"Schiller’s Don Carlos, written ten years before his great Wallenstein trilogy, testifies to the young playwright’s growing power. First performed in 1787, it stands at the culmination of Schiller’s ...formative development as a dramatist and is the first play written in his characteristic iambic pentameter. Don Carlos plunges the audience into the dangerous political and personal struggles that rupture the court of the Spanish King Philip II in 1658. The autocratic king’s son Don Carlos is caught between his political ideals, fostered by his friendship with the charismatic Marquis Posa, and his doomed love for his stepmother Elisabeth of Valois. These twin passions set him against his father, the brooding and tormented Philip, and the terrible power of the Catholic Church, represented in the play by the indelible figure of the Grand Inquisitor. Schiller described Don Carlos as ""a family portrait in a princely house.” It interweaves political machinations with powerful personal relationships to create a complex and resonant tragedy. The conflict between absolutism and liberty appealed not only to audiences but also to other artists and gave rise to several operas, not least to Verdi’s great Don Carlos of 1867. The play, which the playwright never finished to his satisfaction, lives on nonetheless among his best-loved works and is translated here with flair and skill by Flora Kimmich. Like her translations of Schiller’s Wallenstein and his Fiesco’s Conspiracy at Genoa, this is a lively and accessible rendering of a classic text. As with all books in the Open Book Classics series, it is supported by an introduction and notes that will inform and enlighten both the student and the general reader."
Questioning the resistance to change of the West in constant crisis, and framed by early writings of Max Horkheimer and others, John E. O'Brien's historical-materialist method explores the contested ...perspectives of Voltaire, Schiller, Baudrillard, Foucault, Eagleton and Hayden White.
This book is an attempt to rehabilitate Schiller as a philosopher. It defends his philosophy against his Marxist, post-modernist and Kantian critics. Some chapters are exegetical, others thematic. ...The exegetical chapters (2-4) re-examine the arguments and context of some of his most important writings, Kallias Briefe, Anmut und Würde, and the Äesthetische Briefe. The thematic chapters treat Schiller’s intellectual development, his concept of freedom, his theory of tragedy, and his dispute with the Kantians. In defense of Schiller, it is argued that his project for an objective aesthetic was not misguided in principle, that he does not conflate aesthetic and moral values, that his concept of the beautiful soul should not be confused with its Rousseauian variants, and that his concept of grace does not mean acting from natural sentiment. It is also contended that Schiller offers a plausible revision of Kant’s moral philosophy, an interesting response to the problem of freedom in post-Kantian philosophy, and a much underrated theory of tragedy, and a remarkable attempt to square the demands of aesthetic autonomy with moral purpose in the arts. The aim is not to sanctify or whitewash Schiller, but to show that his critics have largely misunderstood him.
For the first time, this comprehensive study deals with the entire reception of Schiller's works in all relevant Slavic literatures up to 1900. She concentrates on the translations of his poetry into ...the corresponding languages as well as the respective reactions to his work in scientific circles as well as in the wider literary public. Not least of all, it is taken into account to what extent the respective nationalistic journalistic statements on Schiller reflect an independent Slavic opinion formation or, in their dependence on foreign sources, possibly far more particularly reflect German or French judgments on his work. The presentation complements a detailed, more than 1,600 titles comprehensive bibliography of the transmissions of works Schiller in all Slavic languages until 1900.
Wallenstein Schiller, Friedrich; Paulin, Roger
2017
eBook
Odprti dostop
" By the time Frederich Schiller came to write the Wallenstein trilogy, his reputation as one of Germany’s leading playwrights was all but secured. Consisting of Wallenstein’s Camp, The Piccolomini ...and The Death of Wallenstein, this suite of plays appeared between 1798 and 1799, each production under the original direction of Schiller’s collaborator and mentor, Johann Wolfgang (von) Goethe. Across the three plays, which are now commonly performed and printed together, Schiller charts the thwarted rebellion of General Albrecht von Wallenstein. Based loosely on the events of the Thirty Years' War, the trilogy provides a unique vantage on an army’s loyalty to their commander and the machinations and intrigues of international diplomacy, giving insight into the military hero who is placed on the threshold between these forces as they are increasingly pitted against one another. The Wallenstein trilogy, formally innovative and modern beyond its time, is a brilliant study of power, ambition and betrayal. In this new translation—the latest in a long line of distinguished English translations of the play, starting with Coleridge's in Schiller's lifetime—Flora Kimmich succeeds in rendering what is often a difficult source text into language that is at once accessible and enjoyable. Coupled with a complete and careful commentary and a glossary, both of which are targeted to undergraduates, and accompanied by an authoritative introductory essay by Roger Paulin, this edition also includes embedded readings in German of the play and links to the original German text. It will be an invaluable resource for students of German, European literature and history, and military history, as well as to all readers approaching this important set of plays for the first time. "
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