The Works of Frederick Schiller
Produced by David Widger and Tapio Riikonen
Translated from the German
Illustrated
HISTORY: Thirty Years War: Book I. Book II. Book III. Book IV. Book V. Revolt of Netherlands: Book I. Book II. Book III. Book IV.
PLAYS: The Robbers Fiesco Love and Intrigue The Camp of Wallenstein Piccolomini The Death of Wallenstein Whilhelm Tell Don Carlos Demetrius Mary Stuart The Maid of Orleans The Bride of Messina
POEMS: 1st Period 2nd Period 3rd Period Supressed Poems
PHILOSOPHY: Aesthetical Essays Philosophical Letters
The present is the best collected edition of the important works of Schiller which is accessible to readers in the English language. Detached poems or dramas have been translated at various times since the first publication of the original works; and in several instances these versions have been incorporated into this collection. Schiller was not less efficiently qualified by nature for an historian than for a dramatist. He was formed to excel in all departments of literature, and the admirable lucidity of style and soundness and impartiality of judgment displayed in his historical writings will not easily be surpassed, and will always recommend them as popular expositions of the periods of which they treat.
Since the publication of the first English edition many corrections and improvements have been made, with a view to rendering it as acceptable as possible to English readers; and, notwithstanding the disadvantages of a translation, the publishers feel sure that Schiller will be heartily acceptable to English readers, and that the influence of his writings will continue to increase.
THE HISTORY OF THE REVOLT OF THE NETHERLANDS was translated by Lieut. E. B. Eastwick, and originally published abroad for students' use. But this translation was too strictly literal for general readers. It has been carefully revised, and some portions have been entirely rewritten by the Rev. A. J. W. Morrison, who also has so ably translated the HISTORY OF THE THIRTY YEARS WAR.
Friedrich Schiller
---
THE WORKS
CONTENTS:
HISTORY OF THE THIRTY YEARS' WAR IN GERMANY.
Book I.
Book II.
Book III.
Book IV.
Book V.
HISTORY OF THE THIRTY YEARS' WAR IN GERMANY.
BOOK I.
Book II.
Book III.
Book IV.
Book V.
THE WORKS
PREFACE TO THE EDITION.
THE HISTORY
CONTENTS.
THE AUTHOR'S PREFACE.
INTRODUCTION.
BOOK I.
PHILIP II., RULER OF THE NETHERLANDS.
THE TRIBUNAL OF THE INQUISITION
OTHER ENCROACHMENTS ON THE CONSTITUTION OF THE NETHERLANDS.
WILLIAM OF ORANGE AND COUNT EGMONT.
MARGARET OF PARMA REGENT OF THE NETHERLANDS.
BOOK II.
COUNT EGMONT IN SPAIN.
SEVERER RELIGIOUS EDICTS—UNIVERSAL OPPOSITION OF THE NATION.
BOOK III.
THE GUEUX.
PUBLIC PREACHING.
BOOK IV.
THE ICONOCLASTS.
CIVIL WAR
RESIGNATION OF WILLIAM OF ORANGE.
DECAY AND DISPERSION OF THE GEUSEN LEAGUE.
ALVA'S ARMAMENT AND EXPEDITION TO THE NETHERLANDS.
ALVA'S FIRST MEASURES, AND DEPARTURE OF THE DUCHESS OF PARMA.
TRIAL AND EXECUTION OF COUNTS EGMONT AND HORN.
SIEGE OF ANTWERP BY THE PRINCE OF PARMA, IN THE YEARS 1584 AND 1585.
THE GHOST-SEER; OR, APPARITIONIST.
FROM THE PAPERS OF COUNT O———-
BOOK II.
LETTER I.
LETTER II.
LETTER III.
LETTER IV.
LETTER V.
LETTER VI.
LETTER VII.
LETTER VIII.
LETTER IX.
LETTER X.
COUNT O———- IN CONTINUATION.
THE SPORT OF DESTINY
THE ROBBERS.
SCHILLER'S PREFACE.
ADVERTISEMENT TO THE ROBBERS.
PREFACE TO THE SECOND EDITION.
THE ROBBERS.
DRAMATIS PERSONAE.
THE ROBBERS
ACT I.
SCENE II.—A Tavern on the Frontier of Saxony.
SCENE III.—MOOR'S Castle.—AMELIA'S Chamber.
ACT II.
SCENE II.—Old Moor's Bedchamber.
SCENE III.—THE BOHEMIAN WOODS.
ACT III.
SCENE VIII.
SCENE IX.
SCENE II.—Country near the Danube.
ACT IV.
SCENE III.—Another Room in the Castle.
Scene IV.—In the Garden.
ACT V.
SCENE II.—The scene the same as the last scene of the preceding Act.
SCENE VIII.
SCENE IX.
FIESCO, OR THE GENOESE CONSPIRACY.
AUTHOR'S PREFACE.
FIESCO; OR, THE GENOESE CONSPIRACY.
DRAMATIS PERSONAE.
ACT I.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE XI.
SCENE XII.
SCENE XIII.
ACT II.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE X.
SCENE XI.
SCENE XIII.
ACT III.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE X.
SCENE XI.
ACT IV.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE X.
SCENE XI.
SCENE XII.
SCENE XIII.
ACT V.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE X.
SCENE XI.
SCENE XII.
SCENE XIII.
LOVE AND INTRIGUE.
DRAMATIS PERSONAE.
ACT I.
SCENE I.
SCENE II.
SCENE III.
SCENE IV.
SCENE VI.
SCENE VII.
ACT II.
SCENE V.
SCENE VI.
SCENE VII.
ACT III.
SCENE I.
SCENE II.
SCENE III.
SCENE V.
SCENE VI.
ACT IV.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VII.
SCENE VIII.
SCENE IX.
ACT V.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
THE CAMP OF WALLENSTEIN
DRAMATIS PERSONAE.
SCENE I.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE X.
SCENE XI.
THE PICCOLOMINI,
PREFACE.
DRAMATIS PERSONAE.
ACT I.
SCENE I.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
ACT II.
SCENE I.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
ACT III.
SCENE I.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
ACT IV.
SCENE I.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
ACT V.
SCENE I.
SCENE II.
SCENE III.
FOOTNOTES.
THE DEATH OF WALLENSTEIN.
DRAMATIS PERSONAE.
ACT I.
SCENE I.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
ACT II.
SCENE I.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
ACT III.
SCENE I.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE X.
SCENE XI.
SCENE XII.
SCENE XIII.
ACT IV.
SCENE I.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE X.
SCENE XI.
SCENE XII.
SCENE XIII.
ACT V.
SCENE I.
SCENE II.
SCENE III.
SCENE V.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE X.
SCENE XI.
SCENE XII.
FOOTNOTES.
WILHELM TELL.
DRAMATIS PERSONAE.
WILHELM TELL.
ACT I.
SCENE I.
SCENE II.
SCENE III.
SCENE IV.
ACT II.
SCENE I.
SCENE II.
ACT III.
SCENE I.
SCENE II.
SCENE III.
ACT IV.
SCENE I.
SCENE II.
SCENE III.
ACT V.
SCENE I.
SCENE II.
SCENE III.
FOOTNOTES.
DON CARLOS.
DRAMATIS PERSONAE.
ACT I.
SCENE I.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
ACT II.
SCENE I.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE X.
SCENE XI.
SCENE XII.
SCENE XIII.
ACT III.
SCENE I.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE X.
ACT IV.
SCENE I.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE X.
SCENE XI.
SCENE XII.
SCENE XIII.
ACT V.
SCENE I.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE X.
SCENE XI.
DEMETRIUS
ACT I.
SCENE I.
ACT II.
SCENE I.
SCENE II.
SCENE III.
MARY STUART.
DRAMATIS PERSONAE.
ACT I.
SCENE I.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
ACT II.
SCENE I.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
ACT III.
SCENE I.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
ACT IV.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE X.
SCENE XI.
SCENE XII.
ACT V.
SCENE I.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE X.
SCENE XI.
SCENE XII.
SCENE XIII.
THE MAID OF ORLEANS.
DRAMATIS PERSONAE.
PROLOGUE.
SCENE I.
SCENE II.
SCENE III.
SCENE IV.
ACT I.
SCENE I.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE X.
SCENE XI.
ACT II.
SCENE I.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE X.
ACT III.
SCENE I.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE X.
SCENE XI.
ACT IV.
SCENE I.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE X.
SCENE XI.
SCENE XII.
SCENE XIII.
ACT V.
SCENE I.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE X.
SCENE XI.
SCENE XII.
SCENE IV.
THE BRIDE OF MESSINA
ON THE USE OF THE CHORUS IN TRAGEDY.
THE BRIDE OF MESSINA
DRAMATIS PERSONAE.
SCENE I.
SCENE—The hall of pillars. It is night.
ON THE USE OF THE CHORUS IN TRAGEDY.
SCHILLER'S POEMS
CONTENTS:
AMALIA.
A FUNERAL FANTASIE.
FANTASIE—TO LAURA.
TO LAURA AT THE HARPSICHORD.
GROUP FROM TARTARUS.
RAPTURE—TO LAURA.
TO LAURA. (THE MYSTERY OF REMINISCENCE.) [2]
MELANCHOLY—TO LAURA.
THE INFANTICIDE.
THE GREATNESS OF THE WORLD.
FORTUNE AND WISDOM.
ELEGY ON THE DEATH OF A YOUNG MAN. [5]
THE BATTLE.
ROUSSEAU.
FRIENDSHIP.
ELYSIUM.
THE FUGITIVE.
TO MINNA.
THE FLOWERS.
THE TRIUMPH OF LOVE.
TO A MORALIST.
COUNT EBERHARD, THE GROANER OF WURTEMBERG.
TO THE SPRING.
SEMELE:
SCENE I.
SCENE II.
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. [14]
LONGING.
EVENING.
THE PILGRIM.
THE IDEALS.
THE YOUTH BY THE BROOK. [16]
TO EMMA.
THE LAY OF THE MOUNTAIN.
THE ALPINE HUNTER.
DITHYRAMB. [23]
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. [29]
THE ELEUSINIAN FESTIVAL.
THE RING OF POLYCRATES. [32]
THE CRANES OF IBYCUS.
THE PLAYING INFANT.
HERO AND LEANDER. [34]
CASSANDRA.
THE HOSTAGE.
GREEKISM.
THE DIVER.
THE KNIGHT OF TOGGENBURG.
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. [38]
THE FORUM OF WOMAN.
THE GLOVE.
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. [50]
THE SEXES.
LOVE AND DESIRE.
THE BARDS OF OLDEN TIME.
JOVE TO HERCULES.
THE ANTIQUES AT PARIS.
THEKLA.
THE ANTIQUE TO THE NORTHERN WANDERER.
THE ILIAD.
POMPEII AND HERCULANEUM.
NAENIA.
THE MAID OF ORLEANS.
ARCHIMEDES.
THE DANCE.
THE FORTUNE-FAVORED. [53]
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.
GENIUS.
TRIFLES.
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 FOLIO 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.
THE HEREDITARY PRINCE OF WEIMAR, ON HIS PROCEEDING TO PARIS.
THE IDEAL OF WOMAN.
THE FOUNTAIN OF SECOND YOUTH.
WILLIAM TELL. [59]
TO A YOUNG FRIEND DEVOTING HIMSELF TO PHILOSOPHY.
EXPECTATION AND FULFILMENT.
THE COMMON FATE.
HUMAN ACTION.
NUPTIAL ODE. [60]
THE COMMENCEMENT OF THE NEW CENTURY.
GRECIAN GENIUS.
THE FATHER.
THE CONNECTING MEDIUM.
THE MOMENT.
GERMAN COMEDY.
FAREWELL TO THE READER.
DEDICATION TO DEATH, MY PRINCIPAL.
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.
BOOK I.
BOOK II.
BOOK III.
REPROACH—TO LAURA.
THE SIMPLE PEASANT. [62]
ACTAEON.
MAN'S DIGNITY.
THE MESSIAD.
THOUGHTS ON THE 1ST OCTOBER, 1781.
EPITAPH.
QUIRL.
THE PLAGUE.
MONUMENT OF MOOR THE ROBBER. [65]
THE BAD MONARCHS. [66]
THE SATYR AND MY MUSE.
THE PEASANTS. [67]
THE WINTER NIGHT.
THE WIRTEMBERGER.
THE MOLE.
HYMN TO THE ETERNAL.
DIALOGUE.
EPITAPH
TRUST IN IMMORTALITY.
APPENDIX OF POEMS ETC. IN SCHILLER'S DRAMATIC WORKS.
APPENDIX.
FOOTNOTES.
AESTHETICAL AND PHILOSOPHICAL ESSAYS
CONTENTS
INTRODUCTION.
VOCABULARY OF TERMINOLOGY.
LETTERS ON THE AESTHETICAL EDUCATION OF MAN.
LETTER I.
LETTER II.
LETTER III.
LETTER IV.
LETTER V.
LETTER VI.
LETTER VII.
LETTER VIII.
LETTER IX.
LETTER X.
LETTER XI.
LETTER XII.
LETTER XIII.
LETTER XIV.
LETTER XV.
LETTER XVI.
LETTER XVII.
LETTER XVIII.
LETTER XIX.
LETTER XX.
LETTER XXI.
LETTER XXII.
LETTER XXIII.
LETTER XXIV.
LETTER XXV.
LETTER XXVI.
LETTER XXVII.
AESTHETICAL ESSAYS.
THE MORAL UTILITY OF AESTHETIC MANNERS.
ON THE SUBLIME.
THE PATHETIC.
ON GRACE AND DIGNITY.
ON DIGNITY.
ON THE NECESSARY LIMITATIONS IN THE USE OF BEAUTY OF FORM.
REFLECTIONS ON THE USE OF THE VULGAR AND LOW ELEMENTS IN WORKS OF ART.
DETACHED REFLECTIONS ON DIFFERENT QUESTIONS OF AESTHETICS.
ON SIMPLE AND SENTIMENTAL POETRY.
SENTIMENTAL POETRY.
SATIRICAL POETRY.
ELEGIAC POETRY.
IDYL.
THE STAGE AS A MORAL INSTITUTION.
ON THE TRAGIC ART.
OF THE CAUSE OF THE PLEASURE WE DERIVE FROM TRAGIC OBJECTS.
SCHILLER'S PHILOSOPHICAL LETTERS.
PREFATORY REMARKS.
LETTER I.
LETTER II.
LETTER III.
LETTER IV.
LETTER V.
ON THE CONNECTION BETWEEN THE ANIMAL AND THE SPIRITUAL NATURE IN MAN.
INTRODUCTION.
PHYSICAL CONNECTION.
PHILOSOPHICAL CONNECTION.
ANIMAL SENSATIONS ACCOMPANY MENTAL SENSATIONS.
PHYSICAL PHENOMENA EXPRESS THE EMOTIONS OF THE MIND.