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Updated: June 11, 2025
The PRINCE OF PARMA, the DUKES OF FERIA and MEDINA SIDONIA, with other GRANDEES enter the preceding. PARMA. Say, can we see the king? ALVA. No! PARMA. Who is with him? FERIA. The Marquis Posa, doubtless? ALVA. Every instant He is expected here. PARMA. This moment we Arrive from Saragossa. Through Madrid Terror prevails! Is the announcement true? Domingo. Alas, too true!
A man capable of conceiving such a hero as Posa, and defending the conception as true to life, could hardly be expected to adjust his mind easily to such a work as Goethe's 'Egmont'. In his review of the play, published in 1788, Schiller found, indeed, much to praise; but his general praise was so mixed up with general fault-finding as to produce upon the Rudolstadt people the impression of a naughty lese-majeste.
She talked of Schiller's idea of friendship, as represented by the Marquis of Posa. 'Ah, sighed Ida, 'I doubt if there is any such friendship as that out of a book.
MARQUIS POSA and DUKE ALVA. Does he want me? What me? Impossible! You must mistake the name. What can he want With me? ALVA. To know you. MARQUIS. Curiosity! No more; I regret the precious minutes That I must lose: time passes swiftly by. ALVA. I now commend you to your lucky stars. The king is in your hands.
Strange and sad chance! during this period we are fatally distant from each other; we inseparables, we brothers, both of us the most fervent apostles of thrice holy friendship, we, who were so proud of proving that the Cazlas and Posa of our Schiller are not idealities, and that, like those divine creations of the great poet, we know how to taste the sweet delights of a tender and mutual attachment!
Not one have I not one In the wide circuit of this earth, not one Far as the sceptre of my sire extends, Far as the navies bear the flag of Spain, There is no spot none none, where I dare yield An outlet to my tears, save only this. I charge thee, Roderigo! Look on me, Posa, as an orphan child, Found near the throne, and nurtured by thy love. Indeed, I know not what a father is.
Then came the influence of Koerner, the effect of which was to give great prominence to the character of Posa as a positive champion of the right, and to make him for a while the real hero of the play. There seems at first blush but little resemblance between the fanatical idealist of Schiller's imagination and the sensible Dresden lawyer, but the Koerner strain in Posa is unmistakable.
The great scene of the third act leaves an impression that the world's affairs are not in such bad hands after all. Posa does not convince the king's mind, but he finds his heart and wins his confidence. One has the feeling that, if he bide his time and use some tact, he can accomplish all that he desires.
In the third act the king would become madly suspicious and resolve upon his son's death. Then there was to be a gleam of hope: the ambition of Carlos would awaken and begin to prevail over his love, while Posa would divert the king's suspicion to himself and fall a sacrifice to friendship.
Although disgusted with the life I was leading I was unwilling to change it: Simigliante a quells 'nferma Che non puo trovar posa in su le piume, Ma con dar volta suo dolore scherma. Thus I tortured my mind to give it change, and I fell into all these vagaries in order to get away from myself.
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