5. Friedrich Schiller Introduction to “Schiller”, Selection from His Works

Life creates troubles and worries; it demands duties and work. But it also brings us joys and beautiful moments. Among the greatest joys are those which great thinkers and writers grant us through their works; among the most beautiful hours we must count those in which we obtain spiritual nourishment through such works. Through these works we strengthen ourselves for the struggle of life. Just as our body cannot be without physical nourishment, neither can our soul be without spiritual nourishment. A person who does not care for the works of poets and thinkers can only have a raw and poor spirit. But he will often have a much harder lot than the one who knows the spiritual creations. For many a sad hour can be helped over by poetry; many a "consolation can be given us by the words of an eminent man. Without us realizing it, our character is ennobled when we absorb the creations of poets.

Friedrich Schiller is a poet whose every word must penetrate deep into our hearts. For everything he has given us is spoken from the depths of his heart. The more you get to know him, the more you will not only admire his high spirit, but love his noble soul and strengthen yourself by contemplating his wonderful character. He has had a difficult life and has known suffering. In a weak body dwelt a strong spirit, which was only directed towards the sublime and ideal. He was born on November 10, 1759 in the small Württemberg town of Marbach. His father was first a surgeon, then supervisor of the gardens and tree plantations at the pleasure palace of Solitude. His mother, the daughter of an innkeeper, was a pious woman, a true friend of poetry. She also instilled this inclination in her son. His father gave the boy his first lessons. Later, Pastor Moser became Friedrich Schiller's teacher in the village. He received further instruction at the Latin school in Ludwigsburg. His inclination towards noble intellectual activity was evident from an early age. The Psalms and the teachings of the prophets, spiritual songs and poetry stimulated his serious mind. He would have loved to become a clergyman.

At the instigation of Duke Karl Eugen von Württemberg (1728-1793), however, he was accepted as a pupil at the Karls-Schule, which was first at the pleasure palace of Solitude and then in Stuttgart. He was at this school from 1773 to 1780 and was initially supposed to study law. Later he swapped this science for medicine. He used all the time left to him by the strict military discipline of the school to immerse himself in serious works of poetry. Even then he decided to create a serious poem himself, whose hero was to be Moses. But he soon became fascinated by another subject. While still at school, he wrote his play "The Robbers", which he then completed after becoming a regimental doctor in Stuttgart.

Duke Karl Eugen saw with dissatisfaction that his military doctor was occupying himself in this way. He forbade him to print anything other than medical works. This forced Schiller to leave his office and his home and create a position for himself in the world. He fled with his friend, the musician Streicher, to Mannheim on September 22, 1782, where his "The Robbers" had already been performed and had met with the greatest acclaim. However, he was unable to find any patrons here. Instead, a high-minded woman, Henriette von Wolzogen, gave him a place of refuge on her Bauerbach estate near Meiningen. Here he was able to work in peace on his second drama "The Conspiracy of Fiesco in Genoa", which was published in 1783. He was also able to complete his third drama "Kabale und Liebe" here and have it published in 1784. The fight against the immorality of his time and the enthusiasm for freedom that these works express won the poet the hearts of his contemporaries. He also won them over with his poems, which appeared in his "Anthology" and were carried by the noblest of impulses. Baron von Dalberg, the director of the theater in Mannheim, who had previously not dared to grant the poet a position in Mannheim because he feared the wrath of the Duke of Württemberg, now made Schiller a theater poet. The latter founded a journal, the "Rheinische 'Thalia". The seriousness with which he took the position of drama was immediately apparent in his first essay, in which he described "Die Schaubühne als moralische Anstalt". His next poetic work was a great historical play, "Don Carlos". The whole urge for political freedom, which animated the best minds of the time, was expressed in this work. In 1784, the poet was able to read the beginning to Duke Karl August von Weimar, Goethe's friend, in whom he would later find a patron.

In April 1785, two young admirers of Schiller in Leipzig, Huber and Körner (the father of the freedom singer and freedom poet Theodor Körner), invited the poet to their home. The latter responded to the call and spent the next few days in Gohlis with Huber before moving to Körner, who had meanwhile moved to Dresden. Schiller was now able to devote himself to his work in complete privacy. He completed "Don Carlos" on Körner's estate in Loschwitz near Dresden. He stayed there until the summer of 1787, after which he spent a few months in Weimar and then moved to Volkstedt near Rudolstadt to be near the Lengefeld family who lived there and with whom he had become close friends during a trip to Rudolstadt. On September 9, 1788, Schiller saw Goethe for the first time at Lengefeld's house. They could not yet become friends at that time. But Goethe told himself that something had to be done for Schiller to help him gain an external position. The fact that Schiller soon received a professorship for history at the University of Jena was Goethe's doing. During this time, Schiller's poetic work took a break. He immersed himself in history and philosophy. Earlier, in Dresden, he had already begun a brilliant historical work, the "History of the Apostasy of the Netherlands". It had already been completed in Weimar and described the great struggle for freedom of the Dutch in the sixteenth century. After taking up his teaching post, he wrote the "History of the Thirty Years' War", describing the terrible religious war that spread its devastating effects across Germany from 1618 to 1648. One of the fruits of his philosophical studies is the magnificent "Letters on the Aesthetic Education of Man", in which he illustrated the education of man through art. He wrote the latter work in gratitude to the Hereditary Prince Christian Friedrich of Holstein-Augustenburg, who, together with the Danish minister Count Schimmelmann, gave him an annual salary of 1000 thalers for three years as a gift when he heard that Schiller was in a difficult situation. Due to his frail health, Schiller was only able to exercise his teaching position for a short time. Despite the enormous amount of work it imposed on him, it only offered him a meagre fee of 200 thalers. He soon devoted all his time to writing again.

The founding of a new journal, "Die Horen", in which the best minds of the time were to collaborate, brought Schiller together with Goethe. The two greatest poets of the German people soon formed an intimate bond of friendship that lasted until Schiller's early death. The two now worked hand in hand in the most beautiful way. They gave each other advice on their works, encouraged each other and promoted each other in every way. Schiller's magnificent poems "Die Bürgschaft", "Das Lied von der Glocke", "Der Taucher", "Der Graf von Habsburg", "Die Kraniche des Ibykus", "Der Alpenjäger", "Der Ring des Polykrates" and many others were written during this time. Goethe's influence also inspired Schiller to return to the field of poetry in which he had inspired his contemporaries from the very beginning: drama. The great general who played such an important role in the Thirty Years' War had already attracted him to the highest degree when he wrote the history of this war. He therefore made him the hero of a drama entitled "Wallenstein". After completing this work, Schiller moved to Weimar. "Maria Stuart", "The Maid of Orleans", "The Bride of Messina" and "William Tell" were written in quick succession. His last tragedy, "Demetrius", was unfinished when an early death took his weak body on May 9, 1805.

With his poetry and dramas, Schiller left his people a precious legacy. Few poets can be compared with him in terms of the verve of their language. And what penetrates deep into the soul in all his works is his upholding of ideals. His gaze is always directed towards the highest goods of humanity. He is as great a man as he is a poet. His family life was exemplary. In 1790, he married Charlotte von Lengefeld. In this marriage he found everything his high spirit desired. When you read what Charlotte Schiller wrote about her husband after his death, you marvel at the bond that united two souls, each of whom was unique in their own way.

Schiller was the strictest judge of himself. What delights us in his poetry was achieved through hard work, and he was constantly working on himself. He had written a series of essays on his "Don Carlos", "Letters on Don Carlos", in which he exposed the faults of this poetry in the most unsparing manner. His unrelenting endeavor was to achieve a higher degree of perfection as a poet with every work. In his dramas he showed himself to be a master in the depiction of human characters: he portrayed human wickedness and human goodness in an equally vivid manner. He was therefore a born playwright in the highest sense of the word. He regarded the theater as a temple in which the audience should not merely be entertained, but edified. He felt himself to be a priest of art, for whom creation was something sacred. We feel this when we sit as spectators in the theater and his figures appear before us. Goethe could not set a more beautiful monument to his friend than the "Epilogue to Schiller's Bell", which he wrote after Schiller's death and in which he says of him: "And behind him, in insubstantial appearance, lay that which subdues us all, the common".

Introduction to "Mary Stuart"

The first major work that Schiller completed after moving to Weimar was the tragedy "Mary Stuart". At the time, he studied English and Scottish historical works in order to familiarize himself with the life of the Scottish queen, whose fate captivated him to the highest degree. She was born in 1542 as the daughter of Jacob the Fifth, who died in the same year. While her mother reigned, Mary was educated in France and married the heir to the French throne, who later became king as Francis II. After her mother and her husband died, she returned to Scotland in 1561 to take up the regency. She married her cousin Darnley, who mistreated her and even killed her privy clerk Rizzio, who enjoyed Mary's trust. The deepest aversion to Darnley took root in her. This led to her being accused of complicity when Darnley was murdered. This suspicion seemed well-founded because she subsequently married Earl Bothwell, who was believed to be Darnley's murderer. The Scots' hatred of their queen grew ever stronger, and she made herself particularly unpopular by ruling strictly according to Catholicism. She was forced to renounce the crown and flee to England. Queen Elizabeth ruled there. She hated Mary because, according to certain legal relationships, she could have claimed the throne of England much sooner than Elizabeth herself. Schiller's tragedy begins with how Elizabeth has her opponent treated as a prisoner in Fotheringhay Castle.

Maria, although she claims that as queen she can only be judged by her peers, is brought before an English court and accused of having sought the crown of England. She was condemned despite the fact that her secret writers Kurl and Nau, whose testimony was relied upon, had not even been confronted with her. Initially, Elizabeth was not brave enough to sign the death warrant for her hated enemy. Two men use the time during which she hesitates to find ways and means of saving Mary. One is Count Leicester, a confidant of Elizabeth, who is also enchanted by Mary's charms. He arranges a meeting between the two queens. This meeting of the hostile women forms the climax of the tragedy. Mary overcomes herself first and wants to beg her opponent for mercy. But when she encounters only coldness and scorn from her opponent, she ruthlessly reproaches her with all her vices and weaknesses. Mary's death is now decided. The other man who wants to save Maria is a young, passionate character, Mortimer, who plans a conspiracy that fails. Through his plan, he plunges the unfortunate woman, whom he passionately adores, even further into ruin. He provides another pretext for the death sentence which Elizabeth now signs and which Burleigh, the cunning statesman, has swiftly carried out. Schiller has characterized Mary Stuart as a woman who, despite some of the guilt she has brought upon herself, arouses our deepest sympathy. She wins our hearts, even though we cannot absolve her from our moral judgment. Schiller knew how to portray the woman's suffering in such a way that we focus primarily on this suffering and less on the darker sides of her character.

Introduction to "The Robbers"

The "Robbers" is Schiller's first work. The young man's thirst for freedom runs riot in it. He has juxtaposed two personalities, a noble one, Karl Moor, who is driven to crime by the wickedness of the world, and a vile one, Karl's brother Franz, who is an example of all kinds of wickedness. Karl was guilty of many things at university, but this is forgivable given his youth and his desire for freedom. He also remorsefully asks his father for forgiveness in a letter. Franz uses this to corrupt his brother. He deceives both his father and his brother in order to obtain the inheritance that should actually go to Karl, the older brother. He convinces his father that Karl has done terrible things and writes to him that his father curses him. Karl, who had hoped to win his father's forgiveness and to be able to lead a quiet life in his home with his lover, Amalia, is bitterly disappointed. He despairs of humanity and it is this despair that really drives him onto the path of crime. He puts himself at the head of a gang of robbers and wants to eliminate crime through crime. It is clear that such a plan cannot succeed. Although he preserves his noble character even in the path of guilt and even succeeds in freeing his father, whom the devilish Franz has locked in a tower to take him away from the castle over which he alone wants to rule, Karl must finally admit to himself that it was folly to want to fight injustice through unbridled despotism. He therefore surrenders himself to the arm of the courts.

Introduction to "Kabale Und Liebe"

Under the most oppressive circumstances, Schiller drafted and executed the plan for his tragedy "Kabale und Liebe". Duke Karl Eugen even punished him with a fourteen-day arrest when he traveled to Mannheim for the first performance of his "The Robbers" without leave. He wrote this tragedy during this period of imprisonment and his subsequent life of wandering. It emerged from Schiller's bitter feelings about the immoral conditions in the highest classes. For him, who wanted to see in every human being nothing but the bearer of human dignity, it was horrible to see how the aristocracy looked down on the commoner and refused to accept him as their equal. That is why he portrayed an action in which these relationships are particularly evident. Ferdinand, the son of President von Walter, loves Louise Miller, the daughter of a town musician. Ferdinand's father has decreed that his son must marry Lady Milford, the Prince's abandoned mistress. The son differs from his peers in that he refuses to recognize any difference between man and man. Von Walter does everything in his power to dissuade his son from his relationship with Louise, which he naturally disapproves of to the highest degree. A ruse is resorted to. The president's secretary, Wurm, persuades Louise to have a letter dictated to her which is intended to rob Ferdinand of the trust he has in his mistress. This letter is then slipped to Ferdinand. The letter is a love letter to the court marshal von Kalb. The diabolical plan succeeds. Ferdinand is forced to believe that his lover has betrayed him. He can no longer live, as he can no longer believe in love and fidelity. He goes to his death with his fiancée. Too late, only when the two lovers are already dying does Louise tell her lover what a terrible web of lies he has been entangled in.

In a captivating way, Schiller expressed all his resentment against conditions that he abhorred in this tragedy. That is why it was so successful when it was performed. The audience was gripped by the splendid figure of Miller, an honest, straightforward man who does not deign to bow down to those above him and whose position and family happiness are destroyed by the intrigues of such despicable personalities as President von Walter and his secretary Wurm.

Introduction to "Wallenstein"

When Schiller was writing the "History of the Thirty Years' War" in Jena, he was particularly interested in the personality of the great general Wallenstein. It was therefore Wallenstein whom he chose as his hero when he returned to writing poetry. The fate of this man, who first rendered his emperor the greatest service and then, when he found his ambition unsatisfied, took sides against his master, could not be summarized in a single drama. Schiller therefore portrayed it in three related poems, in a so-called trilogy. The first part, "Wallenstein's Camp", depicts camp life during the Thirty Years' War. It shows how the soldiers are absolutely devoted to their commander. All kinds of characters are portrayed. The real soldier of the time, who follows his lucky star and knows nothing else but it, in Buttler and the Dragoon; the noble soldier, who takes his profession ideally, in Max Piccolomini; the soldier of fortune, who serves sometimes here, sometimes there, in the first hunter and so on. All these different soldier characters are united in persevering with Wallenstein in every situation, even if a conflict should arise between their idol and the Emperor. They decide to write a letter to their commander declaring that they will not abandon him, no matter what happens. The events of the soldiers' lives are interrupted in an excellent way by a sermon on morality preached by a Capuchin in the camp about the immorality of the soldiers and the immorality of the whole time. - The second part, "The Piccolomini", first depicts Wallenstein as he feels he has reached the peak of what his ambition demands. He even strives for the crown of Bohemia, trusting his luck implicitly. He can only achieve such goals if he enters into an alliance with the emperor's enemies. He initially hesitates with this plan for two reasons. Firstly, he cannot immediately decide to betray his emperor, even though he knows that the emperor has long been suspicious of his general's ambitions. And secondly, Wallenstein is superstitious. He has his fortune told by an astrologer. And he does not want to do anything until this astrologer tells him the right time. The generals Illo and Terzky now obtain the signatures of the other commanders for a document in which they pledge to remain loyal to Wallenstein, even if he leaves the Emperor. Octavio Piccolomini, who has been commissioned by the Emperor to monitor Wallenstein, notices this. It is through him that Wallenstein falls. Octavio's son, Max Piccolomini, loves Wallenstein's daughter 'Thekla and is therefore faced with the difficult choice between his father and his fiancée. The outcome is the third part of the drama "Wallenstein's Death". Wallenstein really does join forces with the Swedes. Max Piccolomini, who until then could not believe that the great man could commit treason, now also renounces him and dies in battle. Octavio Piccolomini drives away Wallenstein's most loyal supporters. He finds himself abandoned by everyone. He is forced to retreat to the fortress of Eger. There he is murdered.