Zacharias Werner - Works


He succeeded in having his plays put on the stage, where they met with much success. Verdi's opera Attila is based on Werner's drama of the same name. Werner's Der 24. Februar, thus titled because his mother and an intimate friend died on that day, introduced the era of the so-called “tragedies of fate.” Several of his dramatic poems were designed to evangelize freemasonry. Among his titles were:

  • Vermischte Gedichte, 1789
  • Die Söhne des Thals, 1803-1804, in two parts
  • Die Templer auf Cypern, 1803
  • Die Kreuzesbrüder, 1804
  • Das Kreuz an der Ostsee, 1806
  • Die Brautnacht, 1806
  • Martin Luther oder die Weihe der Kraft, 1806
  • Der vierundzwanzigste Februar, 1808 (translated into French by Jules Lacroix, Paris, 1849)
  • Attila, König der Hunnen, romantische Tragödie, 1809
  • Wanda, 1810
  • Die Weihe der Unkraft, 1813, a recantation of his earlier work Martin Luther
  • Kunigunde die Heilige, 1815
  • Geistliche Übungen für drei Tage, 1818
  • Die Mutter der Makkabäer, 1820

Zacharias Werner's Theater, a collection (without the author's consent) of Werner's work in 6 volumes, appeared in 1816-1818. Ausgewählte Schriften (Selected writings with a biography by K. J. Schütz) in 15 volumes appeared 1840-1841.

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Famous quotes containing the word works:

    I look on trade and every mechanical craft as education also. But let me discriminate what is precious herein. There is in each of these works an act of invention, an intellectual step, or short series of steps taken; that act or step is the spiritual act; all the rest is mere repetition of the same a thousand times.
    Ralph Waldo Emerson (1803–1882)

    Again we mistook a little rocky islet seen through the “drisk,” with some taller bare trunks or stumps on it, for the steamer with its smoke-pipes, but as it had not changed its position after half an hour, we were undeceived. So much do the works of man resemble the works of nature. A moose might mistake a steamer for a floating isle, and not be scared till he heard its puffing or its whistle.
    Henry David Thoreau (1817–1862)

    The slightest living thing answers a deeper need than all the works of man because it is transitory. It has an evanescence of life, or growth, or change: it passes, as we do, from one stage to the another, from darkness to darkness, into a distance where we, too, vanish out of sight. A work of art is static; and its value and its weakness lie in being so: but the tuft of grass and the clouds above it belong to our own travelling brotherhood.
    Freya Stark (b. 1893–1993)