IN 1822, THE YOUNG and rather unenthusiastic law student Christian Dietrich Grabbe sent a copy of his recently completed drama, Herzog Theodor von Gothland, to the celebrated poet Ludwig Tieck. In his letter of reply, Tieck acknowledged the young writer's talent and the Gothland play's “große Gedanken, die auch mehr wie einmal kräftig ausgedrückt sind,” but also expressed disappointment at the play's cruelty and cynicism, a reaction that was echoed in later responses to the drama following its publication in 1827. Such elements of disapproval in the contemporary reception of Gothland can be related both to the brutal language of the play and to the disturbing events contained within its elaborate plot.

Set in Sweden at an unspecified time during the Middle Ages, Gothland follows the descent into nihilism and amorality of its title character, Duke Theodor von Gothland. This descent is largely set in motion by the scheming of Gothland's archenemy, Berdoa, the African leader of the Finns. The play opens during the course of a Finnish raid on Sweden and, shortly after reaching Swedish territory, Berdoa discovers that one of Gothland's brothers has died unexpectedly. Aware of the Duke's devotion to both his brothers, Berdoa sets out to convince him that Manfred was in fact murdered by his other brother, the chancellor, Friedrich. With the forced help of the chancellor's servant, Rolf, the Finnish leader defaces Manfred's corpse to make it look as though he had been murdered and then leads Gothland to the tomb to view his brother's body.