John G. Robertson - Schiller After A Century

SCHILLER
OiFTER A CENTURY
SCHILLER
8.0. STIR K
hat Anlass gegeben, Schiller fiir den Er ist Dichter der Deutschen zu erklaren. dies aber nur in dem Sinne, dass er seine Nation ganz,
Schillerfest
Das
nationalsten
wie
sie sich selbst, verlaugnet und ihrem kosmopolitischen Zug, wie kein Zweiter, zum Ausdruck verhilft.
Hebbel.i
SCHILLER
Q4FTER A CENTURY
BY
JOHN
G.
ROBERTSON
PROFESSOR OF GERMAN IN THE UNIVERSITY OF LONDON
WILLIAM BLACKWOOD AND SONS

EDINBURGH AND LONDON
MCMV
All Rights reserved
St
During
the
Lent
Term
of
1904
delivered
at
lec-
King's College^ London, a

tures
series
of ten public
set
on Schiller, in the course of which I

task
my-
self the
of defining
the
Anglo-Saxon
stand-
point towards the
German
poet.
The present study

the
may
be regarded as, in
lectures.
some measure,
chief
outcome
of those
Its
conclusions
were also
embodied in a Centenary Address on Schiller, held

before
the
Modern
Language
Association
at
its
mid-winter meeting in Manchester.
CONTENTS.
I.
SCHILLER'S
FAME
"
IL
III.
SCHILLER IN
DON CARLOS
....
AND PHILOSOPHER
.
STURM UND DRANG"
23 43 69
97
IV.
AS HISTORIAN
V.
VI.
THE LATER DRAMAS

CONCLUSION
NOTES
....
.
123 137
I.
SCHILLER'S FAME.
Grosser Manner bemachtigt sich stets die Sage das Volk arbeitet Ihr Bild nach seinen eig-nen Idealen
:
So ist Schiller fast eine mythische Figur geworden, und noch jetzt bemiiht sich eine wohlgemeinte Pietat, ihn etwa nach dem Schema des Max Piccolomini, oder des Marquis Posa zu idealisieren.
aus.
Schiller ist solchen Schimmers nicht bediirftig er ertragt das Tageslicht, ja er wird uns werther, je deutlicher seine Gestalt uns entgegentritt.
;
Julian
Schmidt
(iS^g).'^
SCHILLER'S FAME.
It
is
rarely the case, at the
hundredth anniver-
sary of a poet's death, that a
unanimous opinion
and
in that of the
has not been arrived at as to the position he

occupies in his
own
literature
world.
Only the very greatest, the writers whose

centuries,
if
power and influence are not bounded by

have to be
viewed
from a wider
distance,
their proportions are to be seen in true perspective

;
or
it
may perhaps
be said that they alone,
immortals of a nation, are subject to the changing sentiments of later generations,

as the
real
that, in their case, finality of
attainable.
poet,
To
this small
"
judgment is unband of the elect, the

"
falls
is
whose hundredth
death day
;
on the
9th of May, does not belong
there
no reason
re-
why
opinion should
still
be at variance with
gard to his rank in literature.
And
yet,
more
widely diverging views are held about Schiller

to-day than about any other poet of the eigh-
SCHILLER AFTER A CENTURY.

Outside Germany, it is true, regarded with what might be termed
teenth century.
Schiller
is
objective indifference,
and there would seem to
be no obstacles to an unbiassed judgment of his

work, say, in France or England
is itself is
;
but indifference
as serious a
ship.
sympathy which drawback as excessive partisanIn Germany, on the other hand, there
apt to imply a lack of
of indifference
is
:
can be no question
by many
of his countrymen Schiller
still
extolled as the
representative national poet, while others, again,
regard him with antipathy, and even animosity.
The
vicissitudes
of the
poet's
fame form an
interesting commentary on German intellectual and political life in the nineteenth century.
During
in
his lifetime, as
may
be seen from con-
temporary opinions,^ Schiller was not considered,
any special sense, the national poet of the

people
;
German
his
indeed,
as
earlier critics,
later, is
generation
of respect.
adopted by compared with that of a startling in its apparent want

himself defined in frankly
the tone
Schiller
objective self-criticism his
own
position,^
and he
died not knowing that the day would
come when
in
he would have a warmer place than Goethe

the nation's heart.
The appearance
of Wallenstein
Schiller's fame.
at the very close of the eighteenth century first
convinced wider circles in Germany that Schiller

vâs a poet of
series
more than average of classical dramas from
gifts;
and the
Wallenstein to
Wilhelm Tell wâs hailed on every side as a safeguard against the threatened degeneration of the
German
stage,
under Iffland and Kotzebue.
But
means unanimous; the younger generation of Romantic critics and

the acclamation was by no
poets, while
recognising the positive merits of
Schiller's work, felt instinctively that the
world
of thought in which he
theirs.
moved was
different
from
Although
the
profoundly
influenced
by
Schiller,
the beginning of the
drama was going its own way at new century, as an exponent

:
of ideas that were not his
neither Kleist
nor
Werner
could, in the strict sense of the word,
be called Schiller's disciple; and in Vienna, not
many
about
years after
the
poet
died,
young
Grill-
parzer expressed himself in no equivocal terms

his
genius.^
Schiller's
tragic
death
at
the height of his fame awakened the personal
sympathies of the widening circle of friends who had already been attracted to him as a poet. But, in general, it was felt between 1805 and 1813
that he
was the poet of a passing
age,
and that
6
the
German
literature of the future
would only
factor.
have to reckon with him as a historical
In this epoch of political depression, Romanticism,
abandoning the poetic Middle Ages to enter the service of the national cause, had become the
leading intellectual force, and, whatever Schiller
might be, he was at Romantic age.
least
not the poet for a
With
1813, the year of national revolt against
foreign oppression, a fresh chapter

in the history of Schiller's
was opened posthumous fame he

;
was rediscovered
of freedom,"
as a patriotic poet, as the

Tell
"poet
and Wilhelm
was
enthusiastically
hailed as a tract for the times.
of 1813 were short-lived;

freed from the yoke of
But the hopes no sooner was the land

it
Napoleon than
fell
victim to an even
more hopeless inner thraldom,

union
ever.
which
made
the realisation of political

Schiller,
more impossible than
however,
remained the poet of the dreamers of national " " Burschenschaften or liberty, the poet of the
students'
societies
at
the universities.
An
un-
fortunate consequence of this recognition of his

political mission
was that the more conservative

*'
element in the nation began to look askance at

him, and the schism between
Schiller admirers
"
and
''Schiller
haters"
became
acute,
even at
this early date.^
Apart from these considerations, the rise of Hegelianism and the passing of the Romantic
ideals
were both
in favour of Schiller's popularity.
As time went on, he rose

the nation's estimation
that Goethe
;
steadily
and rapidly
in
he gained the ground
was
losing.
The Hegelians
believed
that, as far as
metaphysics and ethics were con-
cerned, they had sufficiently improved on Kant to rule a mere Kantian like Schiller out of court
;
system was deep in the poet's debt,^ and the philosopher's famous theory
but Hegel's aesthetic
of tragedy, which for half a century influenced
the European
drama more powerfully than any

had been framed as much with
view as with those
of the
*'
single dramatist,
Schiller's
plays in
Greeks.
The conception
tragic fate
of the "
as the essential element of tragedy, a conception
which Ulrici and Gervinus forced

jacket on Shakespeare,
is
like
a strait-
illustrated at every turn
by the
series of tragedies
from Wallenstein to
Tell^
while, on the other hand,
works
like
Gotz von
all
Berlichingen and
in
Egmont
sense
are not tragedies at
the
Hegelian
rose in
of
the
word.^
Thus
stage;
Schiller
favour on the
German
the younger generation of dramatists drew nearer

to him, and, ignoring the fact that Kleist
had
pointed out the

tion
fell
way
to a
more national dramatisaof,
of history than Schiller dreamed
they
back upon the old

von the
lines;
Wallenstem rather
the
than Der Prinz

for
Homburg was
model
this
innumerable historical dramas of
period.
The
writers
grouped
at
first
together
as
'*
Young
con;
Germany" were temptuously on

in
inclined to look
Schiller's
moral idealism
to
but
the
end
they were
obliged
admit that
frivolous
German than the own French models. They may not have found much in Schiller to
moral
idealism
was
more
tone
of
their
their taste, but they at least
showed him none
of that
antagonism with which they regarded

;
Goethe
and, by degrees, Schiller was accepted
by them as a convenient foil to the older poet. For this reason men like Borne and Menzel
proclaimed Schiller
the
national poet, the poet
who
incorporated, as no other,
German
idealism
and the national dream of freedom.
And, as a
consequence of this interpretation of Schiller's

mission, another virtue
his
was discovered
in
him,
pedagogic value
even before the Centen-
Schiller's fame.
ary of 1859, Schiller was adopted by the Ger-
man
schoolmaster as a means of instilling moral

self-denial,
his pupils.
principles,
and patriotism into
the
minds of
It
in
was thus only to be expected that when, 1859, the hundredth anniversary of the poet's
birth
came round, he should be held

but
in
high
extra-
honour;
no
one
anticipated
the
ordinary outburst of popular feeHng which the
occasion called forth.

itself
The whole
nation gave
that
up to a glorification of the national poet was unique in the history of German

and not without significance
of the
for the
literature,
evolution
new German Empire.

the
in
There
Hebbel,
were, of course, dissentient critics like
who
Otto
felt
keenly
un- German
Schiller's
first
and
cosmoor
like
politan
elements
work,
a
Ludwig,
who
;
expressed
definite
critical
while among the more antagonism immediate moulders of popular opinion at the
Julian
time,
Schmidt,
at
least,
was able to
regard the Centenary in a temperate,

sense
jective
spirit.^
commonmore obexpected,
In Austria, where
standpoint
might
have
been
the enthusiasm rose equally high.
Grillparzer,
in
who by
this
time
had withdrawn
moody
10
discontent from an active interest in the Ger-
had long recanted the heresies of his youth, and was satisfied to ** stand where Goethe and Schiller stood." ^^ But doubtless
theatre,
man
not
a few Austrians felt dimly, what only Ernst von Feuchtersleben had the courage to
that
Schiller
had become, like Lessing, a poet of the past, and that Grillparzer stood nearer to the life and thought of 1859
expressjii
than he.
These
isolated voices were, however,
completely drowned in the national jubilation.
But the
Centenary
real significance of the first Schiller
was
not
its
it
universality,
but
the
of
premisses on which
was based.
Not one
the arguments to which the generation of 1859
would pass unquestioned to-day, and most of them require a historical

held
so
tenaciously
explanation,
if
we
are
all.^^
to
believe
that
they
were ever tenable at

In the
"
first
place,
Schiller
was hailed
as
Volksdichter," as a poet of the people.
But
were a foreign reader, ignorant of this claim, to " enumerate the *' Volksdichter of German literature,
list.
Schiller's
name would
'*
hardly be
is,
on
in "
;
his
fact,
Abstractly regarded,
Schiller
anything rather than a
poet of the people
he
SCHILLER'S FAME.
is
II
**
not only, as Goethe himself said/^

"
far
more
than Goethe, but also one of of an aristocrat " " volkstiimlich the least poets that ever lived.
It
may, however, be argued that

is
it
is
not in this
is
sense that Schiller
popular
is
that
in
to
say,
:
the sense in which Burns
a poet of the people
his thought, the intellectual
world
which he
lived
and moved, lay obviously beyond the comprehension of the ordinary man but he was the
;
author of a series of attractive stories in dramatic
and ballad form,
in
which the characters, consimple

lines,
ceived on bold and

easily
vibrate with
understood feelings and passions.

" in
He
is
"
Volksdichter
in
a pictorial sense;
and the
picturesque
Schiller's
a plays
^^
picturesque-
ness of language as well as of character
and
scenery was
him
to
one of the features which endeared
the
Germans
of 1859.
must be
re-
membered, too, that at this date the power of " " means exhausted
Young Germany
philosophy.
itself,
had by no and Hegel was still the dominant
force
in
The
ideal
of literature
which
"Young Germany" had imported from France, and the Hegelians approved of, was not very
exacting; naivete was tabooed and literary con-
vention held in higher honour than a faithful
12

life
echo of national
admirers in
ternals,
or
sentiment.
satisfied
Schiller's
1859 were easily
with ex-
and accepted the characters of his plays as genuine embodiments of their own sentiments
and aspirations the eloquent rhetoric of Max Piccolomini and Wilhelm Tell was held to be
;
preferable to the "unliterary" thoughts and feel-
ings of a real
" Volkslitteratur."
^*
Schiller
was
the national poet of the Hegelian age, an age
which
use the expression of a later date was not yet " Goethe-reif."
to
He was
is
further,
we
are told
by the orators
This,
again,
it
of 1859, th^ "poet of freedom."
a statement which the modern reader finds

to
difficult
understand.
It
is
obvious
that
Schiller's
early
"Sturm und Drang" dramas,

;
as well as Wilhelm Tell, are pleas for freedom
and
in
this
sense
he was, as we have
seen,
first
acceptable to the political reformers of the

half of the nineteenth century.
But the "idea
of freedom," which Goethe found running through

all
his
friend's
work,^^
;
political
freedom
it
was not individual or " was an " ideal freedom,
an inner freedom of
soul, a
harmony
In
of thought
his
and
feeling,
of will
and
desire.
riper
period, at least, Schiller
was no more the poet
SCHILLER'S FAME.
of freedom, as the
I3
word was understood by those

their
faith
who had pinned

of 1848, than
illusions of
to
the Revolution
and this was another of the strange 1859 he was the poet of patriotism.
this is still a
In 1859 Schiller, the patriot, was uppermost in

all
minds
and
theme upon which

to
the
German schoolmaster
loves
dwell.
It
was, of course, Wilhelm
Tell and
extent. Die Jungfrau von Orleans

Schiller a place
which
also, to
some
gave
;
among
the patriotic poets
he
who
so well described the revolt of the
Swiss
against their oppressors,

of his
in
must himself be a lover
fatherland.
In
1804, however, the year
which the Holy Roman Empire came to an end, there was no German fatherland, and the
innumerable principalities in which the German tongue was spoken could hardly inspire any
Schiller, by large-minded national sentiment. birth a Swabian, wâs no more a Swabian in
the patriotic sense than his fellow-countryman
Wieland, and
favour
of
his
still
less
was he prejudiced
country,
the
in
adopted
Saxe-Weimar.
stand
it
In fact, patriotism, as
is
Duchy of we under-
to-day,
the last quality to be looked

idealist of the eighteenth
for in this
cosmopoHtan
century.
14
The
eulogists
of
to
1859,
however,
delusion
were
not
perhaps so
bHnd
the
which they
helped to spread as
we
are apt to think.

patriot
in
They
their
knew
that
Schiller
was not a
sense of the
word
but the fact that liberty and
patriotism were to
rather than concrete
him philosophic conceptions realities, appealed the more

realities lay
warmly
their
to
them because the

grasp.
beyond
own
Since 1813, the year of

political
German
of the
liberation,
German
after
freedom had suffered

the creation
one defeat
**
another;
"
German Bund
"
;
had
"
been
**
Carlsbad Resolutions
followed by the and the " Demagogen-
hetze
the July revolution brought
Germany
emanci-
nothing;
the Revolution of 1848 followed, and
fresh hopes
were awakened of
political
pation, but hardly a year later, these too were
crushed.
Thus
in
1859 the
German
people had
reached, politically, a point at which hopelessness
had given place to indifference liberty had become a dream of over-rash souls, and unity was
;
further distant than in 1813.
Under these
cir-
cumstances, Schiller had a great consolation to

offer:
the reformers
who had
set
their
hearts
on seeing Germany learned from him that the only
a great and united nation

real
freedom was
SCHILLER'S FAME.
a freedom of soul
hearts
in
;
15
in
he kept alive
"
('*
drooping
faith
what Max Piccolomini called " the

is
what
noble in liberty
").^^
den Glauben an
those crying for
das Edle in der Freiheit
To
a fatherland, Schiller, with his imperturbable idealism, held out a fatherland of the spirit.
If,
in
the speeches of 1859, Attinghausen's appeal to the
Swiss to be "einig, einig, einig," was so

it
often quoted,
was
in the
devout hope that the

in spirit,
German
peoples would be united
would
be ''brothers in Schiller," rather than from any belief that real political union was possible.
Lastly, as his
Schiller
is
the poet
countrymen were told in 1859, who has given most complete
expression to the idealism of the
German
race.
When we
we do
"
assert
that
Schiller
that, as
was an
Goethe
ideal,"
^^
idealist,
not only
mean
said, his
real productivity lay in the
but that
aesthetic
he maintained certain
clearly
defined
and moral
ideals.
It
was obviously
Schiller's
this
second
interpretation which the older generation had in
view.
They
believed that
works em-
bodied an idealism which was not merely specifically
German, but was true of the Germanic

in
peoples of
pened
Much, however, has hapGermany since 1859, and it is now clear

all
time.
l6

all,
that Schiller's idealism was, after
that of a
very definite epoch
it
sprang from the optimistic
rationalism of the eighteenth century, and, under
the influence of Kant, crystallised gradually into a
system of philosophic humanitarianism, in which

art
was assigned
its
delicately poised
life.
place in
idealism,
the
economy
of
human
This
which was perhaps the most vital thing that the epoch of Goethe and Schiller had to bequeath to posterity, passed unscathed through the individuaHsm of the Romantic School, and
was
fostered by the
;
movement
of later
German
thought
the categorical imperative of Kant gave
place to the self-effacement of Fichte's ethics,
and
this again to
Schopenhauer's contempt for

buffeted by disfirmly
to
the world.
The German mind,

and
defeat,
appointment
the
clung
the
spiritual faith of its classical leaders, and, until
late
in
nineteenth
century,
novelists
and
dramatists show a partiality for themes which

illustrate the idealistic
all,
outlook upon
life.
Above
to a generation like that of 1859,

full
which was
not able to grasp the
meaning
of Schopen-
hauer's pessimism, or that fine artistic pessimism

reflected in Grillparzer's tragedy of the will, the
bold,
simple
lines
of
Schiller's
ethical
system
Schiller's fame.
indisputably appealed.
ing
Schiller's
fates
17
heroes,
fight-
against
untoward
and
triumphing
spiritually
while
succumbing physically, doing

for
mortal
penance
violated
duties,
were
the
exemplars of true nobility.
stamp on Schiller and gave us the poet as we know him and

its
;
Thus the year 1859 P^t
when
the orators of to-day eulogise Germany's

poet,"
it
"most national
is
not the real Schiller
they have in view, but the idealised hero of the
Centenary celebrations.
rectifying her
Germany was slow in judgment of Schiller, much slower

;
than
in
the case of Goethe
Schiller's
letters
were published late and reluctantly, and earlier editors and biographers were more intent on
fostering the
popular idea
life.
than on getting at
the actual facts of his

tory edition
of
The
first
satisfac-
Schiller's
works, that by Karl

at
Goedeke, only appeared

1867 and 1876, and
later before even
it
Stuttgart
between
a beginning
:
was more than ten years was made to an
adequate biography of the three or four larger biographies, not one is even yet within measurable distance of completion.^^
to be
It is
thus hardly
wondered
at that the
Life of Schiller
Palleske
by
is
in
which the standpoint of 1859
l8

glory
maintained in undiminished
and
books
on similar
the
lines are still the sources
from which
German
public
draws
its
knowledge
and
opinions of the poet.
But
the
in spite of this, a
attitude
of
the
German
change has come over people towards
Centenary of 1859. Had that event fallen only a few years later, it would not have met with so unanimous a response; and
Schiller since the
when,
in 1871,
Germany
**
at last
"
!
became a
nation,
when
the poet's
seid einig
a spiritual but also a political
was not merely fact, Schiller was

and received
no longer the
even hardly his
tude.
man
fair
of the hour,
share of the national gratiof the

;
The kingdom
Germans was no
Schiller, the cos-
longer a kingdom of the air
mopolitan enthusiast of the eighteenth century,
was but
sentative
indifferently
adapted to be the repre-
poet of the real
German Empire
the
of
1871.
tion
As the years went

grew up which,
on, a younger genera-
under
guidance
of
scholars like
Herman Grimm, Wilhelm
Scherer,
and Erich Schmidt, discovered that not Schiller but Goethe was the embodiment of Germany's
spiritual aspirations
;
the
new and
healthier out-
look on
life
and
literature stimulated
an interest
19
in dramatists like Kleist, Grillparzer,
and Hebbel,
and awakened
Schiller
many minds an aversion to as the favourite poet of an age on which

in "
the
"
Deutsche Reich
thus
the
did not care to look back
and
aureole
disappeared
which,
for
thirty years, had surrounded the poet's head.-^^ There is, however, one hindrance to the Ger-
man
people arriving even yet at a final judgment
of Schiller's position in the national literature,
and that
is
the tradition kept alive in the Ger-
man
the
school.
We
have
1859,
already seen how,

Schiller
at
Centenary of
forward as an educational factor
perhaps
was brought
the
greatest misfortune that can befall a poet.
The
most absurd rodomontades were, on that occasion, due to the schoolmasters, and it is difficult
to avoid the impression that the celebration
in great
was
measure pedagogic
in
its
origin.
The
of
German
in
school of to-day not merely holds fast
the
main to the
traditional
standpoint
to
1859, t)ut
shows an increasing desire

his
main-
tain the old sentiment
about Schiller, to twist

fit
and warp
ditions of
ideas to
the
changed
unreal
con-
German
nationalism.
German youths
biog-
are
brought up on fulsome
and
raphies of the poet, written by
Gymnasium
pro-
20
fessors,^^

in
which
is
the
moral
significance
of
Schiller's
career
doubly underlined, and on
school editions of Schiller's plays, in which his
work
is
held up as an
eternal
model of what
the national
drama ought
himself, for the
to be.
The
school-
man shows
of
most
part, incapable
discriminating between what in Schiller is poetry and what is merely rhetoric, of realising
the changes which have
of the
come over the
technique
drama
in the last generation, or of under-
standing the movement of
human
ideas from the
unnational humanitarianism of Schiller's epoch to the nationalism of Bismarck's. It is not to
be wondered at that, as soon as a young man escapes from the trammels of the gymnasium
and begins
first
to
is
think and read for himself, his

to
impulse
*'
become what Otto Brahm
called a
Schiller hater."
ago Italy had occasion to celebrate the hundredth anniversary of the death
years
of
Schiller's
Two
contemporary,
articles
Alfieri
and
the
books
that
and
which were
characterised
published
on
occasion
are
by an
objec-
tivity of standpoint which
we
look for in vain
in the great
mass of
literature
on the German
poet.
Alfieri
was admittedly a man of much
SCHILLER'S FAME.
21
narrower poetic calibre than Schiller; he was never regarded in any wide sense as a national
Italian poet, but the relative position
which each
writer held in the literature of his country

in
was
to
some respects analogous. Germany, it seems me, will not realise what manner of poet
and what he meant
is
Schiller was,
life,
for the national
until she
able to regard
him
as objectively
as the Italians see their Alfieri.

Schiller
For, after
all,
was not the moral paragon his most ardent eulogists would have us believe, but a
very
human
struggler
and
fighter,
man whose
heroism lay in the obstinate battle he fought to maintain, amidst disheartening conditions, his
own
faith in the
beauty of
life
and the moral
fabric of the universe.
ceptional
gifts,
but his
national
;
special sense,
As a poet, he had exwork was not, in any still less was it for all
achieved, and
time.
To understand what he
what he might have achieved, it is necessary to study anew, and with unbiassed mind, the
conditions
under which
he
lived
and
wrote.
Thus and thus only

the
place
of
will the
real Schiller take
the
biting
man
of
straw
*'
or,
to
use
Nietzsche's
expression,
"
^^
the
moral
Trumpeter
of Sackingen
of
1859.
II.
SCHILLER
IN
"STURM UND
DRANG"
Haben wir je einen teutschen Shakespear zu erwarten, so ist es dieser.
Erfurtische Gelehrte Zeitungy July
24, 1781.22
SCHILLER
A GREAT
IN ''STURM
UND DRANG."
not often for more
:
poet or thinker
is
than a brief period the leader of his age
either
" movehe outgrows what the French call the
ment," or he
is
left
behind by
it.
it
in either case
he ceases to belong to
lished Die Rauher,
In 1781 Schiller pub-
and
this
was followed
in the
course of the next
three
years by Fiesco and

these
three
Kahale
und
Liebe.
With
in
prose
tragedies
Schiller
became the dominant power

the latter half of the
least,
on the German stage " Sturm und Drang "
here, at
whatever
we may
say of him in subsequent years, he was
in perfect
agreement with the ideas and aspiraone of the phenomenal works of

even the most uncompromising
admit.
its
tions of his contemporaries.
Die Rduber
is
the eighteenth century, a play of enormous force
and
vitality, as
modern
its
realist is obliged to
its
In spite of
lack of good
crudities,
exaggerations,
26
taste,

this
youth has a greater power of gripping an audience in the theatre than any of Schiller's riper tragedies.
ebullition
wonderful
of
Most remarkable of
all, is
that Die Rduber should
have been written by a youth, who had seen no more of the world than was visible from the
strict
prison of a military school.
From
the
in
;
young
Goethe
who
rode
into
Strassburg
April 1770, anything might have been expected
from the
stiff,
unnatural youth of the " Military

Stuttgart, the
Academy"
in
author of inflated
school speeches and impossible lyrics,
no one
of gen-
would have looked
for a
tragedy so
full
uine and sincere feeling as Die Rduber.
Much
has been written about Schiller's unhappy
lot as child
and youth
and
it
has been compared
unfavourably with that of Goethe, whose child-
hood
in
Frankfort
was a round of sunshine.

for
Schiller's early
days certainly did not make

all,
happiness, but perhaps, after

best training
;
they formed the
and preparation for the future tragic " sense for the poet they implanted in him that as Goethe finely observed, was a cruel," which,
distinguishing characteristic of Schiller's mind.
What
the poet himself called

"
the
"
Missklang
auf der grossen Laute
impressed
itself
on him
27
at every turn
tions.^^
;
life
early
assumed
tragic propor-
But there were other

in
factors in his youth
which were of importance

It
is
shaping his destiny.

that
his
possible, for
instance,
sense for
the poetic aspects
of
history
was
kindled by
the Hohenstaufen traditions in Lorch, where he
spent what was relatively the happiest part of

his childhood.
Again, the hunger for splendour,
so innate in Schiller's temperament, could be in
some
measure
satisfied
;
in
Ludwigsburg,
difficult,
the
Swabian
Versailles
it
would be
indeed,
to suggest a place or opportunity better adapted

to teach the son of a self-made army-officer the
ways and speech of kings and

court of the despot of the
'*
princes, than the
Solitude."
intuitive
Die Rduber
is
one of those
works of
genius which appear sporadically in a nation's history, and gather together all the threads o
vital
interest
peculiar to an age.
life
It
is
a play
taken from the

is
of
its
own day;
of the "
the scene
laid neither in
England nor in Italy
as
was
"
usual in the
German drama
its
Geniezeit
nor, as in
past.
Gotz von Berlichingen, in the historic

characters, thoughts,
;
In the same way,
and motives were, when

tragedy of Karl
it
Moor that
appeared, modern
the
of a great soul who,
28

rises at
mistaking the ways of Providence to men,

the close of his hfe to a
subHme
ways was
insight into those
in
the highest degree actual.
Had
the author of
Die
Rduber expressly aimed at
creating a drama which should hold the mirror
up to
his time, he could not have chosen a better
theme.
Hardly an important idea made
its
ap-
pearance in the
German
literature of Schiller's
epoch which does not here

peculiar fervour of the
find
an echo
is
the
poet's
mind
of that
intense
in
Germanic type which had burst forth Klopstock, and discovered its affinities in
;
Ossian and Rousseau

of the
and
all
Homer, generation have

left
the great books
Plutarch, Rousseau,
all,
Shakespeare, Cervantes,
above
which Herder had rediscovered
for the
the Bible, " Sturm
und
Drang"
their
traces
on
Die
Rduber,
The student
nises, as
of the eighteenth century recogless familiar, the motives, situa-
more or
tions,
and characters of
Schiller's play.
The
idea
of
two
ture,
which
:
hostile brothers, the tragedy of primogeni-
had a
historical justification in the
Europe of the ancien

at the time
regime,
was a favourite one
the slaying of Abel was dramatised

in a
by Gessner and
fragment by Maler Miiller
SCHILLER IN
a similar conflict
is
29
to be found in
more than one King Lear^

and
to
ancient tragedy, also in Shakespeare's
while the English literature of the eighteenth
century
his
the
real
source, as far as Schiller
contemporaries were
concerned loved
contrast a virtuous and a vicious son.

'*tional
The
addi-
complication
is
in
Die Rdiiher, where Franz
fanned into flame by his love for his brother's betrothed had come into vogue
Moor's hatred
under the influence of the sentimental movement

initiated
The by Richardson and Rousseau. motive was a favourite one with the dramatists
''
;
Sturm und Drang " Klinger employs it again and again in his early plays, and it is introduced into the tragedy which left the deepest
of the
impression on young Schiller's mind, Leisewitz's

Julius von Tarent.
Klinger's
The
latter play together
with
Die
Zwilliifge
were
his
immediate
of the
plot
des
models, while the
main
incidents
were drawn from ^

menschlichen
story,
Zur
the
Geschichte
Herzens,
by
Swabian
poet,
Schubart.
The weaknesses
and dramatic
of Die Rduber are too palpable
to require dwelling on.

life
Actual characterisation
are only evident in the
members
poet's
of the robber band, for
which the young's
30

Char-
circle of school friends served as models.
acters,
on the other hand, like the old Graf, Daniel, Hermann, and the heroine Amalia, are
either conventional stage types or unreal
shadows
not one
is brought to a clear focus either by the he speaks or by the actions he takes part words
in.
Karl
Moor himself
is
the gigantic projection

all
of a boyish imagination, the incarnation of
that
is
heroic and noble
he
is
a champion of
humanity who
been
has had the courage to renounce

''
" " In would have a degenerate society, and leges
an apter
motto
for
the play than
In
tyrannos," the words which appear on the
title-
page of the second edition.
Karl's brother Franz,

is
who
appeals less to modern sympathies,
one
of those full-blooded villains familiar to
us in
Shakespeare's pages, a race

literature
that
died
out
or,
in
with
the
eighteenth
century,
at
least, early in
the nineteenth.
In Franz
Moor
there
(in
something of Richard III., of Edmund Lear), and of lago, and his monologues are
is
echoes from Shakespeare's tragedies.

outshot the mark
artistic
;
But
Schiller
his villain
is
drawn without
reserve
Franz's
philosophic quibbling
and medical
ostentation
lore
is
he
seem to us now only absurd
humanly
impossible.
And
yet.
31
even at the height of these extravagances, in the
monologue of the Last Judgment, which precedes his death, there is a grandiosity which
terrible
has not yet lost

of Schiller's
its
power
to
move.
The
interest
lie in
brothers does not, however,
the greater or less success with which he has
portrayed them, but in the fact that in these two
men
the
one
all
ing intellect
are
heart, the other crafty, design-
personified the great forces in
the social
life
of the eighteenth century, which

at
crashed
together
the
French
Revolution.
Franz
is
the tyrant, the despot of the old regimCy
Karl the
man
of feeling,
:
whom
Rousseau
dis-
covered for Europe

nificance
it
is
this far-reaching sig-
which makes Die Rduber not merely a

also a
German, but
European work.^*
standpoint of the stage.
From
the technical
is
Die Rduber
the
first
:
Germany produced
Emilia GaloUi, nor
like
wholly successful tragedy it is not pieced together
according to theoretic rule and calculation like

is
it
restless
and unwieldy
of the plays
Gotz von Berlichingen or
many
of the ''Sturm
ities,
is
und Drang."
it
Flaws, improbabil-
excrescences,
has
in
abundance
;
Pelion
piled on Ossa
at every opportunity
the char-
acters of the
play are
deficient in
the variety
32
SCHILLER AFTER A CENTURY

fine
humanity which we find in the Goethe just mentioned; above all, tragedy by the language of Die Rduber is too often bombastic
and the
and without
real
dramatic significance, though
even in the latter respect an improvement be detected towards the close.

is
may
all
said
and done, the

is
action,
But, when the movement
of
;
the play,
extraordinarily vividly represented
we
is
see
everything.
And
the true tragic pathos
here, the instinctive grasp of those elements
which go towards making a genuine tragic conflict. As Bulthaupt rightly says, the real German
tragedy arose with Die Rduber
^^ ;
the tragic style

in
was
created, which, remodelled
another,
has
remained
the
the
one way or dominant one in

Die Rduber
Germany
is
until
on
present
day.
this point recent

2^
critics
are in remark-
able agreement
Schiller's
most epoch-making
achievement as a dramatist.
No
is
other of his
still
plays, not even Kabale tmd Liebe,
able to
;
hold an audience so firmly in
its
grip as this
and those who were fortunate enough

the
representations
of
to witness
the
Meiningen
ago
that
will
Court
readily
Theatre
some
fifteen
years
understand
is
how
the
opinion
Die Rduber
to
be,
Schiller's
greatest
tragedy
came
at
SCHILLER IN
that
STURM UND DRANG."

one
in
33
time, a favourite
German
student
circles.
The
task which
Schiller
set
himself in
his
second play was a more difficult one than that which he had so successfully carried out in
Die Rauher,
of Fiesco,
The new theme

in
the
conspiracy
su-
Count of Lavagna, against the
premacy of the Dorias

cal,
Genoa being
histori-
demanded a
less subjective point
of view;
moreover, the scene was crowded with characters,

the plot complicated and harder to conduct to
a
satisfactory
dramatic
conclusion.
There
is
also another important fact

lost sight of in
which
:
is
sometimes
is
that original
its
judging this play
Fiesco
more
is
to say, less dependent on models
than
predecessor, and certainly
more
original
than Kahale und Liebe.
We
know
of no proto-
type which stands in so intimate a relation to

it,
as does Klinger's Die Zwillinge, or Leisewitz's
Julius von Tarent to Die Rduber, or
Gemmingen's
Der
deutsche
Hausvater to Schiller's third tragedy.

it
Keeping
speak
Fiesco.
this in view,
is
is
manifestly unjust to
so
it
disparagingly,
If in
as
often
done,
of
nothing
else,
is
an advance on
Die Rauher in technical respects.

proved, as
we have
seen,
That play had that Schiller was a
34
creative

poet
capable
of giving
voice
to
the
ideas of his time,
and that he had the inborn

Fiesco
dramatic instinct.
showed that he
also
possessed a practical talent for the theatre, the
power of effectively handling a dramatic action and disposing of it in attractive stage pictures.
This tragedy has an
trigue
is
irresistible
swing; the
in-
unrolled with unflagging interest, and
the scenes follow one another like a series of

brilliant kaleidoscopic images.
As
for the alleged
weak
points, the inadequate
historical preparation, the
want of understand-
ing for the real causes of the conspiracy and for

the spirit of the Italian sixteenth century,
it
is
measuring Schiller by an unfair standard, that

of a
if
much
later time, to call these defects.
Even
they are, they are not any more in evidence
here than in the works of the poet's later years.
The secondary
characters
are
less
plastically
conceived, less individual, than the
members of
Karl Moor's robber band

of
the
admirable figure
Muley Hassan, Spiegelberg's successor, alone But Fiesco himself is by no means excepted.
the mere replica of Karl
Moor some
Goethe's
critics
would
have us believe
without being so clearly distinct
from the
latter as, say,
Egmont
is
from
35
Gotz, he shows a similar development in the " beautiful direction of On the humanity."
whole,
be said that the most conspicuous superiority of Fiesco over Die Rduber is one of
it
may
technique;
the handicraft of the playwright en-
croaches more upon the unsophisticated art of

the dramatist
who wrote Die Rmber.
The same
encroachment of
in the
literary tradition is conspicuous

;
language of the play
excesses of speech
sincerity
are
still
abundant,
but
the
earlier
of
tone
which characterised the

missing;
the
work
is
too often
aphoristic cleverness
Schiller's
left
of Lessing,
which had infected
favourite
its
model,
Julius von Tarent, has also
traces here.
Liebe.
The
third step forward

is
was Kahale und
This tragedy
again what Die Rduher had been,

;
actual, not historical

it
in its milieu
life
and characters
is
the most exact copy of

us.
that Schiller has
left
In his
first
play he railed against the

;
hemming, obstructing laws of society here he arraigns the spirit of caste which was so rampant
throughout Europe in the period prior to the
French Revolution.
petty
He
the
avenges himself on the

despicable
intrigue,
despotism,
his
on
which
own
life in
Stuttgart had been almost
wrecked.
Kabale und Liebe was a product of
36
Schiller's

darkest
days
he
first
brooded over
the plot in the fortnight's imprisonment to which

the
his
Duke
of Wiirtemberg
condemned him
after
;
second surreptitious
visit to
Mannheim
the
drama accompanied him through all the miseries and humiliations that followed his escape from
Stuttgart; and
in
it
was written
in
for the
little
most part
village
peasant's
house
the
of
Oggersheim.
The
superiority of Kahale und Liehe to

is
its
two
no
predecessors
not
to
be
mistaken.
In
other of his plays has Schiller given such careful attention to
the background, the atmosphere

as
of the tragedy,
here
the
plot
is
skilfully
welded together, and the characters are drawn

with a wonderful sureness of touch.
It
is
al-
most incredible that the same hand which depicted the
shadowy Graf von Moor, the
theatri-
cal Verrina, should

figure
now produce
Miller
;
the admirable
that,
after
of the musician
the
impossible
Schiller
women
of Die
Rduher
a
and
Fiesco,
should
have
created
character
of
such marked individuality as the Lady Milford,

or
heroine
as
so
relatively
is
human
as
Louise.
is,
As
far
style
concerned, there
apart
from an occasional outburst of pent-up
feeling.
37
less
bombast than
before,
and there are not a
few pages of simple, natural dialogue, where not a word is misplaced or superfluous.
This leap forward is not easy to explain, for Fiesco and Kabale und Liebe were practically
conceived and written simultaneously.
experience of
life
Schiller's
had been considerably widened leaving Wlirtemberg, and in Bauerbach, where the tragedy was finished, he had passed
since
through a more real passion than that which

inspired
here,
the
rhetorical
odes
to
Laura.
But
again,
in
as in
the case of Fiesco,
the ad;
vance was
the
main a
literary
one
it
was
due to
Schiller's
increased familiarity with the
contemporary drama.
Kabale und Liebe
is
*'burgerliche Tragodie," and is closely modelled on the other *' biirgerliche Tragodien " of the
time
life,
the
characters
are
drawn,
not
from
but from the plays of Wagner, Lenz, and
Gemmingen.
are
Indeed,
if
-
we
turn to Der deutsche

writer,^^
Hausvater by the
last
mentioned
that
we
forced to the conclusion

is,
Kabale und
Liebe
as far as plot
and other externals are
concerned, the least original of the three dramas

of Schiller's youth.
What
he has done
''
is
to
transmute the rough
ore of the
Sturm und
38

"
Drang
playwrights
into
pure
metal.
*'
The
in
dramas he
"
took
*'
as
models were
Familien"
gemalde
first
and
burgerliche Tragodien
the a
instance,
and
love
tragedies
only
as
kind of unavoidable accident.

the conditions
things,
:
Schiller reversed
is,
Kahale und Liebe

"
above
**
all
a love tragedy, for which the

life
drama
view
first
of
common
supplied the characters, milieu^

in the point of
and motives.
This change
gain,
was an
important
for
it
was the
eterni
attempt to regard this type of tragedy suh specie it meant that the poet was on the right ;
*'
Sturm way towards raising the drama of the " " und Drang from a merely parochial Tendenzdrama" to what might have been in the best
sense a national drama.
Kahale und Liebe has, however, flaws of construction,
which
in
are
even
It
more
has
conspicuous
re-
than those
Fiesco.
been often
marked,
for instance, that the tragic
denounient
depends on
trifle
single
word,
look,
might, at the critical moment, avert the catastrophe.
Such things
are,
of course, admissible
in tragedy,
but only on the condition that the

is
misunderstanding
necessity.
the
This
at
symbol of a deeper least was Shakespeare's
39
way,
and
he,
perhaps
more than
any
other
great dramatist, has employed the accident in
the
plot
service
is
of grave
tragic
issues.
Schiller's
not
inevitable
enough.
a
Nor do the
Both
v^hen
characters
bear
too
close
scrutiny.
Louise
and
Ferdinand
have
moments
they appear living and convincing, but neither

is,
regarded
Louise,
as
whole,
entirely
consistent.
The
not
who
Milford
and softens that

passionate
girl
stands face to face with Lady " proud Briton," is
the
who
is
torn
asunder
between her father and her
lover.
Nor, again,
can we believe that the Ferdinand who exult" Du, Louise, und ich und die antly cries,
Liebe
!
Himmel
liegt "
?
nicht
in
diesem Zirkel der ganze

easily
can
so
become
jealous
letter.
tyrant on a
suspicion awakened by a
In construction as well as in motive, Schiller
has allowed the theatrical to prevail over the

poetically dramatic
criticism
:
that
is
the most damaging

against
this
that
can
be
brought
tragedy.
But
is
in spite of
such defects, Kabale und Liebe
one of the half-dozen outstanding German

of
dramas
the
eighteenth
century.
life
it
In
the
history of the
drama of common
occupies
40
a
central

position
;
it
is
the
fulcrum
round
which the whole genus turns. Lessing and the " Sturm und Drang " stand dramatists of the
on one
side,
and the whole
later
development
of the tragedy of
common
life,
and Ludwig, to Sudermann in Kabale und Liehe / is ranged on the other.

/
through Hebbel our own time,

is
one of those works which belong to the history

of the nineteenth, as well as of the eighteenth
<
century.
There were,
of
course,
possibiHties
of
de-
generation in these three dramas of the poet's

youth.
Schiller
The
realistic,
commonplace
successfully in
milieu
which
depicted
so
Kabale und
might possibly have had, as time went or his fatal on, an undue attraction for him
Liehe
;
love
of
rhetoric
might,
led
;
in
the
to
unrestrained
still
vehicle of prose, have
him
extravagances of speech
or most
greater
all
likely of
the theatrical intrigue, which

naturally to
came
easily
and
him, might have led him to that slippery path on which so many of the French
dramatists of a later date came to grief: as far

as
Germany was concerned,
the misunderstand-
ings and trivial accidents of Kabale und Liebe were a step in the direction of Kotzebue.^^
SCHILLER
IN
"
STURM UND DRANG.

all,
4I
;
But
Schiller was, after
a born poet
that
was the safeguard against degeneration and the

best guarantee for the future.
He had shown
own
himself able to place on the stage interesting
men and women, whose

hands; and he had,
in
fates lay in their
higher degree than
any of
art
his
contemporaries
except Goethe, the

his
of reflecting in his
work the ideas of
time,
cance.
and of giving these ideas universal signifiThus, it seems to me, a critical point
in
had been reached

dramatic poetry that, with the
genius,
tional
:
the
history
at last
of
German
of
there
was
of
some hope
a really na-
help
this
young poet
to
Germany might
drama
attain
in
national
the sense in which

is
the
in
drama
of Corneille
and Racine
national
France, of
Lope de Vega and Calderon in

not
to
Spain, and of Shakespeare in England.
But
this
was
be
an
;
unexpected
the poet of change came over Schiller's art Kahale und Liebe became the poet of Don Carlos.
St.
M?c^
III.
DON CARLOS
Wo
Cid,
sind die teutschen Trauerspiele, die wir
dem
Cinna, der Phcidra, dem Britannicus, der Athalie, dem Catalina, der Alzire, dem Mahomed, wo die Lustspiele, die wir dem Misanthrope, dem Ich Tarti'iffe entgegen stellen konnen ? wiinsche, dass mir nur ein einziges gedruktes Stuk
dem
genennt werde, welches
in alien
Eigenschaften eines
vortreflichen Trauerspiels (Sprache, Versification

.
.
und
Reim mit einbedungen) neben irgend einem von Racine stehen konne. Welch eine Laufbahn
.
liegt hier
noch
fiir
kiinftige Dichter offen.
WlELAND.29
DON CARLOS,
In the
life
of every
man
there comes a
moment
when
his
whole future seems to depend on a
purely voluntary decision.

life
However the
the
past,
poet's
and work
''
may,
in
have
been
moulded by
trol,
forces
over which he has no con-
the ruler of his star," to quote an aphorHebbel's,^^
ism
of
sooner
or
later
"gives the
reins into his
decisive
own hands." In Schiller's life this moment lay between Kabale tmd Liebe
Carlos.
Schiller's activity was, his
and Don
Many-sided as
work,
considered as a whole, shows an unbroken continuity

:
one drama leads by a natural transition
to another, while poetry merges into history, his-
tory into philosophy, philosophy into poetry, like
a series of dissolving views.
There
is
is
only one
the
conspicuous
**
break,
and
that
between
burgerliche Tragodie," Kabale und Liebe, and
his first historical
drama
in
blank verse.
In
Don
46
Carlos Schiller
abandoned the dramatic methods
of his youth and created the type of play to
which he remained
life.
faithful for the
rest
of his
This
is
what makes the study of Don Carlos

the
invaluable
career.
for
understanding of
Schiller's
Like
Goethe's
Iphigenie
and
Schiller's
own
Wallenstein,
Don
:
metamorphoses
single
Carlos passed through several " it was not the blossom of a
summer," as Schiller himself considered a drama ought to be ^^ it occupied him more

;
or less for five years.

to
The
subject
was suggested
him
as early as
May
1782, by Dalberg, the
Intendant of the
Mannheim
Theatre,
who
pre-
sumably gave him St Real's nouvelle historique of Don Carlos to read in December of the same
;
year,
when
in
Bauerbach, he borrowed the book

;
again from the Meiningen library
and on the
as to a called
Millerin
27th of
March
1783, after
having brought Louise
und Liehe was originally conclusion, he resolved that Don

Kahale
Carlos should be the subject of his next work.
During the month of April he worked at the drama with enthusiasm, but towards the end of
the
month he was interrupted by having to prepare Louise Millerin for the stage, and it was not
DON
until
CARLOS.
47
June 1784, when he had been "Theatre

"
in
poet
Mannheim
Don
for the best part of a year,
that he took up or
Carlos again.
How much
it
how
Httle Schiller
wrote in Bauerbach,
is
impossible to say, but

written was in prose
;
we know
that
what was
and we have a rough plan

it.
of the whole, as the poet then conceived
In
in
Mannheim
Schiller
remoulded Don
Carlos
iambics, and, by the end of the year, he was

able to read the
Darmstadt Court, in the presence of the Duke of Weimar. This act was published in March 1785 in the Rheinfirst
act to the
ische
Thalia.
The
tragedy,
however, advanced
slowly and under difficulties.
Some
progress was
made
in
Gohlis, but there
was no question of
steady work upon it until the autumn, when Schiller was established with his friend Korner
at
Loschwitz on the Elbe.

Thalia
The second number
of the
(February 1786)
the
Rheimsche
Thalia had been reprinted by Goschen as the

first
number
of Schiller's
new venture
contained
only scenes 1-3 of Act
II.,
the remaining scenes

of the journal,
of this act following in No. 3
which appeared in May. Then came another the various changes of plan pause of months
:
had
increased
the
difficulty
of
bringing
the
48
tragedy

to
satisfactory
conclusion.
It
was
not until the end of

fourth
part
of
December 1786 that the the Thalia was issued with a

which
Schiller puball
further instalment, the last

lished in the journal.
He now
in
devoted
his
energy to preparing the complete edition of the

play,
title
which appeared
June 1787 under the
Dom
Karlos, Infant von SpanienP
The
drama
stages of development through which the

passed,
resulted
in
the
plot
set
hopelessly confused.
Schiller
had
becoming out on a
earliest
course of intrigue which,
even in the
form of the work, was unnaturally

the difBculty increased tenfold
intricate,
but
when the
play's
centre of gravity was shifted from the Prince to
Marquis Posa, and

love
intrigue
to
its
centre of interest from
political
propaganda.
Posa,
originally intended to be
Don
Carlos's confidant
and
self-sacrificing friend, ultimately
became the
political
spokesman of the poet's own ideas of

freedom, thus
completely outgrowing the part for which he had been intended in the economy
of the whole.
The
in
equilibrium was irretrievably
deranged, and the motives and actions of the

later scenes,
mentaries
the
spite of explanations
and com-
poet's
own
Briefe iiber
Don
Carlos
DON
included
CARLOS.
us.
49
are now incomprehensible to
From
is
the point of view of construction,
Don
Carlos
the least satisfactory and the weakest of Schiller's
works.
It is not, it
seems to me, an unreasonable
in-
ference that the original

in
Don Carlos, as planned would have been a drama on Bauerbach,

lines
similar
to
its
immediate predecessor, the

of a
difference
being that, instead

life, it
tragedy of
common
was
to be a
**
family picture (Fa^^
miliengemalde) in a royal house."
The
intrigue,
we may be
on the
assured,
would have been conducted
lines of
Kabale und Liebe, Princess Eboli
playing the role of
dinand.
That
this
Lady Don
Milford, Carlos of FerCarlos
would have had
the chief fault of Schiller's previous work, a too

theatrical
intrigue,
is
also
not to be gainsaid,
but the poet was aware of the dangers on his

path.
By
cutting himself free from the middle-
class surroundings
which had exerted so
levelling
an influence on German tragedy throughout the " Sturm und Drang," he would have period of
been able to adopt a more dignified dramatic technique, and his tragic conflict would have
gained in depth and sincerity by the fact that
he identified himself and his own personal
trials
50

closely with those of his hero.
more
The young
;
prince was to have been a magnified Ferdinand
but he was also to have had
^'
Hamlet's
soul, the
blood and nerves of Leisewitz's Julius von Tarent,
and the pulse of the author ";^^ he was clearly to be the most intimately personal hero that
Don Carlos might thus Schiller had yet created. have been the very link that was necessary in the evolution, on a national basis, of the German
drama from the "
on
it
biirgerliche Tragodie."
If only
this account, the
ever
come
to light,
Bauerbach manuscript, should would be a document hardly
less
important in
its
way than
the Gochhausen
transcript of the Urfaust.
When, however, we turn to the completed Don Carlos, we find that the literary aims of
the
poet
have
in
the
interval
change.
Schiller's first three plays
undergone a had shown
a steady and rapid development in the mastery of dramatic prose, and there are pages in Kahale
und Liehe which are hardly

in
inferior to the best
Gotz
von
Berlichingen
or
Clavigo;
but,
in
all
abandoning prose, that he had gradually learned

pregnant
of
Schiller
seemed
in
to
forget
art
the
of
dramatic
Carlos
expression.
The
char;
acters
Don
speak
another
tongue
DON
CARLOS.
51
they delight in vague and general sentiments, and the bombast which, in prose, Schiller was gradually eliminating from his work, returns
again
in
the
form
of
glittering
rhetoric.
felt
new language, that poet Speaking he must adopt a new method of thinking poetia
the
cally,
ing
opposed to the natural way of thinkHe observable in Kabale und Liehe.^^

as
was
further
obliged to
dispense with the fine

in
delineation,
which had resulted

;
the
clear-
cut figures of that tragedy

are
veil
the dramatis personce
now
only revealed through the beautifying

;
of poetry
they are no longer living
in-
dividuals, but only types, incarnations of sharply
defined
human virtues Don Carlos, who was

Hamlet,
has
their
or
to
vices.
The
and
hero,
have been a blend

Schiller
of
Julius
von
a
Tarent,
himself,
become
salient
vague
shadow
he
of
all
three
tain,
characteristics
may
re-
of their personalities he has nothing;
he
has
become an abstraction
so
varnished
as
over
with what Schiller

that
all
now understood
is
"poetry"
traits
of individualised
character have
disappeared.^*^
He
now
only an ideal youth
placed in the tragic predicament of loving an

ideal stepmother,
and
falling a victim to ideal-
52
ised political machinations;
and the moral the

us
is
poet would bring

terest
home
to
of
more
in-
than
are
the
characters.
The
is
general
impression
which the drama leaves

in
admir-
ably expressed by Jacobi

boldt
'*
:
a letter to
Humall
Don
Carlos
is
the most unnaive of
productions, a cold palace in which the over-
heated stoves smell."
^'^
further consequence of the
new method
is
that Schiller,
who
in
his
early
dramas proved
himself a born playwright, with a perfect sense

of dramatic fitness, here shows a complete dis-
regard for form and proportion.
Although by no means crowded with incidents, Don Carlos is

its
of a length quite disproportionate to
with
its
longer
5370 verses
it
and
the
subject
it
was
originally
still
exceeds
longest
Shakespearean
tragedy by more than a quarter, and the first act alone extends to two-thirds the length of
a French classic tragedy, or of
Alfieri's
drama
causes
in
on the same theme, Filippo II. Before proceeding to examine
the
which
led
to
this
remarkable
transition
to
Schiller's
work from Kabale und Liehe

a
little
Don
in
Carlos,
we must be
more
precise
fixing the period of the change.
The breach
DON
of continuity
lies,
CARLOS.
will
53
as
have been obvious
from the foregoing, not so much between Kabale und Liebe and the Don Carlos of Bauerbach,
as
between
that
version
of
Don
Carlos
and
the play as recast in iambics.

the
critical
In other words,
career
''
period
in
Schiller's
as
dramatic poet was the year he spent as

"
Theatre
poet
in
Mannheim.
at
We
the
are thus confronted
the outset with
question,
What
mean
did
Mannheim
and
its
National Theatre
is.
for Schiller?
The answer
Europeanised under the influence of Latin ideals of dramatic

art.
It
his genius,
and brought him
For
Mannheim was
;
proverbial
for
its
French
tastes
French
literature
read there, and in no quarter of
was widely Germany was
Wieland more warmly appreciated.

these
at
W. H. von
shared
supporter
Dalberg, the Intendant of the theatre,

tastes,
and the
of the
most
active
classic
this
time
French
drama
in
Germany, Friedrich Wilhelm Gotter, was,

Dalberg's
friend,
as
often
consulted
in
staff
questions
of
concerning
theatre.^^
the
repertory
and
the
Shakespeare, the idol of the

in
*'
Stlirmer
und Dranger," was not popular

unless
Mannheim,
when made
palatable in gallicised versions
54
And by Weisse, Gotter, and Dalberg himself. Schiller, too, soon realised that Die Rduber,
Fiesco,
and Kabale und Liehe could reckon on
warmer reception anywhere else in Germany than in the town which had nominated him
a
its
*'
Theaterdichter."
settled
in
^^
Indeed, even before the
poet
Mannheim, Dalberg's influence had had some effect on him ^^ and, in his own
;
stage adaptation of Fiesco, he
made
several conIt
is
cessions to the ruling standard of taste.
perhaps also
saal"
in
Lessing
Schiller
worth adding that the **AntikenMannheim, which had impressed both and Goethe, and was described by
enthusiasm,
with
under
the
guise
of
travelling
Dane,
in
the
Rheinische
Thalia,
helped to open his eyes to the beauties of a

classic art.
winning Schiller as an adherent of classicism in poetry was Lessing,
But the chief force
in
whose work, we might

his attention
say,
by the position he held in

theatre in
it,
was pressed upon Mannlike
heim.
The
Mannheim,
that of
Gotha before
express
had been founded with the

"
hope of succeeding where the
Ham-
burg Enterprise" had failed; indeed, an effort had been made to tempt Lessing to emerge
DON
from his retirement
CARLOS.
55
in
Wolfenbuttel, and once

part
in
more take an
destinies
failed
active
controlling
the
of the
German
Schiller's
and
stage.
This attempt
appointment was obviously intended to correspond with that which Lessing had occupied in Hamburg. Schiller acunwilling*^
and
not altogether because Lessing was
cepted the
role
of official
**
dramaturgist," and
laid before the
Intendant a scheme
out of
little
which, howthat
ever,
was not carried

There
is
*'
Mannheimer
the
Dramaturgie.
doubt
former leader of the
now become
Sturm und Drang " had diligent student and an ad-
mirer of Lessing's text-book of the theatre, the
Hamburgische Dramaturgies'^
beyond my province here to define the place which Lessing's work occupies in the it must suffice to evolution of dramatic ideas
It
is
:
emphasise an aspect of the
book which
misled
by the
fact that Lessing entered the lists as a
champion of Shakespeare and an adversary of the French classic tragedy we are apt to over-
look,
ally a
and that
is
that the Dramaturgie
is
essenti-
document of eighteenth century
classicism.
It is, in
great part, a polemic against Voltaire,
but
it
deals only with the periphery of the sub-
56
ject,

with the unessential
tacitly
in Voltaire's practice,
while
accepting
certain
fundamental
principles
of the French
all,
poet's technique.
For
Lessing was, after

spent his
for
life
himself a Voltairean,
who
As
for
in
fighting against Voltaire.
Lessing's understanding and admiration

it
Shakespeare,
that this
cannot be sufficiently emphasised

strictly
was
limited
by the discovery
that Shakespeare did not in spirit transgress the
laws of classic tragedy, as expounded by Aristotle

:
it
would not have occurred

as
to
Lessing
to
say,
we might
to-day, that Aristotle can

if
only be accepted as a universal critic

are
his laws
shown
to be applicable to Shakespeare as well
as to Sophocles.
Lessing was in advance of the
French
classicists in so far as
he was not offended
by Shakespeare's lack of form, but he did not see that the English poet's greatness was of a
different
kind
from that to be found
in
the
Greek drama, as he and

stood
it,
his contemporaries under-
or in the
drama
of Corneille
that
it
de-
pended on a power of depicting individuals whose

tragic fate
is
pre-eminently in their
own
hearts,
who
are neither the shuttlecocks of outside forces
nor mere generalised types.

established a
classic
Lessing virtually
re-
tragedy in Germany, but
DON
CARLOS.
57
on a more catholic basis than that accepted in France, one that was in harmony with the spirit,
if
not with the letter

his
of Aristotle.
In
spite
of
own
let
belief
to
the contrary, the ideal
German
aturgic
And
tragedy of Lessing's Hamburgtsche Dramus say his

to the
own Nathan
der Weise
to
was more akin
drama of Voltaire than
that of Shakespeare.
the lessons which Schiller learned from
Lessing were reinforced by the advice of Wieland, the other great

to
man
of letters
belonging
the
latter
to
the
older
generation.
In
1782
published in his Teutscher Merhir two Letters
Young
verse
Poet, in
which he advocated the writing
of dramas, not merely in verse but in

:
rhymed
thus alone, he said, could
to arrive at a dramatic literature
parison with that of France.

Schiller's
Germany hope worthy of comEven more after

until
heart must a third letter have been, did
which,
however,
not
appear
March
1784
the
here Wieland defended his position against
Austrian
playwright
Ayrenhoff,
who had
Gotz
von
in
followed up Wieland's plea for French tragedy
by railing
against "
I
Shakespeare
believe," "
and
Berlichingen,
said
Wieland,
summing up
his
argument,
that
we can be
just
58
towards the French, without taking sides against

the English."
It
*3
would have been strange had a poet of
Schiller's
temperament not yielded

to
in
to influences
such as these, and, before very long,
we
find
theatre that
him completely won over was accepted
the ideal of the
Mannheim.
The
which
plan of dramaturgic activity which he laid before

the Intendant
it
is
in the
same
letter in
he discussed Don
break with
the
a complete aims he had followed in Die
Carlos implies
Rduber and Kahale und Liebe.

again,
In
lecture,
Wie kann
wirken
?
eine
gute
stehende
Schaubuhne
eigentlich
he
quotes Corneille's Cinna
side
by
side with Shakespeare,
and he saw the

stage with
necessity of providing the

translations,
Mannheim
to
not only of Macbeth and Timon of

likely
satisfy
Athens
plays which were
the
tastes of the public there, but also of Voltaire
and Cr6billon
in other words,
he was himself
a line of
prepared to take up in
similar to that
reputation.**
Mannheim
work
his
by which Gotter had made
It is
hardly less significant to find
Schiller the intimate friend of the Alsatian exJesuit,
Anton von
Klein,*^
who
constantly in-
sisted
on the laws of correct
taste as exemplified
DON
CARLOS.
59
just con-
in the tragedie classique,
and who had

a
demned Die Rduber
in
trenchant criticism.
Furthermore, he quotes to Dalberg, with evident

the report that Gotter had found the plot of Don Carlos " great." ^^ It may also
satisfaction,
be added that the circles with which Schiller
came
of a
into
contact
in
Leipzig
and
Dresden,
during his later work on
Don
Carlos,
were not
he
kind to counteract the classic trend

in 1784.^^
had acquired
It is
thus clear that the distinguishing features
of this tragedy, as
compared with the tragedies

naturalism for eighIn
suggesting
the
which preceded
teenth
it,
are due to the fact that Schiller
abandoned Shakespearean
-
century classicism.
subject-matter, Dalberg had,
we might
is
say, given
the
first
;
impetus to a Latinisation of Schiller's

for the
poetry
theme of Don Carlos
essentially
French, and the similarity of the plot to that of Racine's Mithridate or Phedre has been frequently remarked.^^
It is possible that if Schiller
had
finished the
lines
drama
in
it
Bauerbach, the sub-
jective
on which
extent,
was planned might

the
have,
to
some
must
obliterated
Latin
origin, but after his year's experience in Mann-
heim
he
necessarily
have
regarded
the
6o
Latin

elements
of
the
conflict
in
wholly
favourable light.
The
question of the influence of other dramatic
versions of the story, of Otway's
Don
Carlos or
Campistron's Andronic, has led to considerable

controversy.
may, however, be accepted as conclusive that there is no evidence of Schiller

It
having seen Otway's play, but, on the other hand, that he made considerable use oi Andronic,
Gallicisms have even been detected in the style
of
Don
CarloSf
and the outlines of the character
of Marquis Posa
are
perhaps also
its
inconsistencies
to
be found in the
roles
of Martian and
Leonce
in
Campistron's tragedy.^^
far as the
But as
question of Latinisation
is
concerned, the fact of

in verse
is, it
Don
Carlos being written
seems to me, of more importance than Schiller's direct indebtedness to a French

source.
That Wieland's advocacy was one of

his
the determining factors in

Schiller
choice of verse
it
himself admitted, and
is
clear
in
that
Klein's
recommendations influenced him

;^^
the
same
direction
but the actual origin of the
iambics of
Don
Carlos has not yet

Schiller
been
satis-
factorily explained.
had several models
to choose from
Wieland's Lady Johanna Gray,
DON
CARLOS.
in
6l
Brawe's Brutus, Weisse

Theben
Merope,
his
Befreyung
von
and Atreus und

Lessing
in
Thy est, Gotter in his Nathan der Weise; but a
superficial examination will show that the poet learned nothing from Wieland, Brawe, or Weisse.
The
as a
fact that
Lessing had written his
last great
drama
in iambics,
and so established that metre
medium
in
of dramatic expression, no doubt

;
primarily determined Schiller to use blank verse
and
other respects the resemblance between

is
the plays
of
considerable, the culminating scene
between Posa and the King, being obviously modelled on the central scene in Nathan. But Schiller had too fine an ear for
Carlos, that
Don
the
music
of
verse
to
remain
content
I
with
Lessing as a model of versification, and
am
his
convinced that,
in
this
respect, he learned
best lesson from Cotter's Merope, a
drama based
on the plays of the same name by Maffei and
any case, the fact that every possible model which Schiller might have chosen was a drama in the French classic style, naturally
Voltaire.^^
In
influenced
him
enormously
there was
to
not
single iambic play in
German
which he could
have turned, before A.

translate Shakespeare,
W. Schlegel began to which could have helped
62

to
him
avoid Latin methods
for
it
was that
translation
to
which
first
showed the Germans how
nervous characterisation they had attained under the influence of the " Sturm
fine
combine the
und Drang" with the requirements of a measured, rhythmic form. The consequence was that he
almost inevitably
fell
into
the sententious and
broadly rhetorical style of the French masters.
and tendency of Don Carlos are concerned, its method of character-
As
far
as
the
spirit
ising,
its
introduction of political and religious
ideas of wide issue, Schiller's
model was
as
Voltaire.
Even Campistron, from whom,

directly borrowed, stands
we saw, he
on the borderland be-
tween the
century
in
aesthetic creations of the seventeenth
France and the drama of ideas which
In triumphed with Voltaire in the eighteenth. riper years Schiller went back with preference
to Corneille
lost his
and Racine, for the latter he never deep respect, and Le Cid he called, as far
as the construction of the plot
was concerned, the
masterpiece of the tragic stage,^^

Voltaire stood nearer to him.
but
in
1784
all,
For,
after
Voltaire
century.
is
the typical tragic poet of the eighteenth

It
was he who taught the European dramatists the art of rendering outward and
DON
visible
CARLOS.
theatrically
63
of presenting
the
the finer
feel-
ings and impulses of the soul; and this lesson

affected alike the delicate spirituality of Racine's
art
and
psychological
It
characterisation
of
Shakespeare's.
was Voltaire who transferred

and the
the focus of dramatic interest from the personality
and the emotion

;
to the situation
problem
above
all, it
was Voltaire who showed
how
tics.
the theatre might be enlisted in the service
of philosophy and morality, of religion and poli-
With him,
historical tragedy first
became
historically significant.^^
Voltaire's influence on the
German drama
of
the eighteenth century can hardly be overesti-
mated, and, as
far as
been estimated at
am aware, has all.^* He came at

I
not yet
a time
when
the classic art of Corneille and Racine was

its
rapidly losing
hold upon the
German
art,
public,
and, by widening the scope of that

lished
stage.
it
he estab-
more securely than before on the German

His actuality, his splendid exotic colour-
ing, his rhetorical flights,
awakened
interest in a
for
public which
had
little
understanding
the
chaster and
age of Louis
self into
more nationally French poetry of the XIV. Above all, he insinuated himhearts that had been
German
moulded
64
by the Leibniz- Wolffian philosophy, by his portrayal of conflicts which resulted in moral betterment and regeneration, even at the cost of he showed how the characterphysical death
;
types
of
the
seventeenth
century
could
be
modernised
and
humanised by an inoculation
for a
of that sensibility (Empfindsamkeit) which, under
Rousseau and Diderot, became dominant

time in European literature.
In Germany, Weisse,
Brawe, and Cronegk carried on the Voltairean

tradition
which had been introduced by Gott-
sched and his followers, and Gotter and Schiller

followed in their train.
Don
Carlos, then,
;
is
a tragedy in the spirit of
Voltaire
after the
the characters are conceived and drawn
especially the
and, in a
still
model of the French poet the intrigue conflict between father and son,
;
the passion of a son for his stepmother
would
in-
have commended
itself at
once to Voltaire's mind,
higher degree, the extraneous pleas
for liberalism in religion
and
politics.
Most
teresting seems to
me
;
the conspicuously French

for this is a
character of the hero

Schiller
later
type to which
all
clung with peculiar tenacity in
his
dramas.
Don
Carlos,
Max
Piccolomini,
Mortimer, Lionel, Arnold
Melchtal
these
are
DON
the
CARLOS,
held up to
65
the German German youth
;
heroes
who
are
schoolboy of to-day as ideals of
and even Richard Wagner, writing as

1868,
late
as
expressed
"
himself
with
warmth
^^
about
has,
Schiller's
deutscher
to
Jiingling."
One
types
however,
only
compare
these
with
Clavigo, Brackenburg, Faust, or with Schiller's
own Ferdinand,
in the
not to speak of similar figures

Kleist, Grillparzer,
is
dramas of
and Hebbel,
'*
to see
how
"
slight
the claim of this
deutscher
Jiingling
to be regarded as a specifically national
Schiller's favourite hero is, in fact, no other type. than the ideal youth of Klopstock and the " Sturm und Drang," metamorphosed under the influence
of French cosmopolitanism
of
this
chosen vehicle
to
riper
the poet's
German
idealism and
minds a stumbling-block to the appreciation of his dramas is, in reality, the jeime premier of
the French theatre of the eighteenth century, the

noble, passionate, enthusiastic youth, exemplified
in
characters
like
Titus,
Nerestan,
Zamore,
set
Ramire, Seide, and Arzace, which Voltaire

in the place of the calmer,
more
delicately strung
lovers
of
the
seventeenth century.
Not that
Schiller directly or consciously imitated Voltaire,
but this type had already found
its
way on
to the
66

stage,
German
and Don Carlos
is
the immediate
successor of such Voltairean heroes as Weisse's

Krispus, Cronegk's Olinte, and Brawe's Marcius.^
In complying with the

the
demand
of the age that
drama should be
raised to a higher poetic
plane than that on which stood the productions

of the
immediately
preceding
period,
Schiller
thus elected to follow Lessing and Voltaire rather
than Shakespeare and Goethe.

that
Schiller's
It
may
be argued
peculiar caste of mind, his love
of abstract ideas,
made
the change inevitable
that the eighteenth century type of tragedy, as

perfected
by
Voltaire
and Lessing,
to ideas,
in
which
personality was subordinated

in
was more
temperament than the Shakespearean tragedy, where personality and character were supreme, and ideas only
harmony with
Schiller's
natural deductions from these.

less personal,
Or we may be
lay in
and urge that the poet's greatness having raised the drama from the con**
fusion of the
Geniezeit
;
"
to a purified
and
well-
ordered
classicism
in
other
words,
that
he
discovered that middle
way between
the English
to
and French drama which Wieland believed

be the salvation of
German
:
tragedy.
But
this
would involve a
fallacy
while Schiller believed
DON
CARLOS.
67
that he was striking a middle
way between
classic
the
English and the French, he was merely avoiding

the
stiff
absurdities of the
its
*'
French
drama,
as
disregarding
rules."
As
far,
at
least,
Shakespeare was concerned, this was the extent

of the compromise
;
for, in all essentials,
he had
abandoned the Shakespearean drama. given up that specifically Germanic
He had
type
of
tragedy in which the individual, the personality,

is
the fulcrum of the action, and where dramatic
conflicts proceed naturally
from the relations of
one soul to other souls or to the outside world.

In
its
place, he accepted the
Latin conception
of tragedy, in which the stage becomes a chess-
board, on which simplified types of humanity
interesting, not in themselves, but for the virtues
or vices they
deft
embody
are
set in
motion by the
hand of
their creator.
Thus, whether owing to inward necessity or as a result of untoward influences, Schiller took
the critical step
best interests of
step which, in view of the
German
poetry,
was a step backof his century
wards.
The cosmopolitan
spirit
;
proved too strong for him
he abandoned the
attempt to create a specifically national
drama, and once more brought German tragedy under
68
the sway of Latin ideals

of
that
:
is
the significance
Don
Carlos,
In other words, Schiller achieved

earlier,
what, a generation
Gottsched had been
deposed
for
attempting
he betrayed the Ger-
manic drama to
Voltaire.
And, as we
shall see,
the remainder of Schiller's career as a dramatist
was
virtually spent in the quest for a national

in fighting against
form for the German drama,
the consequences of this fatal step.
In a letter which the actor Schroder wrote
from Vienna
said: "It
is
in
September 1783
to Dalberg, he
a pity for Schiller's talent that he
has taken up a course which will be the ruin

of the
German
theatre.
...
writer
It
is
hate him for
having reopened a path which had already been
swept
that
away."^^
The
was thinking of
the irony of time
Schiller's
early plays.
the
we might to-day apply poet of Don Carlos.
those very words to
IV.
AS HISTORIAN
AND
PHILOSOPHER
Der Trieb nach Beschaftig-ung mit abstrakten Ideen, das Streben alles Endliche in ein grosses Bild zu fassen und es an das Unendllche anzukniipfen, lag
in Schiller
;
von selbst und ohne fremden Anstoss
es
war mit
seiner Individualitat gegeben.
W.
VON Humboldt. 5^
AS HISTORIAN
There
genius,
is
AND PHILOSOPHER.
among
at
his
critics
a tendency, even
who
are
otherwise favourably disposed towards Schiller's

to
look
askance
preoccupation
with history and philosophy, either for Goethe's

reason,^^ that
it
was detrimental
ground
to
his
poetic
mission,
or on the
that a poet must
needs be only a dilettante in scientific investigations
and abstract thought.
It
is,
of course,
easy to reproach a poet for not abiding

last of creative
by the
work, but in Schiller's case
we
are not justified either in saying that his poetry
was
unfavourably
or that
influenced
by
his
abstract
studies,
philosophy could
easily
have
dispensed with his services.

physical
undercurrent
:
in
his
The deep metamind must be

*'
reckoned with
it
is
as
strongly apparent in
Karlsschiiler
"
the pursuits and tastes of the

as
in
the
Kantian
philosopher
and
it
classical
is
dramatist of a later date.
Indeed,
quest-
72
ionable
if
any of the so-called metaphysical poets, from Lucretius onwards, were so metaphysically
constituted as
that
whatever we may say of the Schiller who wrote poetry

and Das Ideal
tend das
Schiller;
and there
is
no doubt
dramatic
Kilnstler
his
Die
Leben stands at the very
literature.
head of the philosophical poets of the world's I, at least, know of nothing in which
is
poetry
made
the vehicle of abstract thought
with such perfect success as in these philosophical

lyrics.
To
to
ascribe
Schiller's
metaphysical
is
tendencies
correct
:
his
study of
naturally
Kant
thus
in-
he was
of
endowed with the

and
of
power
turned
thinking
to
abstractly,
when
he
seriously
the
study
philosophy,
soon
proved
that
he was
able to
speak with
forget
authority.
Further,
we must not
philosophy
:
how
asso-
intimately
poetry
and
were
ciated in the eighteenth century

fast
the hard-and-
boundaries which later generations set up
were
then
non
existent
philosophy
was
re-
garded as an
aid,
artistic expression.
and not as a hindrance, to And more especially for a
poet like Schiller, whose self-chosen realm was
an abstract one, whose mission was to

the ways of
justify
God
to
man
in
the
spirit
of a
AS HISTORIAN AND PHILOSOPHER.

rationalistic age, the study of history
73
phil-
and
osophy was as essential as to the poet of Zaire and Mahomet, A naiver poet like Shakespeare
or
Goethe might not
have
passed
unscathed
through the intense intellectual abstraction to which Schiller subjected himself, but on him
these studies only acted beneficially;
the philo-
sophic basis was as necessary to his poetry as

the power of being able to clothe his abstract
generalisations
in
historical
costume.
If
Wal-
lenstein is superior to
Don
Carlos, the fact must,
in
great
measure,
be
attributed
to
Schiller's
and philosophical studies.^^ The theme "Schiller as Historian "^^ presents few difficulties or complications; his defects and
historical
excellences in this field

surface.
1786,^^
lie,
as
it
were, on the
letter to
Korner, written on April 15,

at
marks the point of time
which the
for
poet began to interest himself in history:
five years he devoted himself to this study with an application and zeal such as he had given to no other, not even to the Kantian philo-
sophy.
What
in
these years
meant
for Schiller's
development,
subjective
completing the break with the
standpoint of his youth
been based on Rousseau's
which had teaching and prepar-
74
ing the
way
for
that
objectivity
which
is
dis-
played in his later historical dramas, can hardly
be overestimated.^^
But we are here more concerned with

positive achievements as a historian.
Schiller's
He planned
of
an ambitious
Niederlande
Geschichte des Abfalls der vereinigten
von
der
spanischen
first
Regierung,
which, however, only the

in
1788.
He
volume appeared edited a volume of memoirs on
what remained, throughout his life, his favourite province of history, "the most remarkable rebellions
and
"
conspiracies
another
series
Allgemeine
successful
Sammlung
than
the
until
historischer Menwires,
first,
more
by
was
continued
death.
other
also
hands
after
Schiller's
He
filr
published
number
of
historical
essays,
and, lastly, wrote for a Historischer Kalender
Damen,
his
most popular
historical
work, the
Geschichte des dreissigjdhrigen Krieges.
With regard
writings,
it
to the intrinsic merits of these
may
be said at once that the only
one which has real value as a contribution to

historical science
the
is
the History of
the
it
Revolt of
is
Netherlands.
Schiller
could not,
of the
true,
pretend to
scanty
mastery even
then
at
somewhat
of
materials
the
disposal
the

historian,
in
75
is,
but
his
statement
of
the
facts
the
main,
trustworthy;
and
although
liberty,
he
for
champions warmly the cause of which Don Carlos had been so

plea,
eloquent
he does not allow himself to be blinded

merits
in
to
conspicuous
are not
the
opposing party.
We
is
nowadays
inclined to rate Schiller's
favourite hero, William of Orange, so highly as
done here, but the poet's clear-cut portraits, especially of the minor dramatis personcB in the
great struggle,
later historians.
manifestly served as models to
The
History of the Thirty Years'
War, on the other hand,

tractive
although
is
more
at-
to
the general reader,
less
satisfac-
tory as history.
The
Rebellion of the Nether-
lands could, without detriment, be discussed in
the
spirit
of
the
eighteenth
century's
revolt
against Lutheran orthodoxy, but when Schiller
adopts the same method in describing the Thirty

Years'
War, the inconsistency

:
is
at
once apa religious
parent
the Thirty Years'

it
War was
as
war, but
for
was not by any means a struggle

freedom,
the
intellectual
age
of
the
"Aufklarung" understood that word. Schiller had here not the same grasp of facts and motives
as
is
to
be observed
in
his
first
history
the
76

is
execution of the work
also
more
superficial
and perfunctory.
But the
literary side
of the
Thirty Years' War has, as it were, benefited by freedom from the tyranny of facts; the poet has fuller play to mould the leaders of the
war
in
accordance with his

to
own dramatic imstronger

in
relief
agination,
bring
into
the
dramatic moments,
to
apply,
other words,
first
the great simplifying art of Plutarch, his
master in history, to the most complicated period

of
all
modern
history.
In judging Schiller as a historian,
we must
Even
cenat
be careful to avoid the error of applying to him

criteria that
belong to the age of Ranke.

historians
the greatest tury were
of
the
eighteenth
their
not
averse to accept
facts
second hand, and archives, even when accessible,
were not systematically ransacked.

unscientific
The
facts,
picturesque,
presentment
of
the philosophical outlook, were,
we might
of
say,
among
has
to
the
most
prized
virtues
historical
writing at this time.
The
is
point, however,
which
be
emphasised
that, even in 1788,

;
Schiller
was a
historian of an old school
the
most discerning among his contemporaries must have felt that he was not abreast of the move-
77
ment of the times.
Schiller
had learned how to
write history from Plutarch, from Montesquieu,
from Hume, and Robertson,
with
the last he
had
been
familiar
since
the
these,
planned from Voltaire,

forth
his
and, Fiesco^
warm
days
when
he
more than from any of whose Charles XII, called

These were
his
enthusiasm.^^
masters in practice, but unfortunately he himself

side.
approached history from the philosophical His first serious interest in the subject
articles of
had been awakened by two

licher
Kant's,
Idee zu einer allgemeinen Geschichte in weltbiirger-
Abstcht and Bestimmung des Begriffs einer
Menschenrace, which he read
it
was
his first ac-
quaintance with
Kant as a writer
in
1787.
In these essays the Konigsberg philosopher gave

expression to the teleological, a priori attitude
to
the facts of the past, which had

practice
been put
into
by
*'
Iselin,
the
typical
German
"
historian of the
Aufklarung."
This interpreta-
tion of history, in
is,
as
it
Weltgeschichte " Weltwere, forced into the role of the
which the
'*
gericht," appealed at once to Schiller's rationalistic
mind
he considered
it
the most fascinating
province of the
historian's
facts
work
the
to
cover the
bare
skeleton
of
with
nerves
and
yS
muscles of poetic invention, to bring the course of events into agreement wîth a higher philosophic harmony.
^^
As a consequence of
Schiller
his predilection for Kant,
of the
did not see that, under the influence " Sturm und Drang," which, by this
left
time, he himself had
behind,
Germany
for
vâs
building up a
was of
new conception momentous importance

vital in
of history that
the future.
His Kantism rendered him inaccessible to what
was most
the teaching and practice of
men
is
like
Herder, Abbt, and Moser.

in
Once,
it
true,
a letter
to
Korner,^ we hear an thought

of of
echo
time
idea
of
the
more
advanced
significance
the
the
the
that
national
it
history,
should
chronicle
of a
is
the
doings,
not
merely of the rulers

but there
people,
but
of the
no question of Schiller people itself; putting, as Moser had attempted to do in his

Osnabriickische Geschichte, this
view into practice.
And although
zur
Philosophic
three volumes of Herder's Ideen

der
Geschichte
der Menschheity
work which
had
virtually
given
the
a priori
method
its
deathblow, appeared before Schiller

a
line
published
of
his
own on
history,
he
in-
held fast to his early convictions.^^
What

terested
79
him was,
after
all,
not
Herder's
new
way
of looking at the evolution of the
human
race, but rather the reflex of that writer's ideas
on the familiar canons of rationahsm. There

Schiller's
remains
histories
the
virtue
of
to
literary
form.
are
said
have
taught
German
historians the lesson of style,
and one
the
as
does not need to do more than dip into

writings
of
Schiller's
predecessors,
to
such
Schrockh, Gatterer,
necessary was the
Iselin,
understand
how
lesson.
Schiller's prose style,
regarded
of other
artistically, is certainly superior to that
German
it
historians in
architectural
the
eighteenth
century
qualities
is
and imaginative of which they have no conception it

has
;
rarely
diffuse,
although
is
occasionally
turgid
and
rhetorical.
There
no
difficulty in choosis
ing, as far as the quality of the writing
con-
cerned, between the Revolt of the Netherlands or
the
Thirty
Years'
War, and,
say,
Johann von
Eidgenossenin
Miiller's
schaft.
Geschichte
Schweizerischer
is
Miiller's something straightforward, unvarnished narration of events, dull although it be, which is more in accordance
Yet
there
with the dignity of history as a science, than

the
roll
and splendour of
Schiller's eighteenth
80

It
century periods.^^
too, that Schiller's
it
has to be remembered,
was
this
book of
writings,
Mtiller's,
and not
laid
historical
which
the
foundations of modern
German
in
historiography.
What
that
distinguishes
is
Schiller
from his contem-
poraries
not
it
word,
style
is
the
the
narrow sense of
rather
power of
history
artistic
presentment.
dramatically;
Schiller
sees to
plastically,
he
is
able
heighten
colours
and deepen shadows,

of his readers.
to touch the imagination
But, as he himself has shown, " across a temperathis power of seeing events
ment,"
or,
in
Hebbel's phrase,
"reflecting the
is
world
upon
an
individual
background,"
faculty of the poet which

gift in a historian.
may
prove a dangerous
We
he
may
thus say that, as a historian, Schiller's

:
mission was similar to that of Voltaire in France
introduced into the style
and methods of
German
ments;
historical writing certain vitalising ele-
Hke
his
history with a philosophic purpose.
French predecessor, he wrote If, on the

histories
other
to-day,
hand,
it
his
mean
a
little
to
us
is
not because
German
to
history, having
advanced from
qualities that
an
lend
art
it
science,
despises
attractiveness, but rather
AS HISTORIAN
AND PHILOSOPHER.
less
8l
because Schiller, no
than the Voltaire
who
wrote the
Steele de Louts
XIV.
or Charles XII.,
was a
historian of the
"
Aufklarung," and oblivifirst
ous to the point of view which,
broached by
nineteenth
Herder,
century.
has
dominated
the
whole
Schiller's philosophy
forms a more important
chapter in his
life.^^
Just as his historical period
began with
so
his serious study of history in 1787,
we may say
that his philosophic period dates
from his occupation with Kant's philosophical writings in 1791. To understand Schiller's position with regard to Kant,
it is,
however, necessary
to look in passing at the genesis
and
early develop-
ment of his philosophical ideas.^^ The basis was laid in the years 1778-80
Military
at the
Academy
at the
hands of one of
his
teachers, J. F. Abel, Schiller received in a cut-
and-dried form the philosophy on which at least
two
generations of
his
countrymen had been
brought up, the optimistic utilitarianism of Leibniz
He grew up in the creed of the so" called Popularphilosophen," who gave rationaland Wolff.
ism the form which proved most palatable to the
German people
that
is
to
say,
a rationalism
tempered by the influence of Scottish moralists F
82
like
Hutcheson and Ferguson, and, above all, by Shaftesbury. The chief document of the poet's earlier studies is the Philosophischen Briefe, which
were written
in
Dresden as a continuation of the
Briefe des Julius an Raphael of
some years
earlier.
Here
his
Schiller presents, in the
person of Julius,
opposition to the
own
philosophic
faith in
views of Korner (Raphael), who, already a convert to the critical philosophy,

in vain to
had hitherto
tried
induce Schiller to study Kant.
And
to
the same time as the Philosophischen Briefe belongs
the noble didactic poem, Die Kilnstler, which, as
has been well

period,
its
said,'^^
opens Schiller's philosophic
while Das
Ideal und das Leben stands at
close.
In the year 1791 Schiller was struck
down by
the severe illness which finally undermined his

health;
received,
offer of a
and towards the end of that year he

it
will
be remembered, the generous
pension of a thousand thalers for three

the
years
from
Duke
of
Schleswig- Holstein-
Augustenburg and his minister, Graf von SchimHe had already begun the study of melmann.
Kant's aesthetics
the
published in
on the ist of January he informed Korner of his resolve to spend. 1792
and 1791
Kritik der Urteilskraft
was
AS HISTORIAN
if
AND PHILOSOPHER.
83
necessary, the three years during which he
was
to be free
from money cares
in
first
mastering the
-
Kantian philosophy.''^
resolution were
The
fruits
of this
first
two
essays, published in the
and second parts of the Neue Thalia,

den
entitled Uher
Gnmd des
in
Vergniigens an tragischen Gegenstdnden
and Uber
transition
die tragische Kunst.
These mark the
Schiller's
thought from the purely

first
eudaimonistic philosophy of his

the
period to
:
in Kantian standpoint of his later years neither of the essays, however, has he succeeded in reconciling the conflicting views.
His
Kant's
first
positive achievement on the basis of
aesthetics,
and
in
furtherance
of
that
thinker's standpoint,
entitled
Kallias,
was
to have been a treatise

die
oder
ilber
Schonheit.
This
was, however,
neither
finished
nor
and
to learn its scope
and contents
published,
or, at least,
part thereof
we
are
obliged to turn to four
important
1793.^^
freshest,
letters written to letters are, in
Korner
in
February
These
many
respects, the
cal writings
most original of all Schiller's philosophiin none of his books does he display
:
a greater mastery over the

inquiry, in
methods of philosophic
theorem.
none does he appear so completely
convinced of the truth of his
The
t.84
Kallias

letters
fill
Kant, to
were an attempt to supplement up a lacuna in his system. Kant had

taste lay outside the control of
maintained that the idea of beauty was subjective,
and that personal

logical principles.
set himself
The problem which

quality
in
Schiller
dis-
was
to refute this
to doctrine,
the
it
cover
some
objective
beautiful
object, something by virtue of
which
was what
he had
we
call
beautiful.
And
**
this he believed
found
ung."
in the quality of
Freiheit in der Erscheinis
Nothing, he said,
**
actually free, or, in
Kant's phrase,
all
self-determined," in the universe;
things are mutually dependent on one another,

their
is
subject to other than
own laws;
but in
proportion as freedom
attained, the intrinsic
excellence of an object rises.
Now
beauty deals,
the
not with
things
in
themselves,
in
but with
appearance of things, and
so far as
objects
appear free, they are beautiful.

clearly influenced
This idea was
by the conception of the beautiful object as a self-determined whole, which Herder, Goethe, and, above all, Moritz had
taught
idea,
;
but Schiller's logical exposition of the

his
and
application
of
it
to
the general
it
problem of
to
aesthetics, is his
own, and
seems
first
me worthy
of a philosophic
mind of the

order
:
85
the poet has given us no greater,
more
definition
penetrating deduction than that impHed in the " in der Erscheinof as
beauty
Freiheit
ung."
It
soon, however,
became obvious that he
had not wholly understood the problem as it presented itself to Kant's mind. He was ultimately obliged to right in
admit that that philosopher was denying the possibility of an objective

:
criterion of beauty
of
in
**
words, the quality freedom in appearance" cannot be inherent
in other
an object, but rather we, the thinking "sub-
ject,"
must
first
endow the
object with
it.
But the
fallacy in Schiller's
its
argument by no
means destroyed
for, as
value as a contribution to
;
the practical solution of the aesthetic problem
we
shall see, his Aesthetische Erziehwig des

is
Menschen, a work of very great importance,
an immediate deduction from that

lished treatise.
first
unpub-
Moreover, the whole tendency of
the Kallias, apart from the success or want of

success of Schiller's effort to widen the Kantian
aesthetics, helps us to
understand the character
of the
for
poet's
mind.
The need which he
felt
an
absolute,
objective definition
of beauty
proves
how
deeply the pre-Kantian philosophy

:
was engrained upon him
not one of the older
86

from the Cartesians onwards, had
aestheticians,
shrunk from defining beauty.

it,
They had
defined
in
it
comprehended by and harmony with reason, and they had confused

it is
true, as something
with the idea of perfection or conformity to a
certain end; but, whatever form their definition
took, they were, at least, at one in the opinion
that beauty
tive
was the outcome of inherent, objecThe positive teaching on this qualities.
point of Hutcheson,
whom
Schiller
had studied
carefully in Garve's translation,
was as present
to his
mind
as Kant's criticism.
it
The problem
it
was
thus, as
were, forced on him by the course
of his studies, and the need of solving
sprang
from a desire on Schiller's part to reconcile the critical philosophy with that of Kant's predecessors.
in
The
definition of beauty as
"
Freiheit
der
solve
Erscheinung" was a brave attempt to in a Kantian way a problem which Kant

to be insoluble.
Schiller failed in
had declared
his search for
but, like
an objective criterion of beauty, Winckelmann's famous characterisation
of antique art, the magic formula "Freiheit in
der Erscheinung" formed a turning-point in the

history of
to
German
aesthetics;
it
helped to raise
a higher plane the favourite
dogma
of the
87
eighteenth century, the interdependence of art
and morality.
Having
satisfied
himself as to the nature of
beauty, Schiller turned to consider

special points in the
some more
system of Kant's aesthetics.
In the essays, Uber
Anmut und Wurde and Vom

he attempted
Erhahenen, which appeared in the Neue Thalia

in
the course of the year

fill
1793,
to
up other
lacunce, or to correct
what appeared
:
to
him
to be errors in the
Kantian theory
in
particular, he felt the necessity of defining
his
position with regard to the most radical theorem in Kant's aesthetics, the dissociation of
own
beauty from interest

Schiller, " "
it
{interesseloser
Wohlgefalien).
is
clear, clung as tenaciously to the
moral
conception of beauty, which had been

his
its
stamped on
bury, as to
an early stage by Shaftesobjective definition, and he again

at
mind
proceeded to reconcile this standpoint
and Kant's
by means of a compromise.
of beauty in the
He
takes the case
human
form, and finds, on analys-
ing
all
it,
certain aspects in
which
it
is
free
from
cor-
extraneous
"
interest,"
and consequently
responds to Kant's definition.

to prove, there
is
But, he goes on
another form of beauty which

to
emanates,
or
appears
emanate,
from
the
05

as an expression of the personality
this
human form
behind
it,
and
he defines as "Anmut," a
to
word obviously intended

bury's "grace."
translate
Shaftesis
This "technical" beauty

"
op"
posed to the purely aesthetic or form of beauty, in so far as it
architectonic
is
a beauty of
movement
but,
in
it
order that
movement may
"grace"
"
is
appear beautiful,
must express a sentiment, a
moral feeling or idea.

the
And
just as
embodiment of
is
"
moral beauty," so
Wiirde,"
or dignity,
the expression of the morally sub-
lime
it
represents man's victory over his baser
nature, the triumph of reason over sense.
Thus, by an ingenious chain of reasoning, Schiller defended the traditional doctrine of the
eighteenth century against Kant's attack.
But
at inseparableness of beauty form of beauty and morality, he

or,
he wênt a step further.
Having established the

least,
a certain
proceeded in
the light of this union to criticise Kant's conception of the moral.

istic
Kant had, with characterself;
ruthlessness,
broken the easy-going,

"
satisfied
system of eighteenth-century ethics

"
categorical imperative
his
conception of a
of duty,
of the triumph of spiritual freedom through the
moral education of the
will,
had, by destroying
AS HISTORIAN
AND PHILOSOPHER.
8g
the shallow ethics of the popular philosophers,
acted as a magnificent tonic on the spiritual

of
life
Here, again, Schiller confronted Germany. Kant as a champion of the older rationalistic
morality.
His harmony-loving mind was repelled

himself to
the
by the shrill dissonances in the critical philos-
ophy;
he could not reconcile
antagonism of inclination and duty which Kant insisted upon as the fundamental conditions of
freedom and the higher moral life. The perfect life, said Schiller with the thinkers of Leibniz's school, cannot be built up on disspiritual
is only to be attained by man's incHnations to such a point that educating they are wholly compatible with his duties the
sonances; the ideal
oneness of inclination and duty

of the moral
life.
is
the triumph
In other words, duty must

it
cease to be the harsh, categorical imperative
appeared to Kant, and become a pleasure.
This
was
Schiller's
''freedom," the freedom which he of the

will,
conception
of
the
the
highest
from
despotism
in
saw the goal of the
human
is
race.
It
seems to me, consequently, that
the poet's real place in the history of philosophy
not as
Kant's successor, but rather as the

his
immediate disciple of Shaftesbury;
mission
90
was, with the help of the
new
critical
methods,
to bring Shaftesbury's moral to their fullest development.
and
aesthetic ideas
These studies formed the preliminary to a work in which Schiller proceeded to apply practically
the results he had just arrived
Briefe
ilher
at.
This was the

des
die
asthetische
Erziehung
Menschen
(1795),^*
letters
which originated
in a series of private
written by the
poet to his
patron the
Duke
was
is
of Augustenburg. Beauty, he had proved, freedom in appearance," and the beautiful an integral element in the moral life. The
*'
quality of freedom,
it
is
true,
may
only be im-
puted to the object by the mind which perceives

its
beauty, but
it
behoves
us, all the
more, to
educate our minds so that they are capable of

appreciating the beautiful,
of,
in
philosophic
Schiller
phrase, attributing freedom to objects.
now
**
regarded beauty
^^
as, to
use Kant's term, an
In art, in the aesthetic sense, imperative." " or play-impulse," he saw the liberator from the
tyranny of those
extremes
life
which
harmony
of
human
from
destroy the
sensualism on the
one side and calculating reason on the other, from egotism and self-sacrifice it is this play:
impulse, he said, which guides
man
to
freedom
QI
and
perfection.
Such
is,
in its practical aspects

ilher die
at least, the
dsthetische
dominant idea of the Briefe

des
Erziehung
Menschen.
"
The
doctrine
of
"
aesthetic education
which
Schiller here set
forth
was of
vital
German
which
culture.
importance to the progress of Like Lessing's Erziehung des
Menschengeschlechts,
is
book,
the
tendency
of
practically
identical with Schiller's,
these Letters form a pinnacle of that magnificent

edifice of rationalistic
humanism which Germany

But, at the
the
erected in the eighteenth century.
same time,
essentially
it
is
not possible to overlook

character
retrospective
of Schiller's
ideas:
his Aesthetische
Erziehung represents, we
might say, the last transformation of that union
between
art
and morality, which was
as
char-
acteristic of the eighteenth century as the
famous
marriage of Philology and Mercury of medieval

scholasticism.
The
is
poet's
dream of a
outHned
perfectly
harmonious Hfe
the fulfilment of that ideal

first
humanism which was
in
Germany
by Leibniz in the Theodicee.
In his soaring op-
timism, Schiller firmly believed, with his great

predecessor, that
the world
we
live
in
is
the
best conceivable world.
The
treatise
Uber naive
und sentiment alische
92

which followed the
AesthetiscJie
Dichtung,^^
in the
Briefe
Horen
for 1795, is Schiller's last
word on
that branch of practical aesthetics
most nearly
concerning himself the art of poetry. Although regarded as a reasoned investigation into a special
province of aesthetics, the work seems deficient
in the originality
first
and
intuitive
power of
Schiller's
contribution to the Kantian controversy in

;
sweep of its thought, it is inferior to the work which immediately preceded it, yet, as Gervinus has observed,^^ it
1793
is
and although,
in the
indispensable
to
the
understanding of the
German
It
literary spirit in the eighteenth century.
contains the ars poetica of
German
classical
poetry,
and even helped
to
criticism in the subsequent
mould the theory of Romantic age.
The twofold
character of this work, in which
Schiller applied the results of his philosophy to

literature,
has been so frequently insisted upon
that
it
needs no further emphasis.

of
Written
in
the
winter
1795-96,
Uber
in
naive
first
und
senti-
mentalische Dichtung was,
the
instance,
an investigation into the respective merits of ancient and modern poetry, and, in the second,
a document pro domo, a plea for Schiller's
particular
own
type of modern, reflective talent, as

"
93
*' Greek genius. Opposed to Goethe's naive of the treatise is The fundamental thought
the conception of the ''naive," which was,
we
The
had
an
at
might say,
idea of
'*
in the air
when
Schiller wrote.
naive,"
as
applied to literature,
been
set forth
by Herder, and, even before him,

asserted
if
''^
;
Winckelmann had
essential
least
in
naivete
to
be
element,
not in Greek
poetry,
Greek
art
Mendelssohn had defined
the idea philosophically, and Kant had virtually
accepted his " sentimental
definition.
The
conception
of
poetry," on the other hand, seems

;
to have been Schiller's own
but, like
a true
Kantian, he arrived at
but
"
it
not from observation,

deduction.
by a process
"
is,
of
logical
His
sentimental
to use the technical
term of
German
naive.
transcendentalism, the antinomy of the

Schiller's textbook of Poetics
is
planned
on
deductive,
a priori
lines
unlike
is
modern
works on the theory of poetry, it on the investigation of existing

study of literary history.
not based
or the
facts
Instead, Schiller, as
Boileau and Gottsched

legislates for the
in the
tice
:
had done before him,

he does not,
to control their prac-
poets, although
same way, attempt
he sets up his theory of the twofold char-
94
acter of

poetry,
which
he
has
like
arrived
at
by
abstract
reasoning,
forcibly
and,
fits
an
intellectual
Procrustes,
into the
the facts of literature

Schiller's
bed of
this theory.
way
of
looking at literature belonged as exclusively to

the age of the
"Aufklarung" as did
in
his ideas
on
the
political
history:
both cases he ignored

of
historical
principle
and
consequences
it
development.
Here again
was Herder, the
who
most advanced thinker of the eighteenth century, laid down the lines which the nineteenth
it
century followed;
related literature
was Herder who

historical
first
cor-
and
forms,
evolution,
and
saw
in
poetic
as
in
human
institu-
tions, a natural growth conditioned by
human
needs.^^
In spite of the repugnance with which Schiller's

transcendental attitude towards literature inspired
them, the younger Romantic generation borrowed freely from him. They refused to countenance his
a priori legislation, or those boundaries and definitions
himself,
which he defended as warmly as Lessing

but they recognised in his dualism a
justification for their
own
existence.
The
desig-
nation of the two chief tendencies of the
new
AS HISTORIAN
AND PHILOSOPHER.
g5
*' romantic "^^ is to be epoch as "classic" and " " traced back to the antithesis of naive and
''
sentimental
"
;
the
aesthetic
theories
of
the
brothers Schlegel, in their earliest developments,
and more especially Friedrich Schlegel's views

on Greek poetry, were profoundly influenced by Schiller's doctrines ^^ and the ingenious hypoth;
esis of
the "play-impulse," from the Briefe
ilher
dsthetische
Erziehung,
of the
reappears
as
one of the
chief features
Romantic
"
practice,
the
famous
*'
Romantic irony
which the new school
regarded as the highest manifestation of poetic

art.2
Thus
Schiller
the philosopher
is
open to be
criticised in the
same way
as Schiller the his-
torian
he looks backwards rather than forwards.
Born in an age in which two opposing forces were struggling for mastery, he threw in his lot with the force of tradition rather than with that
of progress
of the
'*
:
he ranged himself with the leaders
Aufklarung."
He
deliberately adopted
the deductive
method
of Kant,
and applied
field
it,
not as Kant's successors in the

tive
of specula-
philosophy, in a
manner that harmonised
with the historical and individualistic ideals of
g6

in
Romanticism, but
the
spirit
of
the
older
thinkers of the eighteenth century.
In other
words, he endeavoured to reconcile the critical
philosophy with the rationalism that had pre-
ceded
it.
V.
THE LATER DRAMAS

NIcht Muster zwar darf uns der Franke werden, Aus seiner Kunst spricht kein lebend'g-er Geist, Des falschen Anstands prunkende Gebarden Verschmaht der Sinn, der nur das wahre preisst
Ein Fiihrer nur zum Bessern soil er werden, Er komme, wie ein abgeschiedener Geist, Zu reinigen die oft entweihte Scene Zum wurd'gen Sitz der alten Melpomene.
Schiller.
83
THE LATER DRAMAS.

"
Every drama
;
of Schiller's
was
virtually a
new
experiment he always set out from the love of art, always with the desire to conquer a new side of it, and I doubt if the great series of his
dramatic productions gives us the
final result."
The
feature
in
Schiller's
work
to
which these
words from a
refer, is
letter of
Humboldt's to Goethe ^^
one which invariably presents itself to the reader. More especially from the group of classic dramas, from Wallenstein to Wilhelm Tell,
do we carry away the impression that the poet was experimenting in poetic forms hitherto untried
by his countrymen. From the wide panorama and motley scene of the Thirty Years'
War
fate
he turned,
of
in
Maria
Stuart, to describe the
narrow
queen under conditions almost as and commonplace as those which

in the
hemmed
his
"
tragedy of
common
Hfe
"
;
for
next
drama. Die Jungfrau von Orleans, he
100
chose the resplendent world of Romantic medievalism, where he could give

full
poetic optimism
all
and
this
succeeded by the sinister and brooding pessimism of Die Braut von Messina, Ultimately,
in
was
strangest
still
play to his
own
contrast of
Wilhelm
Tell,
he returned,
unsatisfied, to
a panoramic historical tragedy, which, however,
was
less
weighted
in its
by extraneous
All these are,
theory,
rules,
it
less
hampered
Wallenstein
movement by antique
than
had been.
seems to
me, to be regarded as experiments, attempts to

discover a
new form
of dramatic poetry.
Goethe
himself singled out for notice this progressive

feature of Schiller's genius, Richard
special emphasis
Wagner
laid
and Carlyle had it in view when he described the later dramas as
upon
it,
"
those kingdoms conquered from the barren Realms of Darkness." ^^ We might perhaps go still further, and say, as I have done elsewhere,
that this peculiar restlessness, this striving after

variety of form,
is
a distinguishing trait of the

characteristic
Germanic mind, and

representative
to Gerhart
of
all
the
German
dramatists from Lessing
Hauptmann.
is
But another explanation

events in
Schiller's
conceivable, at
all
case
his
constant experi-
THE LATER DRAMAS.
lOI
menting may have been due to the fact that no satisfactory form for the national German drama
had yet been discovered. Schiller not convinced that he had found the
of expression for
wâs himself
right vehicle
what he had
to say;
he had
not that assured sense

possible path,
of being
to
on the only
In his
which
is
be observed in the
literatures.
great
dramatists
of other
suggestive account of the aesthetic theories of
Goethe and Schiller
at the turn of the century,
Hettner endeavours to explain Schiller's wavering
methods by saying that the poet's aim was to combine the ancient '^ fate " tragedy with the modern ** character" tragedy of Shakespeare.^^
The formula
its
is
attractive, but a closer study of
application to the
is
individual
dramas shows
Hettner
it
that the problem
not so simple as
would have us
to
rest
believe.
To
begin with,
seems
which,
at this time,
on a misapprehension of the attitude Goethe and Schiller took
It is true the Engup towards Shakespeare. lish poet was often discussed in their letters
;
his
plays appeared frequently on
the
Weimar
stage;
Goethe, we know, prepared

Juliet
for
a version of
Romeo and
the theatre, and Schiller
one of Macbeth,
But the opinions of the two
102
poets about Shakespeare were very different from
the unmeasured enthusiasm of the
**
Sturm und
less,
Drang
"
;
their
views coincided, more or
with Lessing's, or with those which, as

seen, were familiar to Schiller in his
we have Mannheim
days.
If,
consequently, Schiller's dramas from

to
Wallenstein
Demetrius are to be regarded as
an attempt to create a national German tragedy by combining the antique with the modern,
Sophocles with Shakespeare,
it
must
at the
same
time not be forgotten that Schiller was more
in
real or imaginary impressed by the analogies between these poets than by their dissimilarity,
and that
his conception of the
**
modern
"
Shakespeare was peculiarly limited.^ With Don Carlos Schiller had, once
essential
for
all,
abandoned the
speare's
principles
of
to
Shake-
technique;
he
had
looked
French
classic tragedy for his models,
and had adopted
French methods of dramatic presentation.

in
When,
1796, he again turned his attention to the drama, he was still convinced that the only
hope for German tragedy lay in its development on the lines laid down in Don Carlos. In other
words, Schiller believed
opinion
and
Goethe shared
a
his
that
poetry
must avoid
narrowly
THE LATER DRAMAS.

national
basis,
I03
at
and aim
rather
expressing
widely acceptable ideas, with the help of cos-
mopolitan
methods
that,
in
particular,
the
German drama must be brought

with
the
into
harmony
masterpieces
of
Greek
and French
genius.
There was thus no question of reverting

critics
to Shakespeare, or, at least, to Shakespeare as
he was understood by the poets and

the
**
of
Geniezeit."
At the same time, Schiller no longer stood at the level of Don Carlos ; his ideas of tragedy had
He gained in depth and breadth. satisfied with the rhetorical longer

Campistron and Voltaire;
for the
is
now no
of
pathos
he has appreciation
more
;
delicate poetic beauties of Corneille

^^
and Racine
above
in
all
things, he has taken the

earlier
same step
as,
an
generation,
Elias
Schlegel, from the Renaissance attitude towards
the antique to that which
we now
associate with
still
the later eighteenth century.
Schiller
holds
with Lessing that the drama must be rigidly

Aristotelian
ciples to
essentials,
an
be
application of Aristotle's prinits technique
modern themes;
that
of
historical
must, in
to
Sophocles
applied
modern
modern
themes and the conditions of

difficulty
life.^^
The
which Schiller was
104

to
constantly seeking
overcome was not how
to reconcile the Shakespearean character-tragedy
with the tragedy of the Greeks, as he understood

the latter, but
his
how
own
faith in
Greek tragedy to the freedom of the will and if

to adapt
;
Shakespeare came
so far as Schiller
into question,
it
was only
in
felt
that the English dramatist
more than any

in
other
had,
without
offending
"
against the spirit of Aristotle's canon, embodied

his
tragedy what Kant called the
Selbst-
bestimmung des Menschen."

Just as Schiller's occupation with
Don
Carlos
had
led
him
to take an interest in history, so
now, as a consequence of his historical studies, but he was finding his way back to poetry
;
whereas his chief historical work had been the
immediate outcome of Don

intense
Carlos, a period of
preoccupation
with
the
philosophy
of
Kant lay between the Thirty

Wallenstein.^
Years'
War and
us
comparison of this trilogy, or
rather tragedy, with
Don
Carlos gives
some
insight into the principles

in reconstructing his art.
which guided
It is possible,
Schiller
however,
to
that the transition from the one
work
the
other was more gradual than
is
to be inferred
as-
from the form which Wallenstein ultimately
THE LATER DRAMAS.

sumed.
first
IO5
If
Hoffmeister
latter
is
to
be trusted,^^ the
plan
of the
drama resembled Don

as the
Carlos in the
same way
was
Bauerbach Don
Carlos resembled Kabale tmd Liehe.
The
hero,
Wallenstein,
conceived
on
the
lines
of
Marquis Posa, and the drama was, moreover, to have been written in prose. However this
work was, like its pre" blossom of a single summer," decessor, not the
may
be,
the
finished
but rather the result of long and careful meditation.
Schiller did not enter
upon
his task until
he had arrived at clear ideas as to the nature
and theory of tragedy, and the ethical problem involved in Wallenstein's fall was readjusted to
suit the
requirements of the
new
philosophy.
We
was
in
might say that the constructive advance

the
:
of Wallenstein, in
comparison with Don Carlos, main due to the study of Greek
models
the plot of the earlier tragedy had been
unmistakably
Wallenstein's
French
fate
is
it
in
character,
whereas
or
is
brought
about,
at
least presented as if
were brought about, by a
mysterious, supernatural power, which, like the

fate
that
crushes
In
control.
Don
his
drawn upon
beyond human had frankly own personal feelings and symOedipus,

is
Carlos
Schiller
I06
pathies, but, instead of expressing as in his earlier plays, he
them
directly,
had
simplified, pruned,
and fashioned them according to his French models. At the same time, his attitude to
characters and
personal.
sentiments was
still
essentially
Under Goethe's guidance, however,

spirit in literature or
he learned that the classic

art
was
incompatible
with
subjectivity;
that
the true classic poet must avoid putting into his
work himself or
pathies.
his
own sympathies
historical
or
anti-
Now
the
Wallenstein was
for
admirably adapted to such treatment,

poet had never
felt
the
warmly attracted by him. In November 1796, before he had proceeded very far with the drama, we find him writing to
Goethe
'*
:
With regard
I
to the spirit in
which
am
me.
working, you will probably be satisfied with
might almost say that the subject does not interest me at all. I have never combined such coolness towards
a
...
my theme
The
with such
principal
warmth
of feeling for
my
work.
character and most of the subordinate characters

are, so far,
artist."
2
handled with the pure love of the
But
written
it
was not easy
for
the poet
who had
Don
Carlos to adapt himself to so ob-
THE LATER DRAMAS.

jective
I07
an ideal of poetry as he here set before him, and, before long, he is obliged to have
recourse once again to the
French method
in
order to supply the note of sympathy his nature
demanded
on
he invents a pair of youthful lovers
whom
he
is
able
to
lavish
that
personal
affection
and enthusiasm
for
which he had otherare analogous
wise no outlet.
Max and Thekla

French
to the lovers of the

like the latter,
classic tragedy,^^ and,

in the
become involved
political
conflict.
In seeking the antique, Schiller, like

literary reformers before him, did not
so
many
despise the
help of the French classics of the
seventeenth century.
once evident
in Corneille
But the incongruity is at and Racine the love
episodes are in a certain stylistic
harmony with
the character of the later Renaissance tragedy,
while here in Wallenstein the scenes in which
Max and Thekla

with
the
less
appear are wholly incompatible
idealised
and
less
conventional
historical
background of the drama.

first
Had
Schiller
turned even to Voltaire, his

art
master in the
of writing classically, he
would have found

love plot
no precedent
of Voltaire's
for the vagaries of the

for,
of Wallenstein;
whatever were the defects
dramas, that poet had too acute
I08
a sense for the fitness of things to tolerate so
shadowy and unmanly a hero as Max Piccolomini, or one so

of the tragedy.
little in
keeping with the
spirit
Indeed, from Voltaire Schiller
might have learned the best lesson of all that in such a drama sentimental episodes were an
unnecessary theatrical concession.^*
Wallenstein
classic style.
is
obviously
tragedy
in
the
The
leaders of the Thirty Years'
War
upon the stage and allowed to enact what history records of them
are not put naturally
;
their sayings
and doings are rather regulated by preconceived theory of human motive and
action,
which the poet, under the influence of Kant's interpretation of the moral law, dictates
to
them
they are not plastic creations, drawn

unflinching
;
with
the
truth
of
if,
Germanic
in-
dividualism, but types
and
as such, they are
superior to the Voltairean figures of

it
Don
Carlos,
is
an advance in the manner, not of ShakeIn other words, Schiller
speare, but of Sophocles.
passed
with
Wallenstein
from
the
generalising
methods of Voltaire's tragedy to the Greek conception of the type, more especially as exemplified
in
Goethe's Hermann und Dorothea or Natilrliche
Tochter.
THE LATER DRAMAS.

It is as difficult to
lOg
Wallenstein
understand
why
it
should be regarded as Schiller's masterpiece

frequently expressed
pathise
like
a
a
opinion as
There
is
to
sym-
with
the
virulent
antipathy
is,
it
of critics
is
Otto
Ludwig.^^
true,
spacious poetic atmosphere in Wallenstein, a lofty
swing
in
the hero's monologues
the dramatic
possibilities of the
theme
are greater than those
of any of Schiller's subsequent subjects; but, in
the art of the dramatist, Schiller

extent feeling his way.
is
is still
to
some
The
place of Wallenstein
at the
beginning of the
last stage in Schiller's
career,
and from
progress
first
to last that
career
was
steady
to
seems
me
a
towards higher things. It impossible to rank Wallenstein,
regarded as
Stuart.
drama
its
per
se,
even with Maria

it
Whatever
merits or demerits,
national
is
certainly not
the great
Years'
drama which
for,
the
Thirty
War
deserves;
like
Schiller's historical writings, this, his
one tragedy
on a subject taken from national history, is lackHis insight into ing in historical background.
the conditions of the time had,
it is
true, taught
him how necessary the

was,
if
historical
background
Wallenstein's
fall
was
to be
made
:
clear
and convincing
to his readers or hearers
what
no

eluci-
he did not comprehend was that such an

dation lay beyond the power of classic
art.
The
a
to
picture of Wallenstein's camp, which forms the
prologue
to
the
of
its
tragedy
kind,
proper,
although
help
masterpiece
realise
does not
us
that the tragedy plays amidst the most

in
devastating and terrible war
the annals of
modern
nations.
Schiller's art,
and
classic art
in general, is not
adapted to reproduce national
movements and events involving the welfare of a people the poet was here trying to do in an
;
un-German way what he could only have

by
spearean drama.
It
effected
calling to his aid the resources of the Shake-
was perhaps a
certain half-conscious feeling
of this
kind, a presentiment
for
that
his
methods
wide
were not suitable

issue or of so
tragedies
of such
panoramic a type as Wallenstein, which actuated Schiller in the choice of Maria

Stuart as the subject of his next tragedy.
Sttiart
Maria
such
does
not,
of
course,
testify
to
familiarity with historical conditions as its pre-
decessor,
but
the
scaffolding
of
the
drama,
and the Kantian groundwork, which had been

occasionally visible in Wallenstein, are here better
concealed
there are fewer artificially constructed
THE LATER DRAMAS.

situations,
Ill
plastic
classic
and the language is, in general, more and dramatic. Schiller's faith in his
models
remained,
is
however,
unshaken,
and Maria Stuart too

subject,
a classic drama.
The
in
he
tells
us,
admitted of treatment
the
manner
of Euripides,
and he re-read the
it.^^
French tragic poets while he was engaged upon Like Wallenstein, Maria Stuart is, at the
opening of the drama, doomed, but while in the former case the fate was, as in Greek
tragedy, a supernatural power, in Maria Stuart
it
assumes the more
definite
and
It
realistic
form
be
of a judicial condemnation.
must
also
regarded
as
step
forward that Schiller has

artificial
here given
up
the
device
of a
sub-
sidiary love -plot,
and although the

as
fiery jeune
premier
is
introduced
the
queen's
admirer
Mortimer,
lines
he
is
conceived
on
more human
it
than
Max
sign
Piccolomini.
that,
in
Lastly,
was a
strict
favourable
classicism,
spite
of
his
Schiller
was
willing to
borrow sugconsenti-
gestions as to
how
to
the religious motive might
be
handled from his younger
Romantic
Iffland
for
temporaries,
and
turn to
mental touches that are foreign to his models. Maria Stuart is the most difficult of all
112

to judge
at
its
Schiller's tragedies
It
is
true value.
stage,
exceedingly but
scant
It
popular
at
on
the
told,
the
and
the
finds
favour
hands
real
of
critics.
lacks,
we
are
historical
facts
;
colouring, and gives a distorted view of

it is
the least veracious of
all Schiller's historical
dramas.
graver flaw
is
considered to be the
;
absence of a dramatic conflict

cused of playing
pretending
tragic
Schiller
is
ac-
a
his
trick
on
his
is
audience,
in
of
that
heroine
as
involved
conflict,
is
whereas,
It is
matter of
fact,
there
none.
pointed out that the hopes
which Mary builds up on Mortimer's devotion to her, on Leicester's love and promises, and,
lastly,
on her interview with Elizabeth
in which
that
the poet makes

of
freedom are
denoument
Mary destroy her own chances

all
is
purely
illusory,
the
tragic
a foregone conclusion from
the beginning.^''
is
This
may be
true,
but there
a certain satisfaction in finding that Schiller
has for once asserted the right of the modern

dramatist
to
defy
the
clogging
laws
It
of
the
dramaturgies of the
Renaissance.
must be
admitted that he adapted the Aristotelian theory in a large-minded way to his needs, even if the
later
Hegelian theorists were obliged to with-
THE LATER DRAMAS.

hold
their
II3
act
of
approval.
The
last
it
Maria
the
Stuart,
however lachrymose
reader,
is,
appears to
the
modern
rightly
regarded,
most
subtle psychological process
which
it
Schiller had,
an attempt to make the culmination of the drama inward and
up to
this point, described
is
spiritual.
The
him
very inadequacy of the motives

his construction
and the defects of

to have led
to
would seem
of the
inner
have recourse to a deepening situation which foreshadows the

If,
is
methods of Hebbel and Ibsen.

Stuart
is
then,
Maria
open to
criticism,
it
assuredly not
of the
on these grounds.
concessions to the
The
eidola
faults
drama
are rather to be ascribed to Schiller's too liberal
of the
theatre
his
Mary
"
is
not above the reproach of being only
half a queen
and half a
life,"
tearful heroine of the
tragedy of
common
while Elizabeth might
have stepped straight out of a French comedy

of intrigue.
We
and
in
have
Goethe's
is
word
for
it
that
Die
;
JungfraiL von Orleans
Schiller's best
least,
work ^
beyond
one respect,
:
at
this
is
question
of
all Schiller's
tragedies. Die Jungfran
von Orleans
is
written in the most

style,
and harmonious
that
H
homogeneous
it
is
to say,
excels
114

This, too,
called
is
it
where Maria Stuart was weakest.
what Hebbel had

**
in
mind when he
conscious
Schiller's
greatest
achievement."^^
features
On
in
the other hand, there are several
Die jfungfrau von Orleans which are not comIn it the poet patible with this high praise.
displays,
for
instance,
an
almost
greater
its
dis-
regard for the facts of history than in

decessor; he perverts
as
pre-
no modern dramatist
would dare
of Jeanne
to
do
the
supremely tragic story

to
lies
d'Arc in order
adapt
it
to
all
the
his
theory
of
tragedy which
behind
work, namely, that the tragic hero, in succumbing to his fate, should undergo a moral regeneration.
And
here this end

artificial
is
attained in
Plot
an
extraordinarily
acters are less
way.
and char-
real, less in
touch with nature,

or
than
in
either
Wallenstein
this
Maria
Stuart.
in
Yet however deplorable
may have been
the eyes of those who, on the strength of Die
Rmber, hoped
Shakespeare,
ficiality of
to see Schiller
become a German
arti-
it
must be admitted that the
Die Jungfrau von Orleans was in one

it
respect in its favour;
made
for that unity of
style so essential to the classic type of
drama;
there are no concessions to naturalism as there
THE LATER DRAMAS.

had been
''
II5
in
both the preceding dramas.

Orleans
is
Die
Jungfrmi von
what
and
Schiller called a
too,
Romantic
"
"
tragedy
this,
it
adds to
the
harmonious
impression
leaves
it
on
the
reader.
Romantic," of course,
is
not in the
the heir
German
sense of the
word
Schiller,
of the rationalistic
certainly
ideals
of his
century,
was
not
the
;
poet
to
write
genuinely
Romantic drama
but, like
Victor
French writers of a generation
Hugo and the later, he made

Romanticism.
introduction
liberal use of the paraphernalia of
And
just these very externals
the
of supernatural motives, the resplendent medieval
background
tion
is,
gave
Schiller's idealising imagina-
its
opportunity.
Die Jungfrau von Orleans
with the exception of Die Bratit von Messina^

least
his
German drama, and
it
had
little
or
no influence on the subsequent development of but in none of his works was he tragedy
;
able
to
display his
peculiar
talents
to
better
advantage.
Schiller's next tragedy.
Die Braut von Messina,
has been the subject of

general tendency
is, it
much
controversy: the
it
seems to me, to give
an
unduly prominent place among the poet's works. It is an experiment, and a very interesting experi-
Il6

it
ment, but
has
little
to
do with the national

history
is
drama
its
place in
literary
beside
Schiller's
versions
of
Macbeth,
Turandot
and
Phddra, and Goethe's adaptations from Voltaire. The poet's object was to measure himself with
Sophocles
^^ Die Braut von Messina
was
to be a
Greek tragedy, of which only the language was German, not, as in Goethe's Iphigenie, which at
this time Schiller
found
"
surprisingly
'*
modern and
humane,"
^^^
un-Greek
"
and Goethe so
the
devilishly
spirit of
the tragedy as well.

is
And
yet even
here Schiller
more French than Greek, more
modern than
that of
antique.
The
at
subject of the drama,
two brothers
enmity with each other
and
in love
with the same woman, a heroic mother

is
standing in the centre of the intrigue,
much
more
to
closely allied to Corneille's Rodogune than
any Greek drama, while Gotter's Merope has visibly influenced the form of Schiller's tragedy.
In the characterisation of the personages, again,
more
especially of Beatrice
and Don
are many incongruously modern

Schiller's
Caesar, there
or,
to
use
word, "sentimental"
Greek, too,
is
touches.
the
More
modern than
Schiller
compromise
makes
in substituting for the oracles of
the Greek religion the superstitions of medieval
THE LATER DRAMAS.

Christianity.
II7
He
did not realise that as long as
the
unpsychological,
is
character
ineffectual
antique type of dramatic " fate " motive is an retained, the

for
substitute
the
religious
oracle;
in his
Grillparzer, in
Die Ahnfrau, and Werner
Vierundzwanzigste Februar, a
ciated
at
drama
rarely appre-
its true worth, have shov^n that a form of " fate tragedy " is attainable legitimate
when
not, as to
individual characters
and not generalisaSchiller failed,
tions are the dramatis personce.
is too often assumed, because he attempted do too much with the instrument of Greek
it,
tragedy, but because, in employing
he did not
proceed radically enough.
Had he given up the masks of the ancient world, he might have justified his bold experiment, and created a modern
parallel to
the
far
Greek
better
fate
vindicated treatise the
tragedy, just
in
as
he
than
his
prefatory
introduction of the chorus by an
outburst of lyric and reflective poetry unequalled

in
modern dramatic
literature.
The
episodic
and experimental character of Die

is
Braut von Messina

that, less
further borne out by the fact

its
than seven months after

:
completion,
Schiller entered in his calendar
"
This evening
Te//.''^^^
(August 25, 1803)
made
a beginning to
Il8

Schiller's fate -drama
Had
been anything more

called a
than what the Duke of
Weimar
"
hobby
from which experience alone would dismount the the disparity between that drama and
poet,"^^^
Wilhelm Tell would have been no

than that between Kabale und
Carlos.
less surprising
Liehe and
Don
But
the actual representation
of Die
Braut von Messina, deep as was the impression

convinced the poet himself that these drama were of very experiments with the Greek At last the moment seemed to www.i-Qus value.^^*
it
left,
in
all
bv^Q when
it
Schiller
might
the
free
himself
fortunately,
.^ of classical or pseudo-classical
Dorothea, not of the ealrjr
years
ix^
spent
in
In
Wilhelm
Tell
Schiller
has,
change could
cipated himself from the stiffness of the classic
form, and, in treating his subject with a certain

epic breadth, has done something for the freedom
of the
It
if
German drama.
has been asserted that Schiller might have, not attained, at least come much nearer to his
ideal in the
drama which he
left
unfinished at
^^^
;
his death than in
that here, at
last,
any of his finished works he would have succeeded
in
reconciHng Shakespeare with the Greeks.

there
is,
And
as every reader feels, a
power and a
THE LATER DRAMAS.

tion.
IIQ
critics
The
first act,
which seemed to older

is,
a masterpiece of exposition,
ingly artificial
;
in reaHty, exceedis
every effect
calculated
the
storm, the unwilling ferryman, the thunder, are

all
arranged to provide the hero,
like
an Italian
prima donna, with an effective stage entry. Not once in this act is there a touch of naive spontaneity, a holding of the mirror
up to nature and the remaining acts help but little to remove

;
this
first
impression of unreality.
Just as
in
"
Wallenstein Schiller
had
failed to call
up the
so
mosphere of the Thirty Years'

is
War,
unable to convince us that h'^

'
Swiss and Austrians of

the fact that
ti-
120
a prejudice against him from the first; and his creator is so insistent on his hero being regarded
as
an immaculate type that he neglects such
opportunities as the unheroic murder of Gessler, or Tell's inhuman repudiation of the Parricida,
to
develop
sides
of
Tell's
personality
for
which
might have won our interest
him
as a
man.
And
is
yet, in spite of these disadvantages, there
more
sincerity in the style of Wilhelm Tell than
in
anything the poet had written since Kahale

-^
Liebe; there
is
more of Goethe here than

works together;
but, un-
"nhiller's other
^s
the Goethe of
-b'
Hermann und
^
Faust or of Egmont.
least,
eman-
THE LATER DRAMAS.

promise
in
121
the
fragment
of
Demetrius
which
justify the
most sanguine hypotheses. One can understand Hebbel's significant remark on witnessing a representation of
*'
:
it
in
the Viennese
very questionable Hofburgtheater whether Schiller, with that typical treatment of the drama which sweeps us along like the waves
of the sea,
is
It
is
still
not right, and whether people like
us are not on the

to
wrong tack."
after
all,
^^^
But
it
seems
me
doubtful
if,
Schiller
would have
done more
in Demetrius
drama from which,

virtually
since
;
than perfect the type of Don Carlos, he had
never departed
tried
and Hebbel
complete
himself
Schiller's
found,
when he
his
to
fragment,
graft
how impossible it was for him to enown psychological art on Schiller's
generalisations.
VI.
CONCLUSION
Ich mochte iiicht g-erii In einetn andern Jahrhundert leben und fiir ein andres gearbeitet haben. Man ist
wenn
Zeitbiirg-er, als man Staatsburg-er ist; und es unschicklich, ja unerlaubt gefunden wird, sich von den Sitten und Gewohnheiten des Zirkels, in dem
ebenso gut
man
lebt,
auszuschliessen,
warum
sollte es
wenlger
Pflicht sein, in der Wahl seines Wirkens dem Bediirfniss und dem Geschmack des Jahrhunderts eine Stimme einzuraumen ?
Schiller.^"''
CONCLUSION.
The
to
conclusions which the present revision of
Schiller's position in literature
has endeavoured
establish
are
perhaps
best
summed up
words,
it
in
the foregoing lines quoted from Schiller's second

letter
on Msthetic Education ;
in other
has
been an attempt to show

"
how
exclusively Schiller
belonged to the century that gave
him
birth.
He
Sturm und Drang," and began as a child of the he was strong enough to be for a time a leader
in that
movement.
He
thought the thoughts of
his age with
an intensity peculiar to him, and,
as the interpreter of
coming things, he gave
in
his early tragedies clearer voice
than even his
contemporaries
in
France to the ideas which
crashed together at the French Revolution.
But
he did not succeed in creating a permanent national
drama on the
basis afforded
by the
**
Sturm
Instead, he led German tragedy back to the Canossa of French classicism. Then
und Drang."
126

life
life
the real task of his

Carlos strove
all
his
began the poet of Don to overcome Don Carlos.

;
Strenuously and persistently he sought the
for-
mula which was
to help
him
to create a
German
drama by the
fusion of the Shakespearean char-
acter-tragedy with the tragedy of the Greeks.

But, poet of freedom as he was, Schiller's conception
of dramatic
poetry was too unfree to
allow of him straying far from the highways of
eighteenth-century dramaturgies
the example of
the great French masters was always present to
him, and Lessing's standpoint, that the drama must, above

Aristotle,
all
things,
respect
the
canon
of
Not
Tell,
once not
was deeply stamped upon his mind. even in Maria Stuart, Wilhelm
and Demetrius, dramas in which the postHebbel critic has most chance of discovering
of emancipation
possibilities
did
it
occur to
arise
that a Germanic drama might would demand the modification of which

Schiller
totle
Aris-
and the dethronement of French classicism
in
non-Latin lands,
than
drama more
original
and
of
national
any possible and Shakespeare. Sophocles

If
combination
we have
Schiller
to admit
failed
in
as
his
think
we must
it
that
object,
was not
CONCLUSION.
127
through any deficiency in his own gifts as a poet, but rather because he set about his task
in
a Latin way.
The
in
highest Germanic art
whether manifested
the poetry of
Wolfram
von Eschenbach, or of Goethe or Shakespeare, in the painting of Dlirer or Bocklin, in the music
of Beethoven or
Wagner has always been

:
in
the best
sense naturalistic
for
it
it
has,
it
is
true,
spir-
shown a preference
itual
psychological and
problems,
but
has
invariably handled
such problems inductively.

is
The Germanic mind

of
essentially in
its
harmony with the processes

Opposed
is
nature;
natural
way
is
of thinking corresponds to the

to
this
laws of experience.
the
type of mind
Latin or
Romance mind,
to rise superior
the constant striving of which

to
nature, to
impose on the world of art the
laws of a higher reason.
While the Germanic

and
inviolable,
artist regards nature as holy
and
abides by the facts of experience and history,
the Latin genius

unity, a finer
demands
in his
work a higher
are the conclu-
harmony and
Such, at
balance, than nature

least,
can afford him.

sions
to
be drawn from a comparison of the
theatre of Corneille or
Lope de Vega with that
of Shakespeare, of the lyric of Petrarch or Victor
128

Goethe's, of the epic of Ariosto with
Hugo with
cumstances
or
that of Milton or Klopstock.

it
Under
these cir-
seems strange that a generation
two ago, when Schiller was regarded as the embodiment of the national idea, the question
should never have been asked
of the
why
the
race,
drama
must
Germans, a pure Germanic
needs be
as
Schiller held
compromise beis
tween the drama of a race that
only partly
Germanic and the Latin drama, and not rather represent the Germanic extreme.
No one was more

the gifted poet and
sensitive to the unnational

in Schiller's
and un-German element
work than
it
critic,
Otto Ludwig:
is
point to which he reverts again and again in

his critical essays
on Shakespeare and
Schiller.
In Shakespeare, the inner development, the psychological basis of plot and character, he urges,)
is is
the chief thing
what happens
in the tragedyl
the natural and inevitable consequence

be, the
may
cal
outward
Schiller,
symbol of the
or, it
psychologi-
action.
on the other hand, says

;
Ludwig, proceeds in precisely the opposite way he sets out from the story, the outward event or
the particular moral sentiment that he proposes
to
in the
embody
drama.
Shakespeare, and after
CONCLUSION.
129
him Goethe, construct the character of the hero with a view to the ''tragic guilt" in which the
latter
is
to
be involved,
that
it.
is
to say, they
adjust
his character so that his action appears
as a natural
outcome from
With
this special
character as basis, they idealise their hero, and

interest us in those traits in his character
which
account for the step which brings tragic conse-
quences on his head.
Shakespeare proceeds with
the characters he takes from story or history,

just as Titian,
portraits
;
Rembrandt, and Raphael painted he makes a totahty of them, that is
to say, he idealises
tial
them by enhancing the essenand omitting the unessential; he lays emphasis on the qualities which give the semblance
of
unity to
the
character,
it
and,
in
this
way,
makes
his personages, as
if
were, truer likenesses

strictly
of themselves than
he had given us
realistic reproductions.
Schiller reverses the pro-
cess
he sets up for himself an ideal of man, and

idealises a hero
when he
he combines
traits of
character which are peculiar to that hero with

qualities
borrowed from the universal
ideal.
He
proceeds as a painter would do,
who
painted, say,
the features of the Venus of Milo into the portrait of
some
particular
woman, without
I
consider-
130
ing whether these features had any resemblance

to those of his actual
model or
not.^^^
criti-
But, suggestive and discriminating as his
cism
is,
Ludwig has nowhere touched on the
ultimate ground of his antipathy to Schiller.
He
was
insisted that Shakespeare Greeks than the German poet, stood nearer the
right
when he
but he did not realise that the reason was because
Shakespeare, like the Greek

naively,
dramatists,
wrote
while
in
Schiller's
case
the
tragedie
classique stood like a coloured glass between him
and the antique models. After all, what is unGerman in Schiller's work is not the external
characteristics of the Latin
drama
the
observ-
ance of unities, simplicity of form and conflict, and the like on which the critics of the eigh-
teenth century laid weight.

terion of "classicism," then
Were
these a cri-
Germanic
as Goethe's Iphigenie
dramas so intensely and Tasso would
have to be put in the same category as Nathan der Weise, Don Carlos, and Die Jnngfrau von
Orleans.
Nor need we ask how

and poetry,
like
far
far
Schiller
penetrated or did not penetrate into the spirit

of Greek art
for here again
Goethe
and Romanticists
Holderlin
Friedrich
Schlegel and
were
more deeply imbued with
CONCLUSION.
Hellenism than he.
It
is
131
the spirit of Latin,

lies
not Greek classicism, which poetry;

it
over Schiller's
life,
is
his
Latin outlook upon

"
"
his
Latin attitude towards nature, motive, and character,

in
other words, the
welsche
in
him,
which awakened
the distrust of critics like
Lud-
wig and led the greater German dramatists of

the
nineteenth
century
to
seek other
in
models.
The
history of the
drama
since Schiller's death
from
Northern Europe
Kleist to Grillparzer
and from Hebbel and Ludwig down to Ibsen and Hauptmann in our own day has been, we
might say, a constant
effort
to
vindicate
the
Germanic
spirit in the theatre,
and to
free the
drama from that Latinisation which Gottsched

and Lessing inaugurated and
cosmopolitan poet; he
eighteenth century.
a Schiller perfected.
Schiller, then, is in the full sense of the word a " *'
is
Weltbiirger
of the
His hterary mission
is
more
akin to that of his fellow-countryman, Wieland,
than to Goethe's;
to Europeanise
for, like
Wieland, he helped
it
German
poetry, to render
it
uni-
versally acceptable,
liarly
is
by stripping
of
its
pecu-
national elements.
it
And
if
further proof
needed,
is
to be found in the fact that, of
all
German
writers,
Schiller
most readily ap-
132

;
^^ pealed to the imaginations of foreign peoples

in
France the
ecole
romantique was deep
in
his
and the most Gallic genius of the past century, Victor Hugo, was far more profoundly
debt,
influenced by
successors.
him than were any of
his
German
measure,
We
might even say that the modern

in great
French Romantic drama was,

that of Voltaire.
a result of the grafting of Schiller's theatre on
As a
Schiller
historian,
thinker,
and a moralist,
belongs no less completely than as a
poet to the eighteenth century.
He
is
not to
be classed with the pioneers

''
who
discovered
new
worlds, with Rousseau, Diderot, and Herder, but

rather with the
completers of an age," with
Pope and Johnson, Voltaire and Lessing; he

fitted,
we might
new
"
say,
new
bricks into the struc-
ture of eighteenth-century thought, but he con-
ceived no
turrets,
planned no new wings.

"
Like Lessing before him, Schiller had the typical
Aufklarung which demanded satishe felt too faction and certainty, law and order
mind
of the
keenly the need of logical satisfaction to realise

that the epoch-making element in Kant's think-
ing was not that
it
solved metaphysical problems,

in the intellectual
but that
it
opened up abysses
CONCLUSION.
life
133
hitherto unsuspected, and that, by creating
broken
ends,
destroyed
the
vicious
circles
in
which the eighteenth century had so complacThis characteristic in Schiller's ently moved.
mind may be traced
in his early school essays,
which ingeniously co-ordinated physiology and psychology at a later date it was the need of
:
a harmonious system which

first
made him,
and
in
the
instance, turn to history,
in the second,
when Rousseau's
lies
individualism ceased to satisfy
his needs, seek out a
new
philosophy.
The same
efforts
craving
behind his lofty dream of " aesthetic
education,"
and shows
itself
in
his
to
evolve a national tragedy by a compromise with
French classicism.
Schiller belonged
too
exclusively to
the
old
regime in his philosophic and sociological ideas

to appeal to the
new
generation at the beginning

;
of the nineteenth century
the optimism of his
personal and social ethics was devoid of meaning
Europe that had come through the throes The new age deof the French Revolution.
for the
manded
had
a less truculently hopeful creed than he

;
to offer
for freedom, as the
word was then
understood, was very different from that metaphysical freedom in
harmony with
a superimposed
134

It
law, to which Schiller pinned his faith.
was
on the foundations of Kant's dissonances, not of

Lessing's or Schiller's harmonies, that Fichte and
the Romantic thinkers and poets built up the
new
moral and aesthetic world with which the century opened. Schiller had no idea whither the great
intellectual thoughts of his age
were tending
he
had no understanding
for the
Romantic
individ-
ualism of the contemporaries of his later years.
And
although he came into special favour at a
later period,
it
when
the day of Romanticism had

to
in
was due, as I have sought to show, waned, reasons which had lost much of their force
Germany
meaning
in its
in 1870, for the
and have ceased to have any

of to-day.
in its ideas as well as
German people
his noble
Schiller's
work belongs
;
form to the past
dream of
per-
fected
humanism and moral
idealism has
no
immediate message for a generation whose outlook upon Hfe has been moulded by the pessimism
and individualism of the nineteenth century, and his dramas have ceased to awaken more than a
historical
interest
accentuated
is
by that strong
sense of Pietdt which
so admirable a trait in
for the cultured classes.
the
German
character
Goethe and
Kleist, and, in a still higher degree.
CONCLUSION.
Grillparzer
vital
135
and Hebbel, present more modern and aspects of life and thought than the farutilitarian-
away figments of eighteenth -century
ism, the problems of moral education and moral
regeneration, which bulk so largely in Schiller's
imaginary world.
NOTES
NOTES.
1.
Friedrich Hebbels Tagebiicher, herausgegebeii von

iv, p.
R. M. Werner, Berlin, 1903,

2.
151.
seine
Zeitgenosseti^
Julian
Schmidt,
Schiller
und
Leipzig, 1859, Vorrede (an Otto Ludwig), p. v f. 3. J. W. Braun, Schiller im Urteile seiner Zeitgenossen,
3 vols., Leipzig, 1882.

4.
Letter to Korner, February 25, 1789
" Ich
habe
mir eigentlich ein eigenes
Drama
nach meinem Talente
gebildet, welches mir eine gewisse Excellence darin giebt,
eben weil
es
mein eigen
ist.
Will ich in das natiirliche

ich die Superioritat, die er
Drama
einlenken, so
fiihl'
[Goethe] und viele andere Dichter aus der vorigen Zeit liber mich haben, sehr lebhaft. Deswegen lasse ich mich aber nicht abschrecken denn eben, je mehr ich
;
empfinde, zvie viele und welche Talente oder Erfordernisse mir fehlen, so iiberzeuge ich mich desto lebhafter
jenes
von der ReaHtat und Starke desjenigen Talents, welches, Mangels ungeachtet, mich soweit gebracht hat,
als ich
schon bin.
Denn ohne
ein grosses Talent
von
der einen Seite hatte ich einen so grossen Mangel von der anderen nicht so weit bedecken konnen, um auf
Kopfe zu wirken" (Schillers Briefe, herausgegeben von It is, howF. Jonas, Stuttgart, 1892-96, ii, p. 238).
140

draw attention
to the date
ever, only fair to Schiller to
of this letter:
when he speaks
of his "eigenes
Drama"
he
is
thinking of
Don
Carlos.
5.
Grillparzers Briefe
und
Tagebiicher^ herausgegeben
Stuttgart, 1903,
ii,
von C. Glossy und A. Sauer, 6. See an article by T.

Schiller den
p.
27
f.
Ruoff on
Gervimis
iiber
Dichter in
the
Deutsche Jahrbiicher fiir

102.
p.
Wissenschaft
7.
und Kunsf, 1842, No.

Aesthetik (IVerhe,
Hegel's
loa),
78
f. ;
also
V. Basch,
8.
J.
La poetique
de Schiller^ Paris, 1902, p.
286
f.
Volkelt, Aesthetik des Tragischen^ Munich, 1897,

ff.
p.
143
9.
J.
Gabe
Schmidt, Schiller und seifie Zeitgenossen^ eine fiir den 10 ten November iS^g^ Leipzig, 1859. 10. Grillparzer's Sdmmtliche Werke, 5th ed., iii, p. 83.
E. von Feuchtersleben, Uber Goethe
11.
tmd
Schiller
{Sdmmtliche Werke, Vienna, 1851-53, v), p. 236. 12. The British Museum, it may be noted, possesses
a. large collection
of literature bearing on the Schiller

"
Centenary of 1859.
13.
To Eckermann,
January
4,
1824:
ein
Dagegen
hat Schiller, der, unter uns, weit
mehr
Aristokrat
war
als ich, der
als ich,
das merkwiirdige Gliick, des Volkes zu gel ten."

14.
It ought,
aber weit mehr bedachte, was er sagte, als besonderer Freund
however, to be mentioned that opinions

are at variance.
on
this very point
The
following
is
from K. Werder, Vorlesungen iiber Schillers Wallenstein^ Berlin, 1889, p. 212: "Allerdings ist auch im Wallenstein das Nationale,
handen
aber
und zwar im
vollsten Masse, vores,
nicht im Stoff liegt
sondern im
Ton
NOTES.
der Charaktere,
in
141
den Empfindungen, Gesinnungen, Gedanken der Personen die sind grunddeutsch.
Auch
Maria Stuart, der Jungfrau, der Braut von Messina sind sammtliche Personen geborene Deutsche
in
von Kopf
leidend."
bis zu
Fuss
deutsch
empfangen, geboren,
gesaugt und erzogen, deutsch handelnd und deutsch

" Durch alle January 18, 1827: Werke Schillers geht die Idee von Freiheit, und diese Idee nahm eine andere Gestalt an, sowie Schiller in
15.
To Eckermann,
seiner Kultur weiter ging
und
selbst ein anderer wurde.
In seiner Jugend war es die physische Freiheit, die ihm zu schafFen machte und die in seine Dichtung iiberging,
in
seinem spatern Leben die

t6. 17.
ideelle."
2.
Walle?i steins Tod,
ii,
January 18, 1827. Richard Weltrich, Friedrich Schiller, Geschichte seines Lebens und Charakteristik seiner Werke, i, Stuttgart, 1885-99; Otto Brahm, Schiller, i and ii, 2, Berlin,
18.
To Eckermann,
1888-92
Werke,
Jakob Minor,
Berlin,
seine
Schiller,
;
sein
Leben und
Schiller,
seine
sein
i-ii,
1890
i,
K.
Berger,
Leben und
satisfactory
Werke,
Munich, 1905.
of Schiller
is
The most
that by Otto
completed
life
Harnack
Berlin,
J.
in the series of Geisteshelden, 28-29,
2nd
ed.,
1905.
Other recent biographies are those by

ed.,
Wychgram, 4th
Bielefeld,
1901
(abbreviated
Volksausgabe,
1905);
Calvin
Leipzig,
Thomas,
New
York,
1901. 19. Cp. E. Miiller, Geschichte der deutschen SchillerHow unreasonverehrung, Vortrag, Tiibingen, 1896. able the antipathy to Schiller can become among the
;
1901
L. Bellermann,
142
specifically

"modern" critics Das Werden des
is
to
be
seen
from
Berlin,
E.
Steiger,
i,
neuen
Dramas,
107 f., 223 f., ii, p. 136 f., or E. Mauerhof, Schiller und Heinrich von Kleist, 2nd ed., Zurich, 1898. Ludwig Fulda, in his address on Schiller und die neue
1898,
p.
Generation, Stuttgart, 1904, endeavours to explain the causes which have brought about the altered attitude towards Schiller; but instead of looking the facts
frankly in
has
come when we must judge
the face, instead of realising that the day Schiller, not as a poet
falls
argument and prophesies that the cultured classes

rediscover Schiller and accept
of the present but of the past, he " Schiller has that
back on the
ceased to be the fashion,"

will
presently
him
as their leader
once
more; or he repeats the
traditional
sentiment of the
school about Schiller being the most national of German poets, and finds it "frightful" that the German student
Schiller in his pocket when he goes to the university. 20. As an example, and by no means the worst, of this type of school-book, O. Lyon's Schillers Leben und
no longer takes a copy of
Werke, Bielefeld, 1900,

in the
German
in
school, see articles

fi'ir
may be mentioned. On Schiller by R. Lehmann and

das Studium der neueren
P.
Geyer
the Archiv
Sprachen
und
Litteraturen,
loi
and
103
(1898-99).
Particularly flagrant examples of
modern
Schiller wor-
ship are the two books by C. Weitbrecht, Schiller in

seinen
Dramen,
Stuttgart,
1897, and Schiller und die
deutsche Gegenwart,
Stuttgart,
(
1901.
viii), p.
21.
22.
Gotzenddmmerung
J.
Werke,
p.
i.
117.
W. Braun,
I.e.,
i,
NOTES.
"
23.
143
der
grossen
Oj
ein ich
Missklang
begreif
es
auf
Laute
Weltregierer,
nicht"
{Ekgie auf den

edited
Tod
eines Jilnglings,
i,
Sdmmtliche Schriften^
by
K. Goedeke,
p.
179).
Cp. Goethe to Eckermann,

Fischer,
ten Schiller -Schrif
^
January
p.
18,
1825;
K.
i,
78.
ff.
24. Cp. J. Minor,
/.r.,
i,
p.
299
in
f.
In
my
discussion
of Die Rduber^
I
and,
indeed,
to
this
whole chapter,
Cp.
also
am much
J^dubern"
indebted
Minor's
work,
E.
^^
Kiihnemann,
in
Uber
der
die
Stellung
in
von
the
Schillers
Weltlitteratur
Deutsche
Ru7idschau^ xxxi (1904),
by A. Kontz
Paris,
{^Les
French criticisms p. 385 ff. drames de la jeunesse de Schiller^
1899) and
A.
Chuquet {Etudes de
Paris,
litterature
ff.)
allemande^
Heme
Serie,
1902,
p.
178
are
also suggestive. 25.
H.
Bulthaupt,
Dramaturgie
1902,
p.
des
Schauspiels^
(9th ed.), Oldenburg,

26.
257.
Weltrich,
With
this
estimate
Minor,
Brahm,
Harnack, and even

are
in
substantial
Ludwig and A. Bartels, Hebbel regarded Die agreement.

critics like
Rduber
Die Jungfrau von Orleans being the

iii,
as Schiller's "hochste unbewusste Conception," " "
hochste bewusste
on the 353). {Tagebiicher, other hand (Matthew Arnold, Sime, Nevinson, Calvin Thomas), has shown little ability to enter into the spirit
p.
English criticism,
or significance of the drama.
R. Weltrich,
it
may be
mentioned, also
writes
warmly of the
p.
admirable Mei-
ningen performances
27.
gart,
(I.e.,
372).
Cp. C. Flaischlen, O. H, von Genimi?tgen, Stuttp.
1890,
131
ff.
144
28.
lis7mis

There
by
is
a suggestive article on Schillers TheatraBartels

p.
A.
in
ff.
the
Marbacher Schilkrbuch^
Stuttgart,
1905,
158
From the second Sendschreiben an eifieft jungen Dichter in Der teutsche Alerkur, October, 1782, p. 82 ff. " Fiir jeden Men30. Herodes und Maria??ine, iii, 6 schen kommt der Augenblick, In dem der Lenker
29.
:
seines Sterns 31. Briefe
ihm
ilber
selbst
Die
Ziigel iibergiebt."
vi), p.
Don
Carlos {Schrtften,
35.
32. E. Elster, Ztir
1889; Minor,
I.e.,
Entstehung des Don Carlos, Halle, ii, p. 520 ff. For the drama in its
iii,
various forms see Siimmtliche Schriften,
p.
180
in
ff.,
and
V,
parts
and
or
iv
Schiller's
Werke
the
Deutsche Nationallitteratur,
p. Ixvi
ff.,
(edited by R. Boxberger),
103
ff.
Letter to Dalberg, Mannheim, June 7, 1784: 'T^Ti' "Carlos wiirde nichts weniger seyn, als ein politisches Stiik sondern eigentlich ein Familiengemalde in einem
fiirstlichen
Hausse"
{Briefe,
i,
p.
192).
:
Letter to Reinwald, Bauerbach, April 14, 1783 " Karlos hat, wenn ich mich des Maases bedienen
34.
darf,
Blut und von Shakespears Hamlet die Seele Nerven von Leisewitz Julius, Und den Puis von mir"
i,
{Briefe,
p.
115).
Schiller's
35.
Even Reinwald,
first
Meiningen
friend,
who
had read the

a
stiffness
prose fragments of
Don
Carlos, found
in
the
iambic version.
Schiller of April 26,
1786:
"Um
fallt
Cp. his letter to aber wieder auf den

bei, dass
Don
kommen, so Dialog durch die lamben

Carlos zu
schien
;
mir
mir Dein
eine Steifigkeit
anzunehmen
ich
weiss aber wol,
dass
unsre Haupter des
NOTES.
145
Parnasses in hohen Trauerspiel Verse wollen wo ich nicht irre, hat Shakespeare darinn abgewechselt. Es
gehort aber viel Ubung im Versmachen dazu, bis diese Verse so geschmeidig werden, dass der Dialog es auch bleibt" {Schillers Briefwechsel mit seiner
Schwester Christophine
und seinem Schwager Reinwald^
It is worth comparing a passage Leipzig, 1875, p. 87). in a letter of Schiller's to Goethe, written more than
twelve years later (August 24, 1798), when he was at work on Wallenstein : " Ich lasse meine Personen
viel
sprechen, sich mit einer gewissen

. .
Breite
heraus-
lassen.
Es
ist
zuverlassig,
man konnte
mit
weniger Worten auskommen,
um
die tragische
Hand-
lung auf- und abzuwickeln, auch mochte es der Natur handelnder Charaktere gemasser scheinen. Aber das
Beispiel der Alten welche es
auch so gehalten haben
und in demjenigen was Aristoteles die Gesinnungen und Meinungen nennt, gar nicht wortkarg gewesen sind,
scheint auf ein hoheres poetisches Gesetz hinzudeuten,
welches eben hierin eine Abweichung von der Wirklichkeit fordert" {Briefe, v, p.
418).
"
36.
Der Mischung der Charaktere," wrote a con-
temporary critic, "fehlt es nicht an Mannigfaltigkeit, aber jedem einzelnen Charakter nur zu sehr an
Individualitat
(J.
und
/.r.,
unterscheidenden
p.
"
Schattirungen
also
W. Braun,
der
154).
Humboldt
found
in
the female characters of
Glanz,
sie
von
Carlos " einen gewissen eigentlichen Naturwesen unter-
Don
scheidet" {Briefzvechsel zwischen
Schiller
und W. von
Humboldt^ herausgegeben von A. Leitzmann, Stuttgart,

1900, p. 167).
146
37.

F. 11. Jacobi, Auserlesener Briefwechsel^ heraus-
gegeben
von
F.
Roth,
Berlin,
1825-27,
iv,
ii,
p.
237
p. 72). (quoted by Hebbel, Tagebikher^ 38. Cp. R. Schlosser, F. W. Gotter^ Hamburg, 1895, p. 1 2 2 ff. ; part of Cotter's correspondence with Dalberg
was published by H.
ii,
Uhde
/.r.,
ii,
in the
Grenzboten^
1876,
p.
41
ff.
39. Cp.
ger,
/.<r.,
J.
Minor,
p.
165
ff.,
230
ff.
K. Bersee
i,
p.
327
ff.
On
the
Mannheim
theatre,
Schloenbach, Beitrdge zur Geschichte der Schillerperiode des Mannheimer Theaters in the Schilkrbuch,
A.
Dresden,
i860,
p.
118
ff.
W.
Koffka, Iffland
und
Dalberg^ Leipzig, 1865; A. Pichler, Chronik des Grossherzoglichen Hof- und Nationaltheaters in Mannheim^
Mannheim, 1879; M. Martersteig, Die ProtokoUe des Mannheimer Nationaltheaters unter Dalberg aus den
Jahren lySi
theaters in
bis
17 8g^ Mannheim, 1890;

2 vols.,
F. Walter,
Archiv und Bibliothek des Grossh. Hof- und National-
Mannheim^
40. Letter to Reinwald, Bauerbach,
Mannheim, 1899. March 27, 1783:
"
Ob
ich mit Dalberg zu Stande
ich.
kommen kann, zweifle Ich kenne ihn ziemlich, und meine Louise MilEigenschaften Theater nicht wol passiren.
lerin
hat zerschiedene
an
Z.
sich,
e.
welche
auf
dem
Die goth-
ische
die
Vermischung von Komischem und Tragischem,

allzufreie
arten,
und
in
die
Darstellung einiger machtigen Narrenzerstreuende Mannichfaltigkeit des

i,
Details"
learned
e^ {Brief
p.
107).
How much
Mannheim
is
Schiller
technical
matters in
shown
by
J. Petersen, Schiller
und
die Biihtie {Palcest7'a^ xxxii),
Berlin, 1904, p.
196
f.
NOTES.
41. See
F.
147
Walter,
Geschichte des Theaters U7id der
Musik am
kurpfalzischefi Hofe^ Leipzig, 1898, p.
267
ff.
42. Letter
to
Dalberg,
Mannheim, July
2,
1784
The Hamburgische Dramaturgie e^ {Brief i, p. 203 ff.) was among the books which Schiller asked his friend
Reinwald
to
send him
i,
in
Bauerbach from the Mein-
As Boxberger points p. 85). ingen Library {Briefe, out {Schillers Werke in the Deutsche Nationallitieratur^
xii,
2,
p.
195), Schiller's lecture,
Was kami
?
eine gitte
stehende
eigetitlich (June 26, 1784), was to a large extent inspired by Lessing's work. " Ich glaube, dass man gegen die Franzosen 43.
Bilhne
ivirken
gerecht
seyn
kann,
ohne
"
darum
Parthey gegen
die
Englander zu nehmen
1784,
p.
228).
{Der teiitsche Merkur^ March That Wieland had, amongst others,

younger German
Schiller in view in his appeal to the
poets,
Archenholtz
May 9, 1784, to {Das Morgenblatt^ May 9, 1828), and he doubtless recognised in Don Carlos a step in
is
evident from his letter of
the right direction.

to
passage from
12,
:
Schiller's
letter
Korner of February
fast
1788,
"
is,
however, worth
hatt'
quoting in this
[Wieland]
in
connection
auf den
Neulich
gestellt;
ich
ihn
just
Kopf
ich war
einer
meiner
ich
tvidersprechenden
als
Launen,
und
da
das Gesprach auf franzosischen ihm, Geschmack roulirte, dass ich mich anheischig machte,
erklarte
jede einzelne Scene aus jedem franzosischen Tragiker wahrer und also besser zu machen [this is an echo
of
Lessing's
famous
challenge
at
the
close
of
the
Du kannst ungefrir wissen, wie ich Dramattirgie\ das meinen musste, aber ihm hatte ich in die Seele
148
gegriffen.

Er
fiihrte
mir meinen Carlos

die
zur
Wider-
legung an ; die ich an
wo
ich namlich gerade
Fehler hatte,
sagte
den
Franzosen
tadle.
Ich
ihm,
dass aus den dreissig
Bogen des Carlos gewiss sieben
herauszubringen seien, worin reine Natur sei (und habe ich nicht recht?); er solle mir das an einem franzOsischen Stiicke probiren
44. Schrifien,
iii,
"
{Briefe,
ii,
p.
18).
p.
516.
Cp.
Letter to
Dalberg,
Mannheim, August
24,
1784: "Ich habe gegenwartig
meine Zeit zwischen eigenen Arbeiten und franzosischer Warum ich das letztere thue, werden Lecture getheilt.
E.
haupt
E. gewiss billigen. Fiirs Erste erweitert es iibermeine dramatische Kenntniss und bereichert
Phantasie,
fiirs
meine
sischem
zu
andere
hoffe
ich
dadurch
Franzo-
zwischen
zwei
Extremen,
in
Englischem
heilsames
see
und
the
Geschmak
ein
Gleichgewicht
foregoing
kommen
[Wieland's
ich
demand,
insgeheim eine kleine Hoffnung, der teutschen Blihne mit der Zeit durch Versezung der klassischen Stiike Corneilles, Racines, Crenote].
Auch nahre
billons
und
Voltaires auf unsern

.
Boden
.
eine wichtige
Durch mich allein Eroberung zu verschaffen. wird und muss unser Theater einen Zuwachs an vielen
.
vortreflichen
neuen Stiikken bekommen, worunter Maki,
beth und Timon, und einige franzosische sind {Briefe^

p.
207
45.
f.)
l.c.^ ii, p. 167 ff., 238 ff. K. Berger, /.r., Cp. B. Seuffert, Kkin und Schiller in Festschrift fiir Ludwig Urlichs, Wiirzburg, 1880, and a dissertation by K. Kriikl, Anton von Klein am Hofe
Minor,
ff-
J)
P-
503
Karl Theodors von der
Ffalz, Eisenach, 1901.
Klein's
NOTES.
criticism
is
149
Pfdhische Museum)
ff.
of
Die Rduber
/.<:.,
(in
i,
the
reprinted by Braun,
Klein's
p.
32
Seuffert (p. 228)
quotes
Schiller klang
Mein ewiger Gesang bey words von Geschmack und Kunstregeln, wider
:
"
die er sich
in
eine Zeitlang zu
strauben schien.
Wenn
Antheil
jener
Hinsicht
glanzt,
Don
so
Karlos von den Raubern im

ich
Abstiche
glaube
nicht
wenig
daran zu haben."
46. Letter
{Briefe^
i,
to
Dalberg,
Mannheim, July
/.<r.,
2,
1784
p.
192); cp. Minor,
ii,
p.
235.
47. Cp. Minor,

48. Cp.
1
89 1,
p.
/.^., ii, p. 399. A. Koster, Schiller ah Dramaturge Berlin, 264 ff. In a review of the Thalia in the
Allgeineine Literaturzeitung (Jena,

critic
refers
diese
I.e.,
May 21, 1785), the "Bruchstiicke eines Trauerspiels iiber " bekannte Phadern-Geschichte (J. W. Braun,
to
p.
107).
49. Otway's tragedy

in
had been translated
into
German
1757, in the
des
Neuen Eriveiterungen der Erkentitniss

ix,
und
Vergnitgens,
51,
p.
Andronic appeared
XXV (1859),
Einflusse
p.
1
in
1685.
175 ff. Cp. H.
Campistron's
Heller,
J.
Die
Quellen des Schiller' schen

p.
Don
Carlos in Herrig's Archiv,
55
ff.
O. Schanzenbach, Franzosische
f.
Carlos.,
(Programm), Stuttgart, 1885, Lowenberg, Uber Otways und Schillers Don E. Miiller, in the Tiibinger Lippstadt, 1886
J.
;
bei
Schiller
Korrespondenzblatt,
1888
A.
Kontz,
p.
Les drantes de
ff.
;
la jeunesse de Schiller, Paris,
1899,
415
C. Haus-
ding, J. G. de Campistron (Dissertation), Leipzig, 1903,

p.
69
ff.
Minor,
I.e.,
ii,
p.
conclusions that Schiller used neither
624, accepts Lowenberg's Otway nor Cam-
150
pistron.

But the
fifth
scene of Act
Leonce's audience with the Emperor clearly contains The following the germ of Posa's appeal to Philipp. lines are from Leonce's speech
:
of Andronic
Fais
si
bien, juste Ciel,
que
ma
plainte le louche
Tout un Peuple, Seigneur, vous parle par
ma bouche
;
Un
Peuple qui toujours a vos Ordres soumis,
Fut le plus fort rempart contre vos Ennemis Et de qui la valeur justement renommee Se
fit
craindre cent fois a
1'
Europe allarmee,
Quand
Vous
votre illustre Pere achevant ses Exploits, Se vit et la terreur et I'arbitre des Rois.
le sâvez, Seigneur ; ce Peuple magnanime Fut toujours honore de sa plus tendre estime Et ce digne Heros, pour ses fameux Combats,
;
Choisissoit parmi nous ses Chefs et ses Soldats. Cet heureux terns n'est plus ; ces Guerriers intrepides
Sont en proye aux fureurs des Gouverneurs avides Sous des fers odieux leur coeur est abaltu,
La
rigueur de leur sort accable leur vertu
Tout se plaint, tout gemit dans nos tristes Provinces Les Chefs et les Soldats, et le Peuple et les Princes. Chaque jour sans scrupule on viole nos droits,
Et
I'on
compte pour
rien la Justice et les Loix.
En
vain nos Ennemis a nos Peuples soiitiennent, Que c'est de votre part que leurs ordres nous viennent,
Non vous n'approuvez point leurs sanglanls attentats, Je diiai plus, Seigneur, vous ne les S9avez pas. Ah si pour un moment vous pouviez voir vous-meme
!
Pour quels coups on
se sert
de votre
Nom
supreme
;
Que
ce saint
Nom
Qu'a mieux lier le Alors de vos Sujets moins Empereur que Pere, Vous ne songeriez plus qu'a finir leur misere,
ne sert qu'a nous tyranniser joug qu'on nous veut imposer
Et qu'a punir bien-tot avec
severite
Ces indignes abus de votre Autorile.
NOTES.
50. Preface to
V)
i>
151
Don
Carlos in the Thalia {Schrifien,
P-
3); A. von Klein, Dramaturgische Schriften^
Frankfort,
1781-87 (not accessible to me), quoted by

ii,
Minor,
51.
/.<:.,
p.
Cp.
S.
Abhlingigkeit
244. Levy, Schillers Don Carlos in seiner von Lessings Nathan {Zeitschrift fur
deutsches Alterttim^ xxi (1877), p.

(^Festschrift fiir Urlichs^ p.
B. Seuffert 277 ff. 228) denies any indebtedness to Klein's Rudolf von Habsburg^ which I have not seen. The influence of Gotter, not merely on Schiller but also
on Goethe
(cp.
H. Morsch, Aus der

in
Vorgeschichte von
Goethes Iphigenie
geschichte,
iv
Vierteljahrschrift fiir
p.
it
Litteraturyet
(1891),
92
ff.),
has Cp.
not
been
given
the
attention
deserves.
R.
Schlosser,
Zur
Geschichte iind Kritik von F.
Leipzig,
Gotter^
1890,
p.
10
ff.,
W. Getters Merope^ and the same author's F. W.

207.
Hamburg, 1895,
p.
On
general questions
see F. Zarncke,
Der
fiinffilssige
Iambus mit besonderer

in
Berikksichtigung auj
Schiller
seine
Behandluiig durch Lessings
und
Goethe,
Leipzig,
1865
(a
reprint
Zarncke's Kleine
Uber
Schriftefi, i, Leipzig, 1897); A. Sauer, den fiinffiissigen Iambus vor Lessings Nathan
{Sitzungsberichte
historische Klasse,
der
Wiener Akademie
Philosophisch-
xc (1878)); the same author's/. W.

E.
von
Brawe
p.
{Quellen
ff. ;
1878,
128
1883.
und Forschungen, xxx), Strassburg, Belling, Die Metrik Schillers,

Kunst
{Schriften, x), d.
Breslau,
52.
Uber
die tragische
17
ff.
Cp. A. Koster, Schiller als Dramaturge Berlin,

p.
1891,
266.
152
53. Cp.

H. Lion, Les
his
tragedies et les
Maries drama-
tiques de Voltaire^ Paris, 1896.
54. G. Carel, in
und
Goethe^
Berlin,
second Programm on Voltaire 1898, p. 16 ff., gives a brief
summary
of Voltaire's influence in
55. R. Wagner, Deutsche
Germany. Kunst und deuische

fF.
Politik
{Gesammelte Schriften, viii), p. 36 56. A. Sauer {/. W. vo?i Brawe^

in the relation of
p.
Marcius to Brutus
in
63) recognises Brawe's tragedy,
a " Vorklang von

57. er eine
Max und
Wallenstein."
"Es
ist.
ist
Schade
um
des
Mannes
Talent,
dass
Laufbahn
.
ergreift, die der

.
Ruin des Deutschen

ich hasse auch
Theaters
spiel
Ich hasse das franzosische Trauer-
als
Trauerspiel betrachtet
6<:/^<^^spiele, die
aber
diese regellosen
Kunst und Geschmack
zu
Grunde richten. eine Bahn eroffnet,

(Grenzboten^
xiii
Ich hasse Schillern, dass er wieder " die der Wind schon verweht hatte
2,
(1854),
p.
436;
also
quoted by
Minor,
58.
/.:.,
ii,
p.
232.
ilber Schiller i'lber
Vorerinnerung
den
Gang
seiner
Geistesentivicklung in Briefwechsel zwischen Schiller
und
W. von Humboldt^
1900,
59.
p. 20.
edited by A. Leitzmann, Stuttgart,
Goethe
to
Eckermann, November
14, 1823,
and
April 14, 1824.

60. E. Kiihnemann,
Die Kantischen Studien

Schiller in
Schillers
und
die Komposition des Wallenstein,
Marburg, 1889.
seinem
Verhdltnisse
61.
K. Tomaschek,
zur Wissenschaft, Vienna, 1862; K. Twesten, Schiller in seinem Verhdltnis zur Wissenschaft, Berlin, 1863;
F.
X. von Wegele,
Geschichte der deutschen
Historio-
NOTES.
graphie
self
153
deni
ff.
Auftreten des
Humamsmus, Munich,
und
seine
Zeifgetiossen
1885,
in
(p.
p.
949
is
The
still
chapter on Schiller as historian

Schiller
Julian
Schmidt's
also
205
ff.)
worth consulting.
62. Letter to Korner, April 15, 1786: "Tiiglich Ich habe diese Woche wird mir die Geschlchte theurer.
eine
und mein Kopf

als
dreissigjahrigen Kriegs gelesen, mir noch ganz warm davon. Teh woUte dass ich zehen Jahre hintereinander nichts
ist
. .
.
Geschichte des
Geschichte studiert hatte.

sein.
ein ganz anderer Kerl
Ich glaube ich wiirde Meinst Du, dass ich es

{Briefe^
i,
noch werde nachhohlen konnen?"

6^. Cp. O.
64.
p.
291).
Brahm,
I.e.,
ii,
i, p.
208.
Letter to
Charles
XIL
" Dein Korner, end of April 1787: Ich finde ihn mit mehr entziickt mich.
als
Genie sogar geschrieben,
das Siecle de Louis XIV."
{Briefe, i, p. 342). appear to have read Gibbon until February 1789 {Brief ii, p. 233). e,
Schiller does not
Deine Korner, January 7, 1788: Geringschatzung der Geschichte kommt mir unbillig vor. Allerdings ist sie willkllhrlich, voll Liicken und
65. Letter
to
"
sehr oft unfruchtbar, aber eben das willkiihrliche in ihr
philosophischen Geist reitzen, sie zu das leere und unfruchtbare einen schopferischen Kopf herausfodern, sie zu befruchten und auf
konnte einen
;
beherrschen
dieses Gerippe
ii,
p.
2).
is,
Nerven und Muskeln zu tragen The most definite statement of
"
{Briefe,
Schiller's
position
dress in Jena
however, to be found in his inaugural adWas heisst und zu ivelcheni Ende studiert
:
man
Universalgeschichte
and
especially in the following
"
passage
So wiirde denn unsre Weltgeschichte nie
154
etwas anders als ein Aggregat von Bruchstiicken werden und nie den Nahmen einer Wissenschaft verdienen.
Jezt also
Hiilfe,
kommt
ihr
der philosophische Verstand zu
und, indem
er diese Bruchstiicke
durch
kiinst-
liche Bildungsglieder verkettet, erhebt er das Aggregat
zum
den Ganzen
System, zu einem vernunftmassig zusammenhangenEine Erscheinung nach der andern

.
. .
fangt an, sich
dem
Freyheit zu entziehen,
blinden Ohngefiihr, der gesetzlosen und sich einem iibereinstimmen-
den Ganzen (das freylich nur in seiner Vorstellung vorhanden ist) als ein passendes Glied anzureyhen. Bald
fallt
es
ihm schwer,
sich zu iiberreden, dass diese Folge

in
von Erscheinungen, die
seiner
Vorstellung
soviel
Regelmassigkeit und Absicht annahm,

ten in der Wirklichkeit verlaugne
;
diese Eigenschaf-
es fallt
ihm schwer,
wieder unter die blinde Herrschaft der Nothwendigkeit zu geben, was unter dem geliehenen Lichte des Verstandes
angefangen
hatte
eine
so
heitre
Gestalt
zu
sich
gewinnen.
selbst
Er nimmt
also diese
sie
Harmonic aus
ausser
sich
in
heraus,
und
verpflanzt
d.
i.
die
Ordnung der Dinge,

Zweck
er
sie
er bringt einen verniinftigen
in
Prinzip in die Weltgeschichte,
den Gang der Welt, und ein teleologisches Mit diesem durchwandert
halt es priifend
noch einmal, und

welche
gegen jede
Erscheinung,
darbietet.
dieser
grosse
Er
sieht es
durch
Schauplatz ihm tausend beystimmende
Facta
aber
bestdtigt^
und durch eben

in
soviele andre ividerlegt ;
so
lange
noch
wichtige
iiber
der Weltveranderungen Bildungsglieder fehlen, so lange das
der Reyhe
Schicksal
so
viele
Begebenheiten
erklart
den
letzten
fiir
Aufschluss
noch
zuriickhalt,
er
die
Frage
NOTES.
tinentschieden,
155
und
die
diejenige
Meinung
siegt,
vvelche
dem Verstande
Herzen
die
ix,
hohere
grossre
p.
Befriedigung Gliickseligkeit anzubieten

"
und
dem
hat
"
{Schriften,
95
ff.)
EigentHch sollten KirchenGeschichte der Philosophic, Geschichte der geschichte, Kunst, der Sitten und Geschichte des Handels mit der
26,
66.
March
1789:
politischen in Eins zusammengefasst werden,

erst
und
p.
dies
kann Universalhistorie* sein"

are hardly justified
We
on
(Briefe,
ii,
260).
the strength of Schiller's
15, 1786 (i, p. 290), in which he expresses himself with great warmth about Abbt's Vom Verdienste in saying that Abbt had acted as a
letter to
Korner of April
corrective to the Kantian standpoint; for that writer's
attempts to formulate a new historical theory are not to be found here, but rather in the essays and
fruitful
reviews scattered through the Litteraturbriefe.

67.
Cp.
O.
Harnack,
p.
Schiller
und Herder
in
the
Marbacher
68. L.
Schillerbiieh,
73
ff.
Wachler
in his
Geschichte der historischen Forii,
schung und Kmist, Gottingen, 18 12-16,

describes
styl
.
2, p.
300
f.,
Miiller's
.
style
as
"veredelter
Chroniken-
kornig-gediegen, sinnschwer, sehr oft kraft-
machtig und bis zur Kiihnheit neu." 69. See the works by Tomaschek
and
F.
Twesten
quoted
in
note 51.
Also
Kuno
Fischer,
Schiller als
Philosophy
2nd
edition, Heidelberg,
1891
to
Ueberweg,
Schiller als Historiker
und
Philosophy
Leipzig,
vol. xi
1884;
of the
and the introduction by O. Walzel

Sdkular - Ausgabe of
Schiller's
works,
Stuttgart,
is
1905.
useful
handbook of
Schiller's
philosophy
the selec-
156

und
Gedichte^ edited
vol.
tion of his PhilosophiscJu Schriften
by Eugen Kuhnemann
ciii),
{Philosophische Biblioihek,
Leipzig,
1902.
Cp. also notes
73 and
76.
Cp. especially Minor, /.^., i, p. 192 ff. 71. K. Fischer, /.^., p. 7. 72. "Ich treibe jetzt mit grossem Eifer Kantische
70.
Philosophic und gabe viel darum, wenn ich jeden Abend mit Dir dariiber verplaudern konnte. Mein Entschluss ist unwiderruflich gefasst, sie nicht eher zu verlassen,
bis ich
sie
ergrlindet habe,
"
wenn auch
iii,
dieses auch 3
Jahre kosten konnte

73. Briefe^
iii,
{Briefe^
ff.
p.
186).
first
p.
239
We
find the
mention
of the Kallias in a letter of

p.
December
literature
21,
1792
{ib,
232).
There
is
an extensive
the
on
Schiller's
aesthetics.
Apart from
general
treatises
on the
con-
history of aesthetics, the following works
may be
sulted
Th. W. Danzel, Uber den gegenwdrtigen Zustand
der Philosophie der Kunst und ihre ndchste Aufgabe (1844) ^"<i Schillers Briefwechsel mit Korner (1847), both essays in Gesammelle Aufsdtze, Leipzig, 1855, p.
I
ff.
and
227
ff.
F. Montargis, ZlEsthetique de Schiller^
Paris, 1890 ; K. Berger, Die Entwicklung von Schillers Aestheiik, Weimar, 1894; E. Kuhnemann, Kants und
Schillers Begriindung der Aesthetik, Munich, 1895. have also found suggestive the chapter on Schiller
in
R. Sommer,
Psychologie
und
Grundzilge einer Geschichte der deutschen Aesthetik von Wolf - Baumgarten bis
Kant-Schiller,
Witrzburg, notes 69 and 76.

74.
1892,
p.
365
ff.
See also
H. Deinhardt,
des
Schillers
e Brief
iiber die dstJutische
Erziehung
Menschen, in Beitrdge zur
Wiirdigung
NOTES.
SchilkrSj
ethischer
Stuttgart,
157
Schmoller,
StandpU7ikt^
Schillers
in
1861
der
G.
tmd
1888,
hdhirgeschicJUlicher
Staats-
Ziir
Litterahirgeschichte
tmd
Soziahvissenschafty
Leipzig,
75.
p.
ff.
Letter
ist
to
Korner,
October
20,
1794:
"Das
Schone
kein Erfahrungsbegriff, sondern vielmehr ein

{Briefe,
iv, p.
"
Imperativ
44).
76. U. Gaede, Schillers

seniimentalische
geschichfe,
Abhandlung
Studien
ilber
naive
und
Dichtung:
ziir
Entstehungsklassische
Berlin,
1899;
O.
Harnack,
Die
;
Aesthetik der Deutschen^ Leipzig,
1892
and the adde Schiller

^
mirable treatise by Victor Basch,

Paris,
La poetique
Dichtung^
1902.
Geschichte der deulsche?i
77.
V,
5th edition,
p.
478.
I.e.,
78. V. Basch,
79.
p.
22
ff.
The
different standpoints of
Herder and
in his
Schiller
are admirably
summed up by
R.
Haym
Herder
nach seinem Lehen und seinen Werken, Berlin, 1880-85, "Am Leitfaden der geschichtlichen Betrachii, p. 631
:
tung geht
der Litteraturfragmente den der Poesie zu den iibrigen Culvielseitigen Beziigen turerscheinungen mit der Billigkeit der unparteiisch
der
Verfasser
empfanglichen Empfindung nach die Dichtung ist ihm zugleich die Tochter und die Dienerin der Humanitat.
:
Aus dem Wesen des Menschen

griffen,
leitet
Schiller mit Be-
die
er
hat,
der
kritisch
idealistischen Philosophic
ab,
entnommen
ihn
sofort
das
Wesen der Poesie

Ideal
das sich
mit
dem
seines eigenen
poetischen
Schaffens identifiziert
und
in das er die geschichtlichen
Unterschiede
als
begrifflich
notwendige Typen-hinein-
158
ordnet."
p.

Cp. V. Basch,
/.r.,
p.
54 and
170
(f.,
also
188.
80.
Eckermann, Gesptiiche mit

p.
Goethe^
March
21,
1830; V. Basch,
81. Cp.
269
ff.
C.
Alt,
Schiller
7ind die
Briider
Schlegel,
Weimar, 1904.
82. V. Basch, 83.
i.c.^
p.
285.
An
Goethe^ als er den
Mahomet von
xi, p.
Voltaire
anf
von
die Bilhne brachte {Schriften^
325).
84.
Goethes
Briefivechsel
mit
den
Gebrilderî
Humboldt^ herausgegeben von

1876,
p.
F. T. Bratranek, Leipzig,
lich ein
Jedes Schauspiel Schillers ist eigentneuer Versuch ; er ging immer von der Liebe
227
"
zur Kunst,
Seite
immer von dem Wunsche, ihr eine neue abzugewinnen, aus, und kaum mochte ich sagen,
dass die grosse Reihe seiner dramatischen Productionen

ein Resultat dariiber vollendet hatte." 85. R. Wagner, Deutsche Kiinst ufid deiitsche Politik
(^Gesamnielte Schriften
p.
und
Dichtunge7i^
2nd
ed.,
viii),
80
Eckermann, Gespriiche mit Goethe^ January 18,

Carlyle,
1825;
86.
Life of Schiller^
conclusion.
Cp.
18.
2,
my
History of German
Literature^ Edinburgh, 1902, p. xxvii.
H.
Hettner,
Literaturgeschichte
des
3,
Jahr280.
7,
hunderts^ 4th ed., Brunswick,

87. Cp. Schiller's letters to
1894,
iii,
p.
Goethe of April 4 and
1797, and more especially, of November 28 of the same year here he describes Richard LLL as " eine
:
der erhabensten Tragodien, die ich kenne Shakespearesches Stiick hat sich so sehr
.
kein
die
v,
an
griechische
p.
Tragodie
f.
erinnert"
(Schiller's
Briefe^
168,
178
and 292).
The well-known passage
NOTES.
in the Preface to the
159
also be
Brant von Messina may

states his opinion
recalled,
in
which Schiller
that
the
chorus would " ohne Zweifel Shakespeares Tragodie erst

ihre
vvahre
Bedeutung geben"
{Schriffen,
xiv,
p.
ii).
The touchstone
Shakespeare
in
is,
of Schiller's standpoint with regard to
of course, his version of Macbeth, written

1
the winter of
799-1 800.
Cp. A. Koster, Schiller
Dramatu?'g, p. 19 ff., and the same critic's introduction to volume ix of the new Sdkular - Ansgabe of
als
Schiller's
works published by Cotta.
88. See note 52. " Ich finde," 89.
he writes
to
Goethe on April
4,
mein eigenes Geschaft und ^^797) "j'^ liber die Behandlungsart der Tragodie bei den Griechen nachdenke, dass der ganze Cardo rei in der Kunst
ich liber
liegt,
mehr
eine poetische
Fabel zu erfinden.
Der Neuere
schlagt sich mlihselig
und angstlich mit Zufalligkeiten

iiber
und Nebendingen herum, und

der Wirklichkeit
sich mit
liiuft
dem
Bestreben,
er
recht
nahe zu kommen, beladet
dem Leeren und Unbedeutenden, und
darliber
er Gefahr,
die tiefiiegende Wahrheit zu verlieren,
Er mdchte gern worin eigentlich alles Poetische liegt. einen wirklichen Fall vollkommen nachahmen, und
bedenkt
mit nicht, dass eine poetische Darstellung der Wirklichkeit eben darum, well sie absolut wahr ist,
niemals coincidiren kann.
. .
Es
ist
mir aufgefallen,
dass die Charactere des Griechischen Trauerspiels,
mehr
Oder weniger, idealische Masken und keine eigentliche Individuen sind, wie ich sie in Schakespear und auch in Ihren Stlicken finde. So ist z. B. Ullysses im Ajax
und im
Philoctet offenbar nur das Ideal der hstigen,
l60

Klugheit;
liber ihre Mittel nie verlegenen, engherzigen
so
ist
Creon im Oedip
iind in der
kalte Konigswiirde.
Man kommt
Antigone bloss die mit solchen Charak-
teren in der Tragodie viel besser aus, sie exponiren sich
geschwinder, und ihre Ziige sind permanenter und fester. Die Wahrheit leidet dadurch nichts, weil sie blossen
logischen
Wesen
E.
eben
so
entgegengesetzt
v,
sind
als
blossen Individuen" {Brief e^

90.
p.
167
f.)
Cp.
Kiihnemann, Die
die
Kaniischen
Studien
Schillers
und
Komposition des Wallenstein^ Marburg,
1889.
91. K. Hoffmeister, Schillers Lehen^ Geistesentwicke-
lung
und Werke, edited

iiij
by
H.
Viehoif,
Stuttgart,
iS74-75>
*'
P- ^6.
:
92. Schiller's Letter to Goethe, November 28, 1796 In Riicksicht auf den Geisf^ in vvelchem ich arbeite, werden Sie wahrscheinlich mit mir zufrieden seyn. Es
will
mir ganz gut gelingen, meinen Stoff ausser mir zu halten, und nur den Gegenstand zu geben. Beynahe
mochte
ich sagen, das Sujet interessiert
und
ich
habe nie eine solche Kalte
fiir
mich gar nicht, meinen Gegendie
stand mit einer solchen

vereinigt.
Warme fiir Den Hauptcharacter so

Klinstlers
;
die Arbeit in mir
wie
meisten
Nebencharactere
tractiere ich wirklich biss jetzt mit der
reinen Liebe des
bloss
fiir
den nachsten
nach dem Hauptcharacter, den jungen Picolomini, bin ich durch meine eigene Zuneigung interessiert, wobey
das Ganze iibrigens eher gewinnen
(Briefe, v, p.
als verlieren
soil"
119).
93. Koster {Schiller als
Dramaturgy
p.
280) sees a
resemblance between
Max
Piccolomini and Thdramene
NOTES.
in Rsicine' s F/iedre ;
l6l
{Schiller
M. Berendt
Wagner:
ein
Jahrhundert
in der Entwicklungsgeschichte des deutschen
Dramas^
94.
into parallel with
A
in
45 f.) brings Max and Thekla Rodrigue and Chimene. characteristic defence of these scenes is to be
Berlin, 1901, p.
found
K. Werder, Vorlesungen
1889,
p.
iiber Schillers
Wallen-
stein, Berlin,
177.
95. O.
Ludwig,
Dramatische Studien {Gesammelte
Schriften^ edited
by E. Schmidt and A. Stern, Leipzig,

:
" Ich kenne keine poetische, 1891-92, v), p. 304 f. namentlich keine dramatische Gestalt, die in ihrem
Entvvurf so
zufallig,
so krankhaft individuell, in ihrer
Ausfiihrung so unwahr ware, als Schillers Wallenstein ; keine, die mit ihren eignen Voraussetzungen so im Streite lage, keine, die sich molluskenhafter der Willkiihr
des Dichters
fiigte.
Keine aber auch,

innere
in welcher diese
Unwahrheit
und
161.
Haltlosigkeit
Geschicke versteckt ware."

biicher^
iii,
Cp.
also
mit grosserm Hebbel's Tage"
p.
96.
Letter to Goethe, April 26,
1799:
Besonders
scheint er [der Stoff ] sich zu der Euripidischen Methode, welche in der vollstandigsten Darstellung des Zustandes
besteht, zu qualifizieren
;
denn
ich sehe eine Moglichkeit,
den ganzen Gerichtsgang zugleich mit allem politischen

auf die Seite zu bringen,
Tragodie mit der Verurtheilung anzufangen Cp. {Briefe^ vi, p. 28 f.) It is worth noting Hettner, /.r., iii, 3, 2, p. 284 ff.
die
"
und
that the technique of
Maria Stuart
is
not very different
from that of Gerstenberg's Ugolino, a drama which profoundly influenced the whole period of Schiller's youth.
97. See especially O. Harnack, Schiller, p.
345
ff.
l62

98. Schiller to Korner,
99. Cp. note 26.
May
13, 1801.
TOO. Letter " Mein erster
to
Humboldt,
einer
February
Tragodie
17,
in
1803:
strenger
Versuch
Form
wird
Ihnen Vergniigen
ich, als
machen,
Sie
warden
"
daraus urtheilen, ob
Zeitgenosse des Sophocles,
auch einmal einen Preiss davongetragen haben mochte

e, (Brief
vii, p.
13
f.)
TCI. Goethe to Schiller, January 19, 1802,
and
his
remark
Berlin,
his
P-
to
Riemer
(the latter's Mittheilungen iiber Goethe^
1841,
letter to
i, p. 367); for Schiller on Iphigenie see Korner of January 21, 1802 (Brief vi, e,
335)102. E.
Miiller,
Regesten
p.
zu
Schillers
Leben
und
Werken, Leipzig,
1900,
164.
February 11, 1803 {Brief wechsel des Grossherzogs Carl August mit Goethe in den
103. Letter to Goethe,
Jahren ly/s
griechischen
his
1828, Weimar, 1863,

8,
i,
p.
289).
:
104. Letter to Goethe, February
1804
"Mit den
Dingen
ist
es
eben eine missliche Sache

vii,
auf unserm Theater" (Brief e,

105. Hettner,
p.
l.c.^
iii,
p.
122).
410
ff.
311 ff. ; also Harnack, G. Kettner, Schillers Demetrius (Schriften Cp.

3,
2, p.
der Goethe- Gesellschaft, ix), Weimar, 1894. 106. E. Kuh, Biographie F. Hebbels, Vienna,
ii,
1877,
p.
618: "Es
fragt sich
noch
sehr,
ob nicht
Schiller
mit seiner wie die
Seewoge fortreissenden, typischen Behandlung des Dramas Recht hat und ob unser Einer
ist."
nicht auf der falschen Fahrte

107.
Uber
die
dsthetische
Erziehung
des
Me?ischen,
2nd Letter
(Schriften, x), p.
276
f.
NOTES.
108. O. Ludwig, Gesammelte Schriften,
v,
163
p.
.
320 f "Shakespeare und nach ihm Goethe konstruieren den

ein,
Charakter aus seiner Schuld, d. h. sie richten diesen so dass die Schuld sich ohne weitres aus dieser seiner
lasst.
Anlage erklaren
idealisiert
Von
dieser Charakteranlage aus
nun Shakespeare den Charakter,
so dass eben
dasselbe, was ihn schuldig werden lasst, unsern Antheil an ihm erregt, zunachst die Kraft, schuldig werden zu
konnen.
Er
verfahrt
mit seinen Helden aus Novelle
Oder Geschichte wie Tizian, Rembrandt, Rafael mit dem er macht eine Totalitat Originale, das sie portratieren
;
aus ihnen,
durch Steigerung des Wesentlichen, durch Fallenlassen des Unwesentlichen,

d. h.
er idealisiert sie
durch Hervorheben des Zusammenhanges

sie
er
macht
kon-
gleichsam
sich
;
sich
selber
ahnlicher.
Dagegen hat
so heisst
Schiller
struiert
das absolute Ideal des Menschen

er
wenn
mit
einen
Helden
idealisiert,
das
lich
er mischt Ziige, die
seinem Originale eigenthiimallgemeinen Ideals ; er thun wiirde, der etwa die
sind,
Ziigen
jenes
verfahrt,
wie
ein
Maler
Venus von Milo
in das Portrat einer beliebigen
Dame
hineinmalen woUte, gleichgiiltig, ob diese Ziige nun einander widersprechen oder nicht." Cp. also p. 310 f. For Schiller's theory of tragedy see the three essays,
Oder das Fathefische, Uber den Grund des
Vergniige?is
an tragischen Gegenstdfiden, and Uber

{Schrifien, x).
die tragische
Kunst
Munich, 1897,
109, It
insight as O.
p.
Cp. J. 100
Volkelt, Aestheiik des Tragischen^

ff.
is difficult
to understand
how
Harnack can say of
Schiller
a writer of such " Die ent:
schieden germanische Eigentiimlichkeit Schillers bringt
164

Nationen schwer
fiir
es mit sich, dass andere
ihn Ver-
standnis gewinnen, dass er nicht ein popularer Dichter

in
der
Weltlitteratur
werden
kann.
Besonders
die
romanischen Volker, die sich neben aller Uberkultur dennoch ein Erbteil von Kindlichkeit und Naivetat
bewahrt haben,
neuem
fesselt
ihnen
welches
die
Nordlander
immer von
fehlt zu Schillers
Eigenart jeder
Zugang, wahrend sie diesen zu Goethes weit gezogenem Kreise von einzelnen Punkten aus doch zu finden
wissen"
(^Schiller,
2nd
ed.,
p.
425).
On
Schiller's in-
fluence in France see Th.

schen Kultureinflusses
ii,
Siipfle, Geschichte des deut-
auf Frankrekh, Gotha, 1886-88,

ff.
I, p.
106
1898,
ff.
J.
Texte, Etudes de litterature europeene^

;
Paris,
p.
215
A. Regnier,
;
Vie de Schiller^
Paris, 1859, Preface, p.
ii
F.
ff.
Balden sperger, Goethe en
France^ Paris, 1904, p. 93
On
Schiller in England,
J.
the bibliography of Schiller literature by

to
P.
Anderson,
H. W. Nevinson's Life of Schiller {Great appended For London, 1889, may be consulted. Writers)^ see F. H. Wilkens, Early Influence of GerAmerica,
man
p.
Literature in America {Americana Germanica,
iii,
136 ff.); also articles by M. D. Learned O. C. Schneider in the Marbacher Schillerbuch,

1905,
p.
and
Stutt-
gart,
247
ff
PRINTED BY WILLIAM BLACKWOOD AND SONS.
THIRD IMPRESSION.
"Neither Mr Kipling nor Mr Conrad has produced a story of the sea more
enthralling or
more convincingly
'TfiB
true."
Bookman.
ATHENE UM'
is
says
"This
a book of
THE
EDGE
OF
By
**
altogether
It
remarkable
and outstanding merit.

a novel of a sort which does not always reach the reviewêr
is
even once a=year.

It
is
a piece of
litera
ture."
CIRCUMSTANCE.
EDWARD
NOBLE,
Not unwôrthy of comparison wîth such an admitted masterpiece as Mr Conrad's Typhoon.' "Spectator.
*
PERIODS OF EUROPEAN LITERATURE: A Complete and

Continuous History op thk Subject.
Edited by Pbofkssob
bAlNTS-
BURY.
I.
In 12 crown 8vo
vols.,
each
6s. net.
II.
THE DARK AGES. By Professor W. P. Kbr. THE FLOURISHING OP ROMANCE AND THE RISE OP
ALLEGORY. BURY, M.A.,
THE THE THE VL THE VIIL THE IX. THE XI. THE
III.
(12th and 13th Cknturibs.) By GEORGE SAINTSHon. LL.D., Aberdeen, Professor of Rhetoric and English Literature in Edinburgh University. CENTURY. By P. J. Snkll.
FOURTEENTH
IV. V.
TRANSITION PERIOD. By G. Gregory Smith. EARLIER RENAISSANCE. By The Editor. LATER RENAISSANCE. By David Hannat.
AUGUSTAN
AGES.
ROMANTIC TRIUMPH. By
The other Volumes are ;
XII.
MID-EIGHTEENTH CENTURY. By
T. S.
By Oliver Elton.
J. H. Millar. Omond.
Editor.
VII.
The First Half OF THE Seventeenth Century Prof. H. J. C. Grierson. X. The Romantic Revolt
.
The Later Ninktkenth Century The
Prof. 0. E.
Vaughan
PHILOSOPHICAL
Descartes,
CLASSICS
FOR
Vico,
ENGLISH
READERS.
Prof. Flint.
Edited by WILLIAM KNIGHT, LL.D., Professor of Moral Philosophy in the University of St Andrews. Re-issue in Shilling Volumes net.
Butler
.... Prof. Collins. .... Rev. W. L.Mahaffy.

.
HoBBEs,
Prof.
Croom Robertson
Berkeley,
Prof.
Kant
Fichte,
Campbell Fraser. Prof. Adamson.

Prof. Wallace. Prof. Veitch. Master of Balliol.
Hume,
Spinoza,
Hamilton, Hegel,
Leibniz,
....
. . .
Bacon Part Bacon Part

: :
I.,
The John Theodore Merx.
Locke,
....
II.,
....
Prof. Knight. Principal Caird. Prof. Nichol. Prof. Nichol. Prof. Campbell Fraser.
FOREIGN CLASSICS FOR ENGLISH READERS.

Mrs OLIPHANT.
each net.
Dante, by the Editor. Voltaire, by General Sir E. B. Hamley, K.C.B. Pascal, by Principal Tulloch. Petrarch, by Henry Reeve, C.B. Goethe, by A. Hayward, Q.C. Moli^re, by the Editor and P. Tarver, M.A. Montaigne, by Rev. W. L. Collins. Rabelais, by Sir Walter Besant. Calderon, by E, J. HaselL Saint Simon, by C. W. Collins.
Edited by
Is.
Cheap Rb-issub,
In limp cloth, fcap. 8vo, price
Corneillb Cervantes, by the Editor. AND Racine, by Henry M. Trollope. Madame de S^vign^, by Miss Thackeray. La Fontaine, and other French Fabulists, by Rev. W. Lucas Collins, M.A. Schiller, by James Sime, M. A. Tasso, by E. J. Hasell. Rousseau, Alfred db by Henry Grey Graham. MussET, by C. F. Oliphant.
ANCIENT CLASSICS FOR ENGLISH READERS.

the Rbv.
Edited by
In limp cloth,
W. LUCAS COLLINS, M.A.

J.
Cheap
Re-issue.
fcap. 8vo, price Is. each net.

Contents of the Seri. Homer : Iliad, by the Editor. Homer : Odyssey, by the Editor. Herodotus, by G. C. Swayne. C^sar, by Anthony Trollope.Virgil, by the Editor. Horace, by Sir Theodore Martin, ^scHYLUS, by Bishop Copleston. Xenophon, by Sir Alex. Grant. Cicero, by the Editor. Sophocles, by C. W. Collins. Pliny, by Rev. A. Church and W. J. Brodribb. Euripides, by W. B. Donne.- Juvenal, by E. Walford. Aristophanes, by the Editor. Hesiod and Theognis, by
Editor.
Collins.
AND Propertius, by J. Davies. Demosthenes, by W. J. Brodribb. Aristotle, by Sir Alex. Grant.Thucydides, by the Editor. Lucretius, by W. H. Mallock. FiNDAB, by BoT. F. D. Morice.
Tacitus, by W. B. Donne. Greek Anthology, by Lord Neaves. Livy, by the Editor. Ovid, by Rev. A. Church. Catullus, Tibullus,
LuciAN, by the Editor. Plato, by C. W.
Davies. Plautus and Terence, by the
CATALOGUE
0*
MESSES BLACKWOOD & SONS'
PUBLICATIONS.
ACTA SANCTORUM HIBERNLfi
Nunc primum
Integra edita opera Caroli
half roxburghe, 2, 28.
;
Ex
;
Codioe Salmanticensi.
dk Smedt et Josephi dk Backer, e Auctore et Sumptus Largiente 8oc. Jesu, Hagiographoram BoUandianorum Joanne Patricio Marchione Bothak. In One handsome 4to Volume, bound in
in paper cover, 31s. 6d.
ADAMSON.
.
other Lectures and Essays. By Robert Adamson, LL.D., late Professor of Logic in the University of Glasgow. Edited by Professor W. K. Sorlby, University of Cambridge. In 2 vols, demy 8vo, 18s. net.
The Development
of
Modern Philosophy.
With
AFLALO.
the British Islands. By F. G. Aflalo, F.R.G.S., F.Z.S., Author of 'A Sketch of the Natural History of Australia, &c. With numerous Illustrations by Lodge and Bennett. Crown 8vo, 6s. net.
Sketch of the Natural History (Vertebrates) of
AIKMAN. Manures and

Airman, D.Sc,
F.R.S.B.,
the Principles of Manuring.
&c., formerly Professor of Chemistry, Glasgow Veterinary College, and Examiner in Chemistry, University of Glasgow, &c. Second Impression. Crown >5vo, 68. 6d.
By
C.
M.
Farmyard Manure
Crown
8vo, Is. 6d.
Its Nature, Composition,
and Treatment,
ALISON.
History of Europe. By Sir Archibald Alison, Bart., D.C.L. 1. From the Commencement of the French Revolution to
the Battle of Waterloo. Library Edition, 14 vols., with Portraits. Demy 8vo, 10, 10s. Another Edition, in 20 vols, crown 8vo, 6. People's Edition. 13 vols, crown 8vo, 2, lis.
2.
Continuation to the Accession of Louis Napoleon.

Library Edition,
8 vols. 8vo, 6, 7s. 6d.
People's Edition, 8 vols, crown 8vo. 34s.
Epitome
sand,
of Alison's
History of Europe.
Thirtieth Thou-
7s. 6d.
Atlas to Alison's History of Europe.

Library Edition, demy
People's Edition,
4to, 3, Ss. 31s. 6d.
By
A. Keith Johnston.
ANCIENT CLASSICS FOR ENGLISH READERS.

by Rev. W. Lucas Collins, M. A.
Price Is. each net.
Edited
For List of
Vols, see p. 2.
ANDERSON.
Edited by
J.
Maitland Anderson
Matriculation Roll of St Andrews University. In 1 vol. demy 8vo. [In the press.
List of Books Published by
ANNALIST. Musings
1901.
without Method
7s. 6d.
Record of 1900 and
By Annalist.
Large crown 8vo,
ATKINSON.
Local
Government
demy
in
Scotland.
Atkinson, M.A.
In 1 vol.
By Mabel By W.
8vo, 123. 6d. net.
AYTOUN.
Lays
of the Scottish Cavaliers, Bdmondstounb Attoxtn, D.C.L., Frofegsor
University of Edinburgh. Cheap Edition. 1b.
and other Poems.
New
Edition. Cloth, la. 8d.
of Bhetorio and Belles-Lettres In the Fcap. Svo, 3a. Od.
An
Illustrated Edition of the Lays of the Scottish Cavaliers. From designs by Sir Nobl Faton. Cheaper Edition. Small 4to, 10s. 6d.
BANKS. The
Crown
Ethics of
Work and
Wealth.
8vo, 5s. net.
By
D. C. Banks.
BAKBOUR.
Pott Svo, limp
Thoughts from the Writings of R. W. Barbour.

leatlier, 2s. 6d. net,
BARCLAY. A New Theory "W. Barclay. In 1 vol.

crown
of
Organic Evolution.
By James
Svo, 3s. 6d. net.
BARRINGTON.
The King's Fool. By Michael Baeeington. Crown Svo, 6s. The Reminiscences of Sir Barrington Beaumont, Bart. A Novel. Crown Svo, 6s.
BELLESHEIM.
of Christianity to the Fresent Day. By Alphons Bbl. LK8HEIM, D.D., Canon ol Aix-la-Chapello. Translated, with Notes and Additions, by D. Oswald Hunter Blair, O.S.B., Monk of Fort Augustus. Cheap Edition. Complete in 4 vola. demy Svo, with Maps. Frico 21s. net.
From the Introduction
History of the Catholic Church of Scotland.
BLACKBURN. A
'
Burgher Quixote.
Author of Prinsloo of Prinsloosdorp.'
Second Impression.
By Douglas Blackburn, With

Frontispiece.
Crown
Svo, 6s.
BLACKWOOD.
Annals of a Publishing House.
William Blackwood and his
Sons ; Their Magazine and Friends, By Mrs Oliphant. With Four Portraits. Third Edition. Demy Svo. Vols. I. and II. 2, 28. Annals of a Publishing House. Vol. III. John Blackwood. By his Daughter Mrs Blackwood Porter. With 2 Portraits and View of Strathtyrum. Demy Svo, 21s. Cheap Edition. Demy Svo, 7s. 6d.
Blackwood's Magazine, from

October 1904.
in
Commencement
One
Railway Bookstalls.
in
1817
to
Nos. 1 to 1068, forming 176 Volumes.

Sold separately at
Tales from Blackwood. First Series. Price

Paper Cover.
all
Shilling each,
They may also be had bound in 12 vols., cloth, ISs. Half calf, richly gilt, SOs. Or the 12 vols, in 6, roxburghe, 21s. Half red morocco, 28s. Tales from Blackwood. Second Series. Complete in Twentyfour Shilling Parts. Handsomely bound in 12 vols., cloth, SOs. In leather back,
roxburghe
style, 37s. 6d.
Half calf,
gilt, 62s. 6d.
Half morocco,
55s.
Tales from Blackwood.
Third Series.
Half calf,
25s.
'
Shilling Parts. Handsomely bound The 6 vols, in roxburghe 21s. 18s.
Complete in Twelve
and in 12 vols, cloth, Half morocco, 28s.
in 6 vols., cloth, 15s.;
Travel, Adventure, and Sport.

Uniform with somely bound in 6
'
From Blackwood's Magazine. Tales from Blackwood.' In Twelve

Farts, each price Is.
vols., cloth, 15s.
New
Edmcational Series.
And in half calf, 35s. 8ee separate Educational Catalogue.
Hand-
William Blackwood
&
Sons,
Series of Novel (Copyright). Crown 8vo, cloth. Price 3s. 6d. each Now ready : P. G. Hamerton. Wendbrholmb. By Marmorne. By p. G. Hamerton. The Story of Mabgr^del. By D. Storrar Reata. By E. D. Gerard. Meldrum, Beggar my Neighbour. By the Same. Miss Marjoribanks. By Mrs Oliphant. The Waters of Hercules. By the Same. The Perpetual Ourate, and The Rector Pair to See. By L. W. M. Lockhart. Mine is Thine. By the Same. By the Same. Salem Ohapbl, and Thi Doctor's Family. Doubles and Quits. By the Same. Altiora Pbto. By Laurence Oliphant. By the Same. A Sensitive Plant. By B. D. Gerard. Piccadilly. By the Same. With IllustraLady Lki's Widowhood. By General Sir tions. B. B. Hamley. Lady Baby. By D. Gerard. Katie Stewart, and other Storlea. By Mrs The Blacksmith of Voe. By Paul Gushing. My Trivial Life and Misfortune. By A Oliph&nt, Valentine AND his Brother. By the Same. Plain Woman. Sons and Daughters. By the Same. Poor Nellie. By the Same,
:
BLACKWOOD. New Uniform
Standard Novels.
Uniform
in
size
and binding.
Each
complete in one Volume.
FLORIN SERIES, Illustrated Tom Cringle's Log. By Michael Scott. The Cruise of the Midge, By the Same. Cyril Thornton. By Captain Hamilton. Annals of the Parish. By John Gait. The Provost, &c By the Same. Sir Andrew Wylie. By the Same. The Entail. By the Same. Miss Molly. By Beatrice May Butt. Reginald Dalton. By J. Q, Lockhart.
Boards.
Bound in Cloth, 2s. 6d. Pen Owen. By Dean Hook. Adam Blair. By J. G. Lockhart. Lady Lee's Widowhood. By General Sir
B. Hamley.
Salem Chapel. By Mrs Oliphant. The Perpetual Curate. By the Same.
John
Miss Marjoribanes. i A Love Story.
By the Same. By the game.
SHILLING SERIES, Illustrated Cover. Bound in Cloth, Is. Od. The Rector, and The Doctor's Family. Sir Frixzls Pumpkin, Nights at Mebb, &c. By Mrs Oliphant. The Life of Mansie Wauce. By D. M. The Subaltern. Moir. Life in the Par West. By Q. F. Rnxton. Peninsular Scenes ^nd Sketches. By Valerius A Roman Story. By J. Q.
:
F.
Hardman.
Lockhart.
BON GAULTIER'S BOOK OF BALLADS. A new Edition,

Illustrations by Doyle, Leech,
with Autobiographical Introduction by Sir Theodore Martin, K.C.B. and Crowquill. Small quarto, 5s. net.
With
BOWHILL.
of Military Topography. By Major J. H. Bowhill. Crown 8vo, 4g. 6d. net. Portfolio containing 34 working plans and diagrams, 3s. 6d. net.
Questions and Answers in the Theory and Practice
BROWN
AND NISBET.
The Forester
Practical Treatise on
the Planting and Tending of Forest-trees and the General Management of Woodlands. By James Bbown, LL.D. Seventh Edition, Enlarged. Edited by John In 3 vols, royal 8vo, NisBET, D.CBc, Author of 'British Forest Trees,' &c. with 350 Illustrations In preparation. 42s. net.
BROOKS.
W.
S.
Small crown 8vo,
Daughters of Desperation.
3s. 6d. net.
By Hildegard Brooks.
and Religious.
Svo, 2s. 6d. net.
BRUCE. Our
Heritage
Individual, Social,
for 1903.
Bruce, D.D., Croall Lecturer
Crown
By
BUCHAN. The
Glasgow.
Religion and Natural Theology.
First Things.
Svo, 5s.
Crown
Studies in the Embryology of By Rev. John Buchan, John Knox Church,
List of Boohs Published by
BUCHAN.
The African Colony
BucHAN.
1 vol.
:
Studies in the Reconstruction.

Tales.
By John
demy
8vo, 15s. net.
The Watcher by the Threshold, and other

pression.
Second Im-
Crown
8vo, Gs.
BURBIDGE.
Domestic Floriculture, Window Gardening, and Floral Decorations. Being Practical Directions for the Propagation, Culture, and Arrangement of Plants and Flowers as Domestic Ornaments. By P. W. Burbidoe. Second Bdition. Crown 8vo, with numerous Illustrations, 7s. 8d.
BURTOl^J.
The History
2s. 6d.
of Scotland:
From
Extinction of the last Jacobite Insurrection. By John Hill Burton, D.C.L., Historiographer-Royal for Scotland. Cheaper Edition. In 8 vols. Crown Svo,
each.
.
Agricola's Invasion to the
The Book-Hunter
Title-page and Cover 8vo, 3s. 6d.
A New
Edition, with specially designed

Printed on antique laid paper.
by Joseph Brown.
Post
The Scot Abroad.

8vo, 3s. 6d.
Uniform with 'The Book -Hunter.'
Post
BUTE.
The Roman Breviary
:
CEcumenical Council of Trent ; Published by Order of Pope St Pius V. and Revised by Clement VIII. and Urban VIII. ; together with the Offices since granted. Translated out of Latin into English by John, Marquess of Bute, K.T. New Edition, Revised and Enlarged. In 4 vols, crown Svo, and in 1 vol.
;
Reformed by Order
of
the Holy
crown
4to.
[In the press.
The Altus
Sermones,
of St Columba. With a Prose Paraphrase By John, Marquess op Bute, K.T. In paper cover, 2s. 6d.
and Notes
&c.
Fratris
Twenty-eight Discourses of Adam Scotus of Whithorn, hitherto unpublished ; to which is added a Oollection of Notes by the same, illustrative of the rule of St Augustine. Edited, at the desire of the late Marquess of Bute, K.T., LL.D., &c., by Walter de Gray Birch, LL.D., F.S.A., of the British Museum, &c. Royal Svo, 25s. net.
Adse,
Ordinis
Prsemonstratensis,
Catalogue of a Collection of Original MSS. formerly belonging

to the Holy Office of the Inquisition in the Canary Islands. Prepared under the direction of the late Marquess of Bute, K.T., LL.D., by Walter de Gray Birch, LL.D., F.S.A. 2 vols, royal Svo, 3, 3s. net.
BUTE, MACPHAIL, and LONSDALE.
The Arms
of the
Royal and Parliamentary Burghs ol Scotland. By John, Marquess of Bute, With 131 Engravings on K.T., J. R. N. Macphail, and H. W. Lonsdale. wood, and 11 other Illustrations. Crown 4to. 2, 2s. net.
BUTE, STEVENSON, and LONSDALE.

Baronial and Police Burghs of Scotland.
J.
H. Stevenson, and H. W. Lonsdale.
The Arms of the By John, Marquess of Bute, K.T., With numerous Illustrations. Crown
4t9, 2, 2s. net.
\
William Blackwood
&
Sons,
BUTT. Miss Molly. By Beatrice May Butt. Cheap Edition, 2s.

CAIRD.
Sermons.
By John
Caird, D.D., Principal of the

Pcap. 8vo,
5s.
University of Glasgow.
Seventeenth Thousand.
CALDWELL.
;
nificance (the Shaw Fellowship Lectures, 1893). By William Caldwell, M.A., D.Sc, Professor of Moral and Social Philosophy, Northwestern University, U.S.A. formerly Assistant to the Professor of Logic and Metaphysics, Edin., and Examiner in Philosophy in the University ot St Andrews. Demy 8vo,
10s. 6d. net.
Schopenhauer's System in
its
Philosophical Sig-
CALL WELL.
The
EflPect of
Maritime
Lt.-Col. C. B.
Command on Land Campaigns

Oallwkll, R.G.A.
since
Waterloo.
By
With Plans. Post
8vo, 6s. net.
Tactics of To-day. Sixth Impression.
Crown
8vo, 2s. 6d. net.

:
Military Operations and Maritime Preponderance lations and Interdependence. Demy Svo.
Their Re[/ the press.
CAMPBELL.
Balmerino and
'
;
its
With Notices of the Adjacent District. By James Campbell, D.D., P.S.A. Scot., Minister of Balmerino Author of A History ol the Celtic Church in Scotland.' A New Edition. With an Appendix of Illustrative Documents, a Map of the Parish, and upwards of 40 Illustrations. Demy Svo, 30s. net.
Abbey.
Parish History,
CAREY.
Monsieur Martin
:
Romance
of the Great
6s.
Northern War.
By Wymond Carey. Crown Svo, 63. For the White Rose. Crown Svo,
CARLYLE.
West. By R. W. Carlyle, C.I.E., Balliol College, Oxford and A. J. Carlyle, M.A., Chaplain and Lecturer (late Fellow) of University College, Oxford. In 3 vols, demy Svo. Vol. I. A History of Political Theory from the Roman Lawyers of the Second Centiiry to the Political Writers of the Ninth. By A. J. Carlyle.
;
History of Mediseval Political Theory in the
15s. net.
CHESNEY. The
K.C.B.
'
Dilemma. By General Sir George Chesney, A New Edition. Crown Svo, 2s.
Provincial Sketch.
'
CHRONICLES OF WESTERLY. A
the Author of Culmshire Folk,' John Orlebar,' &c.
New Edition. Crown Svo, 6s.
By
CHURCH SERVICE
A
Book
of
SOCIETY.
:
Common Order
;
being Forms of Worship issued
In 1 vol. Seventh Edition, carefully revised. by the Church Service Society. crown Svo, cloth, 3s. 6d. French morocco, 5s. Also In 2 vols, crown Svo, 4s. ; French morocco, 6s. 6d. cloth,
Daily Offices for Morning and Evening Prayer throughout

the Week.
Crown
Svo, 3s. 6d.
Order of Divine Service for Children.

Service Society.
Issued by the Church
With Scottish HymnaL
Cloth, 8d.
CLIFFORD.
Sally
:
A Study
Svo, 63.
and other Tales of the Outskirts.

Crown
Svo, 68.
By Hugh
Clifford, C.M.G-.
Bush - Whacking, and other Sketches.

Crown
Second Impression.
CLODD. Thomas Henry

By Edward Clodd.
Crown
Huxley.
8vo, 2s. 6d.
"Modern English
Writers."
CLOUSTON.
The Lunatic
Impression.
8vo, 68.
at Large. Crown 8vo, 6s.
J. Storer Clouston. People's Edition, royal 8vo, 6d.
By
Fourth
The Adventures
of M. D'Haricot. Popular Edition, 6cl.

6s.
Second Impression. Crown
Our Lady's Inn. Crown 8vo, Garmiscath. Crown 8vo, 6s.
COLLINS.
Scholar of his College.

8vo, 6s.
By W.
Crown
E.
W. Collins.
Crown
The Don and the Undergraduate.

College, Oxford.
A
6s.
Tale of St Hilary's
Second Impression.
8vo, 6s.
Episodes of Kural Life.
Crown 8vo
CONRAD.
Lord Jim.
A
Crown
Tale.
Nigger of the Narcissus,' 'An Outcast of the Islands,' 'Tales of Unrest,' &c. Second Impression. Crown 8vo, 6s.
By Joseph Conrad, Author

Stories.
of
'The
Youth
Narrative
8vo, 6s.
and Two other
Second Im-
pression.
COOPER.
Liturgy of 1637, commonly called Laud's Liturgy.

Crown
8vo, 7s. 6d. net.
Edited by the Rev. Professor Cooper, D.D., Glasgow.
CORNFORD.
By
L. Cope
R. L. Stevenson.
Cornford.
Second Edition.
"Modern English
Crown
8vo, 2s. 6d.
Writers."
COTTON. The Company

Crown
8vo, 6s.
of Death.
By Albert Louis
Cotton.
COUNTY HISTORIES OF SCOTLAND.

umes
of about 350 pp. each.
With Maps.
In demy Bvo
vol-
Price 7s. 8d. net.
Prehistoric Scotland
and its Place in European Civilisation. Being a General Introduction to the "County Histories of Scotland." By of 'Prehistoric Problems,' 'The LakeDwellings of Europe,' &c. With numerous Illustrations.
Robert Munro, M.A., M.D., Author
Fife
and Kinross.
By ^neas
By
J.
G.
Mackay, LL.D.,
SheriiaP
of these Counties.
Dumfries and Galloway.

M.P.
Second Edition.
Sir
Herbert Maxwell,
Bart.,
Moray and Nairn.

Inverness.
of Dumfries and Galloway.
By Charles Rampini, LL.D.,

Lees, D.D.
Sheriff
By
J.
Cameron
William Blackwood
&
By
Sons,
COUNTY HISTORIES OF SCOTLAND..

Roxburgh, Selkirk, and Peebles.
Bart.
Sir
George Douglas,
Editor of Aberdeen
Aberdeen and
'
Banff.
By William Watt,
Daily Free Press.'
Perth and Clackmannan.
By John Chisholm, M.A., Advocate. the

Xln
press.
Edinburgh and Linlithgow.

Advocate.
By William Kirk Dickson, the

[In
press.
CRAIK.
Century of Scottish History. From the Days before the '45 to those within living Memory. By Sir Henry Craik, K.G.B., M.A. Hon. LL.D. (Glasgow). 2 vols, demy 8vo, 30s. net. (Oxon.),
Saracinesca,
Crown
ot
CRAWFORD.
'Mr
By
F.
Marion Crawford, Author

Also at 6d.
Isaacs,' &c., &c.
8vo, 38. 6d.
CRAWFORD.
Thomas
burgh.
The Mysteries
of
Christianity.
J. Crawford, D.D,, Profeaaor Crown 8vo, 7s. 6d.
of Divinity in the University ot Edin-
By
the late
CREED. The
CROSS.
Crown
Fight.
By Sybil Creed. Crown
8vo, 6s.
J.
The Rake's Progress in Finance.

Svo, 2s. net.
By
W.
Cross.
CUMMING.
Memories.
By
C. F.
Gordon Cumming.
Demy
Svo.
Illus-
trated, 20s.
At Home
Post Svo. Illustrated. Cheap Edition, 6s. Lady's Cruise in a French Man-of-War. Post Svo. Illustrated.
in Fiji.
Fire-Fountains.
Granite
Cheap Edition. 6s, 2 vols, post Svo. Illustrated, 25s. Cragp. Post Svo. Illustrated. Cheap Edition.
6s.
Wanderings in China. Small post Svo. Cheap Edition. 6s. DESCARTES. The Method, Meditations, and Principles of Philosophy
of Descartes.
New Introductory Essay, Historical and Critical, By Professor Vkitch, LL.D., Glasgow University.
Translated from the Original French and Latin. With a on the Cartesian Philosophy.
Eleventh Edition.
6s. 6d.
DODDS
tlie
AND MACPHERSON.
Amendment
;
Consolidation and Scottish Office
Mr EwAN
1 vol.
Act, 1903. Annotated by Mr J. M. Dodds, of Joint-Editor of the Parish Council Guide for Scotland,' and Macpherson, Advocate, Legal Secretary to the Lord Advocate. In
'
The Licensing Acts (Scotland)
crown Svo,
5s. net.
DOUGLAS.
The Ethics
of
John Stuart
:
Mill.
M.A., D.Sc, M.P., late Lecturer in Moral Philosophy, and Assistant to the ProPost Svo, 6s. net. fessor of Moral Philosophy in the University of Edinburgh.
By Charles Douglas,
Crown
John Stuart Mill

48. 6d. net.
Study
of his Philosophy.
Svo,
6s.
ECCOTT.
Fortune's Castaway.
By W. J. Eccott. Crown Svo,
10
ELIOT.
George
Eliot's Life,
Related in Her Letters and Journals.

With Portrait and other
Arranged and Edited by her husband, J. W. Cross. lUuatrations. Third Bdition. 8 vols, post 8vo, 42g.
George
New
Eliot's Life.
With Portrait and other lUnstrations.

Grown
8vo, 78. 6d.
Edition, in one volume.
Works
demy
of
8vo. With Photogravure Frontispieces, from Drawings by William Hatherell, R.L, Edgar Bundy, R.I., Byam Shaw, R.I., A. A. Van Anrooy, Maurice Greiffenhagen, Claude A. Shepperson, R.I., E. J. Sullivan, and Max Cowper. Gilt top, 10s. 6d. net each volume.
George Eliot (Library Edition).
10 volumes, small
Adam
Bede.
Floss.
The Mill on the
Felix Holt, the Radical.
ROMOLA. SoKNKs OF Clerical Life. Silas Marner Brother Jacob ; The Lifted Veil.
;
Middlemarch. Daniel Deronda.
The Spanish Gypsy; Jural.

Theophrastus Such.
Life and
Works
of
George Eliot (Warwick Edition).

Middlemarch. 2 vols, Daniel Deronda. 2
636 pp.
14 vol2s. 6d.
umes, cloth, limp, gilt top, 2s. net per volume ; leather, limp, gilt top, per volume ; leather, gilt top, with book-marker, Ss. net per volume.
net
Adam Bede.
The Mill on the
826 pp. Floss.
828 pp.
vols.
664 and 630 pp. 616 and
Felix Holt, the Radical. 718 pp. ROMOLA. 900 pp. Scenes of Clerical Life. 624 pp. Silas Marker; Brother Jacob; The Lifted Veil. 560 pp.
The Spanish Gypsy; Jural

Life.
Essays; Theophrastus Such. 2 vols., 626 and 580 pp.
Works
of
crown 8vo.
George Eliot (Standard Edition).

In buckram cloth,
gilt top,
2s.
21
;
volumes,
6d. per vol.
or In roxburghe
binding, 38. 6d. per vol.
Adam Bede. 2 vols.Thk Mill on the Floss. 2 vols. Femx Holt, the Radical. 2 vols. Romola. 2 vols. Scenes of Clerical Life. 2 vols.Middlemarch. 3 vols. Daniel Deronda. 8 vols. Silas Marner. 1 vol. JuBAL. 1 vol. The Spanish Gypsy. 1 vol. Essays. 1 vol.Theophrastus Such. 1 vol.
Life and
calf.
volumes, crown 8vo, price 6.
Works of George Eliot (Cabinet Edition). 24 Also to be had handsomely bound in half and full The Volumes are sold separately, bound in cloth, price 5s. each.
Eliot.
Novels by George
Adam
The Mill on the Floss.
Scenes of Clerical Life. Romola. Felix Holt, the Radical.
uniform binding, price Bede.
Popular Copyright Edition.

Silas
In new
3s. 6d. each.
Marner; The Lifted Veil; Brother Jacob.
Middlemarch. Daniel Deronda.
Essays.
8vo, 68.
New
Edition.
Crown
8vo, 5s.
Impressions of Theophrastus Such.
New
Edition.
Crown
The Spanish Gypsy. New Edition. Crown 8vo, 6s. The Legend of Jubai, and other Poems, Old and
New
Edition.
New
Crown
8vo, 58,
Silas Marner. Birch. Crown 8vo, 6s. People's Edition, royal 8vo, paper cover, price 6d. Scenes of Clerical Lite. Pocket Edition, 3 vols, pott 8vo, Is. net each bound in leather, Is. 6d. net each. Hlustrated Edition, with 20 niustrations by H. R. Millar, crown 8vo, 28. paper covers, Is. People's Bdi; ;
New
Edition, with Illustrations by Reginald
tion, royal 8vo. in
paper cover, price
6d.
Felix Holt.
People's Edition.
Royal Svo, in paper cover,
6d.
William Blackwood
&
Sons,
ii
ELIOT.
Adam
Bede.
Pocket Edition.
is.
In
net.
1 vol.
bound
pott 8vo,
Is.
net
paper cover, price 6d. New Edition, crown 8vo, paper cover, with Illustrations, cloth, 2s pott Svo, Is. net.
;
in leather, in 3 vols.,
6d.
People's Edition, royal 8vo, in Is.; crown 8vo,
The Mill on the

3s.
Floss.
Pocket Edition, 2
vols,
pott 8vo,
net ; limp leather, 4s. 6d. net. People's Edition, royal 8vo, in paper cloth, cover, price 6d. New Edition, paper covers. Is. ; cloth, 2s.
Eomola. People's Edition. Royal 8vo, in paper cover, price 6d. Brother Jacob Lifted Veil. Pocket Edition. Silas Marner
; ;
Pott 8vo, cloth,
Is. 6d.
net
limp leather,
2s. 3d. net.
Wise, Witty, and Tender Sayings, in Prose and Verse. Selected from the Works of Gbokgb Buot. New Edition. Pcap. 8vo, 8s. 6d. ELLIS. Barbara Winslow, Rebel. By Beth Ellis. Crown
8vo, 6s.
ELTON. The Augustan

ture."
Ages.
"
By Oliver Elton, B.A.,

Crown
Periods of European Litera-
Lecturer in English Literature, Owen's College,
Manchester.
8vo, 5s. net.
FAHIE.
Bare-wire Proposals for Subaqueous Telegraphs. By J. J. Pahik, Member of the Institution of Electrical Engineers, London, and of the Societe Internationale des Electriciens, Paris; Author of 'A History of Electric Telegraphy to the Year 1837,' &c. With Illustrations. Third Edition, Revised. Crown 8vo, 68.
History of Wireless Telegraphy.
Including some
FAITHS OF THE WORLD, of

Great Religious Systems
the World.
The. By
Concise History of the

Crown
Svo, 5s.
various Authors.
FERGUSSON.
Is. 6d. net.
Scots Poems.
Pott Svo,
By Robert
gilt top,
Fergttsson.
With
Photogravure Portrait.
bound in
cloth, Is. net; leather,
FERRIER.
Philosophical
Works
3 vols,
of
the late James

34s. 6d.
F.
Ferrier,
B.A.
New
Oxon., Professor of Moral Philosophy and Political Economy, St Andrews. Edition. Edited by Sir Alexander Grant, Bart., D.C.L., and Professor
LusHiNGTON.
crown Svo,
Third Edition. 10s. 6d. Lectures on the Early Greek Philosophy. 4th Edition. Philosophical Remains, including the Lectures on
Institutes of Metaphysic.
Greek Philosophy.
10s. 6d,
Early
New
Edition.
2 vols.
248
FISHER.
8vo, 6s.
One London
Season.
By Caroline
Fisher.
Crown
FLINT.
Philosophy as Scientia Scientiarum.
tions of the Sciences. By Robert Flint, Corresponding Member of the Institute of Prance, Hon. Member of the Royal Society ol Palermo, Professor in the University of Edinburgh, &c. 12s. 6d. net.
A History of
Classifica-
Studies on Theological, Biblical, and other Subjects. Vs. 6d. net. Historical Philosophy in France and French Belgium and
Switzerland.
Svo, 21s.
Agnosticism. Demy Svo, 18s. net. Theism. Being the Baird Lecture for 1876.
Revised.
Tenth Edition,
Crown
Svo, 7s. 6d.
Anti-Theistic Theories.
Fifth Edition.
Being the Baird Lecture for 1877.
Crown
Svo, 10s. 6d.
Sermons and Addresses.
Demy
8vo,
7s. 6d.
12

History of Cambridge University Cricket Club.
Author
of
FORD. A
W.
J. Ford, Illustrations.
'A History
of Middlesex County Cricket,' &c.
With
By
Demy
8vo, 16s. net.
FOREIGN CLASSICS FOR ENGLISH READERS.

by Mrs Oliphant.
Price Is. each net.
Edited
2.
For List of Volumes,
set
page
FORREST.
History of the Indian Mutiny.
Ex- Director of Records, Government of India.
:
By
G.
W. Foerest,
demy
C.I.E.,
2 vols,
8vo, 38s. net.
Sepoy Generals
Crown
8vo, 6s.
Wellington to Roberts.
With
Portraits.
FOULIS.
Is. net.
Erchie:
My
Droll
Friend.
By Hugh
Foulis.
FRANKLIN.
FRASER,
Fourth Impression.
My
Brilliant Career. Crown Svo, 6s.
By Miles Franklin.
Philosophy of Theism.
before the University of Edinburgh in 1894-96. By Alexandre Campbell Praser, D.C.L. Oxford; Emeritus Professor of Logic and Metaphysics in the University of Edinburgh, Second Edition, Revised. Post Svo, 6s. 6d. net.
Being the Gifford LectureB delivered
Biographia Philosophica.
pression.
In
1 vol.
demy
Svo, 12s. 6d. net.
FRENCH COOKERY FOR ENGLISH HOMES.

Crown
Svo, limp cloth, 2s. 6d.
Third Im33.
Also in limp leather,
GALLOWAY.
Studies
in
George Galloway, B.D.
the Philosophy Demy Svo, 7s. 6d. net.
of
Religion.
By
GENERAL ASSEMBLY OF THE CHURCH OF SCOTLAND.

Scottish
for use in Churches by Authority of the General Assembly. 1. Large type, cloth, red edges, 2s. 6d.; French morocco, 4s. 2. Bourgeois typo, limp cloth, Is.; French morocco, 2s. 8. Nonpareil type, cloth, red edges, 6d.; French morocco, Is. 4d. i. Papci covers, 5d. 6. Sunday-School Edition, paper covers. Id., No. 1, bound with the Psalms and Paraphrases, French morocco, 8s. cloth, 2d.
Hymnal, With Appendix Incorporated.
Published
Nc.
2,
bound with the Psalms and Parapnrases,
cloth, 2b.;
French morocco,
Ss.
Prayers for Social and Family Worship.

New
Special Committee of the General Assembly of the Church of Scotland. Edition, Revised and Enlarged. Fcap. Svo, red edges, 2s.
Prepared by a
Entirely
Prayers for
Prayers. Scotland.
New
Family Worship.
Prayers.
Selection of Four Weeks'
Edition. Authorised by the General Assembly of the Church of Fcap. Svo, red edges, Is. 6d.
One Hundred
to Devotion.
Prepared by the Committee on Aids

for Affixing to Bibles.
Id. for 8, or Is. per 100.
16mo, cloth limp, 6d.
Morning and Evening Prayers

Prayers for Soldiers
on Aids to Devotion.
by the Committee on Aids to Devotion.
Prepared
and
Sailors.
Prepared by the Committee

16rao, cloth limp.
2d. net.
Thirtieth Thousand.
Prayers for Sailors and Fisher-Folk.

by Instruction
of the General
Prepared and Published

Fcap. Svo,
Is.
Assembly of the Church of Scotland.
William Blackwood
&
E.
Sons,
13
GERARD.
Reata:
Edition.
What's in a Name.
Crown
8vo, Ss. 6d.
By
D.
Gebabd.
Cheap
Beggar my Neighbour. Cheap Edition. Crown 8vo, 3a. 6d. The Waters of Hercules. Cheap Edition. Crown 8vo, 3s. 6d.
GERARD.
One
Year.
Longgarde).
Crown
By Dorothea Gerard (Madame Longard de

8vo, 6s.
The Impediment.
Crown
8vo, 6s.
A Forgotten Sin. Crown Svo, 68. A Spotless Reputation. Third Edition.
Crown
Svo, 6s.
The Wrong Man. Second Edition. Crown Svo, 6s. Lady Baby, Cheap Edition. Crown Svo, 3s. 6d.
GIBBON.
8vo, 6s.
Souls in Bondage.
By Perceval
Gibbon.
Crown
GILLESPIE. The Humour

Gillespie, LL.D.
of Scottish Life.
Crown
By Very Rev. John

Duke of Wellington,
By
Rev. G. R. Gleio,
Svo, 3s. 6d. net.
GLEIG.
Personal Reminiscences of the First

'
with Sketches of some of his Guests and Contemporaries. author of The Subaltern.' Demy Svo, 15s. net.
GOOD ALL.
by
S.
Association Football.
By John Goodall.
Fcap, Svo,
Is.
Edited
Archibald dk Bear.
With Diagrams.
GORDON. The
K.C.B,
Sikhs.
With
By General
Demy Demy
Sir
John
J.
H. Gordon,
of Shetland.
Illustrations.
Svo, 7s. 6d. net.
GOUDIE. The
By Gilbert
Celtic
and Scandinavian Antiquities

Svo, 7s. 6d. net.
Gotjdie, F.S.A. Scot.
GRAHAM.
Manual
of the Elections (Scot.) (Corrupt
Svo, 48. 6d.
and
Illegal Practices)
Act, 1890. With Analysis, Relative Act of Sederunt, Appendix containing the Oormpt Practices Acts of 1833 and 1885, and Copious Index. By J. Bdward
Graham, Advocate.
A
A
Manual
of the Acts relating to

late
Education in Scotland.
Demy
Svo, 18s.
(Founded on that of the
Mr
Craig Sellar.)
GRAND.
Domestic Experiment.
The Heavenly Twins,' Ideala

'
A Study from
Svo, 6a.
By Sarah Grand, Author

Life.'
of
Crown
Svo,
Bir.
Singularly Deluded.
Crown
GREEN,
E.
M.
Elizabeth Grey.
Crown
8vo,"6s.
14
GRIEK.
In Furthest Ind.
The Narrative
of
Mr Edward Carlyon
of
BUswether, In the County of Northampton, and late of the Honourable East India Company's Service, Gentleman. Wrote by his own hand in the year of grace 1697. Edited, with a few Explanatory Notes. By Sydney C. Griek. Post 8vo, 6s.
Cheap Edition,
8vo, 6s.
23.
His Excellency's English Governess.

Cheap Edition,
2s.
:
Third Impression.
Cr.
People's Edition, royal 8vo, paper cover, Gd.
An Uncrowned King A Romance

Impression.
Edition, 2s.
of
2s.
Crown
High
Politics.
6s.
Second
8vo, 6s.
Cheap Edition,
Peace with Honour. Third Impression. Crown 8vo,
Cheap
Crowned Queen: The Romance

Second Impression.
Edition, 2s.
of a Minister of State.
2s.
Crown
Svo, 6s.
Cheap Edition,
Like Another Helen.
Second Impression
Cr. Svo, 6s.
Cheap
The Kings
8vo, 6s.
Second Impression.
of the East : Crown Svo,

2s.
A
6s.
Romance
of the near Future.

2s.
Cheap Edition,
The Warden
of the Marches.
Third Impression.
Crown Crown
Cheap Edition,
Popular Edition, 6d.
The Prince
8vo, 6s.
of the Captivity.
Second Impression.
The Advanced-Guard. Third Impression. Crown 8vo, 6s. The Great Proconsul The Memoirs of Mrs Hester Ward,
:
formerly in the family of the Hon, Warren Hastings, Esquire, late GovernorGeneral of India. Crown Svo, 6s.
The Letters
of
Warren Hastings
to his Wife.
Crown
Svo.
GROOT.
Jan Van Dyck.
By
J.
Morgan -de-Groot.
Pretoria.
Crown
Svo, 6s.
HALDANE. How we Escaped from

Aylmer Haldanb,
D.S.O., 2nd Battalion Gordon Highlanders. New Edition, revised and enlarged. With numerous Illustrations, Plans, and Map. Crown Svo, Is.
By Lieut.-Colonel
HALIBURTON.
A New
Boyd.
Horace in Homespun.
Edition, containing additional Poems. Post Svo, 6s. net.
By Hugh
With
Halibttrton.
by A.
S.
26 Illustrations
HAMILTON.
Lectures
on Metaphysics.
2 vols. Svo, 24s.
By
Sir
William Hamilton,
and Metaphysics in the University of Edinburgh. Hansel, B.D., LL.D., Dean of St Paul's; and John Seventh M.A., LL.D., Professor of Logic and Rhetoric, Glasgow. Veitch,
Bart., Professor of Logic Edited by the Rev. H. L.
Edition.
Lectures on Logic.
Revised.
2 vols., 24s.
Edited by the Same.
Third Edition,
HAMLEY.
The Operations
General Sir
10s. 6d.;
of
War
Edward Bruce Hamley,

II., 21s.
Explained
and
Illustrated.
K.C.B., K.O.M.G.
4to, 30s.
Fifth Edition.
With Maps and Plans.
Second Edition of Also in 2 parts: Part I.,
By
Part
William Blackwood
&
Sons.
15
HAMLEY.
Shakespeare's Funeral, and other Papers.
Post 8vo,
7s. 6d.
Thomas Carlyle
28. 6d.
An
Essay.
Second Edition.
8vo,
2s.
Crown
8vo,
On
Outposts. Wellington's Career

Crown
8to, 2s.
Second Edition.
;
Military and
Political
Summary.
Lady Lee's Widowhood. New Edition. Crown 8vo, 2s. Our Poor Relations. A Philozoic Essay. With Illustrations,
chiefly
by Ernest
Griset.
Crown
8vo, cloth gilt, 3s. 6d.
H ANNAY.
The Later Renaissance.

By David Hannay. Crown
"
Periods of European
Literature."
8vo, 5s. net.
HARRADEN.
Ships that Pass in the Night.
Illustrated Edition.
Crown
By Beatrice Haeeaden.
Crown Svo, 3s. 6d.
Illustrated
Svo, 3s. 6d.
The Fowler.
Crown
;
People's
Edition, paper covers, 6d.
In Varying Moods
Svo, 3s. 6d.
stories.
Short
Stories.
Edition.
Hilda Strafford, and The Remittance Man.

Two
Californian
Millar.
6d.
Crown
Svo, 3s. 6d.
Untold Tales
of the Past.
Square crown 8vo,
With 40 Illustrations by H. R.
Svo, 6s.
gilt top, 5s. net.
Katharine Frensham.
Crown
Popular Edition,
B. Haeeis.
HARRIS.
The Disappearance
17 Illustrations.
of Dick. Crown Svo, 5s.
By Walter
Crown
With
The Career
of
Harold Ensleigh.
Svo, 6s.
HARTLEY.
Rifle, GiLFRiD W. Hartley. With numerous Illustrations in photogravure and tone from di-awings by G. E. Lodgk and others. Demy Svo, 6s. net.
Wild Sport with Gun,
and Salmon-Rod.
By
half-
HAY-NEWTON.
Mrs
F.
Hay-Newton.
Readings on the Evolution of Religion.

Crown
Svo, 5s.
By
HEMANS.
The Poetical Works
Select
of
Mrs Hemans.
gilt edges, 7s. 6d.
Copyright Edition.
3s.
Royal Svo, with Engravings, cloth,
Poems
of
Mrs Hemans.
Fcap., cloth, gilt edges,
HENDERSON.
Richard Henderson, Member (by Examination) of the Royal Agricultural Society of England, the Highland and Agricultural Society of Scotland, and With an Introduction by R. Patrick Wright, the Surveyors' Institution. P,R.S.E., Professor of Agriculture, Glasgow and West of Scotland Technical With Plans and Diagrams. Crown Svo, 5s. College.
The Young Estate
Manager's
Guide.
By
HENDERSON. The
Walter
Scott. A New Edition. Edited by T. F. Henderson, Author of A History of Scottish Vernacular Literature.' With a New Portrait of Sir Walter Scott. In 4 vols., demy Svo, 2, 2s. net.
'
Minstrelsy of the Scottish Border.
By
Sir
16
HERFORD.
Herb-ord,
Browning (Modern English

Crown
8vo, 23. 6d.
Writers).
By
Professor
HOME
PRAYERS.
and Members of the Church Service Society.
By
Ministers of the Church of Scotland

Second Edition.
Pcap. 8vo,
8s.
:
HUNT. A Handy Vocabulary For the Use of

English.
English- Afrikander, AfrikanderBy

G. M. Q.
English-speaking People in South Africa.
Hunt.
Small 8vo,
Is.
HUTCHINSON.
Hutchinson.
Hints on the
Game
of Golf.
By Horaob
Is.
G.
Twelfth Edition, Revised.
Fcap. 8vo, cloth,
HUTTON.
Frederic Uvedale. By Italy and the Italians.
Large crown Svo,
6s.
Edward Hutton. Crown

With
Illustrations.
8vo, 6s.
Second Edition.
IDDESLEIGH.
INNES.
Life, Letters,
cote. First Earl of Iddesleigji.
and Diaries of Sir Stafford North By Andrew Lang.* With Three Portraits and a
Post Svo,
7s. 6d.
View of Pynes. Third Edition. 2 vols, post Svo, Sis. 6d. Popular Edition. With Portrait and View of Pynes.
Free Church Union Case.
With Introduction by A. Taylor Innes.
Judgment
Demy
of the
House
of Lords.
The Law
Demy
of Creeds in Scotland.
Svo, Is. net.
Treatise on the RelaCivil
tions of Churches in Scotland, Established Svo, 10s. net.
and not Established, to the
Law.
INTELLIGENCE OFFICER. On the Heels of De Wet. By The Sixth Crown

Impre.=ision.
Intelligence Officer.
Svo, 6s.
IRONS.
The Boy Galloper. With The Psychology of
People's Edition, royal Svo, paper cover, 6d. In 1 vol. cr. Svo, 6s. Illustrations.
Ethics.
Ph.D., Professor of Philosophy in Bryn
Mawr
By David
College, Penn.
Crown
Irons, M.A.,
Svo, 5s. net.
JAMES.
Letters, Diaries, and Recollections. two vols, post Svo, 24s. net.
William Wetmore Story and his Friends.

By Henry James.
With
From
In
2 Portraits.
JAMES.
Modern
late
up
The
Demy
With 6 Maps. Second Edition, thoroughly revised and brought Royal Svo, 16s. net. Development of Tactics from 1740 to the Present Day.
R.E.
to date.
Svo.
Strategy.
By
Lieut.-Col.
Walter
H. James, P.S.C,
[In the press.
JOHNSTON.
The Chemistry
'
of Life. Professor J. F. Johnston. New Edition, Revised. By Arthur Herbert Church, M.A. Oxon.i Author of Food : its Sources, Constituents, and Uses,' &c. With Maps and 102
Engravings.
Common
By
W,
Crown
Svo, 7s. 6d.
Elements
of
Agricultural
Edition from the Edition by Sir Charles A, Cameron, M.D., P.R. C.S.I. &c. Revised and brought down to date by C. M. Aikman, M.A., B.Sc, F.R.S.E.! Professor of ChomiHtrv, Glasgow Veteriuarv College. 17th Edition. Crown Svo
s. fid-
Chemistry.
An
entirely
New
Catechism of Agricultural Chemistry.

tion from the Edition by Sir by 0. M. Aikman, M.A., &c. Crown Svo, l8.
Charles A. Cameron. Revised and Enlarged 95th Thousand. With numerous Illustrations.
An entirely New
Edi-
William Blackwood
&
Sons.
17
JOHNSTON.
1900 &c.
;
Agricultural Holdings (Scotland) Acts, 1883 to and the Ground Game Act, 1880. With Notes, and Summary of Procedure, By Christophkr N Johnston, M.A., Advocate. Fifth Edition. Demy
8vo
6s. net.
JOKAI.
Timar's
Two
Worlds.
Translation by
Mrs Hegan Exnnabb.
By Maurus
Jokai.
Authorised
6a.
Cheap Edition.
!
Grown Svo
KENNEDY.
KER.
for the Life of a Sailor Fifty Years in the Royal Navy. By Admiral Sir William Kennedy, K.C.B. With Illustrations from Sketches by the Author. Fifth Impression. Demy Svo, 12s. 6d. Chbapbr Edition, small demy Svo, 6s. The Dark Ages. " Periods of European Literature." By Professor W. P. Ker. In 1 vol. crown Svo, 5s. net.
Hurrah
KERR.
Memories
:
Portrait and other Illustrations.

2s. 6d. net.
Grave and Gay.

:
By John Kere, LL.D. With

Cheaper Edition, Enlarged.
Crown
Svo,
Other Memories
Old and New.
Crown
Svo.
3s. 6d. net.
KINGLAKE.
History of the Invasion of the Crimea.
Complete in
9 vols.,
By
A.
W. Kinglake.
Revised by
crown Svo.
Cheap reissue
at 3s. 6d. each.
Qkorok Sydenham Clarke, K.C.M.G., R.B. Demy Svo, 15s. net. Atlas to accompany above. Folio, 9s. net. History of the Invasion of the Crimea. Demy 8vo. Vol. VI. Winter Troubles. With a Map, 16s. Vols. VII. and VIII. Prom the Morrow of
Lieut.-Col. Sir
Abridged Edition for Military Students.
Inkerman to the Death of Lord Raglan. With Maps and Plans. 28s
With an Index to the Whole Work.
Eothen.
of the
A New
Edition, uniform with the Cabinet Edition

'
Cheaper Edition. Crown Svc, 28.
68. History of the Invasion of the Crimea. With Portrait and Biographical Sketch of the Author. 6d. Popular Edition in paper cover. Is. net.
KNEIPP.
Thirty Tears, and Described for the Healing of Diseases and the Preservation of Health. By Sebastian Kneipp. With a Portrait and other Illustrations. Authorised English Translation from the Thirtieth German Edition, by A. de P. With an Appendix, containing the Latest Developments of Pfarrer Kneipp's System, and a Preface by B. Gerard. Crown Svo, 8s. 6d.
My
Water -Cure.
As Tested through more than
LAMB.
New
Saints and Savages The Story of Five Years in the Hebrides. By Robert Lamb, M.A. (N.Z.), M.B., B.D. (Edin.). With
:
Illustrations
by Julian R, Ash ton, Sydney, N.S.W.
Post Svo,
6s.
LANG.
Vol. I. With a Photogravure Frontispiece and Four Maps. Second Edition. Demy Svo, 15s. net. Vol. II. With a Photogravure Frontispiece. 15s. net. Vol. III. With a Photogravure Frontispiece. 15s. net. Tennyson. "Modern English Writers." 2nd Ed. Cr. Svo, 2s. 6d.
Andrew Lang.
History of Scotland from the
Roman
Occupation.
By
Popular Edition, paper

Life, Letters,
covers, 6d.
and Diaries
of Sir Stafford Northcote, First
Earl of Iddesleigh. With Three Portraits and a View of Pynes. Third Edition. 2 vols, post Svo, 3l8. 6d. Popular Edition. With Portrait and View of Pynes. Post Svo, 7s. 6d.
The Highlands
in the King's Library, British Grown Svo, 5s. net.
From Manuscript 104 of Scotland in 1750. Museum. With an Introduction by Andrew Lang.
18
LANG.
The Duff Lecture of the Christian Life. Marsha lt. Lang, D.D. Crown 8vo, 5s. The Church and its Social Mission. Being the Baird Lecture for 1901. Crown Svo, 6s. net.
The Expansion
for 1897.
By
the Rev. J.
LAWSON.
The Country I Come From.
8vo, 6s.
By Heney Lawson.
Svo, 6s.
Crown
Joe Wilson and his Mates.
Crown
LAWSON.
Crown
British Economics in 1904.

Svo, 6s. net.
By W.
;
B. Lawson.
to which are
LEHMANN.
&c.
Crumbs
of Pity,
and other Verses

R. C.
added Six Lives of Great Men.
By
Lehmann, author
of
Anni Fugaces,'
Crown
Svo, 5s. net.
LEIGHTON.
The Life History

Crown
Svo,
5s. net.
Local Distribution in the British

50 Illustrations.
Isles.
of British Serpents, and their By Gerald R. Leighton, M.D. With
LEISHMAN. The Westminster Directory.

LESSING.
5s. net.
Edited, with an IntroCrown

Svo, 4s. net.
duction and Notes, by the Very Rev. T. Leishman, D.D.
Children of Men.
By Bruno
Lessing.
Crown
Svo,
LEYDEK
LINDSAY.
Journal of a Tour in the Highlands and Western

By John Leyden.
Edited, with a Bibliography,
Islands of Scotland in 1800.
by
James Sinton.
Crown
Svo, 6s, net.
Recent Advances in Theistic Philosophy of Religion.
By Rev.
Crown
Jamis Lindsay, M.A., B.D., B.Sc, F.R.S.B., F.G.S., Minister of the Parish of St Andrew's, Kilmarnock. Demy Svo, 12s, 6d. net.
The Progressiveness
Svo, 6s.
of
Modern Christian Thought.
Essays, Literary and Philosophical. Crown Svo, 3s. 6d. The Significance of the Old Testament for Modern Theology.
Grown
Is.
Svo, Is. net.
The Teaching Function

net
of the
Modern
Pulpit.
Crown
Svo,
"LINESMAN."
Words by an Eyewitness The Struggle in Three Additional
:
Natal.
man."
The
Eleventh Impression, with Chapters, People's Edition, royal Svo, paper covers, 6d. 6d. Mechanism of War. Crown Svo, 3s.
Crown
By "LinesSvo, 6s.
LOBBAN. An
Present Day.
Anthology of English Verse from Chaucer to the

By
J.
H. Lobban, M.A.
Crown
Svo, gilt top, 5s.
LOCKHART.
Fair to See. New Edition. Crown Svo, 3s. 6d. Mine is Thine. New Edition. Crown Svo, 3s. 6d.
Doubles and Quits. By Laurence W. M. Lookhart. Svo, 3s. 6d. A New Edition, Crown Svo, 2s.
Crown
LYNDEN-BELL.
Primer of Tactics, Fortification, TopoWith
By Lieut. - Colonel 0. P. Lynden-Bell. graphy, and Military Law. Diagrams. Crown Svo, 3s. net.
William Blackwood
&
Sons,
19
MABIE.
Essays on Nature and Culture.
With
Portrait.
By Hamilton Wright Mabie.

6d.
3s. 6d.
Fcap. 8vo,
3s. 6d,
Books and Culture. Fcap. 8vo, 3s. The Life of the Spirit. Fcap. 8vo,
M'CRIE. Works
4 vols,
of the Rev.
crown 8vo,
24s.
Thomas M'Crie, D.D.
Uniform Edition
6d.
Life of Life of
John Knox.
Andrew
Melville.
Crown 8vo, 3s. 6d. Crown Svo, 3s.

Crown
Svo, 4s.
History of the Progress and Suppression of the Reformation

in Italy in the Sixteenth Century.
History of the Progress and Suppression of the Reformation

in Spain in the Sixteenth Century.
Crown
Svo, 3s. 6d.
MACDONALD. A Manual of the

cedure Act, 18S7. By Norman Justice-Clerk. Svo, 10s. 6d.
Criminal
Doran Macdonald.
Law (Scotland) ProRevised by the
Lord
MACDOUGALL and DODDS. A Manual of the Local GovernJ.
ment (Scotland) Act, 1894. With Introduction, Explanatory Notes, and Copious Index. By J. Patten MacDougall, Legal Secretary to the Lord Advocate, and M. DoDDS. Tenth Thousand, Revised. Crown Svo, 2s. 6d. net.
MACKENZIE.
Studies in
Roman Law.
Views of the Laws of Prance, England, and Scotland. By Lord Mackenzie, one of the Judges of the Court of Session in Scotland. Seventh Edition, Edited by John Kirkpatrick, M.A., LL.B., Advocate, Professor of History in the University of Edinburgh. Svo, 21s.
J. M. Influence of MACKINLAY, Place-Names. on Scottish M.
With Comparative
By
J.
Mackinlay, F.S.A.
the Pre-Eeformation Church Scot. Demy Svo,

of 1396.
123. 6d. net.
MACLAGAN,
MACLEOD.
R.
The Perth Incident

Svo, 5s. net.
Maclagan, M.D.
Demy
By
R. C.
Macleod, D.D.
Sacraments of the National Church of Scotland. Being the Baird Lecture for 1903.
The Doctrine and Validity
of the Ministry and By the Very Rev. Donald Crown Svo, 6s. net.
MACPHERSON.
Books to Read and

Second Impression.
How to Read
Crown
6d.
Them.
Hector Macpherson.
By
Svo, 3s. 6d. net.
MAIN. Three Hundred

by David M. Main.
English Sonnets. New Edition. Fcap. Svo, 3s.
Chosen and Edited
MAIR.
Digest of
Laws and
Decisions, Ecclesiastical and Civil,

and
With Notes and Forms of Procedure.

Minister of the Parish of Earlston.
12s. 6d. net.
relating to the Constitution, Practice,
New
By
Aifairs of the Church of Scotland. the Rev. William Mair, D.D., lately Edition, Revised. In 1 vol. crown Svo,
Speaking
Pulpit.
Voice Production ; or, Third Edition, Revised. Crown Svo, 3s.
From
to the Platform and
20

Surrender of Napoleon.
MAITLAND. The
rophon
;
of the Surrender of Buonaparte, and of his residence on board H.M.S. Bellewith a detail of the j)rincipal events that occurred in tliat Sliij) between the 24th of May and the 8th of August 1815. By Rear- Admiral Sir Frederick Lewis Maitland, K.C.B. New Edition. Edited, with a Life of the Author, by William Kirk Dickson. In 1 vol. post Svo, with Portraits and other Illus-
Being the Narrative
trations.
Demy
8vo
15s. net.
MARSHMAN.
MARTIN.
Poems
of
the present time. By John Clark Edition. Post Svo, with Map, 6s.
History of India.
From
the Earliest Period to

O.B.I.
Mabshman,
Third and Cheaper
Giacomo Leopardi.
Crown
Svo, 5s. net.
Martin, K.C.B.
Translated by Sir Theodore
The iEneid
of Virgil. Books I.-VI. dore Martin, K.C.B. Post Svo, 7s. 6d.
Translated by Sir TheoSs. 6d.
Goethe's Faust.
Part Part
I.
6s.
Translated into English Verse.
Second Edition, crown Svo,
Goethe's Faust.
Second Edition, Revised.
Ninth Edition, fcap. Svo, II. Translated into Fcap. Svo, 6s.
English Verse.
The Works
Life
of Horace.
2 vols.
and Notes.
Poems and Ballads

Verse.
Translated into English Verse, with New Edition. Crown Svo, 21s. of Heinrich Heine. Done into English
Small crown Svo,
58.
Third Edition.
The Song
of the Bell,
:
and other Translations from

Crown
;
Goethe, Uhland, and Others.

Svo, 78. 6d.
Schiller,
Madonna Pia
Catullus.
*
A Tragedy
Post Svo,
'
Svo, 7s. 6d.
and Three Other Dramas.
Crown
With Life and Notes.

7s. 6d.
Second Edition, Revised

5s.
and Corrected.
and Notes.
The Vita Nuova

Aladdin:
58.
of Dante.
Translated, with an Introduction
Fourth Edition.
A Dramatic Poem. By Adam Oehlenschlaeger. Fcap. Svo, Correggio A Tragedy. By Oehlenschlaeger. With Notes.
:
Small crown Svo,
Fcap. Svo,
3s.
Helena Faucit (Lady Martin).

K.C.B., K.C.V.O.
10s. 6d. net.
With Five Photogravure
By
Sir
Theodore Martin,
Second Edition.
Plates.
Demy
Svo,
MARTIN.
On some of Shakespeare's Female Characters. By Helena Faucit, Lady Martin. Bediaated by permission to Her Most Gracious the Queen. With a Portrait by Lehmann. Seventh Edition, with a new Majesty
Demy
Svo, 7s. 6d.
Preface.
MATHESON.
Can the Old Faith Live with the New ^
Evolution and Revelation.
tion.
or.
The Problem
of
Crown
By
the Rev.
Qeorgk Mathkson, D.D.
Third Edi-
Svo,
7s. 6d.
Scientist ; or, Modern Value of the ReliCrown Svo, 5s. Spiritual Development of St Paul. Fourth Edition. Cr. Svo, 5s. The Distinctive Messages of the Old Religions. Second EdiCrown Svo, 6a. tion. Sacred Songs. Third Edition. Crown Svo, 2s. 6d.
The Psalmist and the

gious Sentiment.
Third Edition.
William Blackwood
&
Sons,
21
MAXWELL.
The Honourable
By
Portraits.
the Right Hon. Sir
Sir Charles Murray, K.C.B. Herbert Maxwell, Bart., M.P., F.S.A.,

18s.
A
&c.
Memoir.
With Five
Demy 8vo,
2 vols,
Life and Times of the Rt. Hon. William

With
Portraits
and numerous Illustrations by Herbert Railton, G. L. Seymour,
Henry Smith, M.P.

Crown
and Others.
Popular Edition. With a
demy
Svo, 26s.
Portrait and other Illustrations.
Svo, 3s. 6d.
Dumfries and Galloway.

County Histories of Scotland.
7s. 6d, net.
With Four Maps.
Being one of the Volumes of the

Second Edition.
Demy
Svo,
Scottish
Land-Names
of
the Rhind Lectures in Archaeology for 1893.
Their Origin and Meaning.

Post Svo,
6s.
Being
A Duke
Svo, 6s.
Fourth Edition.
Britain. Crown Svo
Romance
of the
Fourth Century
6s.
The Chevalier
of the Splendid Crest.
Third Edition.
Crown
MELDRUM.
The Conquest
Impression.
of Charlotte. Crown Svo, 6s.
By David
6s.
S.
Meldrttm.
Third
Holland and the Hollanders.

and a Map.
Second Edition.
With numerous
Svo, 3s. 6d.
Illustrations
Square Svo,
:
The Story
of
Margrddel
shire Family.
Cheap Edition
Being a Fireside History of a FifeCrown
Grey Mantle and Gold Fringe.
Crown
8vo, 6s.
MELLONE.
Studies in Philosophical Criticism and Construction.
Sydney Herbert Melloni, M.A. Lond., D.Sc. Edin.
Post Svo.
By
10s. 6d. net.
Leaders of Religious Thought in the Nineteenth Century.

Crown
Svo, 6s. net.
An Introductory Text-Book of Logic. Crown Svo, 5s. MERZ. A History of European Thought in the Nineteenth
tury, By John Theodore Vol. II., 15s. net.
Cen-
Merx.
Vol.
I.,
post Svo, 10s. 6d. net.
MEYNELL. John
Meynbll.
Ruskin.
"
Third Impression.
Crown
Modern English Writers." By Mrs 2s. 6d.

Svo,
MICHIE.
net.
The Englishman
in
China during the Victorian Era.
As Illustrated in the Life of Sir Rutherford Alcook, K.C.B., D.C.L. By Alexander MiCHiE. With Illustrations, Portraits, and Maps. 2 vols, demy Svo, 38s.
MICKLETHWAIT.
MILL.
The Colonel Sahib.
Impression.
The Licensing Act,
MiCKLETHWAiT, M.A., B.C.L., Barrister-at-Law.
1904. Crown
By
St
J.
G.
Svo, 2s. 6d. net.
Crown
A Novel. By
Garrett Mill.
6s.
Second
Svo, 6s.
Ottavia.
Second Impression.
:
Mr Montgomery Fool. MILLAR. The Mid-Eighteenth

Literature."
Crown Svo, Crown Svo, 6s.

Crown
Century.
"
By
J.
H. Millar.
Periods of European
Svo, 53. net.
22
MILN".
6s.
List of Boohs Published by
A Woman
and Her Talent.
By Louise Jordan Miln.

Being the Baird
MITCHELL.
The Scottish Reformation.
Lecture for 1899. By the late Alexander F. Mitchell, D.D,, LL.D. Edited by D. Hay Fleming, LL.D. With a Biographical Sketch of the Author, by James Christie, D.D. Crown 8vo. 6n.
MODERN" ENGLISH WRITERS.

volumes, tastefully bound, price
23. 6d. each.
In
handy
crown
8vo
Matthew Arnold.
pression.
By
Professor Saintsbury.
Second Im-
John Ruskin.
By L. Cope Cornford. Second Impression. By Mrs Meynell. Third Impression. By Andrew Lang. Second Edition. Tennyson. Huxley. By Edward Clodd. Thackeray. By Charles Whibley. Browning. By Prof. C. H. Herford.
R. L. Stevenson.
In Preparation. Froudb.
|
George Eliot. By A. T.Quiller-Couch.
By John
Oliver Hobbes.
MOIR.
Life of Mansie Wamch, Tailor in Dalkeith.
MoiR. With Oruikshank's Illustrations. Cheaper Edition. Another Edition, without Illustrations, tcap. 8vo, Is. 6d.
Crown
By
D. M.
8vo, 2s. 6d.
MOMERIE.
Alfred Momerie. His Life and Work. Demy 8vo. The Origin of Evil, and other Sermons.
Williams Momerie, M.A., D.Sc, LL.D.
Svo, 5s.
Dr
By Mrs Momerie.
[In the press.
By
Rev. Alfred
Crown
Eighth Edition, Enlarged.
Personality.
The Beginning and End of Metaphysics, and a NeFifth Ed., Revised. Cr. Svo, 3s.
cessary Assumption in all Positive Philosophy.
Enlarged. Crown Svo, 5s. Belief in God. Fourth Edition. Crown Svo, 3s. The Future of Religion, and other Essays. Second Edition. Crown Svo, 3s. 6d.
Agnosticism. Fourth Edition, Revised. Crown Svo, 5s. Preaching and Hearing ; and other Sermons. Fourth Edition,
The English Church and the Romish Schism. Second

Crown
Svo, 2s. 6d.
Edition.
MONTAGUE.
MORISON.
Examples of a Practical Subject.
P.S.C., late Garrison Instructor Intelligence Department, Author of ing in South Africa.' With Forty-one Diagrams. Crown Svo, 58.
Military Topography. Illustrated by Practical By Major-General W. B. Montague, C.B.,

'
Campaign-
Rifts in the Reek. Frontispiece. Crown
By Jeanie Morison. With

Svo, 5s.
Bound
in
buckram
a Photogravure
Svo, 3s. 6d.
for presentation, 68.
Doorside Ditties.
./Eolus.
With a
A Romance in
Frontispiece.
Crown
Svo, 3s.
Lyrics.
Crown
There as Here. Crown Svo, 3s. \* A limited irnpression on Twrid-made paper,
bound in
vellwin, 7. (W.
William Blackwood
&
Sons.
23
MORISON.
Selections from Poems.
Crown 8vo, 4s. 6(1. Sordello. An Outline Analysis of Mr Browning's Crown 8vo, Ss.
Of "Fifine
and other of Mr Browning's Poema.
Poem.
The Gordon
at the Fair," "Christmas Eve Grown 8vo, 3s. Purpose of the Ages. Crown 8vo, 9s.
:
and Easter Day,"
An Our-day
Idyll.
Crown
8vo, 3s.
Is.
Saint Isadora, and other Poems. Crown 8vo, Snatches of Song. Paper, Is. 6d. ; cloth, 3s. Pontius Pilate. Paper, Is. 6d. ; cloth, 3s. Mill o' Forres. Crown 8vo, Is.
6d.
Ane Booke
of Ballades.
Fcap. 4to,
Is.
MOWBEAY.
MUNRO.
and Notes of the late Right Hon. Sir John Mowbray, Bart., M.P, Edited by his Daughter. With Portraits and other Illustrations. Large crown 8vo, 7s. 6d.
Seventy Years at Westminster. With other Letters
Children of Tempest
MuNRo.
8vo, 6s.
Tale of the Outer
Isles.
Crown
:
By Neil
Crown
Svo, 6s.
Doom
Wars
Castle
Romance.
Second Impression.
John Splendid. The Tale
of Lorn. Sixth Impression. paper cover, 6d.
of a Poor Gentleman and the Little Crown 8vo, 6s. People's Edition, royal 8vo,
The
Lost
Pibroch,
Crown
and
other
Sheiling
Stories.
Fourth
Impression.
8vo, 3s. 6d.
People's Edition, royal 8vo, paper cover, 6d.
Shoes of Fortune. Crown Svo, 6s. Gilian the Dreamer. Crown Svo, 6s.
Uniform Edition,
3s. 6d.
each.
MUNRO.
Rambles and Studies in Bosnia-Herzegovina and Dalmatia.
By Robert Munro, M.A., M.D., LL.D., F.R.8,B. Second Edition, Revised and Enlarged. With numerous illustrations. Demy 8vo, 12s. 6d. net. Prehistoric Problems. With numerous Illustrations.
Demy
8vo, 10s. net.
Prehistoric Scotland
numerous
Illustrations.
and its Place in European Civilisation. " Being a General Introduction to the County Histories of Scotland." With
Crown
Svo, 7 s. 6d. net.
MUNRO.
On
M.A., Her Majesty's Assessor of Railways and Canals for Scotland. Edition, Revised and Enlarged. Svo, Ss. 6d.
Valuation of Property.
By William Munro,
Gossip with
3s. 6d.
Second
MY TRIVIAL LIFE AND MISFORTUNE: A

no Plot in Particular. By
A Plain Woman.
Cheap Edition. Crown Svo,
By the Same Author. POOR NELLIE. Cheap Edition.
24
NICHOLSON.
Manual
General Introduction on the Principles of Zoology. By Henrt Allbtnb Nicholson, M.D., D.Sc, P.L.S., F.G.S., Regius Professor of Natural History in the University of Aberdeen. Seventh Edition, Rewritten and Enlarged. Port 8vo, pp. 958, with 655 Engravings on Wood, 18s.
of Zoology,
for the
Use
of Students.
With a
Text-Book of Zoology, for Junior Students.
Fifth Edition.
lOs.
Rewritten and Enlarged.
Manual
Crown 8vo, with of Palseontology, for the
358 Engravings on
Use
Wood, of Students.
6d
With
General Introduction on the Principles of Palaeontology. By Professor H. Allbyne Nicholson and Richard Lydekkkr, B.A. Third Edition, entirely Rewritten and greatly Enlarged. 2 vols. 8vo, 3, 38.
NICOL.
the Rev. Thomas Nicol, D.D., Professor of Divinity and Biblical Criticism in the University of Aberdeen ; Author of * Recent Explorations in Bible Lands.' Demy 8vo, 9s. net.
Recent Archaeology and the Bible.

By
Being the Croall
Lectures for 1898.
NOBLE.
Crown
The Edge
8vo,
6s.
of
Circumstance.
By Edwaed Noble.
NO YES.
O.
Poems by Alfred Noyes.
Vs. 6d. net.
The Yellow War.
By
O.
Crown
8vo, 6s.
OLIPHANT.
MasoUam A Problem
:
of the Period.
A Novel. By Laurence
of
Oliphant.
3 vols, post 8vo, 25s. 6d.

;
Scientific Religion
or.
Higher
Possibilities
Life and
8vo, I6s.
Practice through the Operation of Natural Forces.
Second Edition.
Altiora Peto.
cloth, 3s. 6d.
Cheap
Piccadilly.
tion, 3s. 6d. cover, 6d.
With
Crown 8vo, boards, 2s. 6d.; Crown 8vo, cloth, 6s. EdiIllustrations .by Richard Doyle.
Edition.
New
Cheap Edition, boards,

;
2s. 6d.
People's Edition, royal 8vo, paper
JTraits
and Travesties
Cheaper Edition.
:
Social
Post 8vo,
and
Political.
or.
Post 8vo,
10s. 6d.
Episodes in a Life of Adventure;

stone.
8s. 6d.
Moss from a Rolling
Haifa
Life in
of
The Land
With
Modern Palestine. Second Edition. Svo, Vs. 6d. With Excursions in the Lebanon. Gilead.
Memoir
and Maps. Demy Svo, 21s. of the Life of Laurence Oliphant, and of Alice Seventh Edition. 2 vols, Oliphant, his Wife. By Mrs M. O. W. Oliphant.
Illustrations
post 8vo, with Portraits. 21 s. Popular Edition. With a
New
Preface.
Post Svo, with Portraits.
7s.
6d.
OLIPHANT.
The Autobiography and Letters
Arranged and Edited by Mrs
Edition.
of
Harry
Mrs M. O. W. Oliphant.
With Two
Portraits.
Coghill.
Crown
Cheap
Svo, 6s.
Annals of a Publishing House. William Blackwood and his Sons Their Magazine and Friends. By Mrs Oliphant. With Pour Portraits. Third Edition. Demy Svo. Vols. I. and II. 2, 2s. A Widow's Tale, and other Stories. With an Introductory
;
Note by
J.
H. Babrii.
Second Edition.
Grown
Svo, 6s.
William Blackwood
&
Sons.
25
OLIPHANT. Who was

8vo, 88.
Lost and
is
Found.
Edition.
Second Edition.
Crown
Miss Marjoribanks.
8vo, 3s. 8d.
New
Crown
8vo, 3s. 6d.
The Perpetual Curate, and The Rector.

Grown
8vo, Ss. 6d
New
Edition.
Crown
Edition.
Salem Chapel, and The Doctor's Family.

Chronicles of Carlingford.
binding, gilt top, 3s. 6d. each.
New
8vo,
3 vols,
crown
in uniform
Katie Stewart, and other Stories.

cloth, 3s. 6d.
New Edition. Crown

2s. 6d.
8vo,
Katie Stewart.
Illustrated boards,
Valentine and his Brother.
New
Edition.
6d.
Crown Svo,
3s. 6d.
Sons and Daughters. Crown Svo, 3s. Stories of the Seen and the Unseen.
Open Door The Portrait The Library Window.
Old Lady
Fcap. Svo,
MaryThe
3s. 6d.
OMOND.
O'NEILL.
The Romantic Triumph.

By
T. S.
Literature."
Omond.
Crown
"Periods of European
Svo, 5s. net.
Songs of the Glens of Antrim.

Crown
Svo, 3s. 6d.
Ninth Impression,
By Moira
O'Neill.
PAUL.
Bar.
History of the Royal

for Scotland.
4to,
Body-Guard
Crown
By
Sir
Company of Archers, the Queen's James Balfour Pattl, Advocate of the Scottish
2,
2s.
with Portraits and other Illustrations.
PEILE.
Lawn
Tennis as a
Game
p. Peilk, B.S.C.
Revised Edition,
of Skill. By Lieut.-Col. S. C. with new Scoring Rules. Fcap. Svo, cloth, Is.
PERIODS OF EUROPEAN LITERATURE.

fessor Saintsbort.
For List of Volumes,
Edited by Pro-
see
page
2.
PETTIGREW.
Management.
The Handy Book

By
of Bees,
and their Profitable
Fbttigrsw.
Crown
Fifth Edition, Enlarged, with Engravings.
Svo,
3s. 6d.
PHILOSOPHICAL CLASSICS FOR ENGLISH READERS.

Edited by William Knight,
of St Andrews.
Cheap Re-issue
LL.D^
Professor of Moral Philosophy, University
in Shilling
Volumes
net.
see
[For List of Volumes,
page
2.
PITCAIRN.
The History
from Old Charters.
of the Fife Pitcairns, with Transcripts By Constance Pitcairn. Demy Svo, 2, 2s. net.
:
POLLOK. The
A.M.
Course of Time
With
Poem.
New
By Robert Pollok,
28. 6d.
Edition.
Portrait.
Fcap. Svo, gilt top,
PRESTWICH.
Grace, Lady Prestwich, Author of 'The Harbour Bar' and *Enga.' With a Memoir by her sister, Louisa B. Milnb. With Illustrations. Demy Svo, 10s. 6d.
Essays:
Descriptive
and Biographical.
By
26
PRINGLE-PATTISON.
Scottish Philosophy. Comparison of the Scottish and German Answers to Hume. Balfour Philosophical Lectures, University ol Edinburgh. By A. Seth PRiNaLK-PATTisoN, LL.D., Professor ol Logic and
Metaphysics in Edinburgh University.
Third Edition.
8vo, 6s.
Crown
8vo, 68.
Hegelianism and Personality.

Second Series.
Enlarged.
Second Edition.
Gs. net.
Crown
Balfour Philosophical Lectures.
Man's Place in the Cosmos, and other Essays. Second Edition,

Post 8vo,
Two
Lectures on Theism.
Delivered on the occasion of the

Crown
Svo, 28. 6d.
Sesquicentennial Celebration ol Princeton University.
PUBLIC GENERAL STATUTES AFFECTING SCOTLAND

from 1707 to 1847, with Chronological Table and Index. Also Published Annually, with General Index,
8 vols, large Svo, 3, 3b.
RANKINE.
The Heart
of China.
Mission of the Church of Scotland. By Rev. W. H. Rankine, B.D., Author of ' A Hero of the Dark Continent.' Crown Svo, 6s.
The Story
of the
China
RANJITSINHJI.
RANJITSINHJI.
The Jubilee Book
of Cricket.
By Prince
Edition de Luxe. Limited to 850 Copies, printed on hand-made paper, and handsomely bound in buckram. Crown 4to, with 22 Photogravures and 85 full-page Plates. Each cojpy signed by Prince Ranjitsinhji. Price 5, 5s. net. Fine Paper Edition. Medium 8vo, with Photogravure Frontispiece and 106 full-page Plates on art paper. 25s. net. Popular Edition, With 107 full-page Illustrations. Sixth Edition. Large crown Svo, 6s.
Sixpenny Edition.
With a
selection of the Illustrations.
REYNARD. The 9th (Queen's Royal) Lancers, from

By Frank H. Reynard.
Royal Svo, 2,
2s. net.
1715 to 1903.
ROBERTSON.
The Poetry and the Religion
of the Psalms.
The
Croall
Lectures, 1893-94. By James Robertson, D.D., Professor of Oriental Languages in the University of Glasgow. Demy 8vo, 12s.
The Early Religion of

and Modern
Edition.
Israel.
As
set forth
by
Biblical Writers
Fourth
Critical Historians. Crown Svo, 10s. 6d.
Being the Baird Lecture for 1888-89.
ROBERTSON. A
ROBINSON.
by Stephen
Robertson, Professor of German, University of London.

Familiar Studies in Evolution.
T.
History of German Literature. By John G. Demy Svo, 10s. 6d. net

By Louis Robinson, M.D. Cheaper Edition. Demy Svo, 6s.
Wild Traits in Tame Animals.

Dadd.
Being some
With
Illustrations
RONALDSHAY.
On
the Outskirts of Empire in Asia. By the RoNALDSHAY, F.R.G.S. With numerous Illustrations and Maps.
21s.
Earl of
Royal Svo,
net
Sport and
Politics under an Illustrations and Maps. Royal Svo,
Eastern Sky.
21s. net.
With numerous
RUTLAND.
Notes of an Irish Tour in
G.C.B. (Lord
1846. By the Duke of Rutland, New Edition. Crown Svo, 2s. 6d. Correspondence between the Right Honble. William Pitt and Charles Duke of Rutland, Lord-Lieutenant of Ireland, 1781-1787. With Introductory Note by John Dukx of Rutland. Svo, 7s. 6d.
John Manners).
William Blackwood
&
Sons.
27
RUTLAND.
The Collected Writings of Janetta, Duchess
Portrait and Illustrations,
of the
2 vols, post 8vo, 15s. net.
of Rutland.
With
Impressions of Bad-Homburg.
Women's Associations
OF Rutland (Lady John Manners).
of Germany under the Red Cross. Grown 8vo, Is. 6d,

6d.
Comprising a Short Account
By the Duchess
Some Personal
Recollections of the Later Years of the Earl

Sixth Edition.
of Beaconsfleld, K.G.
Employment of Women in the Public Service. 6d. Some of the Advantages of Easily Accessible Reading and
Recreation
Rooms and Free
Libraries.
With Remarks on Starting and Main8vo, Is.
taining them.
Second Edition.
8vo, 2s. 6d.
Crown
Sequel to Rich Men's Dwellings, and other Occasional

Papers.
Crown
Encouraging Experiences of Reading and Recreation Rooms,

Aims of Guilds, Nottingham Crown 8vo, Is.
Social Guide, Bxisting Institutions, &c., &c.
SAINTSBURY.
A History of Criticism
the Earliest Texts to the Present Day. By George Saintsbury, M.A. (Oxon.), Hon. LL.D. (Aberd.), Professor of Rhetoric and English Literature in the Univer. In 3 vols, demy 8vo. Vol. I. Classical and Mediseval Critisity of Edinburgh.
cism. 163. net. Vol. II.-From the Renaissance to the Decline of Eighteenth Century Ortho-
and Literary Taste in Europe.
From
doxy.
Vol.
20s. net.
III. Nineteenth Century.
203. net.
"Modern English Writers." Second Edition. Crown 8vo, 2s. 6d The Flourishing of Romance and the Rise of Allegory (12th
and 13th Centuries).
"Periods of European Literature."
Matthew Arnold.
The Earlier Renaissance.

Crown
8vo, 53. net.
"
Crown
8vo, 5s. net.
Periods of European Literature."
"SCOLOPAX."
Illustrated.
A
Crown
Book
of
the
Snipe.
By Scolopax.
8vo, 5s. net.
SCOTT.
With
Tom
Cringle's Log.
By Michael Scott. New Edition.

Crown
8vo, Ss. 6d.
19 Full-page Illustrations.
SCUDAMORE.
MORE.
With
Belgium and the Belgians.

Illustrations.
Square crown 8vo,

:
By Cyril Scuda-
6s.
SERMONS TO BRITONS ABROAD

Station of a Scottish Church.
Preached in a Foreign
Crown
8vo, Ss. 6d. net.
SERREL.
Demy
With Hound and

8vo, 15s. net.
Terrier in the Field.

With numerous
F. Serrel.
Edited by Frances Slaughter.
By Alys
Illustrations.
SETH.
Study of Ethical Principles.
By James
Seth, M.A.,
Sixth Edition,
Professor of Moral Philosophy in the University of Edinburgh. Revised. Post 8vo, 7s. 6d.
SHAW.
"
Securities over Moveables.
Four Lectures delivered at
the Request of the Society of Accountants in Edinburgh, the Institute of Accountants and Actuaries in Glasgow, and the Institute of Bankers in Scotland, in 1902-S. Demy 8vo, 3s. 6d. net.
SIGMA."
"Sigma."
Personalia
In
1 vol.
Political,
8vo, 5s. net.
Social
and Various.
By
crown
28

Side-Lights on Siberia.
SIMPSON.
SINCLAIR.
Some account
of the Great
Siberian Iron Road : The Prisons and Exile System. By J. Y. Simpson, M.A., D.Sc. With numerous Illustrations and a Map, Demy 8vo, 168.
The
Franco-Scottish Words.
Thistle and Fleur de Lys By Isabel G. Sinclair. Crown

:
A
of
Vocabulary of
8vo, 38. net.
SKELTON.
Maitland of Lethington
and the Scotland
History.
By
Sir
John Skelton, K.C.B., LL.D.
Mary
Stuart.
Limited Edition, with
Portraits.
Demy
8vo, 2 vols., 28s. net.
The Handbook
of Public Health. Edition, Revised by James Patten Macdougall, Advocate, Secretary of the Local Government Board for Scotland, Joint- Author of The Parish Council Guide for Scotland, and Abijah Murray, Chief Clerk of the Local Government Board for Scotland. In Two Parts. Crown 8vo. Part I.The Public Health (Scotland) Act, 1897,
'
A New
'
with Notes.
8s. 6d. net.
SMITH.
The Transition
By
G.
Period. "Periods of European Literature." Gregory Smith. Crown 8vo, 5s. net. of Middle Scots. Post 8vo, 7s. 6d. net. Specimens
Colcnel Sir Henry Smith, K.O.B. With an Introduction by Mr S. E. Shirley, President of the Kennel Club. Dedicated by special permission to H.R.H. the Duke of Cornwall and York. New Edition, enlarged. With additional Illustrations. Crown 8vo. 2s.
SMITH.
Retrievers,
and how to Break them.
By
Lieutenant-
SNELL.
SOLB;fc.
The Fourteenth Century.

By
P. J. Snbll.
"Periods of European
Literature."
Crown
Svo, 5s. net.
Hints on Hockey.
Team
:
By
A."
F.
De
International
1897, 1898, 1899, 1900.
Lisle SolbiS. English With Diagrams. Fcap. Svo, Is.
"SON OF THE MARSHES,

;
From Spring to Fall or, When Life Stirs. By " A Son of the Marshes." Cheap Uniform Edition. Crown Svo, 3s. 6d. Within an Hour of London Town Among Wild Birds and
:
their Haunts.
Edited by
J.
A. Owen,
Cheap Uniform Edition.
Cr. Svo, 3s. 6d.
With the Woodlanders and by the

Edition.
Tide.
Crown
Cheap Uniform
Svo, 3s. 6d.
On Surrey Hills. Cheap Uniform Edition. Crown Svo, 3s. 6d. Annals of a Fishing Village. Cheap Uniform Edition. Crown
8vo, 3s. 6d.
SORLEY.
The Ethics
of Naturalism.
of Trinity College, Cambridge, Professor of Moral Philosophy, University of Cambridge. Second Edition. Crown Svo, 6s. Recent Tendencies in Ethics. Svo, 2s. 6d. net.
By W.
R. Sorley, M.A., Fellow
Crown
SPROTT.
The Worship and
Offices of the Church of Scotland. By George W. Sprott, D.D., Minister of North Berwick. Crown Svo, 6s. The Book of Common Order of the Church of Scotland, commonly known as John Kuox's Liturgy. With Historical Introduction and Illustrative Notes. Crown 8vo, 4s. 6d. net. Scottish Liturgies of the Reign of James VI. Edited, with an Introduction and Notes. Crown Svo, 4s. net.
William Blackwood
&
Sons.
29
STEEVENS.
: Impressions of Men, Cities, and Books. By the W. Steevens. Edited by G. S. Street. With a Memoir by W. E. Henley, and a Photogravure reproduction of Collier's Portrait. Memorial Edition. Crown 8vo, 6s. From Capetown to Ladysmith, and Egypt in 1898. Memorial Edition. Crown 8vo, 6s.
Things Seen
late G.
In India. With Map. Memorial Edition. Crown 8vo, 6s. With Kitchener to Khartum. With 8 Maps and Plans.
Memorial Edition.
Crown 8vo, 6s. Memorial Edition. Crown 8vo, 6s. of the Dollar. Glimpses of Three Nations. Memorial Edition. Cr. 8vo, 6s. Monologues of the Dead. Memorial Edition. Crown 8vo, 3s. 6d. With the Conquering Turk. With 4 Maps. Ch. Ed. Cr. 8vo, 6s. From Capetown to Ladysmith An Unfinished Record of the South African War. Edited by Vebnon Blackburn. With Maps. Crown Bvo,
The Land
8s. 6d.
STEPHENS.
The Book
of the
Farm
detailing the Labours of the Farmer,
Farm-Steward, Ploughman, Shepherd, Hedger, Farm-Labourer, Field-Worker, and Cattle-man. Illustrated with numerous Portraits of Animals and Engravings of Implements, and Plans of Farm Buildings. Fourth Edition. Revised, and in great part Re-written, by James Macdonald, P.R.S.E., Secretary Highland and Agricultural Society of Scotland. Complete in Six Divisional Volumes, bound in cloth, each 10s. 6d., or handsomely bound, in 3 volumes with leather back and gilt top, 3, Ss.
Catechism of Practical Agriculture.

by James Macdonald, F.R S.B.
22d Thousand.
Illustrations.
Revised
8vo, Is.
With numerous
Edited by
Crown
The Book
of
Farm Implements and
and R. Scott Burn, Engineers.
Machines. Henry Stkphkns.
By
J. Slight Large Svo, 2, 28.
STEVENSON.
of Scotland.
British Fungi. (Hymenomycetea.) By Rev. John Stevenson, Author of Mycologia Scotica,' Hon. Sec. Cryptogamic Society
'
Vols.
I.
and
II.,
post Svo, with Illustrations, price 12s. 6d. net each.
STEWART.
Haud Immemor.
Reminiscences of Legal
and
With
Social Life in Edinburgh and London, 1850-1900. 10 Photogravure Plates. Royal 8vo, 7s. 6d
By Charles Stewart.
STEWART AND CUFF.

3s. 6d. net.
and Herbert E. Cuff, M.D., P.R.C.S., Medical Superintendent North-Eastern Fever Hospital, Tottenham, London. With Diagrams. In 2 vols, crown Svo. Vol. I. Second Edition. Matron of St Bartholomew's Hospital, London
Vol. 11,
3s. 6d. net.
;
,
Practical Nursing.
By
Isla Stewart,
Also in
Volume,
5s. net.
STIRLING.
Our Regiments
Record, based on the Despatches.

12s. 6d. neb.
in South Africa, 1899-1902. Their By John Stirling. In 1 vol. demy Svo,

:
STODDART. John
M. Stoddart.
Stuart Blackie
Biography.
Crown
Svo, 6s.
Popular Edition, with
By Anna
Portrait.
STORMONTH.
Dictionary of the English Language, Pronouncing, Etymological,
and Explanatory. By the Rev. James Stormonth. Revised by the Rev. P. H. Phelp. Library Edition. New and Cheaper Edition, with Supplement. Imperial Svo, handsomely bound in half morocco, 18s. net.
30
STORMONTH.
Etymological and Pronouncing Dictionary of the English
Language. Including a very Copioun Selection of Scientific Terras. For use in Schools and Colleges, and as a Book of General Reference. The Pronunciation carefully revised by the Rev. P. H. Phelp, M.A. Cantab. Sixteenth Edition.
Revised.
Crown
8vo, pp. ]000.
5s. net.
Handy
William Batnb.
Dictionary.
16mo,
New
Is.
Edition, thoroughly Revised.
By
STORY. The
Apostolic Ministry in the Scottish Church (The
Baird Lecture for 1897). By R. H. Story, D.D., Principal of the University of Glasgow, and Chaplain to the Queen. Crown Svo, 78. 6d.
STORY. William Wetmore

Diaries, and Recollections. Svo, 24s. net.
Story and his Friends. From Letters, By Henry James. With 2 Portraits. In 2 vols, post
STRONG.
Crown
Sonnets and Songs.

Svo, 6s. net.
By
A. T. Strong, M.A. (Oxon.).
SYNGE.
The Story
of the World.
Coloured Frontispieces and numerous Illustrations by E. M. Synge, A.R.E., and Maps. 2 vols, Ss. 6d. each net.
By M.
B. Synge.
With
TAYLOR.
Meadows Taylor, Author

his Daughter.
The Story
of
ot
'The Confessions of a Thug,' &c., &c.
my
Life.
By
the
late
Colonel
Edited by
Cheap Edition.
Crown
Svo, 3s. 6d.
THOMSON.
Thomson.
Grape Vine.
Crown
Handy Book
Svo, 5s.
of the Flower- Garden.
By Dayid
THOMSON. A
Practical Treatise on the Cultivation of the By William Thomson, Tweed Vineyards. Tenth Edition. Svo, 5s.
THORBURN.
burn.
The Punjab
Svo, 12s. 6d. net.
in Peace
and War.
Demy
By
S. S.
Thor-
THURSTON.
The
Circle.
sion.
Crown
By Katherine
Svo, 6s.
Cecil Thurston.
Fifth ImpresSvo, 6s.

I.
People's Edition, paper covers, 6d.
John
Chilcote, M.P.
Tenth Impression, crown
TIELE.
logical.
Part II. Ontological. Being the Gifford Lectures delivered before the University of Edinburgh in 1896-98. By 0. P. Tible, Theol. D., Litt.D. (Bonon.), Hon. M.R.A.S., &c., Professor of the Science of Religion, in the University of Leiden. In 2 vols, post Svo, 7s. 6d. net. each.
Elements of the Science of Religion.
Part
Morpho-
TRANSACTIONS OF THE HIGHLAND AND AGRICULTURAL SOCIETY OP SCOTLAND.

Published annually, price
5s.
TRAVERS.
The
Way
of Escape.
Novel.
garet Todd, M.D.)

tion.
Second Impression.
Crown
By Graham Tea vers

Svo, 6s.
(Mar-
Mona Maclean, Medical

Crown
Svo, 6s.
Student.
Novel.
Fourteenth Edi-
Cheaper Edition,
2s. 6d.
Fourth Edition. Crown Svo, 6s. Fellow Travellers. Fourth Edition. Crown Svo,
Windyhaugh.
6s.
William Blackwood
&
Sons,
31
TROTTER.
Leader of Light Horse.

Horse.
Life of
'
Hodson
8vo, 16s.
of
Hodson's
By
Captain L.
and Statesman."
J. Trotter, Author of With a Portrait and 2 Maps.
Life of
John Nicholson, Soldier
Demy
The Bayard
of India.
Outram, Bart., G.C.B., G.C.S.I.
Life of liieut. - General Sir With Portrait. Demy 8vo, 16s. net.
James
TULLOCH.
General Sir
Recollections of Forty Years' Service. By MajorAlexander Bruce Tulloch, K.C.B., O.M.G. Demy 8vo, 15s. net.
TULLOCH.
Modern Theories
Svo. 15s.
in
Philosophy and Religion.
By John
Third Edi-
Tulloch, D.D., Principal of St Mary's College in the University of St Andrews, and one of her Majesty's Chaplains in Ordinary in Scotland
Luther, and other Leaders of the Reformation.

tion, Enlarged.
Crown
Svo, 3s. 6d.
Memoir
Author
of Principal Tulloch, D.D, LL.D. By of 'Life of Edward Irving.' Third and Cheaper
Mrs Oliphant,
Edition.
Svo, with
Portrait, 7s. 6d.
TWEEDIE.
By Major -General W. Tweedie,
The Arabian Horse: His Country and
People.
C.S.I., Bengal Staflf Corps; for many years H.B.M.'s Consul- General, Baghdad, and Political Resident for the Government of India in Turkish Arabia. In one vol. royal 4to, with Seven Coloured Plates and other Illustrations, and a Map of the Country. Price 3, 3s. net.
VEITCH.
demy
Main Features and Relations. By John Veitch, LL.D., Professor of Logic and Rhetoric, University of Glasgow. New and Enlarged Edition. 2 vols,
Svo, 16s.
The History and Poetry
of the Scottish Border
their
VETCH.
Life,
Gerald Graham, V.C, G.C.B., R.E. By Colonel R. H. Vetch, C.B., late Royal Engineers. With Portraits, Plans, and his Principal Despatches. Demy Svo, 21s.
Letters,
and Diaries
of
Lieut. -General
Sir
WADDELL.
Christianity as an Ideal.
Crown
Svo, 3s. 6d.
By Rev.
P.
Hately Waddell, B.D.
Essays on Faith.
Crown
Svo, 3s. 6d.
WARREN'S (SAMUEL) WORKS :Diary of a Late Physician. Oloth, 2s. 6d. ; boards, 2s. Ten Thousand A- Year. Cloth, 3s. 6d. ; boards, 2s. 6d. Now and Then. The Lily and the Bee. Intellectual and
Moral Development of the Present Age.
4s. 6d.
Essays
Critical. Imaginative,
and
Juridical.
5s.
WENLEY.
Crown
Aspects of Pessimism.
of
By
R.
M. Wenley, M.A.,
D.Sc, D.Phil., Professor

Svo, 6s.
Philosophy in the University of Michigan, U.S.A.
32
Books Published by William Blackwood

Thackeray.
&
Sons,
WHIBLEY.
WHITE.
"Modem
8vo, 2s. 6d.
English
Writers."
Charles Whiblky.
Crown
By
crown
The Young Gerande.

8vo, 6s,
By Edmund White. In
8vo, 6s.
1 vol.
Bray
of Buckholt.
Crown
WHITE. Mountains
8vo, 6s.
of Necessity.
By Hester White. Crown By

A.
WILLIAMSON.
Century
b.c.
Ideals of Ministry.
Wallace Williamthe Eighth
son, D.D., St Cuthbert's, Edinburgh.
Crown
Svo, 3s. 6d.
WILSON. The Prophets and Prophecy to the Close of

By
net.
the Rev. Alexander Wilson, M. A., Minister of Ythan Wells, Aberdeenshire. With Introductory Preface by the Rev. Allan Menzies, D.D., Professor of Biblical Criticism in the University of St Andrews. Fcap. Svo, Is.
WILSON.
Works
of
Professor Wilson.
12 vols,
Edited by his Son -in -Law,

8s.
Professor Perkier.
crown Svo, 2,
Christopher in his Sporting-Jacket. 2 vols., 8s. Isle of Palms, City of the Plague, and other Poems. 4s. Lights and Shadows of Scottish Life, and other Tales. 4s. Essays, Critical and Imaginative. 4 vols., 168. The Noctes Ambrosian. 4 vols., 16s. Homer and his Translators, and the Greek Drama. Crown
8vo, 4b.
WORSLEY.
Homer's Odyssey.
Spenserian Stanza. Edition. Post Svo,
Translated into English Verse in the By Philip Stanhope Worsley, M.A. New and Cheaper
21a.
7s. 6d. net.
Homer's
ington.
Iliad.
8 vols,
crown Svo,
Translated by P. S. Worsley and Prof. Con-
WOTHERSPOON.
Kyrie Eleison ("Lord, have Mercy").
Before and After.
limp, 6d. net.
A
;
Manual
of Private
Prayers. With Notes and Additional Matter. By H. J. Wotherspoon, M.A., of St Oswald's, Edinburgh. Cloth, red edges, Is. net limp leather, Is. 6d. net.
Being Part
I.
of 'Kyrie Eleison.'
Cloth,
YATE.
Khurasan and
Sistan.
StaflF
C.M.G., P.R.G.S., Indian
Commissioner
for Baluchistan, late
Corps, Agent to the Governor-General and Chief Agent to the Governor- General of India, and
Sistan.
By
Lieut.-Col. C. E. Yate, C.S.L,

With Map
Her Britannic Majesty's Consul-General for Khurasan and and 25 Illustrations, and Portraits. Demy Svo, 21s.
ZACK.
On
3/05.
Trial.
is
By Zack.
Life
Life, and other Tales Crown Svo, 68.
Second Edition. Crown Svo, 6s. and Episodes. Second Edition.
K/
y.
Robertson, J* G.
2492
c'^-hniler after a century
.R6
May
ULiir
^rarg
Sf.

John G. Robertson - Schiller After A Century

Încărcat de

Informații document

Titlu original

Drepturi de autor

Formate disponibile

Partajați acest document

Partajați sau inserați document

Opțiuni de partajare

Vi se pare util acest document?

Este necorespunzător acest conținut?

Drepturi de autor:

Formate disponibile

John G. Robertson - Schiller After A Century

Încărcat de

Drepturi de autor:

Formate disponibile

SCHILLER

PROFESSOR OF GERMAN IN THE UNIVERSITY OF LONDON

WILLIAM BLACKWOOD AND SONS

All Rights reserved

King's College^ London, a

on Schiller, in the course of which I

point towards the

The present study

embodied in a Centenary Address on Schiller, held

mid-winter meeting in Manchester.

STURM UND DRANG"

THE LATER DRAMAS

rarely the case, at the

sary of a poet's death, that a

has not been arrived at as to the position he

Only the very greatest, the writers whose

power and influence are not bounded by

their proportions are to be seen in true perspective

be said that they alone,

immortals of a nation, are subject to the changing sentiments of later generations,

that, in their case, finality of

judgment is unband of the elect, the

9th of May, does not belong

gard to his rank in literature.

widely diverging views are held about Schiller

SCHILLER AFTER A CENTURY.

and there would seem to

be no obstacles to an unbiassed judgment of his

of his countrymen Schiller

representative national poet, while others, again,

regard him with antipathy, and even animosity.

be seen from con-

temporary opinions,^ Schiller was not considered,

any special sense, the national poet of the

adopted by compared with that of a startling in its apparent want

objective self-criticism his

died not knowing that the day would

he would have a warmer place than Goethe

at the very close of the eighteenth century first

convinced wider circles in Germany that Schiller

more than average of classical dramas from

under Iffland and Kotzebue.

means unanimous; the younger generation of Romantic critics and

recognising the positive merits of

Schiller's work, felt instinctively that the

the beginning of the

drama was going its own way at new century, as an exponent

of ideas that were not his

could, in the strict sense of the word,

be called Schiller's disciple; and in Vienna, not

parzer expressed himself in no equivocal terms

the height of his fame awakened the personal

was the poet of a passing

SCHILLER AFTER A CENTURY.

literature of the future

have to reckon with him as a historical

In this epoch of political depression, Romanticism,

might be, he was at Romantic age.

not the poet for a

1813, the year of national revolt against

foreign oppression, a fresh chapter

was opened posthumous fame he

as a patriotic poet, as the