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His best scenes interest us more for their good sense than for any more stirring qualities. His nearest approach to a strong character is the paterfamilias himself, who is certainly much less "woolly and mawkish" than his pendant in Diderot. Next one may place the artist Wehrmann.
Gemmingen's 'head of the house' is an upright German nobleman of the admirable sort, who returns home after a long absence to find the affairs of his family very much deranged. His eldest son, Karl, has fallen madly in love with Lotte Wehrmann, the daughter of an impecunious artist, gotten her with child, and promised to marry her when his father shall have returned and given his consent.
Very likely it may have suggested to him the thought of trying his own hand upon a drama in the bourgeois sphere, but it was not until July, 1782, just after he had finished reading Wagner's 'Infanticide', that the plan of 'Louise Miller' began to take shape in his mind. Gemmingen's poor artist, Wehrmann, became the poor fiddler, Miller, and the daughter Lotte was rechristened Louise.
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