By “principles” of lyric and drama I mean the generic principles that emerge gradually from various texts as young Hofmannsthal struggles to establish in language a firm relation to the private and problematic sphere of self-consciousness. My first point is that Hofmannsthal orients himself in this matter largely with respect to the thought of Heinrich von Kleist, which he finds unacceptable. My focus here is upon Hofmannsthal; I do not claim to present a complete or adequate interpretation of Kleist's puppet-theater speculations.

As far as I know, it cannot be demonstrated that Hofmannsthal was aware of Kleist's essay “Über das Marionettentheater” before August 1895; but given the extent of his reading in general, plus a few apparent echoes in his writing, conclusive proof is probably not necessary. It is reasonably clear that by 1895 he not only had read the puppet-theater essay but had developed a strong critical attitude toward it. We read among his notes:

to live, or to live oneself out completely, [is possible] only in the struggle with Opposing Powers.