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Updated: October 19, 2025
The other play, "Court-intriguing and Love," is a tragedy of domestic life; it shows the conflict of cold worldly wisdom with the pure impassioned movements of the young heart. Now, in September, 1783, Schiller went to Manheim as poet to the theatre, a post of respectability and reasonable profit. Here he undertook his "Thalia," a periodical work devoted to poetry and the drama, in 1784.
People who are not under the influence of Greek literature may say that all this is a matter of course; but there can be no one who would think that the names which Hesiod has given them bear upon our subject. He named the eldest Aglaia, the middle one Euphrosyne, the third Thalia.
Both these performances were received with the greatest applause by numerous audiences; and as far as the approbation of provincial theatres could confer reputation, that of Molière was now established. There was, however, a temptation which threatened to withdraw him from the worship of Thalia.
In the temple of Thalia and Melpomene at least, so it is with us the stupid savant and the exhausted man of business are received on the broad bosom of the goddess, where their intelligence is wrapped in a magnetic sleep, while their sluggish senses are warmed, and their imagination with gentle motions rocked. Vulgar people may be excused what happens to the best capacities.
You don't love me any more?" Still he was silent. "You don't love me," she said, as if repeating some astounding fact, which she could not yet believe. He seemed to gather his courage up. "I have " he tried to speak; faltered, broke, went on: "I have the kindliest feelings toward you, 'Thalia" his last word was in a whisper.
I shall terminate this article or panegyric, call it which you please, by observing that whenever MOLE shall retire from the Theatre Francais, and his age precludes a contrary hope, the best stock-pieces can no longer be acted. FLEURY. A man can no more be a comedian in spite of Thalia than a poet in spite of Minerva. Of this FLEURY affords a proof.
"What an omen, what a favorable, in every way favorable augury, it offers me. The Graces receive me here into these old walls, Aglaia, Thalia and Euphrosyne!" "Good luck to you, Master," old Doris called out to the prefect. "We come late," said Hadrian. "That does not matter," said the old woman.
I cite the passage in question: "Mademoiselle Bourgoin, one of the delegates from the court of Thalia, in order to be permitted to accompany the party on this journey, had thoughtlessly succumbed to the temptation of making indiscreet revelations; even boasting aloud that she attracted the Emperor to the theater in which she played; and these boasts, which were by no means virtuous, having reached the Emperor's ears, he would no longer attend the theater.
Schiller himself, always his own best critic, felt this and frankly admitted it in the first of his 'Letters upon Don Carlos'. St. Real's novel, perhaps also my own remarks upon it in the first number of the Thalia, may have suggested to the reader a standpoint from which the work can no longer be regarded.
Did the garden cast the spell by which she saw herself on the seat? or was it Chiltern's voice? She would indeed love and cherish it. And was it true that she belonged there, securely infolded within those peaceful walls? How marvellously well was Thalia playing her comedy! Which was the real, and which the false?
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