Intellectual Drama "Yesterday" by Hugo von Hofmannsthal

Abstract

The research aims to conduct a cultural-historical analysis of the verse drama “Yesterday” (1891) by the seventeen-year-old Austrian poet Hugo von Hofmannsthal (1874-1929), examining it through the lens of the philosophical outlook prevalent at the “fin de siècle.” At its inception, the philosophical system of Andrea, the drama's ephemeral protagonist, clearly articulated impressionistic categories. Ontologically, this represents a conception of subjectively idealistic being (the world is my representation of it). In the realm of epistemology, the method of attaining truth was contingent upon Andrea's fluctuating changes in mood. The axiological significance of such knowledge was short-lived. It is highlighted in the article that Andrei's impressionistic worldview crumbled due to the betrayal of his beloved Arletta, which introduced a new category of duration for Andrea, manifesting as jealousy. The article's novelty stems from its emphasis on the hero's philosophical insight and its refinement of the genre classification of Hofmannsthal's drama. Since objective reality made Andrea unhappy, and the core of the conflict lay in Andrea's will to seriously understand the world, defining the drama "Yesterday" as a comedy proved untenable. It's difficult to name a play a dramatic proverb (according to the theory of drama), in which a universally accepted life principle, experience, or moral instruction is expressed, because one character turned out to be a fleeting person. Nevertheless, his life experience offered a valuable lesson to readers and viewers, and Arlette's character was justifiably subjected to criticism. These elements align Hofmannsthal's intellectual drama with the traditions of Viennese folk comedy, the "moral correction play" genre exemplified by F. Raimund and J. Nestroy, and the dramatic works of Austrian F. Grillparzer, such as “Life is a Dream” and “The Misfortune of Being Honest”. To conclude, one can assert that the drama of the young Hofmannsthal ironically replicates the characteristic “fin de siècle” worldview, extensively utilizing the rich heritage of world dramaturgy.