Editing Gotthold Ephraim Lessing (section)

==Works==
Early in his life, Lessing showed interest in the theatre. In his theoretical and critical writings on the subject—as in his own plays—he tried to contribute to the development of a new type of theatre in Germany. With this he especially turned against the then predominant [[literary theory]] of [[Gottsched]]<ref>Cf. [[Andreas Dorschel]]: Polemik und Schadenfreude. In: ''Zeitschrift für Ideengeschichte'' XIII/3 (Autumn 2019), pp. 117–122, esp. p. 119.</ref> and his followers. Lessing's ''[[Hamburgische Dramaturgie]]'' ran critiques of plays that were performed in the Hamburg Theatre, but after dealing with dissatisfied actors and actresses, Lessing redirected his writings to more of an analysis on the proper uses of drama. Lessing advocated the outline of drama in Aristotle's ''Poetics''. He believed the [[French Academy]] had devalued the uses of drama through their [[Neoclassical theatre|neoclassical rules]] of form and separation of genres. His repeated opinions on this issue influenced theatre practitioners who began the movement of rejecting theatre rules known as ''[[Sturm und Drang]]'' ("Storm and Stress").<ref>Wilson, Edwin, and Alvin Goldfarb. ''Living Theatre: History of Theatre''. 6th ed. New York: McGraw-Hill Companies, 2012. Print.</ref><ref>Karen Otterweell, ''Lessing and the Sturm und Drang: A Reappraisal Revisited'', Peter Lang Pub, Inc., 2002. Print.</ref> He also supported serious reception of [[William Shakespeare|Shakespeare]]'s works. He worked with many theatre groups (e.g. that of the [[Friederike Caroline Neuber|Neuberin]]).

[[File:Die Gartenlaube (1871) b 161.jpg|thumb|upright|left|[[Eva König|Eva Lessing]]]]
[[File:Lessinghaus Wolfenbüttel 2014.jpg|thumb|upright=1.3|Home, [[Wolfenbüttel]]]]
In Hamburg he tried with others to set up the [[German National Theatre]]. Today his own works appear as prototypes of the later developed bourgeois German drama. Scholars see ''[[Miss Sara Sampson]]'' and ''[[Emilia Galotti]]'' as amongst the first [[bourgeois tragedy|bourgeois tragedies]], ''[[Minna von Barnhelm]]'' (Minna of Barnhelm) as the model for many classic German comedies, ''[[Nathan the Wise]]'' (''Nathan der Weise'') as the first German drama of ideas ("Ideendrama"). His theoretical writings ''Laocoön'' and ''[[Hamburg Dramaturgy]]'' (''Hamburgische Dramaturgie'') set the standards for the discussion of aesthetic and literary theoretical principles. Lessing advocated that dramaturgs should carry their work out working directly with theatre companies rather than in isolation.<ref>Eckersley, M. 1997. Soundings in the Dramaturgy of the Australian Theatre Director. University of Melbourne. Melbourne. p 9.</ref>

In his religious and philosophical writings he defended the faithful Christian's right for freedom of thought. He argued against the belief in [[revelation]] and the holding on to a literal interpretation of the Bible by the predominant orthodox doctrine through a problem later to be called '''Lessing's Ditch'''. Lessing outlined the concept of the religious "Proof of Power": How can [[miracle]]s continue to be used as a base for Christianity when we have no proof of miracles? Historical truths which are in doubt cannot be used to prove metaphysical truths (such as God's existence). As Lessing says it: "That, then, is the ugly great ditch which I cannot cross, however often and however earnestly I have tried to make that leap."<ref>Gotthold Ephraim Lessing. "On the proof of the spirit and of power." ''Lessing: Philosophical and theological writings'', p.&nbsp;87. H. B. Nisbet (translator and editor). Cambridge University Press, 2005</ref>

In the final leg of his life, Lessing threw himself into an intense evaluation of theology and religion. He did much of his studying by reading manuscripts he found while working as a librarian. While working for the Duke, he formed a close friendship with a family by the name of Reimarus. The family held an unpublished manuscript by [[Hermann Samuel Reimarus]] which attacked the historicity of Christian revelation. Despite discouragement from his brother [[Karl Gotthelf Lessing]], he began publishing pieces of the manuscript in pamphlets known as ''Fragments from an Unnamed Author''. The controversial pamphlets resulted in a heated debate between him and another theologian, [[Johann Melchior Goeze]]. In concern for tarnishing his reputation, Goeze requested the government put an end to the feud, and Lessing was silenced through a law that took away his freedom from censorship.<ref>Vallee, Gerard. ''Soundings in G.E. Lessing's Philosophy of Religion''. Lanham: University of America, 2000. Print.</ref>

In response, Lessing relied upon his skills as a playwright to write what is undoubtedly his most influential play, ''[[Nathan the Wise]]''. In the play, Lessing set up tension between [[Judaism]], [[Islam]], and [[Christianity]] by having one character ask Nathan which religion was the most genuine. Nathan avoids the question by telling the parable of the three rings, which implies the idea that no specific religion is the "correct religion." The Enlightenment ideas to which Lessing held tight were portrayed through his "ideal of humanity," stating that religion is relative to the individual's ability to reason. ''[[Nathan the Wise]]'' is considered to be the first example of the German "literature of humanity". 
As a child of the Enlightenment he trusted in a "Christianity of Reason", which oriented itself by the spirit of religion. He believed that human reason (initiated by criticism and dissent) would develop, even without help by a divine revelation. In his writing ''The Education of Humankind'' (''Die Erziehung des Menschengeschlechts''), often translated as ''The Education of the Human Race'', he extensively and coherently lays out his position.

The idea of freedom (for the theatre against the dominance of its French model; for religion from the church's dogma) is his central theme throughout his life. Therefore, he also stood up for the liberation of the upcoming middle and upper class from the nobility making up their minds for them.

In his own literary existence he also constantly strove for independence. But his ideal of a possible life as a free author was hard to keep up against the economic constraints he faced. His project of authors self-publishing their works, which he tried to accomplish in Hamburg with [[Johann Joachim Christoph Bode|C. J. Bode]], failed.{{citation needed|date=February 2017}}

Lessing is important as a [[literary critic]] for his work ''Laocoon: An Essay on the Limits of Painting and Poetry''. In this work, he argues against the tendency to take [[Horace]]'s ''ut pictura poesis'' (as painting, so poetry) as prescriptive for literature. In other words, he objected to trying to write poetry using the same devices as one would in painting. Instead, poetry and painting each has its character (the former is extended in time; the latter is extended in space). This is related to Lessing's turn from French [[classicism]] to Aristotelian [[mimesis]], discussed above.