Schiller gradually felt all this, and gathered comfort, while better days began to dawn upon him. Fearful of trusting himself so near Stuttgard as at Mannheim, he had passed into Franconia, and was living painfully at Oggersheim, under the name of Schmidt: but Dalberg, who knew all his distresses, supplied him with money for immediate wants; and a generous lady made him the offer of a home. Madam von Wolzogen lived on her estate of Bauerbach, in the neighbourhood of Meinungen; she knew Schiller from his works, and his intimacy with her sons, who had been his fellow-students at Stuttgard. She invited him to her house; and there treated him with an affection which helped him to forget the past, and look cheerfully forward to the future.
Under this hospitable roof, Schiller had leisure to examine calmly the perplexed and dubious aspect of his affairs. Happily his character belonged not to the whining or sentimental sort: he was not of those, in whom the pressure of misfortune produces nothing but unprofitable pain; who spend, in cherishing and investigating and deploring their miseries, the time which should be spent in providing a relief for them. With him, strong feeling was constantly a call to vigorous action: he possessed in a high degree the faculty of conquering his afflictions, by directing his thoughts, not to maxims for enduring them, or modes of expressing them with interest, but to plans for getting rid of them; and to this disposition or habit,—too rare among men of genius, men of a much higher class than mere sentimentalists, but whose sensibility is out of proportion with their inventiveness or activity,—we are to attribute no small influence in the fortunate conduct of his subsequent life. With such a turn of mind, Schiller, now that he was at length master of his own movements, could not long be at a loss for plans or tasks. Once settled at Bauerbach, he immediately resumed his poetical employments; and forgot, in the regions of fancy, the vague uncertainties of his real condition, or saw prospects of amending it in a life of literature. By many safe and sagacious persons, the prudence of his late proceedings might be more than questioned; it was natural for many to forbode that one who left the port so rashly, and sailed with such precipitation, was likely to make shipwreck ere the voyage had extended far: but the lapse of a few months put a stop to such predictions. A year had not passed since his departure, when Schiller sent forth his Verschwörung des Fiesco and Kabale und Liebe; tragedies which testified that, dangerous and arduous as the life he had selected might be, he possessed resources more than adequate to its emergencies. Fiesco he had commenced during the period of his arrest at Stuttgard; it was published, with the other play, in 1783; and soon after brought upon the Mannheim theatre, with universal approbation.
It was now about three years since the composition of the Robbers had been finished; five since the first sketch of it had been formed. With what zeal and success Schiller had, in that interval, pursued the work of his mental culture, these two dramas are a striking proof. The first ardour of youth is still to be discerned in them; but it is now chastened by the dictates of a maturer reason, and made to animate the products of a much happier and more skilful invention. Schiller's ideas of art had expanded and grown clearer, his knowledge of life had enlarged. He exhibits more acquaintance with the fundamental principles of human nature, as well as with the circumstances under which it usually displays itself; and far higher and juster views of the manner in which its manifestations should be represented.
In the Conspiracy of Fiesco we have to admire not only the energetic animation which the author has infused into all his characters, but the distinctness with which he has discriminated, without aggravating them; and the vividness with which he has contrived to depict the scene where they act and move. The political and personal relations of the Genoese nobility; the luxurious splendour, the intrigues, the feuds, and jarring interests, which occupy them, are made visible before us: we understand and may appreciate the complexities of the conspiracy; we mingle, as among realities, in the pompous and imposing movements which lead to the catastrophe. The catastrophe itself is displayed with peculiar effect. The midnight silence of the sleeping city, interrupted only by the distant sounds of watchmen, by the low hoarse murmur of the sea, or the stealthy footsteps and disguised voice of Fiesco, is conveyed to our imagination by some brief but graphic touches; we seem to stand in the solitude and deep stillness of Genoa, awaiting the signal which is to burst so fearfully upon its slumber. At length the gun is fired; and the wild uproar which ensues is no less strikingly exhibited. The deeds and sounds of violence, astonishment and terror; the volleying cannon, the heavy toll of the alarm-bells, the acclamation of assembled thousands, 'the voice of Genoa speaking with Fiesco,'—all is made present to us with a force and clearness, which of itself were enough to show no ordinary power of close and comprehensive conception, no ordinary skill in arranging and expressing its results.
But it is not this felicitous delineation of circumstances and visible scenes that constitutes our principal enjoyment. The faculty of penetrating through obscurity and confusion, to seize the characteristic features of an object, abstract or material; of producing a lively description in the latter case, an accurate and keen scrutiny in the former, is the essential property of intellect, and occupies in its best form a high rank in the scale of mental gifts: but the creative faculty of the poet, and especially of the dramatic poet, is something superadded to this; it is far rarer, and occupies a rank far higher. In this particular, Fiesco, without approaching the limits of perfection, yet stands in an elevated range of excellence. The characters, on the whole, are imagined and portrayed with great impressiveness and vigour. Traces of old faults are indeed still to be discovered: there still seems a want of pliancy about the genius of the author; a stiffness and heaviness in his motions. His sublimity is not to be questioned; but it does not always disdain the aid of rude contrasts and mere theatrical effect. He paints in colours deep and glowing, but without sufficient skill to blend them delicately: he amplifies nature more than purifies it; he omits, but does not well conceal the omission. Fiesco has not the complete charm of a true though embellished resemblance to reality; its attraction rather lies in a kind of colossal magnitude, which requires it, if seen to advantage, to be viewed from a distance. Yet the prevailing qualities of the piece do more than make us pardon such defects. If the dramatic imitation is not always entirely successful, it is never very distant from success; and a constant flow of powerful thought and sentiment counteracts, or prevents us from noticing, the failure. We find evidence of great philosophic penetration, great resources of invention, directed by a skilful study of history and men; and everywhere a bold grandeur of feeling and imagery gives life to what study has combined. The chief incidents have a dazzling magnificence; the chief characters, an aspect of majesty and force which corresponds to it. Fervour of heart, capaciousness of intellect and imagination, present themselves on all sides: the general effect is powerful and exalting.
Fiesco himself is a personage at once probable and tragically interesting. The luxurious dissipation, in which he veils his daring projects, softens the rudeness of that strength which it half conceals. His immeasurable pride expands itself not only into a disdain of subjection, but also into the most lofty acts of magnanimity: his blind confidence in fortune seems almost warranted by the resources which he finds in his own fearlessness and imperturbable presence of mind. His ambition participates in the nobleness of his other qualities; he is less anxious that his rivals should yield to him in power than in generosity and greatness of character, attributes of which power is with him but the symbol and the fit employment. Ambition in Fiesco is indeed the common wish of every mind to diffuse its individual influence, to see its own activity reflected back from the united minds of millions: but it is the common wish acting on no common man. He does not long to rule, that he may sway other wills, as it were, by the physical exertion of his own: he would lead us captive by the superior grandeur of his qualities, once fairly manifested; and he aims at dominion, chiefly as it will enable him to manifest these. 'It is not the arena that he values, but what lies in that arena:' the sovereignty is enviable, not for its adventitious splendour, not because it is the object of coarse and universal wonder; but as it offers, in the collected force of a nation, something which the loftiest mortal may find scope for all his powers in guiding. "Spread out the thunder," Fiesco exclaims, "into its single tones, and it becomes a lullaby for children: pour it forth together in one quick peal, and the royal sound shall move the heavens." His affections are not less vehement than his other passions: his heart can be melted into powerlessness and tenderness by the mild persuasions of his Leonora; the idea of exalting this amiable being mingles largely with the other motives to his enterprise. He is, in fact, a great, and might have been a virtuous man; and though in the pursuit of grandeur he swerves from absolute rectitude, we still respect his splendid qualities, and admit the force of the allurements which have led him astray. It is but faintly that we condemn his sentiments, when, after a night spent in struggles between a rigid and a more accommodating patriotism, he looks out of his chamber, as the sun is rising in its calm beauty, and gilding the waves and mountains, and all the innumerable palaces and domes and spires of Genoa, and exclaims with rapture: "This majestic city—mine! To flame over it like the kingly Day; to brood over it with a monarch's power; all these sleepless longings, all these never satiated wishes to be drowned in that unfathomable ocean!" We admire Fiesco, we disapprove of him, and sympathise with him: he is crushed in the ponderous machinery which himself put in motion and thought to control: we lament his fate, but confess that it was not undeserved. He is a fit 'offering of individual free-will to the force of social conventions.'
Fiesco is not the only striking character in the play which bears his name. The narrow fanatical republican virtue of Verrina, the mild and venerable wisdom of the old Doria, the unbridled profligacy of his Nephew, even the cold, contented, irreclaimable perversity of the cutthroat Moor, all dwell in our recollections: but what, next to Fiesco, chiefly attracts us, is the character of Leonora his wife. Leonora is of kindred to Amelia in the Robbers, but involved in more complicated relations, and brought nearer to the actual condition of humanity. She is such a heroine as Schiller most delights to draw. Meek and retiring by the softness of her nature, yet glowing with an ethereal ardour for all that is illustrious and lovely, she clings about her husband, as if her being were one with his. She dreams of remote and peaceful scenes, where Fiesco should be all to her, she all to Fiesco: her idea of love is, that 'her name should lie in secret behind every one of his thoughts, should speak to him from every object of Nature; that for him, this bright majestic universe itself were but as the shining jewel, on which her image, only hers, stood engraved.' Her character seems a reflection of Fiesco's, but refined from his grosser strength, and transfigured into a celestial form of purity, and tenderness, and touching grace. Jealousy cannot move her into anger; she languishes in concealed sorrow, when she thinks herself forgotten. It is affection alone that can rouse her into passion; but under the influence of this, she forgets all weakness and fear. She cannot stay in her palace, on the night when Fiesco's destiny is deciding; she rushes forth, as if inspired, to share in her husband's dangers and sublime deeds, and perishes at last in the tumult.
The death of Leonora, so brought about, and at such a time, is reckoned among the blemishes of the work: that of Fiesco, in which Schiller has ventured to depart from history, is to be more favourably judged of. Fiesco is not here accidentally drowned; but plunged into the waves by the indignant Verrina, who forgets or stifles the feelings of friendship, in his rage at political apostasy. 'The nature of the Drama,' we are justly told, 'will not suffer the operation of Chance, or of an immediate Providence. Higher spirits can discern the minute fibres of an event stretching through the whole expanse of the system of the world, and hanging, it may be, on the remotest limits of the future and the past, where man discerns nothing save the action itself, hovering unconnected in space. But the artist has to paint for the short view of man, whom he wishes to instruct; not for the piercing eye of superior powers, from whom he learns.'
In the composition of Fiesco, Schiller derived the main part of his original materials from history; he could increase the effect by gorgeous representations, and ideas preëxisting in the mind of his reader. Enormity of incident and strangeness of situation lent him a similar assistance in the Robbers. Kabale und Liebe is destitute of these advantages; it is a tragedy of domestic life; its means of interesting are comprised within itself, and rest on very simple feelings, dignified by no very singular action. The name, Court-Intriguing and Love, correctly designates its nature; it aims at exhibiting the conflict, the victorious conflict, of political manœuvering, of cold worldly wisdom, with the pure impassioned movements of the young heart, as yet unsullied by the tarnish of every-day life, inexperienced in its calculations, sick of its empty formalities, and indignantly determined to cast-off the mean restrictions it imposes, which bind so firmly by their number, though singly so contemptible. The idea is far from original: this is a conflict which most men have figured to themselves, which many men of ardent mind are in some degree constantly waging. To make it, in this simple form, the subject of a drama, seems to be a thought of Schiller's own; but the praise, though not the merit of his undertaking, considerable rather as performed than projected, has been lessened by a multitude of worthless or noxious imitations. The same primary conception has been tortured into a thousand shapes, and tricked out with a thousand tawdry devices and meretricious ornaments, by the Kotzebues, and other 'intellectual Jacobins,' whose productions have brought what we falsely call the 'German Theatre' into such deserved contempt in England. Some portion of the gall, due only to these inflated, flimsy, and fantastic persons, appears to have acted on certain critics in estimating this play of Schiller's. August Wilhelm Schlegel speaks slightingly of the work: he says, 'it will hardly move us by its tone of overstrained sensibility, but may well afflict us by the painful impressions which it leaves.' Our own experience has been different from that of Schlegel. In the characters of Louisa and Ferdinand Walter we discovered little overstraining; their sensibility we did not reckon very criminal; seeing it united with a clearness of judgment, chastened by a purity of heart, and controlled by a force of virtuous resolution, in full proportion with itself. We rather admired the genius of the poet, which could elevate a poor music-master's daughter to the dignity of a heroine; could represent, without wounding our sense of propriety, the affection of two noble beings, created for each other by nature, and divided by rank; we sympathised in their sentiments enough to feel a proper interest in their fate, and see in them, what the author meant we should see, two pure and lofty minds involved in the meshes of vulgar cunning, and borne to destruction by the excess of their own good qualities and the crimes of others.
Ferdinand is a nobleman, but not convinced that 'his patent of nobility is more ancient or of more authority than the primeval scheme of the universe:' he speaks and acts like a young man entertaining such persuasions: disposed to yield everything to reason and true honour, but scarcely anything to mere use and wont. His passion for Louisa is the sign and the nourishment rather than the cause of such a temper: he loves her without limit, as the only creature he has ever met with of a like mind with himself; and this feeling exalts into inspiration what was already the dictate of his nature. We accompany him on his straight and plain path; we rejoice to see him fling aside with a strong arm the artifices and allurements with which a worthless father and more worthless associates assail him at first in vain: there is something attractive in the spectacle of native integrity, fearless though inexperienced, at war with selfishness and craft; something mournful, because the victory will seldom go as we would have it.