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Updated: May 10, 2025
Each one has its own individuality, its own atmosphere. And he himself wished that this should be so; it was a part of his study to avoid repeating himself. 'One must not become the slave of any general concept', so he wrote to Goethe in July, 1800, 'but have the courage to invent a new form for each new matter and keep the type-idea flexible in one's mind.
Of such imitation, which could lead to nothing but the ossification of the German drama, there has been quite enough in the past. To imitate his spirit is to 'keep the type-idea flexible in one's mind' and reach out continually after that which is new, elevating and adapted to the present need. This is the best form of respect to his memory.
But now, as was pointed out in a preceding chapter, the effect of Schiller's occupation with the drama at Weimar was to weaken his reverence for theory and to convince him of the importance of 'keeping the type-idea flexible in one's mind'. So when he came to adapt 'Nathan' for the stage he proceeded much less radically than one might expect from his previous utterances.
It is just as well, as Schiller said, to 'keep the type-idea flexible in one's mind', especially when we know that his experiment was received with ecstasy at its first performance and has ever since held its place in the affection of German play-goers. They are not troubled by its irrationalities, but receive them with pious awe, as Schiller intended.
"When individuals multiply from generation to generation, it is but a repetition of the primordial type-idea, and the true notion of the species is not in the resulting group, but in the idea or potential element which is the basis of every individual of the group." Dr.
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