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In the course of the argument so far, two species of Allegro have been mentioned; an emotional and sentimental character has been assigned to the latter, the true Beethovenian Allegro, whereas the older Mozartian Allegro was distinguished as showing a naive character. I have adopted the expressions "sentimental" and "naive" from Schiller's well-known essay upon "sentimental and naive poetry."
As the Diver, in Schiller's exquisite ballad, fastened upon the rock of coral in the midst of the gloomy sea, so we cling the more gratefully to whatever of fair thought and gentle shelter smiles out to us in the depths of Hate and Strife.
Lessing, in his "Laocoon," had already shown the point of contrast between painting and poetry; and aesthetics, being defined as the science of the beautiful, must of necessity embrace poetry. Accordingly Schiller's essays on tragic art, pathos, and sentimental poetry, contained in this volume, are justly classed under his aesthetical writings.
Schiller's play, like Southey's, sins grievously as far as historical truth is concerned. The German poet wishes, it seems, to remove the bad impression made by Voltaire's poem. The play was first performed on the stage at Weimar in 1801; and the Jungfrau von Orleans met with considerable success. It contains noble lines, but is historically a mere travesty of the life and death of the heroine.
But the decision did not rest with the friendly Meyer; it rested with Dalberg, who was just then away from home. Meanwhile, as reports came from Stuttgart to the effect that Schiller's disappearance had caused a great sensation and that there was talk of pursuit, or of a possible demand for his extradition, the two friends thought it best not to remain in Mannheim.
"We merit trust, the Count will own; For nothing's left of flesh or bone," quoted Kalimann from Schiller's ballad "The Forge." "As for 'Nana, I've simply pushed it in the stove." "Kalimann, this is going too far." "It is not a book for a Jewish woman to own." The widow flushed indignantly, but would not yield the victory to her adversary.
The famous ones are, I find, The Maelstrom and The Raven; without denying their high merits, I prefer that fine poem on The Bells, quite as fine as Schiller's, and those remarkable bits of stories on circumstantial evidence. I am lower, dear friend, than ever, and what is worse, in supporting myself on my hand I have strained my right side and can hardly turn in bed.
As such it is very good indeed, although its exotic meter has stood in the way of its attaining the popularity of the ballads and the 'Song of the Bell'. 'The Walk' and 'The Ideal and Life' are the noblest gifts of Schiller's didactic muse.
"It was hardly done ere he exclaimed, 'THAT must be Schiller's! There was one skull that differed enormously from all the rest, both in size and in shape. It was remarkable, too, in another way: alone of all those on the table it retained an entire set of the finest teeth, and Schiller's teeth had been noted for their beauty. But there were other means of identification at hand.
She could not but listen and admire, when he introduced her to the sheer paganism of Schiller's Gods of Greece; for on this subject he was more eloquent than on any. He had gradually, in fact, as we have seen, dropped all faith in anything but Nature; the slightest fact about a bone or a weed was more important to him than all the books of divinity which Argemone lent him to be laid by unread.
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