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Emilia Galotti

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Daten des Dramas

Titel: Emilia Galotti

Gattung: Bürgerliches Trauerspiel

Originalsprache: Deutsch

Autor: Gotthold Ephraim Lessing

Literarische Vorlage: Livius: Legende um die Römerin Verginia

Erscheinungsjahr: 1772

Uraufführung: 13. März 1772

Ort der Uraufführung: Herzogliches Opernhaus in Braunschweig

Personen

Emilia Galotti Odoardo Galotti, Vater von Emilia Galotti Claudia Galotti, Mutter von Emilia Galotti Pirro, Bediensteter der Galottis Hettore Gonzaga, Prinz von Guastalla Marinelli, Kammerherr des Prinzen Camillo Rota, einer von des Prinzen Räten Conti, Maler Graf Appiani Gräfin Orsina Angelo und einige Bedienstete

Figurenübersicht
Emilia Galotti ist ein bürgerliches Trauerspiel in fünf Aufzügen von Gotthold Ephraim Lessing. Es wurde am 13. März 1772 im Herzoglichen Opernhaus in Braunschweig durch Karl Theophil Döbbelin zum Anlass des Geburtstages der Herzogin Philippine Charlotte uraufgeführt. Lessing war bei der Uraufführung nicht anwesend und besuchte auch später keine der Wiederholungen.[1] Er verarbeitete in seiner Tragödie den Stoff der Legende um die Römerin Verginia, den er an zentralen Stellen allerdings entscheidend veränderte. Emilia Galotti ist ein Drama der Aufklärung, das dem damals vorherrschenden französischen Vorbild widerspricht und sich auch von der durch Johann Christoph Gottsched formulierten Regelpoetik absetzt. Obwohl die Liebe ein Zentralthema dieser Tragödie ist, gilt Emilia Galotti vor allem als politisches Stück. Der willkürliche Herrschaftsstil des Adels steht der neuen aufgeklärten Moral des Bürgertums gegenüber.[2] Alte feudale Vorstellungen von Liebe und Ehe treffen auf das neue bürgerliche Liebesverständnis der Empfindsamkeit. Diese konfliktgeladene Kombination machte das Stück so brisant.

Inhaltsverzeichnis [Verbergen] 1 Handlung 2 Themen 3 Historische Hintergründe 4 Verfilmungen 5 Literatur 6 Weblinks 7 Einzelnachweise

Handlung [Bearbeiten] Hettore Gonzaga, der junge und von seinem Staatsamt völlig überforderte Prinz von Guastalla, ist seit seiner ersten Begegnung mit dem Mädchen Emilia Galotti davon besessen, sie zu seiner Geliebten zu machen. Deshalb gibt er seinem intriganten Kammerherrn Marchese Marinelli freie Hand, Emilias bevorstehende Hochzeit mit dem Grafen Appiani zu vereiteln. So wird auf Marinellis Anordnung hin die Kutsche, in der sich die beiden Verlobten in Begleitung der Brautmutter auf dem Weg zur Hochzeit befinden, überfallen, Appiani von bezahlten Mördern erschossen und Emilia mit ihrer Mutter Claudia auf das in der Nähe gelegene Lustschloss des Prinzen in scheinbare Sicherheit gebracht. Im Gegensatz zu ihrer empörten Mutter, die den fingierten Überfall bald als inszenierte Intrige zu durchschauen beginnt, ahnt die völlig verwirrte Emilia zunächst nichts von den wahren Zusammenhängen. Zur gleichen Zeit trifft die Gräfin Orsina, die ehemalige Mätresse des Prinzen, auf dem Schloss ein, um Hettore für sich zurückzugewinnen, wird jedoch von diesem nicht vorgelassen und von Marinelli für verrückt erklärt – was sie, die bei Hofe wegen ihres scharfen Verstandes als unbequeme „Philosophin“ gilt, mit den Worten quittiert: „Wer über gewissen Dinge den Verstand nicht verlieret, der hat keinen zu verlieren.“ Aus gekränkter Ehre und Enttäuschung über die Zurückweisung des Prinzen möchte sie Odoardo, den ebenfalls soeben eintreffenden und ohnehin misstrauischen Vater Emilias, dazu überreden, Appianis Tod zu rächen, indem er Hettore ermordet. Odoardo lässt sich zwar zu diesem Zweck von der Gräfin einen Dolch aufdrängen, bleibt jedoch unschlüssig und verlangt zunächst ein Gespräch unter vier Augen mit seiner Tochter, um deren Unschuld zu prüfen. Emilia, die infolge einer weiteren Intrige Marinellis – der Fall müsse angeblich erst noch gerichtlich untersucht werden – in der Obhut des Prinzen bleiben soll, bittet ihren Vater flehentlich, sie zu töten, da sie fürchtet, zu unerfahren und daher zu leicht verführbar zu sein, um den galanten Schmeicheleien und Nachstellungen des Prinzen weiter standhalten zu können. Als Odoardo noch zögert, versucht sie ihm Orsinas Dolch zu entreißen und sich selbst das Leben zu nehmen. Tief berührt und erschüttert erkennt Odoardo die große Verzweiflung seiner Tochter und ersticht sie, um ihre Ehre zu bewahren: eine Rose gebrochen, ehe der Sturm sie entblättert. Dann liefert er sich der irdischen Gerichtsbarkeit aus. Den Prinzen aber und alles Weitere überantwortet er Gott und dem Jüngsten Gericht als letzter Instanz. Themen [Bearbeiten] Lessing beschreibt den Konflikt zwischen Adel und Bürgertum. Er kritisiert sowohl die absolutistische Willkür (Hettore) als auch die engen bürgerlichen Moralvorstellungen (Odoardo). Die Selbstständigkeit des Kindes wird unterdrückt und tritt hinter den Zwang zur unbedingten Pflichterfüllung zurück. Lessing moniert damit, ganz im Sinne von Kant (sapere aude), die Unmündigkeit des Bürgertums: Emilia ist nicht in der Lage, eine unabhängige, möglicherweise lebensrettende Entscheidung zu treffen, da ihre streng christliche Erziehung sie nicht dazu befähigt. Von jeher gewohnt, behütet und umsorgt zu werden, kann Emilia keinen eigenen Willen entwickeln und wird zum Spielball des Prinzen bzw. der Eltern. Lessing verdeutlicht an der Figur des Vaters, wie sehr sich das Bürgertum des 18. Jahrhunderts im Umbruch befand. Odoardo zeigt bereits Ansätze eines „neuen“ rationalen Denkens, entscheidet sich letztlich mit dem Mord an seiner Tochter jedoch für den Bestand seiner Familienehre und fällt damit in „altes“ vor-aufklärerisches Denken und Handeln zurück. Historische Hintergründe [Bearbeiten]

Gotthold Ephraim Lessings „Emilia Galotti“ steht in der Tradition literarischer Bearbeitungen der römischen Verginia-Legende. Um einer möglichen Zensur zuvorzukommen, verlegt er die Handlung nicht in eines der von ihm eigentlich gemeinten typisch deutschen Kleinfürstentümer, sondern nach Guastalla, einen italienischen Duodezstaat der Renaissance, der zu der italienischen Region Emilia Romagna gehört. Obwohl es sich bei dem Prinzen Hettore Gonzaga um eine fiktive Figur handelt, gab es tatsächlich ein Geschlecht der Gonzaga, das seit 1328 in Mantua herrschte. Ferrante, ein Bruder von Federigo II., war seit 1539 Besitzer der Grafschaft Guastalla. Mit dem Tod des Herzogs Joseph Maria von Guastalla starb 1746 die jüngere Linie der Gonzaga aus. 1748 gingen seine Territorien an Parma. Über fünfzehn Jahre lang beschäftigt sich Lessing mit dem Verginia-Stoff. Er übersetzt nicht nur verschiedene Schriftstücke, die sich mit der Legende befassen, sondern auch den Anfang von Samuel Crisps Trauerspiel „Virginia“ (1754). Lessings Briefe dokumentieren, dass er seit 1757 selbst den Plan für eine „bürgerliche Virginia“ verfolgt. In der „Neuen Bibliothek der Wissenschaften und freyen Künste“ schreibt Lessing zusammen mit Friedrich Nicolai und Moses Mendelssohn einen Wettbewerb aus, zu dem deutsche Trauerspiele eingeschickt werden sollten. Lessing beschließt, an dem Wettbewerb selbst anonym teilzunehmen, und verfasst zu diesem Zweck seine „Emilia Galotti“, die er allerdings nicht termingerecht abschließt. In einem Brief teilt er Friedrich Nicolai mit:

„Er [Lessing] hat nämlich die Geschichte der römischen Virginia von allem dem abgesondert, was sie für den ganzen Staat interessant machte; er hat geglaubt, daß das Schicksal einer Tochter, die von ihrem Vater umgebracht wird, dem ihre Tugend werther ist, als ihr Leben, für sich schon tragisch genug, und fähig genug sey, die ganze Seele zu erschüttern, wenn auch gleich kein Umsturz der ganzen Staatsverfassung darauf folgte.“ – Gotthold Ephraim Lessing: an Friedrich Nicolai, 21. Januar 1758

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