Friedrich Schiller interesting facts from life. Biography Friedrich Schiller

it. Johann Christoph Friedrich Von Schiller

german poet, philosopher, theorist of art and playwright, professor of history and military doctor

Friedrich Shiller

short biography

- An outstanding German playwright, poet, prominent representative of romanticism, one of the creators of the national literature of the New Time and the most significant persons of German Enlightenment, theorist of art, philosopher, historian, militaryormat. Schiller was popular for the whole continent, many of his plays were rightfully entered the Golden Foundation of World Dramaturgy.

Johann Christoph Friedrich was born in the city of Marbach-on-Nekcar on November 10, 1759 in the family of the officer, the regimental paramedic. The family lived is not burning; The boy brought up in the atmosphere of religiosity. He received primary education thanks to the pastor of the town of Lorh, where in 1764 their family moved, and later he studied at Ludwigsburg Latin School. In 1772, Schiller turns out to be among the students of the Military Academy: it was determined by the order of the Duke of Württemberg. And if he dreamed of the priest's service from orphanage, he began to study jurisprudence here, and from 1776, after the transition to the corresponding faculty - medicine. Back in the first years of stay in this educational institution, Schiller was not joking in the poets of "Storms and Natiska" and began to compose a little, deciding to devote himself to poetry. His first work - Ode "Conqueror" - appeared in the magazine "German chronicles" in the spring of 1777

After receiving in 1780, the diploma is determined by the military doctor and sent to Stuttgart. Here his first book was seen here - the poetic collection "Anthology in 1782". In 1781, he makes a drama "Robbers" for his money. To get on the performance delivered through it, Schiller in 1783 went to Mannheim, for which he was subsequently arrested and received a ban on writing literary works. For the first time delivered in January 1782, the drama "Robbers" enjoyed a serious success and marked the arrival in the drama of the new talented author. Subsequently, for this work in the revolutionary years, Schiller will give the title of an honorary citizen of the French Republic.

The harsh punishment forced Schiller to leave the limits of Württemberg and settle in the small village of Oggameim. From December 1782 until July 1783, Schiller lived in Bauerbach under someone else's name in the estate of an old friend. In the summer of 1783, Friedrich returned to Mannheim to prepare his plays, and already on April 15, 1784, his "Deceit and Love" brought him the fame of the first German playwright. Soon, his finding in Mannheim was legalized, but in the following years Schiller lived in Leipzig, and then from the beginning of the autumn of 1785 to the summer of 1787 - located near Dresden, the village of Hosjor.

On August 21, 1787 marked a new most important milestone in Schiller's biography associated with his move to the Center for National Literature - Weimar. There he arrived at the invitation of K. M. Vulland to cooperate with the literary magazine "German Mercury". In parallel in 1787-1788. Schiller performed the publisher of the magazine "Talia".

Acquaintance with major figures from the world of literature and science forced the playwright to overestimate his abilities and achievements, look at them more critical, to feel the deficit of knowledge. This led to the fact that almost a dozen years he refused his own literary creativity in favor in-depth study philosophy, history, aesthetics. In the summer of 1788, the first version of the work of the "History of the Council of Netherlands" was published, thanks to which Schiller earned a reputation as a brilliant researcher.

He received his friends in the University of Jen's University. The title of extraordinary professor of philosophy and history, and in connection with May 11, 1789 moved to Yen. In 1799, in February, Schiller married and operated in parallel over the "Story of the Thirty-year war", published in 1793

Discovered in 1791. Tuberculosis prevented Schiller to work in full force. In connection with the disease, he had to abandon lectures for some time - it strongly shaken his financial situation, and if not timely troubles of buddies, he would be in poverty. This is not a simple period for himself, he penetrates the philosophy of I. Kant and influenced by his ideas wrote whole line Works dedicated to aesthetics.

Schiller welcomed the Great French Revolution, however, being an opponent of violence in all his manifestations, reacted sharply on the execution of Louis XVI, did not accept revolutionary methods. Views for political events in France and the situation in their native country contributed to the emergence of friendship with Goethe. An acquaintance held in Jena in July 1794, turned out to be a fateful not only for his participants, but also for all German literature. The fruit of their joint creative activity was the period of the so-called. Weimar classicism, the creation of the Weimar theater. Arriving in 1799 in Weimar, Schiller remained here to death. In 1802, the grace of France II he became nobler, but it was quite indifferent to this.

The last years of his biography passed under the sign of suffering from old diseases. Tuberculosis was buried by Schiller on May 9, 1805 buried him at the local cemetery, and in 1826, when it was decided to reburial, they failed to reliably identify the remains, so they chose the most, in the view of the event organizers, suitable. In 1911, another "applicant" appeared on the "title" of Schiller's skull, which generated many years of disputes on the authenticity of the remains of the Great German writer. According to the results of the 2008 examination, his coffin remained empty, because All the skull found and the remains in the grave, as Oazales, have nothing to do with the poet.

Biography from Wikipedia

Johann Christoph Friedrich von Schiller (it. Johann Christoph Friedrich von Schiller; November 10, 1759, Marbakh-on-Nekkare - May 9, 1805, Weimar) - German poet, philosopher, theorist of art and playwright, professor of history and military doctor, representative of the directions "Storm and Natisk" and Romanticism (in a narrower sense, his German current) in the literature, the author of "ODD to joy", the changed version of which became the text of the anthem of the European Union. He entered the history of world literature as a global humanist. Over the past seventeen years of life (1788-1805), he was friends with Johann Goethe, who inspired to complete his works remaining in the draft version. This period of friendship of two poets and their literary referee entered German literature entitled "Weimar Classicism".

The heritage of the poet is stored and studied in the Archive Goethe and Schiller in Weimara.

Origin, education and early creativity

Surname Schiller meets in southwestern Germany since the XVI century. The ancestors of Friedrich Schiller, who lived for two centuries in Württemberg Duchy, were winemakers, peasants and artisans.

Schiller was born on November 10, 1759 in the city of Marbach-on-Nekcar. His father is Johann Kaspar Schiller (1723-1796) - he was a regimental medical officer, an officer in the service of Württemberg Duke, Mother - Elizabeth Dorothea Kodvais (1732-1802) - from the family of a provincial baker-taverkrik. Young Schiller was brought up in a religious and pietistic atmosphere, responded in his early verses. Childhood and youth passed in relative poverty.

Primary education in Lorch. Ludwigsburg

Initial education received in the small town of Lorch, in which in 1764, Schiller's father got a recruiter recruiter. Training at the local Pastor of Mosel lasts 4 years and, mostly, consisted of studying reading and writing in German, and also included a superficial acquaintance with Latin. Sincere and good-natured pastor subsequently led in the first drama of the Writer "Robbers".

When in 1766, Schiller's family returned to Ludwigsburg, Friedrich was given to the local Latin school. The school curriculum was not difficult: Latin studied five days a week, on Fridays - the native language, on Sundays - Catechism. Schiller's interest in classes increased in high school, where Latin classics - Ovid, Vergilia and Horace were studied. At the end of the Latin school, passing all four exams on perfectly, in April 1772 Schiller was presented to confirmation.

Military Academy in Stuttgart

In 1770, Schiller's family moves from Ludwigsburg to Solitudud Castle, where the Saprian Institute was established by the Duke of Württemberg Carl-Eugene to raise the soldiers' children. In 1771, this institute was reformed in military Academy. In 1772, looking through the list of graduates of the Latin school, the Duke drew attention to the young Schiller, and soon, in January 1773, his family received the agenda, according to which they had to give the Son to the Military Academy "Higher School of Charle Saint" (HOHE. HOHE Karlsschule), where the young man began to study the right, although since childhood he dreamed of becoming a priest.

For admission to the Academy was enrolled in the Burger Branch of the Legal Faculty. Due to the hostility towards jurisprudence at the end of 1774, it turned out to be one of the latter, and at the end of the 1775 school year - the most recent of the eighteen disciples of his department.

In 1775, the Academy was transferred to Stuttgart, extended a course of study.

In 1776 he turned to the medical faculty, where he visited the lectures of talented teachers, in particular, he listened to the course of lectures on the philosophy of Professor Abel, a favorite teacher of academic youth. During this period, Schiller finally decided to devote himself poetic art. Already from the first years of study at the Academy, the poetic works of Friedrich Klopshtock and the poets "Storms and Natiska" began to write small poetic works. Several times he was even offered to write congratulatory ADDs in honor of the duke and his mistress - Countess Francisky von Gaengey.

In 1779, the Dissertation of Schiller "Philosophy of Physiology" was rejected by the leadership of the Academy, and he was forced to stay for the second year. Duke Karl Evgeny imposes its resolution: " I must agree that the dissertation of the pupil of Schiller is not deprived of the merits that there is a lot of fire. But it was the last circumstance that makes me not release his dissertation and hold the year at the Academy, so that the fever graduated. If he is also ditched, by the end of this time, a great man will come out of it". The time of study at the Schiller Academy created the first works. Under the influence of drama "Julius Tartant" (1776) Johanna Anton Leaseevitsa wrote "Cosmus von Medici" - a drama in which he tried to develop the favorite theme of the literary movement "Storms and Natiska": hate between the brothers and love of the Father. At the same time, his enormous interest in creativity and manner of Friedrich Klopshtchock's letter was promoted Schiller to write OD "The Conqueror"published in March 1777 in the journal "German chronicles" (Das Schwebige Magazin) and the imitation of the idol.

Robbers

In 1780, at the end of the Academy received the place of a regimental doctor without assigning an officer's title and without the right to carry a civilian dress - testimony of the ducalist.

In 1781 completed the drama Robbers (it. Die Räuber) written during their stay at the Academy. After editing manuscripts Robber It turned out that all Stuttgart Publishers are not ready to print it, and Schiller had to publish a work at his own expense.

The bookseller Schwan in Mannheim, to whom Schiller also sent a manuscript, introduced him to the director of the Mannheim theater Baron von Dalberg. He was delighted with the drama and decided to put it in his theater. But Dalberg asked to make some adjustments - remove some scenes and the most revolutionary phrases, to transfer the time from modernity, from the era of the seven-year war in the XVII century. Schiller expressed disagreement with such changes, in a letter to Dalberg from December 12, 1781 he wrote: " Many tirades, features, both large and small, even characters are taken from our time; Maximilian transferred to Century, they will not cost anything ... To correct the error against the Friedrich II era, I would have to commit a crime against the Maximilian era"But nevertheless, I went to concessions, and" Robbers "were first put in Mannheim on January 13, 1782. The statement had a huge success among the public.

Sketch Victor von Heideel. "Schiller reads Robber in the Forest Forest "

After the premiere in Mannheim on January 13, 1782, it became clear that the talented playwright came to the literature. The central conflict of the "Robbers" is a conflict between the two brothers: Seniors, Karl Moor, who headed the Band of Robbers goes to Bohemian forests to punish Tirana, and the younger, Franz Moore, who at this time seeks to take possession of his father. Karl Moon personifies the best, brave, free starts, while Franz Moore is an example of meanness, cunning and treachery. In the "Robber", as in any product of German enlightenment, the admissions of republicanism and democracy are shown. It is not by chance that it was for this drama Schiller during the years of the French revolution was awarded the honorary title of a citizen of the French Republic.

At the same time with Robber Schiller has prepared a selection of poems, which was released in February 1782 called "Anthology for 1782" (Anthologie Auf Das Jahr 1782). The creation of this Anthology is the conflict of Schiller with the young Stuttgart poet Gothald Steidlin, who, claiming the role of chapter swabian school, published the "Swabian Almans of Muses for 1782". Schiller sent Steeidlin for this publication several poems, but he agreed to print only one of them, and then in reducing. Then Schiller gathered poems rejected by Gotchald, wrote a number of new ones and, thus, created an "anthology for 1782", opposing her "Almanau Mus" of his literary opponent. For the sake of greater mismatch and raising interest in the collection, the city of Tobolsk in Siberia was specified by the place of Anthology.

Escape from Stuttgart.

For the unauthorized abdest from the shelf in Mannheim to represent the "Robbers" Schiller was planted for the GaoupTahute for 14 days and was prohibited to write anything other than medical writings, which forced him together with his friend, musician Streycher (him. Johann Andreas Streicher), Run from the owners of the Duke on September 22, 1782 in the Marcgrance of Palatinate.

Having moved the border of Württemberg, headed to the Mannheim Theater with the prepared manuscript of his play "Conspiracy Fiese in Genoa" (Die Verschwörung des Fiesco Zu Genua), which he dedicated to his teacher of philosophy at the Academy Yakov Abeli. The leadership of the theater, fearing the displeasure of Württemberg Duke, did not hurry to begin negotiations on the layout of the play. Schiller advised not to stay in Mannheim, and go to the nearest village of Oggsenheim. There, along with his friend Strajer, the playwright lived under the fictional name of Schmidt in the village restaurant "Hunting Courtyard". It was here that in the fall of 1782, Friedrich Schiller made the first sketch of the tragedy of the "Deceit and Love" tragedy (it. Kabale und Liebe), which at the time called "Louise Miller". At the same time, Schiller published the "Conspiracy of Fiese in Genoa" for a meager fee, which instantly spent. Being in a hopeless position, the playwright wrote a letter to his old familiar Henrite von Walzogen, who soon offered his writer his empty estate in Baurbach.

Years of uncertainty (1782-1789)

Bauerbach and Return to Mannheim

In Baurbach, under the name "Dr. Ritter" lived from December 8, 1782, where he began the end of the drama "Deceit and Love", the work on which he graduated from 1783. Immediately created the sketch of the new historical drama Don Carlos (Don Karlos), thoroughly studying the history of Spanish infanta on books from the Library of the Mannheim Duccian courtyard, which he supplied a familiar librarian. Together with the story of "Don Carlos", then began to study the history of the Scottish queen Mary Stewart. Some time hesitated on some of them to stop him, but the choice was made in favor of Don Carlos.

In January 1783, the hostess of the estate with sixteen-year-old daughter Charlotte, who Schiller made a marriage proposal, but received his mother's refusal, as a novice writer had no funds to the content of the family.

At this time, his friend Andreas Strejer did everything possible to cause the favor of the administration of the Mannheim theater in favor of Schiller. Director of the Theater Baron Von Dalberg, knowing that the Duke of Karl Evgeny has already refused to search for his missing regimental medica, writes Schiller a letter in which is interested in literary activities playwright. Schiller responded quite cold and only briefly retold the content of the drama "Louise Miller". Dalberg answered agree to the formulation of both drams - "Conspiracy Fiese in Genoa" and "Louise Miller," - after which Friedrich returned to Mannheim to participate in the preparation of the plays to the production.

Life in mannheim

Despite the excellent game of actors, "Pinisko's plot in Genoa" in general did not have much success. Mannheim theater audience found this play too awake. Schiller took over the alteration of his third drama - "Louise Miller". During the same rehearsal, the actor theater Augusta IFFland proposed to change the name of the drama on the "Deceit and Love". Under this name of the play was delivered on April 15, 1784 and had a great success. "Cunning and love", not less than "robbers", glorified the name of the author as the first playwright of Germany.

In February 1784, he joined Kurpaltsky German Society, who led the director of the Mannheim Theater Wolfgang von Dalberg, which gave Schiller the rights of the Palatinate subject and legalized his stay in Mannheim. During the official adoption of the Company on July 20, 1784, he read a report under the headline "Theater as a moral institution." The moral value of the theater designed to express the vices and approve virtue, Schiller was diligently promoted in the Raneskaya Talia magazine founded by him (Rheinische Thalia), whose first number was released in 1785.

In Mannheim met Charlotte Background Calb, a young woman with outstanding mental abilities, the admiration of which brought a lot of suffering to the writer. She introduced Schiller with Weimar Duke Carl Augustus, when he was located in Darmstadt. The playwright read in a selected circle, in the presence of the Duke, the first act of his new drama Don Carlos. The drama had a great impression on those present. Karl Augustus gave the author to the position of the Weimar Counselor, which, however, did not facilitate the plight of the state in which Schiller was located. The writer was supposed to return duty in two hundred guilders, which he took from a friend to the publication of "robbers", but he had no money. In addition, his relationship has worsened with the director of the Magheim theater, as a result of which Schiller ripped a contract with him.

At the same time, Schiller was carried away by a 17-year-old daughter of the court bookseller Margarita Schwan, but the young coquette did not show an unequivocal favor to the novice poet, and her father hardly wanted to see her daughter married a man without money and influence in society.

In the fall of 1784, the poet remembered a letter that he received in half a year before this from the Leipzig community of fans of his creativity led by Gottfried Kurner. On February 22, 1785, Schiller sent them a letter in which he frankly described his difficult situation and asked him to take it in Leipzig. Already on March 30, a friendly answer came from Curner. At the same time, he sent a poet bill to a significant amount of money so that the playwright could pay for his debts. So there began close friendship between Gottfried Kurner and Friedrich Schiller, which lasted until the death of the poet.

Leipzig and Dresden

When on April 17, 1785, Schiller arrived in Leipzig, he was met by Ferdinand Gubert (Ludwig Ferdinand Huber) and sisters Dora and Minna Schok. Curner at that time was on official affairs in Dresden. From the first days in Leipzig, Schiller signed on Margarita Schwan, who remained in Mannheim. He turned to her parents with a letter in which he asked his daughter's hands. The publisher Schwan gave the opportunity to Margarita himself to solve this issue, but she refused to Schiller, who was hard to experience this new loss. Soon, Gottfried Curner arrived from Dresden, who decided to celebrate his marriage with a mine rod. Kerner's warrred friendship, Guba and their girlfriends, Schiller recovered. It is at this time that he creates his hymn "Ode to Joy" (it. Ode An Die Freude).

On September 11, 1785, at the invitation of Gottfried Kurner Schiller moved to the village of Hostoritz near Dresden. Here was completely redone and finished "Don Carlos", a new drama "Misanthrop" began, a plan was drawn up and the first chapters of the Roman "Spiritis" were written. His "philosophical letters" was finished here (PHILOSOPHISCHE BRIEFE) - the most significant philosophical essay of the young Schiller, written in episristolar form.

In 1786-87, through Gottfried Curner, Friedrich Schiller was introduced into the Dresden Society. At the same time, he received an offer from the famous German actor and the theater director of Friedrich Schroeder to put "Don Carlos" in the Hamburg National Theater. Schröder's proposal was pretty good, but Schiller, remembering the past unsuccessful experience of cooperation with the Mannheim theater, refuses the invitation and goes to Weimar - the center of German literature, where Christoph Martin Viland is diligently invited to cooperate in his literary magazine "German Mercury" (Him. Der Deutsche Merkur).

Weimar

In Weimar Schiller arrived on August 21, 1787. Charlotte von Calb became a companion of the playwright in a series of official visits, with the assistance of which Schiller quickly met with the largest then writers - Martin Viland and Johann Gottfried Gerder. Viland highly appreciated the talent of Schiller and especially admired his last drama Don Carlos. Between two poets from the first dating, close friendships were established, which were preserved for many years. For several days I went to the university town of Jena, where it was warmly met in the literary circles.

In 1787-1788, Schiller published the magazine "Talia" (it. Thalia) and at the same time collaborated in the "German Mercury" of Viland. Some works of these years have begun in Leipzig and Dresden. In the fourth room "The Waist" was published on the chapters of his Roman "Spiritis".

With the move to Weimar and after acquaintance with major poets and scientists, Schiller began to relate to his abilities even more critically. Realizing the shortage of their knowledge, the playwright almost for almost a decade has departed from artistic creativity to thoroughly study history, philosophy and aesthetics.

The period of Weimar Classicism

Ian University

The release of the first volume of the "History of the Failure of the Netherlands" in the summer of 1788 brought Schiller to the glory of an outstanding researcher of history. Friends of the poet in Jena and Weimar (including I. V. Gote, with whom Schiller met in 1788) used all their connections to help him receive the post of extraordinary professor of history and philosophy at the University of Yen who was experienced during the poet's stay in this city prosperity. Friedrich Schiller moved to Yen on May 11, 1789. When he began to read the lectures, the university consisted about 800 students. The introductory lecture entitled "What is the World History and for what purpose is it studying?" (it. Was Heißt Und Zu Welchem \u200b\u200bEnde Studiert Man Universalgeschichte?) Passed with great success, the listeners staged him ovation.

Despite the fact that the work of the university teacher did not provide him with sufficient material resources, Schiller decided to marry. Having learned about this, Duke Karl Augustus appointed a modest salary in December 1789 in December 1789, after which Schiller made official proposal Charlotte von Lenhafeld, and in February 1790 in Rustic Cirche near Rudolstadt marriage was concluded.

After the engagement, Schiller began working on his new book "The History of the Thirty-Year War", began to work on a number of articles in world history and again began to publish the Journal of the Rhine Talia, which published his translations of the third and fourth books "Enidida" Vergil. Later in this journal, his articles on history and aesthetics were published. In May 1790, Schiller continued his lectures at the university: in this academic year He publicly read a course of lectures on tragic poetry, and privately on world history.

In early 1791, Schiller fell ill with the pulmonary tuberculosis. Now he only occasionally occurred between several months or weeks, when the poet would be able to safely work. Especially strong were the first attacks of the disease in the winter of 1792, because of which he was forced to suspend teaching at the university. This forced rest was used by Schiller for a deeper acquaintance with the philosophical works of Immanuel Kant. Being not able to work, the playwright was in an extremely bad material situation - there was no money even on a cheap lunch and the necessary medicines. At this difficult moment, on the initiative of the Danish writer, Iense Baggessen, the Crown Prince Friedrich Christian Schleswig-Golsteinsky and Count Ernst Von Schimmelman appointed Schiller an annual subsidy in a thousand talers that the poet managed to restore his health. Danish subsidies continued in 1792-94. Then Schiller supported the publisher of Johann Friedrich Cotta, who invited him in 1794 to publish a monthly magazine "Ory".

Ride home. Magazine "Ory"

In the summer of 1793, Schiller received a letter from the parental house in Ludwigsburg, in which his father's illness was reported. Schiller decided to go along with his wife to his homeland to see his father before his death, visit the mother and three sisters with whom he broke up eleven years ago. With the unlawful resolution of Württemberg Duke Karl Evgenia Schiller arrived in Ludwigsburg, where his parents lived near the Duccian residence. Here, on September 14, 1793, the first son of the poet was born. In Ludwigsburg and Stuttgart Schiller met with old teachers and past friends at the Academy. After the death of the Duke of Karl, Evgeny Schiller visited the Military Academy of the deceased, where he was having delighted with the young generation of students.

During their stay at home in 1793-94, Schiller finished his most significant philosophical and aesthetic work of "Letters about the aesthetic education of a person" (Über Die Lästhetische Erziehung Des Menschen).

Soon after returning to Jena, the poet became vigorously for work and invited all the most prominent writers and thinkers of the then Germany to cooperate in the new magazine "ORA" (Die Horen) laan to unite the best German writers in the literary society.

In 1795, he wrote a cycle of poems into philosophical topics, close in terms of his articles on aesthetics: "Poetry of life", "Dance", "Separation of the Earth", "Genius", "Hope" and others. Leitmotifs through these verses is the thought of death Total excellent and truthful in the dirty, prosaic world. According to the poet, the commitment of virtuous aspirations is possible only in the ideal world. Cycle philosophical poems He became the first poetic experience of Schiller after an almost ten-year creative break.

Creative collaboration Schiller and Goethe

The unity of Schiller and Goethe in his views on the French revolution and the socio-political situation in Germany assigned to the rapprite of the two poets. When Schiller after a trip to his homeland and return to Yen in 1794 in the magazine "ORA" outlined his political program and invited Goethe to participate in literary society, he answered consent.

A closer acquaintance between writers occurred in July 1794 in Jena. At the end of the meeting of naturalists, going out on the street, the poets began to discuss the content of the hearing report, and chatting, they reached Schiller's apartment. Goethe was invited to the house. There, he began with great enthusiasm to state his theory of metamorphosis of plants. After this conversation between Schiller and Goethe, a friendly correspondence began, which was not interrupted before the death of Schiller and amounted to one of the best epistolary monuments of world literature.

The joint creative activity of Goethe and Schiller had, above all, its goal of theoretical understanding and the practical solution of those tasks that arose before literature in a new, post-revolutionary period. In search of an ideal form, the poet turned to the ancient art. In it, they saw the highest sample of human beauty.

When new works of Goethe and Schiller appeared in Orachi and Almanaje Muses, which reflected their cult of antiquity, high civil and moral pathos, religious indifference, a row of a number of newspapers and magazines began against them. Critics condemned the interpretation of issues of religion, politics, philosophy, aesthetics. Goethe and Schiller decided to give opponents a sharp rebuild, subjected to merciless whitewashing all the vulgarity and the notice of modern German literature in the form, prompted by Schiller Goethe, - in the form of the two-way, like "Xeni" Marziala.

Since December 1795, for eight months, both poet competed in creating epigramms: to each answer from Yen and Weimar attached "Xenia" to view, feedback and addition. Thus, together in the period from December 1795 until August 1796, about eight hundred epigs were created, of which four hundred fourteen were selected as the most successful and published in Almana Muses for 1797. The subject of "Ksenia" was very versatile. She included issues of politics, philosophy, history, religion, literature and art. They were touched upon over two hundred writers and literary works. "Ksenia" is the most militant of the writings created by both classics.

Moving to Weimar

In 1799, he returned to Weimar, where he began to publish several literary magazines for the money of patients. Becoming a close friend Goethe, Schiller, together with him, founded the Weimar theater, who became the leading theater of Germany. The poet remained in Weimar to his very death.

In 1799-1800 he wrote the play "Maria Stewart", the plot of which occupied him for almost two decades. The work showed the brightest political tragedy, imprinted the image of the remote era, torn by the strongest political contradictions. The play had a great success in contemporaries. Schiller finished her with feeling that now he "mastered the craft of playwright."

In 1802, the Emperor of the Sacred Roman Empire Franz II complained Schiller the nobility. But he himself took this skeptical, in his letter of February 17, 1803 by writing Humboldt: " You probably laughed by hearing on the construction of us in a higher rank. That was the idea of \u200b\u200bour duke, and since everything was already happening, then I agree to take this title because of Lolo and Children. Lolo is now in his element, as it turns the loop at the court».

last years of life

The last years of Schiller's lifestyle was overshadowed with heavy protracted diseases. After a strong cold, all the old aids were aggravated. The poet suffered from chronic inflammation of the lungs. Died on May 9, 1805 at the age of 45 from tuberculosis.

Facts

He took part in the activities of the Literary Society "Blumenorden" created by G. F. Harsdurfer in the XVII century for the "cleaning of a German literary language", strongly clogged during the thirty-year-old war.

The most famous Schiller ballads, written by him in the framework of the "Year of Ballad" (1797) - Cup (Der Taucher) Glove (Der Handschuh) Polycrats Runs Der Ring Des Polykrates) and Ivikov Zhuravley (Template: Lang-De2die Kraniche des ibykus), became familiar to Russian readers after the translations of V. A. Zhukovsky.

The world fame received his "Ode to joy" (1785), the music to which Ludwig Van Beethoven wrote.

Schiller remains

Friedrich Schiller was buried on the night from 11 to 12 May 1805 at the Weimar Cemetery, Jacobsphridhof, in the Cassendegiewylbe, specially reserved for the nobles and revered residents of Weimar, who did not have their own family silets. In 1826, Schiller's remains decided to reburial, but could not be able to define. Selected arbitrarily as the most suitable remains were transported to the Duchess Liberty of Anna Amalia, and Skull was in the house of Goethe, who wrote this days (September 16-17), the poem "Relic Schiller", also known as "in the contemplation of Schiller's skull". On December 16, 1827, these remains were buried in the princely tomb in the new cemetery, where later, the Goethe himself was buried next to his friend.

In 1911, another skull was discovered, which was attributed to Schiller. For a long time, disputes were about what kind of these. Only in the spring of 2008, within the framework of the "Frederick Schiller code", organized jointly by the Mitteldeutscher Rundfunk radio station and the Weimar Classicism Foundation, conducted in two independent DNA examination laboratories showed that none of the skulls belonged to Friedrich Schiller. The remains in the coffin of Schiller belong to at least three different people, their DNA also does not coincide with any of the studied skulls. The Weimar Classicism Foundation has decided to leave Schiller's Coffin empty.

Friedrich Shiller

(Johann Christoph Friedrich Schiller, 1759-1805)

The great German poet and the playwright Friedrich Schiller was born in the city of Marbach (Duchy of Württemberg) in the family of Military Feldscher. His mother was a daughter of the innkeeper. The family often experienced material difficulties.

In 1773, a 14-year-old Schiller, contrary to his wishes, was defined in military schoolrenamed the academy subsequently. It was preparing officers, doctors and lawyers,

In this "Kennel of slaves", as the Academy was not called, Mushtra reigned, and the pupils lived at a barrlant position under conditions of severe sticky discipline.

Schiller studies at the beginning on the legal department, and then goes to medical, but he is most interested in literature, history, philosophy. Despite the desire of the authorities to protect the pupils from dangerous ideological influences, he is fond of works by French and British enlighteners, especially Rousseau. From the German writers, he is read on with lesing, oodas of Klopshtok, and somewhat later - the first works of Goethe, immediately became the idol of advanced German youth. Of great interest is Schiller to Shakespeare's playwriter, to "life-writings" of Plutarch, who acquainted a young man with great heroes of antiquity.

In the walls of the academy, the literary talent of Schiller is formed. In 1776, his poem "Evening" (Der Abend) is printed, here, secretly, he writes his rebellious drama "Robbers" (Die Räuber, 1781), soon with a great successful success on the stage of the Manningham theater.

In 1780, Schiller ends the academy in which he was detained in excess of the term "for curbing a brown fit." Later, recalling her, he stated with bitterness: "I entered my life, surviving sad, dark youth and heartless, soulless education."

After graduating from the Schiller Academy appointed regimental lane. He still does not have freedom and independence. At every step, he felt the despotic will of the duke of Karl Evgenia, who did not approve of literary hobbies of Schiller and his winsted thoughts. Even in order to attend the premiere of their "robbers", he was obliged to get the resolution of the Duke. For a unauthorized trip to Mannheim Schiller was planted under arrest. Fuel from the despotism of Karl Evgenia, the writer in 1782 runs from Württemberg Duchy and hides at his friends. Thus began difficult years of wandering and poverty, years of stubborn literary work. He finishes "Conspiracy Fiese in Genoa" (Die Verschwörung Fiesecos Zu Genua, 1782) and "Louise Miller", as the Drama "Deceit and Love" was called at first (Kabale und Liebe, 1783).

The aesthetic views of the early Schiller, which was primarily interested in the problems of the theater, drama, were reflected in his literary and critical work, as "about the modern German theater" (Über Gegenwärtige Deutsche Theater, 1782), "Theater, considered as a moral institution" ( Die Schaubuhne Als Eine Moralische Anstalt Betrachtet, 1785). Both are imbued with the ideas and moods of the strip-shaped early shilller. Their author acts as a supporter of combat topical art aimed against the vices of the feudal world. For the successful implementation of this goal, the critic demanded from the playwright of simplicity, naturalness, truth. He was an opponent of classicism, embraced in Germany in the example of France. "In Paris, he wrote," love smooth, pretty pupa, in which artificiality caught up with all bold naturalness. "

The author opposes any rules and conventions, insisting on the full freedom of artistic creativity, his national identity. The writer was a decisive opponent of an empty entertainment drama focusing on the feudal to know, on the "idle of the festivolubs". He looked at the theater as a school for the people, and not the place of the currency of the "corrupted destructors".

Schiller - a supporter of the theater raising the people in the spirit of the ideals of enlightenment. He calls the theater to the channel, according to which the light of truth flows. Theater, according to the author, will beak social vices. "Thousands of defects remaining unpunished, the Kareat Theater, thousands of virtues, about whom it silent justice is glorified by the scene."

Both articles of the young writer testify to the significant impact on him lesing, the author of the "Hamburg Dramaturgia".

The first drama Schiller "Robbers" was created in the last months of his stay at the Academy and was completed in 1781. It was written in the spirit of the ideas of "storms and onslaught" and wears a pronounced Bunlet, anti-refortional character. Her epigraph is "against tyrants" - completely clearly, unequivocally pointed out the ideological direction of the work. The main character Her - a bold rebellion of Karl Moor, "openly declared war in the whole society" 1. At the head of the robbers, he goes to Bohemian forests to be a threat of tyrants. He has noble intentions, and the robbery is comprehended by him as a form of combating social injustice. Schiller puts angry words against the arbitrariness of the princes and their ministers in the mouth of his hero.

In German literature, thiranoboric motifs sounded to Schiller, but they wore a blurry, non-specific character and were usually developed not on the material of German reality, but on the facts of the distant past. The playwright allowed this problem on the material of modern reality, and the carriers of tyranny and social evil had concrete people, for example, "the adviser who sold honorary ranks and the posts who will give anyone more", "the vile pop", which "was crushed into a decline of the Inquisition" .

Among those whom Karl reached, the minister is mentioned. "This ruby," says Karl, "removed from the finger of one minister, whom I was dead on the hunt threw his soverear to my feet. A tracker's leaving, he has achieved the position of the first favorite; The fall of his predecessor served him a step to the honors, he surfaced on the tears of the orphans collapsed. " In this minister, contemporaries recognized the graph of Montmarten, who had evolved bad fame in the service of the Duke of Württemberg.

Karl Moore hates Rolapping, kindness and plenty, so common in modern Germany. He rejects the hated slave world, he wants to create a republic on the ruins: "Put me at the head of troops from such wellms, as I, and Germany will become the republic, next to which Rome and Sparta will seem like female monasteries."

But Karl Moore has no clear political program, he is extremely vaguely and vaguely represent the paths that humanity will come to a fair social structure. This weakness of the position of the hero was explained by the political undeveloped Germany, where the third estate was weak, unorganized and did not dare to fight against the feudal world, as it took place in more advanced France.

Karl will soon be convinced of the fallacy of the path chosen. Separate members of his gangs, in violation of noble ideals, proclaimed by Karl, robbed and killed without all sorts. It shocked Karl. He disappointed in robbing: "Oh, I, a fool who dreamed of correcting the light of atrocities and obstruct the laws of lawlessness! I called it with a rift and right. "

Come to the conclusion about the infertility of robberies, Karl gives himself to the hands of the authorities. Carla antagonist is his brother Franz, personifying all the evil and cruelty of the feudal world. He is deprived of his heart and compassion for people. He has no conscience and no moral principles. In the pursuit of inheritance, he slandered his brother and buried his father alive. With the cruelty of sadist, he mocked his subjects.

Schiller depicted Franz by a fear and a supporter of the philosophy of materialism, an erroneously considered by the author as an expression of noble-bourgeois egoistic aspirations. The backwardness of the socio-political development of Germany was imposed by an unfavorable imprint on the views of even such advanced people, like Schiller, who did not understand the role of French materialistic philosophy in the fight against the feudal world.

"Robbers" were enthusiasticly met by the majority of German spectators. The play testified to the Great Giving a Young Writer, although it was not difficult to discover his insufficient dramaturgical experience. Not all managed to be a beginner playwright. Karl's conflict with the outside world revealed mainly in his monologues and replicas, and not in action, as required by the laws of drama. Running and abuse rhetoric, and the abstract of the image of Amalia.

Being under arrest, Schiller starts work on the tragedy "Deceit and Love", which became its best works of the "Storm and Natiska" period. The author watched his characters in Württemberg Duchy, where the poet had passed, knew about the outrageous facts of the duke despotism. Karl Evgeny did not consider to trade with his subjects, selling them as cannon meat into foreign armies. He contained ten years in the sharpening of Shubart. Duke's despotism Young playwright felt on himself.

Schiller's tragedy pages breathed passionate hatred to the world of feudal tyranny. No wonder Engels called her the "first German politically tendentious drama" 2.

The main conflict of the tragedy "Deceit and love" wore a pronounced public, class character. Two worlds are opposed to each other - the court and championship, the Burgers, represented by the Miller Musician family. The duke not shown on the stage refers to the court camp, but whose participation in intrigues is clearly noticeable. This is he for the sake of satisfaction of his whim sells seven thousand of its subjects to America, and when several people are trying to rapid, orders them immediately shoot them.

Under to become a duke, President von Walter, who received power due to the murder of his predecessor. For the sake of strengthening its high official position, he is ready to make any nudity and crime.

The court world of crimes and low cunning is complemented by the comic figure of the Gof Marshal von Kalba, empty and cowardly bolt and gossip, as well as the Secretary of the President of Vurma, Sly and Light Inrigan. The nobility of this person is emphasized by his last name (Wurm - Worm), no less expressive and surname of Gof Marshal (Kalb - calf).

The world is opposed to the Miller Musician Family. The head of this family is an honest, decent person - a sense of human dignity is filled. He does not like that the son of the president is caught behind his daughter. He does not expect anything good from this, while the pride of his near wife is extremely flattering the attention of Ferdinand to Louise. Miller - an opponent of diving and opera, he was not afraid to put up the door of President Walter, when he tried to dispose of the musician's house: "Tweak, as you wish, states of state, and here I am a master ... a muster guest I will put out the door. Do not proceed! "

Ferdinand in its origin and upbringing belongs to the court circle, but he managed to make sure in the viciousness and depravity of this environment. He rustles with its length prejudices: "My concepts about greatness and happiness differ markedly from yours ... You achieve well-being almost always at the price of the death of another," he says to his father. He appreciates people not for the knowledge of their origin, but for their moral and mental qualities. Ferdinand was not afraid to go in advance with secular prejudices and prefers the modest and hearty Louise, a girl from the burgher family. He fights for this love, although he cannot get the winner in this fight.

Louise is also a man of new time. She rises above the estate prejudices, a sense of human dignity is developed, and it seems to be a dubious honor to be the Camerician of the former Lady Lady Milford mistress, which apparently expecting to flatter Louise this proposal. However, Louise has not yet overcome social passivity and humility. She obeys the inevitable, as it seems to her, the goal of events and does not fight for his happiness. This affected the backwardness and a scope of the third class of Germany, which was not still ready for the struggle for their rights. Ferdinand and Louise are dying, but morally they win over the world of court careerists and intrigurs.

"Cunning and love" became the top of the realism in the drama "Storm and Natiska". In it, for the first time, German life is depicted with such depth and accuracy. Compared to the "robber", artistic skills, dramaturgical technique Schiller, increased. The author has created more complex characters, overcoming the one-sidedness and straightness of Franz Moore and other characters of the first drama. More complex spiritual experiences are characteristic not only by Miller musician, Louise, but also other characters. Even President Walter is shown not only by the court careerist and intrigue, but also to a certainly loving father, shocked by the death of his son, whose worst forgiveness. Lady Milford is not only a morally spoiled woman, she is not devoid of famous kindness and pride.

The art of the speech characteristic of heroes has increased. It is most clearly manifested in Miller's speeches, a person is direct and honest, but sometimes rustic in the expression of his feelings.

"Of course, you, the godmomarter! After all, this is the morning of the Barchuk today, "says Miller with his fellow wife. And when she fell on his knees in front of the president, Miller says without any obsteadykov: "To get to your knees before God, the old Plaks, and not before ... scum!"

In Miller's speech, many people's words and revolutions, including Swabian dialectisms.

Pieces "Robbers" and "Deceit and Love" made Schiller with a famous playwright not only in Germany. Soon they were translated into other European languages. At the outcome of the XVIII century. Pieces have gained popularity in Revolutionary France.

The tragedy "Deceit and love" ends early, sturgeon, the period in Schiller's work. Transient in his work became the tragedy "Don Carlos" (Don Carlos, 1787), started in 1783, during the period "Storm and Natiska". As you work on the play, the poet's glances changed, he was moved away from the Sturmary ideals, and the initial idea was undergoing significant changes. Nevertheless, the continuity of "Carlos" with early dramas is easily palpable.

"Don Carlos" is written on the material of the Spanish history of the XVI century. The board of Philip II, when the tragedy occurs, was characterized by the strengthening of the feudal-Catholic reaction in Spain, where the inquisition acquired crucial importance.

The carrier of the author's views, the new hero of Schiller, becomes the Marquis Pose, which, according to the initial version, was given a secondary role. Because of freedom and justice. He arrives in Spain to help the freedom-loving Netherlands people, who is trying to get rid of the tyranny Philip II. He persuades the heir to the Spanish throne Don Carlos, in the soul of which sowed the "seeds of humanity and heroic valor", to go to help the Netherlands. Carlos agrees with a suggestion of his youth and begging his father to send him to the Netherlands. But Philip decides otherwise: he does not trust his son and entrusts this mission to the cruel duke Alba, who must mercilessly suppress the uprising.

Pose is a typical educator. He places his main hopes not to the uprising (although it does not exclude it), but for education and reforms. In this spirit, he is trying to influence Philip, declining it to give "people freedom of thought." But attempts of poses within the framework of an existing social system to incline monarchs to carry out liberal reforms failed. During the preparation of the uprising against Philip Pose, the fighting bullet of Jesuit, and Carlos was arrested by the king on the eve of the secret escape in the Netherlands.

Schiller's waste from Sturmary ideals was accompanied by revising the aesthetic principles. Schiller loses interest in the world of Burgers, Meshchansky heroes, which are now flat and screamed. He is beginning to attract high, bright personalities like Don Carlos, poses, on which he imposes hopes as on possible saviors of the country, the liberators of the people.

The style of drama changes. He refuses prose, which was written by the initial version of "Don Carlos". For the change of the prose of early drams with their collaboratively spacious vocabulary, a five-colored Yamba comes to be replaced by vulgarianism and dialects.

After "Don Carlos" Schiller is almost 10 years old from dramatic creativity. In the mid-80s. He writes few poems. Among them is highlighted with a wonderful ode "to joy" (An Die Freude, 1785), which is a passionate hymn friendship, joy, love. The poet condemns hostility, malice, cruelty and war, calls for humanity to live in peace and friendship:

Rather, millions!
Follow the joy of one!
........................................................

Who saved in everyday bore
Friendship friend of his
Verne was his girlfriend,
Pursed in our celebration!

(Per. I. Mirimsky)

The Majestic Choir written on the text of the Shiller ON "To Joy", the Ninth Symphony of Beethoven is completed.

Schiller's attitude to the events of the French bourgeois revolution 1789-1794. It was complicated and contradictory. Initially, he welcomed it and was proud that the France's Legislative Assembly in 1792 assigned to him as a champion of freedom of honor of the Honorary Citizen of the French Republic. In the future, Schiller, without realizing the need revolutionary terror, became an opponent of the revolution. But the great events made him in a new way to appreciate a number of cardinal problems of worldview and creativity. One of these most important issues was the question of the role of the people, his influence of the PA history, on the fate of the Motherland. The image of a lone rebellion disappears from Schiller's drama, gradually the theme of the people is gradually approved.

Schiller still remains a freedom-loving poet, but the achievement of freedom is thinking not revolutionary. He is looking for new non-violent methods of combating social evil.

In the early 90s. Schiller occupy predominantly philosophical and aesthetic problems. He pays particularly much attention to the philosophy of Kant, who had a significant impact on the writer.

Schiller took the initial positions of Cant philosophy, but during further search, he increasingly detected his discrepancy with him. These discrepancies were due to the fact that the German philosopher did not believe in the possibility of improving freedom, humanistic ideals in real reality and transferred their exercise in the otherworldly world. The meaning of all Schiller's quest is reduced to the fact that he sought to find ways to achieve freedom, ways to create conditions for comprehensive identity development in real world. Other disagreements were predetermined on this issue.

The most important theoretical work of Schiller are "Letters about the aesthetic education of a person" (Über Die ästhetische Erziehung des Menschen, 1795). In this program work, the writer affected not only aesthetic issues, but also tried to answer the most important social problems, find ways to reorganize society.

By refusing violent ways to achieve freedom, Schiller sees the key to resolve major social problems in aesthetic education. Rough animals instincts do not give modern people to live in freedom. Humanity needs to be re-educated. The writer believes the decisive means of transformation of society, the education of people through beauty. "... The path to freedom leads only through the beauty," here is the main idea of \u200b\u200bthis work.

A large role in aesthetic education is played by the form, beauty and elegance of artistic works. From now on, the poet pays great attention to the decoration of its works. Simpical people's challenges come poems of mature shillor tragedies.

A significant step in the aesthetic development of Schiller was his work "On Naive Und Sentimentalische Dichtung, 1795-1796). For the first time, an attempt is made to explain the relationship of aesthetic problems with the development of society. Schiller refuses non-historical ideas about the immutability of aesthetic ideals, which was distributed in the XVII-XVIII centuries.

It distinguishes two types of poetry - "naive" and "sentimental", which arose in different periods of human history. The first is characteristic of the ancient world, the second - for modern.

The main feature of the "naive" poets is an impartial, objective nature of their creativity. Modern poets are subjective, "sentimental." They invest your personal attitude to the world depicted.

Antique poetry originated in the unique conditions of childhood of human society, when a person was harmoniously developed and did not feel the disaster with the outside world.

In perfectly different conditions, modern, or "sentimental", poetry develop. The poet of the new time lives in the disaster with the world around the world, and in his search for the beautiful, he often disappears from modernity that does not meet his ideals.

Schiller's sympathies were on the side of the "naive", ancient poetry.

The passion for the ancient literature was reflected in many works of Schiller, in particular in his famous poem "Gods of Greece" (Die Götter Griechenland, 1788), in which mournful thoughts are sounded with great force on the death of the ancient world idealized by the poet.

Yes, left, and all that is inspired
What is beautiful, took with you, -
All flowers, all completeness of the Universe, -
We only leaving the sound empty.

(Per. M. Lozinsky)

Modern reality is represented by the poet ugly, devoid of everything beautiful.

In the second half of the 90s. After a long break caused by the spiritual crisis, painful meditations and the search for new ideals, Schiller returns to artistic creativity. He writes a number of poems devoted to the topic of art and life. In them, he develops thoughts affected in its aesthetic work. His poems such as "Ideal and Life", "Die Macht Des Gasanges)," Die Teilung der Erde), "Pegasus", "Pegasus" Im Joche) et al.

High poetic skills, the extraordinary expressiveness of the language is characteristic of the poem "Ideal and Life", which contains very disgraced trends. The poet expresses the thoughts about the disadvantage of art and life and encourages to donate everyone for the ideal:

Before the highest truth ideal
All Vinny, that your spirit is fascinated.

(Per. V. Levik)

And at the same time, the poet cannot forget about the suffering of humanity, can not calmly bliss in the "defense of the ideal";

If the brothers are moaning in the mountain
If there is a curse cry to the sky,
Flying in flour, walk Laocoon,
Man, rise! Let these screams
Shake the top throne of the Lord ...

About the tragic fate of the artist in the bourgeois world, which is not able to understand and appreciate art, in an allegorical form narrates in the poem "Pegasus in the Yarma". The winged horse Pegasus here turns out to be harnessed in one yoke with a bull.

In the late 90s. One for another shiny Schiller ballads - "Cup" (name Dano V. A. Zhukovsky, Schiller - Diver - Der Taucher), Glove (Der Handschuh), "Ivikov Zhurakus" (Die KXANICHE DES IBYKUS), "Loading" (Die Burgschaft), "Knight Togenburg" (Ritter Toggenburg), talented into Russian V. A. Zhukovsky.

In the ballads, the poet chants the noble ideas of friendship, loyalty, honor, heroism, self-sacrifice, the greatness of the human spirit. Thus, in the ballad "Loop" he glorifies friendship for which no victims stop; About courage and courage told in the ballads "Glove", "Cup".

Schiller ballads are distinguished by a sharp dramatic plot. With great expressiveness and liveliness in them, typical features of the situation and human characters were transferred. The spirit of distraction retreats to the background. As one of the famous connoisseurs of the German poet in our country, Franz Petrovich Schiller, noted rightly, it is easy to feel that "in all ballasts there is a hand of ingenious playwright."

At the outcome of the XVIII century. Schiller creates a well-known poem "Song about the bell" (Das Lied Von Der Glocke, 1799), strikingly controversial in its ideological content. The content of the poem is a poet thinking about the work of people, about the paths of reorganization of life. At the beginning of it, the author sings the anthem labor adorning a person who is the basis of human life:

Labor - Peoples Decoration
And fence from needs.

(Per. I. Mirimsky)

The tireless hands of workers are cast a bell, which will heal about happiness, unity and peaceful work:

Let him be louder, wider
The first ringing about the world.

But happiness is drawn by the poet in the form of a quiet burgher idyll.

In contrast, it is depicted in a picture of a flame fire, everything destroys on its path. In this rather transparent allegory, the author hinted at the French Revolution, which is interpreted by both hazardous passions, wild animals of instincts. The poet with anxiety speaks of times when the bell "call to the violence serves." He does not approve of such a position in which

The people himself crawls dungeon
And the chain breaks into the dust.

Schiller did not always show such a political timidity and repeatedly called on the oppressed smash his shackles.

Since 1787, Schiller lives in Weimar, where he is invited to the Guita to the advice of the Weimar Duke. Friendship of two German geniuses, who left an exceptionally deep mark in the soul of each of them, did not strengthen immediately. Too much separated them from each other, they looked different on a lot. Therefore, in the first years of life in Weimar, stretched and incredulous relationships are established between them. Goethe somewhat earlier moved away from the ideas of "storms and onslaught", and he did not like Sturm Drama Schiller. Later, he also disapprobating to pass the shillter of Cant philosophy, the abstract speculative character of which, according to Goethe, interfered with poetic creativity. The very tel prevailed the spontaneous and materialistic perception of life. In the future, these discrepancies gradually decrease, instead of alienation comes hot friendship, which helped creative search for poets. Especially many of the Schiller owes this friendship, whom Goethe tactfully and tirelessly called for creativity, more closely associated with life.

The traces of this impact are tangible and on ballads who are written by Schiller in a friendly competition with Goethe, and on renewed dramatic creativity, and above all on Vallenstein's trilogy. "I am striking how much realistic brought me this recently ended year, how much developed in me from permanent communication with Goethe and from working on ancient," the poet reported in 1796 in a letter to V. Humboldt.

Vallenstein trilogy (Wallenstein, 1797-1799) is one of the most wonderful works of Schiller. He worked on it much longer than over his other works. A very long time was the process of tooling and thinking about the plan. However, this does not have to be surprised if we consider that Vallenstein opened a new stage in the work of the playwright, that the trilogy is written mainly in a new artistic manner.

A wide historical intent associated with the events of the thirty-year-old war demanded an objective image of characters and conditions. A subjective approach to the case could only damage the plan. Long-term sewan history, its big historical work "History of the United Netherlands". preparatory school To create "Wallenstein". History classes developed a habit of holding specific facts, give real motivation of events.

The first part of the Trelogy "Vallenstein Camp" (Wallensteins Lager) came out in 1798. It is significant that it begins the stage in which the peasant with his son is bred. Schiller with great sympathy portrayed the fate of the German peasant, brought to the war to complete ruin. The peasant watches the soldiers drunk rampant, who behaved in Germany, as in the conquered country. He is full of hatred of the military officer, ruining a simple landpash:

You disengaged! God you are!
At the expense of a man, probably believed.

(Per. L. Ginzburg)

Such trouble - right in the loop climb,
There is nothing to eat, even gap your bones.

In the first part of the trilogy, the playwright is truthfully, bright, truly in the Shakespearean manner recreates the motley background of the military era, draws colorful images of soldiers. The "Camp" hero is the soldiers' mass. Mass scenes could be found in the early drams of Schiller, for example, in the "robberry", but the poet was not enough to decrease to revive this mass, speaking sometimes static and faceless. Otherwise, the case was in the "camp".

The army is the basis of the power and influence of Valenshtein, a prominent commander of the thirty-year-old war. All its secret intentions and projects are connected with it. Therefore, before depicting Wallenstein, the poet shows a soldier camp. The commander himself in the first part of the trilogy does not appear. In front of the audience are bright outlined, memorable images: here and the seekers of light profit and adventure, and peculiar rebels.

Vallenstein provides soldiers with great freedom of action and looks at their misconduct and the facts of looting. He wants to keep the army at any cost behind him, because, while the soldiers go behind him, the Austrian yard is powerless against him.

In the "camp" in front of us is not a faceless soldier mass, but a number of accredited realistic images. Extremely colorful figure of the first huntsman, a young man, but a lot of people who had seen. He is indifferent to whom to serve. I find out where I get better, he visited various armies, including in Swedish. It does not look like this soldier with adventurous sacks the first kirassir. It is a wide nature, soldier life attracts him comparative freedom and will. It is quite indifferent to wealth, honors. The first Kirassier sympathically belongs to ordinary people, he himself does not focus and does not laudge. "It's not robble, I'm not waiting for the inheritance," he declares with dignity. Among the soldier is remembered by the image of the Wahmistra, for which the war became a craft that did not bring him, however, good luck. He corrupts war and looks contemptuously on a simple man, calling him "blunt digging".

Schiller is primarily a tragedy poet, but a number of bright comic images have been created in the "camp". An unforgettable impression leaves the image of Kapuchin, especially its well-known speech in which he is in a very peculiar manner denounces the sorces of soldiers. Not inferior to Kapuchin in the liveliness and vitality of the gustracy, the woman is everybody, brutened and at the same time calculating.

Changes in the creative method of the writer, the desire to depict the era in a more objective, realistic manner reflected in the language. For the "camp" is characterized by simplicity, clarity of speech. The author finds characteristic words to recreate a wide variety of characters - peasants, soldiers, citizens, marcantry. None in any of its work Schiller did not reach such skill in the use of all the wealth of the national language. Nowhere with such force was not felt distinctive, fresh, expressive popular speech and People's Humor.

Thomas Mann in his famous "Schiller's Word" celebrated the amazing art of the Vallenstein camps, his "masterly lungs, playful scenes, in which the historical situation is unusually revealed, lighting lights illuminating the era, and where every word is characteristic, Each in each way the whole growth rises as a whole "3.

In the second part of Piccolomini trilogy (Piccolomini, 1799), Valenettein and its closest surroundings are generally, officers and members of his family.

The playwright showed great art in the deployment of action. It develops quickly and purposefully, clearly and clearly. Despite the large number of images, the complexity and wealth of the content, there is nothing superfluous in the trilogy. For four days, during which there is a lot of big events during the trilogy. The strength of action is achieved due to the fact that the author depicts the last climax in the development of events. The crisis is abandoned, and the author in the first scenes makes it clear to feel the approach of the junction.

In the center of these rapidly developing events is the image of Wallenstein, the nature is complex and controversial. He is an outstanding commander and politician who can soberly assess the situation. In a short time, he was able to create a big army, ready to go behind him at any battle. The army won a lot of victories, was able to withstand the strong Swedish army. In the hands of Wallensteyia focuses great power. He is given even the right to conclude a truce and peace.

In the lighting of these events, Schiller dismissed with modern historical science. Bourgeois literary crituals have long found some discrepancies of playwright with history, but they passed by some of the most important features of this trilogy. In it, the author showed more historic alone than the modern science. In the activities of Wallenstein, he was able to catch an important progressive tendency of the era. Regardless of how the motives were guided by the commander, he, by Schiller, wanted to put an end to the national disaster. He sought to enter into peace, to create a strong centralized state, which would prevent universal collapse, anarchy and lawlessness.

About general good
Just think. After all, I am not heartless;
People of Our Bed and Mount
I hurt me ...
Fifteen years already war burns
Without tired and everything is on the end.

(Per. K. Pavlova)

However, Schiller was far from thought to portray Wallenstein a noble and disinterested wrestler for the union of Germany, for the cessation of war. In one of the letters, he clearly speaks on this subject: "I have to diminish in your eyes of Valenettein himself as a historical personality. Historic Walleistei was not great, the poetic either should not be great. "

Schiller showed Vallensteyia with all his contradictions, made it a typical son of his era. For noble thoughts, he is mixed with ambitious, adventuristic intentions. He walked on deception and treachery, joining secret negotiations with the Swedes, hoping with their help to become King Bohemia.

The tragic junction occurs in the last part of the "Death of Wallenstein" (Wallensteins Tod, 1799). For all his tricks, Wallenstein did not notice the fact that Octavio, whom he mistakenly considered his best friend, gradually undermined his influence.

Quite a lot of space in the trilogy is given to Max and Tekle, but if most images were written in a lively, realistic manner, then Max and Tekla images can not be attributed to the number of copyright. The presence of them in the trilogy was explained mainly by subjective copyright intentions.

In Vallenstein, along with socio-historical conflicts, the author puts. The moral and philosophical, inspired by modernity, as well as the Cantian philosophy. This explains the appearance of ideal images of Max and Tekli, which are opposed to the world of lies, hypocrisy, cruelty and immorality.

The trilogy was a bright evidence of the increased artistic skill of the poet. Goethe, who read the trilogy in parts, as he writing, expressed his opinion on the first acts in such expressive words: "Two Act" Wallenstein "are excellent and so worked at me at first reading, which did not leave no doubt."

Mary Steart (Maria Stüart, 1800) -Social psychological tragedy. There are no wide social paintings in it depicted by Schiller The world is limited mainly by the court circles.

The tragedy begins at the moment when the fate of Mary has already been solved. She suffered a death sentence. Mary remains to live a few hours.

Schiller brought the trial outside the tragedy, the entire prehistory of the Scottish Queen. Only from the words of the acting persons we learn about her brilliant, but the scandalous past, when she was involved in the murder of her husband, for which he lost the Scottish throne.

Maria in the image of Schiller is by no means innocent. There are crimes on her conscience. But she said so much for the long years of imprisonment in an English prison, which largely redeemed his guilt. She changed his mind a lot, critically looked at her past. Maria has changed for the better, the suffering was created by her. It is not deprived of spiritual beauty. She has sincerity, the urban, which is so lacking Elizabeth.

A false accusation is put forward against Mary, to confirm which are used false witnesses. According to the expression of one of Mary's jailers, "there was not a lot of trustiness.

The democracy of Schiller's position manifested itself primarily in the merciless damage to the injustice and cruelty of the absolute monarchy, which opened unlimited possibilities for arbitrariness. This is not only the boring of the English Queen, but also the debunction of the principle of monarchical rule.

With great art and psychological depth, by Maria and Elizabeth depicted. Each step, every mental movement in the behavior of these complex characters is motivated. Never Schiller managed so thin and convincingly transfer the dialectics of the female soul.

The image of Elizabeth is psychologically complicated. She is not just a hypocrite, she has the qualities necessary for a large statesman, - strong will, energy, insightful mind. The range of its internal experiences is complex: here and care associated with its state affairs, and purely female feelings of envy and hostility to a more beautiful and young rival.

The big victory for realism in the tragedy is that in the conflict of Elizabeth and Maria Schiller managed to reflect the acute socio-political contradictions, the struggle of the forces of reformation and counteraction. Elizabeth and Maria represent two opposing tendencies of the era. The conflict between them is inevitable. Even under the strictest protection in imprisonment, Maria is connected with the Vatican, with Jesuits, seeking to free her from prison and build an English throne. In the same way behind Elizabeth, Protestant England is standing, which does not feed the sympathies to Catholic Mary and fears,

that just reigns the stewart,
Under the yoke dad is falling again.

(Per. N, Wilmont)

Although in this chamber tragedy the theme of the people and is not the main thing, but it is clear enough. The author affects the question of the people at the most acute moment when the struggle for the royal power broke out in England, the rivalry of the two Korolev aggravated.

"Maria Stewart" is one of the most perfect tragedies of Schiller, written during the flourishing of his drama genius. After completion, her poet was not without pride, he said that he now "mastered the craft of playwright."

In no one of his works, he did not reach such skill in the composition, in the psychological disclosure of characters, nowhere he managed to create such a purposeful and intense dramatic effect. The task was all the more difficult that the author did not resort to special dramatic effects, did not strive to hit the extrastancy of intrigue and the complexity of action.

In the romantic tragedy "Orleans" (Die Jungfrau von Orleans, 1801) shows the national liberation struggle of the French people against foreign invaders-British in the era Century war. The national heroine of this war was the peasant girl Zhanna D "Ark. Schiller showed that the salvation of France was not brought by the king and noble to know, but ordinary people.

The image of Zhanna D "Ark caused a wide variety of interpretations. The clergy first burned it as a wip on the fire, and later declared the saint. Voltaire, struggling with the obscury and fanaticism of the clergy, fell into another extreme and depicted Jeanne in emphasized frequently tones.

Schiller raised himself to rehabilitate Jeanne, show all the greatness of her feat, her patriotism.

In the tragedy all the time is opposed to the heroism and dedication of ordinary people of cowardiness and egoism of the French aristocracy. The author showed complete demoralization that swept the court circles from the king himself. Sanless and unlucky Carl VII threw an army on the army, a country, deciding that further resistance is useless. He left dear, giving his time with gallant adventures. Following his example, there is a courtie to know, and some of its representatives, among them the Duke of Burgundy, are fighting against France, on the side of its enemies-British.

In this difficult moment for France and John appears. Schiller emphasizes her proximity to the people, inseparable communication with him. John considers himself a representative of ordinary people. The benefit of the people for it is above all. For the sake of him, she is ready for any victims. "Let me die - my people will win," she says.

But the theme of the people, its influence on the course of historical events has found a contradictory expression in the tragedy. John is overly raised above the people who are often a faceless background. People are not shown in action. Communication with him the heroine felt weakly. John performs alone, as the chief of heaven. It completely loses the features of a real, living person. Just passing through difficult tests, suffering, John becomes more humane.

Incomprehence in the outcome of John, in interpretation of the role of the people was due to a number of circumstances. It is impossible not to take into account the features of the plan of the playwright, who sought to romantically lift the heroine, to elevate it, tear off from everything ordinary. The author would be harder to achieve this, depicting a heroine in an ordinary setting.

But this circumstance does not explain all the features of interpretation of the image of John. The ideological development of Schiller was complicated, controversial, and the path to the correct understanding of the role of the people was not easy and not direct, especially in the conditions of backward Germany. In addition, the modern social philosophical thought led to the poet aside from the right decision of this issue.

The well-known inconsistency in the implementation of the plan of the "Orleansian Virgin" found its expression and in the composition of the tragedy. It develops two conflicts, two actions: the conflict is the socio-historical and moral, originating in the soul of John. The decisive conflict is social-historical, it is revealed mainly in the first two acts of tragedy, drawing events of the national liberation war.

In the last two acts in the foreground, the conflict between the debt and personal feeling - the love of John to the English leadership of Lionel, resolved in the spirit of Cantian philosophy.

Parallel development in the tragedy of two conflicts caused the damage to the ideological and artistic integrity of the work. Although the moral conflict in the soul of John did not deploy the main, socio-historical, but the latter revealed not enough and specifically.

The "Orleansian Virgin" appeared after the "Wallenstein" and "Maria Stewart", but she was written in a perfectly different artistic manner. In the "Orleansian Virgin" the author largely departed from the realistic principles, in the spirit of which two previous tragedies were created. The explanation of this fact should be sought in and in the originality of the ideological and artistic plan of the tragedy, and in the ongoing search for playwright, in the evolution of his worldview.

Schiller himself called the "Orleans" romantic tragedy, but the attitude of the poet to the romantic flow, the contemporance of which he was in the mature years of his creativity, was complex and controversial. For Schiller, the manner of romantics itself was largely unacceptable, their creative method. As an enlightener, he was a supporter of clarity, clarity, certainty. He picked up the vagueness, confusion and shape of romantics. However, Schiller did not remain deaf to the romantic trends of his era, he gives them a famous tribute, especially in the "Orleansian Virgin."

In the tragedy there is a lot of wonderful, magical. To a certain extent, this corresponded to the spirit of the Middle Ages. In the religiosity of John, in its faith in miracles, the ideas of the people of that era reflected. There are mystical scenes in the play that cannot be explained (the appearance of a black prince, the prophecy of John, etc.).

The romantic beginning is manifested not only in a mystical flavor, but also in a subjective-lyrical spirit that dominates the tragedy. The poet often puts his thoughts and experiences in the mouth of the heroine, who do not harmonize the psychology of the peasant girl. But, as S. V. Turaev rightly noted, "the experience of creating a romantic tragedy undoubtedly enriched Schiller, but did not make it a romantic" 4.

The tragedy is quite clearly shown by the imprint of "Weimar Classicism" with a tendency characteristic of it for him to create ideal characters devoid of all private, everyday, life.

Wilhelm Tell, 1804 (Wilhelm Tell, 1804) is a last completed drama worthy of final creative way Schiller. In it, the writer summarizes his many years of thought over the fate of the people, the Motherland. The work was a kind of poetic testament of the playwright.

"Wilhelm Tel" from the very beginning is conceived as a popular drama. On the character of his plan in the letter of August 18, 1803, the poet reported: "Wilhelm Tel" very much takes me now ... The topic is generally very attractive and the theater is very attractive and its nationality. " The peoples were the maintenance of the drama, which is based on the legend about the tag of the arrow of the television, widespread among some European peoples. Taken about him was often met in Switzerland, Germany, France.

Wilhelm Talla was primarily a favorite hero folk creativity Swiss, linking with his name the case of the liberation of their homeland from the Austrian domination. It is in Switzerland that all sorts of history, legends and songs about televas were most common.

The main issues set in the drama is the conquest of freedom for the people, national unity and independence - were of paramount importance for modern Germany, and for the future of all nations. It is a genuine hero of her Swiss people: landpash and shepherds, fishermen and hunters, stone and black workers. Tella is one of the ordinary representatives of simple people. In drama, he nominated for the fore, but not separated from the people, not opposed to him, was not erected on the pedestal as John in the "Orleansian Virgin." Here Schiller made a big step forward in a more correct understanding of the historical role of the people.

In the "Wilhelm Tele" revealed to full Schiller's skill in creating mass scenes. One of the central and brightest - scene on Rutli, where representatives of the three Swiss cantons gathered. The playwright with great art managed to revive this scene, lead a large number of people in motion.

Among the crowds are allocated folk guy staples, Fürst, Melchtal. These peasants own the initiative in the association of cantons inhabitants to fight against the Austrian yoke. One of the prosecutors of this movement was the staples, the man is smart and quite bold.

With the greatest completeness and artistic completion, the body of the TV is described. He is a typical representative of his people. In it, as in the mirror, the strong and weak features of a folk nature were reflected, which can be understood on the basis of concrete social conditions.

Tella - a large soul man, solid and courageous. Hunting classes, permanent risk and danger have hardened his character. By exposing themselves to a big danger, he saves from the bauzegarten massacre, followed by the vicar ratties. Tella, without thinking, comes to the aid of the persecution, for, according to him, "the thought of itself is the last of the brave."

The playwright depicted the weaknesses of the nature of their hero. Long-term subordination of the despotic power did not pass without a trace and for such a strong nature like a TV. Initially, he expresses thoughts that do not stick with the appearance of a courageous person. In a conversation with staples, he declares: "To tolerate, silence - the whole feat now in this." Or: "Let everyone live in silence in silence: who is Miren himself will leave in the world."

Schiller with great insight showed the individualistic separation of the peasant psychology of the TV. He got used to work alone, count only on his strength. He has a poorly developed sense of collectivism. It was not by chance that he was absent on Rutli, where major decisions were adopted. According to the belief, "the one who is strong, only one is stronger."

When solving the problem of the national liberation movement, Schiller took into account the experience of the French revolution. It was clear to him that the times of feudalism were already passed, and the nobility should have come from their privileges. No wonder Rudenz at the end of the play gives its freedom to its serf.

Taking the anti-refortion orientation of the French revolution, Schiller did not overcome a dual attitude to the methods of its holding. He still negatively belonged to the revolutionary practice of Jacobins. This explains the repeated condemnation of the "extremes" of the revolution, emphasizing the bloodless liberation of the Swiss. And even in the scene on Rutley, breathable by Paphos Freedom, the author noted the peaceful nature of the intentions of the Swiss, the moderation of their requirements:

Our goal is to overthrow the hated oppression
And to defend old rights
Tanned ancestors. But we
Do not chase unfastened for a new one
You Caesarean Caesar give
And let the vassal bears his duty, as before.

(Per. N. Slavyantic)

In this episode, there was no contradiction of the poet in the interpretation of the revolution, which he admits in the extreme case when "peaceful exhausted all means". But Paphos of the Liberation Movement sounded in the drama so strongly that many reservations were drowned, which was accompanied by the "admissibility" of the uprising.

Bourgeois literary critches, seeking to weaken the socio-political sound of Wilhelm Telly, try to transfer the consideration of the drama into the ethical plan. This is done, for example, the modern West German Shillerman Ringard Bukhvald, considering drama in the spirit of the "eternal" moral categories. Schiller acts as a harmless fighter for eternal non-historical, "mandatory ideals" 5.

In recent months, Schiller is working on a tragedy from the Russian history "Dimitri" (Demetrius, 1805). He managed to write two first acts and sketch overall plan further development of the plot. The tragedy was based on the story of a short-term take-off and fall of the Falsedmitria. His tragedy was that he acts as an involuntary deceiver, who first sincerely believes in his royal origin. Later he learns that he was mistaken and deceived others, becoming an instrument in the hands of Inomers who came to Russia as invaders.

The play was touched upon the topic of the influence of the people on the fate of the country, the ruler of the state. Sigismund's mouth exposes the idea that

Forcibly ruler people
Do not impose, if he does not want him.

(Per. L. Maya)

Schiller's creativity is pretty early, during the lifetime of the poet, becomes famous in Russia. The first translations of his works appear in late XVIII c., and in the first half of the XIX century. Almost all works of art were already translated into Russian.

Among the translators of the German writer is the largest Russian poets of Derzhavin, Zhukovsky, Pushkin, Lermontov, Fet, Tyutchev.

The poet was the greatest popularity in the progressive circles of Russian society. Belinsky called him the "noble lawyer of mankind" and noted his hatred of "fanaticism of religious and national, to prejudice, to the fires, to the Beach, which shared people."

Schiller's poetry was consonant with revolutionary-democratic circles with his freedom-loving pathos. "Schiller poetry as if native to us," wrote Chernyshevsky. The German poet, according to Criticism, became a "participant in the mental development of our". It is appropriate to note that interest in the works of the German writer in the past especially increased during the years of strengthening the liberation movement of the Russian people.

About the great popularity of Schiller in the first years of the existence of the Soviet state is told on the pages of Roman K. Fedin "Unusual Summer" and in the trilogy of A. Tolstoy "Walking on the flour."

The Pieces of the German Writer occupy a strong place in the repertoire of Soviet theaters, "Maria Stewart" is installed in recent years.

Notes.

1 See: K. Marx and F. Engels about art, t. 1. M., 1975, p. 492.

2 See K. Marx and F. Engels about art, t. 1, p. nine.

3. Mann T. Camp. op. In 10 t. M., 1961, vol. 10, p. 570.

4 History of German literature, vol. 2, p. 388.

5 BUCHWALD R. Schiller In Unserer Zeit. Weimar, 1955, S. 214.

The creativity of the romantic rebellion, the poet of the XVIII century Friedrich Schiller did not leave anyone indifferent. Some considered the playwright the lord of the Dum of lyrics and the singer of freedom, and the second called the philosopher with a stronghold of bourgeois morality. Thanks to the ambiguous emotions of the works of the classic and managed to enter his name in the history of world literature.

Childhood and youth

Johann Christoph Friedrich von Schiller was born on November 10, 1759, Marbakh-on-Nekkare (Germany). The future writer was the second of six children in the family of an officer Johann Kaspar, who consists in the service of Württemberg Duke and the housewife Elizabeth Dorothei Coduses. The head of the family wanted his only son to educate and grew up with a worthy person.

That is why the Father brought up Friedrich in rigor, punishing the boy for the slightest pregriction. To all of the time, Johann from the young age teared the heir to deprivation. So during lunch or dinner, the head of the family did not intentionally gave the Son what he wanted to taste.

Schiller's highest human virtues - Senior considered love for order, accuracy and strict obedience. However, there was no need for paternal strictness. Slender and painful Friedrich very much differed from their peers-friends, thirsting adventures and constantly falling into unpleasant situations.

Future playwright liked to learn. The boy could bump over the textbooks, studying those or other disciplines. The teachers celebrated his adjacent, craving for sciences and an incredible performance that he retained to the end of his life.

It is worth noting that Elizabeth was the exact opposite of her husband to emotional manifestations of her husband. Smart, kind, pious woman struggled to soften the Puritan severity of the spouse and often read Christian poems to children.

In 1764, the Schillers family moved to Lorch. In this old town, the father woke an interest in history in his son. This passion in the end and determined the further fate of the poet. The first lessons of the history of the future drama was taught by a local priest who rendered such a strong influence to the student that Friedrich at one point even seriously thought about to devote the life to the divine service.

In addition, for a boy from a poor family, it was the only way to get out of people, so parents encouraged the desire of the Son. In 1766, the head of the family receives an increase and becomes the duccian gardener Castle, located in the vicinity of Stuttgart.

Castle, and most importantly, the court theater, which for free attended the staff worked in the castle, made an impression on Friedrich. In the monastery of the goddess Melpomen, the best actors from all over Europe. Game Museum inspired the future poet, and he, together with his sisters, he began to show home spectacles often to show parents, in which the main role was always delivered to him. True, a new passion for the sibling nor father nor the mother was seriously perceived. They saw the Son only on the church department with the Bible in their hands.

When Friedrich turned 14 years old, his father gave hotly Favorite Chado to the Military School of Duke Charles Evgenia, in which siblings of a poor officers were free to comprehend the subtleties with all the necessary Duccian yard and the army.

The stay in this school has become for Schiller - the younger nightmare. A barrage discipline reigned at the school, the teachings were forbidden to meet with her parents. Everything else, a system of fines existed. So for the unplanned food purchase was supposed to be 12 blows with a stick, and for inattention and untidiness - money recovery.

At that time, the consolation for the author ballads "Glove" became his new friends. Friendship became Friedrich a kind of elixir of life, which gave the Writer forces in order to move on. It is noteworthy that years spent in this institution did not make a slave from Schiller, on the contrary, they turned the writer in the rebellion, whose weapons - no one could take an excerpt and the strength of the Spirit.

In October 1776, Schiller was transferred to the medical department. It was published by his first poem "Evening", and after the teacher of philosophy gave a talented student to read the creations of William Shakespeare, it happened, as the Goethe will say, "Awakening Shiller Geniya."

Then impressed from the works of Shakespeare Friedrich and wrote his first tragedy "Robbers", which became the starting point in his career of the playwright. At the same time, the poet caught fire to write a book that would deserve the fate to be burned.

In 1780, Schiller graduated from the Faculty of Medical Faculty and left the Hattle Military Academy. Then, by order of Charles Evgeny, the poet went to the regimental lane in Stuttgart. True, the long-awaited freedom did not please the Friedrich. As the doctor he did not go anywhere, because the practical side of the profession was never interested in him.

Burning wine, disgusting tobacco and bad women - this is what distracted the writer who failed to realize themselves from bad thoughts.

Literature

In 1781, the Drama "Robbers" was completed. After editing the manuscript, it turned out that no stutgart publisher wants to print it, and Schiller had to publish a work at his own expense. Simultaneously with the Robber Schiller prepared a collection of poems, which was released in February 1782 titled "Anthology for 1782"

In the fall of 1782 of the same year, Friedrich made the first sketch of the version of the tragedy "Deceit and Love" tragedy, which in the draft version was called "Louise Miller". At this time, Schiller for the meager fee also printed the drama "Plispander Fiese in Genoa"

In the period from 1793 to 1794, the poet graduated from the philosophical and aesthetic work of "Letters about the aesthetic education of a person", and in the 1797th he wrote the ballads "Polycrats", "Ivikov Zhuravly" and "Diver".

In the 1799 Schiller completed the writing of the VALENLStein trilogy, which consisted of the Wallenstein camp, Piccolomini and Death, and Wallenstein, and a year later, published the work of Maria Stewart and Orleans Deva. In 1804, the light saw the Wilhelm Tool drama, based on the Swiss legend of a skilled arrow named Wilhelm Tel.

Personal life

Like any creative gifted person, Schiller searched inspiration in women. The writer needed a muse, which would inspire him to write new masterpieces. It is known that for his life the writer was measured to marry 4 times, but the chosen was always rejected by the playwright because of his material insolvency.

The first lady, captured the thoughts of the poet, was the girl named Charlotte. The lady was the daughter of his patroness Henrietta von Valkenty. Despite the admiration of the talent of Schiller, the chief of chosen refused the playwright when he launched her hotly beloved Chad.

The second Charlotte in the fate of the writer became the widow of the background of Calb, which was insanely in love with the poem. True, in this case, Schiller himself was not eager to create a family with extremely annoying special. After her, Friedrich looked at the young subsidiary of the merchant books - Margarita.

While the philosopher was thinking about the wedding and about the children, his faithful entertainment in the company of other men and did not even intend to associate his life with a writer with a hole in his pocket. When Shiller suggested Margarita to become his wife, the lady, barely holding back laughter, admitted that he was just played with him.

The third woman for which the writer was ready to get a star from the sky, was Charlotte von Lenhafeld. This lady, examined the potential in the poet and responded to his feelings of reciprocity. After Schiller got a teacher of philosophy in Jen's University, the playwright managed to scat the money, which was enough for a wedding. In this marriage, the writer was born Son Ernest.

It is worth noting that despite the fact that Schiller praised his wife's mind surrounding that Charlotte was a lady of economic and faithful, but very close.

Death

For three years to death, the writer unexpectedly was given to the noble title. Schiller himself skeptically reacted to this grace, but he accepted her in order to his wife and children after his death were provided. Every year, the playwright, the painful tuberculosis, was getting worse and he literally faded in front of his family and friends. A writer died at 45 May 9, 1805, and without adding his last play "Dimitri".

For a short, but productive life The author of the work "Ode to Joy" created 10 plays, two historical monographs, as well as a couple of philosophical works and a number of poems. However, to earn literary work at Schiller did not work. That is why after the death of the writer, they buried in a crypt of Kassengevelbe, organized for nobles who did not have their own family tomb.

After 20 years, it was decided to reburial the remains of the Great Writer. True, they turned out to be problematic. Then archaeologists, pushing his finger into the sky, chose one of the skeletons unknown by them, stating the public that the remains found belong to Schiller. After that, they again betrayed the land in the princely tomb on a new cemetery, near the grave of a philosopher's close friend, the poet Johanna Wolfgang von Goethe.

Tomb with empty coffin Friedrich Schiller

After a couple of years, biographers and literary criticism had doubts about the authenticity of the body of playwright, and in 2008, exhumation was held, which revealed an interesting fact: the remains of the poet belonged to three different people. Now Frederich's body is impossible to find the body, so the grave of the philosopher is empty.

Quotes

"Only one who owns one is free"

"Parents are least forgiving their children those vices that they themselves pledged"

"A person grows as its goals grow"

"Better a terrible end than endless fear"

"Great souls suffer from suffering silently"

"A person is reflected in his actions"

Bibliography

• 1781 - "Robbers"
• 1783 - "Conspiracy Fiese in Genoa"
• 1784 - "Deceit and love"
• 1787 - "Don Carlos, Infant Spanish"
• 1791 - "History of the Thirty-year war"
• 1799 - "Wallenstein"
• 1793 - "On the grace and dignity"
• 1795 - "Letters about the aesthetic education of a person"
• 1800 - "Maria Stewart"
• 1801 - "On the sublime"
• 1801 - "Orlean Virgo"
• 1803 - "Messinsky Bride"
• 1804 - Wilhelm Tool

Johann Christoph Friedrich Von Schiller (Johann Christoph Friedrich Von Schiller). Born on November 10, 1759 in Marbach-on-Nekkare - died on May 9, 1805 in Weimara. German poet, philosopher, theorist of art and playwright, professor of history and military doctor, representative of the directions of storm and onslaught and romanticism in literature, author of "ODD to joy", a changed version of which has become the text of the anthem of the European Union. He entered the history of world literature as a defender of a human person.

Over the past seventeen years of his life (1788-1805), he was friends with Johann Goethe, whom he inspired to complete his works remaining in the draft version. This period of friendship of two poets and their literary referee entered German literature entitled "Weimar Classicism".

Surname Schiller meets in southwestern Germany since the XVI century. The ancestors of Friedrich Schiller, who lived for two centuries in Württemberg Duchy, were winemakers, peasants and artisans.

His father is Johann Kaspar Schiller (1723-1796) - he was a regimental medical officer, an officer in the service of Württemberg Duke, Mother - Elizabeth Dorothea Kodvais (1732-1802) - from the family of a provincial baker-taverkrik. Young Schiller was brought up in a religious and pietistic atmosphere, responded in his early verses. His childhood and youth were held in relative poverty.

In 1764, Schiller's father was appointed recruitment recruiter and moved to his family in Lorch. In Lorche, the boy received primary education at the local pastor of Mosel. Training lasted three years and, mainly, included the study of reading and writing in his native language, as well as acquaintance with Latin. Sincere and good-natured pastor, then was immortalized in the first drama writer "Robbers".

When in 1766, Schiller's family returned to Ludwigsburg, Friedrich was given to the local Latin school. The school curriculum was not difficult: Latin studied five days a week, on Fridays - the native language, on Sundays - Catechism. Schiller's interest in classes increased in high school, where Latin classics were studied -, and. At the end of the Latin school, passing all four exams on perfectly, in April 1772 Schiller was presented to confirmation.

In 1770, Schiller's family moves from Ludwigsburg to Solitudud Castle, where the orphan institute was established by the Duke Württemberg Carl-Eugene to raise the soldiers' children. In 1771, this institute was reformed in the Military Academy.

In 1772, looking through the list of graduates of the Latin school, the Duke drew attention to the young Schiller, and soon, in January 1773, his family received the agenda, according to which they had to give the Son to the Military Academy "Higher School of Charle Saint", where Friedrich began Study the right, although since childhood I dreamed of becoming a priest.

For admission to the Academy Schiller was enrolled in the Burgers branch of the Legal Faculty. Due to the hostility towards jurisprudence at the end of 1774, the future writer was one of the latter, and at the end of the 1775 school year - the most recent of the eighteen students of his branch.

In 1775, the Academy was transferred to Stuttgart, extended a course of study.

In 1776, Schiller moves to the medical faculty. Here he visits the lectures of talented teachers, in particular, a course of lectures on the philosophy of Professor Abel, a favorite teacher of academic youth. During this period, Schiller finally decides to devote himself to poetic art.

Already from the first years of study at the Academy of Friedrich, fucked by the poetic works of Friedrich Klopshtok and poets "Storms and Natisk", I started writing small poetic works. Several times he was even offered to write congratulatory ADDs in honor of the duke and his mistress - Countess Francisky von Gaengey.

In 1779, the Dissertation of Schiller "Philosophy of Physiology" was rejected by the leadership of the Academy, and he was forced to stay for the second year. Duke Karl Evgeny imposes its resolution: "I must agree that the dissertation of the pupil Schiller is not deprived of the merits that there is a lot of fire. But it was the last circumstance that makes me not release his dissertation and hold the year at the Academy, so that the fever graduated. If it is also ditched, by the end of this time, the great man will come out of it..

During training at the Schiller Academy writes its first works. Under the influence of the Drama "Julius Tartant" (1776) Johann Anton Leesyvitsa Friedrich writes "Cosmus von Medici" - Drama in which he tried to develop the favorite theme of the literary movement "Storms and Natiska": hatred between the brothers and love of the Father. At the same time, his enormous interest in creativity and manner of Friedrich Klopshtock's letter was promoting Schiller to spelling ODD "Conqueror", published in March 1777 in the magazine "German Chronicles" (Das Schwebige Magazin) and the imitation of the idol.

Friedrich Schiller - Triumph of Genius

Finally, in 1780 he graduated from the course of the Academy and received the place of the regimental doctor in Stuttgarth, without assigning him an officer's title and without the right to carry a civilian dress - testimony of the ducalist.

In 1781 he completes the drama "Robbers" (Die Räuber), written by him during their stay at the Academy. After editing the manuscript of the robbers, it turned out that no stuttgart publisher wants to print it, and Schiller had to publish a drama at his own expense.

The bookseller Schwan in Mannheim, to whom Schiller also sent a manuscript, introduced him to the director of the Mannheim theater Baron von Dalberg. He was delighted with the drama and decided to put it in his theater. But Dalberg asks to make some adjustments - remove some scenes and the most revolutionary phrases, the time of action is transferred from modernity, from the era of the seven-year war in the XVII century.

Schiller opposed such changes, in a letter Dalberg dated December 12, 1781, he wrote: "Many tirades, features, both large and small, even the characters are taken from our time; Maximilian transferred to Century, they will not cost anything ... To correct the mistake against Friedrich II era, I would have to commit a crime against the Maximilian era, "but nevertheless, I went for concessions, and" Robbers "were first put in Mannheim January 13, 1782. This statement had a huge success among the public.

After the premiere in Mannheim on January 13, 1782, it became clear that a talented playwright came to the literature. The central conflict of the "Robbers" is a conflict between the two brothers: Seniors, Karl Moor, who headed the Band of Robbers goes to Bohemian forests to punish Tirana, and the younger, Franz Moore, who at this time seeks to take possession of his father.

Karl Moon personifies the best, brave, free starts, while Franz Moore is an example of meanness, cunning and treachery. In the "robberry", as none of the works of German enlightenment, showing the enemia of Rousseau the ideal of republicanism and democracy. It is not by chance that it was for this drama Schiller during the years of the French revolution was awarded the honorary title of a citizen of the French Republic.

At the same time, Schiller prepared a collection of poems, which was released in February 1782 entitled "Anthology for 1782" ANTHOLOGIE AUF DAS JAHR 1782). The creation of this anthology is the conflict of Schiller with the young Stuttgart poet Gothald Steidlin, who, claiming the role of the head of the Swabian school, published "Schwab's Almanac Muses for 1782".

Schiller sent Steeidlin for this publication several poems, but he agreed to print only one of them, and then in reducing. Then Schiller gathered poems rejected by Gotchald, wrote a number of new ones and, thus, created an "anthology for 1782", opposing her "Almanau Mus" of his literary opponent. For the sake of greater mismatch and raising interest in the collection, the city of Tobolsk in Siberia was specified by the place of Anthology.

For the unauthorized ability from the shelf in Mannheim to represent the "Robbers" Schiller was planted on the Gaupvatahta for 14 days and was prohibited to write anything other than medical writings, which forced him together with his friend, musician Strajer, escape from the ownership of Duke on September 22, 1782 of the year in the margation of Palatinate.

Having moved the border of Württemberg, Schiller went to the Mannheim Theater with a prepared manuscript of his play "Conspiracy Fiese in Genoa" (it. Die Verschwörung des Fiesco Zu Genua), which he devoted to his teacher of philosophy at the Academy Yakov Abeli.

The leadership of the theater, fearing the displeasure of Württemberg Duke, did not hurry to begin negotiations on the layout of the play. Schiller advised not to stay in Mannheim, and go to the nearest village of Oggsenheim. There, along with his friend Strajer, the playwright lived under the fictional name of Schmidt in the village restaurant "Hunting Courtyard". It is here in the fall of 1782, Friedrich Schiller made the first sketch of the tragedy "Cunning and love" (It. Kabale und Liebe), which is also called "Louise Miller".

At this time, Schiller prints "Conspiracy Fiese in Genoa" For a meager fee that instantly spent. Being in a hopeless position, the playwright wrote a letter to his old familiar Henrite von Walzogen, which soon offered the writer his empty estate in Baurbach.

In Baurbach, under the name "Dr. Ritter" he lived from December 8, 1782. Here Schiller began the end of the Drama "Deceit and Love", the work on which he graduated from 1783. He immediately made an outline of a new historical drama "Don Carlos" (DON KARLOS). He studied the history of Spanish infanta on books from the Library of the Mannheim Duccian courtyard, which he supplied a familiar librarian. Together with the story of "Don Carlos", Schiller began to study the history of the Scottish Queen Mary Stewart. For some time he hesitated on some of them to stop him, but the choice was made in favor of Don Carlos.

January 1783 became a significant date in the Privacy of Friedrich Schiller. In Bauerbach, to hold a hermit, the mistress of the estate came with his sixteen-year-old daughter Charlotte. Friedrich at first glance fell in love with the girl and asked her mother permission to marry, but she did not give consent, since the novice writer had no pennies in his pocket.

At this time, his friend Andrei Shtrahher did everything possible to cause the favor of the Mannheim theater administration in favor of Schiller. Baron Von Dalberg Theater, knowing that the Duke of Karl Evgeny has already refused to search for his missing regimental medica, writes Schiller a letter in which the literary activity of the playwright is interested.

Schiller responded quite cold and only briefly retold the content of the drama "Louise Miller". Dalberg answered agree to the formulation of both drams - "Conspiracy Fiese in Genoa" and "Louise Miller," - after which Friedrich returned to Mannheim to participate in the preparation of the plays to the production.

Despite the excellent game of actors, "Pot Pisos in Genoa" in general did not have much success. Mannheim theater audience found this play too awake. Schiller took over the alteration of his third drama - "Louise Miller". During the same rehearsal, the actor theater Augusta IFFland proposed to change the name of the drama on the "Deceit and Love". Under this name of the play was delivered on April 15, 1784 and had a huge success. "Cunning and love", not less than "robbers", glorified the name of the author as the first playwright of Germany.

In February 1784, he joined "Kurpaltsk German Society"He led the director of the Mannheim Theater Wolfgang von Dalberg, which gave him the rights of the Palatinate subject and legalized his stay in Mannheim. During the official adoption of the poet to society on July 20, 1784, he read a report under the headline "Theater as a moral institution." The moral value of the theater designed to express the vices and approve virtue, Schiller was diligently promoted in the magazine founded by him Rainskaya Waist (It. Rheinische Thalia), whose first number came out in 1785.

In Mannheim, Friedrich Schiller met Charlotte Background Calb, a young woman with outstanding mental abilities, the admiration of which brought a lot of suffering to the writer. She introduced Schiller with Weimar Duke Carl Augustus, when he was located in Darmstadt. The playwright read in a selected circle, in the presence of the Duke, the first act of his new drama Don Carlos. The drama had a great impression on those present.

Karl Augustus gave the author to the position of the Weimar Counselor, which, however, did not facilitate the plight of the state in which Schiller was located. The writer was supposed to return duty in two hundred guilders, which he took from a friend to the publication of "robbers", but he had no money. In addition, his relationship has worsened with the director of the Magheim theater, as a result of which Schiller ripped a contract with him.

At the same time, Schiller was carried away by the 17-year-old daughter of the court bookseller Margarita Schwan, but the young coquette did not show an unequivocal favor to the novice poet, and her father hardly wanted to see his daughter married a man without money and influence in society. In the fall of 1784, the poet remembered the letter he received in half a year before this from the Leipzig community of fans of his creativity led by Gottfried Curner.

On February 22, 1785, Schiller sent them a letter in which he frankly described his difficult position and asked him to take him in Leipzig. Already on March 30, a friendly answer came from Curner. At the same time, he sent a poet bill to a significant amount of money so that the playwright could pay for his debts. So there began close friendship between Gottfried Kurner and Friedrich Schiller, which lasted until the death of the poet.

When April 17, 1785, Schiller arrived in Leipzig, he was met by Ferdinand Guber and Sisters Dora and Minna Schok. Curner at that time was on official affairs in Dresden. From the first days in Leipzig, Schiller signed on Margarita Schwan, who remained in Mannheim. He turned to her parents with a letter in which he asked his daughter's hands. The publisher Schwan gave the opportunity to Margarita himself to solve this issue, but she refused to Schiller, who was hard to experience this new loss. Soon, Gottfried Curner arrived from Dresden, who decided to celebrate his marriage with a mine rod. Kerner's warrred friendship, Guba and their girlfriends, Schiller recovered. It is at this time that he creates his anthem "Ode to joy" (Ode An Die Freude).

On September 11, 1785, at the invitation of Gottfried Kurner Schiller moved to the village of Hostoritz near Dresden. Here was completely redone and finished "Don Carlos", a new drama "Misanthrop" began, a plan was drawn up and the first chapters of the Roman "Spiritis" were written. Here were finished and his "Philosophical Letters" (It. Philosophische Briefe) - The most significant philosophical essay of the young Schiller, written in epistolary form.

In 1786-87, through Gottfried Curner, Friedrich Schiller was introduced into the Dresden Society. At the same time, he received an offer from the famous German actor and the theater director of Friedrich Schroeder to put "Don Carlos" in the Hamburg National Theater.

Schröder's proposal was pretty good, but Schiller, remembering the past unsuccessful experience of cooperation with the Mannheim theater, refuses the invitation and goes to Weimar - the center of German literature, where Christoph Martin Viland is diligently invited to cooperate in his literary magazine "German Mercury" (Him. Der Deutsche Merkur).

In Weimar Schiller arrived on August 21, 1787. Charlotte von Calb became a companion of the playwright in a series of official visits, with the assistance of which Schiller quickly met with the largest then writers - Martin Viland and Johann Gottfried Gerder. Viland highly appreciated the talent of Schiller and especially admired his last drama Don Carlos. Between two poets from the first dating, close friendships were established, which were preserved for many years. For several days, Friedrich Schiller traveled to the university town of Yen, where he was warmly met in the literary circles.

In 1787-88, Schiller published the magazine "Talia" (it. Thalia) and at the same time collaborated in the "German Mercury" of Viland. Some works of these years have begun in Leipzig and Dresden. In the fourth room "Waist" printed on the heads of his novel "Spiritsee".

With the move to Weimar and after acquaintance with major poets and scientists, Schiller began to relate to his abilities even more critically. Realizing the shortage of their knowledge, the playwright almost for almost a decade has departed from artistic creativity to thoroughly study history, philosophy and aesthetics.

Light of the first work "History of the Netherlands In the summer of 1788, she brought Schiller to the glory of an outstanding researcher of history. Friends of the poet in Jena and Weimara (including I. V. Gote, with whom Schiller met in 1788) used all their connections to help him get the post of extraordinary professor of history and philosophy at the University of Yen, who was worried during the stay of the poet in this city The period of prosperity.

Friedrich Schiller moved to Yen on May 11, 1789. When he began to read the lectures, the university consisted about 800 students. The introductory lecture called "What is the World History and for what purpose it is studying" (it. Was Heißt und Zu Welchem \u200b\u200bEnde Studiert Man UniversalgeschichTe?) Passed with great success. Schiller listeners staged him ovation.

Despite the fact that the work of the university teacher did not provide him with sufficient material resources, Schiller decided to finish his holly life. Having learned about this, Duke Karl Augustus appointed a modest salary in December 1789 in December 1789, after which Schiller made official proposal Charlotte von Lenhafeld, and in February 1790 in Rustic Cirche near Rudolstadt marriage was concluded.

After the engagement Schiller began working on his new book "History of the thirty-year war", I started working on a number of articles in world history and again began to publish the magazine Rainskaya Talia, which published his translation of the third and fourth books "Enidida" Vergil. Later in this journal, his articles on history and aesthetics were published.

In May 1790, Schiller continued his lectures at the university: in this academic year, he publicly read a course of lectures on tragic poetry, and privately on world history.

In early 1791, Schiller fell ill with the pulmonary tuberculosis. Now he only occasionally occurred between several months or weeks, when the poet would be able to safely work. Especially strong were the first attacks of the disease in the winter of 1792, because of which he was forced to suspend teaching at the university. This forced rest was used by Shiller for a deeper acquaintance with philosophical works.

Being not able to work, the playwright was in an extremely bad material situation - there was no money even on a cheap lunch and the necessary medicines. At this difficult moment, on the initiative of the Danish writer Iense Baggessen, the Crown Prince Friedrich Christian Schleswig-Golsteinsky and Count Ernst Von Schimmelman appointed Schiller an annual subsidy to a thousand talers so that the poet managed to restore his health. Danish subsidies continued in 1792-94. Then Schiller supported the publisher of Johann Friedrich Cotta, who invited him in 1794 to publish a monthly magazine "Ory".

In the summer of 1793, Schiller received a letter from the parental house in Ludwigsburg, in which his father's illness was reported. Schiller decided to go along with his wife to his homeland to see his father before his death, visit the mother and three sisters with whom he broke up eleven years ago.

With the unlawful resolution of Württemberg Duke Karl Evgenia Schiller arrived in Ludwigsburg, where his parents lived near the Duccian residence. Here, on September 14, 1793, the first son of the poet was born. In Ludwigsburg and Stuttgart Schiller met with old teachers and past friends at the Academy. After the death of the Duke of Karl, Evgeny Schiller visited the Military Academy of the deceased, where he was having delighted with the young generation of students.

During his homeland in 1793-94, Schiller completed its most significant philosophical and aesthetic work. "Letters about the aesthetic education of a person" (It. Über Die ästhetische Erziehung Des Menschen).

Soon after returning to Jena, the poet energetically took up the work and invited all the most prominent writers and thinkers of the then Germany to cooperate in the new magazine "ORA" (Die Horen). Schiller planned to unite the best German writers in the literary society.

In 1795, Schiller wrote a cycle of poems into philosophical topics, close in meaning of his articles on aesthetics: "Poetry of Life", "Dance", "Separation of the Earth", "Genius", "Nadezhda" and others. Leitmotifs through these verses The death of the whole excellent and true in the dirty, prosaic world. According to the poet, the commitment of virtuous aspirations is possible only in the ideal world. The cycle of philosophical poems was the first poetic experience of Schiller after an almost ten-year creative break.

The unity of Schiller and in views on the French Revolution and the socio-political situation in Germany assumed the rapprochement of the two poets. When Schiller after a trip to his homeland and return to Yen in 1794 in the magazine "ORA" outlined his political program and invited Goethe to participate in literary society, he answered consent.

A closer acquaintance between writers occurred in July 1794 in Jena. At the end of the meeting of naturalists, going out on the street, the poets began to discuss the content of the hearing report, and chatting, they reached Schiller's apartment. Goethe was invited to the house. There, he began with great enthusiasm to state his theory of metamorphosis of plants. After this conversation between Schiller and Goethe, a friendly correspondence began, which was not interrupted before the death of Schiller and amounted to one of the best epistolary monuments of world literature.

The joint creative activity of Goethe and Schiller had, above all, its goal of theoretical understanding and the practical solution of those tasks that arose before literature in a new, post-revolutionary period. In search of an ideal form, the poet turned to the ancient art. In it, they saw the highest sample of human beauty.

When new works of Goethe and Schiller appeared in the "oracles" and "Almanaja", which reflected their cult of antiquity, high civil and moral pathos, religious indifference, a row of a number of newspapers and magazines began against them. Critics condemned the interpretation of issues of religion, politics, philosophy, aesthetics.

Goethe and Schiller decided to give opponents a sharp rebuild, exposing to merciless scrambledness all the vulgarity and the notice of modern German literature in the form, prompted by Schiller Goethe, - in the form of a two-way, like "Xeni" Marzia.

Since December 1795, for eight months, both poet competed in creating epigrams: to each answer from Yen and Weimar attached "Ksenia" Search, feedback and addition. Thus, together in the period from December 1795 until August 1796, about eight hundred epigs were created, of which four hundred fourteen were selected as the most successful and published in Almana Muses for 1797. The subject of "Ksenia" was very versatile. She included issues of politics, philosophy, history, religion, literature and art.

They were touched upon over two hundred writers and literary works. "Ksenia" is the most militant of the writings created by both classics.

In 1799, he returned to Weimar, where he began to publish several literary magazines for the money of patients. Becoming a close friend Goethe, Schiller, together with him, founded the Weimar theater, who became the leading theater of Germany. The poet remained in Weimar to his very death.

In 1799-1800 Schiller finally writes a play "Mary Stuart", the plot of which occupied him for almost two decades. He gave the brightest political tragedy, imprinted the image of a distant era, torn by the strongest political contradictions. The play had a great success in contemporaries. Schiller finished her with feeling that now he "mastered the craft of playwright."

In 1802, the Emperor of the Sacred Roman Empire Franz II complained Schiller the nobility. But he himself took it skeptically, in his letter of February 17, 1803 by writing Humboldt: "You probably laughed, having heard about the construction of us in a higher title. That was the idea of \u200b\u200bour duke, and since everything was already happening, then I agree to take this title because of Lolo and Children. Lolo is now in his element, as it turns the loop at the court. "

The last years of Schiller's lifestyle was overshadowed with heavy protracted diseases. After a strong cold, all the old aids were aggravated. The poet suffered from chronic inflammation of the lungs. He died on May 9, 1805 at the age of 45 from Tuberculosis.

The main works of Schiller:

Schiller's plays:

1781 - "Robbers"
1783 - "Conspiracy Fiese in Genoa"
1784 - "Deceit and love"
1787 - "Don Carlos, Infant Spanish"
1799 - Vallenstein dramatic trilogy
1800 - "Maria Stewart"
1801 - "Orlean Virgo"
1803 - "Messinsky Bride"
1804 - Wilhelm Tool
"Dimitri" (was not finished due to the death of the playwright)

Prose Schiller:

Article "Criminal due to lost honor" (1786)
"Spiritsee" (unfinished novel)
Eine Großmütige Handlung

Schiller's philosophical work:

Philosophie Der Physiologie (1779)
On the relationship between animal nature of man with his spiritual nature / Über Den Zusammenhang Der Tierischen Natur des Menschen Mit Seiner Geistigen (1780)
Die Schaubühne Als Eine Moralische Anstalt Betrachtet (1784)
Über den Grund des Vergnügens An Tragischen Gegenständen (1792)
Augustenburger Briefe (1793)
About the grace and dignity / Über Anmut Und Würde (1793)
Kallias-Briefe (1793)
Letters about the aesthetic education of man / Über Die ästhetische Erziehung des Menschen (1795)
About Naive and Sentimental Poetry / Über Naive Und Sentimentalische Dichtung (1795)
About dilettium / Über Den Dilettantismus (1799; in collaboration with Goethe)
About the elevated / Über Das Erhabene (1801)

Historical works of Schiller's work:

History of Failure of the United Netherlands from Spanish Labor (1788)
History of the thirty-year war (1791)

Biography

Johann Christoph Fritrich Schiller (Johann Christoph Friedrich Schiller) (10.11.1759, Marbach on Nekkar - 05/09/1805, Weimar) - German poet, philosopher, historian and playwright, representative of the romantic direction in literature.

Born on November 10, 1759 in Marbach (Württemberg); The gentleman from the bottom of the German Burgerty: Mother - from the family of the provincial baker-tavercarrier, the father - Regimental Feldsher.

1768 - Begins to attend Latin school.

1773 - Being subject to Duke of Württemberg Karl Evgenia, his father is forced to give his son to the newly established military academy, where he starts to study the right, although since childhood it dreams to become a priest.

1775 - the academy is translated into Stuttgart, prolong the course of study, and Schiller, leaving the jurisprudence, begins to do medicine.

1780 - Having finished the course, gets the place of the regimental doctor in Stuttgart.

1781 - Publishes Die Rauber (Die Rauber), started at the Academy. At the heart of the plot of the play - a host of two brothers, Charles and Franz Morov; Karl Pust, bent and, in essence, generous; Franz is a cunning villain, seeking to take away from the older brother not only the title and estates, but also love Cousin Amalia. With all the aloguery of the gloomy plot, the incorrectness of the rude language and the youthful immaturity of the tragedy captures the reader and the viewer with its energy and social pathos. The second edition of the "Robbers" (1782) has an image of a growing lion with a motto "In Tyrannos!" (Lat. "Against Tiranans!"). "Robbers" prompted the French in 1792. Make Schiller honorary citizen of the new French Republic.

1782 - "Robbers" put in Mannheim; Schiller is present at the premiere, without having requested permission from sovereign to leave the limits of duchy. He having heard about the second visit to the Mannheim Theater, the Duke puts Schiller on Gaupwaht, and later orders him to study alone medicine. September 22, 1782 Schiller runs from Württemberg Duchy.

1783 - Obviously, no longer afraid of the revenge of the duke, the intensity of the Mannkeeum Theater Dalberg appoints Schiller "theatrical poet," concluding a contract to spelling the plays for putting on the Mannheim scene. Two dramas over which Schiller worked before the flight from Stuttgart, - "Conspiracy Fiese in Genoa" (Die Verschworung des Fiesco Zu Genua), a play on the biography of the Genoese conspiratorist XVIV., And "Deceit and Love" (Kabale und Liebe), The first in the world drama "Meshchanskaya tragedy" - put in the Mannheim theater, and the latter has a great success. However, Dalberg does not renew the contract, and Schiller turns out to be in Mannheim in very constant financial circumstances, besides, tormented by the flour of undivided love.

1785 - Schiller writes one of his most famous creations - "ORDE to joy" (An Die Freude). The Grand Choir on the text of this poem Beethoven completed its 9th symphony.

1785-1787 - takes an invitation of one of his enthusiastic admirers, Privat-Associate Professor G. Kerner, and he has in Leipzig and Dresden.

1785-1791 - Schiller produces a literary log emerging irregularly and under various names (for example, "waist").

1786 - Philosophical letters come out (Philosophische Briefe).

1787 - Piece "Don Carlos" (Don Carlos), the action of which occurs at the courtyard of the Spanish King Philip II. This drama completes the first period of the dramatic creativity of Schiller.

1787-1789 - Schiller leaves Dresden and lives in Weimara and its surroundings.

1788 - Writes the poem "Great Great" (Gottern Griechenlands), in which the ancient world is shown as the focus of joy, love and beauty. A historic study "History of the Netherlands from the Spanish rule" is also created (Geschichte des Abfalls der Vereinigten Niederlande Von Der Spanischen Regierung).

Schiller meets with the Goethe returned from Italy, but Goethe does not show the desire to support acquaintance.

1789 - becomes a professor of global history at the University of Jen's.

1790 - marries Charlotte von Lengefeld.

1791-1793 - Schiller is working on the "history of the thirty-year war" (Die Geschichte des Drei? Igjahrigen krieges).

1791-1794 - Crown Prince Fr.Kr.Font Schleswig-Holstein-Sonderburg-Augustineburg and Count E.Font Schimmelman pay Schiller Scholarship, allowing him not careful about the bread.

1792-1796 - Outside a number of Schiller's philosophical essays: "Letters about aesthetic education" (Uber Die Asthetische Erziehung Der Des Menschen, in Einer Reihe Von Briefen), "About tragic in art" (Uber Die Tragische Kunst), "On grace and dignity "(Uber Anmut und Wurde)," On the sublime "(Uber Das Erhabene) and" On Naive Und Sentimentalische Dichtung). Schiller's philosophical views are strongly influenced by I.Kanta.

1794 - Publisher I.Fr.Kotta invites Schiller to publish a monthly magazine "ORA".

1796 - The second period of Schiller's dramatic creativity begins when artistic analysis He exposes turning stages in the history of European peoples. The first of these plays is the drama "Wallenstein" (Wallenstein). Considering the "history of the thirty-year war", Schiller finds in generalissimus the imperial troops of Wallenstein grateful in a dramatic relationship figure. The drama consists in 1799. And takes the form of the trilogy: the acting Rollens Lager (Wallenteins Lager) and two-active dramas - Piccolomini (Die Piccolomini) and "Wallenstein" (Wallensteins Tod).

In the same year, Schiller bases the periodical edition - the Almana Muses yearbook, where many of his works are published. In search of materials Schiller addresses Goethe, and now poets become close friends.

1797 - the so-called "Balawn year", when Schiller and Goethe in a friendly contest create ballads, incl. Schiller - "Cup" (Der Handschuh), "Ring Des Polykrates" and "DIE KRANICHE DES IBYKUS", who came to the Russian reader in Translations V.A. Zhukovsky. In the same year, Xenien are created, short satirical poems, - the fruit of co-creativity Goethe and Schiller.

1800 - Mary Stuart play illustrating the aesthetic thesis Schiller that in favor of dramaturgy it is quite acceptable to change and repaint historical events. Schiller did not in the "Mary Stewart" to put forward political and religious problems for the fore and led the drama to the development of the conflict between the queen-rival.

1801 - The "Orleans Von Orleans" play (Die Jungfrau von Orleans), which is based on the history of Zhanna D "Ark. Schiller gives the will of fantasy using the material of the medieval legend, and recognizes its involvement in the new romantic movement, calling the play" Romantic Tragedy ".

1802 - The Emperor of the Sacred Roman Empire Francis II complaints Schiller nobility.

1803 - "Messinskaya Bride" (Die Braut Von Messina), in which Schiller, read in Greek drama, translated by Euripid and studied Aristotelian the theory of drama, in the order of the experiment, is trying to revive the characteristic antique tragedies of the form, in particular, choirs, and in their individual The interpretation embodies the ancient Greek understanding of the fatal punishment.

1804 - The last completed play "Wilhelm Tel", conceived by Schiller as a "folk" drama.

1805 - work on the unfinished drama "Dimitri" (Demetrius) dedicated to Russian history.

ru.wikipedia.org.

Biography

Schiller was born on November 10, 1759 in the city of Marbach-on-Nekcar. His father is Johann Kaspar Schiller (1723-1796) - he was a regimental medical officer, an officer in the service of Württemberg Duke, mother - from the family of the provincial baker-tavercarr. Young Schiller was brought up in a religious and pietistic atmosphere, responded in his early verses. His childhood and youth were held in relative poverty, although he was able to study in a rural school and Pastor Moser. By adding the attention of the Duke of Württemberg Carl-Eugene (Karl Eugen), in 1773 Schiller entered the Elite Military Academy "Higher School of Charles" (Him. Hohe Karlsschule), where he began to study the right, although since childhood he dreamed of becoming a priest. In 1775, the Academy was transferred to Stuttgart, extended a course of study, and Schiller, leaving the jurisprudence, took up medicine. Under the influence of one of his mentors, Schiller became a member of the secret society of the Illuminati, the predecessors of the German Jacobins. In 1779, the dissertation of Schiller was rejected by the leadership of the Academy, and he was forced to stay in the second year. Finally, in 1780, he graduated from the course of the Academy and received a regimental doctor in Stuttgart. Back in the school years, Schiller writes his first works. Under the influence of the Drama "Julius Tartant" (1776) Johann Anton Leisewitz (Johann Anton Leisewitz) Friedrich writes "Cosmus von Medici" - a drama in which he tried to develop the favorite theme of the literary movement "Storms and Natika": hate between brothers and love Father. But the author destroyed this play [Source is not specified 250 days]. At the same time, his enormous interest in creativity and manner of Friedrich Klopshtchock's letter was promoting Schiller for writing ODD "Conqueror", published in March 1777 in the magazine "German Chronicles" and the imitation of the idol. His drama "Robbers", completed in 1781, is more famous for readers.

For the first time, the "robbers" were put in Mannheim on January 13, 1782. For the unauthorized ability from the shelf in Mannheim to represent the "Robbers" Schiller underwent arrest and write to write anything other than medical writings, which forced him to escape from the owners of Duke on September 22, 1782.

In July 1787, Schiller left Dresden, where the guests of Privat-Docent G. Kerner, one of his admirers, and until 1789 lived in Weimar. In 1789, with the assistance of I. V. Goethe with whom Schiller met in 1788, he took the position of extraordinary professor of history and philosophy at the University of Jena, where I read the introductory lecture on the topic "What is a worldwide story and for what purpose it is being studied." In 1790 Schiller married Charlotte von Lenhafeld, from which he had two sons and two daughters. But the poet's salary was lacked in order to contain a family. Help came from the Crown Prince Fr. Kr. Von Schleswig-Holstein-Sonderburg-Augustureburg and Count E. Von Schimmelman, who for three years (1791-1794) paid him a scholarship, then Schiller supported the publisher I. FR. Cotta, who invited him in 1794 to publish a monthly magazine "Ory".

In 1799, he returned to Weimar, where he began to publish several literary magazines for the money of patients. Becoming a close friend Goethe, Schiller, together with him, founded the Weimar theater, who became the leading theater of Germany. The poet remained in Weimar to his very death. In 1802, the Emperor of the Sacred Roman Empire Franz II complained Schiller the nobility.

The most famous Schiller ballads (1797) - Cup (der Taucher), Glove (Der Handschuh), Ring Des Polykrates and Ivikov Zhuravley (Die Kraniche des ibykus), became familiar to Russian readers after the translations of V. A. Zhukovsky .

The world fame received his "Ode to joy" (1785), the music to which Ludwig Van Beethoven wrote.

The last years of Schiller's lifestyle was overshadowed with heavy protracted diseases. After a strong cold, all the old aids were aggravated. The poet suffered from chronic inflammation of the lungs. He died on May 9, 1805 at the age of 45 from Tuberculosis.

Schiller remains

Friedrich Schiller was buried on the night from 11 to 12 May 1805 at the Weimar Cemetery, Jacobsphridhof, in the Cassendegiewylbe, specially reserved for the nobles and revered residents of Weimar, who did not have their own family silets. In 1826, Schiller's remains decided to reburial, but could not be able to define. Selected arbitrarily as the most suitable remains were transported to the Duchess Anna Amali library. Looking at Schiller's skull, Goethe wrote the poem of the same name. On December 16, 1827, these remains were buried in the princely tomb in the new cemetery, where later, the Goethe himself was buried next to his friend.

In 1911, another skull was discovered, which was attributed to Schiller. For a long time, disputes were about what kind of these. As part of the "Code of Friedrich Schiller" shares, carried out jointly by the radio station "Mitteldeutscher Rundfunk" and the Weimar Classicism Foundation, the DNA examination conducted in two independent laboratories in the spring of 2008 showed that none of the skulls belonged to Friedrich Schiller. The remains in the coffin of Schiller belong to at least three different people, their DNA also does not coincide with any of the studied skulls. The Weimar Classicism Foundation has decided to leave Schiller's Coffin empty.

Fritrich Schiller's Reception

Overactions of Schiller were enthusiasticly perceived not only in Germany, but also other European countries. Some considered Schiller by the poet of freedom, others by the stronghold of bourgeois morality. Available language facilities and label dialogs have turned many slate lines in the winged expressions. In 1859, the century from the birth of Schiller was not only noted in Europe, but also in the United States. The works of Friedrich Schiller were memorized by heart, from the XIX century they entered school textbooks.

After coming to power, the National Socialists tried to present Schiller "German Writer" in their propaganda purposes. However, in 1941, Wilhelm Tella, as and "Don Carlos" were banned by order of Hitler.

Monuments

The most famous works

Pieces

* 1781 - "Robbers"
* 1783 - "Deceit and Love"
* 1784 - "Conspiracy Fiese in Genoa"
* 1787 - "Don Carlos, Infant Spanish"
* 1799 - Vallenstein dramatic trilogy
* 1800 - "Maria Stewart"
* 1801 - "Orlean Virgo"
* 1803 - "Messinsky Bride"
* 1804 - Wilhelm Tool
* "Dimitri" (not finished due to the death of the playwright)

Prose

* Article "Criminal due to lost honor" (1786)
* "Spirituals" (unfinished novel)
* Eine GRO? Mutige Handlung

Philosophical work

* Philosophie Der Physiologie (1779)
* About the relationship of animal nature man with his spiritual nature / Uber Den Zusammenhang Der Tierischen Natur des Menschen Mit Seiner Geistigen (1780)
* Die Schaubuhne Als Eine Moralische Anstalt Betrachtet (1784)
* Uber Den Grund Des Vergnugens An Tragischen Gegenstanden (1792)
* Augustenburger Briefe (1793)
* About the grace and dignity / Uber Anmut Und Wurde (1793)
* Kallias-Briefe (1793)
* Letters about aesthetic education of man / Uber Die Asthetische Erziehung Des Menschen (1795)
* About Naive and Sentimental Poetry / Uber Naive Und Sentimentalische Dichtung (1795)
* About dilettantism / Uber Den Dilettantismus (1799; in collaboration with Goethe)
* About the elevated / Uber Das Erhabene (1801)

Schiller works in other art types

Musical Theatre

* 1829 - Wilhelm Tool (Opera), composer J. Rossini
* 1834 - "Maria Stewart" (Opera), composer G.Donittyti
* 1845 - "Giovanna D'Orco" (Opera), composer J. Verdie
* 1847 - "Robbers" (Opera), composer J. Verdi
* 1849 - "Louise Miller" (Opera), composer J. Verdi
* 1867 - "Don Carlos" (Opera), composer J. Verdie
* 1879 - "Orleans" (Opera), composer P. Tchaikovsky
* 1883 - "Messinsky Bride" (Opera), composer Z. Fibih
* 1957 - Jeanne D'Arark (ballet), composer N. I. Peyko
* 2001 - "Maria Stewart" (Opera), composer S. Slonim

The big dramatic theater opened in Petrograd on February 15, 1919 by the F. Schiller "Don Carlos" tragedy.

Fixing and movies based on works

* 1980 - TELESPEXTAKL "Conspiracy Fiese in Genoa". Staging a small theater. Directors: Felix Glyamshin, L. E. Heifets. Cast: V. M. Solomin (Fiese), M. I. Tsarev (Verine), N. Vilkin (Leonora), N. Kornienko (Julia), Ya. P. Baryshev (Dzhantytino), E. V. Samoilov ( Doria Doria), A. Potapov (Hassan, MAVR), V. Bogin (Burgenino), Yu.Vasiliev (Calcano), E. Burenkov (Sacco), B. V. Klyuev (Loslelino), A. Zharova (Berta), M. Fomina (Rosa), G. V. Bukanova (Arabella) and others.