The Bride Of Messina
by Friedrich Schiller
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Originally published in 1913, this book contains the German text of Schiller's tragedy Die Braut von Messina, which caused controversy at its debut for its incorporation of a variety of tropes from ancient theatre. Breul includes a long introduction on the history and reception of the play, its relationship with classical drama and a synopsis, as well as parallel passages from Aeschylus, Schiller and Goethe, and relevant extracts from Schiller's correspondence in the notes following the show more text. This book will be of value to anyone with an interest in the reception of classical theatre or Schiller. show lessTags
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Written in the winter of 1802-1803 and first performed in Weimar in February 1803, this is a largely experimental work, and one of those cases where the experiment seems to demonstrate quite clearly that the hypothesis it was based on is invalid. The play comes with an essay in which Schiller deprecates the tendency for naturalism in drama and justifies reviving the Greek idea of a Chorus as a way of making drama more abstract and stylised, better able to achieve poetic authenticity because it isn't tied to the mechanical (and artificial) business of imitating real life on a stage.
The play is a simple story, stripped to the bare bones of narrative, and with only five speaking parts plus chorus. Unlike Schiller's other late plays, it show more isn't tied to a historical subject: the choice of Messina for the setting is simply a dodge to allow Schiller to mix ancient Greek and Christian motifs. Like The Robbers, it's about rivalry between brothers. Queen Isabella, who clearly isn't trained in narratology, has sent her infant daughter off to be hidden in a convent, in an attempt to circumvent a prophecy that the girl would be responsible for the deaths of her brothers. Now everyone is grown up, and both the brothers, independently, have fallen desperately in love after a chance meeting with an unknown young girl in a remote convent. We don't need telling how this is going to end!
Schiller doesn't quite stick to his theoretical principle of making the chorus stand outside the narrative and comment on the action: they are treated more like an opera chorus, split into two groups representing the armed followers of the two rival princes, and they do get hands-on with the action from time to time. In fact, in a lot of ways this play resembles the libretto of a Wagner opera. Wagner clearly took a lot of his ideas about the use of the chorus directly from Schiller, but with about 900% more alliteration in the verse.
Interesting, but I don't think the story is a good match to the format. The characters somehow come over more like stylised soap-opera figures than as the modern versions of Oedipus and Jocasta they are meant to be. show less
The play is a simple story, stripped to the bare bones of narrative, and with only five speaking parts plus chorus. Unlike Schiller's other late plays, it show more isn't tied to a historical subject: the choice of Messina for the setting is simply a dodge to allow Schiller to mix ancient Greek and Christian motifs. Like The Robbers, it's about rivalry between brothers. Queen Isabella, who clearly isn't trained in narratology, has sent her infant daughter off to be hidden in a convent, in an attempt to circumvent a prophecy that the girl would be responsible for the deaths of her brothers. Now everyone is grown up, and both the brothers, independently, have fallen desperately in love after a chance meeting with an unknown young girl in a remote convent. We don't need telling how this is going to end!
Schiller doesn't quite stick to his theoretical principle of making the chorus stand outside the narrative and comment on the action: they are treated more like an opera chorus, split into two groups representing the armed followers of the two rival princes, and they do get hands-on with the action from time to time. In fact, in a lot of ways this play resembles the libretto of a Wagner opera. Wagner clearly took a lot of his ideas about the use of the chorus directly from Schiller, but with about 900% more alliteration in the verse.
Interesting, but I don't think the story is a good match to the format. The characters somehow come over more like stylised soap-opera figures than as the modern versions of Oedipus and Jocasta they are meant to be. show less
Schiller conseguiu atingir nessa peça, em parte pelo polêmico uso do coro, um equilíbrio perfeito entre antigo e moderno, que ainda fascina o leitor.
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Author Information
Friedrich Schiller was born in Marbach, Germany, the son of an army surgeon, a profession for which he himself was later educated. He never wanted to practice medicine, however, and found an outlet for his dissatisfaction in writing poetry and plays. Schiller's first play was to be performed was The Robbers (1781), a rallying cry for the freedom show more and idealism of youth against the tyranny and hypocrisy that Schiller saw all around him. The play was an immediate success, but Schiller, who had taken unauthorized leave from his regiment to watch the performance, was arrested and forbidden by the ruling Duke to write anything but medical books in the future. In defiance of the order, Schiller fled the duchy and, although suffering great poverty, continued to write. The remainder of Schiller's life was a struggle against poverty and, in his last years, a struggle against tuberculosis. Each of Schiller's nine plays is a masterpiece of situation, characterization, subtle psychology, and brilliant dramatic technique. Most of his plays focus on historical subjects, such as Mary Queen of Scots, Joan of Arc, or the Swiss hero William Tell. Schiller uses these period characters and settings to suit his own themes, which center on individual freedom, justice, and heroism. He often sacrifices historical accuracy in order to make a point. Schiller's place in German literature is very near the top. Among German dramatists there are none better, and perhaps only his friend German poet and playwright Goethe can be called an equal. (Bowker Author Biography) show less
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Schiller’s Werke : nach den vorzüglichsten Quellen revidirte Ausgabe. Vierter-Fünfter Theil. Dramen II. by Friedrich Schiller
Common Knowledge
- Canonical title
- The Bride Of Messina
- Original title
- Die Braut von Messina oder die feindlichen Brüder : ein Trauerspiel mit Chören
- Original publication date
- 1803; 1802 (geschreven) (geschreven)
- Important places*
- Messina, Sicilië, Italië; Sicilië, Italië
- Original language*
- Duits
*Some information comes from Common Knowledge in other languages. Click "Edit" for more information.
Classifications
- Genres
- Fiction and Literature, History
- DDC/MDS
- 791.4372 — Arts & recreation Recreation, sports, and performing arts Movies, TV, Video Motion pictures, radio, television, podcasting Motion pictures Films; screenplays Single films
- LCC
- PT2468 .B3 — Language and Literature German, Dutch and Scandinavian literatures German literature Individual authors or works 1700-ca. 1860/70
- BISAC
Statistics
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- 80
- Popularity
- 395,732
- Reviews
- 2
- Rating
- (3.00)
- Languages
- 5 — Dutch, English, French, German, Portuguese
- Media
- Paper, Ebook
- ISBNs
- 14
- ASINs
- 9
