Abstract
In an age when symbols are being discovered in literary works where critics of an earlier period would never have dreamed of looking for them there is probably little need to defend a study of symbolism in Grillparzer's work. Indeed Grillparzer himself recognized that there is a symbolic element in all art and reproached his own time for its refusal to acknowledge the symbolic aspect of poetic truth. Das goldene Vließ, moreover, is not the only drama in which Grillparzer uses symbols. In Sappho, for instance, the lyre, the laurel wreath, the rose, the statue of Aphrodite, and the dagger all have symbolic significance. Even the title of Des Meeres und der Liebe Wellen reflects symbolic motifs. In that drama subtle variations on the water imagery predominate but are reinforced by symbols such as the dove, the tower, the Leda song, and the lamp. In Libussa, to cite one more example, there is a highly developed circle symbolism as well as symbolism involving flowers, vegetation, and metals.
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