Abstract
Abstract This article focuses on the genre of the ‘drama of destiny’ (Schicksalsdrama), which was particularly popular in Germany between 1810 and 1825, and which – following the premiere of Friedrich Schiller’s Die Braut von Messina (The Bride of Messina, 1803) – reestablished an ancient concept of destiny as a category of understanding. Through an analysis of Zacharias Werner’s drama Der vierundzwanzigste Februar (The Twenty-fourth of February, 1809), this article shows how the reference to destiny offered a fitting model of meaning to nineteenth-century audiences facing a challenging time of shifting values and socio-political change and uncertainty.
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