Hugo von Hofmannsthal is one of the modern era's most important writers, but his fame as Richard Strauss's pioneering collaborator on such operas as Der Rosenkavalier and Die Frau ohne Schatten has obscured his other remarkable writings: his precocious lyric poetry, inventive short fiction, keen essays, and visionary plays. The Whole Difference, which includes new translations as well as classic ones long out of print, is a fresh introduction to the enormous range of this extraordinary artist, and the most comprehensive collection of Hofmannsthal's writings in English. Selected and edited by the poet and librettist J. D. McClatchy, this collection includes early lyric poems; short prose works, including "The Tale of Night Six Hundred and Seventy-Two," "A Tale of the Cavalry," and the famous "Letter of Lord Chandos"; two full-length plays, The Difficult Man and The Tower; as well as the first act of The Cavalier of the Rose. From the glittering salons of imperial Vienna to the bloodied ruins of Europe after the Great War, the landscape of Hofmannsthal's world stretches across the extremes of experience. This collection reflects those extremes, including both the sparkling social comedy of "the difficult man" Hans Karl, so sensitive that he cannot choose between the two women he loves, and the haunting fictional letter to Francis Bacon in which Lord Chandos explains why he can no longer write. Complete with an introduction by McClatchy, this collection reveals an artist whose unusual subtlety and depth will enthrall readers.
Presented here for the first time in the English language, their correspondence provides insights into the creative processes of Hofmannsthal, whose works were strongly influenced by this unusual relationship.".
Hofmannsthal’s comedy An Impossible Man is by common consent considered his stage masterpiece and has assumed the status of a classic in German-speaking countries. It is a play both about the passing historical moment which marked the end of the Habsburg era, together with its culture and class structure, whilst it is also a finely gauged critique of language as the badge of that culture. The highly polished, crafted diction the playwright employs shows up language as the awed but indispensable vehicle of social communication. Hofmannsthal’s dramatic technique is comparable to Chekhov’s, since he uses conversation mainly for expository purposes with largely static effect, and by his choice of an essentially passive hero who is a problem to himself and to others. The problematic nature of language (a constant theme in Hofmannsthal’s work and most consummately expressed in A Letter of 1902) is identified with and given voice through the complicated character of the hero Hans Karl. Moral seriousness is so finely interfused with a lightness of ironic texture in this comedy that no trace of gravity remains.
Hugo von Hoffmannsthal made his mark as a poet, as a playwright, and as the librettist for Richard Strauss’s greatest operas, but he was no less accomplished as a writer of short, strangely evocative prose works. The atmospheric stories and sketches collected here—fin-de-siècle fairy tales from the Vienna of Klimt and Freud, a number of them never before translated into English—propel the reader into a shadowy world of uncanny fates and secret desires. An aristocrat from Paris in the plague years shares a single night of passion with an unknown woman; a cavalry sergeant meets his double on the battlefield; an orphaned man withdraws from the world with his four servants, each of whom has a mysterious power over his destiny. The most influential of all of Hofmannsthal’s writings is the title story, a fictional letter to the English philosopher Francis Bacon in which Lord Chandos explains why he is no longer able to write. The “Letter” not only symbolized Hofmannsthal’s own turn away from poetry, it captured the psychological crisis of faith and language which was to define the twentieth century.
Presented here for the first time in the English language, their correspondence provides insights into the creative processes of Hofmannsthal, whose works were strongly influenced by this unusual relationship.".
Hugo von Hofmannsthal is one of the modern era's most important writers, but his fame as Richard Strauss's pioneering collaborator on such operas as Der Rosenkavalier and Die Frau ohne Schatten has obscured his other remarkable writings: his precocious lyric poetry, inventive short fiction, keen essays, and visionary plays. The Whole Difference, which includes new translations as well as classic ones long out of print, is a fresh introduction to the enormous range of this extraordinary artist, and the most comprehensive collection of Hofmannsthal's writings in English. Selected and edited by the poet and librettist J. D. McClatchy, this collection includes early lyric poems; short prose works, including "The Tale of Night Six Hundred and Seventy-Two," "A Tale of the Cavalry," and the famous "Letter of Lord Chandos"; two full-length plays, The Difficult Man and The Tower; as well as the first act of The Cavalier of the Rose. From the glittering salons of imperial Vienna to the bloodied ruins of Europe after the Great War, the landscape of Hofmannsthal's world stretches across the extremes of experience. This collection reflects those extremes, including both the sparkling social comedy of "the difficult man" Hans Karl, so sensitive that he cannot choose between the two women he loves, and the haunting fictional letter to Francis Bacon in which Lord Chandos explains why he can no longer write. Complete with an introduction by McClatchy, this collection reveals an artist whose unusual subtlety and depth will enthrall readers.
Haunting early Modernist short fiction from Vienna. The restless, alienated spirit of turn-of-the-century Vienna is brilliantly caught in these seven tales - hitherto not readily available together in English translation - by Hugo von Hofmannsthal, one of the major writers of the period and Richard Strauss's librettist.
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