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). 7. For Schiller’s reception in England see Frederic Ewen, The Prestige of Schiller in England, 1788–1859 (New York: Columbia University Press, 1932) and Robert Pick, Schiller in England, 1787–1960: a Bibliography (Leeds: English Goethe Society, 1961); also Violet Stockley, German Literature as Known in England, 1750–1830 (London: Routledge, 1929) and F. W. Stokoe, German Influence in the English Romantic Period, 1788–1818 (Cambridge: Cambridge University Press, 1926). 8. For earlier scholarly discussions of Coleridge’s German reading in this period see Werner W. Beyer, ‘Coleridge’s Early Knowledge of German’, Modern Philology, 52 (1954–55), 192–200; A. C. Dunstan, ‘The German Influence on Coleridge’, MLR, 17 (1922), 272–81; H. M. Goodman, ‘The German Influence on Samuel Taylor Coleridge’, Ph.D. thesis (University of Florida, 1957); Fritz Wieden, ‘S.T. Coleridge’s Assimilation of Ideas from Schiller’s

207 208 Notes

Early Writings’, in Analecta Helvetica et Germanica: eine Festschrift zu Ehren von Hermann Boeschenstein, ed. Achim Arnold et al. (Bonn: Bouvier, 1979), 170–81; Elizabeth M. Wilkinson, ‘Coleridge und Deutschland’, Forschungs- probleme der vergleichenden Literaturgeschichte (Tübingen: Niemeyer, 1958), II, 7–23; and L. A. Willoughby, ‘Coleridge and his German Contemporaries’, PEGS, 10 (1934), 43–62 and ‘Schiller in England and Germany’, PEGS, 11 (1935), 1–19. 9. David Fairer, ‘Coleridge in Conversation: Sonnets by Various Authors (1796)’, paper presented at the Coleridge Summer Conference, 20 July 2000. 10. See Donald G. Priestman, ‘Godwin, Schiller and the Polemics of Coleridge’s Osorio’, Bulletin of Research in the Humanities, 82 (1979), 236–48. 11. For related discussions of the play see John David Moore, ‘Coleridge and the “Modern Jacobinical Drama”: Osorio, Remorse, and the Development of Coleridge’s Critique of the Stage, 1797–1816’, Bulletin of Research in the Humanities, 85 (1982), 443–64, and Daniel Watkins, ‘In that New World: the Deep Historical Structure of Coleridge’s Osorio’, Philological Quarterly, 69 (1990), 495–515. 12. Neil Vickers discusses this review in connection with Beddoes’s wide-ranging scholarly interests in ‘Coleridge, Thomas Beddoes and Brunonian Medicine’, European Romantic Review, 8 (1997), 47–94. 13. Giuseppe Micheli and René Wellek, The Early Reception of Kant’s Thought in England, 1785–1805 and Immanuel Kant in England, 1793–1838 (London: Routledge/Thoemmes Press, 1993), 47–54. 14. Carl August Weber, Bristols Bedeutung für die englische Romantik und die deutsch–englischen Beziehungen (Halle: Niemeyer, 1935), 92–115; see also Beyer, ‘Coleridge’s Early Knowledge of German’. 15. Shaffer, ‘Kubla Khan’ and the Fall of Jerusalem: the Mythological School in Biblical Criticism and Secular Literature, 1770–1880 (Cambridge: Cam- bridge University Press, 1975); Dorothy A. Stansfield, ‘A Note on the Genesis of Coleridge’s Thinking on War and Peace’, The Wordsworth Circle, 17 (1986), 130–4; Vickers, ‘Coleridge, Thomas Beddoes and Brunonian Medicine’, passim. 16. Monthly Review, n.s., 21 (1796), 574. Beddoes is translating, and slightly abbreviating, the opening paragraph from the essay:

In der Tat scheinen die Zeitumstände einer Schrift wenig Glück zu ver- sprechen, die sich über das Lieblingsthema des Tages ein strenges Still- schweigen auferlegen und ihren Ruhm darin suchen wird, durch etwas anders zu gefallen, als wodurch jetzt alles gefällt. Aber je mehr das beschränkte Interesse der Gegenwart die Gemüter in Spannung setzt, einengt und unterjocht, desto dringender wird das Bedürfnis, durch ein allgemeines und höheres Interesse an dem, was rein menschlich und über allen Einfluß der Zeiten erhaben ist, sie wieder in Freiheit zu setzen und die politische geteilte Welt unter der Fahne der Wahrheit und Schönheit wieder zu vereinigen. (NA, XXII, 106) Notes 209

17. Vickers makes this conjecture in ‘Coleridge, Thomas Beddoes and Brunonian Medicine’, 57.

2 Coleridge and Weimar Classicism

1. For Coleridge’s studies in Göttingen see Clement Carlyon, Early Years and Late Reflections (London: Whittaker, 1836), Willoughby, ‘German Con- temporaries’, 47–50 and Weber, Bristols Bedeutung, 164–74. Schiller’s work does not appear among the books that Coleridge borrowed from the uni- versity library: Alice D. Snyder, ‘Books Borrowed by Coleridge from the Library of the University of Göttingen 1799’, Modern Philology, 25 (1927– 28), 377–80. See also Wilkinson’s note, ‘Coleridge’s Knowledge of German as Seen in the Early Notebooks’ in CN, I, Appendix ‘A’. 2. Luigi Marino, Praeceptores Germaniae: Göttingen 1770–1820 (Göttingen: Vandenhoeck & Ruprecht, 1995). For some contemporary accounts of life in Göttingen in the period, see ‘Selige Tage im Musensitz Göttingen’: Stadt und Universität in ungarischen Berichten aus dem 18. and 19. Jahrhundert, ed. István Futaky (Göttingen: Vandenhoeck & Ruprecht, 1991). 3. The circumstances of this translation are discussed in the second section of the next chapter, pp. 52–3 . 4. For the full circumstances surrounding Coleridge’s translation, see Joyce Crick’s edition of The Piccolomini and Wallenstein’s Death in the Bollingen edition of Poetical Works, ed. J. C. C. Mays, and ‘Coleridge’s Wallenstein: Two Legends’, MLR, 83 (1988), 76–86; see also Walter Grossman, ‘The Gillman–Harvard Manuscript of Schiler’s Wallensteins Tod’, Harvard Library Quarterly, 11 (1957), 319–45, and B. Q. Morgan, ‘What Happened to Coleridge’s Wallenstein’, Modern Language Journal, 43 (1959), 195–201. 5. F. J. Lamport, ‘Wallenstein on the English Stage’, German Life and Letters, 48 (1995), 124–47; Joyce Crick, ‘William Poel’s Wallenstein-Moment’, in Cousins at One Remove, ed. Richard Byin (Leeds: Northern Universities Press, 1998), 42–60. 6. ‘Some Editorial and Stylistic Observations on Coleridge’s Translation of Schiller’s Wallenstein’, PEGS, 54 (1983–84), 37–75; and ‘Coleridge’s Wallen- stein: Available Dictions’, Second Hand: Papers on the Theory and Historical Study of Literary Translation, ALW Cahiers, 3 (1985), 128–60. On Coleridge as translator, see also Jibon Krishna Banerjee, ‘Coleridge’s English Rendering of Schiller’s Plays’, The Aligarh Journal of English Studies, 13 (1988), 103–13 and Matthew Scott, ‘The Circulation of Romantic Creativity: Coleridge, Drama, and the Question of Translation’, Romanticism on the Net, 2 (May 1996), online. 7. ‘Coleridge’s Wallenstein Translation as a Guide to his Dejection Ode’, The Wordsworth Circle, 18 (1987), 132–6. 8. In the Theatre of Romanticism: Coleridge, Nationalism, Women (Cambridge: Cambridge University Press, 1994), 63–93; see also her article: ‘Command Performances: Burke, Coleridge, and Schiller’s Dramatic Reflections on the Revolution in France’, The Wordsworth Circle, 23 (1992), 117–32. 210 Notes

9. The Robbers and Wallenstein, trans. F. J. Lamport (Hardmondsworth: Penguin, 1979), 166–7. 10. As Carlson says, the play ‘dramatizes the tragedy of Romantic proposals for change’ (‘Command Performance’, 124). 11. Leonard M. Mackall, ‘Coleridge Marginalia on Wieland and Schiller’, Modern Language Review, 19 (1924), 346.

3 British Germanophiles

1. Monthly Review, 33 (Oct. 1800), 127–31; other reviews appeared in Critical Review, 30 (Oct. 1800), 175–85 and in British Critic, 18 (Nov. 1801), 542–5. See Coleridge: the Critical Heritage, ed. J. R. de J. Jackson (London: Routledge, 1970), 62–6. Coleridge later attributed one of the reviews to Anna Letitia Barbauld and blamed her for turning public opinion against his Wallenstein translation (TT, I, 573). 2. See also Henry Crabb Robinson on Books and Their Writers, ed. Edith J. Mor- ley, 3 vols (London: Dent, 1938), III, 107. Scott quoted from it on several occasions in Guy Mannering (1815), for which Coleridge thanked him in the 1818 Friend (I, 122 and 428–9n), and Hazlitt praised the work in Spirit of the Age, in Works, ed. P. P. Howe, 21 vols (London: Dent, 1930–34), XI, 35. For Tieck see CL, V, 269. See also Ashton, German Idea, 189 n.3. 3. ‘Wallenstein, translated by Coleridge’, Blackwoods Edinburgh Magazine, 14 (1823), 377–97. Ten years later, Abraham Hayward praised Coleridge’s Wallenstein in the preface to his own translation of Faust (London: Edward Moxon, 1833), xiii. 4. Julie A. Carlson, ‘Unsettled Territory: the Drama of English and German Romanticism’, Modern Philology, 88 (1990), 43–56. For the Anti-Jacobin Review’s ‘veritable press campaign’ against German philosophy, directed in part by John Gifford’s Weimar contact James Walker, see Giuseppe Micheli, Early Reception, 88–94; also André Rault, ‘Die Spanier in Peru oder die Deutschen in England: Englisches und deutsches Theater, 1790– 1810’, Wissenschaftliche Zeitschrift der Ernst-Moritz-Arndt Universität, 32 (1983), 83–9. The story was slightly different in America: a pirated edition of the first part of Coleridge’s translation, The Piccolomini, was published in New York in 1805. 5.For an earlier discussion of some of this material, see Ewen, Prestige of Schiller, ch. 2. 6. The German Museum, 1–3 (1800–1). Further references are included in par- entheses in the text. There are very few existing copies, which accounts in part for the critical neglect of this important work in the history of the reception of German ideas in early nineteenth-century Britain. For one commentary to which my own is partly indebted, see Lieselotte Blumenthal, ‘Geisweiler und Weimar: zur Rezeption deutscher Dichter in England um 1800’, Jahrbuch der deutschen Schillergesellschaft, 11 (1967), 14–46. For Peter Will, see John Alexander Kelly, German Visitors to English Theatres in Notes 211

the Eighteenth Century (Princeton: Princeton University Press, 1936), 158–61 and for Willich, see Micheli, Early Reception, 88–91. 7. Blumenthal, ‘Geisweiler und Weimar’, 32–3. 8. Crick, ‘Two Legends’, 81. 9. Quoted in Kelly, German Visitors, 161. 10. See Elke Ritt, Mary Stuart, a tragedy (1801) von Joseph Charles Mellish: die autorisierte englische Blankversübersetzung von Schillers Maria Stuart: Analyse und Text nebst einer Biographie des Übersetzers und handschriftlichem Doku- mentationsmaterial (Munich: Tuduv, 1993). 11. ‘What are the Particular Effects of the Stage?’ Montly Mirror, 8 (1799), 357–60 and 9 (1800), 42–6. Bernd Bräutigam has demonstrated how this essay aims to refute J. J. Rousseau’s claim that art cannot effect social change, ‘Rousseaus Kritik ästhetischer Versöhnung: eine Problemvorgabe der Bil- dungsästhetik Schillers’, Jahrbuch der deutschen Schillergesellschaft, 31 (1987), 137–55. 12. Translations of German Poems, trans. anon. [Benjamin Beresford] (Berlin: H. Frölich, 1801). 13. Annual Review, 4 (1805), 639. 14. British Critic, 25 (1805), 684–5. 15. The Gentleman’s Magazine, 75 (1805), 493, 581. 16. Monthly Magazine, 21 (1806), 46–7. The German is as follows:

Den kindlichen Charakter, den das Genie in seinen Werken abdrückt, zeigt es auch in seinem Privat-Leben und in seinen Sitten. Es ist schaam- haft, weil die Natur dieses immer ist; aber es ist nicht decent, weil nur die Verderbniß decent ist. Es ist verständig, denn die Natur kann nie das Gegentheil seyn; aber es ist nicht listig, denn das kann nur die Kunst seyn. Es ist seinem Charakter und seinen Neigungen treu, aber nicht sowohl weil es Grundsätze hat, als weil die Natur bey allem Schwanken immer wieder in die vorige Stelle rückt, immer das alte Bedürfniß zurück bringt. Es ist bescheiden, ja blöde, weil das Genie immer sich selbst ein Geheimniß bleibt, aber es ist nicht ängstlich, weil es die Gefahren des Weges nicht kennt, den es wandelt. Wir wissen wenig von dem Privatle- ben der größten Genies, aber auch das weniger, was uns z. B. von Sophok- les, von Archimed, von Hippokrates, und aus neueren Zeiten von Ariost, Dante und Tasso, von Raphael, von Albrecht Dürer, Zervantes, Shakes- pear, von Fielding, Sterne u. a. aufbewahrt worden ist, bestätigt diese Behauptung. (NA, XX, 424–5)

The Monthly Magazine does not include Schiller’s list of examples. 17. H. C. Robinson, On Books and Their Writers, I, 77. See also CL, III, 407. Bio- graphical essays of the 1820s continued to link Schiller’s ill health with his study of Kant. See, for example, Specimens of the German Lyric Poets, trans. Benjamin Beresford (London: Boosey and Sons, 1822), 81: ‘he became entangled in the maze of Kant’s philosophy, and, by overstrained intellectual exertion, brought on that illness, which occasioned his 212 Notes

premature death’, and ‘German Authors No. II: Schiller’, New Monthly Maga- zine and Literary Journal, 1 (1821), 206–22. 18. ‘On the Genius of Schiller and the Robbers’ and ‘On the German Literature, and the Genius of Schiller’, The Universal Magazine, 8 (1807), 29–32 and 307–10, respectively. 19. The Universal Magazine, 9 (1808), 283–6. 20. The Universal Magazine, 12 (1809), 277–8 (‘Ode to Joy’) and 186–8, 270–3, 443–6 and 13 (1810), 10–13 (The Criminal from Lost Honour). 21. The Universal Magazine, 12 (1809), 28–30, 92–4, 384–6 and 463–6. 22. The Universal Magazine, 12 (1809), 92–3. The German original runs thus:

in so fern sich das Gemüth nur in seinem sittlichen Handeln vollkom- men unabhängig und frey fühlt, in so fern ist es freylich der befriedigte Trieb der Thätigkeit, von welchem unser Vergnügen an traurigen Rührun- gen seinen Ursprung zieht. Aber so ist es auch nicht die Menge, nicht die Lebhaftigkeit der Vorstellungen, nicht die Wirksamkeit des Begehrungs- vermögens überhaupt, sondern eine bestimmte Gattung der erstern, und eine bestimmte, durch Vernunft erzeugte Wirksamkeit des letztern, was diesem Vergnügen zum Grund liegt. (NA, XX, 152–3)

23. William Mudford, Nubilia in Search of a Husband (London: J. Ridgeway, 1809), 413. 24. The Scots Magazine and Edinburgh Literary Miscellany, 72 (1810), 426–8, 577–80. 25. For Schiller’s later reception see ‘Account of Wieland, Goethe, Schiller etc. by a Late Traveller’, Monthly Magazine, 50 (1820), 108–9, which notes that Schiller’s ‘literary and moral treatises present analysis and observa- tions which equally affect by their shrewdness and their profundity’. See also William Taylor, ‘The German Student, No. XX: Schiller’, Monthly Magazine, 52 (1821), 223–6, 392–5 and ‘Schiller’s Intellectual System’, Monthly Magazine, 53 (1822), 25–8; also De Quincey, ‘Superficial Know- ledge’, London Magazine, 10 (1824), 27–8; and Carlyle, ‘Schiller’s Life and Writings – Part III’, London Magazine, 10 (1824), 22–3 and his Life of Schiller (London: Taylor and Hessey, 1825). Some of these are discussed in the editors’ introduction in Aesthetic Letters, cxxxiii–cxcvi. 26. Crabb Robinson in Germany, 1800–1805, ed. Edith J. Morley (London: Humphrey Milford, 1929), 100. See also Crabb Robinson’s journal entry for the day, in Hertha Marquardt, Henry Crabb Robinson und seine deutschen Freunde: Brücke zwischen England und Deutschland im Zeitalter der Romantik (Göttingen: Vandenhoeck & Ruprecht, 1964–67), 341–2. For a discussion of Crabb Robinson in Germany see Ernst Behler, ‘Schellings Ästhetik in der Überlieferung von Henry Crabb Robinson’, Philosophisches Jahrbuch des Goerres-Gesellschaft, 83 (1976), 133–83. 27. It can be translated literally thus: ‘Greekness, what was it? Understanding, measure, clearness! / Wherefore I would have thought, a little patience, gentlemen, before you start talking to us of Greece.’ Notes 213

28. As David Vallins has shown, Coleridge’s interest in the role of feeling in moral life was part of a larger project aimed at integrating psychological experience with rational discourse more generally. See Coleridge and the Psychology of Romanticism (London: Palgrave, 1999). 29. The Letters of William and Dorothy Wordsworth, ed. Ernest De Selincourt: The Middle Years, 1812–20, rev. Mary Moorman and Alan G. Hill (Oxford: Oxford University Press, 1970), III, 13.

4 Schiller’s Poetry in Coleridge’s Notebooks

1. There are two variants in Coleridge’s transcription, apart from capitalization: in the second distich Coleridge brings the phrase ‘Mir grauet’ (‘I shudder’), which Schiller has in the first line, into the second; and in the fourth distich, Coleridge has ‘was der Körper den Lebenden’ (‘what the body [is] to the living’) in place of Schiller’s ‘was der Körper den Liebenden’ (‘what the body [is] to lovers’). Here Coleridge universalizes Schiller’s metaphor – though it is impossible to say whether this was deliberate. Some of these distichs reappeared in published form (SW & F, I, 315 and LS, 174). 2. This and all subsequent translations of Coleridge’s transcriptions are taken from the editorial notes accompanying CN. 3. The poem originally appeared in Der Teutsche Merkur and Schiller had published a revised version, toning down the implicit criticism of Chris- tianity, in the first volume of his Poems in 1800. 4. Coleridge in Malta and Italy (Oxford: Oxford University Press, 1969), 151, 267. 5. Edoardo Zuccato, Coleridge in Italy (New York: St Martin’s Press – now Palgrave, 1996), ch. 1. 6. Coleridge may have had in mind, too, Schiller’s distich ‘The Genius with the Inverted Torch’ (‘Der Genius mit der umgekehrten Fackel’): ‘Lieblich sieht er zwar aus mit seiner erloschenen Fackel,/ Aber, ihr Herren, der Tod ist so aesthetisch doch nicht’ (‘Admittedly, he looks lovely with his extin- guished torch / But Death, gentlemen, is not so aesthetic’, NA, I, 286). 7. See my article ‘Coleridge’s Francophobia’, Modern Language Review, 95 (2000), 924–41. 8. Sultana, Malta and Italy, 386–7. 9. See Shaffer, ‘Romantic Philosophy’. 10. The number in square brackets is given by the editor of the Coleridge notebooks for the sake of convenience; neither Coleridge nor Schiller numbered the distichs. 11. Evidence for Coleridge’s source occurs in the second distich, where he fol- lows a variant that appears only in The Muses’ Almanac (NA, I, 285; compare IIi, 150, 324). 12. The two distichs can be translated literally as follows: ‘The Incompetent/ To censure is easy, to create is difficult; you who censure the weak/have you also the heart to pay tribute to the accomplished?’ and ‘Recompense/ What rewards the master? the gentle answering echo/from pure reflex, out of the responding breast’. 214 Notes

13. It appeared in all subsequent editions of his collected poems. Coleridge’s source in 1802 had been Schiller’s Poems, Part 1; the title he gives to the translation in Sibylline Leaves confirms that he was later reading the poem in The Muses’ Almanac, where it is entitled ‘The Visit’. 14. Bacchus in Romantic England: Writers and Drink, 1780–1830 (Basingstoke: Macmillan – now Palgrave, 1999), 119–25.

5 Semblance and Aesthetic Autonomy in Coleridge’s Criticism

1. Coleridge’s Poetics (Oxford: Blackwell, 1983), 132. 2. Schiller to Derrida: Idealism in Aesthetics (Cambridge: Cambridge University Press, 1989), chs 1–3. 3. Nancy Webb Kelly, ‘Homo Aestheticus: Coleridge, Kant and Play’, Textual Practice, 2 (1988), 200–18. 4. Aesthetic Theory, ed. Gretel Adorno and Rolf Tiedemann, trans. Robert Hullot-Kentor (London: Athlone Press, 1997), 197. 5. See, for instance, Robinson, Diary, I, 305. 6. Though, characteristically, Schiller’s work is not so committed as Kant’s to transcendental argumentation. See Dieter Henrich in ‘Beauty and Free- dom: Schiller’s Struggle with Kant’s Aesthetics’, in Essays in Kant’s Aesthetics, ed. Ted Cohen and Paul Guyer (Chicago and London: University of Chicago Press, 1982), 237–57 and also Eva Schaper, ‘Friedrich Schiller: Adventures of a Kantian’, British Journal of Aesthetics, 4 (1964), 348–62 and ‘Schiller’s Kant: a Chapter in the History of Creative Misunderstanding’, in Studies in Kantian Aesthetics (Edinburgh: Edinburgh University Press, 1979), 99–117. Paul de Man argues that Schiller’s residual empiricism makes for a more thoroughgoing idealism than Kant’s, in a lecture called ‘Kant and Schiller’, in Aesthetic Ideology, ed. Andrzej Warminski (Minne- apolis and London: University of Minnesota Press, 1996), 129–62; for a reading of this lecture in relation to the reception of de Man, see Marc Redfield, ‘De Man, Schiller, and the Politics of Reception’, Diacritics, 20 (1990), 50–70. 7. Critique of Teleological Judgement, trans. James Creed Meredith (Oxford: Clarendon Press, 1928), §25, 112. 8. See the editors’ note on Schein in Aesthetic Letters, 327–9.

6 Aesthetic Education in Biographia Literaria, The Friend and the Lectures on Literature

1. ‘On the Use of the Chorus in Tragedy’, in The Bride of Messina, William Tell, Demetrius, trans. Charles E. Passage (New York: Ungar, 1962), 4–5. 2. See Seamus Perry, Coleridge and the Uses of Division (Oxford: Clarendon Press, 1999). 3. Daniel Mark Fogel, ‘A Compositional History of the Biographia Literaria’, Studies in Bibliography, 30 (1977), 219–34. Notes 215

4. System of Transcendental Idealism (1800), trans. Peter Heath (Charlottesville: University Press of Virginia, 1978), 233. 5. Coleridge and the Pantheist Tradition (Oxford: Clarendon Press, 1969), 153. For a recent discussion of Coleridge’s use of Schelling, see Tim Milnes, ‘Eclipsing Art: Method and Metaphysics in Coleridge’s Biographia Literaria’, Journal of the History of Ideas, 60 (1999), 125–47. 6. F. W. J. Schelling, ‘Concerning the Relation of the Plastic Arts to Nature’, trans. Michael Bullock, in Herbert Read, The True Voice of Feeling: Studies in English Romantic Poetry (London: Faber and Faber, 1953), 332. 7. Schelling, ‘Plastic Arts’, 347. 8. For other instances of Coleridge’s animadversions on didactic children’s literature, see Lects Lit, I, 278–9 and SW & F, II, 970–1. On moralism in art, see Friend, II, 217–21 (not in the 1818 edition) and BL, II, 185–90. 9. Richard T. Martin, ‘Coleridge’s Use of sermoni propriora’, The Wordsworth Circle, 3 (1972), 71–5. 10. Schiller to Derrida, Ch. 3. 11. See the references to Barbauld’s views in Lects Lit, I, 118–19 n. 17. 12. ‘On the Effects of a Permanent Theatre’ (1784): ‘When a central tendency reigns in all our dramas, when our poets become one, united in a single alliance to further this goal . . . then will we become a Nation’, in NA, XX, 99 (Essays, 338).

7Coleridge’s ‘Aesthetic State’

1. Heidi Robinson, ‘Der gesellschaftsfeindliche “innere” bzw. “ganze Mensch”: Mißdeutungen in der englischen Rezeption und Überlieferung von Schill- ers Kulturtheorie’, Arcadia: Zeitschrift für vergleichende Literaturwissenschaft, 15 (1980), 129–48. 2. Eric Meyer, ‘Reconstructing Aesthetic Education: Modernity, Postmodernity, and Romantic Historicism’, in Intersections: Nineteenth-Century Philosophy and Contemporary Theory, ed. Tilottama Rajan and David L. Clarke (New York: State University of New York Press, 1995), 286–301; Richard T. Gray, Stations of the Divided Subject: Contestation and Ideological Legitima- tion in German Bourgeois Literature, 1770–1914 (Stanford: Stanford UP, 1995), Ch. 3; and Lore Metzger, ‘The Role of Feeling in the Formation of Romantic Ideology: the Poetics of Schiller and Wordsworth’, in Sensibility in Trans- formation: Creative Resistance to Sentiment from the Augustan to the Romantic Age, ed. Syndy McMillen Conger (Rutherford: Fairleigh Dickinson Univer- sity Press, 1990), 172–94. See also Josef Chytry, The Aesthetic State: a Quest in Modern German Thought (Berkeley: University of California Press, 1989). 3. Walter Benjamin, ‘Goethe’, in Selected Writings, trans. Rodney Living- stone et al., ed. Michael W. Jennings et al. (Cambridge, Mass. and London: Belknap Press, 1996–), II, 176. 4. Sharpe, Friedrich Schiller, Ch. 6, 7. 5. Gadamer, Hans Georg, Truth and Method, 2nd edn. (London: Sheed & Ward, 1979), 74. 216 Notes

6. For a close analysis of Gadamer’s critique of Schiller see Constantin Behler, Nostalgic Teleology: Friedrich Schiller and the Schemata of Aesthetic Humanism (Berne: Peter Lang, 1995), 23–37; on Gadamer’s relationship to historicism see Paul Hamilton, Historicism (London and New York: Rout- ledge, 1996), 81–98. 7. See Manfred Misch, ‘Schiller und die Religion’, in Schiller Heute, ed. Hans-Jörg Knoblock and Helmut Koopmann (Tübingen: Stauffenburg, 1996), 27–43. 8. Quoted in Misch, ‘Religion’, 207. 9. See Arthur William McCradle, Friedrich Schiller and Swabian Pietism (Berne: Peter Lang, 1986); also David Pugh, Dialectic of Love: Platonism in Schiller’s Aesthetics (Montreal and Kingston: McGill-Queen’s University Press, 1996). 10. See also ‘The Uses of Aesthetic Morals’ (1796), in NA, XXI, 28–37 (Essays, 119–28); also the notes for the lectures on aesthetics in 1792–3, in NA, XXI, 68–9. 11. Culture and Society, 1780–1950 (London: Chatto & Windus, 1958), xvi. 12. Georg Lukács, ‘Zur Ästhetik Schillers’, in Beiträge zur Geschichte der Ästhetik (Berlin: Aufbau, 1954), 11–96. 13. John Colmer, Coleridge: Critic of Society (Oxford: Clarendon Press, 1959), 110. 14. Terry Eagleton, The Ideology of the Aesthetic (Oxford: Blackwell, 1990), 117. 15. For their discussions of Schiller see Herbert Marcuse, Eros and Civilization: a Philosophical Enquiry into Freud (Boston: Beacon, 1955); Frederic Jameson, Marxism and Form (Princeton: Princeton University Press, 1971); and Jürgen Habermas, The Philosophical Discourse of Modernity (Cambridge, Mass: MIT Press, 1987). Lesley Sharpe summarizes the arguments in Schiller’s Aesthetic Essays, 86–94.

8 The Clerisy and Aesthetic Education

1. See also CL, V, 138 and CN, IV, 4800. Ben Knight, The Idea of the Clerisy in the Nineteenth Century (Cambridge: Cambridge University Press, 1978), Ch. 1. 2. Colmer, Coleridge: Critic of Society, 158. 3. Nigel Leask, The Politics of Imagination in Coleridge’s Critical Thought (Bas- ingstoke: Macmillan – now Palgrave, 1988), Ch. 19. 4. Leask, Politics of Imagination, 218. See also T. M. Holmes, ‘Property and Politics in Schiller’s Theory of Aesthetic Education’, Oxford German Studies, 11 (1980), 27–39. 5. Inquiring Spirit: a New Presentation of Coleridge from His Published and Unpublished Prose Writings, ed. Kathleen Coburn, rev. edn. (Toronto: Uni- versity of Toronto Press, 1979), 343–4. 6. Quoted in H. J. Jackson, ‘Coleridge’s Women, or Girls, Girls, Girls are Made to Love’, Studies in Romanticism, 32 (1993), 580. Coleridge’s comment, evidently not unique, is unwittingly echoed in the entry for Sara Coleridge in the Dictionary of National Biography (1st edn): ‘The unanimous testimony Notes 217

of her friends represents her as an almost perfect woman, uniting masculine strength of intellect to feminine grace and charm.’ 7. Jackson, ‘Coleridge’s Women’, 585. For Coleridge’s relationship to the femi- nism of his day, see Anya Taylor, ‘Coleridge, Wollstonecraft, and the Rights of Women’, in Coleridge’s Visionary Languages: Essays in Honour of J. B. Beer, ed. Tim Fulford and Morton D. Paley (Cambridge: Brewer, 1993), 83–98. 8. Alan Richardson, ‘Romanticism and the Colonization of the Feminine’, in Romanticism and Feminism, ed. Anne K. Mellor (Bloomington: Indiana University Press, 1988), 13–25; Anne K. Mellor, Romanticism and Gender (London and New York: Routledge, 1993); Tim Fulford, Romanticism and Masculinity: Gender, Politics and Poetics in the Writings of Burke, Coleridge, Cobbett, Wordsworth, De Quincy, and Hazlitt (Basingstoke: Macmillan – now Palgrave, 1999). 9. Lesley Sharpe, ‘Über den Zusammenhang der tierischen Natur der Frau mit ihrer geistigen: Zur Anthropologie der Frau um 1800’, Anthropologie und Literatur um 1800, ed. Jürgen Barkhoff and Eda Sagarra (Munich: Iudi- cium, 1992), 213–25. For contemporaries theories of female education, see Pia Schmid, ‘Weib oder Mensch, Wesen oder Wissen?: Bürgerliche Theorien zur weiblichen Bildung um 1800’, in Geschichte der Mädchen- und Frauenbildung, ed. Elke Kleinau and Claudia Opitz, 2 vols (Frankfurt and New York: Campus, 1996), I, 327–45. 10. Silvia Bovenschen, Die imaginierte Weiblichkeit: Exemplarische Untersuchungen zu kulturgeschichtlichen und literarischen Präsentationsformen des Weiblichen (Frankfurt: Suhrkamp, 1979); Hannelore Scholz, Widersprüche im bürgerlichen Frauenbild: Zur ästhetischen Reflexion und poetischen Praxis bei Lessing, Friedrich Schlegel und Schiller (Weinheim: Deutscher Studien, 1992). See also Ursula Naumann, ‘“Für einer Zeitung Gnadenlohn”? Schillers Gedicht Die berühmte Frau und Sophie Ludwigs Buch Juda oder der erschlagene Redliche’, Zeitschrift für deutsche Philologie, 109 (1990), 16–26. 11. Von Humboldt’s essays are: ‘Sexual Difference and its Influence on Organic Nature’ (‘Über den Geschlechtsunterschied und dessen Einfluss auf die organische Natur’, 1794) and ‘Male and Female Form’ (‘Über die männliche und weibliche Form’, 1795), both in the first volume of Werke, ed. Andreas Flitner and Klaus Giel, 5 vols (Stuttgart: Cotta, 1960–81). See also Sweet, Von Humboldt, I, 161–72. In contrast to Schiller, von Hum- boldt describes sexual differences without making qualitative distinctions and sets out a transsexual ideal in which difference does not figure. 12. Review of The Muses’ Almanac for 1796, in Kritische Friedrich-Schlegel- Ausgabe, ed. Ernst Behler, 35 vols (Paderborn: Ferdinand Schöningh, 1958– 79), II, 6. 13. For Schiller’s theory of dilettantism, see ‘Über den Dilettantismus’, in NA, XXI, 60–2. 14. Coleridge similarly refers to this absence of character in Lects Lit, I, 555–6, 573, 594–5. 15. For similar reflections on ‘the insufficingness of the self for itself’ see also ‘The Improvisatore’, PW, I, 465. Jackson relates this interest in sexual difference to Coleridge’s polar logic, in her article ‘Coleridge’s Women’. 218 Notes

16. Virginia Woolf, A Room of One’s Own (London: Grafton, 1977), 94. 17. Quoted in Jackson, ‘Coleridge’s Women’, 598. 18. See Jean Watson, ‘Coleridge’s Androgynous Ideal’, Prose Studies, 6 (1983), 36–56; Anthony Harding, Coleridge and the Idea of Love (London: Cam- bridge University Press, 1974), 95–101; Sonia Hofkosh, Sexual Politics and the Romantic Author (Cambridge: Cambridge University Press, 1998); and Diane Long Hoeveler, Romantic Androgyny: the Women Within (London: Pennsylvania State University Press, 1990). 19. Christine Battersby, Gender and Genius: Towards a Feminist Aesthetics (London: Women’s Press, 1989), 103. 20. See Kari Lokke, ‘Schiller’s Maria Stuart: the Historical Sublime and the Aesthetics of Gender’, Monatshefte, 82 (1990), 123–41.

9Epilogue: Bildung and History

1. Elinor S. Shaffer, ‘Coleridge’s Revolution in the Standard of Taste’, Journal of Aesthetics and Art Criticism, 28 (1969–70), 213–21. 2. Modiano, Coleridge and the Concept of Nature, 108. 3. Linda M. Brooks, ‘Sublime Suicide: the End of Schiller’s Aesthetics’, in Friedrich von Schiller and the Drama of Human Existence, ed. Alexej Ugrinsky (New York: Greenwood, 1988), 91–101, and ‘Sublimity and Theatricality: Romantic “Pre-Postmodernism” in Schiller and Coleridge’, Modern Language Notes, 105 (1990), 939–64. 4. See the editorial commentary in NA, XXI, 328–9 and Elias, 52. Further references are to the German text in the Nationalausgabe and the English translation by Elias. 5. Thomas Weiskel, The Romantic Sublime: Studies in the Structure and Psychology of Transcendence (Baltimore and London: Johns Hopkins University Press, 1976), 41. 6. G. W. F. Hegel, ‘Über Wallenstein’, in Schillers Wallenstein, ed. Fritz Heuer and Werner Keller (Darmstadt: Wissenschaftliche Buchgesellschaft, 1977), 15–16. 7. See Weiskel, Romantic Sublime, Ch. 2. 8. See Ilse Graham, Schiller: a Master of the Tragic Form: His Theory in His Practice (Pittsburgh: Duquesne University Press, 1975). 9. Raimonda Modiano, Coleridge and the Concept of Nature, 108. 10. This is a point Hayden White makes with respect to Schiller’s essay in ‘The Politics of Historical Interpretation: Discipline and De-Sublimation’, Critical Inquiry, 9 (1982), 125–6. 11. For related discussion of Coleridge’s views on history and historiography, see Mary Anne Perkins, ‘Coleridge, Language and History’, in Coleridge’s Visionary Languages: Essays in Honour of J. B. Beer, ed. Tim Fulford and Morton D. Paley (Cambridge: D. S. Brewer, 1993), 181–94, and Coleridge’s Philosophy: the Logos as a Unifying Principle (Oxford: Clarendon, 1994), 255–8; Myfanwy J. Lloyd, ‘The Historical Thought of S. T. Coleridge: the Later Prose Works’, D.Phil. thesis (University of Oxford, 1998) and my Notes 219

article, ‘Romanticism and Coleridge’s Idea of History’, Journal of the History of Ideas, 60 (1999), 717–35. 12. Notebook 43, fols 38, 39v (BL Add. MS 47538). Cf. Notebook 44, fol. 21 (BL Add. MS 47539):

Naturally, the Humanity developed in the form and under the conditions of a one People, a Nation, a State or Commonwealth – this is the clue, this the guiding and enlightening Idea of the Dispensation of Moses, of the Epoch of the great Redemptive Process formed by the Law. The Indi- viduality as the kind in Adam, the Race in Noah, the Family in the Patri- archs, the State or Nation in Moses, and the kind in each Individual in the Christian Church.

See also Perkins, Coleridge’s Philosophy, 260. 13. Notebook 39, fols. 15–16v (BL Add. MS 47534). 14. For a further discussion of this notion of history, see Graham Davidson, Coleridge’s Career (Basingstoke: Macmillan – now Palgrave, 1989), 234 and Perkins, Coleridge’s Philosophy, 259. 15. See similar formulations in CN, IV, 4774, 5216, 5288, 5294, 5377. This page intentionally left blank Selected Bibliography

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Adorno, Theodor, 100 Marxist critique of, 15, 99–100, aesthetic autonomy, 98 162–3 Coleridge on, 102–6, 111–14, and radicalism, 98–100, 162–5, 126–7, 140 206 and didacticism, 130–1 and religion, 152–6, 164–5 Gadamer on, 149–50 and Schelling, 123–8 relation to politics, 163–4 and Schiller’s poetry, see under Schiller on, 118, 120–1, 140, 150 Schiller, poetry and aesthetic education philosophy Coleridge and, 5, 7, 42–4, 84–8, Schiller’s theory of, 14–16, 30–1, 97–100, 106–7, 121–6, 139–40, 35, 40, 50–1, 59–60, 82, 157–65, 167–76; comparison 107–11, 119–21, 143–57; and with Schiller, 117–18, 121–3, aesthetic educators, 167, 128–9, 130–40, 142–3, 157–8, 171–3; and the Aesthetic State, 160–4, 170–2; cultivation, 40, 144–57, 162; beauty, 16, 157–65; ideality of art, 107–9, 111; form drive 112–13, 121–2, 126; (Formtrieb), 108, 119–20, imitation/copy, illusion / 128–9; and grace and dignity, delusion, 113–14, 122–3; 147, 180, 186; indirect indirect relationship between relationship between art and aesthetics and ethics, 115–18; morality, 117–18; play drive liberal education, 160–1; (Spieltrieb), 91, 108–9, 111, poetic faith, 123; and 115, 122–3, 144–5; semblance radicalism, 163–5; role of the (Schein), 14, 85–6, 91, 107, clerisy, 167–76; and Schelling, 109–11, 113, 122, 144, 146; 123–8; state intervention, sense drive (Stofftrieb), 108, 161–3, 170; theory of 119, 128–9; and tragedy, 40, imagination, 107, 129; in 56, 119, 139, 148; and Biographia Literaria, 111–18, Wallenstein, 39–44, 120, 139 121–6; in The Friend, 128–9, social and political aspects, 160, 161–3; in A Lay Sermon, 143–65, 167, 172–4 164–5; in his lectures on and the state, 43, 141–2, 151–2, literature, 126–8, 135–6, 160; 161–2, 170 in On the Constitution of and women, see separate entry Church and State, 158, 162, see also aesthetic judgement, 167–76 beautiful soul, Bildung, clerisy, distinct from civic education, 162, cultivation, culture, 170 didacticism, freedom, history, economic aspects, 141–2, 161–3 indirection, play, pleasure, Gadamer’s critique of, 149–50 woman/women

231 232 Index

aestheticism Benjamin, Walter, 147 Coleridge on, 105–6 Beresford, Benjamin, 52, 211 n. 12, Schiller accused of, 99–100, 143–4, 211 n. 17 150 biblical history, 202–3 Schiller on, 126 Bildung, 7, 8, 85 aesthetic judgement, 100–1 and Christianity, 153–5 distinguished from moral and history, 193–206 judgement, 119 misunderstood, 143 and politics, 163–4 as a social and political force, see also Kant, Critique of Judgement 142, 148 Aesthetic Letters, see under Schiller, Wilhelm von Humboldt’s theory works, also under aesthetic of, 82 education, Schiller’s theory of and women, see separate entry aesthetic pleasure, see pleasure see also aesthetic education aesthetic representation, 109–14 Blumenbach, Johann Friedrich, Aesthetic State, 141–65 34, 48 see also aesthetic education, Blumenthal, Lieselotte, 48, clerisy, cultivation 211 n. 7 alienation, 107 Bowles, William Lisle, 25 Allgemeine Literatur-Zeitung, 35–7 Brooks, Linda M., 2, 194, 218 n. 3 androgyny, 187–8, 218 n. 18 Bürger, Gottfried August, 36, 48 Annual Review, 52 Coleridge and, 36 Anti-Jacobin Review, 46, 52 Schiller’s review of his Poems, Ariosto, Ludovico, 64 11–12, 36–7, 62 Aristotle, 103 Burke, Edmund, 43, 177 poetry essentially ideal, 112 Butler, Joseph, 97 art, relation to ethics, see aesthetic education, also indirection Carlson, Julie A., 2, 39, 46, 209 n. 8, Ashton, Rosemary, 2, 4, 6 210 n. 4 Atheneum, 20 Carlyle, Thomas, 52, 57 autonomy of art, see aesthetic children / childhood, 59–60, 182 autonomy children’s literature, 130–1 Christianity, 2–3, 49, 64–5, 71–2, Bacchus, 91–3 143 Barbauld, Anna Letitia, 130, 210 n. 1 Chytry, Josef, 215 n. 2 The British Novelists, 130 Cipriani, Giovanni Battista, 113 on the moral of ‘The Rime of the civilization, see under cultivation Ancient Mariner’, 134 clerisy, 7, 142, 158, 167–76 on the morality of Tom Jones, 134 absence of curriculum, 169 Barruel, Abbé, 34, 47 and aesthetic education, 170–2 Battersby, Christine, 188, 218 n. 19 compared to mystery religion, beautiful soul (schöne Seele), 61, 78, 172–4, 176 86–7, 146, 178, 191 and ideology, 174–6 Beddoes, Thomas, 5 origin of the notion of, 168–9 and Kant, 28–9 relation to the state, 170, 173–4 reviews Schiller’s Horae, 28–31 and women, 176, 186–8 Beer, John, 3, 92 Coburn, Kathleen, 35 Index 233

Coleridge, Samuel Taylor 26; compares Schiller to and aesthetic autonomy, see Shakespeare, 26, 39, 79–80; separate entry compares Schiller to and aesthetic education, see Wordsworth, 26; acquires separate entry works while in Germany, 34; aesthetics, understood not only in reads his review of Bürger’s epistemological but moral Poems, 36–7; translates terms, 2, 97–8 Wallenstein, 33, 38–44, 48–9; and Barbauld, 134–6 reacts to Schiller’s dramas, 46; and Beddoes, 28–31 transcribes and translates and Christianity, 2–3, 64–5, 71–2, distichs from The Muses’ 79, 125, 143, 169, 219 n. 12 Almanac, 69–71, 83–91; on the clerisy, see separate entry acquires Poems, part 2 (1803), on copy and imitation, 113–14 73–4; and the study of and cultivation, see separate entry metrics, 75–7; on Schiller’s on delusion and illusion, 114 supposed francophilia, 79–82; and didacticism, see separate entry refers to Schiller while in on Fielding, 134–6 Malta and Italy, 75, 78–82; on France, 79–81, 132, 213 n. 7 Schiller’s aesthetics reflected on Goethe, 26, 35, 67, 68; in his poetry, 84–8, 96; adapts transcribes lines from Alexis Schiller’s distichs in praise of and Dora, 83–4 Wordsworth, 85–6, 90–1; in Göttingen, 29, 33–7 translates hexameters, 88; and historiography, see history reads Schiller before studying and Humboldt, Wilhelm von, 82 Kant and Schelling, 96, 100; on imagination, 107, 129, see also aesthetic education 140, 164 and Schiller’s aesthetic essays, 3–6, and Kant, 34, 72, 103–6; on his 28–31, 34, 36–7, 58–65, 84–8; ethics, 59–61, 87, 121; on his Aesthetic Letters, 29–30, 62; On aesthetics, 103–6; critique of Grace and Dignity, 4, 46, 60–2; aesthetic autonomy, 104–6, On Naïve and Sentimental 118 Poetry, 4, 46, 59–60, 62, 64–5; and liberal politics, 26 Shorter Works in Prose, 34, 61–2; on literary criticism and morality, see also aesthetic education 105–6 and Schiller’s poetry, 5, 67–93, 96; and metrics, 75–6 ‘The Bards of Ages Past’, 73; on naturalism, 114 ‘The Dance’, 76–8; on poetic diction, 112, 113–14 ‘Dithyramb’, 72, 91–3; ‘The and religion, 164–5 Glove’, 73, 78; ‘The Gods of and Schelling, 97, 98, 123–8 Greece’, 74, 78–9; ‘The and Schiller, grounds for Hostage’, 75; ‘The Ideals’, 75; comparison, 2–6, 95–100; ‘Laura at the Piano’, 74; Schiller’s works in his library, ‘Sayings of Confucius’, 72; 5; no extant marginalia, 4; ‘The Sharing of the Earth’, 73, identifies with Schiller, 6–7; 78; ‘The Unknown Maiden’, and The Robbers, 23–6; plans 72; ‘The Victory Feast’, 75; to translate Schiller’s works, ‘The Words of Belief’, 71–2, 79 234 Index

Coleridge, Samuel Taylor – continued Sonnets by Various Authors, 25 and Schlegel, A. W., 63–5 The Statesman’s Manual, 128, 158 as sentimental poet, 131–2 Theory of Life, 201 on Shakespeare, 37, 105, 135–6 ‘This Lime-Tree Bower My Prison’, travels in Germany, 33–7 189 use of sources, 4, 6, 63–5, 95–100, ‘To the Author of “The Robbers”’, 123–4 25–6 on women, see separate entry ‘To W. Wordsworth’, 25 on Wordsworth’s poetry, 112, Wallenstein, Coleridge’s 115–16, 121, 123, 125–6 translation of, 5, 33, 38–44, Coleridge, Samuel Taylor, works 48–9; its moral, 44; its Aids to Reflection, 97, 168–9 reception, 45–6, 49; see also Biographia Literaria, 7, 37, 54–5, 76, under Schiller, works 104; and aesthetic education, Coleridge, Sara, 176–7, 216 n. 6 111–18, 121–6; and Schelling, Colmer, John, 162–3 123–6; transcendental Congreve, William, 105 deduction of the imagination, Constant, Benjamin, 58 97, 124–6; see also aesthetic Cooper, Anthony Ashley, Earl of education Shaftesbury, 11, 103 ‘Christabel’, 191 Cotta, J. F., 29, 49 ‘Dejection: An Ode’, 25, 39, 189 Crick, Joyce, 2, 38–9, 48–9, 209 ‘Destiny of Nations’, 132 nn. 4, 6 ‘Fears in Solitude’, 132–3 cultivation, 7, 43–4, 142, 157–65 The Friend, 7, 111, 142, 158; and Coleridge on, 157–65, 167 Aesthetic Letters, 128–9, 161–3 and civilization, 142, 158–62 ‘Kubla Khan’, 25, 174, 190–1 and state sponsorship, 141–2, A Lay Sermon, 7, 142, 158, 161, 150–2, 161–2, 167 164–5 and history, 201, 204–6 Lectures 1808–1819 on Literature, 7, and ideology, 174–6 111, 126–8, 135–6, 160, 184 Cumberland, Richard, 130 Lyrical Ballads, see separate entry On the Constitution of Church and Davidson, Graham, 219 n. 14 State, 7, 98, 142–3, 158, 162; Davy, Humphry, 88 compared to Aesthetic Letters, De Man, Paul, 214 n. 6 167–76 De Quincey, Thomas, 57–8 On Poesy or Art, 126–7 despotism, 141 On the Principles of Genial Criticism, determinism, 42, 59 103–4 didacticism, 130–9 Osorio, compared to Schiller’s and aesthetic education, 130, The Ghostseer, 26–7 134–9 Poems on Various Subjects, 25 and children’s literature, 130–1 review of M. G. Lewis, The Monk, Coleridge on, 117, 130–1, 134–6 26, 103 Coleridge and Schiller as didactic Rime of the Ancient Mariner, 132; poets, 131–3 compared to Schiller’s The Schiller on, 131, 136–9 Ghostseer, 27; its moral, 134 and sentimental poetry, 131–4 Sibylline Leaves, 73, 91–3 sermoni propriora, 132 Index 235

disinterestedness, 99, 135–8, 165, Gillman, Anne, 185 174 Goethe, Johann Wolfgang von, 2, Dunstan, A. C., 4, 207 n. 8 16–19, 21–2, 33, 48, 57, 67–8, Dyer, George, 16–17 153 and Coleridge, see Coleridge, on Eagleton, Terry, 163 Goethe Edgeworth, Maria, 130 and Schiller, see Schiller, and education, 159–61 Goethe Eichhorn, Johann Gottfried, 34, Alexis and Dora (Alexis und Dora), 48–9 83–4 Ewen, Frederic, 4, 207 n. 5, 210 n. 5 Götz von Berlichingen, 16 Iphigenia in Tauris (Iphigenie auf Fairer, David, 25, 208 n. 9 Tauris), 22 feeling, 101, 106 Roman Elegies (Römische Elegien), Fichte, Johann Gottlieb, 16, 48, 16–17 96, 124 The Sorrows of Young Werther (Die Fielding, Henry, 134–6 Leiden des jungen Werthers), 16 compared to Richardson, 135–6 Torquato Tasso, 16 Tom Jones, 134–5 Wilhelm Meister’s Years of form drive (Formtrieb), see under Apprenticeship (Wilhelm aesthetic education, Schiller’s Meisters Lehrjahre), 16–17, 157 theory of Göttingen, 33–4, 48, 209 n. 2 France, 79–81 Coleridge in, 29, 33–7 freedom, 15, 22, 40–4, 59 Grace and Dignity, see under Schiller, aesthetic freedom, 101–2, 107, works: On Grace and Dignity 110–11, 118, 120, 122, 135 Gray, Richard T., 143–4 relationship to moral freedom, Greece (ancient), 74, 79 119–23, 144–6, 148–9 French Revolution, 10, 23–4, 28, 50 Habermas, Jürgen, 163 and Aesthetic Letters, 35, 96 Hagedorn, F. von, 68, 74, 76 and Wallenstein, 39, 42–3 Hamilton, Paul, 2, 4, 7, 97–8, French theatre, 79–82 216 n. 6 Fulford, Tim, 191 Harding, Anthony, 3, 218 Hartley, David, 28 Gadamer, Hans Georg, 149–50 Hazlitt, William, 46 Garve, Christian, 48 Hegel, G. W. F., 198, 218 n. 6 Geisweiler, Constantin, 47 Henrich, Dieter, 214 n. 6 Geisweiler, Maria, 47 Herder, Johann Gottfried, 17, 33, genius, 54–5, 176, 183–4, 187–8, 191 48, 55, 57, 158 The Gentleman’s Magazine, 53 Heyne, C. G., 34 The German Museum, 5, 47–52, 57, historical tragedy, 139 210 n. 6 history, 8, 158, 193–206 publishes work by and on Schiller, aesthetic education and, 150, 48–52 193–206 reports on the Weimar Court Coleridge on, 200–5 Theatre, 51–2 irrational, 196–8 and Wallenstein, 48–9, 53 and Logos, 201–4 236 Index

history – continued Anthropology from a Pragmatic Point redemptive, 201–3 of View, 177 Schiller on, 194–200 Critique of Judgement, 13, 29, as sublime, 194, 198–200, 204–5 100–6, 109; beauty as universal history, 12–13, 194 symbolic of morality, 102–3, Homer, 64 214 n. 6; relationship between Humboldt, Alexander von, 48 aesthetics and ethics, 103; the Humboldt, Wilhelm von, 17, 23, 50 sublime, 196 ‘The Limits of State Action’, 50 Critique of Practical Reason, 13, 102 meets Coleridge, 82 Critique of Pure Reason, 13, 28–9, On Schiller and the Course of his 102 Intellectual Development, 17 Groundwork of the Metaphysics of ‘Theory of Human Education’, 82 Morals, 59 Hutcheson, Francis, 103 ‘Idea for a Universal History’, 13, Hutchinson, Sara, 70, 83–4 48 Observations on the Feeling of the idealism, 3, 6, 43, 45, 58, 96 Sublime and the Beautiful, 177 ideology, 99 Perpetual Peace: A Philosophic Iffland, August Wilhelm, 22–3 Sketch, 29 imagination Religion within the Bounds of Reason Coleridge’s theory of, and Schiller, Alone, 61, 153 107, 129, 140, 164 ‘What is Enlightenment?’, 152 Coleridge’s transcendental Kelly, Nancy Webb, 2, 99 deduction of, 97, 124–6 Klopstock, Friedrich Gottlieb, 36, 48, see also aesthetic education 67, 130–1 imitation, 109–14 Knights, Ben, 168 indirection knowledge, relation to aesthetics, 2, Coleridge on, 115–18, 121–3 97–8, 102 Schelling on, 127 Körner, Christian Gottfried, 13, 109 Schiller on, 117–18, 119–21 Kotzebue, August von, 22–3, 35, 47, individuation, 201–3 79–80

Jackson, H. J., 176, 187–8, 217 n. 15 Lamport, F. J., 6, 207 n.1, 209 n. 5 Jameson, Frederick, 163 Leask, Nigel, 172–3 Jena Romantics, 16, 20–1 Lessing, Gotthold Ephraim, 10–11, Jonson, Ben, 105 22, 52, 67 Letters on the Aesthetic Education of Kant, Immanuel, 2, 3 Man, see under Schiller, works, aesthetics, 100–6, 177, 196 also under aesthetic education, British reception of, 28–9, 48 Schiller’s theory of and Coleridge, see under Coleridge, Lewis, M. G., 24, 26 and Kant Lichtenberg, G. C., 48 moral philosophy, 59–61, 178 Lloyd, Myfanwy J., 218 n. 11 and Schiller, see under Schiller, and Lockhart, John Gibson, 46, 57 Kant Lockridge, Laurence, 3 on women, 177–8 Logos, 155, 201–4 Kant, Immanuel, works Lukács, Georg, 162–3 Index 237

Lyrical Ballads, 36–7, 39, 76, 112 Peace of Amiens, 46 Schiller’s possible influence on the Perkins, Mary Anne, 218 n. 11, 219 preface, 36–7 n. 14 Perry, Seamus, 3, 214 n. 2 Malta, 75, 78–82 philosophy, relation to literature, Marcuse, Herbert, 163 5, 39–40, 55–6, 58, 84–8, Marino, Giambattista, 76 96, 164 Maturin, Charles Robert, 113 see also didacticism McFarland, Thomas, 3, 125 plagiarism, 95–100 Mellish, Joseph, 48–9, 51, 211 play, 39, 45, 101 n. 10 Coleridge’s reluctance to use the Metastasio, Pietro, 75 term, 99 Metzger, Lore, 215 n. 2 distinguished from ‘real life’, 42–4 Meyer, Eric, 143–4 man only free when at, 115 Mill, John Stuart, 176 radical potential of, 164–5 Milnes, Tim, 215 n. 5 Schiller on, 118, 120–2 Milton, John, 117 see also aesthetic education modernity, 1, 6, 107, 163, 165 play drive (Spieltrieb), see under Modiano, Raimonda, 2, 194, 199, aesthetic education, Schiller’s 218 n. 2 theory of The Monthly Magazine, 5, 53–5, 57, pleasure, aesthetic, 14, 40, 56, 79, 88, 211 n. 16 101, 116–17, 146 The Monthly Mirror, 50 Coleridge on, 105–6 The Monthly Review, 28–31, 46 politics, see under Aesthetic State, also morality, relation to art, see aesthetic aesthetic education education, also indirection, Priestley, Joseph, 28 didacticism Pugh, David, 6, 207 n. 3 More, Hannah, 55–7, 130 Mozart, Wolfgang Amadeus, 141–2, radicalism, 163–4 161 see also under aesthetic education Mudford, William, 56–7 Ratzeburg, 33 music, 122, 141 Reed, T. J., 207 n. 1 representation, aesthetic, 109–14 Naïve and Sentimental Poetry, see Richards, I. A., 3 under Schiller, works, On Naïve Richardson, Samuel, 135–6 and Sentimental Poetry Ritt, Elke, 211 n. 10 Naturphilosophie, 29, 127–8, 201 The Robbers, see under Schiller, works Nicolai, F., 85 Robinson, Heidi, 143, 215 n. 1 Noehden, Georg Heinrich, 24 Robinson, Henry Crabb, 46, 136, Novalis (Friedrich von Hardenberg), 211 n. 17 16 meets Schiller in Weimar, 5, 57–8, 212 n. 26 Orsini, G. N. G., 3 translates Schiller’s poem ‘The Genius’, 52 Paganini, Niccolo, 141–2 Romantic irony, 20–1 pantheism, 74, 127–8 Rousseau, Jean-Jacques, 177, Pantisocracy, 24 211 n. 11 238 Index

Schaper, Eva, 214 n. 6 liberal politics, 11; and Schein, see under aesthetic education, Neoplatonism, 11; early Schiller’s theory of interest in art and morality, Schelling, Friedrich Wilhelm Joseph 11–12; move to Jena, 12; von, 3, 16, 20, 97, 123–8 interest in history and Coleridge and, 123–8 historiography, 12–13; in ill compared to Schiller, 12, 124, health, 13, 55, 211 n. 17; 127–8 reaction to Kant, 13–14; writes natura naturans, natura naturata, major aesthetic essays, 14–16; 126–7 friendship and collaboration On the Relation of the Plastic Arts to with Goethe, 16–17; Nature, 126–7 friendship with W. von System of Transcendental Idealism, Humboldt, 17; begins to write 124–6 poetry again, 17–20; relations Schiller, Johann Christoph Friedrich with Jena Romantics, 20–1; von returns to writing for the and aesthetic education, see under stage, 21–2; lifelong interest in aesthetic education, Schiller’s art and social action, 22–3; his theory of death, 22, 53, 55 ; his attitude towards nature, 15–16 posthumous reputation, 23 and Christianity, 2–3, 49, 74, 79, naïve and sentimental poetry, 143, 152–6, 213 n. 3 theory of, 15, 64–5, 98–9, his classicism, 60, 74, 79 131–3; see also under works: On and Coleridge, see under Coleridge, Naïve and Sentimental Poetry and Schiller poetry and philosophy, 5, 12, and didacticism, see separate entry 18–19, 20, 55–6, 58, 68–9, on Fielding and Richardson, 136–7 84–8, 96, 131–2 and French neoclassical drama, reception of, in Britain, 23–4, 80–2 28–31, 38, 46–58, 143, 212 n. and the French Revolution, 10, 18, 25, 215 n. 1 23, 35, 39 and religion, 2–3, 50 on genius, 54–5, 183–4 and Weimar classicism, 16–17, and Goethe, 50, 52, 57–8, 80–1, 21–2, 39 147, 153, 157 on women, see separate entry and history, see separate entry Schiller, Johann Christoph Friedrich and Humboldt, Wilhelm von, 17, von, works 23, 50, 82, 157 Aesthetic Letters (Über die ästhetische and Kant, 13–14, 60–1, 71, 87, Erziehung des Menschen in 108; on aesthetics, 102–3, einer Reihe von Briefen), 14, 106–7, 109–10, 118, 214 n. 6; 50–1, 59, 62, 82, 84–5, 89, 95, on moral philosophy, 60–1, 107–11, 144–57, 180; and 178; on religion, 153; on aesthetic freedom, 119–20; social justice, 152; on the and French Revolution, 35, sublime, 195–6; on women, 142; and Kant, 102–3, 106; 177–8 and Schelling, 124; and life and work, summary of, 10–23; Wallenstein, 39–44; see also his early writings, 10–11; his aesthetic education Index 239

Anthology for 1782 (Anthologie auf The Maid of Orleans (Die Jungfrau das Jahr 1782), 10, 74 von Orleans), 22, 52, 57, 139, ‘The Artists’ (‘Die Künstler’), 12, 189 132 Mary Stuart (Maria Stuart), 22, 49, ‘The Bards of Ages Past’ (‘Die 80, 120, 139, 189 Sänger der Vorwelt’), 73 The Muses’ Almanac The Bride of Messina (Die Braut von (Musenalmanach), 5, 18–20, Messina), 22, 52, 80 23, 37, 60, 67, 69, 71–3, 82–8, Cabal and Love (Kabale und Liebe), 153, 155 10, 24 ‘Ode to Joy’ (‘An die Freude’), 56, The Criminal from Lost Honour (Der 73 Verbrecher aus verlorener Ehre), ‘On the Effects of a Permanent 11, 49, 56, 62 Theatre’ (‘Was kann eine gute ‘The Dance’ (‘Der Tanz’), 76–8, 180 stehende Schaubühne distichs, 83–8 eigentlich wirken?’), 11, 50 ‘Dithyramb’ (‘Dithyrambe’), 19, On Grace and Dignity (Über Anmut 72–3, 91–3 und Würde), 15, 17, 29, 50, Don Carlos, 10, 12, 24, 54–5 60–1, 84, 86–7, 155, 178–80 Fiesco (Die Verschwörung des Fiesco ‘On the Grounds of Pleasure in zu Genua), 10–11, 24 Tragic Objects’ (‘Über den ‘The Genius with the Inverted Grund des Vergnügens an Torch’ (‘Der Genius mit der tragischen Gegenständen’), umgekehrten Fackel’), 79, 14, 117–18, 137–8 213 n. 6 On Naïve and Sentimental Poetry The Ghostseer (Der Geisterseher), (Über naive und 26–7, 37, 49 sentimentalische Dichtung), 15, ‘The Glove (‘Der Handschuh’), 73 30, 50, 54–5, 59–61, 64–5, ‘The Gods of Greece’ (‘Die Götter 84–5, 180, 182; and the Griechenlandes’), 12, 74, Aesthetic State, 148–50; and 78–9, 132, 153 didacticism, 131–2; and The History of the Thirty Years’ War women, 182–3 (Geschichte des Dreißigjährigen ‘On the Necessary Limits in the Kriegs), 12, 13, 49 Use of Beauty of Form’ (‘Über Horae (Die Horen), 17, 19–20, 23, die nothwendigen Grenzen 29–31, 50, 55, 67 beim Gebrauch schöner ‘The Hostage’ (‘Die Bürgschaft’), 20 Formen’), 29–30, 62, 149, ‘The Ideal and Real Life’ (‘Das Ideal 181–2 und das Leben’), 18, 132 ‘On the Pathetic’ (‘Über das ‘The Ideal of Woman’ (‘Das Pathetische’), 14, 29, 62, 107, weibliche Ideal’), 179–80 118–19 ‘The Ideals’ (‘Die Ideale’), 18, ‘On the Sublime’ (‘Über das 132 Erhabene’),14, 30, 49, 62, Kallias Letters (Kalliasbriefe), 195–200 13–14, 109–10 ‘On the Uses of the Chorus’ (‘Über ‘Laura at the Piano’ (‘Laura am den Gebrauch des Chors in Klavier’), 74 der Tragödie’), preface to The Macbeth (Shakespeare), 22, 80 Bride of Messina, 22, 107, 120–1 240 Index

Schiller, Johann Christoph Friedrich ‘What is Universal History and von, works – continued Why do We Study It?’ (‘Was ‘On Tragic Art’ (‘Über die tragische heißt und zu welchem Ende Kunst’), 14, 30, 56, 139 studiert man Phaedra (Racine), 22, 80 Universalgeschichte?’), 13, Philosophical Letters (Philosophische 195, 197 Briefe), 11, 153 William Tell (Wilhelm Tell), 22, Poems (Gedichte), 5, 21, 52, 56, 67, 52, 80 71–8 ‘Words of Belief’ (‘Die Worte des ‘The Praise of Woman’ (‘Würde der Glaubens’), 19, 71–2, 79 Frauen’), 180–1 Xenia (Xenien), 19, 60, 85–6 ‘The Renowned Wife’ (‘Die Schlegel, August Wilhelm von, 3, 16, berühmte Frau’), 73 46, 48, 63–5, 82, 97 review of Bürger’s poems, 11–12, Lectures on Dramatic Art and 36–7, 62 Literature, 63, 65 The Robbers (Die Räuber), 6, 9, 24, Schlegel, Friedrich von, 3, 16, 20, 48, 37, 53, 55 65, 181 ‘Sayings of Confucius’ (‘Spruch des Schleiermacher, Friedrich Daniel, Confucius’), 72 156 ‘The Sexes’ (‘Die Geschlechter’), 180 schöne Seele, see ‘beautiful soul’ ‘The Sharing of the Earth’ (‘Die Scott, Walter, 46 Teilung der Erde’), 73, 78 sentimental poetry, see Schiller, On Shorter Works in Prose (Kleinere Naïve and Sentimental Poetry prosaische Schriften), 5, 17, 29, sermoni propriora, see didacticism 37, 49, 52, 55–6, 61–2 Shaffer, Elinor S., 3, 29, 194, ‘To Goethe, on the occasion of his 207 n. 5, 208 n. 15, 218 n. 1 production of Voltaire’s Shaftesbury, Earl of, see Cooper, Mahomet’ (‘An Goethe’), 80–2 Anthony Ashley ‘To the Many’ (‘Vielen’), 83–4 Shakespeare, William, 26, 39, ‘To the One’ (‘Einer’), 84 79, 105 ‘The Unknown Maiden’ (‘Das Sharpe, Lesley, 4, 6, 148, 157, Mädchen aus der Fremde’), 19, 207 n. 1 72–3 Sicily, 75, 78 ‘The Veiled Statue at Sais’ (‘Das Smith, Charlotte, 25 verschleierte Bild zu Sais’), 173–4 Solger, Karl Wilhelm Ferdinand, 3 ‘The Victory Feast’ (‘Das Eleusische Sotheby, William, 58, 78 Fest’), 75 Southey, Robert, 24 Votive Tablets (Votivtafeln), 19, Spieltrieb, see under aesthetic 69–71, 86–91 education, Schiller’s theory of ‘The Walk’ (‘Der Spaziergang’), 18, Staël, Mme Germain de, 22, 57–8 35, 132 De l’Allemagne, 57 Wallenstein, 12, 21–2, 38–44, 80, Stoddart, John, 24, 58, 128 120, 139, 190, 197–9; Stolberg, F. L., 68, 74, 76, 91 Coleridge’s translation of, Strozzi, Giovanni Battista, 75–6 38–44; other translations, sublime, 25–6 48–9, 52–3; reception in Coleridge on, 194 Britain, 38, 48–9, 51–3 Schiller’s theory of, 16 Index 241

and Schiller’s theory of tragedy, Willoughby, L.A., 4, 35, 37 40, 194 Wollstonecraft, Mary, 179, 217 n. 7 Sychrava, Juliet, 2, 98–9, 133 woman / women, 7, 35, 176–91 and aesthetic education, 142, Taylor, Anya, 3, 92, 214 n. 14, 176–7, 182–4, 189, 191 217 n. 7 characterless, 184, 186 Taylor, William, 5, 28, 36, 52, 57 and clerisy, 176, 186–8 Teutscher Merkur, 12, 34 Coleridge on, 176–7, 184–8 Tieck, Ludwig, 46 idealization of, 177, 181–8 Tom Jones, see under Fielding naïve, 179–85 tragedy, Schiller’s theory of, 16, 40, and natural virtue, 177–9, 184–5, 56, 119 189–91 relation to history, 139 and polar logic, 186 relation to androgyny, 187–8 The Universal Magazine, 49, 55–7 Schiller on, 177–84 and tragedy, 189–90 Vallins, David, 213 n. 28 Woolf, Virginia, 187–8 Vickers, Neil, 29, 208 n. 12 Wordsworth, Dorothy, 33 Vico, Giambattisti, 200 Wordsworth, William, 2, 24, 26, 46, Voss, J. H., 68, 74, 76 68, 76, 82, 112 on Bürger’s Poems, 36 Wall, Anton, 48, 130 Coleridge praises in verse, 85–6, Wallenstein, see under Schiller, works, 90–1 see also under Coleridge, works discusses Schiller’s ‘Gods of Weimar, 48, 51–2, 57–8 Greece’, 34 Weimar Court Theatre, 5, 21–2, 33, on Schiller’s ‘entrails’, 55 37–8, 51–2, 57–8 Schiller’s possible influence on Weiskel, Thomas, 196 the preface to Lyrical Ballads, Wellek, René, 3, 208 n. 14 36–7 White, Hayden, 218 n. 10 travels with Coleridge to Wieland, Christoph Martin, 33, 35, Germany, 33 48, 57 see also Coleridge, on Wilkinson, Elisabeth M., 4, 35, 37 Wordsworth’s poetry Will, Peter, 47–8 Williams, Raymond, 158 Zelter, Karl, 155–7 Willich, Anton, 47 Zuccato, Edoardo, 76, 213 n. 5