THE LIFE AND WORKS

OF

FRIEDRICH SCHILLER

By

Calvin Thomas

Professor in Columbia University

To

Eleanor Allen Thomas

Herzelibe frouwe min, Got gebe dir hiute und iemer guot! Kunde ich bas gedenken din, Des haete ich willeclichen muot.

PREFACE

I have wished to give a trustworthy account of Schiller and his works on a scale large enough to permit the doing of something like justice to his great name, but not so large as in itself to kill all hope and chance of readableness. By a trustworthy account I mean one that is accurate in the matters of fact and sane in the matters of judgment. That there is room for an English book thus conceived will be readily granted, I imagine, by all those who know. At any rate Schiller is one of those writers of whom a new appreciation, from time to time, will always be in order.

I have thought it important that my work, while taking due note of recent German scholarship, should rest throughout on fresh and independent study. Accordingly, among all the many books that have aided me more or less, I have had in hand most often, next to the works of Schiller, the collection of his letters, as admirably edited by Jonas. Among the German biographers I owe the most to Minor, Weltrich and Brahm, for the period covered by their several works; for the later years, to Wychgram and Harnack. Earlier biographers, notably Hoffmeister and Palleske, have also been found helpful here and there.

Of course I have not flattered myself, in writing of a man whose uneventful career has repeatedly been explored in every nook and cranny, with any hope of adding materially to the tale of mere fact. One who gleans after Minor and Weltrich and Wychgram will find little but chaff, and I have tried to avoid the garnering of chaff. One of my chief perplexities, accordingly, has been to decide what to omit. If there shall be those who look for what they do not find, or find what they did not expect, I can only say that the question of perspective, of the relative importance of things, has all along received my careful attention. Thoroughness is very alluring, but life is short and some things must be taken for granted or treated as negligible. Otherwise one runs a risk, as German experience proves, of beginning and never finishing.

My great concern has been with the works of Schiller—to interpret them as the expression of an interesting individuality and an interesting epoch. It is now some twenty years since I first came under the Weimarian spell, and during that time my feeling for Schiller has undergone vicissitudes not unlike those described by Brahm in a passage quoted at the very end of this volume. At no time, indeed, could I truthfully have called myself a "Schiller-hater", but there was a time, certainly, when it seemed to me that he was very much overestimated by his countrymen; when my mind was very hospitable to demonstrations of his artistic shortcoming. Time has brought a different temper, and this book is the child of what I deem the wiser disposition.

For the poet who wins the heart of a great people and holds it for a century is right; there is nothing more to be said, so far as concerns his title to renown. The creative achievement is far more precious and important than any possible criticism of it. This does not mean that in dealing with such a poet the critic is in duty bound to abdicate his lower function and to let his scruples melt away in the warm water of a friendly partisanship; it means only that he will be best occupied, speaking generally, in a conscientious attempt to see the man as he was, to "experience the savor of him", and to understand the national temperament to which he has endeared himself.

This, I hope, defines sufficiently the spirit in which I have written. In discussing the plays I have endeavored to deal with them in a large way, laying hold of each where it is most interesting, and not caring to be either systematic or exhaustive. Questions of minute and technical scholarship, such as have their proper place in a learned monograph, or in the introduction and notes to an edition of the text, have been avoided on principle. Everywhere—even in the difficult thirteenth chapter—my aim has been to disengage and bring clearly into view the essential, distinctive character of Schiller's work; and where I have had to fear either that the professional scholar would frown at my sins of omission, or that the mere lover of literature would yawn at my sins of commission, I have boldly accepted the first-named horn of the dilemma.

New York, Nov. 6, 1901.

CHAPTER I

Parentage and Schooling

Captain Schiller and his wife—Sojourn at Lorch—Traits of Friedrich's childhood—Removal to Ludwigsburg—Karl Eugen, Duke of Württemberg—Impressions from court, theater and school—Poetic beginnings—Duke Karl's change of heart—Franziska von Hohenheim—The Academy at Solitude—Schiller at the Academy—School exercises—From law to medicine—Early poems and orations—An ardent friend—Books read and their effect—Dramatic plans—Dissertation rejected—Genesis of 'The Robbers'—Morbid melancholy—Release from the Academy—Value of the education received.

CHAPTER II

The Robbers

General characterization—The Schubart story—Schiller and Schubart—The contrasted brothers—Comparison with Klinger and Leisewitz—Influence of Rousseau and Goethe—Unlike earlier attacks on the social order—Outlawry in the eighteenth century—The noble bandit in literature—Karl Moor's crazy ambition—His sentimentalism—Schiller's sympathy with his hero—Character of Franz—Influence of Shakespeare—Ethical attitude of Franz—A dull villain—Character of Amalia—The subordinate outlaws—A powerful stage-play—Defects and merits.

CHAPTER III

The Stuttgart Medicus

Schiller's position at Stuttgart—Personal appearance—Convivial pleasures—Visits at Solitude—Revision of 'The Robbers' for publication—The two prefaces—Reception of 'The Robbers'—A stage-version prepared for Dalberg—Changes in the stage-version—Popularity of the play—Medicus and poet—The 'Anthology' of 1782—Character of Schiller's youthful verse—Various poems considered—The songs to Laura—Poetic promise of the 'Anthology'—Journalistic enterprises—Schiller as a critic of himself—Quarrel with Duke Karl—The Swiss imbroglio—The duke implacable—Flight from Stuttgart.

CHAPTER IV

The Conspiracy of Fiesco at Genoa

General characterization—The historical Fiesco—Influence of Rousseau—The conflicting authorities—Fact and fiction in the play—Not really a republican tragedy—Character of Fiesco—Of Verrina—Schiller's vacillation—Fiesco's inconsistency—Lack of historical lucidity—The changed conclusion—Weak and strong points—Fiesco and the Moor—The female characters—Extravagant diction.

CHAPTER V

The Fugitive in Hiding

Reception at Mannheim—An elocutionary failure—'Fiesco' rejected by Dalberg—Refuge sought in Bauerbach—A new friend—Relations with outside world—Interest in Lotte von Wolzogen—Literary projects and employments—Beginnings of 'Don Carlos'—Friendly overtures from Dalberg—Work upon 'Louise Miller'—Jealousy and resignation—Flutterings of the heart—Departure from Bauerbach with new play completed.

CHAPTER VI

Cabal and Love

General characterization—English Beginnings of bourgeois tragedy—'Miss Sara Sampson'—Development of the tragedy of social conflict—Love in the age of sentimentalism—Rousseau and the social conflict—Wagner and Lenz—Diderot's 'Father of the Family'—Gemmingen's 'Head of the House'—Evolution of Schiller's plan—Debt to predecessors—Hints from Wagner and Lessing and 'Siegwart'—Weakness of the tragic conclusion—Character of Louise—Her religious sentimentalism—Fearsomeness—Lack of mother-wit—A cold heroine—Character of Ferdinand—Sentimental extravagance—Father and son—Prototypes of President von Walter.

CHAPTER VII

Theater poet in Mannheim

Mannheim in 1783—Dalberg and his theater—The situation on Schiller's arrival—Letter to Frau von Wolzogen—Contract with Dalberg—Illness and disappointments—Pecuniary troubles—'Fiesco' on the stage—Triumph of 'Cabal and Love'—Critical notices—Discourse on the theater—Contract with Dalberg not renewed—Disappointments and distractions—Relations to women—Charlotte von Kalb—The poems 'Resignation' and 'Radicalism of Passion'—A friendly message from Leipzig—Project of the Rhenish Thalia—Honored by the Duke of Weimar—Unhappiness and longing for friendship—Escape from Mannheim.

CHAPTER VIII

The Boon of Friendship

Gottfried Körner and the Stock sisters—Huber—Schiller's arrival in Leipzig—A proposal of marriage—Sojourn at Gohlis—Schiller and Körner—An enthusiastic letter—Körner's helpfulness—With the new friends in Dresden—Influence of Körner—A poetic 'Petition'—The 'Song to Joy'—Contributions to the Thalia—Quickened interest in history—Letters of Julius and Raphael—'The Ghostseer' begun—Unwillingness to leave Dresden—A dramatic skit—Affair with Henriette von Arnim—From Dresden to Weimar.