The Life of Friedrich Schiller. Томас КарлейльЧитать онлайн книгу.

dismayed hearts and faltering tongues; yet they succeeded in accomplishing the task; and were in consequence rewarded by the mollified pedagogue with two kreutzers apiece. Four kreutzers of ready cash was a sum of no common magnitude; how it should be disposed of formed a serious question for the parties interested. Schiller moved that they should go to Harteneck, a hamlet in the neighbourhood, and have a dish of curds-and-cream: his partner assented; but alas! in Harteneck no particle of curds or cream was to be had. Schiller then made offer for a quarter-cake of cheese; but for this four entire kreutzers were demanded, leaving nothing whatever in reserve for bread! Twice baffled, the little gastronomes, unsatisfied in stomach, wandered on to Neckarweihingen; where, at length, though not till after much inquiry, they did obtain a comfortable mess of curds-and-cream, served up in a gay platter, and silver spoons to eat it with. For all this, moreover, they were charged but three kreutzers; so that there was still one left to provide them with a bunch of St. John grapes. Exhilarated by such liberal cheer, Schiller rose into a glow of inspiration: having left the village, he mounted with his comrade to the adjacent height, which overlooks both Harteneck and Neckarweihingen; and there in a truly poetic effusion he pronounced his malediction on the creamless region, bestowing with the same solemnity his blessing on the one which had afforded him that savoury refreshment.' Friedrich von Schillers Leben (Heidelberg. 1817), p. 11.

4

The feeling produced in him by Shakspeare he described long afterwards: it throws light on the general state of his temper and tastes. 'When I first, at a very early age,' he says, 'became acquainted with this poet, I felt indignant at his coldness, his hardness of heart, which permitted him in the most melting pathos to utter jests,—to mar, by the introduction of a fool, the soul-searching scenes of Hamlet, Lear, and other pieces; which now kept him still where my sensibilities hastened forward, now drove him carelessly, onward where I would so gladly have lingered * * He was the object of my reverence and zealous study for years before I could love himself. I was not yet capable of comprehending Nature at first-hand: I had but learned to admire her image, reflected in the understanding, and put in order by rules.' Werke, Bd. viii 2, p. 77.

5

Deutsches Museum v. Jahr 1784, cited by Doering.

6

On this subject Doering gives an anecdote, which may perhaps be worth translating. 'One of Schiller's teachers surprised him on one occasion reciting a scene from the Robbers, before some of his intimate companions. At the words, which Franz von Moor addresses to Moser: Ha, what! thou knowest none greater? Think again! Death, heaven, eternity, damnation, hovers in the sound of thy voice! Not one greater?—the door opened, and the master saw Schiller stamping in desperation up and down the room. "For shame," said he, "for shame to get into such a passion, and curse so!" The other scholars tittered covertly at the worthy inspector; and Schiller called after him with a bitter smile, "A noodle" (ein confiscirter Kerl)!'

7

His Latin Essay on the Philosophy of Physiology was written in 1778, and never printed. His concluding thesis was published according to custom: the subject is arduous enough, "the connection between the animal and spiritual nature of man,"—which Dr. Cabanis has since treated in so offensive a fashion. Schiller's tract we have never seen. Doering says it was long 'out of print,' till Nasse reproduced it in his Medical Journal (Leipzig, 1820): he is silent respecting its merits.

8

The obnoxious passage has been carefully expunged from subsequent editions. It was in the third scene of the second act; Spiegelberg discoursing with Razmann, observes, "An honest man you may form of windle-straws; but to make a rascal you must have grist: besides, there is a national genius in it, a certain rascal-climate, so to speak." In the first edition, there was added: "Go to the Grisons, for instance: that is what I call the thief's Athens." The patriot who stood forth on this occasion for the honour of the Grisons, to deny this weighty charge, and denounce the crime of making it, was not Dogberry or Verges, but 'one of the noble family of Salis.'

9

See Appendix I., No. 1.

10

See Appendix I., No. 2.

11

Der Geisterseher, Schillers Werke, B. iv. p 350.

12

Who the other three were is nowhere particularly mentioned.

13

Wieland's rather harsh and not too judicious sentence on it may be seen at large in Gruber's Wieland Geschildert, B. ii. S. 571.

14

The well-written life, prefixed to the Stuttgard and Tübingen edition of Schiller's works, is by this Körner. The Theodor Körner, whose Lyre and Sword became afterwards famous, was his son.

15

In vol. x. of the Vienna edition of Schiller are some ludicrous verses, almost his sole attempt in the way of drollery, bearing a title equivalent to this: 'To the Right Honourable the Board of Washers, the most humble Memorial of a downcast Tragic Poet, at Löschwitz;' of which Doering gives the following account. 'The first part of Don Carlos being already printed, by Göschen, in Leipzig, the poet, pressed for the remainder, felt himself obliged to stay behind from an excursion which the Körner family were making, in a fine autumn day. Unluckily, the lady of the house, thinking Schiller was to go along with them, had locked all her cupboards and the cellar. Schiller found himself without meat or drink, or even wood for fuel; still farther exasperated by the dabbling of some washer-maids beneath his window, he produced these lines.' The poem is of the kind which cannot be translated; the first three stanzas are as follows:

"Die Wäsche klatscht vor meiner Thür,Es plarrt die Küchenzofe,Und mich, mich fuhrt das FlügelthierZu König Philips Hofe.Ich eile durch die GallerieMit schnellem Schritt, belauscheDort die Prinzessin EboliIm süssen Liebesrausche.Schon ruft das schöne Weib: Triumph!Schon hör' ich—Tod und Hölle!Was hör' ich—einen nassen StrumpfGeworfen in die Welle."

16

Jean Paul nevertheless, not without some show of reason, has compared this Posa to the tower of a lighthouse: 'high, far-shining,—empty!' (Note of 1845.)