FT 2482 C25f copy 2 A A SOUTh ^^=^ in 7 4 1 LIB -n 8 3 4 THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES FRIEDRICH SCHILLER. (After a painting by Ludovika Simanowitz.) FRIEDRICH SCHILLER A SKETCH OF HIS LIFE AND AN APPRECIATION OF HIS POETRY PAUL CARUS ILLUSTRATED CHICAGO THE OPEN COURT PUBLISHING COMPANY LONDON AGENTS KEGAN PAUL. TRENCH. TRUBNER & CO.. LTD. 1905 Copj^right 1905 by The Open Cotut Publishing Co. ChicasfO CONTEXTS. FACE The Poet's Biography i Schiller, a Philosophical Poet 32 Scliiller's Poetry 59 Expectation 61 Pegasus in ITarness 62 Division of the Earth 67 Hymn to Joy 68 Cavalry Song (From W^allenstcin's Camp) 71 The Alpine Hunter 73 Proverbs of Confucius 76 Light and AVarmth 78 The Lay of the Bell 79 The title-page vignette is a reproduction of Schiller's seal, and the tail- piece on page 102 of his coat of arms. 274625 THE POET'S BIOGRAPHY. FRIEDRICH Schiller is not merely a great poet, he is great as a man, as a thinker, and as a leader in the progress of humanity. He is a disciple of Kant, but not his blind follower. He applies Kant's philosophy to practical life, but works it out in his own way. Especially in his religious convictions Schiller is far ahead of his time. He points out a way of conservative advance along the lines of liberty and reverence, and so the opposition in which he stands to the narrow dogmatism of his age, is not a lack of religion but the surest evidence of a deep religious spirit. It pervades all his works and makes him a prophet of the religion of the future, a priest on the altar of mankind, and a poet of the eternal ideals of life. * ;!; * The great poet's father, Johann Kaspar Schiller, was born Oc- tober 27, 1723, in Bittenfeld, near Waiblingen. He was the son of Johann Schiller, the mayor of the village, and his wife, Eva Maria, whose maiden name was Schatz. Schiller's father was a military surgeon. He served both as soldier and as army physician, especially in Holland. After his marriage, in 1749, he settled in Marbach. In 1753 he entered the Wiirttemberg army and fought against Prussia in 1758. He was made lieutenant in 1759 (March 21) and captain in 1761 (August 17). His regiment was stationed part of the time in Ludwigsburg and part in Stuttgart, and in 1770 he was given a company of his own. In 1785 he was transferred to the Solitude in charge of the garden. Here he devoted himself to arboriculture and wrote two works on that subject, in which he incorporated his experiences of twenty years' active service as a gardener.' In T794 he was promoted to the rank of lieutenant- colonel, and (lied September 7, 1796. ^ Gedanken iiher die Baumziicht im Grossen (1793), and Die Daumsucht im Crosscn nach zwanzigjahrigcr Hrfalirttng im Kleinen (1795). 2 FRIEDRICH SCHILLER. Schiller's mother, Elisabetha Dorothea, was the daughter of Friedrich Kodweis, the baker in Marbach and owner of the Lion inn. She was married to the poet's father on July 22, 1749, and died April 29, 1802. Schiller had five sisters of whom two died early and three reached the age of maturity. The eldest, Elisabetha Chris- tophina Friederika, (commonly called Fine at home,) was born at HOUSE OF SCHILLER S UIRTH. Marbach, September 4, 1757, and married June 22, 1786, to the poet's friend, the librarian Wilhelm Friedrich Hermann Reinwald of Meiningen. She died at Meiningen, August 31, 1847. Of the two younger sisters, Luise Dorothea Katharina was born January 23, 1766, at Lorch. She was married October 20, THE POETS BIOGRAPHY. 3 1799, to Johann Gottlieb Frankh, a clergyman and teacher of Mock- miihl, who was born December 20, 1760, and died September 14, 1836. Schiller's youngest sister, born September 8, 1777, at the Soli- tiide, was baptized Karoline Christiane, but always called Xannette QX Nane. She died unmarried March 23. 1796. SCHH.LER S FATHER. (After a painting by Ludovika Simanowitz.) The poet was born November 10, 1759, at Marbach. In bap- tism he received the name Johann Christoph Friedrich. When he was three years old the family moved to Ludwigsburg (1762) and two years later (1764) to Lorch. Here Schiller received his first 4 FRIEDRICH SCHILLER. instruction from Pastor Moser who was immortalized in the ven- erable character of the same name that figures in the poet's first great drama "The Robbers." From 1766 to 1772, Schiller attended the Latin school at Lud- wigsburg and at that age he cherished the ambition of studying theology. The Christian spirit of his thoughts is reflected in a SCHILI,ER S MOTHER. (After a painting by Ludovika Simanowitz.) tragedy which he conceived at the time under the title "The Chris- tians." In the beginning of the year 1773, Schiller entered the military school at Solitude, which was transferred in 1775 to Stuttgart and THE POET S BIOGRAPHY. 5 was enlarged by the addition of a medical faculty. Here he selected medicine as his specialty, but the spirit of the military academy was not congenial to him and if he had had his own way he would have left it. In 1780 (in the middle of December) he was appointed phy- sician and surgeon to a regiment of grenadiers at Stuttgart. Here he made the acquaintance of Frau Henriette von Wolzogen, who was the mother of Wilhelm von Wolzogen, his chum at the military academy. While in Stuttgart, in 1781, Schiller roomed at the house of a CHATEAU SOLITUDE NEAR STUTTGART. (After a painting by Viktor Heideloff.) captain's widow, Frau Laura Vischer, to whom he addressed some of his still boyish lyrics expressing his first disappointments in love. The poems to Minna, \\^ilhelmina Andrea, are perhaps an advance in taste and sentiment, but these early efifusions possess merely histor- ical value. Though the young poet was only twenty-two years old, he finished "The Robbers," a stirring and impressive tragedy which was presented for the first time at Mannheim, January 13, 1782. In April of the same year he took his degree as Doctor of Medicine. On May 25, Schiller left the garrison at Stuttgart without leave, FRIEDRICH SCPIILLER. in order to visit director Dalberg of the Mannheim stage. Upon his return he was punished with fourteen days imprisonment, and when complaints had been made with reference to some objection- able passage in 'The Robbers," Karl Eugen, Duke of Wiirttem- SCHILLER READING THE ROBBERS TO HIS FELLOW STUDENTS IN THE BOPSER WOODS. berg, forbade him to pursue further his literary work, and ordered him strictly to cut off all connection with foreign countries (Ans- laiid), referring to his visit at Mannheim in the neighboring duchy. THE POET S BIOGRAPHY. The critical incident in Schiller's life was his flight to Mann- heim in the night of September 17, 1782;- in company with his SCHILLER AFTER AN ENGRAVING UY F. KIRSCHNER. (Made in 1782-83.) The picture underneath the portrait is a representation of a scene from "The Robbers." friend Streicher, a musician. Conditions in Stuttgart had becoine intolerable, and he felt that unless he surrendered all his ambitions 2 Some authorities date this event on the night of September 2223. FRIEDRICH SCHILLER. and ideals, he was obliged to take the risk of cutting loose from his home and his duke, who still ruled in the old-fashioned paternal way which involved too much interference with personal liberty. SCHILLER IN HIS TWENTY-SIXTH YEAR. However, Schiller was greatly disappointed in his immediate expectations. When he arrived at Mannheim, Dalberg received him THE POET S BIOGRAPHY. 9 kindlv and invited him to read his new drama "Fiesko" before the actors of his company. Unfortnnately Schiller spoke the broad Swabian dialect and read scene after scene in an unabated pathetic monotone which made the context unintelligible. The curiosity with which the actors had received the young poet changed to in- difference, and a general inattention resulted in the discontinuance of the recital. Many of those present doubted whether the young stranger was really the poet Schiller, and Dalberg himself was dis- appointed. But after Schiller had left, the director read the manu- script over and discerned that the fault had been in the reading and not in the drama itself. So he sent again for the author, who had SILHOUETTE OF SCHILLER. (Oldest portrait extant, probably 1772-72.) become disheartened, and reassured him without, however, making definite arrangements. In his extremity, the poet found some relief through the in- terest which a Mannheim publisher, Herr Schwan, took in the manuscript of "Fiesko." To him Schiller sold the right of publi- cation for eleven louis d'or — just sufficient to pay his bill at the inn and for his immediate needs. Schiller left for Frankfort in October of the same year (1782). He returned to Stuttgart incognito, for he was in danger of arrest because of his desertion, and lived nearby in Oggersheim under the lO FRIEDRICH SCHILLER. name of Dr. Schmidt. Here he recast "Fiesko" and worked out "Luise Alillerin," (later on pubHshed under the title Kahale unci Liehc), the plan of which had been conceived at Mannheim. Being practically homeless, Schiller was cheered by an invita- tion tendered him by Frau von Wolzogen, offerino- him an asylum on her estate at Bauerbach. to which place he traveled in December FRAU HENRIETTE VON WOLZOGEN. (From an anonymous painting.) under the name of Dr. Ritter. This estimable woman remained Schiller's motherly friend to the end of her life, August 5, 1788. It was while he was staying at Bauerbach that he made the acquaintance of Reinwald, the librarian at ]\Ieiningen who was later THE POET S BIOGRAPHY. II to become his brother-in-law. While there, he completed his drama "Luise Alillerin" and began "Don Carlos." During this same period Schiller conceived a warm attachment for the daughter of his hostess, Charlotte von Wolzogen, of whom he speaks as a "most beautiful, innocent, tender, and impressionable soul, fresh from the hands of the Creator," but we find that as CPIAKLOTTE VON WOLZOGEN. Afterwards Fran von Lilienstern. (From an anonymous painting.) early as 1784 he had surrendered all thought of marriage with her. She was married four years later to August Franz l-'riedrich von Lilienstern, councilor at Hildburghauscn, where she died September 20, 1794. 12 FRIEDRICH SCHILLER. July 27, 1783, Schiller returned to Mannheim and accepted Dalberg's appointment as theatrical poet of the stage at Mannheim, promising to furnish "Fiesko," "Luise Millerin," and some addi- tional plays. Simultaneous with his sojourn at Mannheim is Schiller's in- terest for his publisher's daughter, Margareta Schwan, who later on, July 16, 1793, became the wife of Karl Friedrich Treffz, a law- yer of Heilbronn. At Mannheim, in 1784, Schiller met also Charlotte von Lenge- feld, who was destined to become his wife ; but his first acquaintance with her was so superficial that at the time it produced no deep effect upon his mind. Although he was financially hard pressed. Schiller had now SCHILLER S RESIDENCE AT BAUERBACH. firmly and forever established his renown as a dramatic poet. On January 11, "Fiesko" was produced, and March 9, "Love and In- trigue" (Kabale unci Lichc). In May he made the acquaintance of Frau Charlotte von Kalb who was visiting in Mannheim. In order to popularize his ideas of dramatic poetry he origi- nated a literary magazine, the Rheinische Thalia. Having traveled to Darmstadt, he met Karl August, Duke of Weimar, the wellknown patron and friend of Goethe, to whom he read the beginning of "Don Carlos," in recognition of which he received the title "Coun- cilor." In 1785 Schiller left Mannheim and took up his residence in THE POET S BIOGRAPHY. 13 Saxony, where he stayed partly in Leipsic and GohHs, partly in Dresden as a guest of the Korner family with whom he had been previously in correspondence. The old councilor, Christian Gottfried Korner, was born July 2, 1756, at Leipsic. He studied jurisprudence in Gottingen and Leipsic and had been solicitor in the Consistory at Leipsic and Dresden. In 1790 he was transferred to the Court of Appeals, and in 18 1 5 was called to Berlin on the State Council in the department of Church government. It is well known that Schiller exercised a great influence upon MARGARETA SCHWAN, AFTERWARDS FRAU TREFFZ. (From a miniature.) the Councilor's son, Karl Theodor Korner, the young poet, (born September 23, 1791,) whose promising career was cut short in the War of Liberation where he died on the field of battle at Gadebusch, August 20, 181 3. From Gohlis he proposed for the hand of Margareta Schwan, but her father refused without consulting his daughter's wishes on the plea that her character was not suited to Schiller. Schiller now began to consider seriously how he could settle in 14 FRIEDRICH SCHILLER. life and earn a living. He planned to resume his practice as a phy- sician. He stayed in Gohlis where he wrote his "Hymn to Joy" for the Tholia and further scenes of "Don Carlos." September 12 he took up his residence in the little vintage house of the Korner estate in the outskirts of Dresden, and in October he moved into town where he lived with his friend Huber at the home of the Fleisch- mann family opposite the Korner residence. CHRISTL\N GOTTFRIED KORNER. In the winter of 1787 at a masked ball, Schiller met and be- came infatuated with Henriette von Arnim, a coquette whose in- fluence was fortunately not of long duration. In July he visited Weimar. Goethe happened to be absent, but he met Herder and renewed his acquaintance with Frau von Kalb. He continued to pursue his historical studies, preparing a work THE POET S niOGRAPIIV. PAVILION IX KORXER S VIXTAGE AT LOSCHWITZ, NEAR DRESLiFN. Schiller's home in gohlis near leii-sic. i6 FRIEDRICH SCHILLER, on the Dutch Rebellion, and about this time he wrote "The Gods of Greece." iffllll!Illll]Illlffl!JMl].0]IlilIO]]]jIlII[|]]aiIIfflIirafflffl[™iffll]fflMfflIIMMlM SCHILLER IN I786. (Painted by Anton GrafiF, and engraved by J. G. Miiller in 1794.) He met Goethe for the first time at Rudolstadt on September 9. On his frequent visits to that little city he became more intimately THE POET S BIOGRAPHY. 17 acquainted with the Lengefeld family to whom he had been intro- duced by his friend Wilhelm von Wolzogen. Mr. Lengefeld was the forester of Schwarzburg-Rudolstadt, and his two daughters. Karoline and Charlotte, were distinguished for their grace and in- tellect. At the request of Goethe, Schiller was appointed professor of CHARLOTTE VON KALB. (Painted in 1785 by F. Tischbein. Original in licr borne Cbatcaii Walters- hausen in Thuringia.) history at the University of Jena, May 11, 1789, with an annual salary of two hundred thalers. His first lecture was on the subject, l8 FRIEDRICH SCHILLER. "What means universal history, and to what purpose do we study it?" On December 22, 1789, Schiller became engaged to Charlotte von Lengefeld (born November 22, 1766), and they were married on February 22 of the following year. Charlotte's elder sister Karoline (born February 3, 1763,) had KAROLIN'E VOxV LENGEFELD. Afterwards Frau von Wolzogen. (Enlarged from an ivory miniature.) been Schiller's good friend and adviser. In 1780 she was married to Friedrich Wilhelm Ludwig von Beulwitz, a member of the Schwarzburg-Rudolstadt Council; but later, having been divorced THE poet's biography, 1 9 from him in 1794, she was happily married to Wilhelm von Wol- zogen, Schiller's life-long friend. During the summer of 1790, Schiller lectured on the theory of tragedy and on the history of the Thirty Years' War. CHARLOTTE VON SCHILLER. (After a painting by Ludovika Simanowitz.) In February 1791 he had a serious illness; in March he began the study of Kant ; in April he retired to Rudolstadt as a convalcs- 20 FRIEDRICH SCHILLER. cent; in May he had a relapse which was so severe as to cause a rumor of his death (June 12). He spent June in Karlsbad whence he moved to Erfurt. Karl August bestowed a donation upon him, while Duke Fried- rich of Schleswig- and Count Schimmelmann, the Premier of Den- mark, granted him small annual pensions. NANNETTE SCHILLER. (After a painting by Ludovika Simanowitz.) In 1792 he visited Dresden again. While sojourning in the capital of Saxony Schiller received the honorary citizenship of the French Republic under the name "Sieur Gille." THE POET S BIOGKAl'HY. 21 On September 14, 1793, while he and his wife were visiting his old home at Ludwigsburg, a son was born to them whom they named Karl Friedrich Ludwig. In 1794, Schiller and Goethe began a lively correspondence LUISE SCHILLER. Afterwards Frau Frankh. (From a miniature in water-color.) which was continued until Schiller settled permanently in Weimar five years later. The friendship between the two great poets was firmly cemented and they published together a periodical under the title Die Horcn, the Greek name for the Seasons. It was in 1797, when attacks 22 FRIEDRICH SCHILLER. from minor literary writers upon the two great poets became espe- cially virulent, that Schiller and Goethe decided to open a general warfare upon their enemies in a series of sarcastic distichs which they called "Xenions," having in mind similar couplets written by Martial under this title. The worst trials of Schiller's life were now over. He wrote "Ideals of Life," "The Walk," "The Lament of Ceres," etc. A SATIRE ON THE XENIONS. [This interesting drawing appeared in 1797 in the pamphlet entitled, TrogaUen cur Verdaimng der Xcnien (Dessert for Digesting the Xenions). It represents the Xenions under the leadership of Schiller and Goethe, tearing down the Pillar of Decency, Morality, and Justice, while the gate-keeper re- fuses them admittance. Harlequin bears their standard with the inscription "Schiller & Co." Goethe, as a fawn, holds up a ribbon on which is the word "Zodiac" {Thierkreis, i. e., the circle of emblematic animals in the sky). It is to signify that he inaugurates a return to brute principles. Schiller is dressed as a driver in riding-boots with a lash in one hand and a bottle in the other. Both portraits are independent of any known picture of the two great poets, and must have been made from life by a skilled artist.] Jena. stein. July II, 1796, his son Ernst Friedrich Wilhelm was born at I. 1796 to 1799 Schiller worked out his great trilogy "Wallen- i." In 1797 to 1798 he composed ballads and philosophical poems. THE POETS BlOGRAl'IIV. 2^ October 5, 1799^'- liis oldest daughter Karoline Henriette Luise was born. The happiest time of Schiller's life was spent in the bosom of SCllILEER IS V\T:1-\1AK BY W. LINDENSCHMIT. his family at Weimar, where he enjoyed the friendship of the greatest literary men of his age; and a scene incori)oraling all these ^ Authorities vary on the day of the month. 24 FRIEDRICH SCHILLER. features of his domestic bliss has been painted by Lindenschmit, explained as follows by Mr. Erwin Foerster in an edition de luxe of Schiller paintings: "Some of his happiest hours he enjoyed at Weimar where he moved to in 1799, on every Wednesday afternoon, when he, surrounded by his friends, could read to them whatever news the Muse had presented him with. It CHRISTOPHINE SCHILLER. Afterwards Frau Reinwald. is such a meeting Lindenschmit preferred as a subject for his composition. Above Schiller, Musaeus is seen leaning over the balustrade. Carl August and Wilhelm v. Humboldt are approaching. Before them is a very attractive group of ladies. Corona Schroeter, the celebrated actress, is standing behind Frau von Laroche who had gained some renown in German literature, and THE poet's biography. 2^ whose acquaintance Schiller had already made when at Mannheim. On her left side Charlotte von Kalb is sitting, the reconciled friend of our poet; —a lady to whom he, during his first stay at Weimar, bore as tender a love as Goethe to Frau von Stein. This intimacy, however, was, undoubtedly to Schiller's advantage, interrupted by Charlotte von Lengefeld, who now, a kind hostess, is sitting at the table. Her head is lightly resting upon her arm; her eldest boy in her lap, whilst she looks with pride, mingled with FRIEDRICH DUKE OF SCHLESWK^.. (After a painting by Graff.) tender care, upon her husband. Upon her shoulder is her sister leaning, Frau von Wolzogen, in whose mother-in-law's house at Baucrbach Schillor met with the first friendly reception since his escape from Stuttgart. There is still another friend at the table, in the foreground, Frau von EglofTstcin, a companion as spirited as she was amiable. It is to her the poet seems 26 FRIEDRICH SCHILLER. particularly to address his words, since he valued her judgment very highly. Between Schiller's wife and Laroche, Korner, the father of Theodor, has found a seat. He came frequently from Dresden to see his dearest friend. Behind him Herder and Goethe are standing." Soon after the removal to Weimar, which took place December 1799, Schiller again fell sick and recovered slowly during the spring. ERNST HEINRICIi COUNT SCHIM MELIVF ANN. (After a painting by Paulsen.) In Tnlv he began to write "The Maid of Orleans." In 1800 he fin- ished "Maria Strart." He translated "Macbeth," which in his ver- sion was produced May 14, 1800. In the same year the first volume of his poems appeared. THE 1'Oh.T S inOGUAl'HV. 27 ERNST VON SCHILLER. KAROLINE VON SL1IILIJ-J<. KARL VON SCHILLER. ALEXANDICK VON ( ILI'.IC 1 1 1:N- UUSSWTKM. 28 FRIEDRICH SCHILLER. In 1801 he completed "The Maid of Orleans" and began "The Bride of Messina." ADELBERT VON GLEICHEN-RUSSWURM AND FAMILY. (Schiller's daughter.) In 1802 he wrote his poem "Cassandra" and adapted Gozzi's "Turandot," which was produced at Weimar. THE poet's biography. 20 September 7, 1802, he was knighted by the Duke, the coat of arms being a unicorn rampant in blue and gold. The "Bride of Messina" was completed in 1803. In April 1803 he wrote the "Count of Hapsburg" ; in May the "Feast of Victory," and in August he began his work on "Wilhelm Tell." In February 1804 he completed "Wilhelm Tell" and began a new play "Demetrius," which, however, was never finished. In July he caught a severe cold on a journey to Jena, where on the 25th of the month his daughter Emilie Henriette Luise was born. In December he began a translation of Racine's "Phsdra," which remained incomplete. His cold became worse, and under disconnected continuance of his work his illness lingered with him, until he died suddenly May 9, 1805, at 5 P. M., at his home in Wei- mar. His wife survived him until July 9, 1826. Emilie von Schiller, the poet's second daughter, was married to the Baron of Gleichen-Russwurm, and Alexander, the only son of her son Ludwig, and the present Baron of Gleichen-Russwurm, is Schiller's only surviving descendant since his daughter Karoline never married and both sons died without children. CHARLOTTE V'ON SCIIIM.ER. (Probably 1784.) We conclude this sketch with a description of Schiller's per- sonality, mainly following Professor Brunner's notes on the subject which he collected from contemporary authorities. Schiller was tall and almost lank. He measured 1.79 metres in height, five centimetres more than Goethe. His bearing was al- ways upright and betrayed the military training he had received in his early youth. His face was distinguished without being beauti- 30 FRIEDRICH SCHILLER. fill : the skin was delicate and covered with freckles ; the mouth expressive ; his lips were thin and the low-er one somewhat pro- truding, which showed much energy when he was speaking ; his chin was strong and full of character ; his cheeks, however, were pale and somewhat sunken ; his forehead was broad and evenly arched : his nose, prominent, but well-formed ; his eyebrows were red and his eyes deep-set and of a dark gray color ; his glance was firm and eagle-like. In discussion his eyes lighted up with enthu- SCHILLER ON DONKEY.* siasm, and his otherwise calm face seemed to indicate introspective thought, as if contemplating higher objects in his own soul. Yet when he looked at others it seemed to touch the very heart. His hair was blonde and almost yellow. Schiller's voice was neither clear nor resonant but it was sym- pathetic, especially if he himself was in a state of emotion or tried * This drawing is commonly ascribed to Schiller's friend Reinhart, and goes under the name "Schiller in Karlsbad, 1791"; but Theodore Distel shows its doubtful authorship and date, and points out that Schiller would scarcely have smoked in Karlsbad, and so proposes instead to consider it as "Schiller at Meiningen in 1787." THE POETS I'.K^CRAIMIV. ^^ I to convince others. He spoke the Swabian cHalcct and was never able to overcome it. Though his enunciation was poor, he loved to read his dramas and poems himself. He did not possess any skill in elocution, but his head and face were C|uite effective whenever he recited poetry. His forte was conversation. He understood verv well how to interest people, and the flow of his words was al- most uninterrupted, combining clearness of mind and a harmonious arrangement of ideas. Schiller's summer home at jena. (From a drawing made by Goethe in 1819.) Whenever Schiller smiled it seemed to come from his very soul, and his laughter was as pleasant as a child's. When at rest, his face always bore in later years a serious and even a sufifering expression, due to his bodily ailments ; but he sup- pressed complaints and preserved in his entire conduct, in spite of the disease to which he fell a ])rcmature prey, an amiable serenity. SCHILLER, A PHILOSOPHICAL POET. A GAIN and again has the question been raised whether philosoph- Ix. ical or scientific poetry is possible, and upon the whole it has been answered in the negative. I beg to differ from the commonly accepted viw and would say that poetry may invade any domain without ceasing to be poetry. The main difficulty of philosophical and scientific poetry lies in the restriction of the subject to an ex- tremely limited public and that is the reason why philosophical poetry does not find the all but universal recognition of love songs. The possibility of philosophical poetry is best proved by the fact of its existence, but the truth is that the general public has not become acquainted with it or knows it only from hearsay. The large masses will never read, much less appreciate, philosophical poems. Philosophical poetry is like classical music ; few are the con- noisseurs that can really judge of its merits. In a certain sense we may call Beethoven the philosopher among composers. His sonatas, though breathing all the freedom of art, exhibit a logical consistency which makes them appear like revelations of the law that is shaping the world ; yet, since they are expressed in chords and tone-figures, his compositions appeal directly to sentiment, and their truth is felt even when not fully understood — a fact which considerably widens the audience of the music philosopher. We must not expect such a music philosopher to be as popular as a ragtime composer, and for the same reason poems of philosophical significance will naturally find few admirers. Philosophical poetry flourished in Germany in the classical period when its intellectual horizon was decked with a galaxy of stars of the first magnitude, such as Klopstock, Goethe, Herder, Schiller, Lessing. Kant, Beethoven, Bach, Mozart, and Haydn. In order to forestall any possible misinterpretation, we must first of all explain what we understand by poetry. Poetry is cer- SCHILLER, A PHILOSOPHICAL POET. 33 tainly not limited to meter and rhyme, and philosophical poetry is most assuredly not simply rhymed philosophy. I'oetry is sentiment expressed in words, and so anything that effects sentiment can be- come a fit subject of poetry. A mathematical theorem and its demonstration are ])rose. But if the mathematician is overwhelmed with the grandeur and won- drous harmony of geometrical forms, of the importance and uni- versal application of mathematical maxims, or, of the mysterious simplicity of its manifold laws which are so self-evident and plain and at the same time so complicated and profound, he is touched by the poetry of his science ; and if he but understands how to give ex- pression to his feelings, the mathematician turns poet, drawing inspiration from the most abstract domain of scientific thought. Why a mathematical or otherwise scientific poetry ^las not yet developed, is due simply to the fact that there are not enough mathe- maticians in the world to form an audience sufficiently large to make the man of poetical sentiments a real poet as the word is commonly understood; for ^ the poet is made by the people, and public recog- nition is the true laurel wreath of any real poet laureate. Practic- ally speaking, any one who has poetical sentiments is potentially a poet, and if he expresses his sentiments in words, he becomes in fact a poet to himself. However, a poet is known as one only when he voices such sentiments as will find an echo in the hearts of large multitudes that recognize in him the prophet who can find words for that which they themselves feel but vaguely. Thereby he be- comes a poet in name as well as in fact. Thus the main condition of a poet recognized in literature as great, depends not merely upon himself, but also upon the circum- stances under which he writes. No poet can originate in a country where poetry is not appreciated. The poetical galaxy of the classical period of Germany was conditioned by the broad intellectual at- mosphere which prevailed at that time, when the Teutons' fatherland was politically weak, but very strong intellectually, having its best intellect concentrated upon international and human ideals. It was an age of cosmopolitan aspirations. All true poets are prophets both in the original .sense- ..t the word and in its commonly accepted significance. A prophet' is a preacher, one who propounds the law of the higher life. ..I tlir ideal. A prophet is, as the Hebrew calls him, a nabi, a revealrr of truth, a messenger who speaks in behalf of the moral world-or.ler expounding the duties which it involves. Prophets are confronted ■JVU()(I>>/TI/ 34 FRIEDRICH SCHILLER. with the same reality as their fellow creatures, but while other mortals see merely what is, prophets have the vision of what ought to be ; and by comprehending the law of being, they actually can foresee the future. When Amos, the shepherd of Tekoah, witnessed the tyranny of the powerful, the oppressiveness of the rich, and the debaucheries in which the whole people indulged at their national festivals, he saw at once the doom which this lack of discipline foreboded ; and he raised a cry of alarm among the revelers at Bethel, prophesying the desolation that would follow in the wake of their feasts. He whose mind's eye is undimmed by passion can always see the curse that accompanies sin and self-indulgence. Schiller was the prophet of the ideal, the revealer of the ought ; and at the same time his sensitive nature made him understand the signs of the time, so as to render his poetry predicions of the near- est future. The barometer does not better predict the weather than did Schiller's dramas the great historical events of the age ; and what is most remarkable is the exactness with which the German poet anticipated every change in the fate of the world in regular succession. Thus Schiller wrote "The Robbers" in 1780-1781, and the French revolution ensued, an outburst of the same spirit which pervaded this drama. In 1783 Schiller dramatized the story of the bold adventurer Fiesko, who took possession of the throne of Genoa, and Napoleon soon afterwards seized the government of France and placed the imperial crown upon his head. In 1791 Schiller wrote his famous trilogy "Wallenstein," and the succeeding years became a period of warfare which were paralleled in the history of Europe only in the campaigns of the great Duke of Friedland. Further on, in 1801, Schiller wrote "The Maid of Orleans," de- scribing a foreign invasion and the heroic struggle for liberty, fore- shadowing Napoleon's conquests and the national rebirth of Ger- many which ended in the final expulsion of the Corsican invader. "William Tell," Schiller's last work, written in 1804, is a noble prophecv of the eventual union of the German tribes which took place in much the same way as the Swiss formed their confederacy ; for united Germany also was the result of a self-defence against the external danger of a common foe. Schiller's anticipations of coming events must be startling to those who do not understand that the poet's nature by his very vision of the ideal will necessarily and naturally presage the future. And there was no one among all the prophets of the world who had a clearer and more philosophical grasp of the significance of the SCHILLER, A PHILOSOPHICAL POET. ^5 '^^:^^^ll ^^^ ^^^^*i°" to the real than Schiller; and thus Schiller has become a religious prophet annonncino: a deeper conception of God as based upon the matured thought of the philos.^phv of his time. We cannot understand Schiller's attitude in religion and phi- losophy without bearing in mind the influences a\ hich ancient Greece (and especially Plato) exercised upon his mind. His classical ideas, however, were matured through a study of Kant's philosophy,, which taught him to distinguish clearly between the formal and the mate- rial, in that the formal, represented by the so-called Platonic ideas. is the most essential part of existence from which rise all our ideals, and wdiich alone can lift us into a higher sphere of life. Plato was the inventor of the conception of the ideal from which Philo, a Jewish philosopher of Alexandria, (20 B. C. — 40 A. D.) developed the doctrine of "words"" which manifest them- selves as virtues in the spiritual leaders of the world. Thu.s Abra- ham is said to be the educational virtue ;' Isaac, the ingrained or natural virtue f Jacob, the practical virtue f Joseph, political virtue, as leading a life of political usefulness ;" and Moses is the pattern of all virtues; he is the model and a unique manifestation of the word,^^ as the totality of all words. Philo's logos doctrine contains the Christian views as expressed in the Fourth Gospel. It is a Platonic view that the logos is, as Philo says, "the archetypal model, the idea of ideas," but it is al- ready a genuine Christian thought. When Philo speaks of "the word of the Supreme Being" as "the second Deity," and as "the image^- of God, by whom all the world has been framed," he antici- pates the Christology of the second century. While the conception of the ideal is represented by Plato with a tinge of corporeality as if ideas were beings or things that existed somewdiere in an unspacial space and an untemporal time, and while to Philo every logos is a force^^ performing work as we might thuik of light and electricity, or tools employed by the great archiuci of the world in his work of creation, Schiller conceives of the ideal realm as forms with the scientific clearness that is possessed only by the trained mathematician. The realm of the ideal is nni any- thing material, nor is it dynamical: it is pm-ely formal. ^ et the formal is the most essential part of this material reality winch is the world in which we live and move and have our being. The purely formal is the relational, i. v.. thai which (Iclcrniini's « Xoym. ' iMaaKuAiKi/ afnr//. ** fvotxi/ cifieTt/. " (inKi/rnd/ (i/i»r//. 36 FRIEDRICH SCHILLER. change of position, and is therefore called in Greek the causal or causative," and is contrasted with the material. ^'^ All our spiritual life depends upon the formal. Logic, arith- metic, yea, reason itself is nothing but a systematization of the purely formal aspect of things, and moral aspirations are but its application. Schiller was fully impressed with the significance of the domain of pure form, and so builds his philosophy upon the traditions of classical antiquity modified by Kantism. The purely formal is not an idle illusion ; it is the recognition of the eternal, the immutable, the absolute, the laws of which pervade the whole universe and determine the destiny of stars as well as of molecules, of nations and of every single individual not less than of mankind as a whole. Thus James Sime, compiler of the meagre sketch of Schiller's life in the Encyclopaedia Britannica, is right in his terse characterization of the poet when he says : "Schiller had a passionate faith in an eternal ideal world to which the human mind has access; and the contrast between ideals and what is called reality, he presents in many different forms." This side of Schiller's poetry is little known among the Eng- lish-speaking nations. Goethe's philosophy has become accessible through the excellent translations of several ingenious translators, men like Bayard Taylor and others. It appears that it is even more difficult to translate Schiller than Goethe. Schiller's verses sound like music ; yet their language is simple, and a native German needs no effort to understand their meaning at once. It seems almost impossible to reproduce their elegant diction adequately. The most important poem that sets forth Schiller's confession of faith in its philosophical foundation is his eulogy on "The Ideal and Life," the most significant verses of which are as follows: "Smooth, and ever clear, and crystal-bright, Flows existence zephyr-light, In Olympus where the blest recline. Moons revolve and ages pass away But unchanged, 'mid ever-rife decay, Bloom the roses of their youth divine. Man has but a sad choice left him now, Sensual joy and soul-repose between; But upon the great Celestial's brow, Wedded is their splendor seen. N"Wouldst thou here be like a deity, In the realm of death be free, Never seek to pluck its garden's fruit ! 1* TO aiTiu^e^. '^ TO v7jk6v. SCHILLER, A PHILOSOPHICAL POET. 37 On its beauty thou may'st feed thine eye ; Soon the impulse of desire will fly And enjoyment's transient bliss pollute. E'en the Styx that nine times flows around Ceres' child's return could not delay ; But she grasped the apple— and was bound Evermore by Orcus' sway. "Yonder power whose tyranny we bemoan, On our bodies has a claim alone. Form is never bound by time's design. She the gods' companion/" blest and bright Liveth in eternal realms of light 'JNIongst the deities, herself divine. Wouldst thou on her pinions soar on high, Throw away the earthly and its woe ! To the ideal realm for refuge fly From this narrow life below." (Translation by Bowring with the last stanza altered.) [Ewigklar und spiegelrein und eben Fliesst das zephyrleichte Leben Im Olymp den Seligen dahin. IMonde wechseln, und Geschlechter fliehen; Hirer Gotterjugend Rosen bliihen Wandellos im ewigen Ruin. Zwischen Sinnengliick und Scelenfrieden BIcibt dem Menschen nur die bange Wahl ; Auf der Stirn des hohen Uraniden Leuchtet ihr vcrmahlter Strahl. Wollt ihr schon auf Erden Gottern gleichen, Frei sein in des Todes Reichen, Brechet nicht von seines Gartens Frucht ! An dem Scheine mag der Blick sich weidcn ; Des Genusses wandelbare Freuden Rachet schleunig der Begierdc Flucht. Selbst der Styx, der neunfach sie umwindct, Wehrt die Riickkehr Ceres' Tochter nicht; Nach dem Apfel greift sie, und es bindet Ewig sie des Orkus Pflicht. Nur der Korper eignct jencn Miichtcn. Die das dunkle Schicksal flechlen ; Aber frei von jeder Zeitgcwalt, Die Gespielin seliger Naturen, Wandelt oben in des Lichtes Fhircn Gottlieb unter Gottern die Gestalt. i« Die Gespielin seeliger Naturen, means the companion of the hlcssed ones, i. c, the is, and not (as Mr. Bowring has it) "blissful Nature's playmate." 274625 T,S FRIEDRICH SCHILLER. Wollt ihr hoch auf ihren Flugeln schweben, Werft die Angst des Irdischen von euch ! Fliehet aus dem engen, dumpfen Leben In des Ideales Reich!] Schiller, utilizing the notions of Greek mythology, emphasizes in the thirteenth stanza the contrast of pure form with realit}- ; the ideal life, with actual material existence : "In yon region of pure forms, Sunny land e'er free from storms, Misery and sorrow cease to rave. There our sufferings no more pierce the soul, Tears of anguish there no longer roll. Nought remains but mind's resistance brave. Beauteous as the rainbow's colored hue, Painted on the canvas of the cloud, E'en on melancholy's mournful shroud Rest reigns in empyrean blue." [Aber in den heitern Regionen, Wo die reinen Formen wohnen, Rauscht des Jammers triiber Sturm nicht mchr. Hier darf Schmerz die Seele nicht durchschneiden, Keine Thrane fliesst hier mehr dem Leiden, Nur des Geistes tapfrer Gegenwehr. Lieblich, wie der Iris Farbenfeuer Auf der Donnerwolke duft'gem Tau, Scliimmert durch der Welmnit diistern Schleier Hier der Ruhc heitres Blau.] The eternal ideals have found an appropriate representation in the mythology of Greece, while bodily existence is regarded as a vale of tears. Peace of soul exists alone in the realm of pure form ; there no sufifering exists ; for what is painful struggle in real life, appears in the domain of the ideal merely as beauteous contrast. Schiller's description of the region of pure forms reminds us of St. John's Revelation, where we read: "And God shall wipe away all tears from their eyes : and there shall be no more death, neither sorrow, nor crying, neither shall there be any more pain ; for the former things are passed away." Pure form is divine, while its bodily realization is mingled with that element that is of the earth earthy. ["Therefore the poet exhorts us, in the second stanza [quoted above, jnot to lust after the fruit of sensuality; once bound by its spell, we are caught in the maelstrom of desire, leading to disgust, and the desire itself will leave us, which reminds one of Schopenhauer who declares that SCHILLER, A PHILOSOPHICAL POEl 39 life is an oscillation between wants and cinnii. Bnt that is not all. Schiller adds that en joyme nt involves us in the doom of death. an idea in which Greek views are strangely mixed with the resig- nation of the Buddhist. | So long as we are able to discard all earthly sorrow, and seek refuge in the realm of the ideal, we need not fear death. Death is the fate of Eve who tasted the forbidden fruit of sensual desire, but death has no power over Proserpine, Ceres's daughter, the goddess of spring, wiiose return to life from the domain of Orcus, Styx cannot prevent. Schiller's version of the Proserpine myth (in which he follow^s some classical hints) indi- cates that the daughter of Ceres might have returned to life so long as she remained a goddess, a personification of an idea ; but as soon as she partook of the pomegranate offered her by Pluto, she was bound to stay in Orcus. It is peculiar to see how Schiller's views may be characterized at once as both Hellenic and as Buddhistic, and quotations will bear out these general characterizations. In his famous poem "The Gods of Greece," he writes: "Ye in the age gone bj', Who ruled the world — a world how lovely then I — And guided the steps of happy men In the light leading-strings of careless joy! Ah, flourished then your service of delight! How different, oh, how different, in the day When thy sweet fanes with many a wreath were bright, O Venus Amathusia ! "Then the soft veil of dreams Round Truth poetic witching Fancies wreathed; Through all creation overflowed the streams Of life — and things now senseless, felt and breathed. Man gifted Nature with divinity To lift and link her to the breast of Love; All things betrayed to the initiate eye The track of gods above! "Where lifeless, fixed afar, A flaming ball is to our senses given, Phoebus Apollo, in his golden car, In silent glory swept the fields of heaven ! Then lived the Dryads in yon forest trees; Then o'er yon mountains did the Oread roam; And from the urns of gentle Naiades Welled the wave's silver foam. "In the Elysian grove The Shades renewed the pleasures life iicld dear: 40 FRIEDRICH SCHILLER. The faithful spouse rejoined remembered love, And rushed along the course the charioteer. "More glorious than the meeds To Labor choosing Virtue's path sublime, The grand achievers of renowned deeds Up to the seats of Gods themselves could climb. "Art thou, fair world, no more? Return, thou virgin-bloom, on Nature's face Ah, only on the Minstrel's magic shore. Can we the footsteps of sweet Fable trace ! The meadows mourn for the old hallowing life; Vainly we search the earth of gods bereft; And where the image with such warmth was rife, A shade alone is left ! "Cold, from the North, has gone Over the flowers the blast that killed their May; And, to enrich the worship of the One, A Universe of Gods must pass away. Mourning, I search on yonder starry steeps. But thee no more, Selene, there I see! And through the woods I call, and o'er the deeps. No voice replies to me ! "Deaf to the joys she gives — Blind to the pomp of which she is possessed — Unconscious of the spiritual Power that lives Around, and rules her — by our bliss unblessed — Dull to the art that colors and creates. Like the dead time-piece, godless Nature creeps Her plodding round, and, by the leaden weight. The slavish motion keeps. "To-morrow to receive New life, she digs her proper grave to-day; And icy moons with weary sameness weave From their own light their fulness and decay. Home to the Poet's Land the Gods are flown, A later age in them small use discerns, For now the world, its leading-strings outgrown, On its own axle turns. "Home! and with them are gone The hues they gazed on and the tones they heard; Life's Beauty and life's Melody :— alone Broods o'er the desolate void the lifeless Word. Yet, rescued from Time's deluge, still they throng Unseen the Pindus they were wont to cherish ; SCHILLER, A PHILOSOPHICAL POET. 41 /.'^ •"' u-nich gains immortal life in Song, To mortal life must perish !" (Translation by Bulwer-Lytton.) [Da ihr noch die schone Welt regieret. An der Freude leichtem Giingelband Selige Geschlechter noch gefiihret, Schone Wesen aus dem Fabelland ! Ach, da euer Wonnedienst noch glanzte, Wie ganz anders, anders war es da ! Da man deine Tempel noch bekranzte, Venus Amathusia ! Da der Dichtung zauberische Hiille Sich noch lieblich um die Wahrheit wand,- Durch die Schopfung floss da Lebensfiille, Und was nie empfinden wird, empfand. An der Liebe Busen sie zu driicken, Gab man hohern Adel der Natur, Alles wics den eingeweihten Blicken, Alles eines Gottes Spur. Wo jezt nur, wie unsre Weisen sagen, Seelenlos ein Feuerball sich dreht. Lenkte damals seinen goldnen Wagen Helios in stiller Majestat. Diese Hohen fiillten Oreaden, Eine Dryas lebt' in jenem Baum, Aus den Urnen lieblicher Najaden Sprang der Strome Silberschaum. Seine Freuden traf der frohe Schatten In Elysiens Hainen wieder an, Treue Liebe fand den treuen Gatten Und der Wagenlenker seine Balm. Hohre Preise starkten da den Ringer Auf der Tugend arbeitvoller Bahn ; Grosser Thaten herrliche Vollbringer Klimmten zu den Seligen hinan. Schone Welt, wo bist du? — Kehrc wieder, Holdes Bliithenalter der Natur! Ach, nur in dem Feenland der Lieder Lebt noch deine fabelhafte Spur. Ausgestorben trauert das Gefildc, Keine Gottheit zeigt sich meinem Blick, Ach, von jenem lebenwarmen Bikle Blieb der Schatten nur zuriick. 42 FRIEDRICH SCHILLER. AUe jcne Bliithen sind gef alien Von ties Nordes schauerlichem Wehn; Einen zu bereichern unter alien, Musste diese Gotterwelt vergehn. Traurig such' ich an dem Sternenbogen, Dich, Selene, find' ich dort nicht mehr ; Durch die Walder ruf ich, durch die Wogen, Ach ! sie widerhallen leer! UnbewLisst der Freuden, die sie schenket, Nie entziickt von ihrer Hcrrlichkeit, Nie gewahr des Geistes, der sie lenket, Sel'ger nie dnrch meine Seligkeit, Fiihllos selbst fur ihres Kiinstlers Ehre, Gleich dem toten Schlag der Pendeluhr, Dient sie knechtisch dem Gesetz der Schwere, Die entgotterte Natur. Morgen wieder neu sich zu cntbinden, Wiihlt sie heute sich ihr eignes Grab, Und an ewig gleicher Spindel winden Sich von selbst die Monde auf und ab. Miissig kehrten zu dem Dichterlande Heim die Gotter, unniitz einer Welt, Die, entwachsen ihrem Giingelbande, Sich durch eignes Schweben halt. Ja, sie kehrten heim, und alles Schone, Alles Hohe nahnien sie mit fort, All.e Farben, alle Lebenstone, Und uns blieb nur das entseelte Wort. Aus der Zeitflut weggerissen, schweben Sie gerettet auf des Pindus H5hn ; Was unsterblich im Gesang soil leben. Muss im Leben untergehn.] Judging from the text of "The Gods of Greece" it would be inferred that Schiller is hostile to Christianity, but this is not thf^ case. His love for Greek paganism only points out an aspect in the conception of the world, which orthodox Christianity in his time neglected. Schiller himself in a letter to Korner says with reference to "The Gods of Greece": "If I succeed in making out of the shortcomings of religion or ethics a beautiful and consistent whole, I have made a piece of art which is neither immoral nor impious, for the very reason that I took both, not as they are, but as they became after the forceful operation of their separation and new combination. The God whom I criticize in 'The Gods of Greece' is not the God of the philosophers nor the beneficent dream SCHILLER, A PHILOSOPHICAL POET. 43 of the multitudes, but he is one abortion out of many erroneous misshapen conceptions The grods of Greece as I represent them are only the beautiful qualities of Greek mythology comprehended in one general idea." There is a truth in the polytheism of Greece which, philosoph- ically expressed, would identify the gods with the eternal types of being commonly called Platonic ideas. In this ideal realm there is no sorrow, no grief, no pain, because everything material as well as everything sensual is excluded. It is thus as much contrasted with bodily existence as the Buddhist Nirvana is to the Samsara, the domain of birth and death, the eternal round of existence, the wheel of being. The condition of Nirvana according to Buddha is the attain- ment of enlightenment which involves in its practical application the surrender of all clinging to the pleasures of sense, and obviously Schiller's view is to all practical purposes the same. The mental enjoyment of the artist, of the scientist, will be unimpaired so long as egotistic passions are not roused. This world of material reality is intrinsically a world of struggle, unrest, and suffering, and the ideals of peace including the aspiration of the true, the good, and the beautiful must be realized within our own soul. Schiller says: "To thy heart's still fane flee from the real ; There take refuge from life's anxious throng. Freedom lives but in thy dream's ideal. And the beautiful blooms but in song." (Translation l)y P. C.) [In des Herzens heilig stille Raume Musst du fliehen aus des Lebens Drang ! Freiheit ist nur in dem Reich der Tniume, Und das Schone bliiht nur im Gesang.] Schiller regards as grievously mistaken the wcll-intenlioncd idealist who believes that he can ever attain a final state of ju-rfeclion. that he can realize the golden age on earth. The evils of life are not unlike the giant Antccus of the Greek myth. As soon as ITerakles threw this son of Earth to the ground he rose stronger than iR'fore. because at each contact he received new strength from his niDlher. Hence it was only possible for the hero to conquer him by lifting him high in the air and keeping him at a distance from the sonrrc of his strength. Finally, Schiller believes that there is no finality to our search for truth, although the true exists antl there is an obvious difference between truth and untruth. Mankind c:in iicver 44 FRIEDRICH SCHILLER. have the fulness of truth in such a way that it can be formulated in the shape of a dogma. Whenever man has tried to do so, he soon held an empty formula while the spirit of the truth was lost. Thus the "three words of error" to Schiller are : belief in eternal peace, in which the good would no longer have to struggle : belief in the attainment of happiness, or an earthly reward of virtue ; and a consummation of man's advance in the search for truth. The idea that the realization of truth is rather a process than a dogma — a single statement summed up in a formula — and that much depends on the way in which we search for and reach the truth, is set forth in the impressive poem "The Veiled Image at Sais,'' which was suggested to Schiller by a passage in Plutarch describing the statue of Isis in the temple of Sais which bore the inscription reminding us of the definition of the name of Yahveh in the Old Testament: 'T am who was and shall be." THE VEILED IMAGE AT SAIS. "A j'outh, athirst with hot desire for knowledge, To Sais came, intent to explore the dark And hoarded wisdom of Egyptian priests. Through many a grade of mystery, hurrying on. Far, and more far, still pressed the inquiring soul. And scarce the Hierophant could cool or calm The studious fever of impatient toil. 'What,' he exclaimed, 'is worth a part of Truth? What is my gain unless I gain the whole? Hath knowledge, then, a lesser or a more? Is this, — thy Truth, — like sensual gross enjoyment, A sum doled out to each in all degrees, Larger or smaller, multiplied or minished? Is not Truth one and indivisible? Take from the Harmony a single tone — A single tint take from the Iris bow, And lo ! what once was all, is nothing — while Fails to the lovely whole one tint or tone !' "" "Now, while they thus conversed, they stood within A lonely temple, circle-shaped, and still ; And, as the young man paused abrupt, his gaze Upon a veil'd and giant Image fell : Amazed he turn'd unto his guide — 'And what Beneath the veil stands shrouded yonder?' 'Truth/ v Answered the Priest. 'And do I, tlien, for Truth Strive, and alone? And is it now bv tliis SCHILLER, A PHILOSOPHICAL POET. 45 Thin ceremonial robe that Truth is hid? Wherefore ?' 'That wherefore with the Goddess rests; "Till I"— thus saith the Goddess— "lift this veil, May it be raised by none of mortal-born ! He who with guilty and unhallowed liand Too^ soon profanes the Holy and Forbidden- He," says the Goddess'— 'Well ?' ' "He— SHALL SEE Trutii !'' ' 'A rare, strange oracle ! And hast thou never Lifted the veil?' 'No! nor desired to raise!' 'What! nor desired? Were / shut out from Truth By this slight barrier'— 'And Command divine,' Broke on his speech the guide. 'Far weightier, son. This airy gauze than thy conjectures deem- Light to the touch— lead-heavy to the conscience!' "The young man, thoughtful, turn'd him to liis home. And the fierce fever of the Wish to Know Robb'd night of sleep. Upon his couch he roll'd;— At midnight rose resolved. Unto the shrine "Timorously stole the involuntary step. And light the bound that scaled the holy wall. And dauntless was the spring that bore within That circle's solemn dome the daring man. "Now halts he where the lifeless silence sleeps In the embrace of mournful Solitude. Silence unstirred,— save by the hollow echo Answering his tread along mysterious vaults ! High from the opening of the dome above. Came the wan shining of the silver moon. And, awful as some pale presiding god. Glistening adown the range of vaults obscure. In its long veil concealed the Image stood. "With an unsteady step he onward passed. Already touched with violating hand The Holy — and recoil'd ! A shudder thrilled His limbs, fire-hot and icy-cold by turns, And an invisible arm did seem to pluck him Back from the deed. — 'O miserable man ! What would'st thou?' (Thus within the inmost heart Murmured the warning whisper.) 'Wilt thou dare The All-hallowed to profane? "May mortal-born (So spake the oracle) not lift the veil Till I myself shall raise!" Yet said it not, 46 FRIEDRICH SCHILLER. The self-same oracle — "Who hfts the veil, He shall see Truth?" Behind, be what there may, I dare the hazard — I will lift the veil — ' Loud rang his shouting voice — 'Truth I'll behold !' 'Hold!'— A lengthened echo, mocking, answered back! He spoke and raised the veil ! And ask ye what Unto the gaze was there to him revealed? I know not. Pale and senseless, at the foot Of the dread statue of Egyptian Isis, The priests there found him at the dawn of day; But what he saw, or what did there befall, His lips disclosed not. Ever from his heart Was fled the sweet serenity of life, Deep anguish dug for him an early grave: 'Woe — woe to him' — such were his warning words. Answering some curious and impetuous brain, 'Woe — for she never shall delight him more ! Woe — woe to him who treads through Guilt to Truth!'' (Translation after Bulwer-Lytton.) [Ein Jiingling, den des Wissens heisser Durst Nach Sais in Aegypten trieb, der Priester Geheime Weisheit zu erlernen, hatte Schon manchen Grad mit schnellem Geist durcheilt ; Stets riss ihn seine Forschbegierde weiter, Und kaum besanftigte der Hierophant Den ungeduldig Strebenden. "Was hab' ich, Wenn ich nicht alles habe?" sprach der Jiingling; "Gibt's etwa hier ein Weniger und Mehr? 1st deine W'ahrheit, wie der Sinne Gliick, Nur eine Summe, die man grosser, kleiner Besitzcn kann und imnier doch besitzt? 1st sie nicht eine einz'ge, ungeteilte? Nimm einen Ton aus einer Harmonic, Nimm eine Farbe aus dem Regenbogen, Und alles, was dir bleibt, ist nichts, so lang Das schone All der Tone fehlt und Farben." Indem sie einst so sprachen, standen sie In einer einsamen Rotonde still, Wo ein verschleiert Bild von Riesengrosse Dem Jiingling in die Augen fiel, Vcrwundert Blickt er den Fiihrer an und spriclit : '"Was ist's, Das hinter diesem Schleier sich verbirgt?" — "Die Wahrheit," ist die Antwort — "Wie?" ruft jener, "Nach Wahrheit streb' ich ja allein. und diese Gerade ist es, die man mir vcrhiillt?" SCHILLER, A PHILOSOPHICAL POET. 47 "Das mache mit der Gottheit aiis," vcrsetzt Der Hierophant. "Kein Sterblicher, sagt sie, Riickt diesen Schleier, bis ich selbst ibn hebe. Und wer mit ungeweihter; schuld'ger Hand Den heiligen, verbotnen friiher hebt, Der, spricht die Gottheit" — "Nun?" — "Der sicht die Walirheit." — "Ein seltsamer Orakelsprucli ! Du scll)st, Du hattest also niemals ihn gchoben?" — "Ich ? Wahrlich nicht ! Und war auch nie dazu Versncht." — "Das fass' ich nicht. Wenn von der Wahrheit Nur diese diinne Scheidewand mich trennte" — "Und ein Gesetz," fallt ihm sein Fiihrer ein. "Gewichtiger, mein Sohn, als du es meinst, 1st dieser diinne Flor — fiir deine Hand Zwar leicht, doch zentnerschwer fiir dein Ge\vi?sen.'' Der Jiingling ging gedankenvoU nach Hause; Ihm raubt des Wissens brennende Begier Den Schlaf, er walzt sich gliihend auf dem Lager Und rafft sich auf um Mitternacht. Znm Tempel Fiihrt unfreiwilHg ihn der scheue Tritt. Leicht ward es ihm, die Mauer zu ersteigen, Und mitten in das Innre der Rotonde Triigt ein beherzter Sprung den Wagenden. Hier steht er nun, und grauenvoll umfiingt . Den Einsamen die lebenlose Stille, Die nur der Tritte hohler Widerhall In den geheimen Griiften unterbricht. Von oben durch der Kuppel Oeffnung wirft Der Mond den bleichen, silberblauen Schein. Und furchtbar, wie ein gegenwiirt'ger Gott, Erglanzt durch des Gewolbes Finsternisse In ihrem langen Schleier die Gestalt. Er tritt hinan mit ungewissem Schrilt: Schon will die freche Hand das Heilige beriihrcn. Da zuckt es heiss und kiihl durch sein Gcbcin Und stosst ihn weg mit unsiclitharem Arm. Ungliicklicher, was willst du thun? so ruft In seinem Innern eine treuc Stimme. Versuchen den Allheiligen willst du ? Kein Sterblicher, sprach des Orakcls Muitd Riickt diesen Schleier, bis ich selbst ihn helje. Doch setzte nicht derselbc Mund hinzu : Wer diesen Schleier hcbt, soli Wahrluit scliauen? "Sei hintcr ihm, was will! Ich heb' ihn auf." Er ruft's mit lauter Stinnn": "ich will sie schaucn." Schaiicn ! Gellt ihm ein langes Echo spotteud iiacji. 48 FRIEDRICH SCHILLER. Er spricht's und hat den Schleier aufgedeckt. "Nun," fragt ihr, "und was zeigte sich ihm hier?" Ich weiss es nicht. Besinnungslos und bleich, So fanden ihn am andern Tag die Priester Am Fussgestell der Isis ausgestreckt. Was er allda gesehen und erfahren, Hat seine Zunge nie bekannt. Auf ewig War seines Lebens Ileiterkeit dahin, Ihn riss ein tiefer Gram zum friihen Grabe. "Weh dem," dies war sein warnungsvolles Wort, Wenn ungestiime Frager in ihn drangen, "Weh dem, der zu der Wahrheit geht durch Schuld : Sie wird ihm nimmermehr erfreulich sein." As might be expected, Schiller's view of immortality is also idealized by Greek mythology. He hated the representation of death as a skeleton with all the terrors and repulsive horrors of decay. In "The Gods of Greece" he protests against the prevalent view of death, praising the Greek conception of the genius of the inverted torch and alluding to the Thracian legend of Orpheus which had become current in classical Greece, evincing the victory of music, the ideal, over the infernal powers. "Before the bed of death No ghastly specter stood ; — but from the porch Of the lip — one kiss inhaled the breath. And a mute Genius gently lowered his torch. The judgment balance of the realms below, A judge, himself of mortal lineage, held; The very Furies, at the Thracian's woe, Were moved and music-spelled." (Translation by Bulwer-Lytton.) [Damals trat kein grassliches Gerippe Vor das Bett des Sterbenden. Ein Kuss Nahm das letzte Leben von der Lippe, Seine Fackel senkt' ein Genius. Selbst des Orkus strenge Richterwage Hielt der Enkel einer Sterblichen, Und des Thrakers seelenvolle Klage Riihrte die Erinnyen.] There is a connection between the living and the dead which is symbolized in plant life, and this simile is used in the New Testa- ment by Paul ( I Cor. xv, 36) and also in the Gospel of St. John (John xii, 24) where Jesus says: "Except a corn of wheat fall into the ground and die, it abideth alone ; but if it die, it bringeth forth much fruit." For this idea the author of the fourth Gospel SCHILLER, A PHILOSOPHICAL POET. 49 and Paul are supposed to be indebted to Orphic mysteries. The resurrection of nature in spring symbolizes the continued soul life of man after death. This is also expressed in the great classical hymn to Demeter (or as she is called with her Latinized name, Ceres) a poem which has been retold by Schiller in his two poems "The Complaint of Ceres" and "The Eleusinian Festival." The significance of plant life is expressed as follows:^' "Is there naught of her — no token And no pledge from her loved hand, Proving love to be unbroken, Howsoever far the land? Can no loving bond be spread, That will child to mother bind? Can between the quick and dead Hope no blest communion find? No ! not every bond is riven. Separation not complete ; The eternal powers have given Us a symbol language sweet. "Spring's fair children pass away. In the Northland's icy air; Leaf and flower alike decay. Leaving withered branches bare. But I choose life's noblest glow From Vertumnus' lavish horn ; As a gift to Styx below Will I send the golden corn! Sad in earth the seeds I lay At thy heart, my child, to be Mournful tokens which convey My deep grief and love to thee ! "When the seasons' measured dances Happy smiles of earth restore. In the sun's reviving glances What was dead will live once more! Germs that perished to thine eyes In the dreary lap of earth Bloom again in gentler skies. Brighter for the second birth ! While its roots in night repose; Heaven will raise the stem above; Thus the plant between them grows Nursed by Styx' and .-Ether's love. "Partly plants with Hades sleep. Partly live in life's fair beams ; Heralds are they from the deep. Messengers from solemn streams. Like my child, the dismal tomb Will them for a while retain ; But anon their tender bloom Spring sends forth to light again, Telling that where shadows meet, Though so far from light above, Hearts remain that faithful beat, Hades doth not conquer love. "Hail ! ye children of the field, Whom each coming year renews ! Your sweet cups shall richly yield Heaven's purest nectar-dews. Steeped in light's resplendent streams, Hues that streak the Iris-bow Deck your blossoms with the beams Which in morning twilight glow. Budding life of happy spring. Yellow autumn's faded leaf, Shall to hearts in sorrow bring Symbols of my joy and grief." (Translation after Bulvver-Lytton.) [1st mir nichts von ihr gcblieben? Nicht ein suss erinnernd Pfand, Dass die Fernen sich noch lieben, Keine Spur der teuren Hand? Kniipfet sich kein Liebesknoten Zwischcn Kind und Mutter an? ""Complaint of Ceres," verses 7-11- Zwischen Lebendcn und Totcn 1st kein Biindnis aufgclhan? Ncin, nicht ganz ist sie entfiohen ! Ncin, wir sind nicht ganz getrcnnt! I-Iaben uns die cwig Hohcn Einc Spraclic doch vcrgtinnt! 50 FRIEDRICH SCHILLER. Wenn des Friihlings Kinder ster- ben, Wenn von Nordes kaltem Haucli Blatt und Blume sich entfarben, Traurig steht der nackte Strauch, Nehm' ich mir das hochste Leben Aus Vertumnus' reichem Horn, Opfernd es dem Styx zu geben, Mir des Samens goldnes Korn. Trauernd senk' ich's in die Erde, Leg' es an des Kindes Herz, Dass es eine Sprache werde Meiner Liebe, meinem Schmerz. Fiihrt der gleiche Tanz der Horen Freudig nun den Lenz zuriick, Wird das Tote neu geboren Von der Sonne Lebensblick. Keime, die dem Auge starben In der Erde kaltem Schoss, In das heitre Reich der Farben Ringen sie sich freudig los. Wenn der Stamm zum Himmel eilet, Sucht die Wurzel scheu die Nacht; Gleich in ihre Pflege teilet Sich des Styx, des Aethers IMacht. Halb beriihren sie der Toten, Halb der Lebenden Gebiet ; Ach, sie sind mir teure Boten, Siisse Stimmen vom Cocyt ! Halt er gleich sie selbst verschlossen In dem schauervollen Schlund, Aus des Friihlings jungen Sprossen Redet mir der holde Mund, Dass auch fern vom goldnen Tage, Wo die Schatten traurig ziehn, Liebend noch der Busen schlage, Zartlich noch die Herzen gliihn. O, so lasst euch froh begriissen. Kinder der verjiingten Au ! Euer Kelch soil iiberfliessen Von des Nektars reinstem Tau. Tauchen will ich euch in Strahlen, Mit der Iris schonstem Licht Will ich eure Blatter malen, Gleich Aurorens Angesicht. In des Lenzes heiterm Glanze Lese jede zarte Brust, In des Herbstes welkem Kranze Meinen Schmerz und meine Lust.] In "The Eleusinian Festival" Schiller describes the Greek con- ception of human civilization as based upon a love of freedom regulated by self-control and moral restraint. Having established agriculture and built the polity of communal life, Demeter says: "Freedom's love the beast inflameth. And the God rules free in air, While the law of Nature tameth Each wild lust that lingers there. Yet, when thus together thrown, Man with man must fain unite ; And by his own worth alone Can he freedom gain and might." (Translation by Bowring.) [Freiheit liebt das Tier der Wuste, Frei im Aether herrscht der Gott, Ihrer Brust gewalt'ge Liiste Zahmet das Naturgebot; Doch der Mensch in ihrer Mitte Soil sich an den Menschen reihn, Und allein durch seine Sitte Kann er frei und machtig sein.] SCHILLER, A PHILOSOPHICAL PORT. 5 I We see that Schiller indeed was not merely a poet but a phi- losopher. His philosophy, however, agreed very little with the verbiage and cant of the schools that posed before the world as holding in their abstract philosophy the key to the explanation of the universe. Metaphysics, according to Kantian terminology, deals with purely formal notions of science, and the purely formal as Kant expresses it, is empty as such. Thus it allows us a survey over the sciences and the whole field of experience. It sums up generalizations, which, although in themselves mere tautologies, help us to arrange our scientific material in a systematic way. How ridiculous, then, is the metaphysician whose philosophy is a mere air castle and who forgets that it should serve the practical purpose of survey. Schiller satirizes wiseacres of this type in the following lines : " "How deep the world beneath me Hes ! My craft the loftiest of all Lifts me so high, so near the skies I scarce discern the people crawl.' "Thus shouts Tom Roofer from his spire, Thus in his study speaks with weight Metaphysicus, the learned sire, That little man, so high, so great. "That spire, my friend, proud and profound, Of what is't built, and on what ground? How came you up? What more is't worth, Than to look down upon the earth ?" (Translation by P. C.) ["Wie tief liegt unter mir die Welt! Kaum sell' ich noch die Menschlein unten wallcn ! Wie tragt mich meine Kunst, die hochste unter alien, So nahe an des Himmels Zelt !" So ruft von seines Turmes Dache Der Schieferdecker, so der kleine grosse Mann, Hans Metaphysikus, in seinem Schrcibgemachc. Sag* an, du kleiner grosser Mann, Der Turm, von dem dein Blick so vornchm nicderscbauct. Wovon ist er— worauf ist er erbauet? Wie kamst du selbst hinauf— und seine kahicn Iluhn, Wozu sind sic dir niitz, als in das Thai zu sehn?| In another poem of the same significance entitled "I'hilos- ophers," Schiller ridicules those theorists who misun the period of mature self-possessed manhood when, in llu' cuvU- ..I his friends, supported by the ennobling influence of his wife :ni