XXX. Let Truth, when hostile times exile, Appall the quailing tyrant's ear, And wreak her grand revenge in song. XXXI. Free Sons of freest Mother! rise Up to supremest Beauty's throne, And scorn, while there ye fix your eyes, All crowns less royal than her own. If from your sight the Sister 15 part, O'ertake her at the Mother's heart: In what fair souls as fair embrace, On daring wings sublime; Of rich Humanity explore; But at the Throne which ends the maze Meet, and embrace once more. As into tints of sevenfold ray Breaks soft the silvery, shimmering white; As fade the sevenfold tints away, And all the rainbow melts in light,— So from the Iris, sportive, call Each magic tint the eye to chain ; And now let Truth' unite them all, And Light its single stream regain.16 1 i. e. She who in Heaven is Urania (the Daughter of Uranus by Light) is on earth Venus, the Divinity of Love and Beauty. The Beautiful is to mortals the revelation of Truth. Truth, in its abstract splendor, too bright for the eyes of man in his present state, familiarizes itself to him in the shape of the Beautiful. 2 "Das Kind der Schönheit sich allein genug,. "What I mean," says Schiller, "is this: Every work of Art, of Beauty, forms a complete whole; and so long as it occupies the Artist, it is the sole engrossing object of his thoughts. Thus, for example, a single statue, a single column, a poetical descriptioncach is self-sufficing. But then, as Art advances, this perfect whole is split into parts of a new and greater one-its final destination is then no longer in itself, but it has an ulterior object, and thence I say it has lost its crown. The statue which before reigned supreme cedes that distinction to the temple which it adorns the character of Hector is in itself perfect, but is only a subordinate member of the Iliad," &c.-SCHILLER'S Correspondence with Körner. 3Die seine Gier nicht in sein Wesen reisst." Schiller thus explains a line which might well puzzle his correspondent KÖRNER: "Every sensual desire has its origin in a certain impulse to incorporate itself with the object of that desire, to draw it forcibly to itself Several desires destroy their object by incorporating it with themselves."-Correspondence with KÖRNER I have expanded the line in order to translate something of the general idea. 4 i. e.-Man shrinks in awe from the notion of a Diviner Power, thoroughly unknown; but the Greek Mythology familiarized Man to the providence of the Gods, and elevated him by the contemplation of attributes in which he recognized whatever he most admired. Art taught Man to see in the Nature round him the prototype-the Ideal of Diviner Beauty. 5 The Poet here seems to allude to the Story of Ibycus, which at a subsequent period furnished the theme of one of his happiest narratives. 6 In the Drama the essentials are Providence and Design. 7 "Doch in den grossen Weltenlauf Ward euer Ebenmass zu früh getragen." These lines and those that follow are extremely obscure, but I find that. Schiller (Correspondence with KÖRNER) explains his intention as I had before construed it in the translation. "Man applies this law of symmetry too soon to real life, as many parts of the great edifice are still concealed from his sight. To satisfy this feeling for symmetry, he is compelled to have recourse to art. This gave rise to the poetry of an immortality, which is the offspring of a feeling for symmetry, according to which man endeavored to judge the moral world before he had a perfect knowledge of it." 8 The impossibility of doing justice to the idea of the poet by merely translating this passage word for word, will be seen by Schiller's own interpretation of his latent meaning, which I have sought accordingly to render. "The comparison, 'Der Schatten in des Mondes Angesichte, Eh' sich der schüne Silberkreis erföllt,' has a high value, in my opinion. I compare the life of man, in the preceding verses, to an arch-that is to say, to an imperfect portion of a circle-which is continued through the night of the tomb to complete the circle (to be governed by a feeling for the Beautiful or the Arts is nothing more nor less than a striving toward Perfection). Now the young moon is such an arch, and the remainder of the circle is not visible. I therefore place two youths (Castor and Pollux) side by side. the one with a lighted torch, the other with his torch extinguished. I compare the former to that portion of the moon which is light, and the latter to that part which is in darkness."— SCHILLER'S Correspondence with KÖRNER. 9 "Das Staunen seiner Zeit, das stolze Jovisbild, Im Tempel zu Olympia sich neigen." Schiller here makes a wonderful demand upon the penetration of his reader into the subtleties of his own poetical intention. "When I say that the Zeus of Phidias bends in the temple of Olympia, I say nothing more than this;-but the peculiar beauty of this passage consists in the allusion to the bending position of the Olympian Jupiter, which was in a sitting posture in this temple, and placed in such a position that it would have borne away the roof of the temple if it had stood upright. This bent posture always greatly pleased me, as it says as much as that the Divine Majesty had condescended to confine itself to the circumscribed condition of man; for if it had stood upright--that is to say, appeared as God-inevitable destruction would have followed."-SCHILLER'S Correspondence with KÖRVery beautiful, indeed, but it is too much to expect that a reader should see all this in sich neigen-bowed itself. NER. 10 i. e.-Humanity. 11"Und tretet in der Demuth Hülle Mid Schweigendem Verdienst zurück." The interior meaning of these lines is not clear. A distinguished scholar, to whose criticisms these translations are largely indebted, suggests that Schiller, here referring to the great Artists of classical Antiquity, intimates that, having performed their task, they did not remain to dominate over the Genius of Modern Literature which they had aroused, but retired to leave free scope to its efforts. 12 "This is followed by an entirely new link, which arose from a conversation I had with Wieland. He places all scientific culture far below art. When a scientific production rises above a production of art, he maintains it is only because it is a work of art itself. This idea lay concealed in the poem, and only wanted development. This it has now received."-SCHILLER'S Correspondence with KÖRNER. 13 "This perfect state of Man is only then to be found when moral and scientific culture are blended in beauty. I make this applicable to my allegory, and let Art reappear to Man in a revealed form.”— SCHILLER'S Correspondence with KÖRNER. 14 Mündigen, her Son, who has attained his majority. 15 The Sister-i. e., probably moral Perfection or Virtue. 16 There is exquisite skill in concluding the Poem (after insisting so eloquently upon the maxim, that whatever Science discovers only adds to the stores, or serves the purpose of Art) with an image borrowed from Science. Schiller had employed the same simile, though with a different application, in the Philosophical Letters between Julius and Raphael. ד THE CELEBRATED WOMAN; AN EPISTLE BY A MARRIED MAN-TO A FELLOW-SUFFERER. In spite of Mr. Carlyle's assertion of Schiller's "total deficiency in humor," we think that the following Poem suffices to show that he possessed the gift in no ordinary degree, and that if the aims of a genius so essentially earnest had allowed him to indulge it, he would have justified the opinion of the experienced Ifland as to his capacities for original comedy. YAN I, my friend, with thee condole?— CAN Can I conceive the woes that try men, What! dost thou think thyself undone, |