Monday, 28 December
223. Lessing, Schiller, and Dramas
12:00 noon–1:15 p.m., Anthony, Loews
Program arranged by the G. E. Lessing Society
Presiding: Richard E. Schade, Univ. of Cincinnati
1. “The Aesthetics of the Secular in Lessing and Schiller,” Christiane Frey, Univ. of Chicago
2. “Emilia Galotti versus Kabale und Liebe: A Language Appraisal,” Petruta Tatulescu, Univ. of Heidelberg
Lessing’s and Schiller’s dramas have a multitude of similarities and have served as an ideal subject of comparison ever since they were printed. Kabale und Liebe (1784) was inspired by Lessing’s Emilia Galotti (1772). The personae of the two dramas are interconnected and are the ideal source for critical comparison. In the course of the centuries, many critics have comprehensively analyzed the similarities and differences in the two plays, in particular with a focus on the Ständeklausel, politics, family ties, free will and so on. The question arises – what novelties could an article about the two plays bring in today? This paper focuses on the roles and discourses of the two concubines, Lady Milford in Kabale und Liebe and Gräfin Orsina in Emilia Galotti, and their implication in the context of the two dramas. This is a comparative article, and its structure does not follow the linear events in the two plays but rather typological considerations. The formal and stylistic attributes are not an inherent part of this analysis and, although important in the context of the two dramas, will not be analyzed closely within the framework of this article. The aspects highlighted in this article will include the overall presence of the two women, the onomastics and social standing that characterizes them and the position they take in the wider political context. A subchapter is dedicated to philosophy and thought of the two characters in the context of the two dramas and of their time. Gender considerations are followed by a subchapter on power, love and taking action. This article finishes with an overview of the previous research on this topic, a conclusion and a bibliography. The particular focus is on the aspects related to the discourse of the two mistresses and less on the interaction with other characters, the opinion of the other dramatis personae about them or the contrastive analysis against Luise and Emilia.
N.B.: All quotations were chosen from the original works without translation for reasons of accuracy, validity and informative value.
3. “In the Footlights of Deutsches Theater: ‘Emilia Modernized,’” Guy Stern, Wayne State Univ.