BLACKWOOD'S

EDINBURGH MAGAZINE.

No. CCCXXXIV AUGUST, 1843. VOL. LIV.

Transcriber's Note: Minor typos have been corrected and footnotes moved to the end of the article. Table of contents has been created for the HTML version.

Contents

FORMS AND BALLADS OF SCHILLER. BY SIR EDWARD LYTTON BULWER.
A READING PARTY IN THE LONG VACATION.
CHAPTERS OF TURKISH HISTORY.
EXHIBITIONS
MARSTON, OR, THE MEMOIRS OF A STATESMAN.
THE DEVIL'S FRILLS.
ADVENTURES IN LOUISIANA.
COMMERCIAL POLICY—EUROPE
JOLLY FATHER JOE
THE CRY OF THE CHILDREN.
LETTER TO CHRISTOPHER NORTH, ESQ.
THE REPEAL AGITATION.

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FORMS AND BALLADS OF SCHILLER. BY SIR EDWARD LYTTON BULWER.

PART THE LAST.

We here close our attempts to convey to the English reader some notion, however inadequate, of the genius and mind of Schiller. It is in these Poems, rather, perhaps, than in his Dramas and Prose works, that the upright earnestness of the mind, and the rich variety of the genius, are best displayed. Here, certainly, can best be seen that peculiar union of intellect and imagination which Mr Carlyle has so well distinguished as Schiller's characteristic attribute, and in which it would be difficult to name the modern poet by whom he is surpassed; and here the variety of the genius is least restrained and limited by the earnestness of the mind. For Schiller's variety is not that of Shakspeare, a creative and universal spirit, passing with the breath of life into characters the most diverse, and unidentified with the creations its invisible agency invokes. But it is the variety of one in whom the consciousness of his own existence is never laid aside; shown not so much in baring the minds and hearts of others, as in developing the progress and the struggles of his own, in the infinite gradations of joy and of sorrow, of exquisite feeling and solemn thought. Hence, in the drama, arise his faults and deficiencies; in his characters, he himself speaks. They are gigantic images of his own moods at different epochs of his life—impassioned with Moor—philosophizing with Posa—stately, tranquil, and sad, with Wallenstein. But as, in his dramas, this intense perception of self—this earnest, haunting consciousness—this feeling of genius as a burden, and of life as a religion—interferes with true dramatic versatility; so, on the contrary, these qualities give variety in his poems to the expositions of a mind always varying, always growing—always eager to think, and sensitive to feel. And his art loved to luxuriate in all that copious fertility of materials which the industry of a scholar submitted to the mastery of a poet; to turn to divine song whatever had charmed the study or aroused the thought: philosophy, history, the dogma, or the legend, all repose in the memory to bloom in the verse. The surface of knowledge apparent in his poems is immense; and this alone suffices to secure variety in thought. But the aspiring and ardent nature of his intellect made him love to attempt also constant experiments in the theme and in the style. The romantic ballad, the classical tale, the lyric, the didactic, the epigrammatic—the wealth of his music comprehended every note, the boldness of his temper adventured every hazard. Yet still, (as in our Byron, in our Goldsmith, and as, perhaps, in every mind tenacious of its impressions,) some favourite ideas take possession of him so forcibly, as to be frequently repeated as important truths. The sacred and majestic office of the poet—the beauty of ideal life, (in which the author of the "Robbers" and "William Tell" deemed, at last, that the only liberty was to be found)—the worship of Virtue and the Beautiful, for their own sake, and without hope of reward;—these, and many ideas minor to, and proceeding from them, revisit us in a thousand tones of eloquent and haunting music.

Reluctantly we tear ourselves from a task which has indeed been a labour of love. Many poets may inspire as high an admiration as Schiller; few so tender a personal affection. Even in his doubts and his errors, we have that interest in his struggles which arises from the conviction of his sound heart and his manly nature. Wrestling at one time with bitter poverty, at one with unhappy passion—lonely in his habits, prematurely broken in his health, his later wisdom dispelling his early dreams of Utopian liberty—still, throughout all, his bravery never fails him, his gentleness is never soured; his philanthropy changes its form, but it is never chilled. Even when he wanders into error, it is from his search for truth. That humanity which the French writers of the last century sought to preach, Schiller took from the scoffing wit of Voltaire, and the unhealthy enthusiasm of Rousseau, to invest it with the thoughtful sweetness and the robust vigour of his own great soul. And we believe that no one can depart from the attentive study of that divine bequest he has left the world, without a more serious respect for virtue, and a more genial affection for mankind.

E. Lytton Bulwer.

SECOND PERIOD.

The Poems included in the Second Period of Schiller's literary career are few, but remarkable for their beauty, and deeply interesting from the struggling and anxious state of mind which some of them depict. It was, both to his taste and to his thought, a period of visible transition. He had survived the wild and irregular power which stamps, with fierce and somewhat sensual characters, the productions of his youth; but he had not attained that serene repose of strength—that calm,

bespeaking depth and fulness, which is found in the best writings of his maturer years. In point of style, the Poems in this division have more facility and sweetness than those that precede them, and perhaps more evident vigour, more popular verve and gusto, than some that follow: in point of thought, they mark that era through which few men of inquisitive and adventurous genius—of sanguine and impassioned temperament—and of education chiefly self-formed, undisciplined, and imperfect, have failed to pass—the era of doubt and gloom, of self-conflict, and of self-torture.—In the "Robbers," and much of the poetry written in the same period of Schiller's life, there is a bold and wild imagination, which attacks rather than questions—innovates rather than examines—seizes upon subjects of vast social import, that float on the surface of opinion, and assails them with a blind and half-savage rudeness, according as they offend the enthusiasm of unreasoning youth. But now this eager and ardent mind had paused to contemplate; its studies were turned to philosophy and history—a more practical knowledge of life (though in this last, Schiller, like most German authors, was ever more or less deficient in variety and range) had begun to soften the stern and fiery spirit which had hitherto sported with the dangerous elements of social revolution. And while this change was working, before its feverish agitation subsided into that Kantism which is the antipodes of scepticism, it was natural that, to the energy which had asserted, denounced, and dogmatized, should succeed the reaction of despondency and distrust. Vehement indignation at "the solemn plausibilities" of the world pervades the "Robbers." In "Don Carlos," (commenced in this period, though published much later,) the passion is no longer vehement indignation, but mournful sorrow—not indignation that hypocrisy reigns, but sorrow that honesty cannot triumph—not indignation that formal vice usurps the high places of the world, but sorrow that, in the world, warm and generous virtue glows, and feels, and suffers—without reward. So, in the poems of this period, are two that made a considerable sensation at their first appearance—"The Conflict," published originally under the title of "The Freethinking of Passion," and "Resignation." They present a melancholy view of the moral struggles in the heart of a noble and virtuous man. From the first of these poems, Schiller, happily and wisely, at a later period of his life, struck the passages most calculated to offend. What hand would dare restore them? The few stanzas that remain still suggest the outline of dark and painful thoughts, which is filled up in the more elaborate, and, in many respects, most exquisite, poem of "Resignation." Virtue exacting all sacrifices, and giving no reward—Belief which denies enjoyment, and has no bliss save its own illusions; such is the sombre lesson of the melancholy poet—the more impressive because so far it is truth—deep and everlasting truth—but only, to a Christian, a part of truth. Resignation, so sad if not looking beyond the earth, becomes joy, when assured and confident of heaven. Another poem in this intermediate collection was no less subjected to severe animadversion, but with infinitely less justice. We mean "The Gods of Greece." This lament for the beautiful old mythology, is but the lament of a poet for the ancient founts of poetry; and few, now-a-days, can be literal enough to suppose it seriously intended to set up Paganism, to the disparagement of Christianity. But the fact is, that Schiller's mind was so essentially religious, that we feel more angry, when he whom we would gladly hail as our light and guide, only darkens us or misleads, than we should, with a less grave and reverent genius. Yet a period—a transition state—of doubt and despondency is perhaps common to men in proportion to their natural dispositions to faith and veneration. With them, it comes from keen sympathy with undeserved sufferings—from wrath at wickedness triumphant—from too intense a brooding over the great mysteries involved in the government of the world. Scepticism of this nature can but little injure the frivolous, and will be charitably regarded by the wise. Schiller's mind soon outgrew the state which, to the mind of a poet, above all men, is most ungenial, but the sadness which the struggle bequeathed, seems to have wrought a complete revolution in all his preconceived opinions. The wild creator of the "Robbers," drunk with liberty, and audacious against all restraint, becomes the champion of "Holy Order,"—the denouncer of the French republic—the extoller of an Ideal Life, which should entirely separate Genius the Restless from Society the Settled. And as his impetuous and stormy vigour matured into the lucent and tranquil art of "Der Spaziergang," "Wallenstein," and "Die Braut von Messina," so his philosophy threw itself into calm respect for all that custom sanctioned, and convention hallowed.

But even during the painful transition, of which, in his minor poems, glimpses alone are visible, Scepticism, with Schiller, never insults the devoted, or mocks the earnest mind. It may have sadness—but never scorn. It is the question of a traveller who has lost his way in the great wilderness, but who mourns with his fellow-seekers, and has no bitter laughter for their wanderings from the goal. This division begins, indeed, with a Hymn which atones for whatever pains us in the two whose strain and spirit so gloomily contrast it, viz. the matchless and immortal "Hymn to Joy"—a poem steeped in the very essence of all-loving and all-aiding, Christianity—breathing the enthusiasm of devout yet gladsome adoration, and ranking amongst the most glorious bursts of worship which grateful Genius ever rendered to the benign Creator.

And it is peculiarly noticeable, that, whatever Schiller's state of mind upon theological subjects at the time that this hymn was composed, and though all doctrinal stamp and mark be carefully absent from it, it is yet a poem that never could have been written but in a Christian age, in a Christian land—but by a man whose whole soul and heart had been at one time (nay, was at the very moment of composition) inspired and suffused with that firm belief in God's goodness and His justice—that full assurance of rewards beyond the grave—that exulting and seraphic cheerfulness which associates joy with the Creator—and that animated affection for the Brotherhood of Mankind, which Christianity—and Christianity alone, in its pure, orthodox, gospel form, needing no aid from schoolman or philosopher—taught and teaches. Would, for objects higher than the praise which the ingenuity of labour desires and strives for—would that some faint traces of the splendour which invests the original, could attend the passage of thoughts so noble and so tender, from the verse of a poet to the rhyme of a translator!

Hymn To Joy.

Father know!

The Invincible Armada.

thou thyself, upon thy realm of water,
Hast thou not render'd millions up to slaughter,
When thy ships brought upon their sailing wings
The sceptre—and the shroud?
What should'st thou thank?—Blush, Earth, to hear and feel:
What should'st thou thank?—Thy genius and thy steel.
Behold the hidden and the giant fires!
Behold thy glory trembling to its fall!
Thy coming doom the round earth shall appall,
And all the hearts of freemen beat for thee,
And all free souls their fate in shine foresee—
Theirs is thy glory's fall!
One look below the Almighty gave,
Where stream'd the lion-flags of thy proud foe;
And near and wider yawn'd the horrent grave.
"And who," saith HE, "shall lay mine England low—
The stem that blooms with hero-deeds—
The rock when man from wrong a refuge needs—
The stronghold where the tyrant comes in vain?
Who shall bid England vanish from the main?
Ne'er be this only Eden freedom knew,
Man's stout defence from Power, to Fate consign'd."
God the Almighty blew,
And the Armada went to every wind!

The Conflict.

Resignation.

us?
Six thousand years has Death reign'd tranquilly!—
Nor one corpse come to whisper those who die,
What after death requites us!"
Along Time's shores I saw the Seasons fly;
Nature herself, interr'd
Among her blooms, lay dead; to those who die
There came no corpse to whisper Hope! Still I
Clung to the Godlike Word.
Judge!—All my joys to thee did I resign,
All that did most delight ne;
And now I kneel—man's scorn I scorn'd—thy shrine
Have I adored—Thee only held divine—
Requiter, now requite me!
"For all my sons an equal love I know,
And equal each condition,"
Answer'd an unseen Genius—"See below,
Two flowers, for all who rightly seek them, blow—
The Hope and the Fruition.
He who has pluck'd the one, resign'd must see
The sister's forfeit bloom:
Let Unbelief enjoy—Belief must be
All to the chooser;—the world's history
Is the world's judgment doom.
Thou hast had Hope—in thy belief thy prize—
Thy bliss was centred in it:
Eternity itself—(Go ask the Wise!)
Never to him who forfeits, resupplies
The sum struck from the Minute!"

The Gods Of Greece.

class="i2">And rush'd along the meads the charioteer;
There Linus pour'd the old accustom'd strain;
Admetus there Alcestes still could greet; his
Friend there once more Orestes could regain,
His arrows—Philoctetes!

We subjoin a few poems, belonging to the third period, which were omitted in our former selections from that division.

The Meeting.

To Emma.