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In this poem the essential lineaments of Schiller's character, as seen through the soothing but not yet obscuring vista of ten years by the wisest of those who knew him well, were fixed for all time. He was here described as one who had 'mounted to the highest heights, closely akin to all that we esteem'; and posterity was besought to give him that which life had denied.
It has usually been assumed by Schiller's biographers that in his intense longing for liberty he was embittered by this disappointment, and that in his mood of wrath he now took up his neglected play and poured into it, hissing hot, the whole fury of his quarrel with the world.
Schiller's last work, Wilhelm Tell, is, in my opinion, also his best. Here he has returned to the poetry of history; the manner in which he has handled his subject, is true, cordial, and when we consider Schiller's ignorance of Swiss nature and manners, wonderful in point of local truth. It is true he had here a noble source to draw from in the speaking pictures of the immortal John Muller.
His only opera, "Fidelio," for which he wrote four overtures, was first brought out in Vienna in 1805; his oratorio, "Christ on the Mount of Olives," in 1812; and his colossal Ninth Symphony, with its choral setting of Schiller's "Ode to Joy," in 1824.
This hall was ubiquitous, whether the action of the piece lay in Germany, Italy, France, or England, Mary Queen of Scots sobbed in this hall; Wallenstein in Schiller's tragedy ranted in it; Rigoletto reproved his flighty daughter in it. It seemed curious that personages so widely different should all have selected the same firm of upholsterers to fit up their sanctums.
This creative power allows us no rest till we have produced that ideal form in one or the other way, either without us in finished works or in our own life." Here we already have in germ Schiller's idea that life ought to be a work of art.
But she, whose brain was burning with remembrance of injuries and with hopes of vengeance, was readily induced to devolve upon Rebecca the care of her patient. Ascend the watch-tower yonder, valiant soldier, Look on the field, and say how goes the battle. Schiller's Maid of Orleans A moment of peril is often also a moment of open-hearted kindness and affection.
"William Tell," an opera in three acts, words by Étienne Jouy and Hippolyte Bis, the subject taken from Schiller's drama of the same name, was first produced at the Académie, Paris, Aug. 3, 1829, with the following cast: MATHILDE Mme. DAMOREAU-CINTI. JEMMY Mme. DABODIE. HEDWIG Mlle.
Neither is it possible for a bailie named Gessler to have occupied the castle at the date assigned, the ruins of which have so long been pointed out as being those of his former abode. So, also, the celebrated Tell's Chapel on the Vier Waldstaette See, at Kuesnach, was certainly not built to commemorate the exploits of Schiller's and Rossini's Swiss hero.
Here surely one must side with Schiller and never think of criticising him for not making his Posa an exponent of political ideas that belong to a later time. Every age has its dream. Ours is of a people to be made happy by democratic legislation; Schiller's was of a people to be made happy by the personal goodness and enlightenment of the monarch.
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