Conclusion

Abstract

The criticism of Emilia Galotti, traced for more than a century after its appearance, reveals that this play is indisputably enigmatic. The first seeds of uncertainty as to its merits were sown by Lessing himself, whose feelings of discontent grew with its gradual completion. Regardless of whether or not Lessing’s own remarks assumed the semblance of modesty, such as in his reply to Ebert’s reaction to the play, the variety of commentary and of interpretation by men who, in their own right, have some understanding for literary and aesthetic values serves to confirm its problematical position. Some will argue, of course, that any successful work of literature will evoke various reactions and that the more varied these are, and the more varied the interpretations and criticisms that the work will bear, the more it is likely to be a work of stature. The problem does not end here, however, in the case of Emilia Galotti. For it is obvious that there are a number of critics who, whether in vacillation or self-contradiction, are themselves not at one in their views of this drama.