Hostname: page-component-76d6cb85b7-pn7tm Total loading time: 0 Render date: 2026-07-13T06:15:39.544Z Has data issue: false hasContentIssue false

The Road to Hell is Paved with Dialectics: On Christopher J. Arthur’s The Spectre of Capital

Published online by Cambridge University Press:  24 November 2025

Frank Engster*
Affiliation:
Independent Researcher
Eric-John Russell*
Affiliation:
University of Potsdam, Germany

Extract

So fears the fictional spectator within the third act of Ludwig Tieck’s Die verkehrte Welt (Tieck 1978: 87). By the time it nears its conclusion, the 1797 play has become a quadruple play-within-a-play-within-a-play-within-a-play, with the character audience unable to tell what is fiction and what is reality, with Tieck undermining conventional narration as a parable of poetic fantasy and Romantic irony, part of that comic heritage extending from Aristophanes and Cervantes, up to Ludvig Holberg and Laurence Sterne. A verkehrte Welt was a recurrent cultural motif, with a similarly titled play appearing in 1683 by Christian Weise, as well as another by Johann Ulrich von König in 1725, each of which also partook from the Italian tradition of commedia dell’ arte. Heinrich Heine would later, in 1844, give the title Die verkehrte Welt to his satirical poem from the verse cycle Zeitgedichte. Yet the formulation of an ‘inverted world’ after Tieck would go on to acquire a meaning and seriousness through the German tradition altogether independent of his literary whimsy.

Information

Type
Author meets critics
Creative Commons
Creative Common License - CCCreative Common License - BY
This is an Open Access article, distributed under the terms of the Creative Commons Attribution licence (http://creativecommons.org/licenses/by/4.0), which permits unrestricted re-use, distribution and reproduction, provided the original article is properly cited.
Copyright
© The Author(s), 2025. Published by Cambridge University Press on behalf of The Hegel Society of Great Britain.