No More Learning

ISABELLA.
My son,
Live for thy mother! In the stranger's land,
Say, wouldst thou leave me friendless and alone,
To cruel scorn a prey--no filial arm
To shield my helpless age?

DON CAESAR.
When all the world
With heartless taunts pursues thee, to our grave
For refuge fly, my mother, and invoke
Thy sons' divinity--we shall be gods!
And we will hear thy prayers:--and as the twins
Of heaven, a beaming star of comfort shine
To the tossed shipman--we will hover near thee
With present help, and soothe thy troubled soul!

ISABELLA.
Live--for thy mother, live, my son--
Must I lose all?

[She throws her arms about him with passionate emotion.
He gently disengages himself, and turning his face away
extends to her his hand.

DON CAESAR.
Farewell!

ISABELLA.
I can no more;
Too well my tortured bosom owns how weak
A mother's prayers: a mightier voice shall sound
Resistless on thy heart.

[She goes towards the entrance of the scene.

My daughter, come.
A brother calls him to the realms of night;
Perchance with golden hues of earthly joy
The sister, the beloved, may gently lure
The wanderer to life again.

[BEATRICE appears at the entrance of the scene.

DONNA ISABELLA, DON CAESAR, and the Chorus.

DON CAESAR (on seeing her, covers his face with his hands).
My mother!
What hast thou done?

ISABELLA (leading BEATRICE forwards).
A mother's prayers are vain!
Kneel at his feet--conjure him--melt his heart!
Oh, bid him live!

DON CAESAR.
Deceitful mother, thus
Thou triest thy son! And wouldst thou stir my soul
Again to passion's strife, and make the sun
Beloved once more, now when I tread the paths
Of everlasting night? See where he stands--
Angel of life! --and wondrous beautiful,
Shakes from his plenteous horn the fragrant store
Of golden fruits and flowers, that breathe around
Divinest airs of joy;--my heart awakes
In the warm sunbeam--hope returns, and life
Thrills in my breast anew.

ISABELLA (to BEATRICE).
Thou wilt prevail!
Or none! Implore him that he live, nor rob
The staff and comfort of our days.

BEATRICE.
The loved one
A sacrifice demands. Oh, let me die
To soothe a brother's shade! Yes, I will be
The victim! Ere I saw the light forewarned
To death, I live a wrong to heaven! The curse
Pursues me still: 'twas I that slew thy son--
I waked the slumbering furies of their strife--
Be mine the atoning blood!

CAJETAN.
Ill-fated mother!
Impatient all thy children haste to doom,
And leave thee on the desolate waste alone
Of joyous life.

BEATRICE.
Oh, spare thy precious days
For nature's band. Thy mother needs a son;
My brother, live for her! Light were the pang
To lose a daughter--but a moment shown,
Then snatched away!

DON CAESAR (with deep emotion).
'Tis one to live or die,
Blest with a sister's love!

BEATRICE.
Say, dost thou envy
Thy brother's ashes?

DON CAESAR.
In thy grief he lives
A hallowed life! --my doom is death forever!

BEATRICE.
My brother!

DON CAESAR.
Sister! are thy tears for me?

BEATRICE.
Live for our mother!

DON CAESAR (dropping her hand, and stepping back).
For our mother?

BEATRICE (hiding her head in his breast).
Live
For her and for thy sister!

Chorus (BOHEMUND).
She has won!
Resistless are her prayers. Despairing mother,
Awake to hope again--his choice is made!
Thy son shall live!

[At this moment an anthem is heard. The folding doors
are thrown open, and in the church is seen the catafalque
erected, and the coffin surrounded with candlesticks.

DON CAESAR (turning to the coffin).
I will not rob thee, brother!
The sacrifice is thine:--Hark! from the tomb,
Mightier than mother's tears, or sister's love,
Thy voice resistless cries:--my arms enfold
A treasure, potent with celestial joys,
To deck this earthly sphere, and make a lot
Worthy the gods! but shall I live in bliss,
While in the tomb thy sainted innocence
Sleeps unavenged? Thou, Ruler of our days,
All just--all wise--let not the world behold
Thy partial care! I saw her tears! --enough--
They flowed for me! I am content: my brother!
I come!

[He stabs himself with a dagger, and falls dead
at his sister's feet. She throws herself into her
mother's arms.

Chorus, CAJETAN (after a deep silence).
In dread amaze I stand, nor know
If I should mourn his fate. One truth revealed
Speaks in my breast;--no good supreme is life;
But all of earthly ills the chief is--Guilt!


THE END





ON THE USE OF THE CHORUS IN TRAGEDY.



A poetical work must vindicate itself: if the execution be defective,
little aid can be derived from commentaries.

On these grounds I might safely leave the chorus to be its own advocate,
if we had ever seen it presented in an appropriate manner. But it must
be remembered that a dramatic composition first assumes the character of
a whole by means of representation on the stage. The poet supplies only
the words, to which, in a lyrical tragedy, music and rhythmical motion
are essential accessories. It follows, then, that if the chorus is
deprived of accompaniments appealing so powerfully to the senses, it will
appear a superfluity in the economy of the drama--a mere hinderance to
the development of the plot--destructive to the illusion of the scene,
and wearisome to the spectators.

To do justice to the chorus, more especially if our aims in poetry be of
a grand and elevated character, we must transport ourselves from the
actual to a possible stage. It is the privilege of art to furnish for
itself whatever is requisite, and the accidental deficiency of
auxiliaries ought not to confine the plastic imagination of the poet. He
aspires to whatever is most dignified, he labors to realize the ideal in
his own mind--though in the execution of his purpose he must needs
accommodate himself to circumstances.

The assertion so commonly made that the public degrades art is not well
founded. It is the artist that brings the public to the level of his
own conceptions; and, in every age in which art has gone to decay, it has
fallen through its professors. The people need feeling alone, and
feeling they possess. They take their station before the curtain with
an unvoiced longing, with a multifarious capacity. They bring with them
an aptitude for what is highest--they derive the greatest pleasure from
what is judicious and true; and if, with these powers of appreciation,
they deign to be satisfied with inferior productions, still, if they have
once tasted what is excellent, they will in the end insist on having it
supplied to them.

It is sometimes objected that the poet may labor according to an ideal--
that the critic may judge from ideas, but that mere executive art is
subject to contingencies, and depends for effect on the occasion.
Managers will be obstinate; actors are bent on display--the audience is
inattentive and unruly. Their object is relaxation, and they are
disappointed if mental exertion be required, when they expected only
amusement. But if the theatre be made instrumental towards higher
objects, the diversion, of the spectator will not be increased, but
ennobled. It will be a diversion, but a poetical one. All art is
dedicated to pleasure, and there can be no higher and worthier end than
to make men happy. The true art is that which provides the highest
degree of pleasure; and this consists in the abandonment of the spirit to
the free play of all its faculties.

Every one expects from the imaginative arts a certain emancipation from
the bounds of reality: we are willing to give a scope to fancy, and
recreate ourselves with the possible. The man who expects it the least
will nevertheless forget his ordinary pursuits, his everyday existence
and individuality, and experience delight from uncommon incidents:--if he
be of a serious turn of mind he will acknowledge on the stage that moral
government of the world which he fails to discover in real life. But he
is, at the same time, perfectly aware that all is an empty show, and that
in a true sense he is feeding only on dreams. When he returns from the
theatre to the world of realities, he is again compressed within its
narrow bounds; he is its denizen as before--for it remains what it was,
and in him nothing has been changed. What, then, has he gained beyond a
momentary illusive pleasure which vanished with the occasion?

It is because a passing recreation is alone desired that a mere show of
truth is thought sufficient. I mean that probability or vraisemblance
which is so highly esteemed, but which the commonest workers are able to
substitute for the true.

Art has for its object not merely to afford a transient pleasure, to
excite to a momentary dream of liberty; its aim is to make us absolutely
free; and this it accomplishes by awakening, exercising, and perfecting
in us a power to remove to an objective distance the sensible world;
(which otherwise only burdens us as rugged matter, and presses us down
with a brute influence;) to transform it into the free working of our
spirit, and thus acquire a dominion over the material by means of ideas.
For the very reason also that true art requires somewhat of the objective
and real, it is not satisfied with a show of truth. It rears its ideal
edifice on truth itself--on the solid and deep foundations of nature.

But how art can be at once altogether ideal, yet in the strictest sense
real; how it can entirely leave the actual, and yet harmonize with
nature, is a problem to the multitude; and hence the distorted views
which prevail in regard to poetical and plastic works; for to ordinary
judgments these two requisites seem to counteract each other.

It is commonly supposed that one may be attained by the sacrifice of the
other;--the result is a failure to arrive at either. One to whom nature
has given a true sensibility, but denied the plastic imaginative power,
will be a faithful painter of the real; he will adapt casual appearances,
but never catch the spirit of nature. He will only reproduce to us the
matter of the world, which, not being our own work, the product of our
creative spirit, can never have the beneficent operation of art, of which
the essence is freedom. Serious indeed, but unpleasing, is the cast of
thought with which such an artist and poet dismisses us; we feel
ourselves painfully thrust back into the narrow sphere of reality by
means of the very art which ought to have emancipated us. On the other
hand, a writer endowed with a lively fancy, but destitute of warmth and
individuality of feeling, will not concern himself in the least about
truth; he will sport with the stuff of the world, and endeavor to
surprise by whimsical combinations; and as his whole performance is
nothing but foam and glitter, he will, it is true, engage the attention
for a time, but build up and confirm nothing in the understanding. His
playfulness is, like the gravity of the other, thoroughly unpoetical. To
string together at will fantastical images is not to travel into the
realm of the ideal; and the imitative reproduction of the actual cannot
be called the representation of nature. Both requisites stand so little
in contradiction to each other that they are rather one and the same
thing; that art is only true insomuch as it altogether forsakes the
actual, and becomes purely ideal. Nature herself is an idea of the mind,
and is never presented to the senses. She lies under the veil of
appearances, but is herself never apparent. To the art of the ideal
alone is lent, or rather absolutely given, the privilege to grasp the
spirit of the all and bind it in a corporeal form.

Yet, in truth, even art cannot present it to the senses, but by means of
her creative power to the imaginative faculty alone; and it is thus that
she becomes more true than all reality, and more real than all
experience. It follows from these premises that the artist can use no
single element taken from reality as he finds it--that his work must be
ideal in all its parts, if it be designed to have, as it were, an
intrinsic reality, and to harmonize with nature.

What is true of art and poetry, in the abstract, holds good as to their
various kinds; and we may apply what has been advanced to the subject of
tragedy. In this department it is still necessary to controvert the
ordinary notion of the natural, with which poetry is altogether
incompatible. A certain ideality has been allowed in painting, though, I
fear, on grounds rather conventional than intrinsic; but in dramatic
works what is desired is allusion, which, if it could be accomplished by
means of the actual, would be, at best, a paltry deception. All the
externals of a theatrical representation are opposed to this notion; all
is merely a symbol of the real. The day itself in a theatre is an
artificial one; the metrical dialogue is itself ideal; yet the conduct of
the play must forsooth be real, and the general effect sacrificed to a
part. Thus the French, who have utterly misconceived the spirit of the
ancients, adopted on their stage the unities of tine and place in the
most common and empirical sense; as though there were any place but the
bare ideal one, or any other time than the mere sequence of the
incidents.

By the introduction of a metrical dialogue an important progress has been
made towards the poetical tragedy. A few lyrical dramas have been
successful on the stage, and poetry, by its own living energy, has
triumphed over prevailing prejudices. But so long as these erroneous
views are entertained little has been done--for it is not enough barely
to tolerate as a poetical license that which is, in truth, the essence of
all poetry. The introduction of the chorus would be the last and
decisive step; and if it only served this end, namely, to declare open
and honorable warfare against naturalism in art, it would be for us a
living wall which tragedy had drawn around herself, to guard her from
contact with the world of reality, and maintain her own ideal soil, her
poetical freedom.

It is well-known that the Greek tragedy had its origin in the chorus; and
though in process of time it became independent, still it may be said
that poetically, and in spirit, the chorus was the source of its
existence, and that without these persevering supporters and witnesses of
the incident a totally different order of poetry would have grown out of
the drama. The abolition of the chorus, and the debasement of this
sensibly powerful organ into the characterless substitute of a confidant,
is by no means such an improvement in the tragedy as the French, and
their imitators, would have it supposed to be.

The old tragedy, which at first only concerned itself with gods, heroes
and kings introduced the chorus as an essential accompaniment. The poets
found it in nature, and for that reason employed it. It grew out of the
poetical aspect of real life. In the new tragedy it becomes an organ of
art, which aids in making the poetry prominent. The modern poet no
longer finds the chorus in nature; he must needs create and introduce it
poetically; that is, he must resolve on such an adaption of his story as
will admit of its retrocession to those primitive times and to that
simple form of life.

The chorus thus renders more substantial service to the modern dramatist
than to the old poet--and for this reason, that it transforms the
commonplace actual world into the old poetical one; that it enables him
to dispense with all that is repugnant to poetry, and conducts him back
to the most simple, original, and genuine motives of action. The palaces
of kings are in these days closed--courts of justice have been
transferred from the gates of cities to the interior of buildings;
writing has narrowed the province of speech; the people itself--the
sensibly living mass--when it does not operate as brute force, has become
a part of the civil polity, and thereby an abstract idea in our minds;
the deities have returned within the bosoms of mankind. The poet must
reopen the palaces--he must place courts of justice beneath the canopy of
heaven--restore the gods, reproduce every extreme which the artificial
frame of actual life has abolished--throw aside every factitious
influence on the mind or condition of man which impedes the manifestation
of his inward nature and primitive character, as the statuary rejects
modern costume:--and of all external circumstances adopts nothing but
what is palpable in the highest of forms--that of humanity.

But precisely as the painter throws around his figures draperies of ample
volume, to fill up the space of his picture richly and gracefully, to
arrange its several parts in harmonious masses, to give due play to
color, which charms and refreshes the eye--and at once to envelop human
forms in a spiritual veil, and make them visible--so the tragic poet
inlays and entwines his rigidly contracted plot and the strong outlines
of his characters with a tissue of lyrical magnificence, in which, as in
flowing robes of purple, they move freely and nobly, with a sustained
dignity and exalted repose.

In a higher organization, the material, or the elementary, need not be
visible; the chemical color vanishes in the finer tints of the
imaginative one. The material, however, has its peculiar effect, and may
be included in an artistical composition. But it must deserve its place
by animation, fulness and harmony, and give value to the ideal forms
which it surrounds instead of stifling them by its weight.

In respect of the pictorial art, this is obvious to ordinary
apprehension, yet in poetry likewise, and in the tragical kind, which is
our immediate subject, the same doctrine holds good. Whatever fascinates
the senses alone is mere matter, and the rude element of a work of art:--
if it takes the lead it will inevitably destroy the poetical--which lies
at the exact medium between the ideal and the sensible. But man is so
constituted that he is ever impatient to pass from what is fanciful to
what is common; and reflection must, therefore, have its place even in
tragedy. But to merit this place it must, by means of delivery, recover
what it wants in actual life; for if the two elements of poetry, the
ideal and the sensible, do not operate with an inward mutuality, they
must at least act as allies--or poetry is out of the question. If the
balance be not intrinsically perfect, the equipoise can only be
maintained by an agitation of both scales.

This is what the chorus effects in tragedy. It is in itself, not an
individual but a general conception; yet it is represented by a palpable
body which appeals to the senses with an imposing grandeur. It forsakes
the contracted sphere of the incidents to dilate itself over the past and
the future, over distant times and nations, and general humanity, to
deduce the grand results of life, and pronounce the lessons of wisdom.
But all this it does with the full power of fancy--with a bold lyrical
freedom which ascends, as with godlike step, to the topmost height of
worldly things; and it effects it in conjunction with the whole sensible
influence of melody and rhythm, in tones and movements.

The chorus thus exercises a purifying influence on tragic poetry,
insomuch as it keeps reflection apart from the incidents, and by this
separation arms it with a poetical vigor, as the painter, by means of a
rich drapery, changes the ordinary poverty of costume into a charm and
ornament.

But as the painter finds himself obliged to strengthen the tone of color
of the living subject, in order to counterbalance the material
influences--so the lyrical effusions of the chorus impose upon the poet
the necessity of a proportionate elevation of his general diction. It is
the chorus alone which entitles the poet to employ this fulness of tone,
which at once charms the senses, pervades the spirit, and expands the
mind. This one giant form on his canvas obliges him to mount all his
figures on the cothurnus, and thus impart a tragical grandeur to his
picture. If the chorus be taken away, the diction of the tragedy must
generally be lowered, or what is now great and majestic will appear
forced and overstrained. The old chorus introduced into the French
tragedy would present it in all its poverty, and reduce it to nothing;
yet, without doubt, the same accompaniment would impart to Shakspeare's
tragedy its true significance.

As the chorus gives life to the language--so also it gives repose to the
action; but it is that beautiful and lofty repose which is the
characteristic of a true work of art. For the mind of the spectator
ought to maintain its freedom through the most impassioned scenes; it
should not be the mere prey of impressions, but calmly and severely
detach itself from the emotions which it suffers. The commonplace
objection made to the chorus, that it disturbs the illusion, and blunts
the edge of the feelings, is what constitutes its highest recommendation;
for it is this blind force of the affections which the true artist
deprecates--this illusion is what he disdains to excite. If the strokes
which tragedy inflicts on our bosoms followed without respite, the
passion would overpower the action. We should mix ourselves with the
subject-matter, and no longer stand above it. It is by holding asunder
the different parts, and stepping between the passions with its composing
views, that the chorus restores to us our freedom, which would else be
lost in the tempest. The characters of the drama need this intermission
in order to collect themselves; for they are no real beings who obey the
impulse of the moment, and merely represent individuals--but ideal
persons and representatives of their species, who enunciate the deep
things of humanity.

Thus much on my attempt to revive the old chorus on the tragic stage. It
is true that choruses are not unknown to modern tragedy; but the chorus
of the Greek drama, as I have employed it--the chorus, as a single ideal
person, furthering and accompanying the whole plot--if of an entirely
distinct character; and when, in discussion on the Greek tragedy, I hear
mention made of choruses, I generally suspect the speaker's ignorance of
his subject. In my view the chorus has never been reproduced since the
decline of the old tragedy.

I have divided it into two parts, and represented it in contest with
itself; but this occurs where it acts as a real person, and as an
unthinking multitude. As chorus and an ideal person it is always one and
entire. I have also several times dispensed with its presence on the
stage. For this liberty I have the example of Aeschylus, the creator of
tragedy, and Sophocles, the greatest master of his art.

Another license it may be more difficult to excuse. I have blended
together the Christian religion and the pagan mythology, and introduced
recollections of the Moorish superstition. But the scene of the drama is
Messina--where these three religions either exercised a living influence,
or appealed to the senses in monumental remains. Besides, I consider it
a privilege of poetry to deal with different religions as a collective
whole. In which everything that bears an individual character, and
expresses a peculiar mode of feeling, has its place. Religion itself,
the idea of a Divine Power, lies under the veil of all religions; and it
must be permitted to the poet to represent it in the form which appears
the most appropriate to his subject.






SCHILLER'S POEMS



CONTENTS:

POEMS OF THE FIRST PERIOD

Hector and Andromache
Amalia
A Funeral Fantasie
Fantasie--To Laura
To Laura at the Harpsichord
Group from Tartarus
Rapture--To Laura
To Laura (The Mystery of Reminiscence)
Melancholy--To Laura
The Infanticide
The Greatness of the World
Fortune and Wisdom
Elegy on the Death of a Young Man
The Battle
Rousseau
Friendship
Elysium
The Fugitive
To Minna
The Flowers
The Triumph of Love (A Hymn)
To a Moralist
Count Eberhard, the Groaner of Wurtemburg
To the Spring
Semele

POEMS OF THE SECOND PERIOD

Hymn to Joy
The Invincible Armada
The Gods of Greece
Resignation
The Conflict
The Artists
The Celebrated Woman
Written in a Young Lady's Album

POEMS OF THE THIRD PERIOD

The Meeting
The Secret
The Assignation
Longing
Evening (After a Picture)
The Pilgrim
The Ideals
The Youth by the Brook
To Emma
The Favor of the Moment
The Lay of the Mountain
The Alpine Hunter
Dithyramb
The Four Ages of the World
The Maiden's Lament
To My Friends
Punch Song
Nadowessian Death Lament
The Feast of Victory
Punch Song
The Complaint of Ceres
The Eleusinian Festival
The Ring of Polycrates
The Cranes of Ibycus (A Ballad)
The Playing Infant
Hero and Leander (A Ballad)
Cassandra
The Hostage (A Ballad)
Greekism
The Diver (A Ballad)
The Fight with the Dragon
Female Judgment
Fridolin; or, the Walk to the Iron Foundry
The Genius with the Inverted Torch
The Count of Hapsburg (A Ballad)
The Forum of Women
The Glove (A Tale)
The Circle of Nature
The Veiled Statue at Sais
The Division of the Earth
The Fairest Apparition
The Ideal and the Actual Life
Germany and her Princes
Dangerous Consequences
The Maiden from Afar
The Honorable
Parables and Riddles
The Virtue of Woman
The Walk
The Lay of the Bell
The Power of Song
To Proselytizers
Honor to Woman
Hope
The German Art
Odysseus
Carthage
The Sower
The Knights of St. John
The Merchant
German Faith
The Sexes
Love and Desire
The Bards of Olden Time
Jove to Hercules
The Antiques of Paris
Thekla (A Spirit Voice)
The Antique to the Northern Wanderer
The Iliad
Pompeii and Herculaneum
Naenia
The Maid of Orleans
Archimedes
The Dance
The Fortune-Favored
Bookseller's Announcement
Genius
Honors
The Philosophical Egotist
The Best State Constitution
The Words of Belief
The Words of Error
The Power of Woman
The Two Paths of Virtue
The Proverbs of Confucius
Human Knowledge
Columbus
Light and Warmth
Breadth and Depth
The Two Guides of Life
The Immutable

VOTIVE TABLETS
Different Destinies
The Animating Principle
Two Descriptions of Action
Difference of Station
Worth and the Worthy
The Moral Force
Participation
To----
The Present Generation
To the Muse
The Learned Workman
The Duty of All
A Problem
The Peculiar Ideal
To Mystics
The Key
The Observer
Wisdom and Prudence
The Agreement
Political Precept
Majestas Populi
The Difficult Union
To a World-Reformer
My Antipathy
Astronomical Writings
The Best State
To Astronomers
My Faith
Inside and Outside
Friend and Foe
Light and Color
Genius
Beauteous Individuality
Variety
The imitator
Geniality
The Inquirers
Correctness
The Three Ages of Nature
The Law of Nature
Choice
Science of Music
To the Poet
Language
The Master
The Girdle
The Dilettante
The Babbler of Art
The Philosophies
The Favor of the Muses
Homer's Head as a Seal

Goodness and Greatness
The Impulses
Naturalists and Transcendental Philosophers
German Genius
Theophania

TRIFLES
The Epic Hexameter
The Distich
The Eight-line Stanza
The Obelisk
The Triumphal Arch
The Beautiful Bridge
The Gate
St. Peter's

The Philosophers
The Homerides
G. G.
The Moral Poet
The Danaides
The Sublime Subject
The Artifice
Immortality
Jeremiads
Shakespeare's Ghost
The Rivers
Zenith and Nadir
Kant and his Commentators
The Philosophers
The Metaphysician
Pegasus in harness
Knowledge
The Poetry of Life
To Goethe
The Present
Departure from Life
Verses written in the Album of a Learned Friend
Verses written in the Album of a Friend
The Sunday Children
The Highest
The Puppet-show of Life
To Lawgivers
False Impulse to Study
To the Prince of Weimar
The Ideal of Woman (To Amanda)
The Fountain of Second Youth
William Tell
To a Young Friend Devoting Himself to Philosophy
Expectation and Fulfilment
The Common Fate
Human Action
Nuptial Ode
The Commencement of the New Century
Grecian Genius
The Father
The Connecting Medium
The Moment
German Comedy
Farewell to the Reader

Dedications to Death
Preface

SUPPRESSED POEMS

The Journalists and Minos
Bacchus in the Pillory
Spinosa
To the Fates
The Parallel
Klopstock and Wieland
The Muses' Revenge
The Hypochondriacal Pluto (A Romance)
Book I
Book II
Book III
Reproach. To Laura
The Simple Peasant
Actaeon
Man's Dignity
The Messiah
Thoughts on the 1st October, 1781
Epitaph
Quirl
The Plague (A Phantasy)
Monument of Moor the Robber
The Bad Monarchs
The Satyr and My Muse
The Peasants
The Winter Night
The Wirtemberger
The Mole
Hymn to the Eternal
Dialogue
Epitaph on a Certain Physiognomist
Trust in Immortality
Appendix to Poems



POEMS OF SCHILLER.



POEMS OF THE FIRST PERIOD.


HECTOR AND ANDROMACHE.
[This and the following poem are, with some alterations, introduced
in the Play of "The Robbers. "]

ANDROMACHE.
Will Hector leave me for the fatal plain,
Where, fierce with vengeance for Patroclus slain,
Stalks Peleus' ruthless son?
Who, when thou glid'st amid the dark abodes,
To hurl the spear and to revere the gods,
Shall teach thine orphan one?

HECTOR.
Woman and wife beloved--cease thy tears;
My soul is nerved--the war-clang in my ears!
Be mine in life to stand
Troy's bulwark! --fighting for our hearths, to go
In death, exulting to the streams below,
Slain for my fatherland!

ANDROMACHE.
No more I hear thy martial footsteps fall--
Thine arms shall hang, dull trophies, on the wall--
Fallen the stem of Troy!
Thou goest where slow Cocytus wanders--where
Love sinks in Lethe, and the sunless air
Is dark to light and joy!

HECTOR.
Longing and thought--yes, all I feel and think
May in the silent sloth of Lethe sink,
But my love not!
Hark, the wild swarm is at the walls! --I hear!
Gird on my sword--Beloved one, dry the tear--
Lethe for love is not!




AMALIA.

Angel-fair, Walhalla's charms displaying,
Fairer than all mortal youths was he;
Mild his look, as May-day sunbeams straying
Gently o'er the blue and glassy sea.

And his kisses! --what ecstatic feeling!
Like two flames that lovingly entwine,
Like the harp's soft tones together stealing
Into one sweet harmony divine,--

Soul and soul embraced, commingled, blended,
Lips and cheeks with trembling passion burned,
Heaven and earth, in pristine chaos ended,
Round the blissful lovers madly turn'd.

He is gone--and, ah! with bitter anguish
Vainly now I breathe my mournful sighs;
He is gone--in hopeless grief I languish
Earthly joys I ne'er again can prize!




A FUNERAL FANTASIE.

Pale, at its ghastly noon,
Pauses above the death-still wood--the moon;
The night-sprite, sighing, through the dim air stirs;
The clouds descend in rain;
Mourning, the wan stars wane,
Flickering like dying lamps in sepulchres!
Haggard as spectres--vision-like and dumb,
Dark with the pomp of death, and moving slow,
Towards that sad lair the pale procession come
Where the grave closes on the night below.

With dim, deep-sunken eye,
Crutched on his staff, who trembles tottering by?
As wrung from out the shattered heart, one groan
Breaks the deep hush alone!
Crushed by the iron fate, he seems to gather
All life's last strength to stagger to the bier,
And hearken--Do these cold lips murmur "Father? "
The sharp rain, drizzling through that place of fear,
Pierces the bones gnawed fleshless by despair,
And the heart's horror stirs the silver hair.

Fresh bleed the fiery wounds
Through all that agonizing heart undone--
Still on the voiceless lips "my Father" sounds,
And still the childless Father murmurs "Son! "
Ice-cold--ice-cold, in that white shroud he lies--
Thy sweet and golden dreams all vanished there--
The sweet and golden name of "Father" dies
Into thy curse,--ice-cold--ice-cold--he lies!
Dead, what thy life's delight and Eden were!

Mild, as when, fresh from the arms of Aurora,
While the air like Elysium is smiling above,
Steeped in rose-breathing odors, the darling of Flora
Wantons over the blooms on his winglets of love.
So gay, o'er the meads, went his footsteps in bliss,
The silver wave mirrored the smile of his face;
Delight, like a flame, kindled up at his kiss,
And the heart of the maid was the prey of his chase.

Boldly he sprang to the strife of the world,
As a deer to the mountain-top carelessly springs;
As an eagle whose plumes to the sun are unfurled,
Swept his hope round the heaven on its limitless wings.
Proud as a war-horse that chafes at the rein,
That, kingly, exults in the storm of the brave;
That throws to the wind the wild stream of its mane,
Strode he forth by the prince and the slave!

Life like a spring day, serene and divine,
In the star of the morning went by as a trance;
His murmurs he drowned in the gold of the wine,
And his sorrows were borne on the wave of the dance.

Worlds lay concealed in the hopes of his youth! --
When once he shall ripen to manhood and fame!
Fond father exult! --In the germs of his youth
What harvests are destined for manhood and fame!

Not to be was that manhood! --The death-bell is knelling,
The hinge of the death-vault creaks harsh on the ears--
How dismal, O Death, is the place of thy dwelling!
Not to be was that manhood! --Flow on, bitter tears!
Go, beloved, thy path to the sun,
Rise, world upon world, with the perfect to rest;
Go--quaff the delight which thy spirit has won,
And escape from our grief in the Halls of the Blest.

Again (in that thought what a healing is found! )
To meet in the Eden to which thou art fled! --
Hark, the coffin sinks down with a dull, sullen sound,
And the ropes rattle over the sleep of the dead.
And we cling to each other! --O Grave, he is thine!
The eye tells the woe that is mute to the ears--
And we dare to resent what we grudge to resign,
Till the heart's sinful murmur is choked in its tears.
Pale at its ghastly noon,
Pauses above the death-still wood--the moon!
The night-sprite, sighing, through the dim air stirs:
The clouds descend in rain;
Mourning, the wan stars wane,
Flickering like dying lamps in sepulchres.
The dull clods swell into the sullen mound;
Earth, one look yet upon the prey we gave!
The grave locks up the treasure it has found;
Higher and higher swells the sullen mound--
Never gives back the grave!




FANTASIE--TO LAURA.

Name, my Laura, name the whirl-compelling
Bodies to unite in one blest whole--
Name, my Laura, name the wondrous magic
By which soul rejoins its kindred soul!

See! it teaches yonder roving planets
Round the sun to fly in endless race;
And as children play around their mother,
Checkered circles round the orb to trace.

Every rolling star, by thirst tormented,
Drinks with joy its bright and golden rain--
Drinks refreshment from its fiery chalice,
As the limbs are nourished by the brain.

'Tis through Love that atom pairs with atom,
In a harmony eternal, sure;
And 'tis Love that links the spheres together--
Through her only, systems can endure.

Were she but effaced from Nature's clockwork,
Into dust would fly the mighty world;
O'er thy systems thou wouldst weep, great Newton,
When with giant force to chaos hurled!

Blot the goddess from the spirit order,
It would sink in death, and ne'er arise.
Were love absent, spring would glad us never;
Were love absent, none their God would prize!

What is that, which, when my Laura kisses,
Dyes my cheek with flames of purple hue,
Bids my bosom bound with swifter motion,
Like a fever wild my veins runs through?

Every nerve from out its barriers rises,
O'er its banks, the blood begins to flow;
Body seeks to join itself to body,
Spirits kindle in one blissful glow.

Powerful as in the dead creations
That eternal impulses obey,
O'er the web Arachne-like of Nature,--
Living Nature,--Love exerts her sway.

Laura, see how joyousness embraces
E'en the overflow of sorrows wild!
How e'en rigid desperation kindles
On the loving breast of Hope so mild.

Sisterly and blissful rapture softens
Gloomy Melancholy's fearful night,
And, deliver'd of its golden children,
Lo, the eye pours forth its radiance bright!

Does not awful Sympathy rule over
E'en the realms that Evil calls its own?
For 'tis Hell our crimes are ever wooing,
While they bear a grudge 'gainst Heaven alone!

Shame, Repentance, pair Eumenides-like,
Weave round sin their fearful serpent-coils:
While around the eagle-wings of Greatness
Treach'rous danger winds its dreaded toils.

Ruin oft with Pride is wont to trifle,
Envy upon Fortune loves to cling;
On her brother, Death, with arms extended,
Lust, his sister, oft is wont to spring.

On the wings of Love the future hastens
In the arms of ages past to lie;
And Saturnus, as he onward speeds him,
Long hath sought his bride--Eternity!

Soon Saturnus will his bride discover,--
So the mighty oracle hath said;
Blazing worlds will turn to marriage torches
When Eternity with Time shall wed!

Then a fairer, far more beauteous morning,
Laura, on our love shall also shine,
Long as their blest bridal-night enduring:--
So rejoice thee, Laura--Laura mine!




TO LAURA AT THE HARPSICHORD.

When o'er the chords thy fingers stray,
My spirit leaves its mortal clay,
A statue there I stand;
Thy spell controls e'en life and death,
As when the nerves a living breath
Receive by Love's command! [1]

More gently zephyr sighs along
To listen to thy magic song;
The systems formed by heavenly love
To sing forever as they move,
Pause in their endless-whirling round
To catch the rapture-teeming sound;
'Tis for thy strains they worship thee,--
Thy look, enchantress, fetters me!

From yonder chords fast-thronging come
Soul-breathing notes with rapturous speed,
As when from out their heavenly home
The new-born seraphim proceed;
The strains pour forth their magic might,
As glittering suns burst through the night,
When, by Creation's storm awoke,
From chaos' giant-arm they broke.

Now sweet, as when the silv'ry wave
Delights the pebbly beach to lave;
And now majestic as the sound
Of rolling thunder gathering round;
Now pealing more loudly, as when from yon height
Descends the mad mountain-stream, foaming and bright;
Now in a song of love
Dying away,
As through the aspen grove
Soft zephyrs play:
Now heavier and more mournful seems the strain,
As when across the desert, death-like plain,
Whence whispers dread and yells despairing rise,
Cocytus' sluggish, wailing current sighs.

Maiden fair, oh, answer me!
Are not spirits leagued with thee?
Speak they in the realms of bliss
Other language e'er than this?




GROUP FROM TARTARUS.

Hark! like the sea in wrath the heavens assailing,
Or like a brook through rocky basin wailing,
Comes from below, in groaning agony,
A heavy, vacant torment-breathing sigh!
Their faces marks of bitter torture wear,
While from their lips burst curses of despair;
Their eyes are hollow, and full of woe,
And their looks with heartfelt anguish
Seek Cocytus' stream that runs wailing below,
For the bridge o'er its waters they languish.

And they say to each other in accents of fear,
"Oh, when will the time of fulfilment appear? "
High over them boundless eternity quivers,
And the scythe of Saturnus all-ruthlessly, shivers!




RAPTURE--TO LAURA.

From earth I seem to wing my flight,
And sun myself in Heaven's pure light,
When thy sweet gaze meets mine
I dream I quaff ethereal dew,
When my own form I mirrored view
In those blue eyes divine!

Blest notes from Paradise afar,
Or strains from some benignant star
Enchant my ravished ear:
My Muse feels then the shepherd's hour
When silvery tones of magic power
Escape those lips so dear!

Young Loves around thee fan their wings--
Behind, the maddened fir-tree springs,
As when by Orpheus fired:
The poles whirl round with swifter motion,
When in the dance, like waves o'er Ocean,
Thy footsteps float untired!

Thy look, if it but beam with love,
Could make the lifeless marble move,
And hearts in rocks enshrine:
My visions to reality
Will turn, if, Laura, in thine eye
I read--that thou art mine!




TO LAURA. (THE MYSTERY OF REMINISCENCE. ) [2]

Who and what gave to me the wish to woo thee--
Still, lip to lip, to cling for aye unto thee?
Who made thy glances to my soul the link--
Who bade me burn thy very breath to drink--
My life in thine to sink?
As from the conqueror's unresisted glaive,
Flies, without strife subdued, the ready slave--
So, when to life's unguarded fort, I see
Thy gaze draw near and near triumphantly--
Yields not my soul to thee?
Why from its lord doth thus my soul depart? --
Is it because its native home thou art?
Or were they brothers in the days of yore,
Twin-bound both souls, and in the link they bore
Sigh to be bound once more?
Were once our beings blent and intertwining,
And therefore still my heart for thine is pining?
Knew we the light of some extinguished sun--
The joys remote of some bright realm undone,
Where once our souls were ONE?
Yes, it is so! --And thou wert bound to me
In the long-vanish'd Eld eternally!
In the dark troubled tablets which enroll
The Past--my Muse beheld this blessed scroll--
"One with thy love my soul! "
Oh yes, I learned in awe, when gazing there,
How once one bright inseparate life we were,
How once, one glorious essence as a God,
Unmeasured space our chainless footsteps trod--
All Nature our abode!
Round us, in waters of delight, forever
Voluptuous flowed the heavenly Nectar river;
We were the master of the seal of things,
And where the sunshine bathed Truth's mountain-springs
Quivered our glancing wings.
Weep for the godlike life we lost afar--
Weep! --thou and I its scattered fragments are;
And still the unconquered yearning we retain--
Sigh to restore the rapture and the reign,
And grow divine again.
And therefore came to me the wish to woo thee--
Still, lip to lip, to cling for aye unto thee;
This made thy glances to my soul the link--
This made me burn thy very breath to drink--
My life in thine to sink;
And therefore, as before the conqueror's glaive,
Flies, without strife subdued, the ready slave,
So, when to life's unguarded fort, I see
Thy gaze draw near and near triumphantly--
Yieldeth my soul to thee!
Therefore my soul doth from its lord depart,
Because, beloved, its native home thou art;
Because the twins recall the links they bore,
And soul with soul, in the sweet kiss of yore,
Meets and unites once more!
Thou, too--Ah, there thy gaze upon me dwells,
And thy young blush the tender answer tells;
Yes! with the dear relation still we thrill,
Both lives--though exiles from the homeward hill--
One life--all glowing still!




MELANCHOLY--TO LAURA.

Laura! a sunrise seems to break
Where'er thy happy looks may glow.
Joy sheds its roses o'er thy cheek,
Thy tears themselves do but bespeak
The rapture whence they flow;
Blest youth to whom those tears are given--
The tears that change his earth to heaven;
His best reward those melting eyes--
For him new suns are in the skies!

Thy soul--a crystal river passing,
Silver-clear, and sunbeam-glassing,
Mays into bloom sad Autumn by thee;
Night and desert, if they spy thee,
To gardens laugh--with daylight shine,
Lit by those happy smiles of thine!
Dark with cloud the future far
Goldens itself beneath thy star.
Smilest thou to see the harmony
Of charm the laws of Nature keep?
Alas! to me the harmony
Brings only cause to weep!

Holds not Hades its domain
Underneath this earth of ours?
Under palace, under fame,
Underneath the cloud-capped towers?
Stately cities soar and spread
O'er your mouldering bones, ye dead!
From corruption, from decay,
Springs yon clove-pink's fragrant bloom;
Yon gay waters wind their way
From the hollows of a tomb.

From the planets thou mayest know
All the change that shifts below,
Fled--beneath that zone of rays,
Fled to night a thousand Mays;
Thrones a thousand--rising--sinking,
Earth from thousand slaughters drinking
Blood profusely poured as water;--
Of the sceptre--of the slaughter--
Wouldst thou know what trace remaineth?
Seek them where the dark king reigneth!

Scarce thine eye can ope and close
Ere life's dying sunset glows;
Sinking sudden from its pride
Into death--the Lethe tide.
Ask'st thou whence thy beauties rise?
Boastest thou those radiant eyes? --
Or that cheek in roses dyed?
All their beauty (thought of sorrow! )
From the brittle mould they borrow.
Heavy interest in the tomb
For the brief loan of the bloom,
For the beauty of the day,
Death the usurer, thou must pay,
In the long to-morrow!

Maiden! --Death's too strong for scorn;
In the cheek the fairest, He
But the fairest throne doth see
Though the roses of the morn
Weave the veil by beauty worn--
Aye, beneath that broidered curtain,
Stands the Archer stern and certain!
Maid--thy Visionary hear--
Trust the wild one as the sear,
When he tells thee that thine eye,
While it beckons to the wooer,
Only lureth yet more nigh
Death, the dark undoer!

Every ray shed from thy beauty
Wastes the life-lamp while it beams,
And the pulse's playful duty,
And the blue veins' merry streams,
Sport and run into the pall--
Creatures of the Tyrant, all!
As the wind the rainbow shatters,
Death thy bright smiles rends and scatters,
Smile and rainbow leave no traces;--
From the spring-time's laughing graces,
From all life, as from its germ,
Grows the revel of the worm!

Woe, I see the wild wind wreak
Its wrath upon thy rosy bloom,
Winter plough thy rounded cheek,
Cloud and darkness close in gloom;
Blackening over, and forever,
Youth's serene and silver river!
Love alike and beauty o'er,
Lovely and beloved no more!

Maiden, an oak that soars on high,
And scorns the whirlwind's breath
Behold thy Poet's youth defy
The blunted dart of Death!
His gaze as ardent as the light
That shoots athwart the heaven,
His soul yet fiercer than the light
In the eternal heaven,
Of Him, in whom as in an ocean-surge
Creation ebbs and flows--and worlds arise and merge!
Through Nature steers the poet's thought to find
No fear but this--one barrier to the mind?

And dost thou glory so to think?
And heaves thy bosom? --Woe!
This cup, which lures him to the brink,
As if divinity to drink--
Has poison in its flow!
Wretched, oh, wretched, they who trust
To strike the God-spark from the dust!
The mightiest tone the music knows,
But breaks the harp-string with the sound;
And genius, still the more it glows,
But wastes the lamp whose life bestows
The light it sheds around.
Soon from existence dragged away,
The watchful jailer grasps his prey:
Vowed on the altar of the abused fire,
The spirits I raised against myself conspire!
Let--yes, I feel it two short springs away
Pass on their rapid flight;
And life's faint spark shall, fleeting from the clay,
Merge in the Fount of Light!

And weep'st thou, Laura? --be thy tears forbid;
Would'st thou my lot, life's dreariest years amid,
Protract and doom? --No: sinner, dry thy tears:
Would'st thou, whose eyes beheld the eagle wing
Of my bold youth through air's dominion spring,
Mark my sad age (life's tale of glory done)--
Crawl on the sod and tremble in the sun?
Hear the dull frozen heart condemn the flame
That as from heaven to youth's blithe bosom came;
And see the blind eyes loathing turn from all
The lovely sins age curses to recall?
Let me die young! --sweet sinner, dry thy tears!
Yes, let the flower be gathered in its bloom!
And thou, young genius, with the brows of gloom,
Quench thou life's torch, while yet the flame is strong!
Even as the curtain falls; while still the scene
Most thrills the hearts which have its audience been;
As fleet the shadows from the stage--and long
When all is o'er, lingers the breathless throng!




THE INFANTICIDE.

Hark where the bells toll, chiming, dull and steady,
The clock's slow hand hath reached the appointed time.
Well, be it so--prepare, my soul is ready,
Companions of the grave--the rest for crime!
Now take, O world! my last farewell--receiving
My parting kisses--in these tears they dwell!
Sweet are thy poisons while we taste believing,
Now we are quits--heart-poisoner, fare-thee-well!

Farewell, ye suns that once to joy invited,
Changed for the mould beneath the funeral shade;
Farewell, farewell, thou rosy time delighted,
Luring to soft desire the careless maid,
Pale gossamers of gold, farewell, sweet dreaming
Fancies--the children that an Eden bore!
Blossoms that died while dawn itself was gleaming,
Opening in happy sunlight never more.

Swanlike the robe which innocence bestowing,
Decked with the virgin favors, rosy fair,
In the gay time when many a young rose glowing,
Blushed through the loose train of the amber hair.
Woe, woe! as white the robe that decks me now--
The shroud-like robe hell's destined victim wears;
Still shall the fillet bind this burning brow--
That sable braid the Doomsman's hand prepares!

Weep ye, who never fell-for whom, unerring,
The soul's white lilies keep their virgin hue,
Ye who when thoughts so danger-sweet are stirring,
Take the stern strength that Nature gives the few!
Woe, for too human was this fond heart's feeling--
Feeling! --my sin's avenger [3] doomed to be;
Woe--for the false man's arm around me stealing,
Stole the lulled virtue, charmed to sleep, from me.

Ah, he perhaps shall, round another sighing
(Forgot the serpents stinging at my breast),
Gayly, when I in the dumb grave am lying,
Pour the warm wish or speed the wanton jest,
Or play, perchance, with his new maiden's tresses,
Answer the kiss her lip enamored brings,
When the dread block the head he cradled presses,
And high the blood his kiss once fevered springs.

Thee, Francis, Francis [4], league on league, shall follow
The death-dirge of the Lucy once so dear;
From yonder steeple dismal, dull, and hollow,
Shall knell the warning horror on thy ear.
On thy fresh leman's lips when love is dawning,
And the lisped music glides from that sweet well--
Lo, in that breast a red wound shall be yawning,
And, in the midst of rapture, warn of hell!

Betrayer, what! thy soul relentless closing
To grief--the woman-shame no art can heal--
To that small life beneath my heart reposing!
Man, man, the wild beast for its young can feel!
Proud flew the sails--receding from the land,
I watched them waning from the wistful eye,
Round the gay maids on Seine's voluptuous strand,
Breathes the false incense of his fatal sigh.

And there the babe! there, on the mother's bosom,
Lulled in its sweet and golden rest it lay,
Fresh in life's morning as a rosy blossom,
It smiled, poor harmless one, my tears away.
Deathlike yet lovely, every feature speaking
In such dear calm and beauty to my sadness,
And cradled still the mother's heart, in breaking,
The softening love and the despairing madness.

"Woman, where is my father? " freezing through me,
Lisped the mute innocence with thunder-sound;
"Woman, where is thy husband? "--called unto me,
In every look, word, whisper, busying round!
Alas, for thee, there is no father's kiss;--
He fondleth other children on his knee.
How thou wilt curse our momentary bliss,
When bastard on thy name shall branded be!

Thy mother--oh, a hell her heart concealeth,
Lone-sitting, lone in social nature's all!
Thirsting for that glad fount thy love revealeth,
While still thy look the glad fount turns to gall.
In every infant cry my soul is hearkening,
The haunting happiness forever o'er,
And all the bitterness of death is darkening
The heavenly looks that smiled mine eyes before.

Hell, if my sight those looks a moment misses--
Hell, when my sight upon those looks is turned--
The avenging furies madden in thy kisses,
That slept in his what time my lips they burned.