Part one of this study presents a general discussion of a new theory of the tragic, an outline of the history of tragedy, and the methodology. Part two contains interpretations of Grillparzer's ten completed dramas with regard to their tragic nature and to fate and guilt concepts in particular. The third is a summary, a general discussion of Grillparzer as tragedian, and a proposal for solving the dilemma experienced by many interpreters in this context.

Excerpt from Franz Grillparzer and the Austrian Drama 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.

Figuring the Female explores language as a cultural document for an intervention into the ways that female alterity is framed in the ancient world. Grillparzer creates a new way of being that is primarily discursive in which the once unintelligible female figure may be known and heard.

Reeve not only offers a close textual analysis of the drama from the aspect of separation but shows how Libussa and its author fit into the development of the history of ideas in nineteenth-century Europe. He contends that Grillparzer's work reflects Bachofen, Neumann, Nietzsche, Freud, and Lacan. Using Freudian psychoanalysis, Neumann's investigation of the female archetype, and anthropological studies, Reeve argues that Grillparzer's tragedy portrays the struggle between matriarchy and patriarchy, nurturers and warriors, and rural and urban cultures. Since Libussa proves unable to overcome the gender bias of here male subjects, the play concludes with a symbolic statement of masculine superiority as man and woman remain intellectually and physically apart. Reeve's analysis draws parallels with Grillparzer's other two completed posthumous tragedies, Ein Bruderzwist in Habsburg and Die Jüdin von Toledo, relating his findings to the greater context of nineteenth-century German drama.

The work examines Grillparzer's dramatic production from two differing but complementary viewpoints. Various aspects of human existence as acting are analysed, among them: the loss of self through identification with a role, the attempt to influence others' acting of their roles, the influence of costume and setting on the actors. Then Grillparzer's plays are treated in the light of the «theatrum mundi» concept, and an attempt is made to determine both Grillparzer's borrowings from earlier dramas and the innovations which he brought to this scheme. The influence of Grillparzer's personal and political life on his creativity is also examined.