The Life of Friedrich Schiller Part 18

WOMEN [_start back_]. _We_ touch him whom G.o.d has smote!

RUDOLPH. My curse upon you! [_Draws his sword._

STuSSI [_lays his hand on Rudolph's arm_]. Softly, my good Sir!

Your government is at an end. The Tyrant Is fallen: we will endure no farther violence: We are free.

ALL [_tumultuously_]. The land is free!

RUDOLPH. Ha! runs it so?

Are rev'rence and obedience gone already?

[_To the armed Attendants, who press in._

You see the murd'rous deed that has been done.

Our help is vain, vain to pursue the murd'rer; Other cares demand us. On! To Kussnacht!

To save the Kaiser's fortress! For at present All bonds of order, duty, are unloosed, No man's fidelity is to be trusted.

[_Whilst he departs with the Attendants, appear six Fratres Misericordiae._

ARMGART. Room! Room! Here come the Friars of Mercy.

STuSSI. The victim slain, the ravens are a.s.sembling!

FRATRES MISERICORDIae [_form a half-circle round the dead body, and sing in a deep tone_].

With noiseless tread death comes on man, No plea, no prayer delivers him; From midst of busy life's unfinished plan, With sudden hand, it severs him: And ready or not ready,-no delay, Forth to his Judge's bar he must away!

The death of Gessler, which forms the leading object of the plot, happens at the end of the fourth act; the fifth, occupied with representing the expulsion of his satellites, and the final triumph and liberation of the Swiss, though diversified with occurrences and spectacles, moves on with inferior animation. A certain want of unity is, indeed, distinctly felt throughout all the piece; the incidents do not point one way; there is no connexion, or a very slight one, between the enterprise of Tell and that of the men of Rutli. This is the princ.i.p.al, or rather sole, deficiency of the present work; a deficiency inseparable from the faithful display of the historical event, and far more than compensated by the deeper interest and the wider range of action and delineation, which a strict adherence to the facts allows. By the present mode of management, Alpine life in all its length and breadth is placed before us: from the feudal halls of Attinghausen to Ruodi the Fisher of the Luzern Lake, and Armgart,-

The poor wild-hay-man of the Rigiberg, Whose trade is, on the brow of the abyss, To mow the common gra.s.s from craggy shelves And nooks to which the cattle dare not climb,-

we stand as if in presence of the Swiss, beholding the achievement of their freedom in its minutest circ.u.mstances, with all its simplicity and unaffected greatness. The light of the poet's genius is upon the Four Forest Cantons, at the opening of the Fourteenth Century: the whole time and scene s.h.i.+ne as with the brightness, the truth, and more than the beauty, of reality.

The tragedy of _Tell_ wants unity of interest and of action; but in spite of this, it may justly claim the high dignity of ranking with the very best of Schiller's plays. Less comprehensive and ambitious than _Wallenstein_, less ethereal than the _Jungfrau_, it has a look of nature and substantial truth, which neither of its rivals can boast of. The feelings it inculcates and appeals to are those of universal human nature, and presented in their purest, most unpretending form.

There is no high-wrought sentiment, no poetic love. Tell loves his wife as honest men love their wives; and the episode of Bertha and Rudenz, though beautiful, is very brief, and without effect on the general result. It is delightful and salutary to the heart to wander among the scenes of _Tell_: all is lovely, yet all is real. Physical and moral grandeur are united; yet both are the unadorned grandeur of Nature. There are the lakes and green valleys beside us, the Schreckhorn, the Jungfrau, and their sister peaks, with their avalanches and their palaces of ice, all glowing in the southern sun; and dwelling among them are a race of manly husbandmen, heroic without ceasing to be homely, poetical without ceasing to be genuine.

We have dwelt the longer on this play, not only on account of its peculiar fascinations, but also-as it is our last! Schiller's faculties had never been more brilliant than at present: strong in mature age, in rare and varied accomplishments, he was now reaping the full fruit of his studious vigils; the rapidity with which he wrote such n.o.ble poems, at once betokened the exuberant riches of his mind and the prompt command which he enjoyed of them. Still all that he had done seemed but a fraction of his appointed task: a bold imagination was carrying him forward into distant untouched fields of thought and poetry, where triumphs yet more glorious were to be gained. Schemes of new writings, new kinds of writing, were budding in his fancy; he was yet, as he had ever been, surrounded by a mult.i.tude of projects, and full of ardour to labour in fulfilling them. But Schiller's labours and triumphs were drawing to a close. The invisible Messenger was already near, which overtakes alike the busy and the idle, which arrests man in the midst of his pleasures or his occupations, _and changes his countenance and sends him away_.

In 1804, having been at Berlin witnessing the exhibition of his _Wilhelm Tell_, he was seized, while returning, with a paroxysm of that malady which for many years had never wholly left him. The attack was fierce and violent; it brought him to the verge of the grave; but he escaped once more; was considered out of danger, and again resumed his poetical employments. Besides various translations from the French and Italian, he had sketched a tragedy on the history of Perkin Warbeck, and finished two acts of one on that of a kindred but more fortunate impostor, Dimitri of Russia. His mind, it would appear, was also frequently engaged with more solemn and sublime ideas. The universe of human thought he had now explored and enjoyed; but he seems to have found no permanent contentment in any of its provinces.

Many of his later poems indicate an incessant and increasing longing for some solution of the mystery of life; at times it is a gloomy resignation to the want and the despair of any. His ardent spirit could not satisfy itself with things seen, though gilded with all the glories of intellect and imagination; it soared away in search of other lands, looking with unutterable desire for some surer and brighter home beyond the horizon of this world. Death he had no reason to regard as probably a near event; but we easily perceive that the awful secrets connected with it had long been familiar to his contemplation. The veil which hid them from his eyes was now shortly, when he looked not for it, to be rent asunder.

The spring of 1805, which Schiller had antic.i.p.ated with no ordinary hopes of enjoyment and activity, came on in its course, cold, bleak, and stormy; and along with it his sickness returned. The help of physicians was vain; the unwearied services of trembling affection were vain: his disorder kept increasing; on the 9th of May it reached a crisis. Early in the morning of that day, he grew insensible, and by degrees delirious. Among his expressions, the word _Lichtenberg_ was frequently noticed; a word of no import; indicating, as some thought, the writer of that name, whose works he had lately been reading; according to others, the castle of Leuchtenberg, which, a few days before his sickness, he had been proposing to visit. The poet and the sage was soon to lie low; but his friends were spared the farther pain of seeing him depart in madness. The fiery canopy of physical suffering, which had bewildered and blinded his thinking faculties, was drawn aside; and the spirit of Schiller looked forth in its wonted serenity, once again before it pa.s.sed away forever. After noon his delirium abated; about four o'clock he fell into a soft sleep, from which he ere long awoke in full possession of his senses. Restored to consciousness in that hour, when the soul is cut off from human help, and man must front the King of Terrors on his own strength, Schiller did not faint or fail in this his last and sharpest trial. Feeling that his end was come, he addressed himself to meet it as became him; not with affected carelessness or superst.i.tious fear, but with the quiet unpretending manliness which had marked the tenor of his life.

Of his friends and family he took a touching but a tranquil farewell: he ordered that his funeral should be private, without pomp or parade.

Some one inquiring how he felt, he said "_Calmer and calmer_;" simple but memorable words, expressive of the mild heroism of the man. About six he sank into a deep sleep; once for a moment he looked up with a lively air, and said, "_Many things were growing plain and clear to him!_" Again he closed his eyes; and his sleep deepened and deepened, till it changed into the sleep from which there is no awakening; and all that remained of Schiller was a lifeless form, soon to be mingled with the clods of the valley.

The news of Schiller's death fell cold on many a heart: not in Germany alone, but over Europe, it was regarded as a public loss, by all who understood its meaning. In Weimar especially, the scene of his n.o.blest efforts, the abode of his chosen friends, the sensation it produced was deep and universal. The public places of amus.e.m.e.nt were shut; all ranks made haste to testify their feelings, to honour themselves and the deceased by tributes to his memory. It was Friday when Schiller died; his funeral was meant to be on Sunday; but the state of his remains made it necessary to proceed before. Doering thus describes the ceremony:

'According to his own directions, the bier was to be borne by private burghers of the city; but several young artists and students, out of reverence for the deceased, took it from them. It was between midnight and one in the morning, when they approached the churchyard. The overclouded heaven threatened rain. But as the bier was set down beside the grave, the clouds suddenly split asunder, and the moon, coming forth in peaceful clearness, threw her first rays on the coffin of the Departed. They lowered him into the grave; and the moon again retired behind her clouds. A fierce tempest of wind began to howl, as if it were reminding the bystanders of their great, irreparable loss.

At this moment who could have applied without emotion the poet's own words:

Alas, the ruddy morning tinges A silent, cold, sepulchral stone; And evening throws her crimson fringes But round his slumber dark and lone!'

So lived and so died Friedrich Schiller; a man on whose history other men will long dwell with a mingled feeling of reverence and love. Our humble record of his life and writings is drawing to an end: yet we still linger, loth to part with a spirit so dear to us. From the scanty and too much neglected field of his biography, a few slight facts and indications may still be gleaned; slight, but distinctive of him as an individual, and not to be despised in a penury so great and so unmerited.

Schiller's age was forty-five years and a few months when he died.[38]

Sickness had long wasted his form, which at no time could boast of faultless symmetry. He was tall and strongly boned; but unmuscular and lean: his body, it might be perceived, was wasting under the energy of a spirit too keen for it. His face was pale, the cheeks and temples rather hollow, the chin somewhat deep and slightly projecting, the nose irregularly aquiline, his hair inclined to auburn. Withal his countenance was attractive, and had a certain manly beauty. The lips were curved together in a line, expressing delicate and honest sensibility; a silent enthusiasm, impetuosity not unchecked by melancholy, gleamed in his softly kindled eyes and pale cheeks, and the brow was high and thoughtful. To judge from his portraits, Schiller's face expressed well the features of his mind: it is mildness tempering strength; fiery ardour s.h.i.+ning through the clouds of suffering and disappointment, deep but patiently endured. Pale was its proper tint; the cheeks and temples were best hollow. There are few faces that affect us more than Schiller's; it is at once meek, tender, unpretending, and heroic.

[Footnote 38: 'He left a widow, two sons, and two daughters,'

of whom we regret to say that we have learned nothing. 'Of his three sisters, the youngest died before him; the eldest is married to the Hofrath Reinwald, in Meinungen; the second to Herr Frankh, the clergyman of Meckmuhl, in Wurtemberg.'

_Doering._]

In his dress and manner, as in all things, he was plain and unaffected. Among strangers, something shy and retiring might occasionally be observed in him: in his own family, or among his select friends, he was kind-hearted, free, and gay as a little child.

In public, his external appearance had nothing in it to strike or attract. Of an unpresuming aspect, wearing plain apparel, his looks as he walked were constantly bent on the ground; so that frequently, as we are told, 'he failed to notice the salutation of a pa.s.sing acquaintance; but if he heard it, he would catch hastily at his hat, and give his cordial "_Guten Tag_."' Modesty, simplicity, a total want of all parade or affectation were conspicuous in him. These are the usual concomitants of true greatness, and serve to mitigate its splendour. Common things he did as a common man. His conduct in such matters was uncalculated, spontaneous; and therefore natural and pleasing.

Concerning his mental character, the greater part of what we had to say has been already said, in speaking of his works. The most cursory perusal of these will satisfy us that he had a mind of the highest order; grand by nature, and cultivated by the a.s.siduous study of a lifetime. It is not the predominating force of any one faculty that impresses us in Schiller; but the general force of all. Every page of his writings bears the stamp of internal vigour; new truths, new aspects of known truth, bold thought, happy imagery, lofty emotion.

Schiller would have been no common man, though he had altogether wanted the qualities peculiar to poets. His intellect is clear, deep, and comprehensive; its deductions, frequently elicited from numerous and distant premises, are presented under a magnificent aspect, in the shape of theorems, embracing an immense mult.i.tude of minor propositions. Yet it seems powerful and vast, rather than quick or keen; for Schiller is not notable for wit, though his fancy is ever prompt with its metaphors, ill.u.s.trations, comparisons, to decorate and point the perceptions of his reason. The earnestness of his temper farther disqualified him for this: his tendency was rather to adore the grand and the lofty than to despise the little and the mean.

Perhaps his greatest faculty was a half-poetical, half-philosophical imagination: a faculty teeming with magnificence and brilliancy; now adorning, or aiding to erect, a stately pyramid of scientific speculation; now brooding over the abysses of thought and feeling, till thoughts and feelings, else unutterable, were embodied in expressive forms, and palaces and landscapes glowing in ethereal beauty rose like exhalations from the bosom of the deep.

Combined and partly of kindred with these intellectual faculties was that vehemence of temperament which is necessary for their full development. Schiller's heart was at once fiery and tender; impetuous, soft, affectionate, his enthusiasm clothed the universe with grandeur, and sent his spirit forth to explore its secrets and mingle warmly in its interests. Thus poetry in Schiller was not one but many gifts. It was not the 'lean and flashy song' of an ear apt for harmony, combined with a maudlin sensibility, or a mere animal ferocity of pa.s.sion, and an imagination creative chiefly because unbridled: it was, what true poetry is always, the quintessence of general mental riches, the purified result of strong thought and conception, and of refined as well as powerful emotion. In his writings, we behold him a moralist, a philosopher, a man of universal knowledge: in each of these capacities he is great, but also in more; for all that he achieves in these is brightened and gilded with the touch of another quality; his maxims, his feelings, his opinions are transformed from the lifeless shape of didactic truths, into living shapes that address faculties far finer than the understanding.

The gifts by which such transformation is effected, the gift of pure, ardent, tender sensibility, joined to those of fancy and imagination, are perhaps not wholly denied to any man endowed with the power of reason; possessed in various degrees of strength, they add to the products of mere intellect corresponding tints of new attractiveness; in a degree great enough to be remarkable they const.i.tute a poet. Of this peculiar faculty how much had fallen to Schiller's lot, we need not attempt too minutely to explain. Without injuring his reputation, it may be admitted that, in general, his works exhibit rather extraordinary strength than extraordinary fineness or versatility. His power of dramatic imitation is perhaps never of the very highest, the Shakspearean kind; and in its best state, it is farther limited to a certain range of characters. It is with the grave, the earnest, the exalted, the affectionate, the mournful, that he succeeds: he is not dest.i.tute of humour, as his _Wallenstein's Camp_ will show, but neither is he rich in it; and for sprightly ridicule in any of its forms he has seldom shown either taste or talent. Chance princ.i.p.ally made the drama his department; he might have shone equally in many others. The vigorous and copious invention, the knowledge of life, of men and things, displayed in his theatrical pieces, might have been available in very different pursuits; frequently the charm of his works has little to distinguish it from the charm of intellectual and moral force in general; it is often the capacious thought, the vivid imagery, the impetuous feeling of the orator, rather than the wild pathos and capricious enchantment of the poet. Yet that he was capable of rising to the loftiest regions of poetry, no reader of his _Maid of Orleans_, his character of Thekla, or many other of his pieces, will hesitate to grant. Sometimes we suspect that it is the very grandeur of his general powers which prevents us from exclusively admiring his poetic genius. We are not lulled by the syren song of poetry, because her melodies are blended with the clearer, manlier tones of serious reason, and of honest though exalted feeling.

Much laborious discussion has been wasted in defining genius, particularly by the countrymen of Schiller, some of whom have narrowed the conditions of the term so far, as to find but three _men of genius_ since the world was created: Homer, Shakspeare, and Goethe!

From such rigid precision, applied to a matter in itself indefinite, there may be an apparent, but there is no real, increase of accuracy.

The creative power, the faculty not only of imitating given forms of being, but of imagining and representing new ones, which is here attributed with such distinctness and so sparingly, has been given by nature in complete perfection to no man, nor entirely denied to any.

The shades of it cannot be distinguished by so loose a scale as language. A definition of genius which excludes such a mind as Schiller's will scarcely be agreeable to philosophical correctness, and it will tend rather to lower than to exalt the dignity of the word. Possessing all the general mental faculties in their highest degree of strength, an intellect ever active, vast, powerful, far-sighted; an imagination never weary of producing grand or beautiful forms; a heart of the n.o.blest temper, sympathies comprehensive yet ardent, feelings vehement, impetuous, yet full of love and kindliness and tender pity; conscious of the rapid and fervid exercise of all these powers within him, and able farther to present their products refined and harmonised, and 'married to immortal verse,' Schiller may or may not be called a man of genius by his critics; but his mind in either case will remain one of the most enviable which can fall to the share of a mortal.

In a poet worthy of that name, the powers of the intellect are indissolubly interwoven with the moral feelings, and the exercise of his art depends not more on the perfection of the one than of the other. The poet, who does not feel n.o.bly and justly, as well as pa.s.sionately, will never permanently succeed in making others feel: the forms of error and falseness, infinite in number, are transitory in duration; truth, of thought and sentiment, but chiefly of sentiment, truth alone is eternal and unchangeable. But, happily, a delight in the products of reason and imagination can scarcely ever be divided from, at least, a love for virtue and genuine greatness. Our feelings are in favour of heroism; we _wish_ to be pure and perfect.

Happy he whose resolutions are so strong, or whose temptations are so weak, that he can convert these feelings into action! The severest pang, of which a proud and sensitive nature can be conscious, is the perception of its own debas.e.m.e.nt. The sources of misery in life are many: vice is one of the surest. Any human creature, tarnished with guilt, will in general be wretched; a man of genius in that case will be doubly so, for his ideas of excellence are higher, his sense of failure is more keen. In such miseries, Schiller had no share. The sentiments, which animated his poetry, were converted into principles of conduct; his actions were as blameless as his writings were pure.

With his simple and high predilections, with his strong devotedness to a n.o.ble cause, he contrived to steer through life, unsullied by its meanness, unsubdued by any of its difficulties or allurements. With the world, in fact, he had not much to do; without effort, he dwelt apart from it; its prizes were not the wealth which could enrich him.

His great, almost his single aim, was to unfold his spiritual faculties, to study and contemplate and improve their intellectual creations. Bent upon this, with the steadfastness of an apostle, the more sordid temptations of the world pa.s.sed harmlessly over him.

Wis.h.i.+ng not to seem, but to be, envy was a feeling of which he knew but little, even before he rose above its level. Wealth or rank he regarded as a means, not an end; his own humble fortune supplying him with all the essential conveniences of life, the world had nothing more that he chose to covet, nothing more that it could give him. He was not rich; but his habits were simple, and, except by reason of his sickness and its consequences, unexpensive. At all times he was far above the meanness of self-interest, particularly in its meanest shape, a love of money. Doering tells us, that a bookseller having travelled from a distance expressly to offer him a higher price for the copyright of _Wallenstein_, at that time in the press, and for which he was on terms with Cotta of Tubingen, Schiller answering, "Cotta deals steadily with me, and I with him," sent away this new merchant, without even the hope of a future bargain. The anecdote is small; but it seems to paint the integrity of the man, careless of pecuniary concerns in comparison with the strictest uprightness in his conduct. In fact, his real wealth lay in being able to pursue his darling studies, and to live in the suns.h.i.+ne of friends.h.i.+p and domestic love. This he had always longed for; this he at last enjoyed.

And though sickness and many vexations annoyed him, the intrinsic excellence of his nature chequered the darkest portions of their gloom with an effulgence derived from himself. The ardour of his feelings, tempered by benevolence, was equable and placid: his temper, though overflowing with generous warmth, seems almost never to have shown any hastiness or anger. To all men he was humane and sympathising; among his friends, open-hearted, generous, helpful; in the circle of his family, kind, tender, sportive. And what gave an especial charm to all this was, the un.o.btrusiveness with which it was attended: there was no parade, no display, no particle of affectation; rating and conducting himself simply as an honest man and citizen, he became greater by forgetting that he was great.

Such were the prevailing habits of Schiller. That in the mild and beautiful brilliancy of their aspect there must have been some specks and imperfections, the common lot of poor humanity, who knows not?

That these were small and transient, we judge from the circ.u.mstance that scarcely any hint of them has reached us: nor are we anxious to obtain a full description of them. For practical uses, we can sufficiently conjecture what they were; and the heart desires not to dwell upon them. This man is pa.s.sed away from our dim and tarnished world: let him have the benefit of departed friends; let him be transfigured in our thoughts, and s.h.i.+ne there without the little blemishes that clung to him in life.

Schiller gives a fine example of the German character: he has all its good qualities in a high degree, with very few of its defects. We trace in him all that downrightness and simplicity, that sincerity of heart and mind, for which the Germans are remarked; their enthusiasm, their patient, long-continuing, earnest devotedness; their imagination, delighting in the lofty and magnificent; their intellect, rising into refined abstractions, stretching itself into comprehensive generalisations. But the excesses to which such a character is liable are, in him, prevented by a firm and watchful sense of propriety. His simplicity never degenerates into inept.i.tude or insipidity; his enthusiasm must be based on reason; he rarely suffers his love of the vast to betray him into toleration of the vague. The boy Schiller was extravagant; but the man admits no bombast in his style, no inflation in his thoughts or actions. He is the poet of truth; our understandings and consciences are satisfied, while our hearts and imaginations are moved. His fictions are emphatically nature copied and embellished; his sentiments are refined and touchingly beautiful, but they are likewise manly and correct; they exalt and inspire, but they do not mislead. Above all, he has no cant; in any of its thousand branches, ridiculous or hateful, none. He does not distort his character or genius into shapes, which he thinks more becoming than their natural one: he does not hang out principles which are not his, or harbour beloved persuasions which he half or wholly knows to be false. He did not often speak of wholesome prejudices; he did not 'embrace the Roman Catholic religion because it was the grandest and most comfortable.' Truth with Schiller, or what seemed such, was an indispensable requisite: if he but suspected an opinion to be false, however dear it may have been, he seems to have examined it with rigid scrutiny, and if he found it guilty, to have plucked it out, and resolutely cast it forth. The sacrifice might cause him pain, permanent pain; real damage, he imagined, it could hardly cause him.

It is irksome and dangerous to travel in the dark; but better so, than with an _Ignis-fatuus_ to guide us. Considering the warmth of his sensibilities, Schiller's merit on this point is greater than we might at first suppose. For a man with whom intellect is the ruling or exclusive faculty, whose sympathies, loves, hatreds, are comparatively coa.r.s.e and dull, it may be easy to avoid this half-wilful entertainment of error, and this cant which is the consequence and sign of it. But for a man of keen tastes, a large fund of innate probity is necessary to prevent his aping the excellence which he loves so much, yet is unable to attain. Among persons of the latter sort, it is extremely rare to meet with one completely unaffected.

Schiller's other n.o.ble qualities would not have justice, did we neglect to notice this, the truest proof of their n.o.bility. Honest, unpretending, manly simplicity pervades all parts of his character and genius and habits of life. We not only admire him, we trust him and love him.

'The character of child-like simplicity,' he has himself observed,[39]

'which genius impresses on its works, it shows also in its private life and manners. It is bashful, for nature is ever so; but it is not prudish, for only corruption is prudish. It is clear-sighted, for nature can never be the contrary; but it is not cunning, for this only art can be. It is faithful to its character and inclinations; but not so much because it is directed by principles, as because after all vibrations nature constantly reverts to her original position, constantly renews her primitive demand. It is modest, nay timid, for genius is always a secret to itself; but it is not anxious, for it knows not the dangers of the way which it travels. Of the private habits of the persons who have been peculiarly distinguished by their genius, our information is small; but the little that has been recorded for us of the chief of them,-of Sophocles, Archimedes, Hippocrates; and in modern times, of Dante and Ta.s.so, of Rafaelle, Albrecht Durer, Cervantes, Shakspeare, Fielding, and others,-confirms this observation.' Schiller himself confirms it; perhaps more strongly than most of the examples here adduced. No man ever wore his faculties more meekly, or performed great works with less consciousness of their greatness. Abstracted from the contemplation of himself, his eye was turned upon the objects of his labour, and he pursued them with the eagerness, the entireness, the spontaneous sincerity, of a boy pursuing sport. Hence this 'child-like simplicity,' the last perfection of his other excellencies. His was a mighty spirit unheedful of its might. He walked the earth in calm power: 'the staff of his spear was like a weaver's beam;' but he wielded it like a wand.

[Footnote 39: _Naive und sentimentalische Dichtung._]