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The work of Mercier, who paints the Spanish king in the darkest possible colors, furnished a few hints for 'Don Carlos', but its influence was not very great. What chiefly concerns us here is to note Schiller's awakening interest in historical studies. In the spring of 1786, during an absence of the Koerners which deprived him of his wonted inspiration, he found himself unable to work.
The eagerly awaited migration took place in September, and Schiller entered the Saxon capital, which was to be his home for the next two years, in a flutter of joyous anticipation. The Koerners quartered him in their charming suburban cottage at Loschwitz, in the loveliest region he had known since his childhood.
The result was a string of humorous stanzas bewailing the fate of a poet who is compelled by his vocation to fix his mind upon the love ecstasies of Princess Eboli, and listen at the same time to the swashy music of the wash-tub: When the Koerners occupied their winter residence in the city, Schiller found rooms hard by, and was presently joined by Huber, who had secured a position in the diplomatic service.
In the winter of 1787 he attended a masked ball where he met 'a pretty domino a plump voluptuous maiden, who fascinated him. Her name was Henriette von Arnim. He followed up the acquaintance and was soon quite seriously interested. As the Arnim family did not enjoy the best of reputations, the Koerners were annoyed at Schiller's seeming lack of connoisseurship in women.
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