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Die Nibelungen
Alle Momente des Trauerspiels , schrieb Hebbel in einer ungedruckt gebliebenen Vorrede, sind also durch das Epos selbst gegeben, wenn auch oft, wie das bei der wechselvollen Geschichte des alten Gedichts nicht anders sein konnte, in verworrener und zerstreuter Gestalt oder in sprödester Kürze. Die Aufgabe bestand nun darin, sie zur dramatischen Kette zu gliedern und poetisch zu beleben, wo es nötig war.
192 pages, Paperback
First published January 1, 1861
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About the author
Friedrich Hebbel
721 books16 followersThe Gelehrtenschule des Johanneums educated German poet and dramatist Christian Friedrich Hebbel, the son of a bricklayer. He sent verses to Amalie Schoppe (1791–1858), a popular journalist and author of nursery tales; his manifest talent for poetry despite his humble origins resulted in the publication of these verses in the Hamburg Modezeitung. Through her patronage, he ably went to the University of Hamburg.
A year later, Hebbel went to Heidelberg to study law but then went to the University of Munich, where he devoted to philosophy, history, and literature. In 1839, he left Munich and walked all the way back to Hamburg, where he resumed his friendship with Elise Lensing, whose self-sacrificing assistance had helped him over the darkest days in Munich. In the same year, he wrote his first tragedy, Judith (1840, published 1841), which in the following year was performed in Hamburg and Berlin and made his name known throughout Germany.
He in 1840 wrote the tragedy Genoveva . Hebel at Munich began Der Diamant , a comedy, which he finished in 1841. In 1842, he visited Copenhagen, obtained a small travelling studentship from Christian VIII, king, and thus ably spent some time in Paris and two years (1844–1846) in Italy. In Paris, he wrote his fine "tragedy of common life," Maria Magdalena (1844). On return from Italy, Hebbel at Vienna met two Polish noblemen, the brothers Zerboni di Sposetti, who in their enthusiasm for his genius urged him and supplied him with the means to mingle in the best intellectual society of the Austrian capital.
Old precarious existence of Hebbel then horrified him, who in 1846 married the beautiful and wealthy actress Christine Enghaus, giving up the faithful Elise Lensing (faithful until her death), on the grounds that "a man's first duty is to the most powerful force within him, that which alone can give him happiness and be of service to the world": in his case the poetical faculty, which would have perished "in the miserable struggle for existence". This "deadly sin," which, "if peace of conscience be the test of action," was, he considered, the best act of his life, established his fortunes. Elise, however, still provided useful inspiration for his art. As late as 1851, shortly after her death, he wrote the little epic Mutter und Kind, intended to show that the relation of parent and child is the essential factor which makes the quality of happiness among all classes and under all conditions equal.
Long before this Hebbel had become famous, German sovereigns bestowed decorations upon him; in foreign capitals he was feted as the greatest of living German dramatists. From the grand-duke of Saxe-Weimar he received a flattering invitation to take up his residence at Weimar, where several of his plays were first performed. He remained, however, at Vienna until his death.
Besides the works already mentioned, Hebbel's principal tragedies are:
Herodes and Mariamne (1850)
Julia (1851)
Michel Angelo (1851)
Agnès Bernauer (1855)
Gyges and His Ring (1856)
Die Nibelungen (1862), his last work (a trilogy consisting of a prologue, Der gehörnte Siegfried, and the tragedies, Siegfrieds Tod and Kriemhilds Rache), which won for the author the Schiller prize.
Of his comedies Der Diamant (1847), Der Rubin (1850) and the tragi-comedy Ein Trauerspiel in Sizilien (1845), are the more important, but they are heavy and hardly rise above mediocrity. All his dramatic productions, however, exhibit skill in characterization, great glow of passion, and a true feeling for dramatic situation; but their poetic effect is frequently marred by extravagances which border on the grotesque, and by the introduction of incidents the unpleasant character of which is not sufficiently relieved. In many of his lyric poem
A year later, Hebbel went to Heidelberg to study law but then went to the University of Munich, where he devoted to philosophy, history, and literature. In 1839, he left Munich and walked all the way back to Hamburg, where he resumed his friendship with Elise Lensing, whose self-sacrificing assistance had helped him over the darkest days in Munich. In the same year, he wrote his first tragedy, Judith (1840, published 1841), which in the following year was performed in Hamburg and Berlin and made his name known throughout Germany.
He in 1840 wrote the tragedy Genoveva . Hebel at Munich began Der Diamant , a comedy, which he finished in 1841. In 1842, he visited Copenhagen, obtained a small travelling studentship from Christian VIII, king, and thus ably spent some time in Paris and two years (1844–1846) in Italy. In Paris, he wrote his fine "tragedy of common life," Maria Magdalena (1844). On return from Italy, Hebbel at Vienna met two Polish noblemen, the brothers Zerboni di Sposetti, who in their enthusiasm for his genius urged him and supplied him with the means to mingle in the best intellectual society of the Austrian capital.
Old precarious existence of Hebbel then horrified him, who in 1846 married the beautiful and wealthy actress Christine Enghaus, giving up the faithful Elise Lensing (faithful until her death), on the grounds that "a man's first duty is to the most powerful force within him, that which alone can give him happiness and be of service to the world": in his case the poetical faculty, which would have perished "in the miserable struggle for existence". This "deadly sin," which, "if peace of conscience be the test of action," was, he considered, the best act of his life, established his fortunes. Elise, however, still provided useful inspiration for his art. As late as 1851, shortly after her death, he wrote the little epic Mutter und Kind, intended to show that the relation of parent and child is the essential factor which makes the quality of happiness among all classes and under all conditions equal.
Long before this Hebbel had become famous, German sovereigns bestowed decorations upon him; in foreign capitals he was feted as the greatest of living German dramatists. From the grand-duke of Saxe-Weimar he received a flattering invitation to take up his residence at Weimar, where several of his plays were first performed. He remained, however, at Vienna until his death.
Besides the works already mentioned, Hebbel's principal tragedies are:
Herodes and Mariamne (1850)
Julia (1851)
Michel Angelo (1851)
Agnès Bernauer (1855)
Gyges and His Ring (1856)
Die Nibelungen (1862), his last work (a trilogy consisting of a prologue, Der gehörnte Siegfried, and the tragedies, Siegfrieds Tod and Kriemhilds Rache), which won for the author the Schiller prize.
Of his comedies Der Diamant (1847), Der Rubin (1850) and the tragi-comedy Ein Trauerspiel in Sizilien (1845), are the more important, but they are heavy and hardly rise above mediocrity. All his dramatic productions, however, exhibit skill in characterization, great glow of passion, and a true feeling for dramatic situation; but their poetic effect is frequently marred by extravagances which border on the grotesque, and by the introduction of incidents the unpleasant character of which is not sufficiently relieved. In many of his lyric poem
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Displaying 1 - 9 of 9 reviews
February 16, 2016
YORUM;
kitap, manzum-düzuazı şeklinde, bir tarihi roman olacak şekilde yeniden düzenlense, çok çok iyi olur.
yine burdan, 50-60 yıl sonra, tercüme bürosuna tekrar tekrar teşekkür ediyorum, hem antik yuna klasikleri, hem de antik batı klasikleri için, nur içinde yatın, teşekkürler.
kitap, manzum-düzuazı şeklinde, bir tarihi roman olacak şekilde yeniden düzenlense, çok çok iyi olur.
yine burdan, 50-60 yıl sonra, tercüme bürosuna tekrar tekrar teşekkür ediyorum, hem antik yuna klasikleri, hem de antik batı klasikleri için, nur içinde yatın, teşekkürler.
September 4, 2022
Una obra de teatro que relata lo sucedido con sigfried después de su pelea contra fafnir. Nos muestra su relación entre brunhilda y kriemhild. Sobre todo su caída.
Valiendose de elementos de la iglesia católica como medio de hacer fluir la historia. No hay espacio para el desarrollo de personajes. No se puede apreciar los intereses de todos. No logra sobresalir al contar una historia con gran peso detrás de ella.
La forma literaria del teatro no se encuentra dentro de mis preferidas.
Valiendose de elementos de la iglesia católica como medio de hacer fluir la historia. No hay espacio para el desarrollo de personajes. No se puede apreciar los intereses de todos. No logra sobresalir al contar una historia con gran peso detrás de ella.
La forma literaria del teatro no se encuentra dentro de mis preferidas.
Read
June 7, 2024read this for university
March 8, 2025
Kriemhilde, the woman that you are.
January 7, 2022
Eher meh
October 6, 2023
Now we get the real thing
After watching several versions and musical interpretations we finally get a version something we can slow down and think about.
Only two years of German and decades ago makes me have to think about what I am reading but it is worth the effort. So it is like reading any thriller. Soon it seems natural; more like reading a screenplay as they let you know who is speaking.
Die Nibelungen was written by Christian Friedrich Hebbel in (1862) as a trilogy consisting of a prologue, Der gehörnte Siegfried, and the tragedies, Siegfrieds Tod and Kriemhild's Rache.)
I still think of the movie characters.
Do not miss this opportunity to read a classic about timeless tales.
After watching several versions and musical interpretations we finally get a version something we can slow down and think about.
Only two years of German and decades ago makes me have to think about what I am reading but it is worth the effort. So it is like reading any thriller. Soon it seems natural; more like reading a screenplay as they let you know who is speaking.
Die Nibelungen was written by Christian Friedrich Hebbel in (1862) as a trilogy consisting of a prologue, Der gehörnte Siegfried, and the tragedies, Siegfrieds Tod and Kriemhild's Rache.)
I still think of the movie characters.
Do not miss this opportunity to read a classic about timeless tales.
December 27, 2025
dick that good huh?
Displaying 1 - 9 of 9 reviews