Drama in the Age of Enlightenment Definition of periods within the Enlightenment Life of Lessing (brief summary) Drama before/since Lessing (referring back to Gottsched) Plot of Miß Sara Sampson Family structures Introduction into the 1st act

Recommended Reading Jochen Schulte-Sasse, ‘Poetik und Ästhetik Lessings und seiner Zeitgenossen’, in: Hansers Sozialgeschichte der deutschen Literatur, Vol. 3 (München / Wien 1980), pp. 304-326. Jochen Schulte-Sasse, ‘Drama’, in: Hansers Sozialgeschichte der deutschen Literatur, Vol. 3 (München / Wien 1980), pp. 423-499, esp. Lessing pp. 450-452, 456-465. CD-ROM, see Lessing, Selected Bibliography

The different phases within the Enlightenment 1720-1755 Frühaufklärung: rationalism (Verstandes-aufklärung), Gottsched 1750-1770 empfindsame Hochaufklärung: unity of brain and heart (Vernunftsaufklärung), Bodmer und Breitinger, Klopstock, Lessing 1770-1790 Spätaufklärung

Gotthold Ephraim Lessing (1729-1781) born in Saxonia (Kamenz) 1746-48 studied theology, then medicine at Leipzig 1748-67 mainly Berlin: F. Nicolai and M. Mendelssohn 1767-70 dramaturg at Hamburg (Hamburgische Dramaturgie) 1770-1781 Librarian at Wolfenbüttel

Lessing‘s main works till 1755: plays in the Classicist French tradition 1755 Miß Sara Sampson - first German ‚bürgerliches Trauerspiel‘ 1766 Laokoon oder Über die Grenzen der Malerei und Poesie 1767 Minna von Barnhelm oder Das Soldatenglück 1767/69 Hamburgische Dramaturgie 1772 Emilia Galotti 1779 Nathan der Weise - first German blank verse drama, model for the later German Classicist plays

German Drama before Lessing Tragedy: Haupt- und Staatsaktionen - nobility, Ständeklausel, necessity of a Fallhöhe Comedy: Verlachkomödien - lower classes more or less alexandrine based strict keeping to 3 unities: time, place, action/plot Within the Enlightenment: teaching morals according to Tugend- and Lasterkatalog the means: elios and phobos (Aristotle) = fear and terror (Angst und Schrecken) in tragedies German Drama since Lessing Tragedy: Bürgerliches Trauer-spiel - touching domestic drama, mixed characters, gleiche Ranghöhe Comedy: Ernste Komödie - noble and bourgeois characters prose play 3 unities only as a matter of Wirkung: (time, place,) action/plot (Handlung) ‘Creating Sensibility’ as the purpose of a bourgeois tragedy the means: the ‘compassion’ a tragic action should produce in an audience - Furcht und Mitleid, Katharsis as Reinigung der Leidenschaften, not von den

Plot of Lessing‘s Miß Sara Sampson and its function (1755) quite a simple one, small amount of characters this leaves room for dealing with conversation as a means of solving conflicts stress on dialogue instead stress on action ‚Mitleidsästhetik‘: make the audience becoming affected; not teaching them a morale, but giving them the experience of a social order to be ‚Moralisierungsprogramm‘: to educate all classes within society according to the passionate ideal of family life and thus to establish a paradigm for social and political change

family becomes the raw model for social (and political) life ‚Das ganze Haus‘ all generations, servants under one roof ‚Allianzehe‘ - a political, economic ratio behind each and every marriage affection, desire, lust outside the marriage; intrigues nobility: children care by nannies Mätressenwesen liaisons ‚Die bürgerliche Kernfamilie‘ parents and children only under one roof ‚Liebesehe‘ - love and compassion for a once chosen lifelong partner idea of ‚Sittlichkeit‘ and ‚Moral‘, strict moral codes bourgeois family: father working outside the house mother house keeping and children feeding growing importance of children and their attitudes idea of education family becomes the raw model for social (and political) life Pic Pic Pic

Further readings W.A. Bruford, Germany in the Eighteenth Century: The Social Background of the Literary Revival (Cam-bridge: University Press, 1965) Lib. 943.05 BRU Victor Lange, The Classical Age of German Literature. 1740-1815 (London: Arnold, 1982) Lib. 830.96 LAN