A classic of eighteenth-century thought, Friedrich Schiller’s treatise on the role of art in society ranks among German philosophy’s most profound works. In addition to its importance to the history of ideas, this 1795 essay remains relevant to our own time.
Beginning with a political analysis of contemporary society — in particular, the French Revolution and its failure to implement universal freedom — Schiller observes that people cannot transcend their circumstances without education. He conceives of art as the vehicle of education, one that can liberate individuals from the constraints and excesses of either pure nature or pure mind. Through aesthetic experience, he asserts, people can reconcile the inner antagonism between sense and intellect, nature and reason.
Schiller’s proposal of art as fundamental to the development of society and the individual is an enduringly influential concept, and this volume offers his philosophy’s clearest, most vital expression.
* Beautifully illustrated with images relating to Schiller's life and works
* Concise introductions to the plays and other works
* Images of how the poetry books were first printed, giving your eReader a taste of the original texts
* Excellent formatting of the poems
* Special chronological and alphabetical contents tables for the poetry
* Easily locate the poems you want to read
* Also includes the poetry in the original German language
* The complete plays, with individual contents tables
* Many of the plays are illustrated with their original artwork
* Rare plays appearing for the first time in digital print, including Schiller's last completed drama THE HOMAGE OF THE ARTS
* Includes Schiller's fictional prose and non-fiction writings
* Features Carlyle's famous biography - discover Schiller's literary life
* Scholarly ordering of texts into chronological order and literary genres
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The Poetry Collections
THE POETRY OF FRIEDRICH SCHILLER
LIST OF POEMS IN CHRONOLOGICAL ORDER
LIST OF POEMS IN ALPHABETICAL ORDER
FIESCO'S CONSPIRACY AT GENOA
INTRIGUE AND LOVE
THE MAID OF ORLEANS
THE BRIDE OF MESSINA
THE HOMAGE OF THE ARTS
The Poetry in German
LISTE DER GEDICHTE IN ALPHABETISCHER REIHENFOLGE
THE GHOST-SEER; OR APPARITIONIST
THE SPORT OF DESTINY
A WALK AMONG THE LINDEN TREES
LIST OF NON-FICTION WORKS
THE LIFE OF FRIEDRICH SCHILLER by Thomas Carlyle
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David Harrower's version of Mary Stuart premiered at the Citizen's Theatre, Glasgow, in October 2006.
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.
THE CAMP OF WALLENSTEIN was translated by Mr. James Churchill, and first appeared in "Frazer's Magazine." It is an exceedingly happy version of what has always been deemed the most untranslatable of Schiller's works.
THE PICCOLOMINI and DEATH OF WALLENSTEIN are the admirable version of S. T. Coleridge, completed by the addition of all those passages which he has omitted, and by a restoration of Schiller's own arrangement of the acts and scenes. It is said, in defence of the variations which exist between the German original and the version given by Coleridge, that he translated from a prompter's copy in manuscript, before the drama had been printed, and that Schiller himself subsequently altered it, by omitting some passages, adding others, and even engrafting several of Coleridge's adaptations.
WILHELM TELL is translated by Theodore Martin, Esq., whose well-known position as a writer, and whose special acquaintance with German literature make any recommendation superfluous.
DON CARLOS is translated by R. D. Boylan, Esq., and, in the opinion of competent judges, the version is eminently successful. Mr. Theodore Martin kindly gave some assistance, and, it is but justice to state, has enhanced the value of the work by his judicious suggestions.
The translation of MARY STUART is that by the late Joseph Mellish, who appears to have been on terms of intimate friendship with Schiller. His version was made from the prompter's copy, before the play was published, and, like Coleridge's Wallenstein, contains many passages not found in the printed edition. These are distinguished by brackets. On the other hand, Mr. Mellish omitted many passages which now form part of the printed drama, all of which are now added. The translation, as a whole, stands out from similar works of the time (1800) in almost as marked a degree as Coleridge's Wallenstein, and some passages exhibit powers of a high order; a few, however, especially in the earlier scenes, seemed capable of improvement, and these have been revised, but, in deference to the translator, with a sparing hand.
THE MAID OF ORLEANS is contributed by Miss Anna Swanwick, whose translation of Faust has since become well known. It has been. carefully revised, and is now, for the first time, published complete.
THE BRIDE OF MESSINA, which has been regarded as the poetical masterpiece of Schiller, and, perhaps of all his works, presents the greatest difficulties to the translator, is rendered by A. Lodge, Esq., M. A. This version, on its first publication in England, a few years ago, was received with deserved eulogy by distinguished critics. To the present edition has been prefixed Schiller's Essay on the Use of the Chorus in Tragedy, in which the author's favorite theory of the "Ideal of Art" is enforced with great ingenuity and eloquence.
The special subject of the greater part of the letters and essays of Schiller contained in this volume is Aesthetics; and before passing to any remarks on his treatment of the subject it will be useful to offer a few observations on the nature of this topic, and on its treatment by the philosophical spirit of different ages.
First, then, aesthetics has for its object the vast realm of the beautiful, and it may be most adequately defined as the philosophy of art or of the fine arts. To some the definition may seem arbitrary, as excluding the beautiful in nature; but it will cease to appear so if it is remarked that the beauty which is the work of art is higher than natural beauty, because it is the offspring of the mind. Moreover, if, in conformity with a certain school of modern philosophy, the mind be viewed as the true being, including all in itself, it must be admitted that beauty is only truly beautiful when it shares in the nature of mind, and is mind's offspring.
Viewed in this light, the beauty of nature is only a reflection of the beauty of the mind, only an imperfect beauty, which as to its essence is included in that of the mind. Nor has it ever entered into the mind of any thinker to develop the beautiful in natural objects, so as to convert it into a science and a system. The field of natural beauty is too uncertain and too fluctuating for this purpose. Moreover, the relation of beauty in nature and beauty in art forms a part of the science of aesthetics, and finds again its proper place.
But it may be urged that art is not worthy of a scientific treatment. Art is no doubt an ornament of our life and a charm to the fancy; but has it a more serious side? When compared with the absorbing necessities of human existence, it might seem a luxury, a superfluity, calculated to enfeeble the heart by the assiduous worship of beauty, and thus to be actually prejudicial to the true interest of practical life. This view seems to be largely countenanced by a dominant party in modern times, and practical men, as they are styled, are only too ready to take this superficial view of the office of art.
Seventeen days after her birth, Mary Stewart became the heir apparent to the Scottish Crown. At sixteen, she is betrothed to the heir of the French Crown, and becomes queen of two countries. She is devout in her Catholic faith that is in opposition to the Church of England, leading to her imprisonment for two decades, with an ending most tragic.
• The Criminal from Lost Honour by Friedrich Schiller
• The Story of Brave Kasper and Fair Annie by Clemens Brentano
• The Mad Veteran of Fort Ratonneau by Ludwig Achim von Arnim
• The Jew’s Beech Tree by Annette von Droste-Hülshoff
• The Severed Hand by Wilhelm Hauff
• The Mines of Falun by E. T. A. Hoffmann
• Story by Johann Wolfgang von Goethe
• The Scholar by Ludwig Tieck
• Immensee by Theodor Storm
1. "The Marquise", by George Sand
2. "The Bundle of Letters", by Maurus Jokai
3. "The Pistol Shot", by Alexander Pushkin
4. "The Mad Veteran of Fort Ratonneau", by Ludwig Achim von Arnim
5. "Twenty-six Men and a Girl", by Maxim Gorky
6. "Zodomirsky’s Duel", by Alexandre Dumas
7. "The Mines of Falun", by E. T. A. Hoffmann
8. "Mademoiselle Fifi", by Guy de Maupassant
9."Maestro Niccolo and the Pig", by Gio Sabadino
10. "The Father", by Björnstjerne Björnson
11. "Mons. Cassecrouche’s Inspiration", by George Walter Thornbury
12. "Malachi’s Cove", by Anthony Trollope
13. "The Judgement of Paris", by Leonard Merrick
14. "A Queer Night in Paris", by Guy de Maupassant
15. "Immensee", by Theodor Storm
16. "The Paradise of Cats", by Emile Zolà
17. "In the Reign of Terror", by Anatole France
18. "The Scholar", by Ludwig Tieck
19. "The Long Exile", by Count Leo Tolstoy
20. "The Encased Man", by Anton Chekhov
21. "The Criminal from Lost Honour", by Friedrich Schiller
22. "The Story of Brave Kasper and Fair Annie", by Clemens Brentano
23. "The Black Ferry", by John Galt
24. "The Mummy’s Foot", by Théophile Gautier
25. "The Clockmaker of Poissy", by Stanley John Weyman
26. "One Thing Leads to Another", by Stacy Aumonier
27. "The Roman Road", by Kenneth Grahame
28. "A Child’s Revenge", by Paul Bourget
29. "The Honest Thief", by Fyodor Dostoyevsky
30. "The Dead", by James Joyce
31. "The Stone Dragon", by R. Murray Gilchrist
32. "Story", by Johann Wolfgang von Goethe