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From Sharpe's London Magazine.
LIFE AND WRITINGS OF SCHILLER.

POETRY and imaginative literature must always suffer from translation; and thus it is impossible duly to estimate their merit, where we cannot read them in their proper tongue. But no poets and imaginative writers have suffered so deeply in the estimation of our countrymen, as those of Germany. This, at first, appears paradoxical; since the German language is exactly that, of all others, (unless we except the kindred dialects,) which is most easily transferred into our own, and the spirit of which has the closest affinity with the English. But the cause is external to the nature of the subject. Prejudice was early excited against German literature, and on two very distinct grounds, moral and literary. About the time of the first French revolution, anarchical and immoral publications were imported from Germany no less than from France. German poetry, indeed, was born at a period when all departments of literature were more or less tainted with revolutionary principles, which were too hastily identified with the temper of the people; and, as it was from translations of lax writings that the idea of German literature VOL. VIII. No. IV. 64

was mainly collected by the English public, it was concluded that all German fiction must be anarchical and immoral. It seems needless seriously to rebut such a conclusion. From the literature of our own country, probably the purest in the world, it would be easy to export an equivalent for our imported German impurities. It is to be admitted, however, that most of the noblest productions of German imagination have appeared since the period alluded to. Another objection was, that the literature of Germany was not modelled on the principles of those of Greece and Rome, which were supposed to be the casting-moulds of the English mind; though, in reality, a French caricature was the standard, and the reader of Racine flattered himself that he understood Sophocles. It was forgotten that the great charm of the Greek literature was its originality and freshness; and that thus the qualities condemned in the German were really the very same which those inconsistent censors admired in the Greek.

These prejudices are not wholly passed away; but a better and a juster spirit is awakening. The German writers gave an impulse to the poetry of our own country, and sent our language to its native resources. Wordsworth, Southey, Coleridge,

Scott, among the foremost-all more or less John Christopher Frederick Schiller, influenced by German literature-have best known by the last of his Christian rescued us from being mere imitators. names, was born November 10, 1759, at We have, accordingly, revised our condem- Marbach, on the Neckar, in the duchy of nation of our German brethren, and sought Warttemburg. His father, John Caspar to be better acquainted with them. The Schiller, was originally an army surgeon, result has been that we have found our judg-who afterwards entered the army itself, and ment as erroneous as it was rash. We find ended his days as manager of a very extenthe imaginative literature of Germany per- sive nursery plantation at Ludwigsburg, behaps the noblest and most splendid in the longing to the duke. Though not a wellworld, next to our own, and even more co-educated man, he strove to compensate this pious. defect by diligent labor; and a thanksgiv ing prayer of his is still extant, written after his son had attained celebrity, in which he commemorates the fact, that, from the birth of his son, he had not ceased to pray that the deficiencies of his boy's educational means might in some way be supplied to him. He appears to have been a good parent and a good man: nor were the excellencies of his wife inferior. She was affectionately attached to her husband and her children, and mutually and deeply beloved. Although of slender education, she could relish the religious poetry of Utz and Gellert. The early characteristics of young Schiller, as described by Körner, were piety, gentleness, and tenderness of conscience. He received the rudiments of his education at Lorch, a frontier village of the Württemburg territory, where his parents were residing from 1765 to 1768. His tutor here was a parochial minister, named Moser, after whom, perhaps, he drew the character of Pastor Moser, in "The Robbers." The son of this tutor was his earliest friend, and is thought to have excited the desire which he long felt of entering the ministry.

It must be remembered that it is only of the imaginative part of German literature that we are here treating. With its refinements in metaphysics, and its melancholy wanderings in theology, we are not now concerned. That portion which we have here been considering, is not only little affected by these things, but favorable and conducive to worthier objects. We are not unaware that the case of Goethe, the most conspicuous of German imaginative writers, may be cited as an example against us. Yet, eminent as he is, he is but one; and from his voluminous writings much might be selected which would even strengthen our position.

Our present purpose, however, is to apply these remarks to the compositions of Schiller, a writer who disputes with Goethe himself the throne of German imagination, but whose imaginative writings, with little more than one early well-known exception, are conducive to pure amusement or elevated instruction. It is not, of course, our intention to present a formal criticism on compositions so varied and so numerous as Schiller's. We shall prefer illustrating, in broad outline, his more celebrated pieces, in connexion with a biographical sketch, which will, with our brief extracts and criticisms, serve the purpose of mutual illustration. Our source will be chiefly a memoir, written in the year 1812, by his friend Körner of Dresden, father of the youthful patriot whose biography we have sketched in a former number. From the year 1785, he was one of Schiller's most intimate friends, and wrote from personal knowledge chiefly; and, when this was not the case, from the most authentic information. This sketch we shall illustrate, where convenient, from the lives of Schiller, by Mr. Carlyle and Sir Bulwer Lytton; the latter of whom is not only an able biographer, but an abbreviator of those who had the best opportunities for the successful prosecution of the task.

Schiller's poetical temperament was early developed. When scarcely past the period of infancy, it is said, he was missed during a thunderstorm. His father sought him, and found him in a solitary place, on a branch of a tree, gazing on the scene. On being reprimanded, he is said to have re plied, "The lightning was very beautiful, and I wished to see whence it came." Another anecdote of his childhood is bet ter authenticated. At the age of nine years, he, and a friend of the like age, received two kreutzers apiece for repetition of their catechism in church. This money they resolved to invest in a dish of curds and cream at Harteneck; but here the young adventurers failed to obtain the desired delicacy, while the whole four kreutzers were demanded for a quarter cake of cheese, without bread! Thus foiled, they

proceeded to Neckarweihingen, where they ture were not inherent, but the natural reaccomplished their object for three kreut-sult of endeavoring to bind a singularly zers, having one to spare for a bunch of free and original language to rules and imgrapes. On this, young Schiller ascended an eminence which overlooks both places, and uttered a grave poetical anathema on the barren land, and a like benediction on the region of cream.

agery foreign to its genius. Klopstock, Utz, Lessing, Goethe, and Gerstenberg, were, in different manners and degrees, of this order. From the study of these, Schiller caught the spirit of a German originalOn his father's return to Ludwigsburg, ity, which he afterwards so remarkably conyoung Schiller, then nine years old, first tributed to advance. Becoming, about the saw the interior of a theatre. This circum- same time, acquainted (through Wieland's stance seemed at once to disclose his ge- translation) with the writings of Shaksnius. From that moment, all his boyish peare, he studied them with avidity and desports had reference to the drama; and he light; though, as he acknowledges, with an began to forecast plans for tragedies. Not imperfect comprehension of their depth. that his inclination to the profession of his During his residence at Stuttgart, he had early choice diminished. He only regard- composed an epic, entitled "Moses," and ed dramatic literature and exhibitions as a tragedy called "Cosmo de' Medici," amusements and relaxations from severer part of which was afterwards worked up in pursuits. He now continued his studies in" The Robbers." But he had no sooner a school at Ludwigsburg, where he was decided on the medical profession, than he conspicuous for energy, diligence, and ac- resolved to abandon poetry for two years. tivity of mind and body. The testimonials He wrote a Latin treatise "On the Philoswhich he here received induced the duke ophy of Physiology," and defended a theto offer him a higher education, in a semi-sis "On the Connexion of the Animal and nary at Stuttgart, which he had lately Spiritual Natures in Man." He afterwards founded. His father, who felt his obliga- received an appointment as a military surtions to the duke, and not least the favor geon, and was esteemed able in his profeswhich was now offered him, reluctantly sion. On the expiration of his probational abandoned his original intention of indulging his son with the profession of his wishes; and young Schiller, still more reluctantly, in 1773, surrendered the Church for the bar. In the following year, when each scholar of the establishment was call-undertake it. ed on to delineate his own character, he openly avowed" that he should deem himself much happier if he could serve his country as a divine." And he found legal studies so little attractive, that, on the addition of a medical school to the establishment, in 1775, he availed himself of the duke's permission to enrol himself a member.

course, he held himself free to prosecute his favorite study. Accordingly, in the year 1780, the famous play of "The Robbers" saw the light. It was published at his own expense, no bookseller venturing to

Of the genius displayed in this work there can be but one opinion. The language of Coleridge concerning it is very remarkable:

"Schiller! that hour I would have wished to
die,

If through the shuddering midnight I had sent
From the dark dungeon of the tower time-rent
That fearful voice, a famish'd father's cry!
That in no after-moment aught less vast
Might stamp me mortal! A triumphant shout
Black Horror scream'd, and all her goblin rout}
From the more withering scene diminish'd past.
Ah! bard tremendous in sublimity!
Could I behold thee in thy loftier mood,
Wandering at eve with finely frenzied eye,
Beneath some vast old tempest-swinging wood!
Awhile with mute awe gazing I would brood,
Then weep aloud in a wild ecstasy!"

During this period, Schiller was not inattentive to the revolution, or rather, creation, then working in the poetry of Germany. The immense resources of the German language were, in great measure, unknown to the Germans themselves. They studied and composed in the classical tongues, and, finding their own so far removed from those which they contemplated as the only models, regarded it as barba- Nevertheless, the defects of this work are rous; or, if they condescended to use it, not less glaring than its power is unquesendeavored to cast both words and senti-tionable; nor are these defects literary ments in a classical mould. But there were minds among them who were beginning to perceive that the defects of German litera

only. The sympathics of the reader are in part enlisted on the side of crime; while the whole spirit of the play but too well

gotiations, he took advantage of the festivities occasioned by the visit of the Archduke Paul of Russia, in October, 1782, and left Stuttgart unperceived.

coincides with the tumultuous character kindly of the duke, and even justified his of that period. And yet, we believe it is proceeding, which was not directed against not less truly than finely said by Sir Bulwer the poet's genius, but his ill-taste. He, inLytton," Nothing could be further from deed, even dwelt warmly on the duke's paterthe mind of the boy from whose unprac-nal conduct, who gave him salutary advice tised hand came this rough Titan sketch, and warning, and asked to see all his poetry. than to unsettle virtue, in his delineations This was resolutely refused; and the refusal, of crime. Virtue was then, as it continu- as might be expected, was not inoffensive. ed to the last, his ideal; and if at the first Yet the duke seems not to have renounced he shook the statue on its pedestal, it was his interest in his young favorite, for no but from the rudeness of the caress that measures were taken against him or his sought to warm it into life." Schiller's family on his subsequent departure from religious and virtuous feelings had, how- Stuttgart, and Schiller even paid a visit to ever, unconsciously to himself, been dete- them during the duke's life, without any riorated by the French skeptical writers. molestation. For this departure he wished Voltaire moved his scorn and disgust; but the duke's permission, and endeavored, abhorrence of filth will not save us from through his friend Dalberg, to obtain it; pollution, if we permit its contact. Rous but impatient at the tediousness of the neseau, insidious and visionary, harmonized but too well with the temperament of the earnest and contemplative youth; we know from the painful evidence of a little poem of Schiller's, bearing the name of that sub- His mother and sister were in the secret; tle anarch, that the influence had been but his father had not been informed, lest loytoo effective; and we trace the fact even alty and military subordination should more distinctly in the "Philosophical Let- compel disclosure to the duke. There ters." But it would seem from his own was another person left behind, in whom testimony, no less than from general evi- rumor attributes an interest to Schiller, dence, that the military despotism which though we are not informed whether she was the constitution of the seminary at was apprised of his flight. This was the Stuttgart was the real creative principle of widow of a military officer, to whom it is the "Robbers." It furnished Schiller's said, Schiller had paid his addresses, and idea of order and government, while his own restlessness beneath that rigid coercion supplied his notion of liberty. It was from a translation of the "Robbers," that the general tendency of German literature, and of the drama particularly, was estimated in England. The "Robbers" could not long be a stranger to the stage. The Freiherr von Dalberg, manager of the theatre at Mannheim, produced it on his boards in 1782. Schiller was present at the two first representations in January and May of that year. His absence, however, was known to the duke, and he was placed under arrest for a fortnight.

But his misfortunes did not end here. A passage in the "Robbers" gave offence to the Grisons, who complained to the duke against his subject. The result was that Schiller was prohibited from all but professional writing, and commanded to abandon all connexion with other states. But Körner informs us that, however exasperated at the time, he spoke in cooler moments

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who is by some supposed to be the "Laura" of his early poems. A youth named Streicher was the companion of his wanderings. All Schiller's fortune lay in his tragedy, "The Conspiracy of Fiesco at Genoa," which he had, for the most part, composed when under arrest. Arrived at Mannheim, he recited his play to the stage-manager, Meier, (for Dalberg was at Stuttgart,) with little success. His Swabian dialect, and unmelodious declamation, drove away all his audience save Iffland, to whose personation his "Francis Moor" in the "Robbers" had been deeply indebted. But, on a perusal, Meier acknowledged the real merit of "Fiesco," and agreed to produce it on the stage, if Schiller would make the requisite alterations. Meanwhile, Schiller and his friend were warned, by letters from Stuttgart, that their position at Mannheim was perilous. They accordingly once more took flight, and, after many hardships, took up their quarters at an inn at Oggersheim, where "Fiesco" was completed, and "Cabal and Love" begun. While at this place, Schiller was offered an asylum at Bauerbach, near Meinungen, an estate

of Madame von Wollzogen, with whose his "Laura." During this period he wrote sons he had studied at Stuttgart. Having essays on dramatic subjects, edited a peridisposed of his "Fiesco" to a bookseller, odical called "The Rhenish Thalia," comhe with alacrity accepted the generous of posed a poem called "Conrad of Swabia," fer, and Streicher pursued his way to Ham- and a second part of the "Robbers," to burg. At Bauerbach, Schiller found re- harmonize the incongruities of the first. pose and appliances for study; finished Some scenes of his "Don Carlos," appear"Cabal and Love," and sketched "Don ing in the "Thalia," attracted the notice Carlos." Of the two first of these works of the reigning Duke of Saxe Weimar, who our limits will not permit us to speak. was then on a visit to the court of the They are not without evidence of their Landgrave of Hesse Darmstadt. The duke author's genius; but they are not less evi- was a lover of literature, and a poet, and dential of a taste which he lived to correct, he appointed Schiller a member of his and which, even at this period, he was cor- council. In March, 1785, Schiller removrecting. ed to Leipzig, where his poetry had pre"Don Carlos" is an immeasurable ad- pared him many friends, and from this year vance into the regions of taste and order. commenced what is called "the second periThe wild irregular prose of the previous od " of Schiller's life. He spent the summer dramas is exchanged for rich and melodi- at a village in the neighborhood, named Goous blank heroic verse: the characters are lis, surrounded by warm and affectionate no longer the crude imaginations of an un-hearts. It was during this time that he wrote disciplined ardor, but finished studies from his " Ode to Joy." But his joy was fated to nature, in historical prototypes; no longer bold distorted sketches, but richly, yet chastely, colored pictures; no longer flung together in heedless and disorderly profusion, but grouped with consummate art and sense of harmony. Yet it is probable that the historian has in this work encroached upon the poet, and rendered it in parts obscure, and the connexion not always palpable. It is far less lucid than the great dramatic writings which formed the labors of Schiller's later days. A considerable interval elapsed between the composition of the first and last portions; and, as the former was printed, the drama could not well be rewritten, to make it harmonize with Schiller's altered feelings and opinions; but it spoke a great promise, and gave earnest of a faithful performance. It has been ably translated by Francis Herbert Cottrell, Esq.

be overclouded. He wrote to Schwann soliciting an union with his daughter; a request to which he had no anticipation of refusal, as he and the young lady had corresponded; and, had his destiny rested in her hands, there can be little doubt that he would not have been doomed to disappointment. The father, however, had apparently seen enough of Schiller's habits to infer that his wealth was not likely to equal his fame, and the poet once more met with a refusal.

From the friendly circle at Leipzig he removed to Dresden the same year. Here he completed his "Don Carlos," which he recast, as far as was practicable; and is thought to have assimilated his princess Eboli to a certain Fraulein A, a great beauty of that city. Here, too, he sketched the plan of a drama which he named "The Misanthrope;" collected materials for at In 1786, Schiller took up his residence history of the revolt of the Netherlands, at Mannheim, where he occupied himself under Philip II., and wrote his strange rowith theatrical projects. From this place mance of " The Ghost Seer;" a work sughe wrote to Madame von Wollzogen, soli-gested by the quackeries of Cagliostro. At citing the hand of her daughter Charlotte; this period, also, were written the " Philobut it appears that the attachment was not mutual, though Schiller always continued to be received in the most friendly manner by Madame von Wollzogen and her daughters. Perhaps the young lady herself regarded Schiller's as rather a preference than an affection, which she seems to have been justified in doing, as, not long after, he formed an attachment to Margaret, daughter of his friend Schwann, the bookseller; a lady whom some suppose to have been

sophical Letters," before alluded to. In 1787 he repaired to Weimar, where he was received with great enthusiasm by Herder and Wieland. Here he undertook the management of a periodical called "The German Mercury," which he enriched with several contributions in verse and prose, and to which he imparted new life and vigor. In the same year he received an invitation from Madame von Wollzogen to visit her at Meinungen. On his return

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