Poems of The Third Period by Friedrich Schiller (best books to read in your 20s TXT) 📕

close, borrowed, as a modern would apply what he so borrows from the moralizing Horace. Nothing can be more foreign to the Hellenic genius, (if we except the very disputable intention of the "Prometheus"), than the interior and typical design which usually exalts every conception in Schiller. But it is perfectly open to the modern poet to treat of ancient legends in the modern spirit. Though he selects a Greek story, he is still a modern who narrates - he can never make himself a Greek any more than Aeschylus in the "Persae" could make himself a Persian. But this is still more the privilege of the poet in narrative, or lyrical composition, than in the drama, for in the former he does not abandon his identity, as in the latter he must - yet even this must has its limits. Shakspeare's wonderful power of self-transfusion has no doubt enabled him, in his plays from Roman history, to animate his characters with much of Roman life. But no one can maintain that a Roman would ever have written plays in the least resembling "Julius Caesar," or "Coriolanus," or "Antony and Cleopatra." The portraits may be Roman, but they are painted in the manner of the Gothic school. The spirit of antiquity is only in them, inasmuch as the representation of human nature, under certain circumstances, is accurately, though loosely outlined. When the poet raises the dead, it is not to restore, but to remodel.

[35] This notes the time of year - not the time of day - viz., about the 23d of September. - HOFFMEISTER.

[36] Hecate as the mysterious goddess of Nature. - HOFFMEISTER.

[37] This story, the heroes of which are more properly known to us under the names of Damon and Pythias (or Phintias), Schiller took from Hyginus in whom the friends are called Moerus and Selinuntius. Schiller has somewhat amplified the incidents in the original, in which the delay of Moerus is occasioned only by the swollen stream - the other hindrances are of Schiller's invention. The subject, like "The Ring of Polycrates," does not admit of that rich poetry of description with which our author usually adorns some single passage in his narratives. The poetic spirit is rather shown in the terse brevity with which picture after picture is not only sketched but finished - and in the great thought at the close. Still it is not one of Schiller's best ballads. His additions to the original story are not happy. The incident of the robbers is commonplace and poor. The delay occasioned by the thirst of Moerus is clearly open to Goethe's objection (an objection showing very nice perception of nature) - that extreme thirst was not likely to happen to a man who had lately passed through a stream on a rainy day, and whose clothes must have been saturated with moisture - nor in the traveller's preoccupied state of mind, is it probable that he would have so much felt the mere physical want. With less reason has it been urged by other critics, that the sudden relenting of the tyrant is contrary to his character. The tyrant here has no individual character at all. He is the mere personation of disbelief in truth and love - which the spectacle of sublime self-abnegation at once converts. In this idea lies the deep philosophical truth, which redeems all the defects of the piece - for poetry, in its highest form, is merely this - "Truth made beautiful."

[38] The somewhat irregular metre of the original has been preserved in this ballad, as in other poems; although the perfect anapaestic metre is perhaps more familiar to the English ear.

[39] "Die Gestalt" - Form, the Platonic Archetype.

[40] More literally translated thus by the author of the article on Schiller in the Foreign and Colonial Review, July, 1843 -

"Thence all witnesses forever banished
Of poor human nakedness."

[41] The law, i. e., the Kantian ideal of truth and virtue. This stanza and the next embody, perhaps with some exaggeration, the Kantian doctrine of morality.

[42] "But in God's sight submission is command." "Jonah," by the Rev. F. Hodgson. Quoted in Foreign and Colonial Review, July, 1843: Art. Schiller, p. 21.

[43] It seems generally agreed that poetry is allegorized in these stanzas; though, with this interpretation, it is difficult to reconcile the sense of some of the lines - for instance, the last in the first stanza. How can poetry be said to leave no trace when she takes farewell?

[44] "I call the living - I mourn the dead - I break the lightning." These words are inscribed on the great bell of the Minster of Schaffhausen - also on that of the Church of Art near Lucerne. There was an old belief in Switzerland that the undulation of air caused by the sound of a bell, broke the electric fluid of a thunder-cloud.

[45] A piece of clay pipe, which becomes vitrified if the metal is sufficiently heated.

[46] The translator adheres to the original, in forsaking the rhyme in these lines and some others.

[47] Written in the time of the French war.

[48] Literally, "the manners." The French word moeurs corresponds best with the German.

[49] The epithet in the first edition is ruhmlose.

[50] For this interesting story, see Cox's "House of Austria," vol i, pp. 87-98 (Bohn's Standard Library).

[51] See "Piccolomini," act ii., scene 6; and "The Death of Wallenstein," act v., scene 3.

[52] This poem is very characteristic of the noble ease with which Schiller often loves to surprise the reader, by the sudden introduction of matter for the loftiest reflection in the midst of the most familiar subjects. What can be more accurate and happy than the poet's description of the national dance, as if such description were his only object - the outpouring, as it were, of a young gallant intoxicated by the music, and dizzy with the waltz? Suddenly and imperceptibly the reader finds himself elevated from a trivial scene. He is borne upward to the harmony of the sphere. He bows before the great law of the universe - the young gallant is transformed into the mighty teacher; and this without one hard conceit
- without one touch of pedantry. It is but a flash of light; and where glowed the playful picture shines the solemn moral.

[53] The first five verses in the original of this poem are placed as a motto on Goethe's statue in the Library at Weimar. The poet does not here mean to extol what is vulgarly meant by the gifts of fortune; he but develops a favorite idea of his, that, whatever is really sublime and beautiful, comes freely down from heaven; and vindicates the seeming partiality of the gods, by implying that the beauty and the genius given, without labor, to some, but serve to the delight of those to whom they are denied.

[54] Achilles.

[55] "Nur ein Wunder kann dich tragen
In das schoene Wunderland." - SCHILLER, Sehnsucht.

[56] This simile is nobly conceived, but expressed somewhat obscurely. As Hercules contended in vain against Antaeus, the Son of Earth - so long as the earth gave her giant offspring new strength in every fall, - so the soul contends in vain with evil - the natural earth-born enemy, while the very contact of the earth invigorates the enemy for the struggle. And as Antaeus was slain at last, when Hercules lifted him from the earth, and strangled him while raised aloft, so can the soul slay the enemy (the desire, the passion, the evil, the earth's offspring), when bearing it from earth itself, and stifling it in the higher air.

[57] By this Schiller informs us elsewhere that he does not mean death alone; but that the thought applies equally to every period of life when we can divest ourselves of the body and perceive or act as pure spirits; we are truly then under the influence of the sublime.

[58] Duke Bernard of Weimar, one of the heroes of the Thirty Years' war.

[59] These verses were sent by Schiller to the then Electoral High Chancellor, with a copy of his "William Tell."

[60] Addressed in the original to Mdlle. Slevoigt, on her marriage to Dr. Sturm.

[61] This was the title of the publication in which many of the finest of Schiller's "Poems of the Third Period" originally appeared.
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Publication Date: 05-21-2008

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