Virtud, nobleza y tragedia: Egmont según Goethe y Schiller
Lamoraal van Egmont’s existence was tinged with tragedy and was the subject of literary treatment in Goethe’s work. However, his fate can be explained in strictly historical terms: those of an old nobility unable to assimilate the unified administration of a Modern Age authoritarian state. When writ...
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| Tipo de recurso: | capítulo de libro |
| Fecha de publicación: | 2021 |
| País: | España |
| Institución: | Universidad Autónoma de Madrid |
| Repositorio: | Biblos-e Archivo. Repositorio Institucional de la UAM |
| Idioma: | español |
| OAI Identifier: | oai:repositorio.uam.es:10486/717567 |
| Acceso en línea: | http://hdl.handle.net/10486/717567 |
| Access Level: | acceso abierto |
| Palabra clave: | Egmont Goethe Schiller History Drama Characters Actions Filosofía |
| Sumario: | Lamoraal van Egmont’s existence was tinged with tragedy and was the subject of literary treatment in Goethe’s work. However, his fate can be explained in strictly historical terms: those of an old nobility unable to assimilate the unified administration of a Modern Age authoritarian state. When writing Egmont (in 1788), Goethe skilfully introduced three distinct realms: social, political, and private. The social sphere is represented by the dialogues between craftsmen and soldiers, the political realm by the conversations between leaders and influencers, and the personal domain by Egont´s relationship with Clara, his lover, and with Fernando, an illegitimate son of the Duke of Alba. Schiller carried out a critical review of drama Goethe (1788) and later made a stage adaptation (1796) based on the idea of maximising the dramatic action of what was originally intended as a character play. Egmont as a historical figure, Goethe as a drama and the aforementioned adaptation by Schiller make up a thought- provoking constellation, namely, of history, dramatic text and theatre |
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