The Natural Daughter
Encyclopedia
The Natural Daughter is the last of Goethe
’s three verse drama
s in the classical
style, after Iphigenia and Torquato Tasso
. Drawing on the real story of a young woman caught up in the French Revolution
, it explores the impact of uncontrollable events on ordinary people’s lives. Its present obscurity is partly due to its apparently unfinished state: Goethe planned a second part, which he never wrote. But in its focus on the main character Eugenia
("well-born"), like the Revolution itself a product of the Enlightenment
, the play examines the interaction between natural integrity and social compromise.
Beautiful, talented and well-connected as the Duke’s daughter, Eugenia has every prospect of a glittering career – except that she is illegitimate. A riding accident in the countryside brings her face to face with the King, who offers to recognise her formally at court in return for her father’s support against a rumoured republican conspiracy. Despite the prospect of political turmoil the Duke and his daughter seem confident of a future full of promise.
Act II – Eugenia’s room, in the Gothic style
A day or two later. The prospect of Eugenia’s recognition threatens the conspiracy’s success. So the conspirators, who include the Duke’s own Secretary and his former lover, Eugenia’s Governess, plot to do away with Eugenia altogether. Ignoring the Governess’s veiled warnings, Eugenia prepares eagerly for her presentation at court; she writes a sonnet pledging loyalty to the King, and gives way to the temptation to try on the dress and jewellery the Duke has provided for the occasion.
Act III – The Duke’s antechamber, in the modern style
Some time later. The Duke’s household is dark and silent, mourning for the sudden loss of Eugenia. We learn that she has been abducted by the fanatical Cleric, who like the Governess is at the mercy of the Secretary’s ruthless powers. In response to the Cleric’s gory account of Eugenia’s death, the Duke resolves to preserve her memory by converting his misery and anger into revolutionary action.
Act IV – Harbour square
Eugenia, disguised in a veil, and the Governess gloomily await their enforced embarkation into exile, to a disease-ridden island from which few return. Their lives are controlled by orders set out in a mysterious letter. The Governess and the young and idealistic Advocate try to convince Eugenia that an arranged marriage is her only path of escape from banishment. But Eugenia, confident of her popularity with the people, refuses to listen.
Act V – Harbour square
Having failed to secure popular support Eugenia appeals in turn to the garrison Commandant and the Abbess for protection. Though initially sympathetic, on seeing the letter they turn away, advising her to accept her fate. Eugenia discovers that the letter appears to be signed by the King, and attempts suicide; her rescue by the Monk, whose apocalyptic vision predicts the downfall of civilisation, persuades her that altruism on her home ground, in the faint hope of a chance to revive her country’s fortunes, is preferable to exile. She finally accepts the Advocate’s proposal and commands him to lead them ‘to the altar’.
Johann Wolfgang von Goethe
Johann Wolfgang von Goethe was a German writer, pictorial artist, biologist, theoretical physicist, and polymath. He is considered the supreme genius of modern German literature. His works span the fields of poetry, drama, prose, philosophy, and science. His Faust has been called the greatest long...
’s three verse drama
Drama
Drama is the specific mode of fiction represented in performance. The term comes from a Greek word meaning "action" , which is derived from "to do","to act" . The enactment of drama in theatre, performed by actors on a stage before an audience, presupposes collaborative modes of production and a...
s in the classical
Classicism
Classicism, in the arts, refers generally to a high regard for classical antiquity, as setting standards for taste which the classicists seek to emulate. The art of classicism typically seeks to be formal and restrained: of the Discobolus Sir Kenneth Clark observed, "if we object to his restraint...
style, after Iphigenia and Torquato Tasso
Torquato Tasso (play)
Torquato Tasso is a play by the German dramatist Johann Wolfgang von Goethe about the sixteenth-century Italian poet, Torquato Tasso. The play was first conceived in Weimar in 1780 but most of it was written during his two years in Italy, between 1786 and 1788. He completed the play in...
. Drawing on the real story of a young woman caught up in the French Revolution
French Revolution
The French Revolution , sometimes distinguished as the 'Great French Revolution' , was a period of radical social and political upheaval in France and Europe. The absolute monarchy that had ruled France for centuries collapsed in three years...
, it explores the impact of uncontrollable events on ordinary people’s lives. Its present obscurity is partly due to its apparently unfinished state: Goethe planned a second part, which he never wrote. But in its focus on the main character Eugenia
Eugenia (name)
Eugenia is a feminine first name related to the masculine name Eugene that comes from the Greek eugenes "well-born," from eu- "well" + -genes "born." Variants include Eugênia , Eugénie and Yevgeniya or Yevgenia ....
("well-born"), like the Revolution itself a product of the Enlightenment
Age of Enlightenment
The Age of Enlightenment was an elite cultural movement of intellectuals in 18th century Europe that sought to mobilize the power of reason in order to reform society and advance knowledge. It promoted intellectual interchange and opposed intolerance and abuses in church and state...
, the play examines the interaction between natural integrity and social compromise.
Synopsis
Act I – ForestBeautiful, talented and well-connected as the Duke’s daughter, Eugenia has every prospect of a glittering career – except that she is illegitimate. A riding accident in the countryside brings her face to face with the King, who offers to recognise her formally at court in return for her father’s support against a rumoured republican conspiracy. Despite the prospect of political turmoil the Duke and his daughter seem confident of a future full of promise.
Act II – Eugenia’s room, in the Gothic style
A day or two later. The prospect of Eugenia’s recognition threatens the conspiracy’s success. So the conspirators, who include the Duke’s own Secretary and his former lover, Eugenia’s Governess, plot to do away with Eugenia altogether. Ignoring the Governess’s veiled warnings, Eugenia prepares eagerly for her presentation at court; she writes a sonnet pledging loyalty to the King, and gives way to the temptation to try on the dress and jewellery the Duke has provided for the occasion.
Act III – The Duke’s antechamber, in the modern style
Some time later. The Duke’s household is dark and silent, mourning for the sudden loss of Eugenia. We learn that she has been abducted by the fanatical Cleric, who like the Governess is at the mercy of the Secretary’s ruthless powers. In response to the Cleric’s gory account of Eugenia’s death, the Duke resolves to preserve her memory by converting his misery and anger into revolutionary action.
Act IV – Harbour square
Eugenia, disguised in a veil, and the Governess gloomily await their enforced embarkation into exile, to a disease-ridden island from which few return. Their lives are controlled by orders set out in a mysterious letter. The Governess and the young and idealistic Advocate try to convince Eugenia that an arranged marriage is her only path of escape from banishment. But Eugenia, confident of her popularity with the people, refuses to listen.
Act V – Harbour square
Having failed to secure popular support Eugenia appeals in turn to the garrison Commandant and the Abbess for protection. Though initially sympathetic, on seeing the letter they turn away, advising her to accept her fate. Eugenia discovers that the letter appears to be signed by the King, and attempts suicide; her rescue by the Monk, whose apocalyptic vision predicts the downfall of civilisation, persuades her that altruism on her home ground, in the faint hope of a chance to revive her country’s fortunes, is preferable to exile. She finally accepts the Advocate’s proposal and commands him to lead them ‘to the altar’.