And thou, good soul, who sufferest the same distress as he endured once, draw comfort from his sorrows; and let this little book be thy friend, if, owing to fortune or through thine own fault, thou canst not find a dearer companion.
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.
Unlike most archaic translations of Faust, BookCaps puts a fresh spin on Goethe's classic by using language modern readers won't struggle to make sense of.
The original English text is also presented in the book, along with a comparable version of both text.
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Und kurz und gut, ich will nicht!
Ihr Wille gegen meinen!
Eins gegen eins,
Mich dünkt, es hebt sich!
Deinem Vater Zeus das bringen?
Was Vater! Mutter!
Weißt du, woher du kommst?
Ich stand, als ich zum erstenmal bemerkte
Die Füße stehn,
Und reichte, da ich
Diese Hände reichen fühlte,
Und fand die achtend meiner Tritte,
Die du nennst Vater, Mutter.
There are few modern poems of any country so perfect in their kind as the "Hermann and Dorothea" of Goethe. In clearness of characterization, in unity of tone, in the adjustment of background and foreground, in the conduct of the narrative, it conforms admirably to the strict canons of art; yet it preserves a freshness and spontaneity in its emotional appeal that are rare in works of so classical a perfection in form.
The basis of the poem is a historical incident. In the year 1731 the Archbishop of Salzburg drove out of his diocese a thousand Protestants, who took refuge in South Germany, and among whom was a girl who became the bride of the son of a rich burgher. The occasion of the girl's exile was changed by Goethe to more recent times, and in the poem she is represented as a German from the west bank of the Rhine fleeing from the turmoil caused by the French Revolution. The political element is not a mere background, but is woven into the plot with consummate skill, being used, at one point, for example, in the characterization of Dorothea, who before the time of her appearance in the poem has been deprived of her first betrothed by the guillotine; and, at another, in furnishing a telling contrast between the revolutionary uproar in France and the settled peace of the German village.
The characters of the father and the minister Goethe took over from the original incident, the mother he invented, and the apothecary he made to stand for a group of friends. But all of these persons, as well as the two lovers, are recreated, and this so skillfully that while they are made notably familiar to us as individuals, they are no less significant as permanent types of human nature. The hexameter measure which he employed, and which is retained in the present translation, he handled with such charm that it has since seemed the natural verse for the domestic idyl—witness the obvious imitation of this, as of other features of the poem, in Longfellow's "Evangeline."