DOCSLIB.ORG

Read Ebook {PDF EPUB} Friedrich Schiller - Plays Intrigue and Love and Don Carlos (German Library by Friedrich Schiller Biography

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Read Ebook {PDF EPUB} Friedrich Schiller - Plays Intrigue and Love and Don Carlos (German Library by Friedrich Schiller Biography Read Ebook {PDF EPUB} Friedrich Schiller - Plays Intrigue and Love and Don Carlos (German Library by Friedrich Schiller Biography. Johann Christoph Friedrich von Schiller was a German poet, philosopher, historian, and playwright. During the last seventeen years of his life, Schiller struck up a productive, if complicated, friendship with already famous and influential Johann Wolfgang Von Goethe. They frequently discussed issues concerning aesthetics, and Schiller encouraged Goethe to finish works he left as sketches. This relationship and these discussions led to a period now referred to as Weimar Classicism. They also worked together on Xenien, a collection of short satirical poems in which both Schiller and Goethe challenge opponents to their philosophical vision. Friedrich Schiller was born on 10 November 1759, in Marbach, Württemberg as the only son of military doctor Johann Kaspar Schiller (1733– 96), and Elisabeth Dorothea Kodweiß (1732–1802). They also had five daughters. His father was away in the Seven Years' War when Friedrich was born. He was named after king Frederick the Great, but he was called Fritz by nearly everyone. Kaspar Schiller was rarely home during the war, but he did manage to visit the family once in a while. His wife and children also visited him occasionally wherever he happened to be stationed. When the war ended in 1763, Schiller's father became a recruiting officer and was stationed in Schwäbisch Gmünd. The family moved with him. Due to the high cost of living—especially the rent—the family moved to nearby Lorch. Although the family was happy in Lorch, Schiller's father found his work unsatisfying. He sometimes took his son with him. In Lorch, Schiller received his primary education. The quality of the lessons was fairly bad, and Friedrich regularly cut class with his older sister. Because his parents wanted Schiller to become a pastor, they had the pastor of the village instruct the boy in Latin and Greek. Pastor Moser was a good teacher, and later Schiller named the cleric in his first play Die Räuber (The Robbers) after him. As a boy, Schiller was excited by the idea of becoming a cleric and often put on black robes and pretended to preach. In 1766, the family left Lorch for the Duke of Württemberg's principal residence, Ludwigsburg. Schiller's father had not been paid for three years, and the family had been living on their savings but could no longer afford to do so. So Kaspar Schiller took an assignment to the garrison in Ludwigsburg. There the Schiller boy came to the attention of Karl Eugen, Duke of Württemberg. He entered the Karlsschule Stuttgart (an elite military academy founded by the Duke), in 1773, where he eventually studied medicine. During most of his short life, he suffered from illnesses that he tried to cure himself. While at the Karlsschule, Schiller read Rousseau and Goethe and discussed Classical ideals with his classmates. At school, he wrote his first play, The Robbers, which dramatizes the conflict between two aristocratic brothers: the elder, Karl Moor, leads a group of rebellious students into the Bohemian forest where they become Robin Hood-like bandits, while Franz Moor, the younger brother, schemes to inherit his father's considerable estate. The play's critique of social corruption and its affirmation of proto-revolutionary republican ideals astounded its original audience. Schiller became an overnight sensation. Later, Schiller would be made an honorary member of the French Republic because of this play. In 1780, he obtained a post as regimental doctor in Stuttgart, a job he disliked. Following the performance of The Robbers in Mannheim, in 1781, Schiller was arrested, sentenced to 14 days of imprisonment, and forbidden by Karl Eugen from publishing any further works. He fled Stuttgart in 1782, going via Frankfurt, Mannheim, Leipzig, and Dresden to Weimar, where he settled in 1787. In 1789, he was appointed professor of History and Philosophy in Jena, where he wrote only historical works. He died of tuberculosis in 1805, at the age of 45. Marriage and family. On 22 February 1790, Schiller married Charlotte von Lengefeld (1766–1826). Two sons (Karl Friedrich Ludwig and Ernst Friedrich Wilhelm) and two daughters (Karoline Luise Henriette and Luise Henriette Emilie) were born between 1793 and 1804. The last living descendant of Schiller was a grandchild of Emilie, Baron Alexander von Gleichen-Rußwurm, who died at Baden-Baden, Germany, in 1947. Weimar and playwriting. Schiller returned with his family to Weimar from Jena in 1799. Goethe convinced him to return to playwriting. He and Goethe founded the Weimar Theater, which became the leading theater in Germany. Their collaboration helped lead to a renaissance of drama in Germany. Legacy and honors. For his achievements, Schiller was ennobled in 1802 by the Duke of Weimar, adding the nobiliary particle "von" to his name. He remained in Weimar, Saxe-Weimar until his death at 45 from tuberculosis. The first significant biography of Schiller was by his sister-in-law Caroline von Wolzogen in 1830. The coffin containing Schiller's skeleton is in the Weimarer Fürstengruft (Weimar's Ducal Vault), the burial place of Houses of Grand Dukes (großherzogliches Haus) of Saxe-Weimar-Eisenach in the Historical Cemetery of Weimar. On 3 May 2008, scientists announced that DNA tests have shown that the skull of this skeleton is not Schiller's, and his tomb is now vacant. The physical resemblance between this skull and the extant death mask as well as to portraits of Schiller, had led many experts to believe that the skull was Schiller's. In September 2008, Schiller was voted by the audience of the TV channel Arte as the second most important playwright in Europe after William Shakespeare. Schiller has become an inextricable part of pop culture at the American undergraduate college, Carleton College, in Northfield, Minnesota. Several secret student groups on campus own busts of Schiller, which they show at popular campus events. Other students are set on stealing these busts from the secret societies. The Carleton's beloved "DVD Fest" has, in past years, been renamed "The Golden Schillers. The college has also named its student dollars "Schillers", and the "Schiller Society" is part of the admissions office. Freemasonry. Some Freemasons speculate that Schiller was a Freemason, but this has not been proven. In 1787, in his tenth letter about Don Carlos, Schiller wrote: "I am neither Illuminati nor Mason, but if the fraternization has a moral purpose in common with one another, and if this purpose for human society is the most important, . " In a letter from 1829, two Freemasons from Rudolstadt complain about the dissolving of their Lodge Günther zum stehenden Löwen that was honoured by the initiation of Schiller. According to Schiller's great-grandson Alexander von Gleichen-Rußwurm, Schiller was brought to the Lodge by Wilhelm Heinrich Karl von Gleichen-Rußwurm. No membership document has been found. Philosophical Papers. Schiller wrote many philosophical papers on ethics and aesthetics. He synthesized the thought of Immanuel Kant with the thought of Karl Leonhard Reinhold. He elaborated Christoph Martin Wieland's concept of the Schöne Seele (beautiful soul), a human being whose emotions have been educated by reason, so that Pflicht und Neigung (duty and inclination) are no longer in conflict with one another; thus beauty, for Schiller, is not merely an aesthetic experience, but a moral one as well: the Good is the Beautiful. His philosophical work was also particularly concerned with the question of human freedom, a preoccupation which also guided his historical researches, such as the Thirty Years' War and the Dutch Revolt, and then found its way as well into his dramas (the Wallenstein trilogy concerns the Thirty Years' War, while Don Carlos addresses the revolt of the Netherlands against Spain.) Schiller wrote two important essays on the question of the sublime (das Erhabene), entitled "Vom Erhabenen" and "Über das Erhabene"; these essays address one aspect of human freedom—the ability to defy one's animal instincts, such as the drive for self- preservation, when, for example, someone willingly sacrifices themselves for conceptual ideals. Schiller is considered by most Germans to be Germany's most important classical playwright. Critics like F.J. Lamport and Eric Auerbach have noted his innovative use of dramatic structure and his creation of new forms, such as the melodrama and the bourgeois tragedy. What follows is a brief, chronological description of the plays. The Robbers (Die Räuber): The language of The Robbers is highly emotional, and the depiction of physical violence in the play marks it as a quintessential work of Germany's Romantic 'Storm and Stress' movement. The Robbers is considered by critics like Peter Brooks to be the first European melodrama. The play pits two brothers against each other in alternating scenes, as one quests for money and power, while the other attempts to create revolutionary anarchy in the Bohemian Forest. The play strongly criticises the hypocrisies of class and religion, and the economic inequities of German society; it also conducts a complicated inquiry into the nature of evil. Fiesco (Die Verschwörung des Fiesco zu Genua): Intrigue and Love (Kabale und Liebe): The aristocratic Ferdinand von Walter wishes to marry Luise Miller, the bourgeois daughter of the city's music instructor. Court politics involving the duke's beautiful but conniving mistress Lady Milford and Ferdinand's ruthless father create a disastrous situation reminiscent of Shakespeare's Romeo and Juliet. Schiller develops his criticisms of absolutism and bourgeois hypocrisy in this bourgeois tragedy. Act 2, Scene 2 is an anti-British parody that depicts a firing-squad massacre. Young Germans who refused to join the Hessians and British to quash the American Revolutionary War are fired upon.
Load more

Recommended publications
  • Corporeal Expression and the Paradox of Acting in the German Theater Discourse Around 1800
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Carolina Digital Repository STAGING SPONTANEITY: CORPOREAL EXPRESSION AND THE PARADOX OF ACTING IN THE GERMAN THEATER DISCOURSE AROUND 1800 Matthew West Feminella A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department Germanic and Slavic Languages and Literatures (German). Chapel Hill 2016 Approved by: Clayton Koelb Eric Downing Jonathan Hess Gabriel Trop Inga Pollmann © 2016 Matthew West Feminella ALL RIGHTS RESERVED ii ABSTRACT MATTHEW WEST FEMINELLA: Staging Spontaneity: Corporeal Expression and the Paradox of Acting in the German Theater Discourse Around 1800 (Under the direction of Clayton Koelb) This dissertation explores how theories of spontaneity and the body are integrated into acting discourses on the German stage. I argue that the spontaneity of the human body represents a recurring feature in the acting discourses around 1800, which provoked a variety of responses from theorists of the theaters. These responses range from theorizing how to utilize corporeal spontaneity for the benefit of the theater to how to diminish its potential inimical effects on dramatic production. Theorizing about actors and spontaneity led these thinkers to re-conceptualize their notions of anthropology, semiotics, media, and human agency. Chapter 1 examines how Gotthold Ephraim Lessing in his correspondences and dramaturgical writings develops acting techniques that seek to reconcile intentionality and spontaneity: actors create mental images of bodies through poetic language that in turn are integrated into their own affective and bodily motions, thus artificially producing the impression of spontaneous natural action on stage.
    [Show full text]
  • 1 Schiller and the Young Coleridge
    Notes 1 Schiller and the Young Coleridge 1. For the details of Schiller’s career and thought I am drawing on a number of works including Lesley Sharpe, Friedrich Schiller: Drama, Thought and Politics (Cambridge: Cambridge University Press, 1991); Walter Schafarschik, Friedrich Schiller (Stuttgart: Philipp Reclam, 1999); F. J. Lamport, German Classical Drama: Theatre, Humanity, and Nation, 1750–1870 (Cambridge: Cambridge University Press, 1990); and T. J. Reed, The Classical Centre: Goethe and Weimar, 1775–1832 (Oxford: Oxford University Press, 1986), and Schiller- Handbuch, ed. Helmut Koopmann (Stuttgart: Alfred Kröner, 1998). 2. Schiller later revised the essay and published it in his Shorter Works in Prose under the title ‘The Stage Considered as a Moral Institution’ (‘Die Schaubühne als eine moralische Anstalt betrachtet’). 3. See David Pugh, ‘“Die Künstler”: Schiller’s Philosophical Programme’, Oxford German Studies, 18/19 (1989–90), 13–22. 4. See J. M. Ellis, Schiller’s ‘Kalliasbriefe’ and the Study of his Aesthetic Theory (The Hague and Paris: Mouton, 1969). 5. See Paul Robinson Sweet, Wilhelm von Humboldt: a Biography, 2 vols (Columbus: Ohio State University Press, 1978–80) and W. H. Bruford, The Ger- man Tradition of Self-Cultivation: ‘Bildung’ from Humboldt to Thomas Mann (Cambridge: Cambridge University Press, 1975), ch. 1; also E. S. Shaffer, ‘Romantic Philosophy and the Organization of the Disciplines: the Found- ing of the Humboldt University of Berlin’, in Romanticism and the Sciences, ed. Andrew Cunningham and Nicholas Jardine (Cambridge: Cambridge University Press, 1990), 38–54. 6. Norbert Oellers, Schiller: Geschichte seiner Wirkung bis zu Goethes Tod, 1805– 1832 (Bonn: Bouvier, 1967).
    [Show full text]
  • Schiller's Jungfrau, Euripides's Iphigenia Plays, and Joan of Arc on the Stage
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2015 Sisters in Sublime Sanctity: Schiller's Jungfrau, Euripides's Iphigenia Plays, and Joan of Arc on the Stage John Martin Pendergast Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1090 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] SISTERS IN SUBLIME SANCTITY: Schiller’s Jungfrau, Euripides’s Iphigenia Plays, and Joan of Arc on the Stage by John Pendergast A Dissertation Submitted to the Graduate Faculty in Comparative Literature in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The City University of New York 2015 ii © 2015 JOHN PENDERGAST All Rights Reserved iii This manuscript has been read and accepted for the Graduate Faculty in Comparative Literature to satisfy the dissertation requirement for the degree of Doctor of Philosophy 21 May 2015 Dr. Paul Oppenheimer________________________ Date Chair of the Examining Committee 21 May 2015______________ Dr. Giancarlo Lombardi ______________________ Date Executive Officer Dr. Paul Oppenheimer Dr. Elizabeth Beaujour Dr. André Aciman Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iv Abstract Sisters in Sublime Sanctity: Schiller’s Jungfrau, Euripides’s Iphigenia Plays, and Joan of Arc on the Stage by John Pendergast Adviser: Professor Paul Oppenheimer At the dawn of the nineteenth century, Friedrich Schiller reinvented the image of Joan of Arc in his play, Die Jungfrau von Orleans, with consequences that affected theatrical representations of Joan for the rest of that century and well into the twentieth.
    [Show full text]
  • Schiller-Bibliographie 2005 Und Nachträge
    Eva Dambacher unter Mitarbeit von Herman Moens SCHILLER-BIBLIOGRAPHIE 2005 UND NACHTRÄGE Aus: Jahrbuch der Deutschen Schillergesellschaft. Internationales Organ für neuere deutsche Literatur. Im Auftrag des Vorstands hrsg. von Wilfried Barner, Christine Lubkoll, Ernst Osterkamp, Ulrich Raulff. Bd.50. - Göttingen: Wallstein 2006. S.501-678. Diese Bibliographie schließt an die ›Schiller-Bibliographie 2004 und Nachträge‹ an (Jahrbuch der Deutschen Schillergesellschaft 49, 2005, S.447-543). Redaktionsschluß war am 1. Juni 2006. Neben selbständigen Publikationen und Beiträgen in Zeitschriften und Büchern wurden auch, unter Nutzung der Dokumentationsstelle des Deutschen Literaturarchivs Marbach a.N., Theater- und Pressematerialien sowie Bild- und Tonträger verzeichnet. Bei Zeitungsausschnitten wurden die vorliegenden Angaben übernommen; auf ergänzende bibliographische Recherchen (z.B. Nummern- oder Seitenangaben) wurde verzichtet. - Bücher, die in vorangegangenen ›Schiller-Bibliographien‹ angezeigt wurden und hier wegen neuer Rezensionen noch einmal vorkommen, werden nach der Angabe »o.Nr.« verkürzt beschrieben. Auf die jeweilige Bibliographie und die zugehörige laufende Nummer wird hinter dem Kürzel »JbdDS« (Jahrbuch der Deutschen Schillergesellschaft) verwiesen. Wegen der großen Titelmenge im Gedenkjahr 2005 wurden bloße Nachdrucke in der Regel nicht berücksichtigt, auch nicht Lexikon- und Handbuchartikel oder Kapitel in Literaturgeschichten. Auch mußten die Rezensionen zu Aufführungen von vertonten Werken Schillers wegfallen. 1 Inhalt 1
    [Show full text]
  • On the Aesthetic Education of Man in a Series of Letters, Published by Yale University Press, New Haven, Connecticut, in 1954
    Bibliographical Note This Dover edition, first published in 2004, is an unabridged republication of On the Aesthetic Education of Man in a Series of Letters, published by Yale University Press, New Haven, Connecticut, in 1954. The work was originally published in 1795. Library of Congress Cataloging-in-Publication Data Schiller, Friedrich, 1759—1805. [Über die ästhetische Erziehung des Menschen in einer Reihe von Briefen. English] On the aesthetic education of man / Friedrich Schiller ; translated with an introduction by Reginald Snell. p. cm. Originally published: New Haven : Yale University Press, 1954. Includes index. 9780486117393 1. Aesthetics, Modern—18th century. I. Snell, Reginald. II. Title. BH183.S25 2004 111’.85—dc22 2004050046 Manufactured in the United States by Courier Corporation 43739605 www.doverpublications.com Table of Contents Title Page Bibliographical Note Copyright Page Introduction On the Aesthetic Education of Man First Letter Second Letter Third Letter Fourth Letter Fifth Letter Sixth Letter Seventh Letter Eighth Letter Ninth Letter Tenth Letter Eleventh Letter Twelfth Letter Thirteenth Letter Fourteenth Letter Fifteenth Letter Sixteenth Letter Seventeenth Letter Eighteenth Letter Nineteenth Letter Twentieth Letter Twenty-first Letter Twenty-second Letter Twenty-third Letter Twenty-fourth Letter Twenty-fifth Letter Twenty-sixth Letter Twenty-seventh Letter Index A CATALOG OF SELECTED DOVER BOOKS IN ALL FIELDS OF INTEREST Introduction IT may help the general reader to a fuller understanding of these important and not always easy Letters if they are first set before him in their proper historical and philosophical context. In one sense, to be sure, they need neither explanation nor commentary; they were published without the help of either—but the time and the circumstances of their publication provided both.
    [Show full text]
  • Friedrich Schiller
    Journal of Poetry, Science, and Statecraft Spring/Summer 2005 $10.00 Gavins Point Dam, South Dakota. development of the notion of Abelian functions applies to such cases. To trace the development of the notion of a field in modern European science, revisit Kepler’s U.S. Army Corps of Engineers/Harry Weddington development of the conception of universal gravitation, as from his The New Astronomy through the Work and Its Organization as Power implications of his World Harmony, this time viewing the ontrary to the accountants Leibniz, brings into immediate subject-area treated, in a Cand their like, economic view the way in which Carl pioneering fashion, by Kepler, science, like related functions of Gauss and Riemann dealt, from the standpoint of the work government, must define an respectively, with what I have of such as Gauss and Riemann. increase in productivity as the identified as Dirichlet’s Principle. Then, apply the same approach to outcome of the discovery and the notion of a physical-economic appropriate application of a Notion of a Field process encompassing a nation, such universal physical principle, or The only discovered manner in as the U.S.A., or our planet as a what we term, in memory of the which we can deal rationally whole. ancient Pythagoreans and Plato, with the efficient relationship as powers. with a universal physical Fallacy of ‘Globalization’ The best way to introduce the principle, is to express the The understanding of this point, relevant conception, is to focus on relevant experimental expression enables us to understand why the way in which technological of cause-effect connections in the transfer of the production of progress, as embodied within the terms of the notion of a field.
    [Show full text]
  • The Symbol of the Veil: Psychological Reflections on Schiller's Poetry, Freud and the Humanities, London, 1985, Pp.75-109 [Trapp No.1985E.1]
    E. H. Gombrich, (in Peregrine Horden ed.) The Symbol of the Veil: Psychological Reflections on Schiller's Poetry, Freud and the Humanities, London, 1985, pp.75-109 [Trapp no.1985E.1] Friedrich Schiller is not a household word among educated people in the English-speaking world, and I trust nobody will take it amiss if I mention that he was born in November 1759 ten years after Goethe, that unlike Goethe he had a harsh and rebellious youth, but earned an ever-increasing reputation first as professor of history at Jena, and then as playwright, moving to Weimar, where he died in May 1805. Needless to say, the stages and facets of this varied career had given rise to an enormous bibliography,[1] and have never been neglected by specialists in departments of German language and literature. But these signal achievements of Anglo-Saxon critics and historians, from which I have gratefully profited as much as circumstances permitted, stand in obvious contrast to the benevolent ignorance of the general public. When I asked for an edition of Schiller's poetry in two of the main academic bookshops of London, the helpful sales assistants were genuinely surprised, because they had never heard that Schiller had written any poetry. I know that this happened in partibus infidelium and that perhaps I would have had more luck in Oxford. The translations I have supplied lack all literary pretensions, though I have occasionally allowed the lines to scan if this required no effort on my part. Let me express the hope, though, that no one will judge the quality of Schiller's verse from this ad hoc selection and translation.
    [Show full text]
  • Philosophical Readings Online Journal of Philosophy
    PHILOSOPHICAL READINGS ONLINE JOURNAL OF PHILOSOPHY ARTICLES Laura Anna Macor Introducing the New Schiller 3 Jeffrey L. High Rede über die Frage: Gehört allzuviel Güte, Leutseeligkeit und grosse Freygebigkeit im engsten Verstande zur Tugend? Socrates as Secular Jesus in Schiller’s First Karlsschule Speech 7 5 Cordula Burtscher 2013 Schiller, Hume und die Religionspsychologie. Zu dem Gedicht Resignation und dem Bücherbestand der Karlsschule zu Schillers Schulzeit 50 Katerina Deligiorgi Schiller’s Philosophical Letters: Naturalising Spirit to Moralise Nature 63 Lucía Bodas Fernández Special Issue on: La cuestión de la división del trabajo en Algo sobre la primera READING SCHILLER: sociedad humana según el hilo conductor de los escritos de Moisé 79 ETHICS, AESTHETICS, AND Giovanna Pinna RELIGION L’individualità universale. Soggettività e poesia in Schiller a partire dalla Bürger- e dalla Matthisson-Rezension 103 Guest Editor: Wolfgang Riedel Laura Anna Macor Philosophie des Schönen als politische Anthropologie. Schillers Augustenburger Briefe und die Briefe über die ästhetische Erziehung des Menschen 118 María del Rosario Acosta López “Only a Matter of Style”: A Controversial Issue between Schiller and Fichte. Regarding Schiller’s On the Necessary Limitations in the Use of Beautiful Forms 172 Ritchie Robertson On the Sublime and Schiller’s Theory of Tragedy 194 Norbert Oellers Poesie als Spiel. Der Klassiker Schiller (Wallenstein und Die Braut von Messina) 213 REVIEWS 223 Emiliano Acosta, Schiller versus Fichte. Schillers Begriff der Person ISSN in der Zeit und Fichtes Kategorie der Wechselbestimmung im Wi- 2036-4989 derstreit (Amsterdam-New York: Rodopi, 2011) (E. Magrì); Jörg Robert, Vor der Klassik. Die Ästhetik Schillers zwischen Karlsschu- le und Kant-Rezeption (Berlin-Boston: de Gruyter, 2011) (J.
    [Show full text]
  • A Reader's Guide to Schiller's Letters on the Aesthetical Education Of
    Click here for Full Issue of Fidelio Volume 14, Number 1-2, Spring-Summer 2005 ‘Nun kommt die Schillerzeit!’ A Celebration on the 200th Anniversary of the Poet’s Death A Reader’s Guide to Letters on the Aesthetical by William F. Wertz, Jr. he purpose of this essay is to provide a guide to timents, who believed human nature capable of nothing “the young friend of truth and beauty”1 in his or good, who saw all deeds but in the dark mirror of his Ther reading of Friedrich Schiller’s Letters on the own cheerless soul, and was utterly lacking in indulgence Aesthetical Education of Man, which Schiller wrote in for the weaknesses of humanity; a bad philosopher, and 1793 to a Danish Prince, Friedrich Christian of an even worse judge of man, with a cold heart, a narrow Schleswig-Holstein-Augustenborg, who had come to mind, and unwavering in his prejudices.”3 This descrip- Schiller’s aid some years earlier. The original letters, of tion fit Kant to a tee. which there were only nine, were destroyed by a fire at In attacking Kant, Schiller did not engage in a point- the Prince’s palace in 1794. Nearly two years later, by-point refutation of Kant’s constipated Critique of Pure Schiller rewrote the whole series, nearly doubling their Reason, or his later Critique of Judgement on aesthetics, length, and published them by installments in The but rather he focussed on Kant’s Achilles’ heel, his Graces, a journal he founded and edited. notion of the “categorical imperative,” which Kant In the Aesthetical Letters, Schiller openly attacked the developed in his Critique of Practical Reason as the solu- philosophy of Immanuel Kant, an empiricist turned neo- tion to what he refers to as the “fundamental antinomy Aristotelean, who had become in Schiller’s day the of practical reason.” favorite of the oligarchical reactionaries, for whom his In the Critique of Practical Reason, Kant asserts a fun- writings provided ideological support.
    [Show full text]
  • On Grace and Dignity
    ON GRACE AND DIGNITY TRANSLATED BY GEORGE GREGORY The Greek myth attributes to the goddess of beauty a belt, possessed of the power to endow the one who wears it with grace, and to obtain love. This goddess is accompanied by the goddesses of grace, or the Graces. The Greeks therefore distinguished grace and the Graces from beauty, for they expressed them by such attri­ butes as were distinct from the goddess of beauty. All grace is beautiful, for the belt of grace is a property of the goddess of Gnidus; but not all that is beautiful is grace, for even without this belt, Venus remains what she is. According to this very allegory, it is the goddess of beauty alone, Juno, who wears and bestows the belt of grace; Juno, heaven's glorious goddess, must first borrow that belt of Venus, when she wants to charm Jupiter on Mt. Ida. Thus majesty, even if a certain degree of beauty adorns it (which one by no means gainsay'sthe wife of Jupiter) , is, without grace, not certain to please, since it is not on ac­ count of her own charms, but the belt of Venus, that the high queen of the gods expects triumph over Jupiter's heart. Schiller began to write On Grace and Dignity in May 1793, after he had completed his corresponde�Fe with Komer on the subject of the beautiful. It is the first major published work of Schiller to decisively criticize the perspective of Kant on aesthetics, a fact noted by Humboldt in his infellecfual biography Schiller.
    [Show full text]
  • 4 Play and Irony: Schiller and Schlegel on the Liberating Prospects of Aesthetics Daniel Dahlstrom
    4 play and irony: schiller and schlegel on the liberating prospects of aesthetics Daniel Dahlstrom Friedrich Schiller1 and Friedrich Schlegel2 are responsible for shaping much of aesthetics, literature, and criticism for generations of continental philoso- phers aft er Kant. Both writers were able to transmit a conviction that freedom in some sense defi nes what it means to be human and that literature is uniquely capable of embodying and expressing that freedom. For both writers, literature 1. Friedrich Schiller (November 10, 1759–May 9, 1805; born in Marbach; died in Weimar) studied medicine at the Military Academy (Karlsschule) 1773–80, before launching his career as playwright and poet. His plays include: Die Räuber (Th e Robbers; 1781) [60]; Kabbala und Liebe (Intrigue and Love; 1784); Don Carlos (1787); the Wallenstein trilogy (1798–99); Maria Stuart (1800); Die Jungfrau von Orleans (Th e Maid of Orleans; 1801); and Wilhelm Tell (1804). Despite the onset of ill health in 1791, which ended a two- year stint as professor of history at University of Jena, Schiller completed Geschichte des dreißigjährigen Krieges (History of the Th irty Years War) in 1792. Fichte, Goethe, Kant, Lessing, and Rousseau, were signifi cant infl uences. 2. Friedrich Schlegel (March 10 1772–January 12, 1829; born in Hannover; died in Dresden) studied law at Göttingen and Leipzig (1790–93) before devoting himself to the study of literature and philosophy. Together with his brother, August Wilhelm, he published Athenaeum (1798–1800), the main organ of the Romantic movement. Fichte, Goethe, Herder, Kant, Lessing, Plato, Schiller, Spinoza, and his friends in the Romantic movement exercised signifi cant infl uence on his thinking.
    [Show full text]
  • Nicolai Riedel Marbacher Schiller-Bibliographie
    NICOLAI RIEDEL Unter Mitarbeit von Christoph Hilse und Hermann Moens MARBACHER SCHILLER-BIBLIOGRAPHIE 2006 und Nachträge Der bibliographische Rückblick auf das Jahr 2006 setzt die periodische Schiller- Bibliographie von Eva Dambacher und Herman Moens fort. Redaktionsschluß war Ende Mai 2007. Neben monographischen Publikationen, Sammelwerken, Bei- trägen in Zeitschriften und Büchern wurden, unter Nutzung der Materialien aus der Dokumentationsstelle des Deutschen Literaturarchivs, auch vermehrt Theater- programme, Inszenierungskritiken aus der Presse sowie Bild- und Tonträger ver- zeichnet, da diese Dokumente zur Schiller-Rezeption in anderen Bibliographien nicht oder nur unzulänglich nachgewiesen werden. Der Nachhall auf das publika- tionsreiche »Schiller-Jahr 2005« zeigte sich insbesondere bei den wissenschaft- lichen Arbeiten, die zumeist aus Vorträgen auf Symposien hervorgegangen sind. Der personelle Wechsel in der Redaktion hat keine grundsätzlichen Folgen auf die Anlage und den Anspruch der Bibliographie: Die Systematik wurde, wo es not- wendig schien, behutsam modifiziert; in einigen Fällen sind die bibliographischen Informationen bei unselbständigen Veröffentlichungen etwas vollständiger; neu hinzugekommen ist die ISBN; alle Einträge, auch die wegen neuer Rezensionen noch einmal aufgenommenen, erhalten eine Referenznummer; typographisch her- vorgehoben durch Kursivierung sind nur noch Annotationen und Kommentare der Redaktion; auf Abkürzungen wird weitestgehend verzichtet. – Bei dieser Bibliogra- phie wirkte Christoph Hilse als Gastredakteur mit. Inhalt 1. Forschung 2.3.2 Dramen 1.1 Bibliographien 2.3.3 Erzählende Prosa und 1.2 Forschungsberichte, Edition theoretische Schriften 1.3 Zeitschriften, Sonderhefte 2.4 Herausgegebene Werke 1.4 Sammelwerke (Symposien, 2.5 Briefe und Korrespondenzen Colloquien etc.) 2.6 Übersetzungen von Schillers 1.5 Ausstellungen Werken 2. Ausgaben 2.6.1 Teilausausgaben und 2.1 Gesamtausgaben Sammlungen 2.2 Teilausgaben 2.6.2 Einzelne Werke 2.3 Einzelne Gattungen: Sammlungen, 3.
    [Show full text]