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Updated: June 2, 2025
The fatality of our Puritanic hypocrisy in these matters is especially illumined by Wedekind in so far as our most promising children fall victims to sex ignorance and the utter lack of appreciation on the part of the teachers of the child's awakening.
As Alfred Kerr rightfully puts it, you must learn to see anew in the theatre of Wedekind. All of which is correct, yet we respectfully submit that the theatre, like a picture, has its optics: its foreground, middle distance, background, and foreshortening. Destroy the perspective and the stage is transformed into something that resembles staring post-Impressionist posters.
The gentle arts of development, of characterisation, of the conduct of a play may not be flouted with impunity. The author more than the auditor is the loser. Wedekind works too often in bold, bright primary colours; only in some of his pieces is the modulation artistic, the character-drawing summary without being harsh. His climaxes usually go off like pistol-shots.
It was doubtless a pity not to keep up with Wedekind or John, but some closing of the gates is inevitable after thirty, if the mind itself is to become a creative power. She was looking at plans one day in the following spring they had finally decided to go down into Sussex and build when Mrs. Charles Wilcox was announced. "Have you heard the news?" Dolly cried, as soon as she entered the room.
I'm still attending high school, but am more interested in theater and literature. I read Wedekind, Rilke, and others. Goethe also. I don't like Schiller and George. My friend's name is Mieze Maier. She lives, with her companions, in an elegant four-room apartment, since her father, Markus Maier, left her a lot of money. Her mother died ten years ago as a result of an operation on her stomach.
They are two finely contrasted portraits, and what a grimace of disgust is aroused when Launhart tells the woman who loves Hetman: "O Fanny, Fanny, a living rascal is better for your welfare than the greatest of dead prophets." What Dead-Sea-fruit wisdom! The pathos of distance doesn't appeal to the contemporary soul of Wedekind. He writes for the young, that is, for to-morrow.
George Meredith once said the same in Diana of the Crossways, although he said it more epigrammatically. For Wedekind religion is a symbol of our love of ourselves; nevertheless, outside of his two engrossing themes, love and death, he is chiefly concerned with religion, not alone as material for artistic treatment, but as a serious problem of our existence.
MUTTERSCHUTZ, a publication specially devoted to frank and intelligent discussion of the sex problem, has been carrying on its agitation for a considerable time. But it remained for the dramatic genius of Wedekind to influence radical thought to the extent of forcing the introduction of sex physiology in many schools of Germany.
Their use of the palatal resonance being insufficient, they are not able to make a deeper impression, because their power of expression is practically nothing. Frau Wedekind and Madame Melba are instances of this.
For no one can escape the common law of descent, whether physical or spiritual. Wedekind has had plenty of teachers, not excepting the most valuable of all, personal experience. The sinister shadow cast by Ibsen fell across the shoulders of the young poet, and he has read Max Stirner and Nietzsche not wisely, but too well. Furthermore, Strindberg played a marked rôle in his artistic development.
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