Historical Context
Austria
In the heart of Vienna, Austria, the world welcomed Von Hofmannsthal in 1874. Known as the dazzling capital, Vienna was the jewel of the Austro-Hungarian Empire under the grand rule of the Hapsburg dynasty, which held sway from the thirteenth century well into the twentieth. This empire extended its reach to lands that are now Poland, Czechoslovakia, and Austria. The winds of change swept through in 1848, bringing a revolution that liberated the serfs of Austria. Under the long reign of Francis Joseph, who held the scepter from 1848 until 1916, the empire stood firm until his successor, Charles, took over. However, the empire's legacy ended in 1918, dissolving in the aftermath of World War I, as Poland, Czechoslovakia, and Austria emerged as sovereign states.
Seventeenth-Century Poland
The Poland of the seventeenth century was a sprawling kingdom, vastly different from the nation we know today. Its borders encompassed what are now Lithuania, Belarus, and a significant part of Ukraine, alongside regions now belonging to contemporary Poland's northern neighbor, Prussia. This era was fraught with turmoil, as Poland sought to bolster its territory while fending off relentless incursions, particularly from Russia, which harbored ambitions of expanding into lands of the Orthodox faith. The kingdom found itself embroiled in skirmishes with Russia in 1610 and later with Turkey between 1620 and 1621. In 1648, a fierce uprising erupted as Cossacks, joined by Ukrainian peasants, defied Polish domination. King John Casimir's efforts to pacify the dissidents proved futile. The Cossacks sought refuge in Moscow's protection, leading to Russian invasions in 1655. Sweden seized the opportunity to invade, capturing Warsaw and Krakow, prompting King John Casimir to flee.
The Swedes were ultimately ousted, and peace was brokered in 1660. Yet, the closing years of the seventeenth century were marked by numerous battles on Polish soil, leaving a trail of destruction. A once-thriving population dwindled from over ten million to a mere six million, ravaged by warfare, plague, famine, and economic hardship.
Amidst these adversities, the flourishing of the arts offered a beacon of hope. The Baroque era reached its zenith, producing exquisite masterpieces. Magnificent examples of Baroque grandeur include the royal residence at Wilanow and the stately mansions at Lancut, Wisnicz, and Zolkiew. In Warsaw, the Vasa court was a vibrant hub for painting, opera, theater, and scientific pursuits. Literature and poetry blossomed despite the chaos. Yet, the turbulent economy and social upheaval stifled educational opportunities, hindering full artistic expression.
Pedro Calderon de la Barca
Von Hofmannsthal's theatrical piece, The Tower, draws inspiration from Pedro Calderon's renowned play, Life Is a Dream (1635). Calderon de la Barca, a luminary of Spain's seventeenth-century "Golden Age," crafted enduring literary treasures. Among them, La hija del aire (1653; The Daughter of the Air) is hailed by many as his crowning achievement. After his ordination into the priesthood in 1651, Calderon dedicated his talents primarily to religious dramas, though he continued to write for King Philip IV's court. His stature as Spain's premier playwright, a title once held by Lope de Vega, remained unchallenged for two hundred years after his passing. As noted by Encyclopedia Britannica, "Strained family relations apparently had a profound effect on the youthful Calderon, for several of his plays show a preoccupation with the psychological and moral effects of unnatural family life, presenting anarchical behavior directly traced to the abuse of paternal authority." In the philosophical depths of Life Is a Dream, the themes of determinism and free will are powerfully explored, revealing that clarity amid life's chaos lies in self-awareness and a grasp on reality.
Richard Strauss
Renowned...
(This entire section contains 676 words.)
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for his contributions to opera, Von Hofmannsthal forged a celebrated partnership with the illustrious German romantic composer Richard Strauss (1864–1949), crafting works for both German and Austrian stages. Together, they brought to life six operas, with Strauss composing the music while Von Hofmannsthal penned the libretti—the soul of the opera's narrative. Their collaborative masterpieces includeElektra (1903), Der Rosenkavalier (1911), Ariadne auf Naxos (1912; Ariadne on Naxos), Die Frau ohne Schatten (1919; The Woman Without a Shadow), and Die ägyptische Helena (1928; The Egyptian Helen). Their work on Arabella remained unfinished, as fate intervened with Von Hofmannsthal's passing in 1929.
Style and Technique
Setting
Crafted in the heart of twentieth-century Austria, this play transports its audience to the enigmatic seventeenth-century Poland. The historical backdrop, alongside the cultural and societal currents from the time of its inception, carries immense significance. Von Hofmannsthal penned The Tower after the tumult of World War I, weaving a rich tapestry of political and cultural reflections on the seismic shifts wrought by the Great War. By placing his narrative in a faraway era and land, von Hofmannsthal masterfully detaches it from the immediate realities experienced by his contemporaries. This strategic displacement enables viewers to perceive the depicted political dilemmas with a detached clarity, akin to observers. Such narrative distancing is a favored technique among writers, providing them a canvas to deliver piercing social and political critiques on contemporary or recent happenings in a manner that resonates without unsettling proximity.
Choral Music
The play resonates with the ethereal presence of a choir, their voices lifting Latin religious hymns, interweaving through the tapestry of multiple scenes. In Act II, scene i, nestled within the sacred cloisters, the king engages in dialogue with Brother Ignatius about Sigismund's destiny. The moment a youthful monk announces the impending arrival of Brother Ignatius, "a muffled sound of singing voices becomes audible," heralding a divine aura. This musical cue underscores Brother Ignatius's spiritual influence, as if the choir's harmonious voices were heralding his forthcoming presence and spiritual might. Upon his entrance, dubbed the "Grand Almoner," the choral sound swells, "the singing becomes distinctly audible." Yet, as the king exerts his sovereign power, the choir's voices abruptly cease, symbolizing the tension between secular and sacred authority.
Transitioning to Act III, the somber ambiance of the queen’s death chamber pervades the scene. As the curtain lifts, "the sound of the organ and the singing voices of nuns become audible," enveloping the chamber in a sacred sanctity that has known the presence of only two nuns in over two decades. The nuns’ celestial hymns reaffirm the sacredness of this chamber of eternal rest. Reverently, the king enters accompanied by his confessor, sprinkles holy water, and they both kneel in prayer. Yet, upon the king's ascent from his devotions, the music fades away, hinting at a disconnect between his actions and the divine harmony. Intriguingly, when Sigismund steps forth to confront his father, "the organ sounds for a moment a little louder," suggesting that while the king's mere presence stifles the sacred music, Sigismund’s presence, akin to Brother Ignatius, invigorates the divine resonance.
Latin
Beyond the Latin hymns that punctuate pivotal moments of the play, the language of antiquity surfaces in the dialogues of select characters. Upon the physician's initial encounter with Sigismund, Anton reassures, "He [Sigismund] knows Latin and runs through a stout book as if it were a flitch o’bacon." This declaration instantly paints Sigismund as a paradox; though he may seem a creature of base instincts, his ability to read the Bible in Latin reveals a profound religious commitment. The physician, another character distinguished by his Latin speech, emerges as a loyal advocate for Sigismund, viewing him as a beacon of martyrdom for the people's cause. His association with Latin, and thus the sacred scriptures, underscores the steadfastness of his pious convictions and his unwavering faith in Sigismund’s purity and purpose.
Bibliography
Sources
Calderon de la Barca, Pedro, ‘‘Life Is a Dream,’’ in Six Plays, Las Americas Publishing Co., 1961, pp. 13–96.
Eliot, T. S., ‘‘A Note on The Tower,’’ in Hugo von Hofmannsthal: Selected Plays and Libretti, edited by Michael Hamburger, Pantheon Books, 1963, pp. lxxiii–lxxiv.
Hamburger, Michael, ‘‘Introduction,’’ in Hugo von Hofmannsthal: Selected Plays and Libretti, Pantheon Books, 1963, pp. ix–lxxii.
Hofmannsthal, Hugo von, ‘‘The Tower (1927),’’ in Three Plays, Wayne State University Press, 1966, pp. 141–241.
‘‘Hugo von Hofmannsthal,’’ in Contemporary Authors Online, The Gale Group, 1999.
Schwarz, Alfred, ‘‘Introduction,’’ in Hugo von Hofmannsthal: Three Plays, Wayne State University Press, 1966, pp. 13–42.
Further Reading
Bangerter, Lowell A., Hugo von Hofmannsthal, Ungar, 1977. Bangerter’s book is a biography of von Hofmannsthal, which discusses his important works in drama and poetry. It includes a chronology of his life.
Bottenberg, Joanna, Shared Creation: Words and Music in the Hofmannsthal-Strauss Operas, P. Lang, 1996. This work is a discussion of the collaborative operatic works of Hofmannsthal and Strauss.
Del Caro, Adrian, Hugo von Hofmannsthal: Poets and the Language of Life, Louisiana State University Press, 1993. This book is a discussion of von Hofmannsthal’s poetic works.
Gray, Ronald, The German Tradition in Literature, 1871– 1945, Cambridge University Press, 1965. Gray’s text is a literary history of German letters that covers the time period of von Hofmannsthal’s life span.
