries got Fes 0 oe eee te eta tami ata Bereich tet amet tarers Messrgr enon on ar ana ateae Ne oe a ae ee 4 a5 bends cindy Sober denn fom 8 nip rabies 9 ide agra hed toro “Edo koe What ote f dabos Pate iy ela Who ele. 198) when be eed a ‘ne ol ges sh ee e ‘Siva poston vatrant wl vestars san ie eit Sly {8 roth eguwungue tin evonran a erate No. 75] HAMBURG DRAMATURGY 181 ee sfecapm om cf eee of mbentago Eran a a ur mi ree fag et rah wip eee es sitet et eat hoe oe Eee er i od eis enna ot hi in fees milan emp ent wt Ber ea aeatoemi op oni th ste iy ly me ira eae me aeons SVM nt ay ace rt fe pin of pore oe ny eae ee ae de ao einen matin erin adeno Iie ra elt of shit fo ere pow i i a sor ae Ci ame gu oa oe aa ae ae arta cael ore TIGSIScy ears eat cement satya Fy, emu song eeeaelens ese Meaty wren al he py es a re Be ty lt ae he SLA par este! ian ces Sip iy ya be Ne rd xe ee ee sn couch ih eon hs gs aerentrnn renee aces hh nt fate soos deg inf lib spn hr ome Saver oc eememinrane eoneed seine eh cr pe arpa ean ore ons a acer simi cia ertesuueaece eee ares acca ae een ec farasead 2 to mye: “Jo buamdoral qulgue chise wor cingate ane da on ge Dramas ie it182 GB LESSING 0.76, Comeils had brought martyrs upon the stage aud bad repromnied them an te oe perfok blameless beings: bo hia produeed the most iatheome ‘onatera in Drasia, Plioeaa and Cleogatra and of both thees species Avsttlo hha maintained they are unsuitable for tragedy, Neoate nether can excite pity nor fer,” What doen Corelle yy {othint “How doer enunage that nether his own dignity «tor the authority of Ariutetle ne to mufer from auch & couteatiction ?* “To can easily oome to ters with Aristitle, Wo need only prem that he-did tot mean to maint ANSE Dot! wana terror and compassion, wera required at the mame time to eft the puntenton of oar passion ‘which aovording to him inthe ehieé aim of teugedy, int That one of thise metas womld bo ufiesent. "We many con his explanation from iis own works if we rightly ‘weigh te reana he vos forthe exclusion of eh events 2s he connurn in tagodies, le never ayn this or that it ot muted to tragedy because it only excites companion fu no fea or flint auch a ting ‘i tnupportalo feces Ie ly excites foot wishont awening companion On tho contrary he reais thom on that aowonnt beouse ts ho aya thoy nether produce compassion nor fan, and he thus dows un that thoy displosed bm. beeutoe. they Jacked both and that would ot deny tens his approval IP dhey effected only one of then” No. 76. Now this ig uty fis, cannot marvel oagh bow Dacier who is ueually very olmervant of tho distortions Brut Cornette paid of Ariioda text for owe nls ould owoBook thin tho resist of all, ove how de rat ovecooking esac bo nove snide ‘philosopher's own explanation of compassion? As I have EAT fat oracle Rngine So testy foo “Arts Sinat ve ont tee oe absall have to ioe Ral ula Rage hss caplenation sould hve teach onl ng non spline aon are 1-1 ot in do ne nosmander ae Avett” Ba, ree186 6. B LESSING Oxo. 7 Tecome distorted in death, Th verdict is spoken, # hhangman approaches, ono moment more will decide his Alestiny.. Hove earnestly do all the hearts now wish him pardoned. What! pardoned? ‘he, the object of theit Alotestation? ho, whom a moment ‘before they would ‘themselves havo sentenced to death? Whereby hae a spark of humanity’ been rekindiod in thom? Ts i aot the close approach of punishment, tho sight of tae most terrible physival ill thot reconciles us again oven with this jo wrete and wine him our affection? Without love it would be impossiblo to have compassion on his fate.” And it is this love, say I, which wo can never entirely Tose towarts our fellow oreatures, which smouldorsinextin- * guishably teneath ‘tho ashes. by which our stro mnotions ato covered, and which only awaits « favourable i of wind fvom misfortuno, grief and crime to. bo own into the flame of compassion ; itis this love which, Aristotlo undorstanda under the name philanthropy. We are right when we comprehend it as indluded uniter the name of compageion. But Aristotlo wes not wrong whan. hho assigned to ita distinct namo, to distinguish it from: ‘he highest grads of compasrionate emotions in w ‘they became Sfctions by the addition of a possible fear for ourealves. No.7. must here meat an objection. If Aristotle's one option of tho effect of comoassion was that it wae ‘navassrily connected with fear for ourselves, why was it requisitg to haye mentioned fear by itself? "Tho word” compassion includes it alr’ anc ie wold ave sued Po hat moraly sid, tragedy to eo the purifntion of our passions by tho exctation of on ity. The Sddition of the word foar says nothing nove aid makes ‘hat which ho caym aubiguods and uncertain. T woply, if Anstatlo bad merely ntouled to teach wt ‘whieh patolons tragedy could and shonld ext, he then ould certainly have spared himgelf tho aldiion of fear Se woul pnd fut nave don ofr nr ots philowopher who #o spared words as ho did. Bat lus daira 40 teach ua at fhe mane tne which of the No.7]: HAMBURG DRAMATURGY 187 sions excited in us by tragedy shovld be pmsiBod and, Ii"tis intention he waa olliged to mention Sear separ atoly.” For alihough aciording to him the scneation uP ‘Smpacsion cauuot exist ciher in or out of the theatre ‘vidiout fear for ourslves,aldiough ear ine neadfel Fbgraent of simpanion ot tha does not Hold good ‘Suivredy, and pty for ollers is xo ingrodiont of fear for ousclves. Whan ooo the tragedy is ended, our pity cause, and nothing Temaing in tr of all the experienced Stpotions but the posable far for ourselves witch, the Iniaurtanes we have pitied have avvakened in us. Th fear ury away "with yan ae hoe an an Ingzedient of pity o pusify our pity, it now haps to Pilly ill oe © polion copa of tntopondent” con, Thuote existance. “Consequently to show that 1 could Alo this end really doos ft, Arista doomed it neoseary to natae it parade. 1's incotelaat Aitte rover cota ving a harp fogleal daSastion of tragedy, fon without Tinting Iimoolf to ite merely esental qualities, bo aulmitted soveral accidental ones nt ndbeconionooes- fary by the ovotoms of his day. Dat when wo. delet ry the ther ita itr thre yumaing 9 poefoolyscourate dofntion namely this het ‘tragedy is a poom which excites compassion. According ‘ite gous i 9 tho ‘mitation of an action lke the epopes find comedy, but according to ie species, the iaitation of tation warty of companion. ro then to tae Gone all Gho rules can bo porfcty dedwood aul even its AKuaatic forms magy bo datermined ‘This later statoment may bo doubtod. At least T Jexaw ng art onto who ever desinel of witemping this ‘They all regard the raat form of tragedy an come: ‘hing tradicional, whieh ia 0 nowadays buoage ft ie 8 fad ‘which i Jef 0 becauso it is held to be good ‘Avistotle lone las penetrated to tho ests bat in his exolanation has ator propre fay cariy explained iL. “Ho taya :“Trugoly ie Hho deitation of a ‘ction which not by the mouse oF nacration bat by the Joos of pty a fear efocts to purication of thes ad Save paasions.” Te is thus that ho expresses hinsel, ee reer eee crear a RR INT rere reesei188 GB LESSING Oe. 7, eee ater mead od, a0 a ie ieee cme fms ey Be egret afk fet ep ee cay ior #) the Susner how to omploy ot not to soply spite abe fe early er Bereta Deiat cna ete ieee Wiehe! an ens Oe pore fear cheer Tek eae ty ,Orgeh em oy rae en nthe Se Ty eae tent cng tees Une oi nt Toney ont coad ne Pa eee tiie Sharada! ang et ae Ss ris terre rae ae ae icrttr te oe epee ee te ie pt a oe seca aie Cte etnge Nar pa Se Deen, eae cect cet wey hag, A sateen mat bed Spe oe CEU SAnS Seats oy See ee Se Sacral ang Re se ‘not at all commiscrated by us or at any Tate not as much See Sarid usenet Speen ems tee erent ee BE bat on prosont that ia to my, not in the narrative Gut in the damatio form, ‘This alone that our pity is excited little or not at all by narrative and solely and so ae Wc el Sonic paaces ah i tie ode ie ade on og ner a ea ne ein eens ecant anomie She fee ese Ub ue ele se eae lS ay fad Kan Bat since he was oontinood that pity aud fear salir ese crete yee ie cele ie el el eae reeds 0.79 HAMBURG DRAMATURGY 189 fo he woof revit. Pox this 1 retrtath bine tnentel nnn Cape of hc urand eek or Ree owl telteneg oie wortigtsaeniol etsy hy Ardote and hich dounel wot eae dein wall ogee eanterte h en deoutal by ie eapesatte eee a Trcll e nabitake o yne at tka Rave do larl ibenulvor agains vest eadomtiel nets tas eas Two Heat gen 20M rae aio a re dadgclably Satie a adtacnha ee IN harman ib be eva Wa "lanl ener jt now mr gore seed Ae this metter, ‘oli er ‘that Tay not appear to speak vthdy sucks Rektade nay cece o Kaas my Staged ty we amecns af faroh aod 7 foe eal of an prenatal the palo ptecental? hes eas Tle ieretael mapa cody sok ae by love augur is out iy et ees et TBS tage tht Capen eae ge ate nove etalon fa is eter toe reel Rove gt aa tea Emme hee See atl gb te oma tae ae tt bps of vie ced pat at sana Sincho who hae nothing further than sound. common team ual anbling on his peace sale a nae {im aot ay be itch ender an oe bes naomi oye hiya at os 2 moan he erred peste hhawo translated this by “these ahd such Hko® or by the Sratoned polos hia tyre eer nto ee coding pity and fear; tragedy should excite our pity and. BaP yeu dew aude hae ponte, Bee ant Tosti elo Baten has Bee et elfen thw mad ch tnd ool hese oad "snd pn drbar oye des 8 oer soi tangs ta ta Rem tn Tag recta racine a gd rer eer me390 GB. LESSING (a7 tot he couprcbendod ty pity aot merely pity propery stalled ut al plant oustone i generals and iy avn nly te uaieaze at peng owl bat chery kind of cspleasuy related to, thus thedispleastro ‘Speier Fos va wel a om «pane Solfow and grick bn thislaege compaas the pity end fear Suclted by tragedy is to purify our pity and ean) but only hese and’ no ether paosions.” Beyond doubt tregedy may Sarnish other usefolTessone oni examples besides thst, sand punity other passions, but these aronet its aim 5 these ‘Tab in commion with th spopoo snd comedy, insofar as it js.a poem, the imitation of am action mn general, but notin bo Tatas ie tragedy, tho imitation of an action worthy tpitys -All qpecisof povtryane tndod to improve us Beda dist it shonld bo nevessary to have to prove this Sill sader that there ae poets who oven dowbt it,” But ‘il epecies of poslny cannot doypeovo all things, af Joust ot averyone ae perfectly na another, but what each can Tost perfectly, and bnttr than any other epeice alone its poceline ais. No. 78, a ute eri of it 2 natin Rage Ace aad onan vin ind ce hm fy noe Secon gt fe far mage ma ee ro ie er eth dt tal rn Ace rag the pein of pe me ee ome toa pee enn Coal opcnetae meas meget a Soe eter pt of be canine re pare ones tt ee econo oe isk nohingatelahrt i’ Ly peter at Pie ead ors i ohio te jet iy meh ot inten al hath ees seg oy she So const ay Foe ent eer ner SA eee aes rr