That performance also inspired the poet Franz Grillparzer
to publish an ode entitled, "Clara Wieck and Beethoven."
He covers Hero and Leander: constants and questions; the classical world; Ovid (often) moralized: the Middle Ages; heroical poems: the Renaissance and after; folk and literary ballads; focal points: reflections in the lyric; the challenge of drama; the waves of the sea and love: Grillparzer
and after; choice pieces of drollery: the burlesques; set to music: cantatas, operas, and musical plays; modern experiments; and some shallow story of deep love.
A piece in The New Monthly Magazine for March 1820 entitled "On Ghosts in Tragedy, &c." discusses Franz Grillparzer
's tragedy The Ancestress, recently praised by Blackwood's, finding its heroine to be "nothing more or less than a ghost" and attacking the soundness of its rival's dramatic criticism through the familiar adage that it is "highly improper to introduce ghosts at all in modern tragedy." (29) These remarks compound longstanding arguments against visible speciality with a rejection of Blackwood's philo-Germanism, especially its sponsoring of new German tragedy as a model for the British stage.
For example, she wrote about her admiration for the poetic drama The Jewess of Toledo, by the Austrian-Jewish novelist Franz Grillparzer
. This drama perpetuated the anti-Semitic myth, then dominant, about Jewish men as avaricious money-grubbers and Jewish women as both mysteriously sensuous and anarchic or as obediently subservient.
Il parle de Flaubert, Kierkegrd et Grillparzer
comme modeles a suivre.
So he translates an excerpt from Austrian writer Franz Grillparzer
's play Weh dem der Lugt!
Some of these were used by Abboud and Mikhail in "Medea," which features a translation of Heiner ME-ller's "Despoiled shore / Medeamaterial / Landscape with Argonauts." The script also draws on extracts from texts by Franca Rame and Dario Fo, Christa Wolf, Franz Grillparzer
, Ursula Haas and Ulrike Meinhof -- the German militant who tried to kidnap her children.
The essay, in addition, demonstrates how Levy appropriates the racial terminology of the Austrian playwright Franz Grillparzer
to engage in debate about Jewishness and national identity: "Medea's social isolation and eventual exile suggest the difficulty of maintaining a diasporic identity in the face of a (seemingly) hegemonic culture" (p.
En primer lugar, la de Seneca, que es la que sirve de base a Unamuno, y luego muchas otras, entre ellas la comedia de Rojas Zorrilla titulada Los encantos de Medea, asi como distintas obras de Corneille (1635), Richard Glover (1761), Franz Grillparzer
(1924), o, ya despues de Unamuno, Christa Wolf (1991) o Fermin Cabal (1999).