By Kenneth S. Calhoon
Affecting Grace examines the significance of Shakespeare’s poetry and performs inside of German literature and notion after 1750 – together with its courting to German classicism, which favoured unreflected ease over theatricality. Kenneth S. Calhoon examines this stress opposed to an in depth backdrop that features a variety of canonical German authors – Goethe, Schiller, Herder, Lessing, von Kleist, and Nietzsche – in addition to the arrival of Meissen porcelain, the portray of Bernardo Bellotto and Francesco Guardi, and facets of German forms of architecture.
Extending from Shakespeare’s The service provider of Venice (c. 1597) to Kleist’s The damaged Jug (1806), this research activates the ambiguity that the German literary global had began to include Shakespeare simply because it was once toning up the extensive yet suggested anti-Baroque sensibility chanced on pivotally in Lessing’s serious and dramatic works. via those investigations, Calhoon illuminates the deep cultural adjustments that essentially affected Germany’s literary and creative traditions.
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Additional resources for Affecting Grace: Theatre, Subject, and the Shakespearean Paradox in German Literature from Lessing to Kleist
53 This too is a “mimesis unto death,” its social iteration the self-imposed austerity of a modern society that institutes sacrifice as the basis of character. Like mimesis, assimilation is semantically and conceptually related to the natural process whereby an insect, for example, assumes the colours, shapes – and especially the motionlessness – of its surroundings. ”54 The phrase is rich in theatrical resonance, just as the desire to avoid the gaze is germane to the development, during 40 Affecting Grace the eighteenth century, of a mode of dramatic presentation in which actors began to perform as if no one were watching.
Hamlet, in which theatre as such is distilled as the re-enactment of a royal poisoning, is a prominent example and one that, because that poisoning is set in a garden, isolates the Fall from Grace as the theatrical moment par excellence. “Snow White,” which has already been introduced as a simple configuration in which flattery and poison are linked, is embedded in Lessing’s Miss Sara Sampson. This “bourgeois tragedy” of 1755, though it bears little outward resemblance to any play of Shakespeare’s, displays an incessant concern with the dissimulation that, in the folk narrative, takes the 24 Affecting Grace form of cosmetic disguise.
260]). The barren wilderness in which the king himself is left alone and howling conjoins the postEdenic world with the state of emergency into which his kingdom has been plunged. Flattery is a small price to pay for peace and stability. Courtly society understood this, understanding as it did the violence that could result from injuries dealt the psyche. Nietzsche cited, as a mark of genuine nobility, Mirabeau’s supposed obliviousness to insults: he could not remember what did not hurt him. Memory is rather the attribute of the low-born and low-minded, who are inclined to bear grudges, to lie quietly in wait, and to exact compensation for injury in the form of physical pain.