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- W2318896827 abstract "She never loved Achilles,' or Die absolute Leidenschaft ihrer Liebe2 are but two of a host of contradictory interpretations of Penthesilea.'3 In addition to the lack of agreement on even the most basic issues of meaning, the play presents formal-technical difficulties which have never been resolved. While this drama shows the extraordinary speed and density of action that is typical of Kleist's plays, the meaning and function of such concentration remains unclear.' Kleist carefully structured the play's twenty-four scenes after the twenty-four books of the Iliad. He parallels and counterpoints his major figures (Greeks-Achilles, Diomede, Odysseus-Amazons-Penthesilea, Prothoe, high priestess), rounds out the action by returning it to chorus figures at the play's end,5 and does not permit heroine or audience the respite of pauses or scene changes. While the heroine in the hours from noon to late afternoon meets Achilles in battle four times (all major events are given with clear time designations), thrice faints or becomes psychotic (that is to say loses her capacity to distinguish wish from fact), the audience is exposed to a cliff-hanger technique. At sixteen out of twenty-three scene endings the dramatic action speeds up and the plot thickens by means of anticipatory remarks. The very speed and tightness of action invalidate interpretations which deal with Penthesilea's deliberations on courses of action in keeping with her responsibilities as a queen. The author simply does not give her the time for decision and choice." @default.
- W2318896827 created "2016-06-24" @default.
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- W2318896827 date "1979-03-01" @default.
- W2318896827 modified "2023-09-24" @default.
- W2318896827 title "The Wounded Self: Kleist's Penthesilea" @default.
- W2318896827 doi "https://doi.org/10.2307/405755" @default.
- W2318896827 hasPublicationYear "1979" @default.
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