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Bellermann, who defends through thick and thin the unity and consistency of the original 'Fiesco', thinks that it is from first to last a tragedy of vaulting ambition, not a political play at all, but a character play, and that no other idea ever entered Schiller's mind. The Fugitive in Hiding Ich kann nicht Fuerstendiener sein. 'Don Carlos'.
Middendorf, too, reported to the Lutzow Jagers at once, and so did the son of Professor Bellermann, and their mutual friend Bauer, spite of his delicate health which seemed to unfit him for any exertion.
Middendorf, too, reported to the Lutzow Jagers at once, and so did the son of Professor Bellermann, and their mutual friend Bauer, spite of his delicate health which seemed to unfit him for any exertion.
The following notes take no account of criticism contained in the general histories of German literature and philosophy, nor of the multitudinous articles, essays, reviews, programs and dissertations relating to particular works. Plays. The best treatise on the plays as a whole is that of Bellermann, Schillers Dramen, 2nd edition, 2 vols., Berlin, 1898-9.
In more recent years several good editions have appeared, the most noteworthy being that of Boxberger and Birlinger, published as a part of Kuerschner's Deutsche National-Litteratur, 12 vols., Stuttgart, 1882-91; that of L. Bellermann, Kritisch durchgesehene und erlaeuterte Ausgabe, 14 vols., Leipzig, 1895 ff., and the latest of the critical Cotta editions, completed in 16 vols. in 1894.
But such a being as Schiller's Johanna is found in no saga; she is a purely arbitrary creation. A very thoughtful German critic, Bellermann, attempts to defend our love-episode by showing how Schiller took good care in the preceding scenes to depict his heroine as susceptible to the tender emotions of her sex; in other words, to depict her as a maiden who might conceivably love and be loved.
This singular volte-face on the part of our dramatist has of course been the subject of infinite discussion. The most of the critics appear to regard it as a mistake, to say the least. One of them, Bellermann, surmises that Schiller made the change against his will to meet the views of Dalberg.
Middendorf, too, reported to the Lutzow Jagers at once, and so did the son of Professor Bellermann, and their mutual friend Bauer, spite of his delicate health which seemed to unfit him for any exertion.
On the other hand it was spoken of by the satellites of the disgruntled Herder as a 'singular fata morgana', and a 'shocking monstrosity'; while F.H. Jacobi characterized it as a 'disgusting spook made by mixing heaven and hell'. And these discordant voices, in all their vehemence of expression, have been echoed by later critics; so that in the case of this particular drama, as Bellermann observes, it is hardly possible to speak of a settled average opinion.
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