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In the drama Der Prinz Friedrich von Homburg two worlds collide with one another: the dream world, represented by the Prince of Homburg and reality, represented by the elector. Homburg understands his dream as the anticipation of reality and blurs the border between both worlds.
The prince becomes the winner in the battle of Fehrbellin. Thus, he wins the possibility of fulfilling his dreams. His dream seems to have become reality, but with it he comes into conflict with the rule and law of reality. Because of his insubordination, he is condemned to death. Since the identity of the prince is bound to the truth of his dream and the identity of the elector is bound to the validity of the law, the requirements of the two are incompatible.
Homburg tries to resolve the contradiction of his existence by choosing self-determined death instead of requesting a pardon. His dreams are replaced by death. For him, this ‘free death’ is not a negation, but an affirmation of his identity. Thus he wins autonomy and independence on a higher dimension.
The structure of this drama is ironic. While he thought his identity as an autonomous subject would be confirmed through death, he is fetched back to life. The pardon and reward take place against his will and without his effort. In the end, all his earlier desires seem to be fulfilled, he wins his honour and his love. Upon deeper analysis, it turns out that the utopia reached at the end is only an illusory utopia. The harmony reached again between individual and society, and feeling and law endanger and question his newly won identity and autonomy.
The prince becomes the winner in the battle of Fehrbellin. Thus, he wins the possibility of fulfilling his dreams. His dream seems to have become reality, but with it he comes into conflict with the rule and law of reality. Because of his insubordination, he is condemned to death. Since the identity of the prince is bound to the truth of his dream and the identity of the elector is bound to the validity of the law, the requirements of the two are incompatible.
Homburg tries to resolve the contradiction of his existence by choosing self-determined death instead of requesting a pardon. His dreams are replaced by death. For him, this ‘free death’ is not a negation, but an affirmation of his identity. Thus he wins autonomy and independence on a higher dimension.
The structure of this drama is ironic. While he thought his identity as an autonomous subject would be confirmed through death, he is fetched back to life. The pardon and reward take place against his will and without his effort. In the end, all his earlier desires seem to be fulfilled, he wins his honour and his love. Upon deeper analysis, it turns out that the utopia reached at the end is only an illusory utopia. The harmony reached again between individual and society, and feeling and law endanger and question his newly won identity and autonomy.
목차
Ⅰ. 첫 장면들
Ⅱ. 꿈과 현실
Ⅲ. 죽음과 자율성
Ⅳ. 허상적 유토피아
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UCI(KEPA) : I410-ECN-0101-2012-705-003610972