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Ladataan... Die Räuber (German Edition) (alkuperäinen julkaisuvuosi 1781; vuoden 2011 painos)Tekijä: Friedrich Schiller (Tekijä)
TeostiedotThe Robbers (tekijä: Friedrich Schiller) (1781)
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Kuuluu näihin kustantajien sarjoihinSisältyy tähän:Jugenddramen (tekijä: Friedrich Schiller) The Robbers / Passion and Politics / Don Carlos / Mary Stuart / Joan of Arc (tekijä: Friedrich Schiller) Die Räuber. Die Verschwörung des Fiesco zu Genua. Kabale und Liebe. Don Carlos (tekijä: Friedrich Schiller) Die Räuber / Don Carlos / Wallenstein / Kabale und Liebe. Meisterwerke der Weltliteratur Band 9 und Band 10 (tekijä: Friedrich Schiller) Tämä on uudelleenkerrottu:Sisältää opiskelijan oppaan
Drama.
Fiction.
HTML: Fans of classic European melodrama will love The Robbers. Originally staged in the late eighteenth century, this play??which follows the feud between brothers in an aristocratic German family??was a blockbuster success that propelled Friedrich Schiller to the height of literary fame. The Robbers was later adapted into an equally renowned opera written by Verdi Kirjastojen kuvailuja ei löytynyt. |
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Google Books — Ladataan... LajityypitMelvil Decimal System (DDC)832.6Literature German literature and literatures of related languages German drama 1750–1832 : 18th century; classical period; romantic periodKongressin kirjaston luokitusArvio (tähdet)Keskiarvo:
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It's a five-act tragic melodrama, in prose with a couple of interpolated songs. Franz, jealous of his older brother Karl, manages to drive a wedge between their father and Karl while he's away at university, with the result that Karl isn't able to pay his debts, is forced to flee from justice, and, radicalised by this experience, joins a kind of early Baader-Meinhof anarchist group of runaway students and professional criminals in the Bohemian Forest. The dishonest but ultra-respectable Franz commits more and more horrible crimes to get his hands on his brother's inheritance and his fiancée Amalia, whilst the honourable but outlawed Karl finds himself unwillingly complicit in all kinds of mass-murder, sacrilege, and highway robbery.
It's all quite radical by the standards of the time, but nonetheless fairly predictable up to about the end of Act Four, with a lot of action happening off-stage and being described to us in long speeches, often by messenger-characters introduced especially for that purpose, and with the central characters expressing their emotional states in high-flown language of a kind it's all-too-easy to parody.
But then it starts to get rather less predictable, with Karl, in the space of half-a-dozen pages, inventing a dialogue between Brutus and Caesar, picking up a pistol to do a to-be-or-not-to-be soliloquy, and meeting what appears to be his father's ghost, whilst Franz is having the sort of sleepless night that even MacBeth would have nightmares about... (and not long after that, there's a final plot-twist that W S Gilbert later undermined by borrowing it for The Pirates of Penzance). Fun!
Very much a young man's play, full of energy and challenge-everything provocation, but also with more moral complexity to it than you might expect. Amalia is the only female character, and whilst she's made out to be strong-willed and independent, all that she actually gets to do is maintain her rather misguided loyalty to Karl. ( )