knowledge of life (though in this last, Schiller, like most German authors, was ever more or less deficient in variety and range) had begun to soften the stern and fiery spirit which had hitherto sported with the dangerous elements of social revolution. And while this change was working, before its feverish agitation subsided into that spiritual philosophy which is the antipodes of scepticism, it was natural that, to the energy which had asserted, denounced, and dogmatised, should succeed the reaction of despondency and distrust. Vehement indignation at "the solemn plausibilities" of the world pervades The Robbers. In Don Carlos, the passion is no longer vehement indignation, but mournful sorrow — - not indignation that hypocrisy reigns, but sorrow that honesty cannot triumph- not indignation that formal Vice usurps the high places of the world, but sorrow that, in the world, warm and generous Virtue glows, and feels, and suffers-without reward. So, in the poems of this period, are two that made a considerable sensation on their first appearance - The Conflict, (published originally under the title of The Freethinking of Passion,) and Resignation. They present a melancholy view of the moral struggles in the heart of a noble and virtuous man. From the first of these poems, Schiller, happily and wisely, at a later period of his life, struck out the passages most calculated to offend. What hand would dare to restore them? The few stanzas that remain still suggest the outline of dark and painful thoughts, which is filled up in the more elaborate, and, in many respects, exquisite, poem of Resignation. Virtue exacting all sacrifices, and giving no reward-Belief which denies enjoyment, and has no bliss save its own faith; such is the sombre lesson of the melancholy poet-the more impressive because so far it is truth-deep and everlasting truth-but only, to a Christian, a part of truth. Resignation, so sad if not looking beyond the earth, becomes joy, when assured and confident of heaven. Another poem in this intermediate collection was no less subjected to severe animadversion-viz., The Gods of Greece. ever, now stands, though one or two expressions are not free from objection, it can only be regarded as a Poet's lament for the Mythology which was the Fount of poetry, and certainly As the Poem, how not as a Reasoner's defence of Paganism in disparagement of Christianity.1 But the fact is, that Schiller's mind was so essentially religious, that we feel more angry, when he whom we would gladly hail as our light and guide, only darkens us or misleads, than we should with the absolute infidelity of a less grave and reverent genius. Yet a period-a transition stateof doubt and despondency is perhaps common to men in proportion to their natural dispositions to faith and veneration. With them, it comes from keen sympathy with undeserved sufferings - from grief at wickedness triumphant - from too intense a brooding over the mysteries involved in the government of the world. Scepticism of this nature can but little injure the frivolous, and will be charitably regarded by the wise. Schiller's mind soon outgrew the state which, to the mind of a poet, above all men, is most ungenial, but the sadness which the struggle bequeathed seems to have wrought a complete revolution in all his preconceived opinions. The wild creator of The Robbers, drunk with liberty, and audacious against all restraint, becomes the champion of "Holy Order," -the denouncer of the French Republic-the panegyrist of an Ideal Life, which should entirely separate Genius the Restless from Society the Settled. And as his impetuous and stormy vigour matured into the lucent and tranquil art of Der Spaziergang, Wallenstein, and Die Braut von Messina, so his philosophy threw itself into calm respect for all that custom sanctioned, and convention hallowed. But even during the painful transition, of which, in his minor poems, glimpses alone are visible, Scepticism, with Schiller, never insults the devoted, nor mocks the earnest mind. It may have sadness-but never scorn. It is the question of a traveller who has lost his way in the great wilderness, but who mourns with his fellow-seekers, and has no bitter laughter for their wander 1 Schiller himself, in some of his characteristic remarks upon the true aim of Art, (viz., the Beautiful,) says, referring to this poem-"The gods of Greece, whom I place in the foreground, are only the loveable qualities of the Greek Mythology collected together in one picture."-SCHILLER'S Correspondence with KÖRNER.. -N. B. In citations from this correspondence I generally employ the translation by Mr Simpson. ings from the goal. This Division begins, indeed, with a Hymn which atones for whatever pains us in the two Poems whose strain and spirit so gloomily contrast it-viz., the matchless and immortal Hymn to Joy. And it is peculiarly noticeable, that, whatever Schiller's state of mind upon theological subjects at the time that this hymn was composed, and though all doctrinal stamp and mark be carefully absent from it, it is yet a poem that never could have been written but in a Christian age, in a Christian land- but by a man whose whole soul and heart had been at one time (nay, was at the very moment of composition) inspired and suffused with that firm belief in God's goodness and His justice-that full assurance of rewards beyond the grave-that exulting and seraphic cheerfulness which associates Joy with the Creator- and that animated affection for the Brotherhood of Mankind, which Christianity—and Christianity alone, in its pure, orthodox gospel form, needing no aid from schoolman or philosopher-taught and teaches. HYMN TO JOY. THE origin of the following Hymn is said to be this: Schiller, when at Leipsic, or its vicinity, saved a poor student of theology, impelled by destitution and the fear of starvation, from drowning himself in the river Pleisse. Schiller gave him what money he had; obtained his promise to relinquish the thought of suicide, at least while the money lasted; and a few days afterwards, amidst the convivialities of a marriage feast, related the circumstance so as to affect all present. A subscription was made, which enabled the student to complete his studies, and ultimately to enter into an official situation. Elated with the success of his humanity, it is to Humanity that Schiller consecrated this ode.- -N.B. There is a slight variation in the metre of the translation from that in the original. SPARK from the fire that Gods have fed- Fire-drunk, our airy footsteps tread, O Holy One! thy holy shrine. And man in man but hails a brother, Chorus-Embrace, ye millions-let this kiss, Yon starry worlds that shine on this, He who this lot from fate can grasp― Shall hold with us his jubilee ; In all the earth can claim his own! Let him who cannot, stand apart, And weep beyond the pale, alone! Chorus-Homage to sacred Sympathy, All ye within Creation's ring; All being drinks the mother-dew Her steps that strew the blossom. Chorus-And wherefore prostrate fall, ye millions? For throned above the star-pavilions Dwells He who built the skies. 1 To us, emphatically. Schiller means to discriminate the measure of bliss assigned to us, (Mankind,) to the worm, and to the cherub. |