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Friedrich Schiller

Johann Christoph Friedrich von Schiller (German: [ˈjoːhan ˈkʁɪstɔf ˈfʁiːdʁɪç fɔn ˈʃɪlɐ], short: [ˈfʁiːdʁɪç ˈʃɪlɐ] ; 10 November 1759 – 9 May 1805) was a German polymath and poet, playwright, historian, philosopher, physician, lawyer. Schiller is considered by most Germans to be Germany's most important classical playwright.

"Schiller" redirects here. For other uses, see Schiller (disambiguation).


Friedrich Schiller

Johann Christoph Friedrich Schiller
(1759-11-10)10 November 1759
Marbach am Neckar, Duchy of Württemberg

9 May 1805(1805-05-09) (aged 45)
Weimar, Duchy of Saxe-Weimar

Physician, poet, playwright, writer, historian, philosopher

(m. 1790)

  • Karl Ludwig Friedrich (1793–1857)
  • Ernst Friedrich Wilhelm (1796–1841)
  • Karoline Luise Friederike (1799–1850)
  • Emilie Henriette Luise (1804–1872)

He was born in Marbach to a devoutly Protestant family. Initially intended for the priesthood, in 1773 he entered a military academy in Stuttgart and ended up studying medicine. His first play, The Robbers, was written at this time and proved very successful. After a brief stint as a regimental doctor, he left Stuttgart and eventually wound up in Weimar. In 1789, he became professor of History and Philosophy at Jena, where he wrote historical works.


During the last seventeen years of his life (1788–1805), Schiller developed a productive, if complicated, friendship with the already famous and influential Johann Wolfgang von Goethe. They frequently discussed issues concerning aesthetics, and Schiller encouraged Goethe to finish works that he had left as sketches. This relationship and these discussions led to a period now referred to as Weimar Classicism. Together they founded the Weimar Theater.


They also worked together on Xenien, a collection of short satirical poems in which both Schiller and Goethe challenge opponents of their philosophical vision.

Weimar and later career[edit]

Schiller returned with his family to Weimar from Jena in 1799. Goethe convinced him to return to playwriting. He and Goethe founded the Weimar Theater, which became the leading theater in Germany. Their collaboration helped lead to a renaissance of drama in Germany.


For his achievements, Schiller was ennobled in 1802 by the Duke of Saxe-Weimar, adding the nobiliary particle "von" to his name.[12] He remained in Weimar, Saxe-Weimar until his death at 45 from tuberculosis in 1805.

(1757–1847) – painter, was married librarian Wilhelm Friedrich Hermann Reinwald (1737–1815), had no children.

Elizabeth Christophine Friederike Schiller

Louisa Dorothea Catharina Schiller (1766–1836)

Marie Charlotte Schiller (1768—1774)

Beata Friedericke Schiller (1773)

Caroline Christiane Schiller (1777–1796)

Friedrich Schiller had five sisters, two of whom died in childhood and three of whom lived to adulthood:

(Die Räuber): The language of The Robbers is highly emotional, and the depiction of physical violence in the play marks it as a quintessential work of Germany's Romantic Sturm und Drang movement. The Robbers is considered by critics like Peter Brooks to be the first European melodrama. The play pits two brothers against each other in alternating scenes, as one quests for money and power, while the other attempts to create revolutionary anarchy in the Bohemian Forest. The play strongly criticises the hypocrisies of class and religion, and the economic inequities of German society; it also conducts a complicated inquiry into the nature of evil. Schiller was inspired by the play Julius of Taranto by Johann Anton Leisewitz.[10]

The Robbers

(Die Verschwörung des Fiesco zu Genua):

Fiesco

(Kabale und Liebe): The aristocratic Ferdinand von Walter wishes to marry Luise Miller, the bourgeois daughter of the city's music instructor. Court politics involving the duke's beautiful but conniving mistress Lady Milford and Ferdinand's ruthless father create a disastrous situation reminiscent of Shakespeare's Romeo and Juliet. Schiller develops his criticisms of absolutism and bourgeois hypocrisy in this bourgeois tragedy. Act 2, scene 2 is an anti-British parody that depicts a firing-squad massacre. Young Germans who refused to join the Hessians and British to quash the American Revolutionary War are fired upon.[31]

Intrigue and Love

: This play marks Schiller's entrée into historical drama. Very loosely based on the events surrounding the real Don Carlos of Spain, Schiller's Don Carlos is another republican figure—he attempts to free Flanders from the despotic grip of his father, King Phillip. The Marquis Posa's famous speech to the king proclaims Schiller's belief in personal freedom and democracy.

Don Carlos

The : Consisting of Wallenstein's Camp, The Piccolomini, and Wallenstein's Death, these plays tell the story of the last days and assassination of the treasonous commander Albrecht von Wallenstein during the Thirty Years' War.

Wallenstein trilogy

(Maria Stuart): This history of the Scottish queen, who was Elizabeth I's rival, portrays Mary Stuart as a tragic heroine, misunderstood and used by ruthless politicians, including and especially, Elizabeth.

Monument in Kaliningrad (formerly Königsberg), Russia

Mary Stuart

(Die Jungfrau von Orleans): about Joan of Arc

The Maid of Orleans

(Die Braut von Messina)

The Bride of Messina

(Wilhelm Tell)

William Tell

(unfinished)

Demetrius

is based on The Robbers

I masnadieri

is based on The Maid of Orleans

Giovanna d'Arco

is based on Intrigue and Love

Luisa Miller

is based partly on Wallenstein's Camp

La forza del destino

is based on the play of the same title

Don Carlos

Ludwig van Beethoven said that a great poem is more difficult to set to music than a merely good one because the composer must rise higher than the poet – "who can do that in the case of Schiller? In this respect Goethe is much easier," wrote Beethoven.[37]


There are relatively few famous musical settings of Schiller's poems. Notable exceptions are Beethoven's setting of "An die Freude" (Ode to Joy)[31] in the final movement of his Ninth Symphony, Johannes Brahms' choral setting of "Nänie", and "Des Mädchens Klage" by Franz Schubert, who set 44 of Schiller's poems[38] as Lieder, mostly for voice and piano, also including "Die Bürgschaft".


The Italian composer Giuseppe Verdi admired Schiller greatly and adapted several of his stage plays for his operas:


Donizetti's Maria Stuarda is based on Mary Stuart; Rossini's Guillaume Tell is an adaptation of William Tell. Nicola Vaccai's Giovanna d'Arco (1827) is based on The Maid of Orleans, and his La sposa di Messina (1839) on The Bride of Messina. Bruch’s The Lay of the Bell is also based on a poem by Schiller.[39][40] Elise Schmezer (1810–1856) used Schiller’s text for her Lied “Das Geheimnis”.[41] Tchaikovsky's 1881 opera The Maid of Orleans is partly based on Schiller's work. In 1923, German composer Frieda Schmitt-Lermann wrote the music for a theatre production (Das Lied von der Glocke) based on Schiller's text. German-Russian composer Zinaida Petrovna Ziberova created a musical setting for Schiler's William Tell in 1935.[42] The 20th-century composer Giselher Klebe adapted The Robbers for his first opera of the same name, which premiered in 1957.

(The Robbers), 1781

Die Räuber

(Die Verschwörung des Fiesco zu Genua), 1783

Fiesco

(Intrigue and Love),[31] 1784

Kabale und Liebe

(Don Carlos),[44] 1787

Don Karlos, Infant von Spanien

,[45] 1800

Wallenstein

(Mary Stuart), 1800

Maria Stuart

(The Maid of Orleans), 1801

Die Jungfrau von Orleans

, 1801

Turandot, Prinzessin von China

(The Bride of Messina), 1803

Die Braut von Messina

(William Tell), 1804

Wilhelm Tell

(unfinished at his death)

Demetrius

Plays


Histories


Translations


Prose


Poems

Musen-Almanach

Schillerhaus

The Theatre Considered as a Moral Institution

Play drive

(2017). The Myth of Disenchantment: Magic, Modernity, and the Birth of the Human Sciences. Chicago: University of Chicago Press. ISBN 978-0-226-40336-6.

Josephson-Storm, Jason

Lahnstein, Peter (January 1984) [1981]. Schillers Leben. Frankfurt am Main: Fischer.  978-3-596-25621-1.

ISBN

Sources

(1825). The Life of Friedrich Schiller, Comprehending an Examination of His Works. The Works of Thomas Carlyle in Thirty Volumes. Vol. XXV. New York: Charles Scribner's Sons (published 1904).

Carlyle, Thomas

Biographical


Editions


Other valuable editions are:


Translations of Schiller's works:


Documents and other memorials of Schiller are in the Goethe and Schiller Archive in Weimar.

Media related to Friedrich Schiller at Wikimedia Commons

Quotations related to Friedrich Schiller at Wikiquote

at Project Gutenberg

Works by Friedrich Schiller

at Faded Page (Canada)

Works by Friedrich Schiller

at Internet Archive

Works by or about Friedrich Schiller

at LibriVox (public domain audiobooks)

Works by Friedrich Schiller

at IMDb

Friedrich Schiller

(1886). "Johann Christoph Friedrich Schiller" . Encyclopædia Britannica. Vol. XXI (9th ed.).

Sime, James

(1911). "Schiller, Johann Christoph Friedrich von" . Encyclopædia Britannica. Vol. 24 (11th ed.). pp. 324–326.

Robertson, John George