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.
The morn arrived; his footstep quickly scared
The gentle sleep that round my senses clung,
And I, awak'ning, from my cottage fared,
And up the mountain side with light heart sprung;
At every step I felt my gaze ensnared
By new-born flow'rs that full of dew-drops hung;
The youthful day awoke with ecstacy,
And all things quicken'd were, to quicken me.
And as I mounted, from the valley rose
A streaky mist, that upward slowly spread,
Then bent, as though my form it would enclose,
Then, as on pinions, soar'd above my head:
My gaze could now on no fair view repose,
in mournful veil conceal'd, the world seem'd dead; The clouds soon closed around me, as a tomb, And I was left alone in twilight gloom.
At once the sun his lustre seem'd to pour,
And through the mist was seen a radiant light;
Here sank it gently to the ground once more,
There parted it, and climb'd o'er wood and height.
How did I yearn to greet him as of yore,
After the darkness waxing doubly bright!
The airy conflict ofttimes was renew'd,
Then blinded by a dazzling glow I stood.
Ere long an inward impulse prompted me
A hasty glance with boldness round to throw;
At first mine eyes had scarcely strength to see,
For all around appear'd to burn and glow.
Then saw I, on the clouds borne gracefully,
A godlike woman hov'ring to and fro.
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.
Selected poemsFour complete dramas: Faust Part I, Egmont, Iphigenia in Tauris, and Torquato TassoThe complete novel Wilhelm Meister’s ApprenticeshipA selection from the travel journal Italian JourneySelected essays on art and literatureSelected essays on philosophy and scienceAn extensive introduction to Goethe’s life and worksA chronology of Goethe’s life and timesA note on the texts and translations
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.