Deidre Vincent: In her play Rino (1776) Charlotte von Stein herself had gently mocked the general acclaim in Weimar for Goethe s fine dark eyes. In Dido (1794) she spitefully attacked his "Schauspielergeberden" [actor gesticulations] as being calculated for maximum effect on women.
Already contemporaries were deeply puzzled by Goethe and his work. They railed immensely - and some of them extremely well ! Lenz, J.D. Falk, Böttiger behave like investigative journalists, from Wieland, Kotzebue, the Herders, Odyniec and others there are shocking statements full of disgust, even the more indulgent ones like Knebel, Ch. von Stein, de Stael or Schiller make highly disconcerting remarks. Enzensberger has worked these different critical attitudes into the play "Down with…
There is a huge qualitive chasm between ""The Caprice of Those in Love"" and the singplays. Who is capaple of creating THIS piece, would never ever write anything as bad and trivial as "Claudine von Villa Bella" (with the exception of the ballad "Es war eine Buhle frech genung"), "Erwin und Elmire" (with the exception of the "Violet" ballad, famously set to music by Mozart) or "Die Fischerin" (with the exception of the "Earlking" ballad, which does not fit even remotely into the play !).
Extract from "Dido", a drama written by Charlotte von Stein. The main storyline is ruler Dido being aggressed by men for the sole reason of being a woman. Any parallels with real people like Duchess Anna Amalia and Earl Goertz are most probably intended. (more about Goethe s friend s plays on "Kainsmal Goethe Extra")
A shorter version of "Die Liebe auf dem Lande" was found in Lenz posthumous papers. As for the longer, satirical version it had been published in a special No. on Lenz in 1792. Editor Schiller had received it from Goethe together with a selection of otherwise unknown writings from Lenz. Goethe had received a larger package of manuscripts from Lenz through Charlotte von Stein in ?1777.
(G.s bad works, No. 86) „Das Mädchen von Oberkirch" zählt zu den frühen Revolutionsstücken Goethes, denen außerdem „Der Groß-Cophta" (1791), „Die Aufgeregten" (1791/92) und „Der Bürgergeneral" (1793) angehören. Man hat diese kleineren Dramen zum Thema Französische Revolution in der Goethe- Forschung bis heute fast ohne Ausnahme abschätzig bewertet.15 Goethe sah in ihnen „Nachbildungen des Zeitsinns," die für ihn „eine Art von gemütlich tröstendem Geschäft" und „Bekenntnisse" waren.
(G s bad works, No. 67) "Die guten Frauen" von Johann Wolfgang von Goethe. One of the many "trivial" texts of Goethe. - "Eulalie was not to be coaxed into redigating the recorder s notes, she did not want to get distracted from the fairy tale which she was busy reworking."
Johann Wolfgang Goethe, Fight for a puppet. - In the Paris fairy tale in Goethe s autobiography, Alerte considers her puppets as being of no interest for Paris-Goethe just like she herself is not interested in his bricks. What she finds suitable for both of them are the armee figures, and a fierce battle is fought between Alerte s amazones armee and the men s armee. Alerte gets the upper hand till Paris goes against the rules and starts attacking the Amazone queen.