Minna Von Barhelm or, The Soldier's Fortune

by Gotthold Ephraim Lessing

G.E. Lessing was a German philosopher and was a key contributor to the Enlightment Era. Lessing’s plays and philosophical writings are still considered classics in German literature. This edition of Lessing’s Minna Von Barhelm or, The Soldier’s Fortune includes a table of contents.

Genres: Classics, Plays, German Literature, Drama, Fiction, School, Literature

190 pages, Kindle Edition

First published January 1, 1767

About the author

Gotthold Ephraim Lessing was a German writer, philosopher, dramatist, publicist, and art critic, and one of the most outstanding representatives of the Enlightenment era. His plays and theoretical writings substantially influenced the development of German literature. He is widely considered by theatre historians to be the first dramaturg.

Lessing was born in Kamenz, a small town in Saxony. His father was a clergyman and the author of theological writings. After visiting Latin School in Kamenz (from 1737 onwards) and the Fürstenschule St. Afra in Meissen (from 1741 onwards) he studied theology and medicine in Leipzig (1746–1748).

From 1748 to 1760 he lived in Leipzig and Berlin and worked as reviewer and editor for, amongst others, the Vossische Zeitung. In 1752 he took his Master's degree in Wittenberg. From 1760 to 1765 he worked in Breslau (now Wrocław) as secretary to General Tauentzien. In 1765 he returned to Berlin, only to leave again in 1767 to work for three years as a dramaturg and adviser at the German National Theatre in Hamburg. There he met Eva König, his future wife.

In 1770 Lessing became a librarian at the Herzog-August-Bibliothek in Wolfenbüttel. His tenure there was interrupted by many travels. For example, in 1775 he journeyed to Italy accompanied by Prince Leopold.

In 1771 Lessing was initiated into Freemasonry in the lodge "Zu den drei Rosen" in Hamburg.

In 1776 he married Eva König, who was then a widow, in Jork (near Hamburg). She died in 1778 after giving birth to a short-lived son. On 15 February 1781, Lessing, aged 52, died during a visit to the wine dealer Angott in Brunswick.

Lessing was also famous for his friendship with Jewish-German philosopher Moses Mendelssohn. In his celebrated biography of Mendelssohn's famous grandson, Felix, Larry Todd describes their friendship as one of the most "illuminating metaphors [for] the clarion call of the Enlightenment for religious tolerance".

Lessing was a poet, philosopher and critic. His theoretical and critical writings are remarkable for their often witty and ironic style and their unerring polemics. Hereby the stylistic device of dialogue met with his intention of looking at a thought from different angles and searching for elements of truth even in the arguments made by his opponents. For him this truth was never solid or something which could be owned by someone but always a process of approaching.

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 bourgeois theatre in Germany. With this he especially turned against the then predominant literary theory of Gottsched and his followers. He particularly criticized the simple imitation of the French example and pleaded for a recollection of the classic theorems of Aristotle and for a serious reception of Shakespeare's works. He worked with many theatre groups (e.g. the one of the Neuberin).

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 generally see Miß Sara Sampson and Emilia Galotti as the first 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 Laocoon 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.

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

Reviews

[Markus · Rating 5 out of 5]

Minna von Barnhelm
G.E. Lessing (1729 – 1781)
Lessing war ein deutscher Autor einiger der am meisten bewunderten Werke der klassischen Literatur des 18. Jahrhunderts. 'Nathan der Weise', 'Emilia Galotti' und 'Laokoon' waren alle erfolgreichen Stücke. 'Minna von Barnhelm', das 1767 produziert wurde, war das erste vollständig deutsche Stück.
Am Ende des Siebenjährigen Krieges (zwischen Preußen und Sachsen) angesiedelt, war es zeitgenössisch mit dem Leben des Autors und seinen persönlichen Lebenserfahrungen. Die Szene spielt in der Halle eines Dorfwirtshauses und angrenzenden Zimmern. Die Schauspieler:
• Major von Tellheim (außer Dienst)
• Minna von Barnhelm und Graf von Bruchsall (ihr Onkel)
• Franziska (ihre Zofe)
• Just (der Diener des Majors)
• Paul Werner (ehemaliger Hauptmann des Majors)
• Der Wirt
• eine trauernde Dame
• ein Kurier-Soldat
• ein französischer Spieler
Das Thema des Stücks ist die Weigerung des Majors, seine Verlobung mit Minna zu respektieren, weil er nach seiner Entlassung aus der Armee mittellos und verarmt ist. Er versucht es zu erklären. Minna ersinnt eine List, um ihn umzustimmen. Der Ausgang ist leicht vorhersehbar, was die Intrige eher schwach macht. Es gibt kaum Handlung.
Die Hauptattraktionen des Stücks sind die außergewöhnlich und farbenfroh dargestellten Persönlichkeiten sowie die äußerst witzigen und klugen Dialoge. Goethe und andere Kunstkritiker lobten das Stück als Meilenstein der deutschen Literatur. Dies ist ein Werk, das ich Leserfreunden mit einem Herz für Theater sehr empfehle.



Minna von Barnhelm
G.E.Lessing (1729 – 1781)

Lessing was a German author of some of the most admired works of classic literature of the eighteenth century.
‘Nathan der Weise’, ‘Emilia Galotti’, and ‘Laocoon’ were all successful plays.
Minna von Barnhelm produced in 1767 was the first to be an entirely German play.
Situated at the end of ‘The War of Seven Years’ (between Prussia and Saxony) it was contemporary with the author's life and his personal life experience.
The scene is the hall of a village hostel and adjacent lodging room.
The actors:
Major von Tellheim, (redundant), Minna von Barnhelm and Graf von Bruchsall (her uncle), Franziska (her maid), Just (the Majors aid), Paul Werner (the major’s former Constable), the Innkeeper, a Lady in mourning, a Courier soldier, a French gambler.
The theme of the play is the refusal of the major to respect his engagement to be married to Minna for the reason of being destitute and penniless after his discharge from the army.
He is trying to explain.
Minna imagines a ruse to make him change his mind.
The outcome is easily foreseeable which makes the intrigue rather weak. There is hardly any action.
The major attractions of the play are the outstandingly and colourful presented personalities, as well as extremely witty and clever dialogues.
Goethe and other Art critics praised the play as a milestone in German literature.
This is a work I highly recommend to reader friends with a heart for theatre.

[Lisa · Rating 4 out of 5]

4,5/5

Wenn man toxische Männlichkeit googelt, erscheint wahrscheinlich ein Bild von Tellheim. Der Dude muss erst mal wieder auf den Boden zurückgeholt werden.

"Minna von Barnhelm" ist bis jetzt das Drama von Lessing, welches mir am besten gefallen hat. Ganz anders als bei "Emilia Galotti", wo die Hauptprotagonistin - wie für Lessing üblich auch Namensgeberin des Stückes - einfach mal in nur sechs Szenen des gesamten Trauerspiels vorkommt und stirbt, bevor sie die erste richtige Entscheidung fällen konnte ...

In dem Lustspiel "Minna von Barnhelm" ist die Hauptprotagonistin nicht nur Namensgeberin des Dramas, sondern beweist sich bis zum Ende als starke Frauenfigur, die die Handlung auch wirklich vorantreibt.

[Antje · Rating 5 out of 5]

Dieses Büchlein hat mich bestens unterhalten und vergnügt. Vor allem die Nebenfiguren wie Franziska, Werner, Just und sogar der Wirt amüsierten mich und sind in meinen Augen die reizvollsten Charaktere in diesem Lustspiel. Sie verfügen über eine ungeheure Portion Witz und Scharfsinn, die der Handlung eine besondere Würze verleihen. Das Fräulein Minna und ihr Tellheim hätten es nimmer allein zu Wege gebracht, zueinander zu finden und mich von dem Stück zu überzeugen. Zudem zog mich Lessings Erzählweise und Sprache prompt in seinen Bann. - Ein feines Werk, das mir spät in die Hände fiel und um so mehr überraschte.

[Everett · Rating 5 out of 5]

Minna is a character of qualities, she's smart and has a will of her own. She's crafty and runs circles around the men with her wit. The plot isn't complicated, just appears so, since the reader is unfolding the secrets at the same speed as the characters, which is quite a clever technique, but I fear it will lose some readers who prefer omniscience to opacity.

Best line, it is easy to like good people, but it's a challenge to like bad ones. Minna is successful with people because she accepts their natures.

[Oziel Bispo · Rating 4 out of 5]

A peça "Minna von Barnhelm" de Lessing foi escrita em Breslau, perto de Berlim, durante as brilhantes horas da manhã da primavera de 1763, tendo sido publicada em 1776. O sucesso foi estrondoso na Alemanha, sendo elogiado até por Goethe. A comédia também fez sucesso nos palcos Holandês, Dinamarquês e Russo, e também apareceu em uma versão Sueca.

Os personagens centrais são um oficial prussiano, Major Tellheim, e uma jovem dama da Turíngia, Minna.
Tellheim, oficial do exército prussiano, lutou bravamente na Guerra dos Sete Anos, mas agora se vê desonrosamente dispensado e empobrecido. Sentindo-se indigno, ele rompe seu noivado com Minna von Barnhelm, sua noiva do antigo estado inimigo da Saxônia. Ele agora vive em uma pousada em Berlim. O dono da pousada insiste que Tellheim deve desocupar seu quarto para dar lugar a uma senhora abastada, que acaba por ser ninguém menos que Minna, que vem em busca de seu noivo. Tellheim se recusa a permitir que ela se case com um soldado pobre e desgraçado, então Minna agora finge que ela mesma foi deserdada e está vivendo na pobreza...
Será que o plano vai dar certo?

Peça totalmente desconhecida no Brasil. Uma pena, é uma obra-prima.

[Jess · Rating 2 out of 5]

el desenlace de esto... terrible

[Nadja · Rating 2 out of 5]

Ganz unterhaltsam, aber hat kein wirklich bleibenden Eindruck hinterlassen.

[Lizzy · Rating 1 out of 5]

This was horrible
School forced me to read it, I hate this I want to burn it with the fire of hell I want to throw it in the deepest of crumbeling stones and

[Ostrava · Rating 5 out of 5]

Surprisingly "proto-feminist". I was about to call it outdated, and though it's that, it's also... not quite as outdated as I expected. It's only a bit unfunny and dependant on you knowing the background of the play, so you better pay attention if you're given this as a read in class.

[Laura Deen · Rating 4 out of 5]

"Wenn dein Mund nicht plaudern kann, so kann dein Herz doch reden." (der Graf, blz. 84)

[Armin · Rating 3 out of 5]

War in der Schule eher gelangweilt, fand das Stück ganz nett, hatte aber den Eindruck, dass die Substanz nicht für drei Wochen oder 18 x 2 Stunden ausgereicht hat. Fühlte mich unterfordert.
Auch gut zehn Jahre später war die Messlatte der Vorsaison im LTT zu hoch. War trotzdem ein einzigartige Erfahrung, es gab nach der Premiere nicht mehr allzu viele Aufführungen, der Hauptdarsteller (In der Vorsaison ein genialer Prinz von Homburg) ging mit der Regisseurin durch.
Bei einem späteren Wiedersehen (Theaterfassung von Das Leben der Anderen) unterhielten wir uns noch mal in den Reihen der Kollegen der reisenden Truppe. Der Prinz war wohl der Höhepunkt in der Karriere des früheren Theatergottes geblieben.

[Lucie · Rating 4 out of 5]

Minna ist am girlbossen. Ihr Macker ist in den Krieg gezogen und erlaubt sich nicht die emotionale Verbundenheit zu seiner Geliebten. Grund: seine preußische Soldatentugend, seine Lähmung, Fall in die Unehrenhaftigkeit und Armut. Minna reist ihm einfach trotzdem hinterher und fädelt eine Intrige ein, sodass er am Ende einfach doch Zusagen muss.

[Marina]

Tellheim toxic menn einf

[leonie · Rating 5 out of 5]

so gut also war wirklich sehr gut minna ist mein schatz ich werde nie aufhören über sie nachzudenken

[Anne Katrin · Rating 3 out of 5]

Eine Liebesgeschichte mit Happy End, treuen Freunden und dickköpfigen Charakteren. Unterhaltsam, aber nicht einprägsam.

[John Hatley · Rating 4 out of 5]

This is a very pleasant comedy, possibly one of the favourite comedies from the German Enlightenment, by one of Germany's literary masters. It is still played in German theatres today.

[Gustav Gutschke · Rating 5 out of 5]

Meine Güte, wie kann ein Buch von 1767 so lustig sein?! Es ist aufgebaut um amüsante Missverständnisse und hat mich gut unterhalten, ich musste aller zwei Seiten schmunzeln und manchmal wirklich lachen.

Der Plot ist schnell erzählt: Ein Offizier denkt, er habe seine Ehre verloren und sei nun nicht mehr gut genug für seine wohlhabende, adlige Verlobte. Diese sieht das anders, liebt ihn so wie er ist und findet im Übrigen, dass er es mit der Rede vom Ehrverlust massiv übertreibe. Sie will ihm die eigene Lächerlichkeit vorführen und ihn dadurch umstimmen, indem sie ihren eigenen Ehrverlust erfindet und sich gespielt von ihm abwendet. Das sieht der Offizier nicht ein - und dann wird auch noch seine Ehre wiederhergestellt, sodass seinerseits der Ehe nichts mehr im Wege steht. Sie beharrt aber auf ihrem Streich. Das endet fast in der Katastrophe, wird letztlich aber aufgelöst - Happy End.

Toxische Männlichkeit kann ich bei Tellheim nicht entdecken, höchstens pick-me-Verhalten. Er ist versteift, klar, aber ein Ehrenmann, der keinem schaden will. Seine Haltung ist unmodern, schon damals aus der Zeit gefallen, lächerlich. Was man ihm vorwerfen kann, ist fehlende Kommunikation, vor allem über seine Bedürfnisse und Wünsche, ok, aber seine Taten sind durch und durch an guten Prinzipien orientiert. Und es ist auch nicht so, dass er das nur tut, um den Schein zu wahren, ne, er IST als Offizier ein Ehrenmann, sein Charakter ist gut, er will die anderen nicht belasten. Ich finde, ein wenig mehr Tellheim täte uns heute ganz gut.

Es gibt allerdings einen charakterlichen Umschwung, als sich der Ehrverlust Tellheims als Irrtum herausstellt: Nun flammt seine Liebesrede erst recht auf, es sei ihm egal, dass Minna von ihrem Vater verstoßen sei (was diese nur vorspielt, um selbst unehrenhaft zu erscheinen) - die Konventionen und die Ehre sind plötzlich gar nicht mehr so wichtig, darüber könne man sich doch hinwegsetzen. Damit nähert er sich dem anfänglichen Verhalten Minnas an: Sie ist witzig-intrigant, neckisch-kokett, geht mit Prinzipien eher spielerisch um - aber nicht nachlässig! Sie nimmt das Leben leicht, stellt die Liebe selbstverständlich über die Ehre, hält wenig von Standesdünkel und Konventionen. Gut, sie kann es sich aber auch leisten, klassisches Oberschichtsverhalten könnte man sagen; sie ist reich und adelig, dazu auch noch sozial kompetent und ironisch-selbstsicher - dann erscheinen handlungsleitende Prinzipien hohl, steif, festgefahren. Stimmt ja aus ihrer Perspektive auch.

Die Lehre ist vielleicht: Gönnerhaftes, flexibles Auftreten ist leicht, wenn man weit oben auf der sozialen Rangliste steht. Soziale Regeln kann man dann brechen oder spielerisch biegen, wenn man gut genug abgesichert ist. Dieses Verhalten von anderen zu erwarten ist aber eben auch naiv und tendenziell paternalistisch.

Ich denke jedenfalls, dass Lessing weit davon entfernt ist, Tellheim ausschließlich als lächerliche, negative Figur darzustellen. Im soldatischen Ethos der Ehre, der Disziplin und der Treue liegt Wert - aber auch die Tendenz zur Verhärtung, Versteiftheit und Prinzipienreiterei. Da braucht es das ungezwungene Gefühl und die soziale Flexibilität der Minna als Ausgleich: „O über die wilden, unbiegsamen Männer, die immer nur ihr stieres Auge auf das Gespenst der Ehre heften! Für alles andere Gefühl sich verhärten!

[Arbraxan · Rating 3 out of 5]

Synopsis Minna von Barnhelm oder das Soldatenglück ("Minna von Barnhelm or the Soldier's Fortune" in English) is a comedy written by the German playwright Gotthold Ephraim Lessing and published in 1767. It is often judged to be the most important comedy of German Enlightenment and a hallmark of German 18th century literature.

Set in mid-18th century Berlin, the comedy tells the story of Lady Minna von Barnhelm, a young, rich and beautiful noblewoman from Saxony, and her betrothed, Major von Tellheim, the embodiment of duty and virtue. Recently discharged from the Prussian Army, von Tellheim is plagued by war wounds, contested claims and debts, yet he refuses help from his friend Werner, a sheriff and former constable, and only accepts assistance from his loyal manservant Just. Fearing he won't be able to properly provide for Minna, he wishes to annul their betrothal. Thus Minna and her servant Franziska have to cleverly overcome his honorable stubbornness by presenting von Tellheim's acquiescence to marriage as the only possibility to safeguard her honor - of course, von Tellheim obliges.

REVIEW

It is likely that a contemporary person - even a contemporary German - reading the play would not think much of it and miss many of its subtler nuances. A part of General Tauentzien's entourage at that time, Lessing began to write Minna von Barnhelm in 1763, right after the end of the Seven Years' War (1754/56-1763); the play reflects several of his experiences in a military environment. The Seven Years' War in its European theater - also known as the Third Silesian War - began with the invasion of Saxony by Frederick II of Prussia, thereby preempting an Austrian attack on Silesia. By making light of both Prussian and Saxon stereotypes, namely by extrapolating von Tellheim's integrity and sense of duty ad absurdum and depicting Minna von Barnhelm as frivolous, Lessing might have tried to contribute to the reconciliation of Saxony and Prussia.
Alternatively, as Goethe put it in his 1812 review of the play: "The spiteful tension between Prussia and Saxony during the war could not be lifted by its end. Now more than ever the Saxon felt the pain of the wounds the proud Prussian had inflicted. The political peace could not immediately produce peace between minds. But this should be done through imaginary spectacle. The Saxons' grace and loveliness surpasses the Prussians' value, dignity, stubbornness, and a happy union of bizarre and reluctant elements is demonstrated on both the main characters and their subordinates."

At the same time, the play attributes to the Frenchman Riccaut de la Marlinière the role of the wasteful and dishonest scoundrel in a blunt manner (this was particularly criticized by the play's French reviewers, e.g. Madame de Staël, who were otherwise rather positive about it). This begs the question whether Lessing intended to foster reconciliation by focusing enmities on another nation; indeed, some of the play's first performances were without Riccaut. An even greater fear of censorship concerned the play's allusion to the king's discharge of the Freibataillone ("free-batallions") after the Seven Years' War, which seems to have flooded the country with disgruntled veterans. Nonetheless its success in Germany was astounding, in particular in 1768 Berlin.

Another interesting facet of the play are the reviews it inspired in the early 19th century, e.g. by Franz Grillparzer or Otto Ludwig. These reviews, written after the Napoleonic Wars and during the heyday of burgeoning German nationalism, bear testimony to the struggle of isolating something genuinely German amidst the Austro-Prussian dualism, the legacy of the Holy Roman Empire and the persistent religious divide made evident by the Thirty Years' War and its horrors.

Grillparzer (1822): "[...] So truly German in all its characters, and therein unique in the German literature. There is no French windbag of a servant, his master's confidant; instead the bawdy, rough, German Just. The innkeeper certainly has a typical businessman's character; but then again Franziska! How loquacious and snippy, yet still a good soul and valiant and modest. No trait of a French waiting-maid, to which the German ones in life and on stage still owe their origin. [...] The language unsurpassable! German: plain and honest. [...]"

Based on the servants Just and Franziska, this characterization of the stereotypical German as "plain and honest" is still pervasive in the imaginary of present day Germans, often alongside "Michel", Germany's average Joe. Commentary sections below German media reporting on the Greek debt crisis are replete with narratives of the gullible and well-meaning German being defrauded by malicious foreigners preying on his naivete. Likewise, plenty of Germans have justified their rudeness or impolite manners by invoking the "roughness" of German culture, which sometimes is really nothing more than a lack of savoir-vivre.

Yet the play is relevant to modern times in more ways than this. Its narrative essence contains several streams, which I would like to see further developed in today's context, though they have been the source of artworks already:
- the struggle of veterans with injuries and reintegration into civilian life and the effects thereof on veterans' relationships at home;
- the reluctance of men to depend on women vs. women's still-ubiquitous economic dependence on men as the main breadwinners;
- the absurdity of strict honor codes unless tempered by pragmatism;
- the influence of society's and peers' judgment on the well-being of girls and women, especially if their "virtue" is questioned;
- manipulation between both genders (Minna's manipulation of von Tellheim, flighty soldiers' manipulation of gullible girls while on campaign).

Of course, the union of these streams into one seamless body is the mark of a true literary artist like Lessing.

[Sophia · Rating 4 out of 5]

sassy queen minna ❤️‍🔥

[Jules · Rating 4 out of 5]

3.5

[Pia · Rating 4 out of 5]

the og romcom

[Jule · Rating 4 out of 5]

Progressive at the time

[Qendxi · Rating 3 out of 5]

18 Jahrhundert. Starke Frauenfigur. Gesellschaftskritischer Inhalt mit Witz rübergebracht. Generell tolle (vor allem Neben-) Charaktere.

[AnaMaria Barbb · Rating 2 out of 5]

Clock it girl

[Karen· · Rating 4 out of 5]

Miss Sara Sampson was heavy going, but this is a light-footed critique of masculine, military Prussian values in opposition to fulfilment and happiness in the private sphere. It's considered to be the first 'national' German drama, set in the contemporary world of the Seven Year War, and treating questions of regional resentments between Prussia and Saxony. It's a marvel how Lessing managed to spin a very simple tale into five entertaining acts, with a deal of tension.

[Ahmed · Rating 4 out of 5]

ترجمة د/ مصطفى ماهر - مسرحية جيدة بها الكثير لتقراء
اقتباس لبعض من جمل اعجبتني
-"وددت لو كنت اكثر تحفظا فقليلا ما يتكلم المرء عما يتحلي به من فضائل و كثيرا ما يتكلم عن تلك التي تعوزه"

-"انت تحسنين فهم الاخيار من الناس فمتي تتعلمين تحمل الارذال؟ فهم ايضا بشر"

[Clara · Rating 2 out of 5]

Hab ein Problem mit Lessing anscheinend; dieses Stück hat mich genauso gequält wie Emilia Galotti.
Leider musste ich's für die Uni lesen - sonst hätt ich's wohl einfach weggelegt.
Trotzdem waren die Szenen zwischen Franziska und Werner ganz süß, aber das ist auch das einzige (sorry).

[Arta · Rating 3 out of 5]

3.5 stars
Hilarious play!

[Frank · Rating 3 out of 5]

Ein bisschen angestaubt, die Ehrpusseligkeit...

[Frederick · Rating 4 out of 5]

I read MINNA VON BARNHELM in the translation by Kenneth J. Northcott, published in 1972 by the University of Chicago Press. Northcott, in his introduction, stresses that the text has not been cut. The playwright Gotthold Ephraim Lessing's intellect and style are well represented, I think. (I don't read German. English is my only language.) By the way, this is part of a series Northcott edited called GERMAN LITERARY CLASSICS IN TRANSLATION. I mention all this because Goodreads readers may obtain different editions. I can't imagine any English-language version can top this one.
The introduction makes clear that Lessing was a theorist of the drama. Like Goethe, he wrote about writing. Reading the play itself, I was reminded of such English playwrights as Richard Brinsley Sheridan and Oliver Goldsmith. I thought of the drawings of Hogarth. In the hands of very focused actors and directors, MINNA VON BARNHELM probably evokes belly laughs from an audience. There is a scene in which someone is telling a lady about what happened to each of an old friend's servants, and we get a pretty detailed, if light-hearted, realistic description of people fleeing the ruins war has made of their territory. While this is a comedy, it's about the aftermath of the Seven Years War.
I was expecting something crude, though, my tastes running in that direction, but I was pleasantly surprised to find a rather uplifting entertainment. I would not say it is shallow, though. I think there's room to say that Ephraim thinks warfare ought not to be a way of life; but I don't think he condemns the practice. He wants people to behave decently while rampaging through the world. Have a look at Rodgers and Hart's BABES IN ARMS. The audience is supposed to love the idea of young people joining the army as soon as they outgrow the malt shop. I give Lessing some slack.
I wonder how often this play has been performed in the United States? I searched Youtube and found quite a few performances filmed in Germany. Off-Off-Broadway would be just right for this. The Pearl Rep, which I used to visit in the eighties and nineties, used to do a lot of eighteenth-century comedies. I think if a reader pictures Madeline Kahn and Teri Garr as the female leads, he'll get an idea of how this play should be done. Gene Wilder would have been good as one of the males. So, yes: Mel Brooks would have been the right guy to stage MINNA VON BARNHELM.