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And the thought is a trifle incoherent. If the good Spirit above the stars is to pardon everybody, what becomes of the incentive to a militant life? Why should one strive and cry and get into a feaze about tyrants and liars? The 'Song to Joy', with music by Koerner, was published in the second number of the Thalia, which, after hanging fire for months, finally appeared in February, 1786.
Then he is interrupted by a procession of callers, Schiller, in various roles, and Minna, and Dorchen, and Professor Becker and others who keep the stream of babble flowing until one o'clock. Koerner is too late for the consistory and all that he has accomplished is to get shaved.
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.
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