Abstract
The distinction between hand, heart, and eye is a theme commonly used in the eighteenth century to deal with the problem of the whole man. Following the themes of hand and heart, as well as the analogous distinction between the languages of wit and heart, through Minna von Barnhelm reveals that Lessing's comedy conforms to this tradition. The play does not so much portray the loving Minna's conquest of a proud Tellheim as it calls into question the one-sidedness of their noble qualities. The playful reciprocity of Franciska and Werner suggests a more successful approach to life than do the rigid virtues of their masters.
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