Hvar City Theatre Days, Vol. 34 No. 1, 2008.
Original scientific paper
Iphigenia in Tauris – Goethe u Zagrebu
Cvijeta Pavlović
orcid.org/0000-0002-5800-961X
; Faculty of philosophy in Zagreb, University of Zagreb
Abstract
The first translations of Goethe’s dramas were meant only for the stage, and have to this day remained in manuscript. In 1887 Goethe’s Iphigeneia was put in Croatian garb for the nonce, commemoratively, thanks to Vežić’s love for the German writer and the urging of Franjo Marković, but it fitted in very well with the symbolism-saturated era of aestheticism that was to come, in which the vehicles of suggestive meanings were frequently female figures. During World War II, when in the Independent State of Croatia Goethe was published as the first in a series of world classics (hardly surprisingly considering the political situation), the final words of the drama in 1941 and 1942, in the translation of Mihovil Kombol, sounded still more suggestive, spoken during the Nazi regime, which must have been received with connotations speaking against the global bloodshed. In the setting of the poet’s message of the »eternal feminine«, which was woven into the closing chords of Goethe’s Faust, Zagreb and Croatian social and political reality could then read new meanings into Iphigeneia.
Keywords
Hrčak ID:
72872
URI
Publication date:
2.5.2008.
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