The Dramaturgy of Demise: On Goethe's Der Groß-Cophta
3 Hartmut Reinhardt, Vom Schäferspiel zur kritischen Analyse der Moderne: Goethes Dramatisches Werk (Würzburg: Königshausen & Neumann, 2008), 227. For an ...
The Dramaturgy of Demise: On Goethe’s Der Groß-Cophta: The Germanic Review: Literature, Culture, Theory: Vol 99, No 3

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# The Dramaturgy of Demise: On Goethe’s _Der Groß-Cophta_

[Joel B. Lande](/author/Lande%2C+Joel+B) Princeton UniversityCorrespondence[lande@princeton.edu](mailto:lande@princeton.edu)

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Pages 402-419
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Received 21 May 2024, Accepted 22 Jun 2024, Published online: 26 Aug 2024

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## Abstract

Goethe’s first drama written in the wake of the French Revolution, _Der Groß-Cophta_, has garnered little favor from audiences and scholars since its first publication. This essay argues that Goethe’s comedy inverts fundamental dramaturgical conventions of tragedy, revealing a social and political world in collapse. It shows that patterns of literary figuration first articulated in _Der Groß-Cophta_ extend across several of Goethe’s literary engagements with revolutionary tumult. Confidence men and narratives of lost innocence emerge as crucial elements in Goethe’s diagnosis of the disintegration of ethical life responsible for the demise of the _ancien régime_.

Keywords:

- [Goethe](/keyword/Goethe)
- [French Revolution](/keyword/French+Revolution)
- [comedy](/keyword/comedy)
- [drama](/keyword/drama)
- [literary morphology](/keyword/literary+morphology)

## Notes

1 Johann Wolfgang Goethe, _Sämtliche Werke, Briefe, Tagebücher und Gespräche_, 40 vols. ed. Friedmar Apel, Hendrik Birus et al., (Frankfurt am Main: Deutscher Klassiker Verlag, 1987f.), vol. 29, 360. “I have traces, not to say reports, of a great mass of lies creeping about in the darkness, of which you seem to have no sense. Believe me, our moral and political world is mined with subterranean passages, cellars and cesspits, much as a city tends to be, which no one thinks and reflects on their connections and relations among their inhabitants; they only become much more comprehensible to someone who has some knowledge of them, when there the ground collapses, there smoke rises from a ravine, here strange voices are heard.”

2 Walter Müller-Seidel, _Die Geschichtlichkeit der deutschen Klassik: Literatur und Denkformen um 1800_ (Stuttgart: J.B. Metzlerische Buchhandlung, 1983), 46.

3 Hartmut Reinhardt, _Vom Schäferspiel zur kritischen Analyse der Moderne: Goethes Dramatisches Werk_ (Würzburg: Königshausen & Neumann, 2008), 227. For an inventory of similar assessments of the play, see Michael Jaeger, _Fausts Kolonie: Goethes kritische Phänomenologie der Moderne_ (Würzburg: Königshausen & Neumann, 2004). 274–75.

4 Walter Benjamin, _Gesammelte Schriften_, vol. II/1: _Aufsätze, Essays, Vorträge_, ed. Rolf Tiedemann and Hermann Schweppenhäuser (Frankfurt am Main: Suhrkamp, 1977), 717–18.

5 Goethe, _Sämtliche Werke_, vol. 39, 532.

6 Nearly every essay or chapter on _Der Groß-Cophta_ refers to it as an aesthetic failure. Its deficient status assumes programmatic importance in Fritz Martini, “Goethes ‘verfehlte’ Lustspiele: “Die Mitschuldigen” und “Der Gross-Cophta.” _Lustspiele und das Lustspiel_ (Stuttgart: Klett, 1974), 105–49. Martini argues not only that Goethe’s ‘aesthetic organization’ of the comedy was faulty, but also that comedy as a genre was inadequate to the ‘social and moral reality’ of the time.

7 Cf. the related overarching argument in Patrick Fortmann, “Goethe’s Comedies _Der Groß-Cophta_, _Die Aufgeregten_, and _Bürgergeneral_,” _Monatshefte_ 105, no. 1 (2013): 1–25. Although there are major differences in my own approach to the text and Fortmann’s, we share a commitment to disclosing the etiological mission of Goethe’s play.

8 Goethe, _Sämtliche Werke_, vol. 24, 297.

9 I have learned much from Dieter Borchmeyer, _Höfische Gesellschaft und französische Revolution bei Goethe: Adliges und bürgerliches Wertsystem im Urteil der Weimarer Klassik_ (Kronberg: Athenäum, 1977). Although the following analysis has little overlap with Borchmeyer’s chapter on _Der Groß-Cophta_, I enthusiastically agree with the claims that critics have failed to appreciate the play’s literary qualities and that Goethe’s etiology of the revolution focuses on courtly corruption.

10 This text has been largely neglected in Goethe scholarship. For the most informative and compelling discussion, see Thomas Saine, _Black Bread—White Bread: German Intellectuals and the French Revolution_ (Columbia, S.C.: Camden House, 1988).

11 Goethe, _Sämtliche Werke_, vol. 16, 565–66. “Through this outrageously iniquitous beginning, I saw the dignity of the throne undermined, already destroyed in advance, and all subsequent steps from this time on unfortunately confirmed all too much these terrible premonitions.”

12 For ease of comprehension, I retain the original German names of the dramatis personae.

13 Benjamin, _Gesammelte Schriften_, vol. 2/1, 718.

14 Joel B. Lande, “Anomaly and Danger: Politics of the Impure in Goethe’s _Hermann und Dorothea_,” _MLN_ 134, no. 3 (2019): 572–90.

15 Goethe, _Sämtliche Werke_, vol. 16, 566.

16 See the materials included in Johann Wolfgang von Goethe, _Die natürliche Tochter: Trauerspiel. Mit den Memoiren der Stéphanie-Louise de Bourbon-Conti und drei Studien von Bernhard Böschenstein_ (Frankfurt am Main: Insel Verlag, 1990).

17 For a valuable analysis of the transformation from opera buffa into a comedy, see Lieselotte Blumenthal, “Goethe’s _Grosskophta_,” _Weimarer Beiträge_ 1 (1961): 1–26.

18 For a critical assessment of Goethe’s work in the comedic genre that has shaped the reception of the play, see Charles Philip Magill, “ _Der Groß-Cophta_ and the Problem a German Comedy,” in _German Studies: Presented to Walter Horace Bruford on his retirement by his pupils, colleagues and friends_ (London: G.G. Harrap, 1962), 102–11. Magill’s view that Goethe lacked talent in the comedic genre can be found in nearly every essay or editorial remark on _Der Groß-Cophta_ and the other revolutionary comedies.

19 David E. Wellbery, “Romanticism and Modernity: Epistemological Continuities and Discontinuities,” _European Romantic Review_ 21, vol. 3 (2010): 275–89, 276. My inspiration to develop this line of thinking is Wellbery, _Goethes Pandora: Dramatisierung einer Urgeschichte der Morderne: Vorgetragen in der Sitzung vom 3. Februar 2012_, (Munich: Bayrische Akademie der Wissenschaften, 2017), 16–32.

20 Goethe, _Sämtliche Werke_, vol. 6, 391.

21 The sense of unresolved conflict is no doubt owed to the fact that the play was originally intended as the first part of a trilogy.

22 Walter Benjamin, _Gesammelte Schriften_, vol. 2/1, 712–13.

23 Goethe, _Sämtliche Werke_, vol. 16, 565.

24 Ernst Osterkamp, _Gewalt und Gestalt: Die Antike im Spätwerk Goethes_ (Basel: Schwabe Verlag, 2007), 55.

25 Goethe, _Sämtliche Werke_, vol. 8, 278.

26 Goethe, _Sämtliche Werke_, vol. 7/1, 116.

27 Goethe, _Sämtliche Werke_, vol. 7/1, 249.

Goethe, _Sämtliche Werke_, vol. 6, 103.

29 Goethe, _Sämtliche Werke_, vol. 6, 99.

30 For a discussion of Goethe’s notion of the tragic, see David E. Wellbery, _Goethes Faust I: Reflexion der tragischen Form_ (Munich: Carl Friedrich von Siemens Stiftung, 2016).

31 Goethe, _Sämtliche Werke_, vol. 16, 566.

32 Rudolf Otto, _Das Heilige: Über das Irrationale in der Idee des Göttlichen und sein Verhältnis zum Rationalen_ (Munich: Beck Verlag, 2014). Hermann Schmitz, “Das Ganz-Andere. Goethe und das Ungeheure,” in _Goethe und die Verdeutlichung der Natur_, ed. Peter Matussek (Munich: Verlag C.H. Beck, 1998), 414–35.

33 Schmitz, “Das Ganz-Andere”, 422. “The monstrous threatens to destroy us by robbing us of the upward and downward orientation necessary to stand upright, by pulling the ground from under our feet and thus thwarting the enormous self-confidence which, according to Kant, is the \[…\] essence of sublimity.”

34 Goethe, _Sämtliche Werke_, vol. 16, 566. “For many years I had the occasion to curse with vexation the deceptions of quixotic dreamers and deliberate enthusiasts, and to wonder with disgust at the incomprehensible blindness of excellent men to such impudent impositions. Now the direct and indirect consquences of such folly lay before me as crimes and half-crimes, all together effective enough to shake the most beautiful throne in the world.” There is a close connection here between Goethe’s fascination with such _Phantasten_ and _Schwärmer_ and his abiding sense that the French Revolution was bound up with a proliferation of the fantastical. See Jürgen Söring, “Die Verwirrung und das Wunderbare in Goethes Unterhaltungen deutscher Ausgewanderten,” _Zeitschrift für deutsche Philologie_ 100, no.4 (1981): 544–59.

35 Fortmann “Miniaturizing Revolution” picks up on this issue, though he limits it to the question of imagination. However, a broader problem in Goethe’s poetics is at issue. One must also think of figures like Karl in the _Unterhaltungen_ or the titular figure in _Reinecke Fuchs_.

36 Goethe, _Sämtliche Werke_, vol. 14, 841.

37 Goethe, _Sämtliche Werke_, vol. 14, 841.

38 For the French lexicography and etymology, see [https://www.cnrtl.fr/definition/mystification](https://www.cnrtl.fr/definition/mystification) (accessed February 15, 2024). The term ‘mystisch’ appears in the Grimm dictionary as a well-established term, derived from the ancient Greek μυστικός, no other verbal forms are included in the lemma. See [https://woerterbuchnetz.de/?sigle=DWB&lemid=M09121](https://woerterbuchnetz.de/?sigle=DWB&lemid=M09121) (accessed February 15, 2024).

39 Support for this claim can be found in Goethe’s _Unterhaltungen deutscher Ausgewanderten_, a text that evinces a fascination with rationally inexplicable, occult phenomena. In his correspondence with Schiller leading up to the composition of the novella “Die Sängerin Antonelli” that he included in the _Unterhaltungen_, Goethe calls the underlying anecdote a “ _gespenstermäßen Mystifikationsgeschichte_.” See Goethe, _Sämtliche Werke_, vol. 9, 1514. As mentioned, a valuable discussion of Goethe’s fixation on the occult in the _Unterhaltungen_ can be found in Söring, “Die Verwirrung und das Wunderbare.”

40 Evidence for the assertion of Goethe’s sense of a kinship between trickster figures like Cagliostro and the literary artist can be found in this narrative as well. It is one of the many instances in Goethe’s autobiographical texts, where he highlights his predilection for dissemblance. While visiting Cagliostro’s family, Goethe masks his identity, claiming to be an Englishman. See Johann Wolfgang von Goethe, _Neue Schriften_, vol. 1 (Berlin: J.F. Unger, 1792), 359.

41 Goethe, _Sämtliche Werke_, vol. 6, 24.

42 Goethe, _Sämtliche Werke_, vol. 6, 25.

43 Goethe, _Sämtliche Werke_, vol. 6, 50.

44 Goethe, _Sämtliche Werke_, vol. 6, 72.

45 Goethe, _Sämtliche Werke_, vol. 6, 102.

46 Friedrich Nietzsche, _Kritische Studienausgabe_, vol. 1: _Die Geburt der Tragödie, Unzeitgemäße Betrachtungen I-IV, Nachgelassene Schriften 1870-1873_, ed. Giorgio Colli and Mazzino Montinari (Munich: Deutscher Taschenbuch Verlag, 1999), 115.

47 Juliane Vogel, _Aus dem Grund: Auftrittsprotokolle zwischen Racine und Nietzsche_ (Paderborn: Wilhelm Fink, 2018), 15. “In order to enhance a character’s theatrical effect, a prosthetic or even rhetorical element must come into play that elevates the body above its natural constitution, sanctifying it by means of theatrical accoutrement.” Translation from Vogel, _Making an Entrance: Appearing on Stage from Racine to Nietzsche_, trans. Michael Thomas Taylor (Berlin/Boston: Walter de Gruyter, 2022), 5.

48 Vogel, _Aus dem Grund_, 14–15 and 46–77.

49 Goethe, _Sämtliche Werke_, vol. 6, 73.

50 Goethe, _Sämtliche Werke,_ vol. 6, 28.

51 Goethe, _Sämtliche Werke_, vol. 6, 30.

52 See Goethe, _Sämtliche Werke_, vol. 6, 32, 39, 71, 97, and 105.

53 Goethe, _Sämtliche Werke_, vol. 6, 47.

54 Goethe, _Sämtliche Werke_, vol. 6, 25. Erving Goffman, _Interaction Ritual: Essays in Face-to-Face Behavior_ (Garden City, N.Y.: Anchor Books, 1967). I argue for the relevance of Goffman’s theory of face-to-face interaction in Joel Lande, “Auftritt und Interaktion: Zu Lessings _Minna von Barnhelm_,” in _Auftreten: Wege auf die Bühne_, ed. Christopher Wild and Juliane Vogel (Berlin: Theater der Zeit, 2014), 233–46.

55 E.g. Fortmann, “Miniaturizing the Revolution, “5.

56 Søren Kierkegaard, _The Concept of Anxiety: A Simple Psychologically Orienting Deliberation on the Issue of Hereditary Sin_, ed. and trans. Reidar Thomte and Albert B. Anderson, (Princeton: Princeton University Press, 1980, 129.

57 For a valuable discussion of shame as a kind of affective tribunal of collective norms, see Georg Simmel, “Zur Psychologie der Scham,” _Schriften zur Soziologie_, ed. Hans-Jürgen Dahme and Otthein Rammstedt (Frankfurt am Main: Suhrkamp, 1983), 140–50, 145.

58 I have in mind here the argument of Sigmund Freud, _Group Psychology and the Analysis of the Ego_, ed. and trans. James Strachey (New York: Norton, 1975).

59 Nietzsche, _Kritische Studienausgabe_, vol. 4, 113. “To the man of understanding, the human is known as the animal with red cheeks.” Translation from: Friedrich Nietzsche, _Thus Spake Zarathustra_, trans. Michael Hulse (Mirefoot, UK: Notting Hill Editions, 2022), 78.

60 Goethe, _Sämtliche Werke_, vol. 6, 94 and 105.

61 Goethe, _Sämtliche Werke_, vol. 15, 11.

62 Goethe _, Sämtliche Werke_, vol. 15, 11.

63 Goethe, _Sämtliche Werke_, vol. 24, 392. “That which is formed is immediately transformed again, and if we wish, to some degree, to attain to an lively beholding of nature, we must ourselves remain mobile and formative, according to the example with which it proceeds with us.”

## Additional information

### Notes on contributors

#### Joel B. Lande

**_Joel B. Lande_** is Associate Professor of German at Princeton University. In addition to the study of eighteenth- and nineteenth-German literature, his interests reach into other areas of European culture, especially classical antiquity and its various receptions. He is the author of _Persistence of Folly: On the Origins of German Dramatic Literature_ (Cornell University Press, 2018) and the co-editor with Denis Feeney of _How Literatures Begin: A Global History_ (Princeton University Press, 2021).

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