MARY
advances
hastily from behind some trees.
Friedrich Schiller
Oh, of Infinity, thou
Giant daughter!
Mirror God, as in water!
Tempest, oh, let thine organ-peal
God to the reasoning worm reveal!
Hark! it peals--how the rocks quiver beneath its growls
Zeboath's glorious name, wildly the hurricane howls!
Graving the while
With the lightning's style
"Creatures, do ye acknowledge me? "--
Spare us, Lord! We acknowledge Thee!
DIALOGUE.
A.
Hark, neighbor, for one moment stay!
Herr Doctor Scalpel, so they say,
Has got off safe and sound;
At Paris I your uncle found
Fast to a horse's crupper bound,--
Yet Scalpel made a king his prey.
B.
Oh, dear me, no! A real misnomer!
The fact is, he has his diploma;
The other one has not.
A.
Eh? What? Has a diploma?
In Suabia may such things be got?
EPITAPH
ON A CERTAIN PHYSIOGNOMIST.
On every nose he rightly read
What intellects were in the head
And yet--that he was not the one
By whom God meant it to be done,
This on his own he never read.
TRUST IN IMMORTALITY.
The dead has risen here, to live through endless ages;
This I with firmness trust and know.
I was first led to guess it by the sages,
The knaves convince me that 'tis really so.
APPENDIX OF POEMS ETC. IN SCHILLER'S DRAMATIC WORKS.
APPENDIX.
The following variations appear in the first two verses of Hector's
Farewell, as given in The Robbers, act ii. scene 2.
ANDROMACHE.
Wilt thou, Hector, leave me? --leave me weeping,
Where Achilles' murderous blade is heaping
Bloody offerings on Patroclus' grave?
Who, alas, will teach thine infant truly
Spears to hurl, the gods to honor duly,
When thou'rt buried 'neath dark Xanthus' wave?
HECTOR.
Dearest wife, go,--fetch my death-spear glancing,
Let me join the battle-dance entrancing,
For my shoulders bear the weight of Troy!
Heaven will be our Astyanax' protector!
Falling as his country's savior, Hector
Soon will greet thee in the realms of joy.
The following additional verse is found in Amalia's Song, as sung in The
Robbers, act iii. scene 1. It is introduced between the first and second
verses, as they appear in poems.
His embrace--what maddening rapture bound us!
Bosom throbbed 'gainst bosom with wild might;
Mouth and ear were chained--night reigned around us--
And the spirit winged toward heaven its flight.
From The Robbers, act iv. scene 5.
CHORUS OF ROBBERS.
What so good for banishing sorrow
As women, theft, and bloody affray?
We must dance in the air to-morrow,
Therefore let's be right merry to-day!
A free and jovial life we've led,
Ever since we began it.
Beneath the tree we make our bed,
We ply our task when the storm's o'erhead
And deem the moon our planet.
The fellow we swear by is Mercury,
A capital hand at our trade is he.
To-day we become the guests of a priest,
A rich farmer to-morrow must feed us;
And as for the future, we care not the least,
But leave it to heaven to heed us.
And when our throats with a vintage rare
We've long enough been supplying,
Fresh courage and strength we drink in there,
And with the evil one friendship swear,
Who down in hell is frying.
The groans o'er fathers reft of breath,
The sorrowing mothers' cry of death,
Deserted brides' sad sobs and tears.
Are sweetest music to our ears.
Ha! when under the axe each one quivering lies,
When they bellow like calves, and fall round us like flies,
Naught gives such pleasure to our sight,
It fills our ears with wild delight.
And when arrives the fatal day
The devil straight may fetch us!
Our fee we get without delay--
They instantly Jack-Ketch us.
One draught upon the road of liquor bright and clear,
And hip! hip! hip; hurrah! we're seen no longer here!
From The Robbers, act iv. scene 5.
MOOR'S SONG.
BRUTUS.
Ye are welcome, peaceful realms of light!
Oh, receive Rome's last-surviving son!
From Philippi, from the murderous fight,
Come I now, my race of sorrow run. --
Cassius, where art thou? --Rome overthrown!
All my brethren's loving band destroyed!
Safety find I at death's door alone,
And the world to Brutus is a void!
CAESAR.
Who now, with the ne'er-subdued-one's tread,
Hither from yon rocks makes haste to come? --
Ha! if by no vision I'm misled,
'Tis the footstep of a child of Rome. --
Son of Tiber--whence dost thou appear?
Stands the seven-hilled city as of yore
Oft her orphaned lot awakes my tear,
For alas, her Caesar is no more?
BRUTUS.
Ha! thou with the three-and-twenty wounds!
Who hath, dead one, summoned thee to light?
Back to gaping Orcus' fearful bonds,
Haughty mourner! triumph not to-night!
On Philippi's iron altar, lo!
Reeks now freedom's final victim's blood;
Rome o'er Brutus' bier feels her death-throe,--
He seeks Minos. --Back to thy dark flood!
CAESAR.
Oh, the death-stroke Brutus' sword then hurled!
Thou, too--Brutus--thou? Could this thing be?
Son! It was thy father! --Son! the world
Would have fallen heritage to thee!
Go--'mongst Romans thou art deemed immortal,
For thy steel hath pierced thy father's breast.
Go--and shout it even to yon portal:
"Brutus is 'mongst Romans deemed immortal,
For his steel hath pierced his father's breast. "
Go--thou knowest now what on Lethe's strand
Made me a prisoner stand. --
Now, grim steersman, push thy bark from land!
BRUTUS.
Father, stay! --In all earth's realms so fair,
It hath been my lot to know but one,
Who with mighty Caesar could compare;
And of yore thou called'st him thy son.
None but Caesar could a Rome o'erthrow,
Brutus only made great Caesar fear;
Where lives Brutus, Caesar's blood must flow;
If thy path lies yonder, mine is here.
From Wallenstein's Camp, scene 1.
RECRUIT'S SONG.
How sweet the wild sound
Of drum and of fife!
To roam o'er earth's round,
Lead a wandering life,
With steed trained aright,
And bold for the fight,
With a sword by the side,
To rove far and wide,--
Quick, nimble, and free
As the finch that we see
On bushes and trees,
Or braving the breeze,--
Huzza, then! the Friedlander's banner for me!
From Wallenstein's Camp, scene the last.
SECOND CUIRASSIER sings.
Up, up, my brave comrades! to horse! to horse!
Let us haste to the field and to freedom!
To the field, for 'tis there that is proved our hearts' force,
'Tis there that in earnest we need 'em!
None other can there our places supply,
Each must stand alone,--on himself must rely.
CHORUS.
None other can there our places supply,
Each must stand alone,--on himself must rely.
DRAGOON.
Now freedom appears from the world to have flown,
None but lords and their vassals one traces;
While falsehood and cunning are ruling alone
O'er the living cowardly races.
The man who can look upon death without fear--
The soldier,--is now the sole freeman left here.
CHORUS.
The man who can look upon death without fear--
The soldier,--is now the sole freeman left here.
FIRST YAGER.
The cares of this life, he casts them away,
Untroubled by fear or by sorrow;
He rides to his fate with a countenance gay,
And finds it to-day or to-morrow;
And if 'tis to-morrow, to-day we'll employ
To drink full deep of the goblet of joy,
CHORUS.
And if 'tis to-morrow, to-day we'll employ
To drink full deep of the goblet of joy.
[They refill their glasses and drink.
CAVALRY SERGEANT.
The skies o'er him shower his lot filled with mirth,
He gains, without toil, its full measure;
The peasant, who grubs in the womb of the earth,
Believes that he'll find there the treasure,
Through lifetime he shovels and digs like a slave,
And digs--till at length he has dug his own grave.
CHORUS.
Through lifetime he shovels and digs like a slave,
And digs--till at length he has dug his own grave.
FIRST YAGER.
The horseman, as well as his swift-footed beast,
Are guests by whom all are affrighted,
When glimmer the lamps at the wedding feast,
In the banquet he joins uninvited;
He woos not long, and with gold he ne'er buys,
But carries by storm love's blissful prize.
CHORUS.
He woos not long, and with gold he ne'er buys,
But carries by storm love's blissful prize.
SECOND CUIRASSIER.
Why weeps the maiden? Why sorrows she so?
Let me hence, let me hence, girl, I pray thee?
The soldier on earth no sure quarters can know,
With true love he ne'er can repay thee.
Fate hurries him onward with fury blind,
His peace he never can leave behind.
CHORUS.
Fate hurries him onward with fury blind,
His peace he can never leave behind,
FIRST YAGER.
(Taking his two neighbors by the hand. The rest do the same,
forming a large semi-circle. )
Away, then, my comrades, our chargers let's mount!
In the battle the bosom bounds lightly!
Youth boils, and life's goblet still foams at the fount,
Away! while the spirit glows brightly!
Unless ye have courage your life to stake,
That life ye never your own can make!
CHORUS.
Unless ye have courage your life to stake,
That life ye never your own can make!
From William Tell, act i. scene 1.
SCENE--The high rocky shore of the Lake of Lucerne, opposite Schwytz.
The lake forms an inlet in the land; a cottage is near the shore;
a fisher-boy is rowing in a boat. Beyond the lake are seen the green
pastures, the villages and farms of Schwytz glowing in the sunshine.
On the left of the spectator are the peaks of the Hacken, enveloped in
clouds; on his right, in the distance, are seen the glaciers. Before
the curtain rises the RANZ DES VACHES, and the musical sound of the
cattle-bells are heard, and continue also for some time after the scene
opens.
FISHER-BOY (sings in his boat).
AIR--Ranz des Vaches.
Bright smiles the lake, as it woos to its deep,--
A boy on its margin of green lies asleep;
Then hears he a strain,
Like the flute's gentle note,
Sweet as voices of angels
In Eden that float.
And when he awakens, with ecstasy blest,
The waters are playing all over his breast,
From the depths calls a voice
"Dearest child, with me go!
I lure down the sleeper,
I draw him below. "
HERDSMAN (on the mountain).
AIR--Variation of the Ranz des Vaches.
Ye meadows, farewell!
Ye pastures so glowing!
The herdsman is going,
For summer has fled!
We depart to the mountain; we'll come back again,
When the cuckoo is calling,--when wakens the strain,--
When the earth is tricked out with her flowers so gay,
When the stream sparkles bright in the sweet month of May.
Ye meadows, farewell!
Ye pastures so glowing!
The herdsman is going,
For summer has fled!
CHAMOIS-HUNTER (appearing on the top of a rock).
AIR--Second Variation of the Ranz des Vaches.
O'er the heights growls the thunder, while quivers the bridge,
Yet no fear feels the hunter, though dizzy the ridge;
He strides on undaunted,
O'er plains icy-bound,
Where spring never blossoms,
Nor verdure is found;
And, a broad sea of mist lying under his feet,
Man's dwellings his vision no longer can greet;
The world he but views
When the clouds broken are--
With its pastures so green,
Through the vapor afar.
From William Tell, act iii. scene 1.
WALTER sings.
Bow and arrow bearing,
Over hills and streams
Moves the hunter daring,
Soon as daylight gleams.
As all flying creatures
Own the eagle's sway,
So the hunter, Nature's
Mounts and crags obey.
Over space he reigneth,
And he makes his prize
All his bolt attaineth,
All that creeps or flies.
From William Tell, act iv. scene 3.
CHORUS OF BROTHERS OF MERCY.
Death comes to man with hasty stride,
No respite is to him e'er given;
He's stricken down in manhood's pride,
E'en in mid race from earth he's driven.
Prepared, or not, to go from here,
Before his Judge he must appear!
From Turandot, act ii. scene 4.
RIDDLE.
The tree whereon decay
All those from mortals sprung,--
Full old, and yet whose spray
Is ever green and young;
To catch the light, it rolls
Each leaf upon one side;
The other, black as coals,
The sun has ne'er descried.
It places on new rings
As often as it blows;
The age, too, of all things
To mortal gaze it shows.
Upon its bark so green
A name oft meets the eye,
Yet 'tis no longer seen,
When it grows old and dry.
This tree--what can it mean?
I wait for thy reply. [70]
From Mary Stuart, act iii, scene 1.
SCENE--A Park.
MARY advances hastily from behind some trees. HANNAH
KENNEDY follows her slowly.
MARY.
Let me my newly-won liberty taste!
Let me rejoice as a child once again!
And, as on pinions, with airy foot hast
Over the tapestried green of the plain!
Have I escaped from my prison so drear?
Shall I no more in my sad dungeon pine?
Let me in long and in thirsty draughts here
Drink in the breezes, so free, so divine
Thanks, thanks, ye trees, in smiling verdure dressed,
In that ye veil my prison-walls from sight!
I'll dream that I am free and blest
Why should I waken from a dream so bright?
Do not the spacious heavens encompass me?
Behold! my gaze, unshackled, free,
Pierces with joy the trackless realms of light!
There, where the gray-tinged hills of mist project,
My kingdom's boundaries begin;
Yon clouds, that tow'rd the south their course direct,
France's far-distant ocean seek to win.
Swiftly-flying clouds, hardy sailors through air!
Mortal hath roamed with ye, sailed with ye, ne'er!
Greetings of love to my youthful home bear!
I am a prisoner, I am in chains,
Ah, not a herald, save ye, now remains,
Free through the air hath your path ever been,
Ye are not subject to England's proud queen!
Yonder's a fisherman trimming his boat.
E'en that frail skiff from all danger might tear me,
And to the dwellings of friends it might bear me.
Scarcely his earnings can keep life afloat.
Richly with treasures his lap I'd heap over,--
Oh! what a draught should reward him to-day!
Fortune held fast in his nets he'd discover,
If in his bark he would take me away!
Hear'st thou the horn of the hunter resound,
Wakening the echo through forest and plain?
Ah, on my spirited courser to bound!
Once more to join in the mirth-stirring train!
Hark! how the dearly-loved tones come again!
Blissful, yet sad, the remembrance they wake;
Oft have they fallen with joy on mine ear,
When in the highlands the bugle rang clear,
Rousing the chase over mountain and brake.
From The Maid of Orleans, Prologue, scene 4.
JOAN OF ARC (soliloquizing).
Farewell, ye mountains, and ye pastures dear,
Ye still and happy valleys, fare ye well!
No longer may Joan's footsteps linger here,
Joan bids ye now a long, a last farewell!
Ye meadows that I watered, and each bush
Set by my hands, ne'er may your verdure fail!
Farewell, ye grots, ye springs that cooling gush
Thou echo, blissful voice of this sweet vale,
So wont to give me back an answering strain,--
Joan must depart, and ne'er return again!
Ye haunts of all my silent joys of old,
I leave ye now behind forevermore!
Disperse, ye lambs, far o'er the trackless wold!
She now hath gone who tended you of yore!
I must away to guard another fold,
On yonder field of danger, stained with gore.
Thus am I bidden by a spirit's tone
'Tis no vain earthly longing drives me on.
For He who erst to Moses on the height
Of Horeb, in the fiery bush came down,
And bade him stand in haughty Pharaoh's sight,
He who made choice of Jesse's pious son,
The shepherd, as his champion in the fight,--
He who to shepherds grace hath ever shown,
He thus addressed me from this lofty tree:
"Go hence! On earth my witness thou shalt be!
"In rugged brass, then, clothe thy members now,
In steel thy gentle bosom must be dressed!
No mortal love thy heart must e'er allow,
With earthly passion's sinful flame possessed.
Ne'er will the bridal wreath adorn thy brow,
No darling infant blossom on thy breast;
Yet thou with warlike honors shalt be laden,
Raising thee high above each earthly maiden.
"For when the bravest in the fight despair,
When France appears to wait her final blow,
Then thou my holy oriflamme must bear;
And, as the ripened corn the reapers mow,
Hew down the conqueror as he triumphs there;
His fortune's wheel thou thus wilt overthrow,
To France's hero-sons salvation bring,
Deliver Rheims once more, and crown thy king! "
The Lord hath promised to send down a sign
A helmet he hath sent, it comes from Him,--
His sword endows mine arm with strength divine,
I feel the courage of the cherubim;
To join the battle-turmoil how I pine!
A raging tempest thrills through every limb;
The summons to the field bursts on mine ear,
My charger paws the ground, the trump rings clear.
From The Maid of Orleans, act iv. scene 1.
SCENE--A hall prepared for a festival. The pillars are covered with
festoons of flowers; flutes and hautboys are heard behind the scene.
JOAN OF ARC (soliloquizing).
Each weapon rests, war's tumults cease to sound,
While dance and song succeed the bloody fray;
Through every street the merry footsteps bound,
Altar and church are clad in bright array,
And gates of branches green arise around,
Over the columns twine the garlands gay;
Rheims cannot hold the ever-swelling train
That seeks the nation-festival to gain.
All with one joyous feeling are elate,
One single thought is thrilling every breast;
What, until now, was severed by fierce hate,
Is by the general rapture truly blessed.
By each who called this land his parent-state,
The name of Frenchman proudly is confessed;
The glory is revived of olden days,
And to her regal son France homage pays.
Yet I who have achieved this work of pride,
I cannot share the rapture felt by all:
My heart is changed, my heart is turned aside,
It shuns the splendor of this festival;
'Tis in the British camp it seeks to hide,--
'Tis on the foe my yearning glances fall;
And from the joyous circle I must steal,
My bosom's crime o'erpowering to conceal.
Who? I? What! in my bosom chaste
Can mortal's image have a seat?
This heart, by heavenly glory graced,--
Dares it with earthly love to beat?
The saviour of my country, I,--
The champion of the Lord Most High,
Own for my country's foe a flame--
To the chaste sun my guilt proclaim,
And not be crushed beneath my shame?
(The music behind the scene changes into a soft, melting melody. )
Woe! oh woe! what strains enthralling!
How bewildering to mine ear
Each his voice beloved recalling,
Charming up his image dear!
Would that battle-tempests bound me!
Would that spears were whizzing round me
In the hotly-raging strife!
Could my courage find fresh life!
How those tones, those voices blest
Coil around my bosom burning
All the strength within my breast
Melting into tender yearning,
Into tears of sadness turning!
(The flutes are again heard--she falls into a silent melancholy. )
Gentle crook! oh that I never
For the sword had bartered thee!
Sacred oak! why didst thou ever
From thy branches speak to me?
Would that thou to me in splendor,
Queen of heaven, hadst ne'er come down!
Take--all claim I must surrender,--
Take, oh take away thy crown!
Ah, I open saw yon heaven,
Saw the features of the blest!
Yet to earth my hopes are riven,
In the skies they ne'er can rest!
Wherefore make me ply with ardor
This vocation, terror-fraught?
Would this heart were rendered harder.
That by heaven to feel was taught!
To proclaim Thy might sublime
Those select, who, free from crime,
In Thy lasting mansions stand;
Send Thou forth Thy spirit-band,
The immortal, and the pure,
Feelingless, from tears secure
Never choose a maiden fair,
Shepherdess' weak spirit ne'er!
Kings' dissensions wherefore dread I,
Why the fortune of the fight?
Guilelessly my lambs once fed I
On the silent mountain-height.
Yet Thou into life didst bear me,
To the halls where monarchs throne.
In the toils of guilt to snare me--
Ah, the choice was not mine own!
FOOTNOTES.
[1] The allusion in the original is to the seemingly magical power
possessed by a Jew conjuror, named Philadelphia, which would not be
understood in English.
[2] This most exquisite love poem is founded on the platonic notion, that
souls were united in a pre-existent state, that love is the yearning
of the spirit to reunite with the spirit with which it formerly made
one--and which it discovers on earth. The idea has often been made
subservient to poetry, but never with so earnest and elaborate a beauty.
[3] "Und Empfindung soll mein Richtschwert seyn. " A line of great
vigor in the original, but which, if literally translated, would seem
extravagant in English.
[4] Joseph, in the original.
[5] The youth's name was John Christian Weckherlin.
[6] Venus.
[7] Originally Laura, this having been one of the "Laura-Poems," as
the Germans call them of which so many appeared in the Anthology (see
Preface). English readers will probably not think that the change is
for the better.
[8] Tityus.
[9] This concluding and fine strophe is omitted in the later editions
of Schiller's "Poems. "
[10] Hercules who recovered from the Shades Alcestis, after she had
given her own life to save her husband, Admetus. Alcestis, in the hands
of Euripides (that woman-hater as he is called! ) becomes the loveliest
female creation in the Greek drama.
[11] i. e. Castor and Pollux are transferred to the stars, Hercules to
Olympus, for their deeds on earth.
[12] Carlyle's Miscellanies, vol. iii, p. 47.
[13] Literally "Nierensteiner,"--a wine not much known in England,
and scarcely--according to our experience--worth the regrets of its
respectable owner.
[14] In Schiller the eight long lines that conclude each stanza of
this charming love-poem, instead of rhyming alternately as in the
translation, chime somewhat to the tune of Byron's Don Juan--six lines
rhyming with each other, and the two last forming a separate couplet.
In other respects the translation, it is hoped, is sufficiently close
and literal.
[15] The peach.
[16] Sung in "The Parasite," a comedy which Schiller translated from
Picard--much the best comedy, by the way, that Picard ever wrote.
[17] The idea diffused by the translator through this and the preceding
stanza is more forcibly condensed by Schiller in four lines.
[18] "And ere a man hath power to say, "behold,"
The jaws of Darkness do devour it up,
So quick bright things come to confusion. "--
SHAKESPEARE.
[19] The three following ballads, in which Switzerland is the scene,
betray their origin in Schiller's studies for the drama of William Tell.
[20] The avalanche--the equivoque of the original, turning on the Swiss
word Lawine, it is impossible to render intelligible to the English
reader. The giants in the preceding line are the rocks that overhang the
pass which winds now to the right, now to the left, of a roaring stream.
[21] The Devil's Bridge. The Land of Delight (called in Tell "a serene
valley of joy") to which the dreary portal (in Tell the black rock gate)
leads, is the Urse Vale. The four rivers, in the next stanza, are the
Reus, the Rhine, the Tessin, and the Rhone.
[22] The everlasting glacier. See William Tell, act v, scene 2.
[23] This has been paraphrased by Coleridge.
[24] Ajax the Less.
[25] Ulysses.
[26] Achilles.
[27] Diomed.
[28] Cassandra.
[29] It may be scarcely necessary to treat, however briefly, of the
mythological legend on which this exquisite elegy is founded; yet we
venture to do so rather than that the forgetfulness of the reader should
militate against his enjoyment of the poem. Proserpine, according to the
Homeride (for the story is not without variations), when gathering
flowers with the Ocean-Nymphs, is carried off by Aidoneus, or Pluto. Her
mother, Ceres, wanders over the earth for her in vain, and refuses to
return to heaven till her daughter is restored to her. Finally, Jupiter
commissions Hermes to persuade Pluto to render up his bride, who rejoins
Ceres at Eleusis. Unfortunately she has swallowed a pomegranate seed in
the Shades below, and is thus mysteriously doomed to spend one-third of
the year with her husband in Hades, though for the remainder of the year
she is permitted to dwell with Ceres and the gods. This is one of the
very few mythological fables of Greece which can be safely interpreted
into an allegory. Proserpine denotes the seed-corn one-third of the year
below the earth; two-thirds (that is, dating from the appearance of the
ear) above it. Schiller has treated this story with admirable and
artistic beauty; and, by an alteration in its symbolical character has
preserved the pathos of the external narrative, and heightened the beauty
of the interior meaning--associating the productive principle of the
earth with the immortality of the soul. Proserpine here is not the
symbol of the buried seed, but the buried seed is the symbol of her--that
is, of the dead. The exquisite feeling of this poem consoled Schiller's
friend, Sophia La Roche, in her grief for her son's death.
[30] What a beautiful vindication of the shortness of human life!
[31] The corn-flower.
[32] For this story, see Herodotus, book iii, sections 40-43.
[33] President of Council of Five Hundred.
[34] We have already seen in "The Ring of Polycrates," Schiller's mode
of dealing with classical subjects. In the poems that follow, derived
from similar sources, the same spirit is maintained. In spite of
Humboldt, we venture to think that Schiller certainly does not narrate
Greek legends in the spirit of an ancient Greek. The Gothic sentiment,
in its ethical depth and mournful tenderness, more or less pervades all
that he translates from classic fable into modern pathos. The grief of
Hero in the ballad subjoined, touches closely on the lamentations of
Thekla, in "Wallenstein. " The Complaint of Ceres, embodies Christian
grief and Christian hope. The Trojan Cassandra expresses the moral of
the Northern Faust. Even the "Victory Feast" changes the whole spirit of
Homer, on whom it is founded, by the introduction of the ethical
sentiment at the close, borrowed, as a modern would apply what he so
borrows from the moralizing Horace. Nothing can be more foreign to the
Hellenic genius, (if we except the very disputable intention of the
"Prometheus"), than the interior and typical design which usually exalts
every conception in Schiller. But it is perfectly open to the modern
poet to treat of ancient legends in the modern spirit. Though he selects
a Greek story, he is still a modern who narrates--he can never make
himself a Greek any more than Aeschylus in the "Persae" could make
himself a Persian. But this is still more the privilege of the poet in
narrative, or lyrical composition, than in the drama, for in the former
he does not abandon his identity, as in the latter he must--yet even this
must has its limits. Shakspeare's wonderful power of self-transfusion has
no doubt enabled him, in his plays from Roman history, to animate his
characters with much of Roman life. But no one can maintain that a Roman
would ever have written plays in the least resembling "Julius Caesar," or
"Coriolanus," or "Antony and Cleopatra. " The portraits may be Roman, but
they are painted in the manner of the Gothic school. The spirit of
antiquity is only in them, inasmuch as the representation of human
nature, under certain circumstances, is accurately, though loosely
outlined. When the poet raises the dead, it is not to restore, but to
remodel.
[35] This notes the time of year--not the time of day--viz. , about the
23d of September. --HOFFMEISTER.
[36] Hecate as the mysterious goddess of Nature. --HOFFMEISTER.
[37] This story, the heroes of which are more properly known to us under
the names of Damon and Pythias (or Phintias), Schiller took from Hyginus
in whom the friends are called Moerus and Selinuntius. Schiller has
somewhat amplified the incidents in the original, in which the delay of
Moerus is occasioned only by the swollen stream--the other hindrances are
of Schiller's invention. The subject, like "The Ring of Polycrates,"
does not admit of that rich poetry of description with which our author
usually adorns some single passage in his narratives. The poetic spirit
is rather shown in the terse brevity with which picture after picture is
not only sketched but finished--and in the great thought at the close.
Still it is not one of Schiller's best ballads. His additions to the
original story are not happy. The incident of the robbers is commonplace
and poor. The delay occasioned by the thirst of Moerus is clearly open
to Goethe's objection (an objection showing very nice perception of
nature)--that extreme thirst was not likely to happen to a man who had
lately passed through a stream on a rainy day, and whose clothes must
have been saturated with moisture--nor in the traveller's preoccupied
state of mind, is it probable that he would have so much felt the mere
physical want. With less reason has it been urged by other critics, that
the sudden relenting of the tyrant is contrary to his character. The
tyrant here has no individual character at all. He is the mere
personation of disbelief in truth and love--which the spectacle of
sublime self-abnegation at once converts. In this idea lies the deep
philosophical truth, which redeems all the defects of the piece--for
poetry, in its highest form, is merely this--"Truth made beautiful. "
[38] The somewhat irregular metre of the original has been preserved
in this ballad, as in other poems; although the perfect anapaestic metre
is perhaps more familiar to the English ear.
[39] "Die Gestalt"--Form, the Platonic Archetype.
[40] More literally translated thus by the author of the article on
Schiller in the Foreign and Colonial Review, July, 1843--
"Thence all witnesses forever banished
Of poor human nakedness. "
[41] The law, i. e. , the Kantian ideal of truth and virtue. This stanza
and the next embody, perhaps with some exaggeration, the Kantian doctrine
of morality.
[42] "But in God's sight submission is command. " "Jonah," by the Rev.
F. Hodgson. Quoted in Foreign and Colonial Review, July, 1843: Art.
Schiller, p. 21.
[43] It seems generally agreed that poetry is allegorized in these
stanzas; though, with this interpretation, it is difficult to
reconcile the sense of some of the lines--for instance, the last in
the first stanza. How can poetry be said to leave no trace when she
takes farewell?
[44] "I call the living--I mourn the dead--I break the lightning. "
These words are inscribed on the great bell of the Minster of
Schaffhausen--also on that of the Church of Art near Lucerne. There was
an old belief in Switzerland that the undulation of air caused by the
sound of a bell, broke the electric fluid of a thunder-cloud.
Giant daughter!
Mirror God, as in water!
Tempest, oh, let thine organ-peal
God to the reasoning worm reveal!
Hark! it peals--how the rocks quiver beneath its growls
Zeboath's glorious name, wildly the hurricane howls!
Graving the while
With the lightning's style
"Creatures, do ye acknowledge me? "--
Spare us, Lord! We acknowledge Thee!
DIALOGUE.
A.
Hark, neighbor, for one moment stay!
Herr Doctor Scalpel, so they say,
Has got off safe and sound;
At Paris I your uncle found
Fast to a horse's crupper bound,--
Yet Scalpel made a king his prey.
B.
Oh, dear me, no! A real misnomer!
The fact is, he has his diploma;
The other one has not.
A.
Eh? What? Has a diploma?
In Suabia may such things be got?
EPITAPH
ON A CERTAIN PHYSIOGNOMIST.
On every nose he rightly read
What intellects were in the head
And yet--that he was not the one
By whom God meant it to be done,
This on his own he never read.
TRUST IN IMMORTALITY.
The dead has risen here, to live through endless ages;
This I with firmness trust and know.
I was first led to guess it by the sages,
The knaves convince me that 'tis really so.
APPENDIX OF POEMS ETC. IN SCHILLER'S DRAMATIC WORKS.
APPENDIX.
The following variations appear in the first two verses of Hector's
Farewell, as given in The Robbers, act ii. scene 2.
ANDROMACHE.
Wilt thou, Hector, leave me? --leave me weeping,
Where Achilles' murderous blade is heaping
Bloody offerings on Patroclus' grave?
Who, alas, will teach thine infant truly
Spears to hurl, the gods to honor duly,
When thou'rt buried 'neath dark Xanthus' wave?
HECTOR.
Dearest wife, go,--fetch my death-spear glancing,
Let me join the battle-dance entrancing,
For my shoulders bear the weight of Troy!
Heaven will be our Astyanax' protector!
Falling as his country's savior, Hector
Soon will greet thee in the realms of joy.
The following additional verse is found in Amalia's Song, as sung in The
Robbers, act iii. scene 1. It is introduced between the first and second
verses, as they appear in poems.
His embrace--what maddening rapture bound us!
Bosom throbbed 'gainst bosom with wild might;
Mouth and ear were chained--night reigned around us--
And the spirit winged toward heaven its flight.
From The Robbers, act iv. scene 5.
CHORUS OF ROBBERS.
What so good for banishing sorrow
As women, theft, and bloody affray?
We must dance in the air to-morrow,
Therefore let's be right merry to-day!
A free and jovial life we've led,
Ever since we began it.
Beneath the tree we make our bed,
We ply our task when the storm's o'erhead
And deem the moon our planet.
The fellow we swear by is Mercury,
A capital hand at our trade is he.
To-day we become the guests of a priest,
A rich farmer to-morrow must feed us;
And as for the future, we care not the least,
But leave it to heaven to heed us.
And when our throats with a vintage rare
We've long enough been supplying,
Fresh courage and strength we drink in there,
And with the evil one friendship swear,
Who down in hell is frying.
The groans o'er fathers reft of breath,
The sorrowing mothers' cry of death,
Deserted brides' sad sobs and tears.
Are sweetest music to our ears.
Ha! when under the axe each one quivering lies,
When they bellow like calves, and fall round us like flies,
Naught gives such pleasure to our sight,
It fills our ears with wild delight.
And when arrives the fatal day
The devil straight may fetch us!
Our fee we get without delay--
They instantly Jack-Ketch us.
One draught upon the road of liquor bright and clear,
And hip! hip! hip; hurrah! we're seen no longer here!
From The Robbers, act iv. scene 5.
MOOR'S SONG.
BRUTUS.
Ye are welcome, peaceful realms of light!
Oh, receive Rome's last-surviving son!
From Philippi, from the murderous fight,
Come I now, my race of sorrow run. --
Cassius, where art thou? --Rome overthrown!
All my brethren's loving band destroyed!
Safety find I at death's door alone,
And the world to Brutus is a void!
CAESAR.
Who now, with the ne'er-subdued-one's tread,
Hither from yon rocks makes haste to come? --
Ha! if by no vision I'm misled,
'Tis the footstep of a child of Rome. --
Son of Tiber--whence dost thou appear?
Stands the seven-hilled city as of yore
Oft her orphaned lot awakes my tear,
For alas, her Caesar is no more?
BRUTUS.
Ha! thou with the three-and-twenty wounds!
Who hath, dead one, summoned thee to light?
Back to gaping Orcus' fearful bonds,
Haughty mourner! triumph not to-night!
On Philippi's iron altar, lo!
Reeks now freedom's final victim's blood;
Rome o'er Brutus' bier feels her death-throe,--
He seeks Minos. --Back to thy dark flood!
CAESAR.
Oh, the death-stroke Brutus' sword then hurled!
Thou, too--Brutus--thou? Could this thing be?
Son! It was thy father! --Son! the world
Would have fallen heritage to thee!
Go--'mongst Romans thou art deemed immortal,
For thy steel hath pierced thy father's breast.
Go--and shout it even to yon portal:
"Brutus is 'mongst Romans deemed immortal,
For his steel hath pierced his father's breast. "
Go--thou knowest now what on Lethe's strand
Made me a prisoner stand. --
Now, grim steersman, push thy bark from land!
BRUTUS.
Father, stay! --In all earth's realms so fair,
It hath been my lot to know but one,
Who with mighty Caesar could compare;
And of yore thou called'st him thy son.
None but Caesar could a Rome o'erthrow,
Brutus only made great Caesar fear;
Where lives Brutus, Caesar's blood must flow;
If thy path lies yonder, mine is here.
From Wallenstein's Camp, scene 1.
RECRUIT'S SONG.
How sweet the wild sound
Of drum and of fife!
To roam o'er earth's round,
Lead a wandering life,
With steed trained aright,
And bold for the fight,
With a sword by the side,
To rove far and wide,--
Quick, nimble, and free
As the finch that we see
On bushes and trees,
Or braving the breeze,--
Huzza, then! the Friedlander's banner for me!
From Wallenstein's Camp, scene the last.
SECOND CUIRASSIER sings.
Up, up, my brave comrades! to horse! to horse!
Let us haste to the field and to freedom!
To the field, for 'tis there that is proved our hearts' force,
'Tis there that in earnest we need 'em!
None other can there our places supply,
Each must stand alone,--on himself must rely.
CHORUS.
None other can there our places supply,
Each must stand alone,--on himself must rely.
DRAGOON.
Now freedom appears from the world to have flown,
None but lords and their vassals one traces;
While falsehood and cunning are ruling alone
O'er the living cowardly races.
The man who can look upon death without fear--
The soldier,--is now the sole freeman left here.
CHORUS.
The man who can look upon death without fear--
The soldier,--is now the sole freeman left here.
FIRST YAGER.
The cares of this life, he casts them away,
Untroubled by fear or by sorrow;
He rides to his fate with a countenance gay,
And finds it to-day or to-morrow;
And if 'tis to-morrow, to-day we'll employ
To drink full deep of the goblet of joy,
CHORUS.
And if 'tis to-morrow, to-day we'll employ
To drink full deep of the goblet of joy.
[They refill their glasses and drink.
CAVALRY SERGEANT.
The skies o'er him shower his lot filled with mirth,
He gains, without toil, its full measure;
The peasant, who grubs in the womb of the earth,
Believes that he'll find there the treasure,
Through lifetime he shovels and digs like a slave,
And digs--till at length he has dug his own grave.
CHORUS.
Through lifetime he shovels and digs like a slave,
And digs--till at length he has dug his own grave.
FIRST YAGER.
The horseman, as well as his swift-footed beast,
Are guests by whom all are affrighted,
When glimmer the lamps at the wedding feast,
In the banquet he joins uninvited;
He woos not long, and with gold he ne'er buys,
But carries by storm love's blissful prize.
CHORUS.
He woos not long, and with gold he ne'er buys,
But carries by storm love's blissful prize.
SECOND CUIRASSIER.
Why weeps the maiden? Why sorrows she so?
Let me hence, let me hence, girl, I pray thee?
The soldier on earth no sure quarters can know,
With true love he ne'er can repay thee.
Fate hurries him onward with fury blind,
His peace he never can leave behind.
CHORUS.
Fate hurries him onward with fury blind,
His peace he can never leave behind,
FIRST YAGER.
(Taking his two neighbors by the hand. The rest do the same,
forming a large semi-circle. )
Away, then, my comrades, our chargers let's mount!
In the battle the bosom bounds lightly!
Youth boils, and life's goblet still foams at the fount,
Away! while the spirit glows brightly!
Unless ye have courage your life to stake,
That life ye never your own can make!
CHORUS.
Unless ye have courage your life to stake,
That life ye never your own can make!
From William Tell, act i. scene 1.
SCENE--The high rocky shore of the Lake of Lucerne, opposite Schwytz.
The lake forms an inlet in the land; a cottage is near the shore;
a fisher-boy is rowing in a boat. Beyond the lake are seen the green
pastures, the villages and farms of Schwytz glowing in the sunshine.
On the left of the spectator are the peaks of the Hacken, enveloped in
clouds; on his right, in the distance, are seen the glaciers. Before
the curtain rises the RANZ DES VACHES, and the musical sound of the
cattle-bells are heard, and continue also for some time after the scene
opens.
FISHER-BOY (sings in his boat).
AIR--Ranz des Vaches.
Bright smiles the lake, as it woos to its deep,--
A boy on its margin of green lies asleep;
Then hears he a strain,
Like the flute's gentle note,
Sweet as voices of angels
In Eden that float.
And when he awakens, with ecstasy blest,
The waters are playing all over his breast,
From the depths calls a voice
"Dearest child, with me go!
I lure down the sleeper,
I draw him below. "
HERDSMAN (on the mountain).
AIR--Variation of the Ranz des Vaches.
Ye meadows, farewell!
Ye pastures so glowing!
The herdsman is going,
For summer has fled!
We depart to the mountain; we'll come back again,
When the cuckoo is calling,--when wakens the strain,--
When the earth is tricked out with her flowers so gay,
When the stream sparkles bright in the sweet month of May.
Ye meadows, farewell!
Ye pastures so glowing!
The herdsman is going,
For summer has fled!
CHAMOIS-HUNTER (appearing on the top of a rock).
AIR--Second Variation of the Ranz des Vaches.
O'er the heights growls the thunder, while quivers the bridge,
Yet no fear feels the hunter, though dizzy the ridge;
He strides on undaunted,
O'er plains icy-bound,
Where spring never blossoms,
Nor verdure is found;
And, a broad sea of mist lying under his feet,
Man's dwellings his vision no longer can greet;
The world he but views
When the clouds broken are--
With its pastures so green,
Through the vapor afar.
From William Tell, act iii. scene 1.
WALTER sings.
Bow and arrow bearing,
Over hills and streams
Moves the hunter daring,
Soon as daylight gleams.
As all flying creatures
Own the eagle's sway,
So the hunter, Nature's
Mounts and crags obey.
Over space he reigneth,
And he makes his prize
All his bolt attaineth,
All that creeps or flies.
From William Tell, act iv. scene 3.
CHORUS OF BROTHERS OF MERCY.
Death comes to man with hasty stride,
No respite is to him e'er given;
He's stricken down in manhood's pride,
E'en in mid race from earth he's driven.
Prepared, or not, to go from here,
Before his Judge he must appear!
From Turandot, act ii. scene 4.
RIDDLE.
The tree whereon decay
All those from mortals sprung,--
Full old, and yet whose spray
Is ever green and young;
To catch the light, it rolls
Each leaf upon one side;
The other, black as coals,
The sun has ne'er descried.
It places on new rings
As often as it blows;
The age, too, of all things
To mortal gaze it shows.
Upon its bark so green
A name oft meets the eye,
Yet 'tis no longer seen,
When it grows old and dry.
This tree--what can it mean?
I wait for thy reply. [70]
From Mary Stuart, act iii, scene 1.
SCENE--A Park.
MARY advances hastily from behind some trees. HANNAH
KENNEDY follows her slowly.
MARY.
Let me my newly-won liberty taste!
Let me rejoice as a child once again!
And, as on pinions, with airy foot hast
Over the tapestried green of the plain!
Have I escaped from my prison so drear?
Shall I no more in my sad dungeon pine?
Let me in long and in thirsty draughts here
Drink in the breezes, so free, so divine
Thanks, thanks, ye trees, in smiling verdure dressed,
In that ye veil my prison-walls from sight!
I'll dream that I am free and blest
Why should I waken from a dream so bright?
Do not the spacious heavens encompass me?
Behold! my gaze, unshackled, free,
Pierces with joy the trackless realms of light!
There, where the gray-tinged hills of mist project,
My kingdom's boundaries begin;
Yon clouds, that tow'rd the south their course direct,
France's far-distant ocean seek to win.
Swiftly-flying clouds, hardy sailors through air!
Mortal hath roamed with ye, sailed with ye, ne'er!
Greetings of love to my youthful home bear!
I am a prisoner, I am in chains,
Ah, not a herald, save ye, now remains,
Free through the air hath your path ever been,
Ye are not subject to England's proud queen!
Yonder's a fisherman trimming his boat.
E'en that frail skiff from all danger might tear me,
And to the dwellings of friends it might bear me.
Scarcely his earnings can keep life afloat.
Richly with treasures his lap I'd heap over,--
Oh! what a draught should reward him to-day!
Fortune held fast in his nets he'd discover,
If in his bark he would take me away!
Hear'st thou the horn of the hunter resound,
Wakening the echo through forest and plain?
Ah, on my spirited courser to bound!
Once more to join in the mirth-stirring train!
Hark! how the dearly-loved tones come again!
Blissful, yet sad, the remembrance they wake;
Oft have they fallen with joy on mine ear,
When in the highlands the bugle rang clear,
Rousing the chase over mountain and brake.
From The Maid of Orleans, Prologue, scene 4.
JOAN OF ARC (soliloquizing).
Farewell, ye mountains, and ye pastures dear,
Ye still and happy valleys, fare ye well!
No longer may Joan's footsteps linger here,
Joan bids ye now a long, a last farewell!
Ye meadows that I watered, and each bush
Set by my hands, ne'er may your verdure fail!
Farewell, ye grots, ye springs that cooling gush
Thou echo, blissful voice of this sweet vale,
So wont to give me back an answering strain,--
Joan must depart, and ne'er return again!
Ye haunts of all my silent joys of old,
I leave ye now behind forevermore!
Disperse, ye lambs, far o'er the trackless wold!
She now hath gone who tended you of yore!
I must away to guard another fold,
On yonder field of danger, stained with gore.
Thus am I bidden by a spirit's tone
'Tis no vain earthly longing drives me on.
For He who erst to Moses on the height
Of Horeb, in the fiery bush came down,
And bade him stand in haughty Pharaoh's sight,
He who made choice of Jesse's pious son,
The shepherd, as his champion in the fight,--
He who to shepherds grace hath ever shown,
He thus addressed me from this lofty tree:
"Go hence! On earth my witness thou shalt be!
"In rugged brass, then, clothe thy members now,
In steel thy gentle bosom must be dressed!
No mortal love thy heart must e'er allow,
With earthly passion's sinful flame possessed.
Ne'er will the bridal wreath adorn thy brow,
No darling infant blossom on thy breast;
Yet thou with warlike honors shalt be laden,
Raising thee high above each earthly maiden.
"For when the bravest in the fight despair,
When France appears to wait her final blow,
Then thou my holy oriflamme must bear;
And, as the ripened corn the reapers mow,
Hew down the conqueror as he triumphs there;
His fortune's wheel thou thus wilt overthrow,
To France's hero-sons salvation bring,
Deliver Rheims once more, and crown thy king! "
The Lord hath promised to send down a sign
A helmet he hath sent, it comes from Him,--
His sword endows mine arm with strength divine,
I feel the courage of the cherubim;
To join the battle-turmoil how I pine!
A raging tempest thrills through every limb;
The summons to the field bursts on mine ear,
My charger paws the ground, the trump rings clear.
From The Maid of Orleans, act iv. scene 1.
SCENE--A hall prepared for a festival. The pillars are covered with
festoons of flowers; flutes and hautboys are heard behind the scene.
JOAN OF ARC (soliloquizing).
Each weapon rests, war's tumults cease to sound,
While dance and song succeed the bloody fray;
Through every street the merry footsteps bound,
Altar and church are clad in bright array,
And gates of branches green arise around,
Over the columns twine the garlands gay;
Rheims cannot hold the ever-swelling train
That seeks the nation-festival to gain.
All with one joyous feeling are elate,
One single thought is thrilling every breast;
What, until now, was severed by fierce hate,
Is by the general rapture truly blessed.
By each who called this land his parent-state,
The name of Frenchman proudly is confessed;
The glory is revived of olden days,
And to her regal son France homage pays.
Yet I who have achieved this work of pride,
I cannot share the rapture felt by all:
My heart is changed, my heart is turned aside,
It shuns the splendor of this festival;
'Tis in the British camp it seeks to hide,--
'Tis on the foe my yearning glances fall;
And from the joyous circle I must steal,
My bosom's crime o'erpowering to conceal.
Who? I? What! in my bosom chaste
Can mortal's image have a seat?
This heart, by heavenly glory graced,--
Dares it with earthly love to beat?
The saviour of my country, I,--
The champion of the Lord Most High,
Own for my country's foe a flame--
To the chaste sun my guilt proclaim,
And not be crushed beneath my shame?
(The music behind the scene changes into a soft, melting melody. )
Woe! oh woe! what strains enthralling!
How bewildering to mine ear
Each his voice beloved recalling,
Charming up his image dear!
Would that battle-tempests bound me!
Would that spears were whizzing round me
In the hotly-raging strife!
Could my courage find fresh life!
How those tones, those voices blest
Coil around my bosom burning
All the strength within my breast
Melting into tender yearning,
Into tears of sadness turning!
(The flutes are again heard--she falls into a silent melancholy. )
Gentle crook! oh that I never
For the sword had bartered thee!
Sacred oak! why didst thou ever
From thy branches speak to me?
Would that thou to me in splendor,
Queen of heaven, hadst ne'er come down!
Take--all claim I must surrender,--
Take, oh take away thy crown!
Ah, I open saw yon heaven,
Saw the features of the blest!
Yet to earth my hopes are riven,
In the skies they ne'er can rest!
Wherefore make me ply with ardor
This vocation, terror-fraught?
Would this heart were rendered harder.
That by heaven to feel was taught!
To proclaim Thy might sublime
Those select, who, free from crime,
In Thy lasting mansions stand;
Send Thou forth Thy spirit-band,
The immortal, and the pure,
Feelingless, from tears secure
Never choose a maiden fair,
Shepherdess' weak spirit ne'er!
Kings' dissensions wherefore dread I,
Why the fortune of the fight?
Guilelessly my lambs once fed I
On the silent mountain-height.
Yet Thou into life didst bear me,
To the halls where monarchs throne.
In the toils of guilt to snare me--
Ah, the choice was not mine own!
FOOTNOTES.
[1] The allusion in the original is to the seemingly magical power
possessed by a Jew conjuror, named Philadelphia, which would not be
understood in English.
[2] This most exquisite love poem is founded on the platonic notion, that
souls were united in a pre-existent state, that love is the yearning
of the spirit to reunite with the spirit with which it formerly made
one--and which it discovers on earth. The idea has often been made
subservient to poetry, but never with so earnest and elaborate a beauty.
[3] "Und Empfindung soll mein Richtschwert seyn. " A line of great
vigor in the original, but which, if literally translated, would seem
extravagant in English.
[4] Joseph, in the original.
[5] The youth's name was John Christian Weckherlin.
[6] Venus.
[7] Originally Laura, this having been one of the "Laura-Poems," as
the Germans call them of which so many appeared in the Anthology (see
Preface). English readers will probably not think that the change is
for the better.
[8] Tityus.
[9] This concluding and fine strophe is omitted in the later editions
of Schiller's "Poems. "
[10] Hercules who recovered from the Shades Alcestis, after she had
given her own life to save her husband, Admetus. Alcestis, in the hands
of Euripides (that woman-hater as he is called! ) becomes the loveliest
female creation in the Greek drama.
[11] i. e. Castor and Pollux are transferred to the stars, Hercules to
Olympus, for their deeds on earth.
[12] Carlyle's Miscellanies, vol. iii, p. 47.
[13] Literally "Nierensteiner,"--a wine not much known in England,
and scarcely--according to our experience--worth the regrets of its
respectable owner.
[14] In Schiller the eight long lines that conclude each stanza of
this charming love-poem, instead of rhyming alternately as in the
translation, chime somewhat to the tune of Byron's Don Juan--six lines
rhyming with each other, and the two last forming a separate couplet.
In other respects the translation, it is hoped, is sufficiently close
and literal.
[15] The peach.
[16] Sung in "The Parasite," a comedy which Schiller translated from
Picard--much the best comedy, by the way, that Picard ever wrote.
[17] The idea diffused by the translator through this and the preceding
stanza is more forcibly condensed by Schiller in four lines.
[18] "And ere a man hath power to say, "behold,"
The jaws of Darkness do devour it up,
So quick bright things come to confusion. "--
SHAKESPEARE.
[19] The three following ballads, in which Switzerland is the scene,
betray their origin in Schiller's studies for the drama of William Tell.
[20] The avalanche--the equivoque of the original, turning on the Swiss
word Lawine, it is impossible to render intelligible to the English
reader. The giants in the preceding line are the rocks that overhang the
pass which winds now to the right, now to the left, of a roaring stream.
[21] The Devil's Bridge. The Land of Delight (called in Tell "a serene
valley of joy") to which the dreary portal (in Tell the black rock gate)
leads, is the Urse Vale. The four rivers, in the next stanza, are the
Reus, the Rhine, the Tessin, and the Rhone.
[22] The everlasting glacier. See William Tell, act v, scene 2.
[23] This has been paraphrased by Coleridge.
[24] Ajax the Less.
[25] Ulysses.
[26] Achilles.
[27] Diomed.
[28] Cassandra.
[29] It may be scarcely necessary to treat, however briefly, of the
mythological legend on which this exquisite elegy is founded; yet we
venture to do so rather than that the forgetfulness of the reader should
militate against his enjoyment of the poem. Proserpine, according to the
Homeride (for the story is not without variations), when gathering
flowers with the Ocean-Nymphs, is carried off by Aidoneus, or Pluto. Her
mother, Ceres, wanders over the earth for her in vain, and refuses to
return to heaven till her daughter is restored to her. Finally, Jupiter
commissions Hermes to persuade Pluto to render up his bride, who rejoins
Ceres at Eleusis. Unfortunately she has swallowed a pomegranate seed in
the Shades below, and is thus mysteriously doomed to spend one-third of
the year with her husband in Hades, though for the remainder of the year
she is permitted to dwell with Ceres and the gods. This is one of the
very few mythological fables of Greece which can be safely interpreted
into an allegory. Proserpine denotes the seed-corn one-third of the year
below the earth; two-thirds (that is, dating from the appearance of the
ear) above it. Schiller has treated this story with admirable and
artistic beauty; and, by an alteration in its symbolical character has
preserved the pathos of the external narrative, and heightened the beauty
of the interior meaning--associating the productive principle of the
earth with the immortality of the soul. Proserpine here is not the
symbol of the buried seed, but the buried seed is the symbol of her--that
is, of the dead. The exquisite feeling of this poem consoled Schiller's
friend, Sophia La Roche, in her grief for her son's death.
[30] What a beautiful vindication of the shortness of human life!
[31] The corn-flower.
[32] For this story, see Herodotus, book iii, sections 40-43.
[33] President of Council of Five Hundred.
[34] We have already seen in "The Ring of Polycrates," Schiller's mode
of dealing with classical subjects. In the poems that follow, derived
from similar sources, the same spirit is maintained. In spite of
Humboldt, we venture to think that Schiller certainly does not narrate
Greek legends in the spirit of an ancient Greek. The Gothic sentiment,
in its ethical depth and mournful tenderness, more or less pervades all
that he translates from classic fable into modern pathos. The grief of
Hero in the ballad subjoined, touches closely on the lamentations of
Thekla, in "Wallenstein. " The Complaint of Ceres, embodies Christian
grief and Christian hope. The Trojan Cassandra expresses the moral of
the Northern Faust. Even the "Victory Feast" changes the whole spirit of
Homer, on whom it is founded, by the introduction of the ethical
sentiment at the close, borrowed, as a modern would apply what he so
borrows from the moralizing Horace. Nothing can be more foreign to the
Hellenic genius, (if we except the very disputable intention of the
"Prometheus"), than the interior and typical design which usually exalts
every conception in Schiller. But it is perfectly open to the modern
poet to treat of ancient legends in the modern spirit. Though he selects
a Greek story, he is still a modern who narrates--he can never make
himself a Greek any more than Aeschylus in the "Persae" could make
himself a Persian. But this is still more the privilege of the poet in
narrative, or lyrical composition, than in the drama, for in the former
he does not abandon his identity, as in the latter he must--yet even this
must has its limits. Shakspeare's wonderful power of self-transfusion has
no doubt enabled him, in his plays from Roman history, to animate his
characters with much of Roman life. But no one can maintain that a Roman
would ever have written plays in the least resembling "Julius Caesar," or
"Coriolanus," or "Antony and Cleopatra. " The portraits may be Roman, but
they are painted in the manner of the Gothic school. The spirit of
antiquity is only in them, inasmuch as the representation of human
nature, under certain circumstances, is accurately, though loosely
outlined. When the poet raises the dead, it is not to restore, but to
remodel.
[35] This notes the time of year--not the time of day--viz. , about the
23d of September. --HOFFMEISTER.
[36] Hecate as the mysterious goddess of Nature. --HOFFMEISTER.
[37] This story, the heroes of which are more properly known to us under
the names of Damon and Pythias (or Phintias), Schiller took from Hyginus
in whom the friends are called Moerus and Selinuntius. Schiller has
somewhat amplified the incidents in the original, in which the delay of
Moerus is occasioned only by the swollen stream--the other hindrances are
of Schiller's invention. The subject, like "The Ring of Polycrates,"
does not admit of that rich poetry of description with which our author
usually adorns some single passage in his narratives. The poetic spirit
is rather shown in the terse brevity with which picture after picture is
not only sketched but finished--and in the great thought at the close.
Still it is not one of Schiller's best ballads. His additions to the
original story are not happy. The incident of the robbers is commonplace
and poor. The delay occasioned by the thirst of Moerus is clearly open
to Goethe's objection (an objection showing very nice perception of
nature)--that extreme thirst was not likely to happen to a man who had
lately passed through a stream on a rainy day, and whose clothes must
have been saturated with moisture--nor in the traveller's preoccupied
state of mind, is it probable that he would have so much felt the mere
physical want. With less reason has it been urged by other critics, that
the sudden relenting of the tyrant is contrary to his character. The
tyrant here has no individual character at all. He is the mere
personation of disbelief in truth and love--which the spectacle of
sublime self-abnegation at once converts. In this idea lies the deep
philosophical truth, which redeems all the defects of the piece--for
poetry, in its highest form, is merely this--"Truth made beautiful. "
[38] The somewhat irregular metre of the original has been preserved
in this ballad, as in other poems; although the perfect anapaestic metre
is perhaps more familiar to the English ear.
[39] "Die Gestalt"--Form, the Platonic Archetype.
[40] More literally translated thus by the author of the article on
Schiller in the Foreign and Colonial Review, July, 1843--
"Thence all witnesses forever banished
Of poor human nakedness. "
[41] The law, i. e. , the Kantian ideal of truth and virtue. This stanza
and the next embody, perhaps with some exaggeration, the Kantian doctrine
of morality.
[42] "But in God's sight submission is command. " "Jonah," by the Rev.
F. Hodgson. Quoted in Foreign and Colonial Review, July, 1843: Art.
Schiller, p. 21.
[43] It seems generally agreed that poetry is allegorized in these
stanzas; though, with this interpretation, it is difficult to
reconcile the sense of some of the lines--for instance, the last in
the first stanza. How can poetry be said to leave no trace when she
takes farewell?
[44] "I call the living--I mourn the dead--I break the lightning. "
These words are inscribed on the great bell of the Minster of
Schaffhausen--also on that of the Church of Art near Lucerne. There was
an old belief in Switzerland that the undulation of air caused by the
sound of a bell, broke the electric fluid of a thunder-cloud.
