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Updated: May 12, 2025
No wonder that editor Haug cautioned the young poet against nonsense, obscurity and exaggerated metatheses. Nor is there much more of promise in the few occasional poems that have come down from Schiller's salad days in the academy. One of them was inspired by a visit of the emperor Joseph, whom our poet glorifies in strains almost too fervid for utterance.
But that which marks Karl Moor as a genuine child of Schiller's imagination and of the sentimental age is his combination of virile energy with soft-heartedness and true nobility of feeling. In all his robbings and burnings he does not become vulgarized like his comrades. He imagines that he is engaged in a righteous work and has God on his side.
The skull was carried back to the Gewolbe, and many jaws were tried ere one was found which fitted, and for beauty of teeth corresponded with, the upper jaw. When brought home, on the other hand, it refused to fit any other cranium. One tooth alone was wanting, and this was said by an old servant of Schiller's had been extracted at Jena in his presence.
Thoughts of this kind, mixed up with vague ideas of a pre-established harmony, constituted the staple of Schiller's early philosophizing. The identity of the good, the true and the beautiful, was for him the highest of all generalizations, though more a matter of pious emotion than of close thinking.
Then you have your manuscript copy, which you can cut into any shape you please as long as you keep it out of print; and seeing that the poem really does belong to you, having had its origin in your paraphrase of Schiller's stanzas, I see a great deal of poetical justice in the manuscript copyright remaining in your hands.
Pressing him closely, Bucholz admitted, with a forced smile, that on the day before, he had been reading Schiller's play of "The Robbers," and that becoming excited by the heroic action of "Carl von Moor," he had thoughtlessly plunged his penknife, which he had in his hand at the time, into his own side. The blade had touched a rib, however, and that prevented the wound from being very serious.
He finally hit upon the naïve device of adding words of his own in the form of a recitative, which first appears in the sketch-book as, "Let us sing the immortal Schiller's Song, 'Freude schöner Götterfunken." This was afterward changed to the much better form as now appears, "O Freunde, nicht diese Töne! sondern lasst uns angenehmere anstimmen, und freudenvollere."
The whole place is bare and clean; in one corner of the large room fronting the street stands Schiller's writing-table, with his chair before it; with the foot extending toward this there stands, in another corner, the narrow bed on which he died; some withered wreaths on the pillow frame a picture of his deathmask, which at first glance is like his dead face lying there.
Necessity is strong, and should give us its own strength; but Want should shatter asunder, with its very writhings, the walls of our prison-house, and not sit contented with the allowance the jail gives us in exchange for our work." "There is no prison-house to a man who calls upon Bacchus; stay, I will translate to you Schiller's Dithyramb.
The Aesthetical Essays in this volume appeared for the most part since 1792, in the "Thalia" and the "Hours" periodicals. The first "On the Ground of our Pleasure in Tragic Subjects" , applies Kantian principles of the sublime to tragedy, and shows Schiller's lofty estimate of this class of poetry.
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