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The Life and Works of Friedrich Schiller
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book is the child of what I deem the wis er disposition.
For the poet who wins the heart of a great people and holds it for a
century is right; there is nothing more to be said, so far as concerns
his title to renown. The creative achievement is far more precious and
important than any possible criticism of it. This does not mean that in
dealing with such a poet the critic is in duty bound to abdicat e his
lower function and to let his scruples melt away in the warm water of a
friendly partisanship; it means only that he will be best occupied,
speaking generally, in a conscientious attempt to see the man as he was,
to ”experience the savor of him”, and to understand the national
temperament to which he has endeared himself.
This, I hope, deﬁnes su
ciently the spirit in which I have written.
In discussing the plays I have endeavored to deal with them in a large
way, laying hold of each where it is most interesting, and not caring
to be either systematic or exhaustive. Questions of minut e and
technical scholarship, such as have their proper place in a learned
monograph, or in the introduction and notes to an edition of the text,
have been avoided on principle. E verywhere–even in the di
thirteent h chapter–my aim has been to disengage and bring clearly into
view the essential, distinctive character of Schiller’s work; and where
I have had to fear either that the professional scholar would frown at
my sins of omission, or that the mere lover of literature would yawn at
my sins of commission, I have boldly accepted the ﬁrst-named horn of
New York, Nov. 6, 1901.
Parentage and Schooling
Capt ain Schiller and his wife–So journ at Lorc h–Traits of
Friedrich’s childhood–Removal to Ludwigsburg–Karl Eugen, Duk e of
urttemberg–Impressions from court, theater and school–Poetic
beginnings–Duke Karl’s change of heart–Franziska von Hohenheim–The
Academy at Solitude–Schiller at the Academy–School exercises–From law
to medicine–Early poems and orations–A n ardent friend–Books read and
ect–Dramatic plans–Dissert ation rejected–Genesis of ’The
Robbers’–Morbid melancholy–Release from the Academy–V alue of the
education rec eived.
General characterization–The Schubart story–Schiller and
Schubart–The contrasted brothers–Comparison with Klinger and
Leisewitz–Inﬂuence of Rousseau and Goethe–Unlike earlier attacks
on the social order–Outlawry in the eighteenth century–The
noble bandit in literat ure–Karl Moor’s crazy ambition–His
sentimentalism–Schiller’s sympathy with his hero–Character of
Franz–Inﬂuence of Shakespeare–Ethical attitude of Franz–A dull
villain–Character of Amalia–The subordinate outlaws–A powerful
stage-play–Defects and merits.
The Stuttgart Medicus
Schiller’s position at Stuttgart–P ersonal appearance–Convivial
pleasures–Visits at Solitude–Revision of ’The Robbers’ for
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