Shakespeare in Germany: Critical Reception and Translation
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The critical reception of Shakespeare’s plays in Germany began in the18th century by H. Schmid and Johann G. Herder, who praised him as “apoetic genius.” J. W. von Goethe in his panegyric “On Shakespeare’sDay” called him “Shakespeare, my friend” and with F. Schiller gives himpriority over the French classics Corneille and Racine. His first translatorsTieck and Schlegel in the Romantic Period (ca 1830) underscoredthe “supernatural” element in his plays, above all in Hamlet, Macbeth,Romeo and Juliet, King Lear, Julius Caesar and Othello. In the late 19thc. Shakespeare became a school subject in German higher education andcontributed to the rise of nationalistic and racist feelings. In the 70s ofthe last century a variety of valid approaches like the structuralistic, psycho-analytic, sociological or contextual added more insights to the “closereading”of a Shakepeare play, also by staging his plays in a large numberof German theatre houses. In 1964, after long and controversial debates theGerman Shakespeare Society broke up into two in the West and the Eastfor ideological reasons, but his name remained prominent in the Theatresin both parts of the country, which were re-united in 1990 after the declineof the Soviet Empire.Translations, which gained larger audiences from thevery beginning of the 18th c., were intensified by Schröder, Flatter, andSchaller, but were complimented in post-war Germany by three bilingualeditions. These collective endeavors mark the strong interest inShakespeare’s worlds among German audiences in general.
Abstract
The critical reception of Shakespeare’s plays in Germany began in the18th century by H. Schmid and Johann G. Herder, who praised him as “apoetic genius.” J. W. von Goethe in his panegyric “On Shakespeare’sDay” called him “Shakespeare, my friend” and with F. Schiller gives himpriority over the French classics Corneille and Racine. His first translatorsTieck and Schlegel in the Romantic Period (ca 1830) underscoredthe “supernatural” element in his plays, above all in Hamlet, Macbeth,Romeo and Juliet, King Lear, Julius Caesar and Othello. In the late 19thc. Shakespeare became a school subject in German higher education andcontributed to the rise of nationalistic and racist feelings. In the 70s ofthe last century a variety of valid approaches like the structuralistic, psycho-analytic, sociological or contextual added more insights to the “closereading”of a Shakepeare play, also by staging his plays in a large numberof German theatre houses. In 1964, after long and controversial debates theGerman Shakespeare Society broke up into two in the West and the Eastfor ideological reasons, but his name remained prominent in the Theatresin both parts of the country, which were re-united in 1990 after the declineof the Soviet Empire.Translations, which gained larger audiences from thevery beginning of the 18th c., were intensified by Schröder, Flatter, andSchaller, but were complimented in post-war Germany by three bilingualeditions. These collective endeavors mark the strong interest inShakespeare’s worlds among German audiences in general.
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