Works
He succeeded in having his plays put on the stage, where they met with much success. Verdi's opera Attila is based on Werner's drama of the same name. Werner's Der 24. Februar, thus titled because his mother and an intimate friend died on that day, introduced the era of the so-called “tragedies of fate.” Several of his dramatic poems were designed to evangelize freemasonry. Among his titles were:
- Vermischte Gedichte, 1789
- Die Söhne des Thals, 1803-1804, in two parts
- Die Templer auf Cypern, 1803
- Die Kreuzesbrüder, 1804
- Das Kreuz an der Ostsee, 1806
- Die Brautnacht, 1806
- Martin Luther oder die Weihe der Kraft, 1806
- Der vierundzwanzigste Februar, 1808 (translated into French by Jules Lacroix, Paris, 1849)
- Attila, König der Hunnen, romantische Tragödie, 1809
- Wanda, 1810
- Die Weihe der Unkraft, 1813, a recantation of his earlier work Martin Luther
- Kunigunde die Heilige, 1815
- Geistliche Übungen für drei Tage, 1818
- Die Mutter der Makkabäer, 1820
Zacharias Werner's Theater, a collection (without the author's consent) of Werner's work in 6 volumes, appeared in 1816-1818. Ausgewählte Schriften (Selected writings with a biography by K. J. Schütz) in 15 volumes appeared 1840-1841.
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Famous quotes containing the word works:
“It [Egypt] has more wonders in it than any other country in the world and provides more works that defy description than any other place.”
—Herodotus (c. 484–424 B.C.)
“Was it an intellectual consequence of this ‘rebirth,’ of this new dignity and rigor, that, at about the same time, his sense of beauty was observed to undergo an almost excessive resurgence, that his style took on the noble purity, simplicity and symmetry that were to set upon all his subsequent works that so evident and evidently intentional stamp of the classical master.”
—Thomas Mann (1875–1955)
“The mind, in short, works on the data it receives very much as a sculptor works on his block of stone. In a sense the statue stood there from eternity. But there were a thousand different ones beside it, and the sculptor alone is to thank for having extricated this one from the rest.”
—William James (1842–1910)