Hugo von Hofmannsthal

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Hofmannsthal, Hugo von


Born Feb. 1, 1874, in Vienna; died July 15, 1929, in Rodaun. Austrian writer and essayist. Descended from an aristocratic family.

Hofmannsthal studied law and philology in Vienna and began publishing in the 1890’s. He devoted his talent to impressionism, symbolism, and neoromanticism. Repulsion for bourgeois reality and the uninspired naturalism in literature led Hofmannsthal to the cult of beauty and pleasures (his one-act drama The Death of Titian, 1892). His collection Poems and Short Plays (1907), along with damaging attitudes, expressed the dream of a life full of value, which aestheticism or hedonism cannot provide (the play Death and the Fool, 1894; published 1899). However, in Hofmann-sthal’s free adaptations of tragedies by Sophocles and Euripides (Electra, 1904–06, and Oedipus and the Sphinx, 1906) the heroes embody cruelty and pathological sensitivity, or they are the involuntary victims of fate. In the stylized medieval-type mystery plays (Everyman, 1911, and The Great Salzburg Theater of the World, 1922) there is a deepening of the decadent ideas of pessimism and mysticism. Hofmannsthal had a hostile attitude toward the October Revolution in Russia, and he aristocratically repudiated the power of the people (the drama The Tower, 1925).


Gesammelte Werke, vols. 1–12. Frankfurt am Main, 1947–56.
Die Gedichte und kleinen Dramen. Leipzig, 1958.
In Russian translation:
Dramy. Moscow, 1906.


Aksel’rod, I. Literaturno-kriticheskie ocherki. Minsk, 1923.
Istoriia nemetskoi literatury, vol. 4. Moscow, 1968.
Hammelmann, H. A. Hugo von Hofmannsthal. New Haven, Conn., 1957.
Hamburger, M. H. von Hofmannsthal. Göttingen [1964].
Weber, H. H. von Hofmannsthal: Bibliographie .... Berlin, 1966.


References in periodicals archive ?
While the segment about the status of women as conveyed in Die Frau ohne Schatten fits the film's objective, the filmmaker fails to mention that Strauss's long-time librettist and collaborator, Hugo von Hoffmansthal, based the Dyer and his Wife directly on Richard and Pauline Strauss.
Felix Mauthner, Ludwig Wittgenstein, Robert Musil, Karl Krauss, Hugo von Hoffmansthal, and the members of the Vienna Circle were natural allies in the exposure of the inadequacy of language to disclose an authentic subjectivity.
POBUN, cyfieithiad T Gwynn Jones o'r ddrama ganoloesol, Jedermann a ddiweddarwyd gan yr awdur Almaenig, Hugo Van Hoffmansthal oedd un o uchafbwyntiau Eisteddfod Genedlaethol Wrecsam, 1933.
Hoffmansthal has Elektra perform a dark dance of death at the end of his drama, a dance that celebrates her feat to restore her father's name and ease the burden of duty placed on her.
13) Potter acknowledges how von Hoffmansthal adds considerable material to underline his point for a modern audience, including Dr.
In a very low bow to Da Ponte and Hoffmansthal, for example, Lulu features a "trouser" role.
Hoffmansthal continues, "Each of these objects and a thousand others similar .
Strauss's longtime librettist, the sophisticated and aristocratic Hugo von Hoffmansthal, flatly refused to turn these episodes into a new opera, and so the task of writing the libretto fell entirely to the composer.
Also prevalent in the writings of Herman Broch, Hugo von Hoffmansthal, Thomas Mann, Georg Lukacs and many other twentieth-century German-speaking writers of the teens, twenties, and thirties, essayism becomes synonymous with a modernist Weltanschauung.
The quotation facing the Postscript from this Letter is a misleading reference when quoted out of context since it suggests that Hoffmansthal is writing of the plenitude of beauty and love.