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Origin of the German Trauerspiel
walter benjamin

Origin of the
German Trauerspiel

Translated by Howard Eiland

harvard university press

Cambridge, Mas­sa­chu­setts, and London, ­England 2019
Copyright © 2019 by the President and Fellows of Harvard College
All rights reserved
Printed in the United States of Amer­i­ca

First printing

Painting: Snow Scene in the Black Forest, 19th century, Carl Friedrich
Wilhelm Trautschold (1815–1877) / Victoria & Albert Museum / London, UK /
Bridgeman Images
Photograph: Walter Benjamin, unknown, German photographer (20th century) /
Private Collection / ©Leemage / Bridgeman Images
Design: Jill Breitbarth

9780674916364 (EPUB)
9780674916371 (MOBI)
9780674916357 (PDF)

The Library of Congress has cataloged the printed edition as follows:

Names: Benjamin, Walter, 1892–1940, author. | Eiland, Howard, translator.
Title: Origin of the German trauerspiel/Walter Benjamin ; translated by Howard
Eiland.
Other titles: Ursprung des deutschen trauerspiels. En­glish (Eiland)
Description: Cambridge, Mas­sa­chu­setts : Harvard University Press, 2019. |
Includes index. | Translated from the German.
Identifiers: LCCN 2018012875 | ISBN 9780674744240 (alk. paper)
Subjects: LCSH: German drama (Tragedy)—­History and criticism. | Tragedy.
Classification: LCC PT671 .B413 2019 | DDC 832/.051209—­dc23
LC rec­ord available at https://­lccn​.­loc​.­gov​/2­ 018012875
Conceived 1916
Written 1925
Then, as now, dedicated to my wife
Contents

List of Abbreviations ix
Translator’s Introduction xi

I Epistemo-­Critical Foreword 1
[1] Concept of the tractatus—[2] Knowledge and truth—[3] Philosophical
beauty—[4] Division and dispersion in the concept—[5] Idea as
configuration—[6] The word as idea—[7] Idea not classificatory—
[8] Burdach’s nominalism—[9] Verism, syncretism, induction—[10] The
genres of art in Croce—[11] Origin—[12] Monadology—[13] Neglect and
misinterpretation of Baroque tragedy—[14] “Appreciation”—[15] Baroque
and Expressionism—[16] Pro domo

II Trauerspiel and Tragedy 40

[17] Baroque theory of trauerspiel—[18] Influence of Aristotle insignificant—
[19] History as content of the trauerspiel—[20] Theory of sovereignty—
[21] Byzantine sources—[22] Herodian dramas—[23] Irresolution—
[24] Tyrant as martyr, martyr as tyrant—[25] Underestimation of the
martyr drama—[26] Christian chronicle and trauerspiel—[27] Immanence
of Baroque drama—[28] Play and reflection—[29] Sovereign as creature—
[30] Honor—[31] Annihilation of historical ethos—[32] Setting—[33] The
courtier as saint and intriguer—[34] Didactic intention of the trauerspiel

[35] Volkelt’s Aesthetic of the Tragic—[36] Nietz­sche’s Birth of Tragedy—[37]

Theory of tragedy in German Idealism—[38] Tragedy and legend—[39]
viiicontents

Kingship and tragedy—[40] “Tragedy” old and new—[41] Tragic death as

framework—[42] Dialogue: tragic, juridical, and Platonic—[43] Mourning
and tragedy—[44] Sturm und Drang, Classicism—[45] Haupt-­ und
Staatsaktion, puppet play—[46] Intriguer as comic character—[47] Concept
of fate in the drama of fate—[48] Natu­ral and tragic guilt—[49] The
prop—[50] The witching hour and the spirit world

[51] Doctrine of justification, apatheia, melancholy—[52] Dejection of the

prince—[53] Melancholy of the body and of the soul—[54] Theory of
Saturn—[55] Emblems: dog, globe, stone—[56] Acedia and inconstancy—
[57] Hamlet

III Allegory and Trauerspiel 165

[58] Symbol and allegory in Classicism—[59] Symbol and allegory in
Romanticism—[60] Origin of modern allegory—[61] Examples and
illustrations—[62] Antinomies of allegoresis—[63] The ruin—
[64] Allegorical disenchantment—[65] Allegorical fragmentation

[66] The allegorical character—[67] The allegorical interlude—[68] Titles

and maxims—[69] Metaphorics—[70] Ele­ments of the Baroque theory of
language—[71] The alexandrine—[72] Dismemberment of language—
[73] The opera—[74] Ritter on script

[75] The corpse as emblem—[76] Bodies of the gods in Chris­tian­ity—

[77] Mourning in the origin of allegory—[78] The terrors and promises of
Satan—[79] Limit of profundity—[80] “Ponderación Misteriosa”

Appendix A: “Trauerspiel and Tragedy” (1916) 261

Appendix B: “The Role of Language in Trauerspiel
and Tragedy” (1916) 267
Guide to Names 271
Acknowl­edgments 293
Index 295
List of Abbreviations

The following abbreviations are used for works by Walter Benjamin:

C The Correspondence of Walter Benjamin, trans. Manfred R.
Jacobson and Evelyn M. Jacobson (Chicago: University of
Chicago Press, 1994)
EW Early Writings 1910–1917, trans. Howard Eiland et al.
(Cambridge, MA: Harvard University Press, 2011)
GB Gesammelte Briefe, 6 vols., ed. Christoph Gödde and Henri
Lonitz (Frankfurt: Suhrkamp, 1995–2000)
GS Gesammelte Schriften, 7 vols., suppl., ed. Rolf Tiedemann,
Hermann Schweppenhäuser, et al. (Frankfurt: Suhrkamp,
1972–1989)
OGT The Origin of German Tragic Drama, trans. John Osborne
(London: Verso, 1977)
SW Selected Writings, 4 vols., ed. Michael W. Jennings et al.
(Cambridge, MA: Harvard University Press, 1996–2003)
Translator’s Introduction

howard eiland

Writing to his close friend Gershom Scholem on completing the

draft of Origin of the German Trauerspiel, on February 19, 1925,
Benjamin refers—­ a ­little complacently—to the “unmitigated
chutzpah” of the text’s methodological foreword, which he describes
as a contribution to the philosophy of language done up as theory
of ideas. He was particularly proud of “the philological part of the
work,” involving the citation of recondite seventeenth-­century
literary, theological, iconographic, and lexicographic sources, as
well as the provision of a “powerfully planned” bibliography and, to
head the symmetrically constructed main textual divisions, seven
epigraphs taken from “the most incredible old Baroque works of
popu­lar vintage.” But he confesses to Scholem that in the course of
its two-­year planning and composition, during which he carefully
tracked the tradition of commentary on the German Baroque from
classicism and Romanticism to the pres­ent day, he has “lost ­every
yardstick for mea­sur­ing the work.” And he won­ders, as he prepares
the text for submission to the University of Frankfurt as the habilita-
tion thesis required of all ­those seeking to lecture as a professor in a
German university, ­whether any con­temporary reader ­will be able to
participate fully in t­ hese esoteric and forgotten issues (diesen abseitigen
und sehr verschollnen Dingen).
xii translator’s introduction

His subject ­matter was the comparatively little-­read histrionic

genre of the Baroque trauerspiel or mourning play, particularly that
of the Second Silesian School in the l­ater seventeenth c­ entury. The
consideration and revaluation of t­ hese often bloody and bombastic
history plays pivot on an analy­sis of the trauerspiel’s characteristic
dramatic form and, through this analy­sis of “the life of works and
forms,” on a new appropriation of Baroque allegory and emblematics.
This entails, further, a reinterpretation of the concept of Baroque
as a category of the early modern having an intimate anticipatory
relation to certain con­temporary developments of the critic’s
own day, specifically the Expressionist movement. Such a retrieval
of the Baroque as style and epoch was an undertaking Benjamin
shared with other researchers in his day, especially in art-­
historical and literary-­critical fields, where his notion of image
writing had some pre­ce­dent. With the help of “some six hundred
quotations,” he shows himself to be conversant with this sec-
ondary lit­er­a­ture and prepared to move beyond it in a new spirit
of research.1
His primary concern in the study, he tells Scholem, is to recover
the idea of allegory—an ambition that goes back at least to the year
1916, when he composed two short essays on the German trauer-
spiel as a quasi-­musical hybrid form, characterized by the endlessly
resonating “word in transformation,” in contrast to the irrevocably
closed form of classical tragedy, grounded as it is in the “eternal im-
mobility of the spoken word” (see the appendices to this volume).
This early fascination with the expressive form of Baroque drama,
this sense of its still-­open ­future, developed concurrently with his
close study and translation of the Pa­ri­sian poet of melancholy,
Baudelaire (for whom every­thing becomes allegory, as we read in
“The Swan”), and with his ongoing dialogue with Scholem on the

1. See Jane O. Newman, Benjamin’s Library: Modernity, Nation, and the Baroque
(Ithaca, NY: Cornell University Press, 2011).
translator’s introductionxiii

themes of language and lamentation in the Hebrew Bible. It was

thus not just the redemption of allegory that he was envisioning but
also, in the face of a certain aesthetic nominalism, the redemption
of literary genre.
As it turned out, his apprehensions concerning readers of his text
­were well founded. The submission of the thesis (including “only
the second, tamer half ” of the foreword, that is, beginning with sec-
tion 13) soon ran aground on the author’s allegedly “incomprehen-
sible manner of expression,” as the initial report to the humanities
faculty at Frankfurt put it, and Benjamin was advised in July to
withdraw his application for habilitation in order to avoid a
formal rejection. The failure of his academic aspirations, however
half-­hearted ­these may have been—­the letter of February 19 to
Scholem already expresses his “dread” of “lectures, students, etc.”—­
precipitated Benjamin’s turn to the c­ areer of freelance writer and
journalist, which he pursued with a passion over the next fifteen
years, first with considerable success in Weimar Germany and, a­ fter
1933, in Paris and other ports of call in his increasingly desperate
Eu­ro­pean exile.2 That summer of 1925, in fact, he had already made

2. This is not to minimize the humiliation and outrage (his word is Schmach
[GB 3:90]) that Benjamin felt as a result of the de facto rejection. He took revenge on
the acad­emy by writing the mordant “Preface to the Trauerspiel Book,” which he enclosed
in a letter of May 29, 1926, to Scholem: “I would like to tell the story of Sleeping Beauty
a second time. / She sleeps in her hedge of thorns. And then, a­ fter a certain number of
years, she wakes. / But not at the kiss of a fortunate prince. / The cook woke her up when
he gave the scullery boy a box on the ear that, resounding from the pent-up force of so
many years, echoed through the palace. / A lovely child sleeps ­behind the thorny hedge
of the following pages. / May no fortune’s prince in the shining armor of scholarship
come near. In the kiss of betrothal she ­will bite. / The author has therefore had to reserve
to himself the role of master cook in order to awaken her. And already long overdue is
the box on the ear that would resound through the halls of academe. / For ­there ­will
awaken also this poor truth, which has pricked itself on an old-­fashioned spindle as, in
forbidden fashion, it thought to weave for itself, in the ­little back room, a professorial
robe” (GB 3:164).
xiv translator’s introduction

contact with a group of writers associated with a new literary

journal, Die literarische Welt, which would publish some of his most
impor­tant literary criticism; he had also made inquiries into the
emerging radio industry, in which he would work on a regular basis
beginning four years ­later; and he was engaged to translate Proust
into German with a fellow writer and flâneur, Franz Hessel. More-
over, he had begun mixing with Marxist circles since meeting the
Latvian actress and director Asja Lacis the previous summer on
Capri, where he wrote much of the trauerspiel book. Together with
the more overtly experimental One-­Way Street, on which he had
been working since 1923, Ursprung des deutschen Trauerspiels would
appear from Rowohlt Verlag (publisher of Die literarische Welt) in
January 1928, and would have an immediate impact on literary
circles in Germany and France. Although its reception among
scholars working on the Baroque has always been, as Uwe Steiner
has observed, rather tepid, it can be regarded ­today not only as a
fundamental source for the study of early modernism but also as
an exemplary work of high-­modern prose, comparable in its bold
expression and fruitful, if extreme, difficulty to contemporaneous
production by Joyce, Schoenberg, or Picasso.
In the “Epistemo-­Critical Foreword” to the trauerspiel book,
which at the outset raises the question of the mode of pre­sen­ta­tion
appropriate to philosophy, Benjamin distinguishes his own critical
methodology from “the seamless deductive connectivity of science”
and from what he calls Systemlogik. Systematic closure, he main-
tains, has nothing to do with truth, which should be understood
not as an unveiling that destroys the mystery but as revelation that
does it justice. Truth is distinguished from positive knowledge; we
can close upon and possess pieces of knowledge, but truth is not a
­matter of intention or possession. With an implicit glance at the
Greek etymology, he defines his method as one of indirection, de-
tour, the roundabout way, even wile and ruse: “Methode ist Umweg.”
And, b­ ecause his subject necessitates a theologically informed per-
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body of Penthouse," he answered, gently.

"But tell me," she began, and paused.

"Anything," he laughed back.

"Did you ever care for Marion Tetson?"

"Not even in those days—when she was really charming."

Several months later, at the house of a mutual friend, Mrs. Travers met
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The rest of the company turned to see what was going on, and the old
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"I am speaking of your distinguished son-in-law, Herbert Hemming,"

continued the general, in a dress-parade voice, "and I assure you, madam,
that when he took command of the military district of Rio Janeiro, England
lost a valuable man. It is a crying shame," he added, glaring around, "that
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The dame mumbled a meaningless reply. A curate sniggered behind his

hand. Later Mrs. Travers cornered her hostess.

"Why didn't the ungrateful girl tell me?" she asked.

"Tell you what, my dear?"

"About that Rio Janeiro military district."

 "You should have read the papers, my dear," replied her hostess, coldly;
"then, perhaps, you would not have made yourself so ridiculous."

THE END.

GILBERT AND RIVINGTON, LD., ST. JOHN'S HOUSE, CLERKENWELL, E.C.

 *** END OF THE PROJECT GUTENBERG EBOOK HEMMING, THE
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