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Updated: June 3, 2025
The 'Soehne des Thales' was then attracting much attention, and perhaps that dramatic writer may have been interested in this newly-developed talent, or he may have thought he saw that this young débutant was capable of being trained to the performance of the systematic round of theatre tricks, and would acquire a skilled 'stage-hand. However this may be, think of Iffland with the manuscript of the 'Kreuz an der Ostsee' in his hands.
He was eager for such a triumph, and the more so because 'The Bride of Messina', as staged by Iffland in Berlin, had met only with an equivocal success: many were pleased, but there was a plenty of adverse comment. Iffland was now the director of the Royal Prussian Theater, and thus in a position to serve the interests of Schiller, whom he devotedly admired.
It is Iffland, the celebrated actor and poet from Berlin. He had come to Vienna before the French took the city, and after its capture he could no longer get out: they detained him, and it was not until now that, by dint of the most pressing solicitations, he received permission to return to Berlin."
"Ah, what a fragile shell our body is, a miserable dwelling for the soul living in it! Come, my friend, let us softly leave the room. Only I would like to take a souvenir with me, a flower from the bouquet which Haydn held in his hands. May I venture to take one?" At this moment Haydn opened his eyes again, and fixed them with a gentle expression on Iffland.
He turned his tearful eyes toward the window, and gazed into vacancy. "In former years my mind was strong and vigorous," he sighed, "and when I wrote my 'Creation, a manly fire filled my heart." "Your enthusiasm is imprinted on your great work, and it will never disappear from it," said Iffland. "Joseph Haydn's 'Creation' is immortal and full of eternal youth.
Thus far he had called it by the name of its heroine, but when it was put upon the stage it was rechristened, at the suggestion of the actor Iffland, and has ever since been known as 'Cabal and Love'. The revision which he had undertaken, after the reopening of correspondence with Dalberg, was even now not quite finished; so that the final touches had to be given at Mannheim.
The social gayeties occasioned by her presence caused some retardation in the progress of 'William Tell', but on February 18, 1804, it was completed, and two days later the final installment was despatched to the waiting Iffland.
Iffland wished to lure him to Berlin and had intimated that the Prussian government might be disposed to offer inducements. Schiller was not entirely averse to the idea; at least he thought it worth while to reconnoitre. So, toward the end of April, 1804, he set out with wife and children for the Prussian capital, where he was received with the greatest cordiality.
If Iffland had, not unsuccessfully, represented the honest citizens and peasantry of Germany struggling against the unnatural customs of modern public life, Augustus von Kotzebue, who, after him, ruled the German stage, sought, on the contrary, to render honor despicable and to encourage the license of the day.
The first work of this kind undertaken by him at Weimar was a version of Goethe's 'Egmont', made in 1796. Iffland was starring in Weimar and wished to appear as Egmont. Goethe was just then somewhat lukewarm toward the theater, and even if he had not been, it was by no means hidden from him that his own strength lay in the poetic rather than the dramatic sphere.
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