More Masterpieces and A Setback
Still, during this time, Grillparzer completed two of his greatest dramas, Waves of the Sea and of Love (German: Des Meeres und der Liebe Wellen, 1831) and The Dream, a Life (German: Der Traum, ein Leben, 1834). The earlier play dramatizes the story of Hero and Leander, as a love-tragedy full of poetic expression and with an insight into character motivation that predated the psychological dramas of Ibsen. The work again is formed on classic models, but in this instance his feeling is so distinctly modern that it does not find adequate expression in Grillparzer's carefully measured verse. The subject has never been more happily treated than in some passages, which, however, are marked rather by lyrical than dramatic qualities. The poetic influence of Lope de Vega and Pedro Calderón de la Barca is felt.
The Dream, a Life, 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 Grillparzer's own pessimistic doctrine that all earthly ambitions and aspirations are vanity; the only true happiness is contentment with one's lot and inner peace. It was the first of Grillparzer's dramas which did not end tragically.
In 1838 Grillparzer produced his only comedy, Woe to him who lies (German: Weh dem, der lügt). But Woe to him who lies, in spite of its humour of situation, its sparkling dialogue and the originality of its idea - namely, that the hero wins by invariably telling the truth, where his enemies invariably expect him to lie - was too strange to meet with approval in its day. Its première on March 6, 1838 was a failure. This was a severe blow to the poet, who turned his back forever on the German theatre.
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