GRILLPARZER, FRANZ (1791-1872), the greatest dra matic poet of Austria, was born in Vienna, on Jan. 15, 1791. His father, severe, pedantic, a staunch upholder of the liberal tradi tions of the reign of Joseph II., was an advocate of some standing; his mother, a nervous, finely-strung woman, belonged to the well known musical family of Sonnleithner. After a desultory educa tion, Grillparzer entered in 1807 the University of Vienna as a student of jurisprudence; but two years later his father died, leaving the family in straitened circumstances, and Franz, the eldest son, was obliged to turn to private tutoring. He became a clerk in the Lower Austrian revenue administration, and in 1818 poet to the Hofburgtheater, and a clerk in the Ho f kammer (exchequer) ; in 1832 he became director of the archives of that department, and in 1856 retired from the civil service.
In 1817 the first representation of his tragedy Die Ahnfrau made him famous, but before this he had written a long tragedy in iambics, Blanca von Castilien (1807-09), which was obviously modelled on Schiller's Don Carlos; also the dramatic fragments Spartacus and Alfred der Grosse (1809). Die Ahnfrau is a grue some "fate-tragedy" in the trochaic measure of the Spanish drama, already made popular by Adolf Milliner in his Schuld; but Grillparzer's work is a play of real poetry, and reveals an instinct for dramatic as opposed to merely theatrical effect, which dis tinguishes it from other "fate-dramas" of the day. Die Ahnfrau was followed by Sappho (1818), a drama in the classic spirit of Goethe's Tasso. In 1821 appeared Des goldene Vliess, a trilogy which had been interrupted in 1819 by the death of the poet's mother—in a fit of depression she had taken her own life—and a subsequent visit to Italy. Opening with a powerful dramatic prelude in one act, Der Gastfreund, Grillparzer depicts in Die Argonauten Jason's adventures in his quest for the Fleece ; while Medea, a tragedy of noble classic proportions, contains the cul minating events of the story. The theme is similar to that of Sappho, but the scale on which it is represented is larger; it is again the tragedy of the heart's desire, the conflict of the simple happy life with that sinister power—be it genius, or ambition— which upsets the equilibrium of life. The end is bitter disillusion ment, the only consolation renunciation.
For his historical tragedy Konig Ottokars Gluck and Ende (1823, but owing to difficulties with the censor, not performed until 1825), Grillparzer chose one of the most picturesque events in Austrian domestic history, the conflict of Ottokar of Bohemia with Rudolph von Habsburg. He reproduced the motley world of the old chronicler, without losing sight of the exigencies of the theatre; the fall of Ottokar is but another text from which the poet preached the futility of endeavour and the vanity of worldly greatness. A second historical tragedy, Ein treuer Diener seines Herrn (1826, performed 1828), attempts to embody a more heroic gospel; but the subject—the superhuman self-effacement of Bank banus before Duke Otto of Meran—proved too uncompromising an illustration of Kant's categorical imperative of duty to be palatable in the theatre.
With these historical tragedies began the darkest ten years in the poet's life. They brought him into conflict with the Austrian censor—a conflict which grated on Grillparzer's sensitive soul, and was aggravated by his position as a civil servant ; in 1826 he paid a visit to Goethe in Weimar, and was able to compare the enlightened conditions which prevailed in the little Saxon duchy with the intellectual thraldom of Vienna. In the winter of 182o-21 he had met for the first time Katharina Frohlich (1801-79), and the acquaintance rapidly ripened into love on both sides; but whether owing to a presentiment of mutual incompatibility, or merely owing to Grillparzer's conviction that life had no happi ness in store for him, he shrank from marriage. Whatever the cause may have been, the poet was plunged into an abyss of misery and despair to which his diary bears heart-rending witness; his sufferings found poetic expression in the fine cycle of poems bearing the significant title Tristia ex Ponto (1835).
To these years we owe the completion of two of Grillparzer's greatest dramas, Des Meeres and der Liebe W ellen (1 831) and Der Traum, ein Leben (1834). In the former tragedy, a dramatiza tion of the story of Hero and Leander, he returned to the Hellenic world of Sappho, and produced what is perhaps the finest of all German love-tragedies. His mastery of dramatic technique is here combined with a ripeness of poetic expression and with an insight into motive which suggests the modern psychological drama of Hebbel and Ibsen; the old Greek love-story of Musaeus is, more over, endowed with something of that ineffable poetic grace which the poet had borrowed from the great Spanish poets, Lope de Vega and Calderon. Der Traum, ein Leben, Grillparzer's technical masterpiece, is in form perhaps even more Spanish ; it is also more of what Goethe called a "confession." The aspirations of Rustan, an ambitious young peasant, are shadowed forth in the hero's dream, which takes up nearly three acts of the play; ultimately Rustan awakens from his nightmare to realize the truth of Grill parzer's own pessimistic doctrine that all earthly ambitions and aspirations are vanity; the only true happiness is contentment with one's lot, "des Innern stiller Frieden and die schuldbefreite Brust." Der Traum, ein Leben was the first of Grillparzer's dramas which did not end tragically, and in 1838 he produced his only comedy, Weh' dem, der lugt.
But Weh' dem, der lugt, in spite of its humour of situation, its sparkling dialogue and the originality of its idea—namely, that the hero gains his end by invariably telling the truth, where his enemies as invariably expect him to be lying—was too strange to meet with approval in its day. Its failure was a blow to the poet, who turned his back for ever on the German theatre. In 1836 Grillparzer paid a visit to Paris and London, in 1843 to Athens and Constantinople. Then came the Revolution which struck off the intellectual fetters under which Grillparzer and his contemporaries had groaned in Austria, but the liberation came too late for him. Honours were heaped upon hirr ; he was made a member of the Academy of Sciences; Heinrich Laube, as direc tor of the Burgtheater, reinstated his plays on the repertory; he was in 1861 elected to the Austrian Herrenhaus; his Both birth day was a national festival, and when he died in Vienna, on Jan. 21, 1872, the mourning of the Austrian people was universal. With the exception of a beautiful fragment, Esther (1861), Grillparzer published no more dramatic poetry after the fiasco of W eh' dem, der liigt, but at his death three completed tragedies were found among his papers. Of these, Die Jiidin von Toledo, an admirable adaptation from the Spanish, has won a permanent place in the German classical repertory; Ein Bruderzwist im Hause Habsburg is a powerful historical tragedy and Libussa is perhaps the ripest, as it is certainly the deepest, of all Grillparzer's dramas.
Although Grillparzer was essentially a dramatist, his lyric poetry is in the intensity of its personal note hardly inferior to Lenau's. As a prose writer, he has left one powerful short story, Der arme Spielmann (1848), and a volume of critical studies on the Spanish drama, which shows how completely he had succeeded in identify ing himself with the Spanish point of view.
Grillparzer's brooding, unbalanced temperament, his lack of will-power, his pessimistic renunciation and the bitterness which his self-imposed martyrdom produced in him, made him peculiarly adapted to express the mood of Austria in the epoch of intellectual thraldom that lay between the Napoleonic wars and the Revolu tion of 1848; his poetry reflects exactly the spirit of his people under the Metternich regime, and there is a deep truth behind the description of Der Traum, ein Leben as the Austrian Faust. His fame was in accordance with the general tenor of his life; even in Austria a true understanding for his genius was late in coming, and not until the centenary of 1891 did the German speaking world realize that it possessed in him a dramatic poet of the first rank; in other words, that Grillparzer was no mere "Epigone" of the classic period, but a poet who, by a rare assimila tion of the strength of the Greeks, the imaginative depth of Ger man classicism and the delicacy and grace of the Spaniards, had opened up new paths for the higher dramatic poetry of Europe. Grillparzer's Sdmtliche Werke are edited by A. Sauer, in 20 vols. (5th ed., Stuttgart, 1892-94) ; also, since the expiry of the copyright in 1901, innumerable cheap reprints. Briefe and Tagebucher, edit. by C. Glossy and A. Sauer (2 vols., Stuttgart, 1903). Jahrbuch der Grillparzer Gesellschaft, edit. by K. Glossy (the publication of the Grillparzer Society) (Vienna, 1891 ff.). See also H. Laube, Franz Grillparzers Lebensgeschichte (Stuttgart, 1884) ; J. Volkelt, Franz Grillparzer als Dichter des Tragischen (Nordlingen, 1888) ; E. Reich, Franz Grill parzers Dramen (Dresden, 1894) ; A. Ehrhard, Franz Grillparzer (Paris, 1900, German trans. by M. Necker, Munich, 5902) ; H. Sittenberger, Grillparzer, sein Leben and Wirken (1904) ; Gustav Pollak, F. Grill parzer and the Austrian Drama (1907) • F. E. Gruber, Franz Grill parzer and seine Buhnenwerke (1922). Of Grillparzer's works, transla tions have appeared in English of Sappho (1820, by J. Bramsen ; 1846, by E. B. Lee; 1855, by L. C. Cumming; 1876, by E. Frothingham) ; and of Medea (1879, by F. W. Thurstan and J. A. Wittmann). Byron's warm admiration of Sappho (Letters and Journals, v. 171) is well known, while Carlyle's criticism, in his essay on German Playwrights (1829), is interesting as expressing the generally accepted estimate of Grillparzer in the first half of the 19th century. See the bibliography in K. Goedeke's Grundriss zur Geschichte der deutschen Dichtung, 2nd ed., vol. viii. (1905). (J. G. R.)