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Of all the conjectures, of which these are but a selection, the most accurate from a German point of view is that the book was the work of Buerger, who was the first to dress the Travels in a German garb, and was for a long time almost universally credited with the sole proprietorship. Buerger himself appears neither to have claimed nor disclaimed the distinction.
In this way the discrepancy of dates mentioned above might easily have been obscured, and Buerger might still have been credited with a work which has proved a better protection against oblivion than "Lenore," had it not been for the officious sensitiveness of his self-appointed biographer, Karl von Reinhard.
While still at Weimar Schiller received a visit from Buerger, and the two agreed to vie with each other in a translation from Vergil. Schiller chose for his experiment the eight-line stanza which he was proposing to use in an epic upon Frederick the Great. This 'Fredericiad' was much on his mind in the spring of 1789.
William West the bookseller and numerous followers have stated that Munchausen owed its first origin to Bruce's Travels, and was written for the purpose of burlesquing that unfairly treated work. A writer in the Gentleman's Magazine for 1856 calls the book the joint production of Buerger and Raspe.
How delightful, I thought, to be reading the lyrics of Uhland, or Buerger, with one so capable of appreciating them, with all the hallowed associations of the "Vaterland" about us! Yes, said I aloud, repeating the well-known line of a German "Lied" "Bakranzt mit Laub, den lieben vollen Becher." "Upon my conscience," said Mr.
Of course it was all up with his lecturing; but he easily obtained a release for the summer term from the sympathetic Duke of Weimar. In March he was well enough to take up the reading of Kant's then recently published 'Critique of the Judgment', and a little later to try his hand at translating from the Aeneid in stanzas and to write a rejoinder to the 'anticritique' of the aggrieved Buerger.
These poems, taken as a whole, owe nothing whatever to the folk-song. The popular ballad, which had once fascinated Goethe and Herder and Buerger, and the Goettingen poets generally, seems never to have appealed to Schiller in any notable degree. If we except 'The Count of Hapsburg', his ballad themes are all exotic, that is, they do not deal with German legend or history or superstition.
The Seventeenth Century: Opitz, Leibnitz, Puffendorf, Kepler, Wolf, Thomasius, Gerhard; Silesian Schools; Hoffmannswaldau, Lohenstein. The Swiss and Saxon Schools: Gottsched, Bodmer, Rabener, Gellert, Kaestner, and others. 2. Klopstock, Lessing, Wieland, and Herder. 3. Goethe and Schiller. 4. The Goettingen School: Voss, Stolberg, Claudius, Buerger, and others. 5.
Buerger, he said, was a true poet, and would live; that Schiller, on the contrary, must soon be forgotten; that he gave himself up to the imitation of Shakespeare, who often was extravagant, but that Schiller was ten thousand times more so. He spoke very slightingly of Kotzebue, as an immoral author in the first place, and next, as deficient in power.
While lying in the old churchyard the bones of Schiller became commingled with others in the vault, so that the proper reassembling of his mortal framework, in the year 1826, was a matter of some perplexity. The Verdict of Posterity Alles was der Dichter geben kann ist seine Individualitaet; diese musz also wert sein, vor Welt und Nachwelt aufgestellt zu werden. Review of Buerger, 1791.
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