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But this feeling was like the shivery sensations that one has on hearing a graphically narrated ghost story, such as we all like. At this moment it occurred to me that I should never be in a more seasonable mood for reading the book which, in common with every one who had the least leaning towards the romantic, I at that time carried about in my pocket, I mean Schiller's "Ghost-seer."
"Is it not you, my dear Seestern, that plays the Capuchin in Schiller's Wallenteins's Camp?" The man stared at me, and fell back into his chair, with the classical quotation "Ha, ich bin erkannt!" The bride shrieked, and, bounding from my side, ran out of the room. The rustic bridesmaids stared at each other, and asked, "Csoeto?" "Sacré de Dieu!
Albums and gift books, Schiller's "Bell" with Flaxman plates, and Dante's "Inferno" with Dore's illustrations lay on the centre table; Martie pushed them back for her game. She looked a mere overgrown, untidy girl, to whose hair, belt, finger-nails, and shoes she might have attended with advantage. But Martie was a bride to-night, walking the realm of Romance.
At once his old antipathy towards Schiller rose up, an antipathy caused by much in Schiller's public utterances which he had found distasteful.
The Philosopher gazed at the Child. A strange presence seemed to transfuse and possess him. Over the brow of the Boy glittered the pale nimbus of the Student. "Ah, and Schiller's Robbers, too?" queried the Philosopher. "Das ist ausgespielt," said the Boy, modestly. "Then you have read my translation of Schiller's Ballads?" continued the Baronet, with some show of interest.
I always thought Iago about the most awful character in Shakspeare; but Schiller's Philip II. is something beyond even this, without perhaps so much necessity for the exhibition of this absolute delight in evil. It is long since I have been so excited in a theatre. Here is a letter, enclosed within one to his sister Fanny on September 9, written on a scrap of paper.
It has been justly said of him that while Goethe's system was an apotheosis of nature Schiller's was an apotheosis of man.
They have fallen back upon the ghost in 'Hamlet' for a precedent and have tried to illuminate the subject with the light of Lessing's famous comparison of Shakspere's ghost with Voltaire's in 'Semiramis'. Others have been shocked by Schiller's bold departure from history at the close.
From the Introduction to the Correspondence of Schiller and W. von Humboldt Schiller's poetic genius showed itself in his very first productions. In spite of all their defects in form, in spite of many things which to the mature artist seemed absolutely crude, The Robbers and Fiesko gave evidence of remarkable inherent power.
Without that scene we should have difficulty in believing that so excellent a lady could ever have committed those crimes of hot blood which weigh upon her soul. All this means that a noble-minded Elizabeth would not have fallen in with Schiller's artistic idea, but it hardly justifies him in making her the monster that she appears.
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