A critical study of Friedrich Hebbel's and Otto Ludwig's dramatic theory with special reference to their dramatic practice

Abstract

The fact that Friedrich Hebbel and Otto Ludwig were close contemporaries at a vital period in the literature of their country and were both accustomed to formulate their views on the nature and form of drama is one which is important for a true understanding of the factors underlying the development of German drama in the nineteenth century. The present thesis has a strictly comparative basis and is not intended to be a detailed examination of every aspect of their respective dramatic theories. It concentrates rather on those problems which were of common interest and special concern to both poets and which have importance for drama in general.The main part of the thesis is devoted to a special consideration of three aspects which concern both the content and the form of drama: their theory of tragedy as revealed in theirconception of the tragic hero; their contribution to the theory of environment; and their conception of dramatic structure.Whilst acknowledging the considerable difference which exists between Hebbel's and Ludwig's individual dramatic achievements, a study of the theories of two practising dramatists must alsotake account of certain aspects of their plays and of any evidence concerning their creative processes. On account of the unmethodical character of Ludwig's writings and the lack of a definitive edition of his work, his dramatic theory in general has never been fully explored, whilst the speculative language of some of Hebbel's important writings has tended to render criticism of his theories onesided. By sifting all the available material and by examining not only their theoretical writings and correspondence and diaries, but also the dramas themselves, I have hoped to gain a more balanced view of their conception of the nature of drama and the methods of dramatic composition. At the same time, it is hoped that this procedure, by providing a basis for the analysis of their approach to drama and illustrating the essential differences between them, as well as similarities where they exist, will throw light upon the relation between the critical and the creative process.