In what is still the standard survey of German historical drama, Das deutsche Geschichtsdrama (1952), Friedrich Sengle understands -historical drama- as that in which objective history is blended with an idea that is the basis of its dramatic coherence and force. This idea inevitably becomes the engine of a dramatic action, inclining the theatergoer to become wholly engaged with dramatic characters in a dramatic present, rather than with -real- figures in a historical past. Such plays (for instance Schiller's Maria Stuart) may remain broadly -true to history, - but the experience they afford...
In what is still the standard survey of German historical drama, Das deutsche Geschichtsdrama (1952), Friedrich Sengle understands -historical drama- ...
First published in 1981. This study concentrates on the exponents of the central period of German Romanticism, regarding as characteristic the mode in which the poet s self becomes active only in response to external stimuli, most notably those of landscape.
The author traces the main strands of thought and interests that preoccupy Romantic writers; the revolutionary attitude that is yet differentiated from that of writers like Byron by the lack of emphasis on individualism, the dualism of the bourgeois world and the inner self, the interest in language as an agency for the regeneration...
First published in 1981. This study concentrates on the exponents of the central period of German Romanticism, regarding as characteristic the mode...
