Denn du hast kein Christentum.
[1.] The Briefe aus der Schweiz, in two parts, were first published in 1808 as an ‘appendix’ to Werther. They were said to be ‘from Werther’s papers.’ In substance and sentiment, if not in form, they reproduce real letters written by Goethe in his youth.
[ LXXV. MINOR DRAMATISTS OF THE STORM AND STRESS ERA]
The name ‘Storm and Stress,’ derived from a play of Klinger (see below), has long been in use to denote the insurgent spirit of the youthful Goethe (beginning with Götz von Berlichingen in 1773), and of certain other writers who followed in his wake. Aside from Schiller, whose early plays are the strongest expression of the revolutionary tendencies, the other more important names are Klinger, Wagner, Lenz, Leisewitz, and Maler Müller. Their favorite form was the prose tragedy of middle-class life. They wrote of crime and remorse; of fratricide, seduction, rape and child-murder; of class conflict, and of fierce passion at war with the social order. While their plays were meant to exemplify a fearless ‘naturalism,’ the language is often unnaturally extravagant and the plots wildly improbable. For the texts see Kürschner’s Nationalliteratur, Vols. 79-81.
1
From Klinger’s ‘Storm and Stress,’ Act 1, Scene 1.[1]
Zimmer im Gasthofe.
Wild, La Feu, Blasius (treten auf in Reisekleidern).
Wild. Heida! nun einmal in Tumult und Lärmen, dass die Sinnen herumfahren wie Dachfahnen beim Sturm! Das wilde Geräusch hat mir schon so viel Wohlsein entgegengebrüllt, dass mir’s wirklich ein wenig anfängt besser zu werden. Soviel hundert Meilen gereiset, um dich in vergessenden Lärmen zu bringen—tolles Herz! du sollst mir’s danken! Ha! tobe und spanne dich dann aus, labe dich im Wirrwar! —Wie ist’s euch?
Blasius. Geh zum Teufel! Kommt meine Donna nach?