By Fred Whalley
Frank Wedekind’s paintings was once profoundly prompted by means of the non secular and philosophical rules of the 19th century. exact research of his unpublished notebooks and significant performs exhibits how his characters transgress ethical limitations in a doomed quest to discover transcendent worth. In his later performs he intentionally blurs the excellence among paintings and fact, as his pseudo-autobiographical protagonists turn into secularized, redeeming sacrifices that let bourgeois lifestyles to proceed.
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Extra resources for The Elusive Transcendent: The Role of Religion in the Plays of Frank Wedekind (British and Irish Studies in German Language and Literature)
4 He does not provide any further explanation of what sort of ‘Religion’ he was referring to here. If Lulu is nothing more or less than the ‘Verherrlichung des Körperlichen’, it would seem to bear out the argument that he was attempting to establish a religion of sensuality. Instead, however, he seems to be demolishing this argument as the play develops. Elizabeth Boa writes, ‘if Lulu initially represents a dream of 3. 4. 52 John L. Hibberd, ‘The Spirit of the Flesh: Wedekind’s Lulu’, Modern Language Review, 79 (1984), 336-55 (pp.
Once again, Wedekind returns to the role of the selfish Ego in determining human motivation. Nevertheless, Wedekind ultimately demonstrates the danger inherent in living according to one’s egotistical drives and desires. In Frühlings Erwachen, he does not vindicate Melchior for his insight; instead, Melchior’s rejection of the values of those around him eventually leads him to rape Wendla, and here Gordon Birrell sees the twin themes of Egoismus and sexuality united: Melchior Gabor, for instance, has enough insight into human psychology to realize that the ideal of pure, selfless action is a fiction.
43. 44. 48 Wagener, Erläuterungen und Dokumente, p. 32. ‘The Wollen-Sollen Equation’, p. 118. In a footnote here, he refers to Wedekind’s anticipation of Freudian theory, ‘in this case the opposition of the pleasure principle and the death instinct’. , p. 120. By turning his back on the Church, Elias is rejecting it as both a foundation and a product of Bürgerlichkeit. The Church has both these roles because, as demonstrated in the two plays, people draw on their interpretation of what the Church teaches to define their bürgerlich morality and yet, rather than taking a moral lead, the ministers of the Church are more bürgerlich than anyone in their congregations.