Born: Vienna, Austria, 1 February 1874. Education: Educated at Akademisches Gymnasium, Vienna, 1884-92; studied law, 1892-94; and romantic philology: dissertation on Pleiade poets, 1897, and habilitation work on Victor Hugo, 1900-01, University of Vienna. Military Service: Served with 6th Dragoon Regiment in Goding, 1894-95. Family: Married Gertrud Schlesinger in 1901; one daughter and two sons. Career: Full-time writer, from 1901; collaborated with Richard Strauss on operas, from 1909; editor, Osterreichische Bibliothek, 1915-17; co-founder, with Max Reinhardt, Salzburg Festival, 1919. Died: 15 July 1929.
Publications
Collections
Gesammelte Werke in Einzelausgaben, edited by Herbert Steiner. 15 vols., 1945-59.
Selected Writings: Prose, Poems and Verse Plays, Plays and Libretti, edited by Mary Hottinger, Tania and James Stern, and Michael Hamburger. 3 vols., 1952-64.
Samtliche Werke, edited by Heinz Otto Burger and others. 1975-.
Plays
Gestern (produced 1928). 1896.
Der Tor und der Tod (produced 1898). 1900; as Death and the Fool, translated by Elisabeth Walker, 1914; also translated by Michael Hamburger, in Selected Writings, 2, 1961; Alfred Schwarz, in Three Plays, 1966.
Die Frau im Fenster (as Madonna Dianora, produced 1898). In Theater in Versen, 1899; as Madonna Dionara, translated by Harriet Betty Boas, 1916.
Theater in Versen. 1899.
Der Abenteurer und die Sangerin (produced 1899). In Theater in Versen, 1899; revised version, 1909.
Die Hochzeit der Sobeide (as Sobeide, Abenteurer, produced 1899). In Theater in Versen, 1899; as The Marriage of Sobeide, translated by Bayard Quincy Morgan, in German Classics of the Nineteenth and Twentieth Centuries, edited by Kuno Francke and William G. Howard, 20, 1916; as The Marriage of Zobeide, translated by Christopher Middleton, in Selected Writings, 2, 1961.
Das Bergwerk zu Falun, from a story by E.T.A. Hoffmann (produced 1899). 1933; as The Mine at Falun, translated by Michael Hamburger, in Selected Writings, 2, 1961.
Der Kaiser und die Hexe (produced 1926). In Die Insel, 1900; as The Emperor and the Witch, translated by Christopher Middleton, in Selected Writings, 2, 1961.
Der Tod der Tizian. 1901; as The Death of Titian, translated by John Heard, 1920.
Elektra (produced 1903). 1904; revised version, music by Strauss (produced 1909), 1908; as Electra, translated by Arthur Symons, 1908; also translated by Alfred Schwarz, in Selected Writings, 3, 1964, and in Three Plays, 1966.
Das kleine Welttheater; oder, Die GlUcklichen (produced 1929). 1903; as The Little Theatre of the World, translated by Walter R. Eberlein, 1945; also translated by Michael Hamburger, in Selected Writings, 2, 1961.
Das gerettete Venedig, from the play Venice Preserved by Otway (produced 1905). 1905.
Odipus und die Sphinx (produced 1905). 1906.
Kleine Dramen. 2 vols., 1906-07.
Der weisse Facher (produced 1927). 1907.
Vorspiele. 1908.
Die Begegnung mit Carlo. 1909.
Alkestis, from the play by Euripides, music by Egon Wellesz (produced 1916). 1909.
Lucidor. 1910.
Christinas Heimreise (produced 1910). 1910; as Christina’s Journey Home, translated by Roy Temple House, 1916.
Konig Odipus, from the play by Sophocles (produced 1910). 1910.
Die Heirat wider Willen, from a play by Moliere. 1910.
Amor und Psyche. 1911.
Das fremde Madchen. 1911.
Der Rosenkavalier, music by Strauss (produced 1911). 1911; edited by Willi Schuh, 1971; as The Rose-Bearer, translated by Alfred Kalisch, 1912; as The Cavalier of the Rose, translated by Christopher Holme, in Selected Writings, 3, 1964.
Jedermann: Das Spiel vom Sterben des reichen Mannes (produced 1911). 1911; as The Play of Everyman, translated by G. Sterling, 1917; as The Salzburg Everyman, translated by M.E. Tafler, 1930.
Ariadne auf Naxos, music by Strauss (produced 1912). 1912; revised version (produced 1916), 1916; as Ariadne on Naxos, translated by Alfred Kalisch, 1912.
Josephs Legende (ballet scenario), with Harry Graf Kessler, music by Strauss (produced 1914). 1914.
Die Frau ohne Schatten, music by Strauss (produced 1919). 1916; as The Woman without a Shadow, 1927; translated by Jean Hollander, 1993.
Die grUine Flote (ballet scenario), music by Mozart (produced 1916). 1925.
Die Lastigen, from a play by Moliere (produced 1916). In Marsyas, 1917.
Der BUrger als Edelmann, from a play by Moliere, music by Strauss (produced 1918). 1918.
Dame Kobold, from a play by Calderon (produced 1920). 1920.
Der Schwierige (produced 1921). 1921; as The Difficult Man, translated by Willa Muir, in Selected Writings, 3, 1964.
Florindo und die Unbekannte (produced 1921). 1923.
Das Salzburger grosse Welttheater, from a play by Calderon (produced 1922). 1922; as The Salzburg Great Theatre of the World, translated by Vernon Watkins, in Selected Writings, 3, 1964.
Prima Ballerina (ballet scenario). 1923(?).
Der Unbestechliche (produced 1923). With Der Schwierige, 1958.
Die Ruinen von Athen (produced 1924). 1925.
Der Turm, from a play by Calderon. 1925; revised version (produced 1928), 1927; as The Tower, translated by Michael Hamburger, in Selected Writings, 3, 1964; also translated by Alfred Schwarz, in Three Plays, 1966.
Die agyptische Helena, music by Strauss (produced 1928). 1928; as Helen in Egypt, translated by Alfred Kalisch, 1928.
Semiramis: Die beiden Gotter. 1933.
Arabella, music by Strauss (produced 1933). 1933; as Arabella, translated by John Gutman, 1955; also translated by Nora Wydenbruck and Christopher Middleton, in Selected Writings, 3, 1964.
Dramatische EntwUrfe aus dem Nachlass, edited by Heinrich Zimmer. 1936.
Danae; oder, Die Vernunftheirat. 1952.
Three Plays (includes Death and the Fool; Electra; The Tower), translated by Alfred Schwarz. 1966.
Fiction
Prinz Eugen der edle Ritter. 1905.
Das Marchen der 672.
Nacht und andere Erzahlungen (includes ”Ein Brief” [The Chandos Letter]). 1905.
Die Frau ohne Schatten. 1919.
Andreas; oder, Die Vereinigten. 1932; as Andreas; or, The United, translated by Marie D. Hottinger, 1936.
Four Stories, edited by Margaret Jacobs. 1968.
Verse
Ausgewahlte Gedichte. 1903.
Die gesammelten Gedichte. 1907.
Die Gedichte und kleinen Dramen. 1911.
Lyrical Poems, translated by Charles Wharton Stork. 1918.
Gedichte. 1922.
Nachlese der Gedichte. 1934.
Other
StUdie Uber die Entwicklung des Dichters Victor Hugo. 1901; as Victor Hugo, 1904; as Versuch Uber Victor Hugo, 1925.
Unterhaltungen Uber literarische Gegenstande. 1904.
Dieprosaischen Schriften gesammelt. 2 vols., 1907; vol. 3, 1917.
Hesperus: Ein Jahrbuch, with Rudolf Borchardt and Rudolf Alexander Schroder. 1909.
Grete Wiesenthal in Amor und Psyche und das fremde Madchen. 1911.
Die Wege und die Begegnungen. 1913. RodaunerNachtrage. 3 vols., 1918.
Reden und Aufsatze. 1921.
Buch der Freunde. 1922; edited by Ernst Zinn, 1965.
Gesammelte Werke. 6 vols., 1924; revised edition, 3 vols., 1934.
Augenblicke in Griechenland. 1924.
FrUheste ProsastUcke. 1926.
Grillparzers politisches Vermachtnis. 1926.
Loris: Die Prosa des jungen Hoffmansthals. 1930.
Die BerUhrung der Spharen. 1931.
Briefe. 2 vols., 1935-37.
Briefwechsel, with Anton Wildgans, edited by Joseph A. von Bradish. 1935.
Briefwechsel, with Stefan George, edited by Robert Boehringer.1938; revised edition, 1953.
Briefwechsel, with Richard Strauss, edited by Franz and Alice Strauss. 1952; revised edition, edited by Willi Schuh, 1954; as Correspondence, translated by Hans Hammelmann and Ewald Osers, 1961.
Briefe der Freundschaft, with Eberhard von Bodenhausen, edited by Dora yon Bodenhausen. 1953.
Briefwechsel, with Rudolf Borchardt, edited by Marie Luise Borchardt and Herbert Steiner. 1954.
Briefwechsel, with Carl J. Burckhardt, edited by Burckhardt. 1956.
Sylvia in ”Stern”, edited by Martin Stern. 1959.
Briefwechsel, with Arthur Schnitzler, edited by Theresa Nickl and Heinrich Schnitzler. 1964.
Briefwechsel, with Helene von Nostitz, edited by Oswalt von Nostitz. 1965.
Briefwechsel, with Edgar Karl von Bebenburg, edited by Mary E. Gilbert. 1966.
Briefwechsel, with Leopold von Andrian. 1968.
Briefwechsel, with Willy Haas. 1968.
Briefwechsel, with Harry Graf Kessler. 1968.
Briefwechsel, with Josef Redlich. 1971.
Briefwechsel, with Richard Beer-Hofmann. 1972.
Briefwechsel, with Max Rychner, Samuel and Hedwig Fischer, Oscar Bie, and Moritz Heimann, edited by Claudia Mertz-Rychner and others. 1973.
Briefwechsel, with Ottonie Grafin Degenfeld, edited by Marie Therese Miller-Degenfeld. 1974.
Briefwechsel 1899-1925, with Rainer Mafia Rilke, edited by Rudolf Hirsch and Ingeborg Schnack. 1978.
Briefwechsel, with Max Mell, edited by Margret Dietrich and Heinz Kindermann. 1982.
Briefwechsel, with Ria Schmujlow-Claasen. 1982.
Briefwechsel, with Paul Zifferer, edited by Hilde Burger. 1983.
The Poet and the Countess: Hugo von Hofmannsthal’s Correspondence with Countess Ottonie Degenfeld, edited by Marie-Therese Miller-Degenfeld, translated by W. Eric Barcel. 2000.
Editor, Deutsche Erzahler. 4 vols., 1912.
Critical Studies:
Hugo von Hofmannsthal by Hans Hammelmann, 1957; Hofmannsthal’s Festival Dramas by B. Coughlin, 1964; Hofmannsthal’s Novel "Andreas" by David Miles, 1972; Hugo von Hofmannsthal: Three Essays by Michael Hamburger, 1972; Hofmannsthal and the French Symbolist Tradition by Steven P. Sondrup, 1976; Hugo von Hofmannsthal by Lowell A. Bangerter, 1977; The Banal Object: Theme and Thematics in Proust, Rilke, Hofmannsthal, and Sartre by Naomi Segal, 1981; Hugo von Hofmannsthal: Commemorative Essays edited by W.E. Yuill and Patricia Howe, 1981; Hugo von Hofmannsthal and His Time: The European Imagination, 1860-1920 by Hermann Broch, 1984; Hofmannsthal and Symbolism: Art and Life in the Work of a Modern Poet by Thomas A. Kovach, 1985; Animal Symbolism in Hofmannsthal’s Works by Helen Frink, 1987; Hugo yon Hofmannsthal: The Theatres of Consciousness by Benjamin Bennett, 1988; Narrative Transgression and the Foregrounding of Language in Selected Prose Works of Poe, Valdery and Hofmannsthal by Leroy T. Day, 1988; Selten Augenblicke: Interpretations of Poems by Hugo von Hofmannsthal by Margit Resch, 1989; The Challenge of Belatedness: Goethe, Kleist, Hofmannsthal by Jean Wilson, 1991; Schnitzler, Hofmannsthal and the Austrian Theatre by W.E. Yates, 1992; Hugo Von Hofmannsthal by Mathias Mayer, 1993; Hugo Von Hofmannsthal: Poets and The Language of Life by Adrian Del Caro, 1993; The Poetry of Hugo Von Hofmannsthal and French Symbolism by Robert Vilain, 2000.
Hugo von Hofmannsthal is chiefly remembered as the successful librettist who partnered with Richard Strauss. Their operas, including the famous Der Rosenkavalier (The Cavalier of the Rose), are lively and powerful, rich in register and motif.
Hofmannsthal’s fame, however, neither begins nor ends with Strauss. He had enjoyed some 15 years of precocious celebrity before their collaboration began. His schoolboy lyrics established his reputation as one of the foremost young poets in Vienna. Even his earliest works, among them Gestern [Yesterday], Der Tor und der Tod (Death and the Fool), and Die Hochzeit der Sobeide (The Marriage of Zobeide), reveal his remarkable insight into some of the questions most crucial to man: the passing of time, the problem of death, the dangers of excessive aestheticism, the role of women in society. His range, even in the 1890s, is vast.
The turn of the century brought a change of style. There were several reasons for this change. One, metaphysical reason prompting him to abandon his lyrical mode, is expressed in the fictitious Chandos Letter. A more immediate reason can be found in his desire to stage his dramas more successfully. They made good reading, but as theatre they were indicted by critics as ”lukewarm” and ”boring.” Hofmannsthal began to write with a specific theatre in mind, that of Max Reinhardt in Berlin. He made increasing use of stage technology in order to enhance the sensuous impact of his works. Lighting, music, the rhythms of movement are all incorporated into the text, as the stage directions of the powerfully visual Elektra (Electra) demonstrate.
Further factors influencing Hofmannsthal’s change of style include the literary trend of ”anti-erotic” writers such as Wilde, Strindberg, and Wedekind, and also the writings of Freud. Their influence shows most overtly in the so-called ”Greek” plays, Electra and Odipus und die Sphinx [Oedipus and the Sphinx], where Hofmannsthal probes the depths of sexual antagonism, repression, and perversion—a radical departure from his Sophoclean model. Greek myth is here used to underline the most primitive aspects of human behaviour. Hofmannsthal was to return to the symbolic world of myth in his operas Ariadne auf Naxos (Ariadne on Naxos) and Die agyptische Helena (Helen in Egypt), explaining in his late essay on the latter work that mythological opera was the only form in which the ”atmosphere of the present” could be expressed adequately.
Hofmannsthal had already explored other possible modes of expression. Moving away from the ”armchair playlets” of the 1890s, and the Greek plays of 1903 and 1905, he wrote his Jedermann (The Play of Everyman), and Das Satzburger grosse Welttheater (The Salzburg Great Theatre of the World), expressing fundamental human truths in the universalizing form of the medieval mystery play. Social satires, such as Der Schwierige (The Difficult Man), again treat universal themes, but this time in the context of modern Austria. Yet another mode is the magical setting of Die Frau ohne Schatten (The Woman without a Shadow), and of Der Turm (The Tower) which, with its oblique references to politics and its background of language scepticism, constitutes one of Hofmannsthal’s most difficult plays.
The range and density of Hofmannsthal’s poems and plays, essays and correspondence, account for the continuing interest in these works today.
