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Growing out and extending beyond the period of Storm and Stress, the Young Man emerged on the stage for the first time as dramatic hero. Professor Scholl advances the thesis that Schiller's Don Carlos, Goethe's Torquato Tasso and Kleist's Prinz Friedrich von Homburg, already recognized as transitional works in the authors' lives, can be viewed as counterparts to the Bildungsroman. Through historical and literary references from the author's own lives and works, and through detailed analysis of the three plays, she demonstrates that Bildung of the title hero was the primary intent of each author. Prof. Scholl concludes by asserting that the processes of growth and self- and com- munity-recognition occurred frequently enough in post Storm and Stress drama to justify their identification with the title Bildungsdrama.
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