The Plays of Grillparzer presents a compilation of the works of Franz Grillparzer, a famous Austrian dramatist, with emphasis on the significant features of his dramatic technique. This book presents some generalizations about what characterizes his tragedies and makes them effective. Comprised of five chapters, this book starts with an overview of Grillparzer's two plays for the popular stage, namely, Die Ahnfrau (1897) and Der Traum ein Leben (1834). This text then reviews the characteristics of Grillparzer's Greek tragedies wherein he prefers direct action to narrative. Other chapters examine the classic spirit of his second poetic drama, Sappho, which is characterized as halfway between a tragedy of fate and a tragedy of character. The final chapter examines the characterization in Grillparzer's third play, Libussa, wherein he uses an unusual extent to explain a situation, or the speaker's plans and emotions. This book is a valuable resource for readers who are interested in Franz Grillparzer's works.

Franz Grillparzer was not a man of extravagance either in phrase or conduct. His life as an individual and artist is marked by a reticence, an aversion to the unveiling of the inner SOul,1 that is perhaps best matched by the concise style and expression of his works. This art of effective restraint is particularly visible in the dramas where often a single word or indeed an utter silence carries the greatest emotional impact. There is an absolute lack of sound and fury signifying nothing; even in the frenzy of inspiration 2 Grillparzer carefully chooses words that best convey his thoughts and for purely emotional release he turns to another medium which he sharply distinguished from poetry: to music. If this poet then who knows no empty phrases applies terms like 'betrothed of the gods',3 'mother of all greatness',4 'mighty 5 lever of the universe', 'messenger of divine happiness'6 to one and the same concept at different times, we may assume that he here expresses something deeply anchored in his being. And indeed, the motif of concentration ('Sammlung') and inspiration ('Begeisterung') is one that we meet again and again in the poetry, the diaries and the dramas. This emotional state is at all times highly revered and greatly sought by the poet - it is, in fact, made a condition of creative productivity and, as the years pass, finally develops into a condition of life itself in the prophecy of 'Libussa'.

In this first comprehensive survey of criticism on Grillparzer, Dr. Roe highlights the main areas of critical debate and provides a chronological account of the major trends and developments: through periods of misunderstanding and neglect or of political appropriation in the cause of Nazism or Austrian nationalism, and through recent decades dominated by various schools of thought, whether sociological or psychoanalytical. The book will be of interest to scholars and students of Austrian and European literature, Austrian culture, and literary theory and criticism.

Franz Grillparzer (1791 - 1872) was an Austrian dramatic poet. "The Jewess of Toledo" may perhaps be said to mark the climax of his productive activity. Written in 1851, it was first performed in Prague in 1872, after Grillparzer's death. It is an eminently modern drama of passion in classical dignity of form. The play is properly called "The Jewess of Toledo"; for Rachel, the Jewess, is at the centre of the action, and is a marvelous creation – "a mere woman, nothing but her sex". The King of Castile, however, though relatively passive, is the most important character. He is attracted to Rachel by a charm that he has never known in his coldly virtuous English consort, and, after an error forgivable because made comprehensible, is taught the duty of personal sacrifice to morality and to the state.

The German Library is anew series of the major works of German literature and thought from medieval times to the present. The volumes have forewords by internationally known writers and introductions by prominent scholars. Here the English-speaking reader can find the broadest possible collection of poetic and intellectual achievements in new as well as great classic translations.

In Grillparzer's Libussa William Reeve provides an important interpretation of a work that has received little detailed attention from European and American critics. The play has been dealt with in a broader context in numerous monograph-length overviews or introductions to Grillparzer, but this is the first time that it has received the careful consideration it deserves.