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The Dramatic Works of J. W. Goethe: Translated From the German
Excerpt from The Dramatic Works of J. W. Goethe: Translated From the German
The more important Of the new pieces are the first two, which, written during Goethe's residence at Leipsig, are of much interest, as showing the gr eat dramatic and literary ability which he had attained at an early age. The translation, kindly undertaken by Mr. Edgar Bowring, has well reproduced the flowing Alexandrine metre of the original.
About the Publisher
Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com
This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
The more important Of the new pieces are the first two, which, written during Goethe's residence at Leipsig, are of much interest, as showing the gr eat dramatic and literary ability which he had attained at an early age. The translation, kindly undertaken by Mr. Edgar Bowring, has well reproduced the flowing Alexandrine metre of the original.
About the Publisher
Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com
This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
595 pages, Hardcover
First published January 1, 1959
About the author
Walter Scott
8,239 books2,095 followersLibrarian Note: There is more than one author in the GoodReads database with this name.
Sir Walter Scott was a Scottish novelist, poet, historian, and biographer, widely recognized as the founder and master of the historical novel. His most celebrated works, including Waverley, Rob Roy, and Ivanhoe, helped shape not only the genre of historical fiction but also modern perceptions of Scottish culture and identity.
Born in Edinburgh in 1771, Scott was the son of a solicitor and a mother with a strong interest in literature and history. At the age of two, he contracted polio, which left him with a permanent limp. He spent much of his childhood in the Scottish Borders, where he developed a deep fascination with the region's folklore, ballads, and history. He studied at Edinburgh High School and later at the University of Edinburgh, qualifying as a lawyer in 1792. Though he worked in law for some time, his literary ambitions soon took precedence.
Scott began his literary career with translations and collections of traditional ballads, notably in his Minstrelsy of the Scottish Border. He gained early fame with narrative poems such as The Lay of the Last Minstrel and The Lady of the Lake. As the popularity of poetic storytelling declined, especially with the rise of Lord Byron, Scott turned to prose. His first novel, Waverley, published anonymously in 1814, was set during the Jacobite rising of 1745 and is considered the first true historical novel. The success of Waverley led to a long series of novels, known collectively as the Waverley Novels, which blended historical events with compelling fictional narratives.
Over the following years, Scott produced a remarkable number of novels, including Old Mortality, The Heart of Midlothian, and The Bride of Lammermoor, each contributing to the romantic image of Scotland that became popular throughout Europe. With Ivanhoe, published in 1819, he turned his attention to medieval England, broadening his appeal and confirming his status as a major literary figure. His works were not only popular in his own time but also laid the groundwork for historical fiction as a respected literary form.
Scott married Charlotte Genevieve Charpentier in 1797, and they had five children. In 1820, he was granted a baronetcy and became Sir Walter Scott. He built a grand home, Abbotsford House, near Melrose, which reflected his passion for history and the Scottish past. However, in 1825, financial disaster struck when his publishers went bankrupt. Rather than declare bankruptcy himself, Scott chose to work tirelessly to pay off the debts through his writing. He continued to produce novels and non-fiction works at a staggering pace despite declining health.
Walter Scott died in 1832, leaving behind a literary legacy that influenced generations of writers and readers. His works remain widely read and studied, and he is credited with helping to revive interest in Scottish history and culture. Abbotsford House, now a museum, stands as a monument to his life and achievements.
Sir Walter Scott was a Scottish novelist, poet, historian, and biographer, widely recognized as the founder and master of the historical novel. His most celebrated works, including Waverley, Rob Roy, and Ivanhoe, helped shape not only the genre of historical fiction but also modern perceptions of Scottish culture and identity.
Born in Edinburgh in 1771, Scott was the son of a solicitor and a mother with a strong interest in literature and history. At the age of two, he contracted polio, which left him with a permanent limp. He spent much of his childhood in the Scottish Borders, where he developed a deep fascination with the region's folklore, ballads, and history. He studied at Edinburgh High School and later at the University of Edinburgh, qualifying as a lawyer in 1792. Though he worked in law for some time, his literary ambitions soon took precedence.
Scott began his literary career with translations and collections of traditional ballads, notably in his Minstrelsy of the Scottish Border. He gained early fame with narrative poems such as The Lay of the Last Minstrel and The Lady of the Lake. As the popularity of poetic storytelling declined, especially with the rise of Lord Byron, Scott turned to prose. His first novel, Waverley, published anonymously in 1814, was set during the Jacobite rising of 1745 and is considered the first true historical novel. The success of Waverley led to a long series of novels, known collectively as the Waverley Novels, which blended historical events with compelling fictional narratives.
Over the following years, Scott produced a remarkable number of novels, including Old Mortality, The Heart of Midlothian, and The Bride of Lammermoor, each contributing to the romantic image of Scotland that became popular throughout Europe. With Ivanhoe, published in 1819, he turned his attention to medieval England, broadening his appeal and confirming his status as a major literary figure. His works were not only popular in his own time but also laid the groundwork for historical fiction as a respected literary form.
Scott married Charlotte Genevieve Charpentier in 1797, and they had five children. In 1820, he was granted a baronetcy and became Sir Walter Scott. He built a grand home, Abbotsford House, near Melrose, which reflected his passion for history and the Scottish past. However, in 1825, financial disaster struck when his publishers went bankrupt. Rather than declare bankruptcy himself, Scott chose to work tirelessly to pay off the debts through his writing. He continued to produce novels and non-fiction works at a staggering pace despite declining health.
Walter Scott died in 1832, leaving behind a literary legacy that influenced generations of writers and readers. His works remain widely read and studied, and he is credited with helping to revive interest in Scottish history and culture. Abbotsford House, now a museum, stands as a monument to his life and achievements.
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Displaying 1 of 1 review
August 31, 2009
Iphigenia in Tauris. OK, I read Greek plays, so this was irritating. Apparently written during the period when Goethe was infatuated with Greek plays, gods, etc. . . . and having himself always the "star" of his readings. He wrote the part of Orestes for himself to perform. The play is supposed to be about Iphigenia, not Orestes. I'd recommend reading the original Greek play and just skipping this. I'd rate this a zero!
Torquato Tasso. I appreciate the research that Goethe did on specific historic characters that he used in this play. The history is very interesting and not widely written about. The play, however, doesn't present enough of the history for the reader to understand all of the underlying ramifications and draw conclusions about the characters. As a play, not so hot. An entire play of lengthy monologues is not a play . . . it's a collection of monologues. So, the story is better, but I'd flunk it as a play. As a story, about a 3.5, As a play, about a 0.5-1. 2.25.
Goetz von Berlichingen. This has even more historical research - and more of it is presented for the reader. That's a plus. Goethe was trying to immitate Shakespeare, a highly successful playwright, in style. I would say it is a definite improvement on the first two plays, but really still doesn't succeed. And, typical Goethe, at the end, it devolves into melodrama. Worth looking at, not absolute dreck, but nothing stellar. As a story, about a 3.5. As a play, about a 2. 2.75.
The Fellow Culprits. Short comedy written, again, during the period when Goethe was writing light amusements for him and his fellows to perform and entertain the group. It's actually more like a play! Rather insipid, though. As a story, 1. As a play, 3. 2.
Torquato Tasso. I appreciate the research that Goethe did on specific historic characters that he used in this play. The history is very interesting and not widely written about. The play, however, doesn't present enough of the history for the reader to understand all of the underlying ramifications and draw conclusions about the characters. As a play, not so hot. An entire play of lengthy monologues is not a play . . . it's a collection of monologues. So, the story is better, but I'd flunk it as a play. As a story, about a 3.5, As a play, about a 0.5-1. 2.25.
Goetz von Berlichingen. This has even more historical research - and more of it is presented for the reader. That's a plus. Goethe was trying to immitate Shakespeare, a highly successful playwright, in style. I would say it is a definite improvement on the first two plays, but really still doesn't succeed. And, typical Goethe, at the end, it devolves into melodrama. Worth looking at, not absolute dreck, but nothing stellar. As a story, about a 3.5. As a play, about a 2. 2.75.
The Fellow Culprits. Short comedy written, again, during the period when Goethe was writing light amusements for him and his fellows to perform and entertain the group. It's actually more like a play! Rather insipid, though. As a story, 1. As a play, 3. 2.
Displaying 1 of 1 review