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He points out, too, the importance of noticing the habits which come from spontaneous self-employment, which may be habits of indolent ease if the child is not allowed to be as active as his nature requires. There were no theories of play in Froebel's day, but he had certainly read Levana, and in all probability he knew what Schiller had said in his Letters on Aesthetic Education.
Schiller felt that, if this were so, there was no firm foundation anywhere, and all aesthetic judgments were reduced to a matter of taste, which was of course a very unwelcome conclusion.
Peaceful reconciliation is of more worth than the spirit's hardly gained victory in the conflict with the sensibility; fine feeling is more than rational volition; the highest ideal is the beautiful soul, in which inclination not merely obeys the command of duty, but anticipates it. Cf. Kuno Fischer, Schiller als Philosoph, 1858, 2d ed.
Schiller's most brilliant works were in the former walk, his histories have inferior merit, and his philosophical writings bespeak a deep thinking nature with great originality of conception, such as naturally results from a combination of high poetic inspiration with much intellectual power. Schiller, like all great men of genius, was a representative man of his country and of his age.
It is he who stands for the cause of loyalty to which one naturally leans; but he is so portrayed that one soon distrusts and in the end almost despises him. And yet he is no villain of the extreme type so dear to Schiller in his early years. Octavio's conduct and his sentiments are technically correct.
"Jonah," by the Rev. F. Hodgson. Quoted in Foreign and Colonial Review, July, 1843: Art. Schiller, p. 21. It seems generally agreed that poetry is allegorized in these stanzas; though, with this interpretation, it is difficult to reconcile the sense of some of the lines for instance, the last in the first stanza. How can poetry be said to leave no trace when she takes farewell?
Shall it be Goethe, or Schiller, or Heine? You know all the modern writers well enough. 'Something from Heine then, if you will, answered Clara. 'You are so kind! Perhaps he will make us laugh. 'Yes, echoed her husband. 'Perhaps Heine will make us laugh. The ghastly entertainment began, and continued for an hour, but the merriment was not as great as had been anticipated.
The drawing of the female characters in 'Wallenstein' bears witness, like all the rest of the play, to the ripening power of the years that had intervened since the writing of 'Don Carlos'. That indefinable something that infects the earlier heroines of Schiller and gives them an air of sentimental futility, or else of schematic unnaturalness, has disappeared.
The Ludwigsburg school was a place in which the language of Cicero and the religion of Luther were thumped into the memory of boys by means of sticks applied to the skin; Fritz Schiller was a capable scholar, though none of his teachers ever called him, as in the case of the boy Lessing at Meissen, a horse that needed double fodder.
The occasion was, outwardly regarded, fortuitous: both men were leaving a lecture on natural science at the University of Jena, Schiller having been present as Professor of History in the University, and Goethe as its patron and as a Weimar Minister of State. They met at the door of the lecture hall and went out into the street together.
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