By Gotthold Ephraim Lessing
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Sample text
He was convinced that this bad practice alone had deprived France of much that would have been attempted under freer conditions and in a theatre better adapted to comfort and action. ' A queen who assembles her parliament to announce to. them her marriage; a ghost who rises from his grave to hinder incest; the grave into which a. fool steps to issue as a criminal; all this was indeed something quite new for the French. It created as much noise on the stage, it demanded as muoh pomp and No. ] 259 DRAMATIO NOTES.
But does it repay our labour to expend industry on French verses until we have produced some in our language as watery and correct, as grammatical and cold? If on the contrary we transfer the whole poetical dN&s of the French into our prose, our prose will not through this become very poetical. It will be still far removed from the hybrid tone that has resulted out of the prose translations of English poets, in which the use of the bold metaphors and images, together with a measured cadenced construction, recalls drunkaJ-ds who dance without music.
Neither has he overlooked the absurdity of ~ sixth scene in the third act. "Orosman," he says, " comes to fetch Zaire from the mosque; Zaire refuses to go without giving the smallest reason for this refusal, she departs and Orosman is left standing like a fool (' als eenen lafhartigen '). Is that in accordance with hIS dignity? Does it rhyme with his character? Why does he not urge Zaire to explain herself? Why does he not follow her into the seraglio? " But my good Duim, if Zaire had explained herself clearly, whenoo should the other acts have come?
Hamburg Dramaturgy by Gotthold Ephraim Lessing
by Anthony
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