The Works of Frederick Schiller
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THE WORKS
CONTENTS:
HISTORY OF THE THIRTY YEARS' WAR IN GERMANY.
PREFACE TO THE SIXTH EDITION.
Book I.
Book II.
Book III.
Book IV.
Book V.
Book III.
Book IV.
Book V.
Book II.
Book III.
Book IV.
Book V.
Book III.
Book IV.
Book V.
HISTORY OF THE THIRTY YEARS' WAR IN GERMANY.
BOOK I.
Book II.
Book III.
Book IV.
Book V.
THE WORKS
PREFACE TO THE EDITION.
THE HISTORY
CONTENTS.
THE AUTHOR'S PREFACE.
INTRODUCTION.
BOOK I.
PHILIP II., RULER OF THE NETHERLANDS.
THE TRIBUNAL OF THE INQUISITION
OTHER ENCROACHMENTS ON THE CONSTITUTION OF THE NETHERLANDS.
WILLIAM OF ORANGE AND COUNT EGMONT.
MARGARET OF PARMA REGENT OF THE NETHERLANDS.
BOOK II.
COUNT EGMONT IN SPAIN.
SEVERER RELIGIOUS EDICTS—UNIVERSAL OPPOSITION OF THE NATION.
BOOK III.
THE GUEUX.
PUBLIC PREACHING.
PUBLIC PREACHING.
BOOK IV.
THE ICONOCLASTS.
CIVIL WAR
RESIGNATION OF WILLIAM OF ORANGE.
DECAY AND DISPERSION OF THE GEUSEN LEAGUE.
ALVA'S ARMAMENT AND EXPEDITION TO THE NETHERLANDS.
ALVA'S FIRST MEASURES, AND DEPARTURE OF THE DUCHESS OF PARMA.
TRIAL AND EXECUTION OF COUNTS EGMONT AND HORN.
SIEGE OF ANTWERP BY THE PRINCE OF PARMA, IN THE YEARS 1584 AND 1585.
THE GHOST-SEER; OR, APPARITIONIST.
FROM THE PAPERS OF COUNT O———-
BOOK II.
LETTER I.
LETTER II.
LETTER III.
LETTER IV.
LETTER V.
LETTER VI.
LETTER VII.
LETTER VIII.
LETTER IX.
LETTER X.
COUNT O———- IN CONTINUATION.
THE SPORT OF DESTINY
THE ROBBERS.
SCHILLER'S PREFACE.
ADVERTISEMENT TO THE ROBBERS.
PREFACE TO THE SECOND EDITION.
THE ROBBERS.
THE ROBBERS
SCENE I.—Franconia.
SCENE I.—Franconia.
SCENE II.—A Tavern on the Frontier of Saxony.
SCENE III.—MOOR'S Castle.—AMELIA'S Chamber.
ACT II.
SCENE II.—Old Moor's Bedchamber.
HECTOR.
ANDROMACHE.
HECTOR.
ANDROMACHE.
HECTOR.
HECTOR.
ANDROMACHE.
HECTOR.
ANDROMACHE.
HECTOR.
SCENE III.—THE BOHEMIAN WOODS.
ACT III.
SCENE VIII.
SCENE VIII.
SCENE IX.
SCENE II.—Country near the Danube.
ACT IV.
SCENE II.*—Gallery in the Castle.
SCENE II.*—Gallery in the Castle.
SCENE III.—Another Room in the Castle.
Scene IV.—In the Garden.
SCENE V.—A neighboring forest. Night. An old ruined castle in the centre of the scene.
ACT V.
SCENE II.—The scene the same as the last scene of the preceding Act.
SCENE VIII.
SCENE IX.
SCENE IX.
SCENE VIII.
SCENE IX.
SCENE IX.
FIESCO, OR THE GENOESE CONSPIRACY.
AUTHOR'S PREFACE.
FIESCO; OR, THE GENOESE CONSPIRACY.
DRAMATIS PERSONAE.
ACT I.
SCENE I.—A Saloon in FIESCO'S House. The distant sound of dancing and music is heard.
SCENE IL
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE X.—An apartment in the house of VERRINA.
SCENE XI.
SCENE XII.
SCENE XIII.
SCENE I.—A Saloon in FIESCO'S House. The distant sound of dancing and music is heard.
SCENE IL
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE X.—An apartment in the house of VERRINA.
SCENE XI.
SCENE XII.
SCENE XIII.
ACT II.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE X.
SCENE XI.
SCENE XII.—The Palace of ANDREAS.
SCENE XIII.
SCENE XIV.
SCENE XV.-An Ante-chamber in FIESCO'S Palace.
SCENE XVI.
SCENE XVII.
SCENE XVIII.
SCENE XIX. FIESCO, alone.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE X.
SCENE XI.
SCENE XII.—The Palace of ANDREAS.
SCENE XIII.
SCENE XIV.
SCENE XV.-An Ante-chamber in FIESCO'S Palace.
SCENE XVI.
SCENE XVII.
SCENE XVIII.
SCENE XIX. FIESCO, alone.
ACT III.
SCENE II.—An apartment in FIESCO'S house. In the middle of the back scene a glass door, through which is seen a view of the sea and Genoa. Daybreak.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE X.
SCENE XI.
SCENE II.—An apartment in FIESCO'S house. In the middle of the back scene a glass door, through which is seen a view of the sea and Genoa. Daybreak.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE X.
SCENE XI.
ACT IV.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE X.
SCENE XI.
SCENE XII.
SCENE XIII.
SCENE XIV.
SCENE XV.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE X.
SCENE XI.
SCENE XII.
SCENE XIII.
SCENE XIV.
SCENE XV.
ACT V.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE X.
SCENE XI.
SCENE XII.
SCENE XIII.
SCENE XIV.
SCENE XV.
SCENE XVI.
SCENE XVII.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE X.
SCENE XI.
SCENE XII.
SCENE XIII.
SCENE XIV.
SCENE XV.
SCENE XVI.
SCENE XVII.
LOVE AND INTRIGUE.
DRAMATIS PERSONAE.
ACT I.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.—A Chamber in the PRESIDENT.'S House.
SCENE VI.
SCENE VII.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.—A Chamber in the PRESIDENT.'S House.
SCENE VI.
SCENE VII.
ACT II.
SCENE II.—An old valet of the DUKE'S, with a casket of jewels. The former.
SCENE III.—FERDINAND VON WALTER. The former.
SCENE IV.—Miller's House.
SCENE V.
SCENE VI.
SCENE VII.
SCENE II.—An old valet of the DUKE'S, with a casket of jewels. The former.
SCENE III.—FERDINAND VON WALTER. The former.
SCENE IV.—Miller's House.
SCENE V.
SCENE VI.
SCENE VII.
ACT III.
SCENE II.
SCENE III.
SCENE IV.—Room in MILLER'S House.
SCENE V.
SCENE VI.
SCENE II.
SCENE III.
SCENE IV.—Room in MILLER'S House.
SCENE V.
SCENE VI.
ACT IV.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.—A magnificent Saloon in LADY MILFORD'S House.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.—A magnificent Saloon in LADY MILFORD'S House.
SCENE VII.
SCENE VIII.
SCENE IX.
ACT V.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
THE CAMP OF WALLENSTEIN
THE CAMP OF WALLENSTEIN.
DRAMATIS PERSONAE.
SCENE I.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE X.
SCENE XI.
DRAMATIS PERSONAE.
SCENE I.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE X.
SCENE XI.
THE PICCOLOMINI,
PREFACE.
THE PICCOLOMINI.
DRAMATIS PERSONAE.
THE PICCOLOMINI.
DRAMATIS PERSONAE.
ACT I.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
ACT II.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
ACT III.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
ACT IV.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
ACT V.
SCENE II.
SCENE III.
FOOTNOTES.
SCENE II.
SCENE III.
FOOTNOTES.
THE DEATH OF WALLENSTEIN.
DRAMATIS PERSONAE.
ACT I.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
ACT II.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
ACT III.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE IX.
SCENE X.
SCENE XI.
SCENE XII.
SCENE XIII.
SCENE XIV.
SCENE XV.
SCENE XVI.
SCENE XVII.
SCENE XVIII.
SCENE XIX.
SCENE XX.
SCENE XXI.
SCENE XXII.
SCENE XXIII.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE IX.
SCENE X.
SCENE XI.
SCENE XII.
SCENE XIII.
SCENE XIV.
SCENE XV.
SCENE XVI.
SCENE XVII.
SCENE XVIII.
SCENE XIX.
SCENE XX.
SCENE XXI.
SCENE XXII.
SCENE XXIII.
ACT IV.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE X.
SCENE XI.
SCENE XII.
SCENE XIII.
SCENE XIV.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE X.
SCENE XI.
SCENE XII.
SCENE XIII.
SCENE XIV.
ACT V.
SCENE II.
SCENE III.
SCENE V.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE X.
SCENE XI.
SCENE XII.
FOOTNOTES.
SCENE II.
SCENE III.
SCENE V.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE X.
SCENE XI.
SCENE XII.
FOOTNOTES.
WILHELM TELL.
DRAMATIS PERSONAE.
WILHELM TELL.
ACT I.
SCENE II.
SCENE III.
SCENE IV.
SCENE II.
SCENE III.
SCENE IV.
ACT II.
SCENE II.
SCENE II.
ACT III.
SCENE II.
SCENE III.
SCENE II.
SCENE III.
ACT IV.
SCENE II.
SCENE III.
SCENE II.
SCENE III.
ACT V.
SCENE II.
SCENE III.
FOOTNOTES.
FOOTNOTES.
SCENE II.
SCENE III.
FOOTNOTES.
FOOTNOTES.
DON CARLOS.
DRAMATIS PERSONAE.
ACT I.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
ACT II.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE X.
SCENE XI.
SCENE XII.
SCENE XIII.
SCENE XIV.
SCENE XV.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE X.
SCENE XI.
SCENE XII.
SCENE XIII.
SCENE XIV.
SCENE XV.
ACT III.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE X.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE X.
ACT IV.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE X.
SCENE XI.
SCENE XII.
SCENE XIII.
SCENE XIV.
SCENE XV.
SCENE XVI.
SCENE XVII.
SCENE XVIII.
SCENE XIX.
SCENE XX.
SCENE XXI.
SCENE XXII.
SCENE XXIII.
SCENE XXIV.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE X.
SCENE XI.
SCENE XII.
SCENE XIII.
SCENE XIV.
SCENE XV.
SCENE XVI.
SCENE XVII.
SCENE XVIII.
SCENE XIX.
SCENE XX.
SCENE XXI.
SCENE XXII.
SCENE XXIII.
SCENE XXIV.
ACT V.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE X.
SCENE XI.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE X.
SCENE XI.
DEMETRIUS
ACT I.
ACT II.
SCENE II.
SCENE III.
SCENE II.
SCENE III.
MARY STUART.
DRAMATIS PERSONAE.
ACT I.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
ACT II.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
ACT III.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE VIII.
ACT IV.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE X.
SCENE XI.
SCENE XII.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE X.
SCENE XI.
SCENE XII.
ACT V.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE X.
SCENE XI.
SCENE XII.
SCENE XIII.
SCENE XIV.
SCENE XV.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE X.
SCENE XI.
SCENE XII.
SCENE XIII.
SCENE XIV.
SCENE XV.
THE MAID OF ORLEANS.
DRAMATIS PERSONAE.
PROLOGUE.
SCENE I.
SCENE II.
SCENE III.
SCENE IV.
SCENE I.
SCENE II.
SCENE III.
SCENE IV.
ACT I.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE X.
SCENE XI.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE X.
SCENE XI.
ACT II.
SCENE I.
SCENE II.
SCENE III.
SCENE I.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE X.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE X.
ACT III.
SCENE I.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE X.
SCENE XI.
SCENE I.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE X.
SCENE XI.
ACT IV.
SCENE I.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE X.
SCENE XI.
SCENE XII.
SCENE XIII.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE X.
SCENE XI.
SCENE XII.
SCENE XIII.
ACT V.
SCENE I.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE X.
SCENE XI.
SCENE XII.
SCENE IV.
SCENE XIV.
SCENE I.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE X.
SCENE XI.
SCENE XII.
SCENE IV.
SCENE XIV.
THE BRIDE OF MESSINA
THE BRIDE OF MESSINA
DRAMATIS PERSONAE.
SCENE I.
SCENE—The hall of pillars. It is night.
THE END
THE END
SCENE I.
SCENE—The hall of pillars. It is night.
THE END
THE END
ON THE USE OF THE CHORUS IN TRAGEDY.
SCHILLER'S POEMS
CONTENTS:
POEMS OF SCHILLER.
POEMS OF THE FIRST PERIOD.
HECTOR AND ANDROMACHE.
HECTOR AND ANDROMACHE.
POEMS OF SCHILLER.
POEMS OF THE FIRST PERIOD.
HECTOR AND ANDROMACHE.
HECTOR AND ANDROMACHE.
AMALIA.
A FUNERAL FANTASIE.
FANTASIE—TO LAURA.
TO LAURA AT THE HARPSICHORD.
GROUP FROM TARTARUS.
RAPTURE—TO LAURA.
TO LAURA. (THE MYSTERY OF REMINISCENCE.) [2]
MELANCHOLY—TO LAURA.
THE INFANTICIDE.
THE GREATNESS OF THE WORLD.
FORTUNE AND WISDOM.
ELEGY ON THE DEATH OF A YOUNG MAN. [5]
THE BATTLE.
ROUSSEAU.
FRIENDSHIP.
ELYSIUM.
THE FUGITIVE.
TO MINNA.
THE FLOWERS.
THE TRIUMPH OF LOVE.
TO A MORALIST.
COUNT EBERHARD, THE GROANER OF WURTEMBERG.
TO THE SPRING.
SEMELE:
SCENE I.
SCENE II.
SCENE I.
SCENE II.
POEMS OF THE SECOND PERIOD.
HYMN TO JOY.
THE INVINCIBLE ARMADA.
THE GODS OF GREECE.
RESIGNATION.
THE CONFLICT.
THE ARTISTS.
THE CELEBRATED WOMAN.
WRITTEN IN A YOUNG LADY'S ALBUM.
POEMS OF THE THIRD PERIOD.
THE MEETING.
THE SECRET.
THE ASSIGNATION. [14]
LONGING.
EVENING.
THE PILGRIM.
THE IDEALS.
THE YOUTH BY THE BROOK. [16]
TO EMMA.
THE FAVOR OF THE MOMENT.
THE FAVOR OF THE MOMENT.
THE LAY OF THE MOUNTAIN.
THE ALPINE HUNTER.
DITHYRAMB. [23]
THE FOUR AGES OF THE WORLD.
THE MAIDEN'S LAMENT.
TO MY FRIENDS.
PUNCH SONG.
NADOWESSIAN DEATH-LAMENT.
THE FEAST OF VICTORY.
PUNCH SONG.
THE COMPLAINT OF CERES. [29]
THE ELEUSINIAN FESTIVAL.
THE RING OF POLYCRATES. [32]
THE CRANES OF IBYCUS.
THE PLAYING INFANT.
HERO AND LEANDER. [34]
CASSANDRA.
THE HOSTAGE.
GREEKISM.
THE DIVER.
THE KNIGHT OF TOGGENBURG.
THE FIGHT WITH THE DRAGON.
FEMALE JUDGMENT.
FRIDOLIN; OR, THE WALK TO THE IRON FOUNDRY.
THE GENIUS WITH THE INVERTED TORCH.
THE COUNT OF HAPSBURG. [38]
THE FORUM OF WOMAN.
THE GLOVE.
THE CIRCLE OF NATURE.
THE VEILED STATUE AT SAIS.
THE DIVISION OF THE EARTH.
THE FAIREST APPARITION.
THE IDEAL AND THE ACTUAL LIFE.
GERMANY AND HER PRINCES.
DANGEROUS CONSEQUENCES.
THE MAIDEN FROM AFAR.
THE HONORABLE.
PARABLES AND RIDDLES.
THE VIRTUE OF WOMAN.
THE WALK.
THE LAY OF THE BELL.
THE POWER OF SONG.
TO PROSELYTIZERS.
HONOR TO WOMAN.
HOPE.
THE GERMAN ART.
ODYSSEUS.
CARTHAGE.
THE SOWER.
THE KNIGHTS OF ST. JOHN.
THE MERCHANT.
GERMAN FAITH. [50]
THE SEXES.
LOVE AND DESIRE.
THE BARDS OF OLDEN TIME.
JOVE TO HERCULES.
THE ANTIQUES AT PARIS.
THEKLA.
THE ANTIQUE TO THE NORTHERN WANDERER.
THE ILIAD.
POMPEII AND HERCULANEUM.
NAENIA.
THE MAID OF ORLEANS.
ARCHIMEDES.
THE DANCE.
THE FORTUNE-FAVORED. [53]
BOOKSELLER'S ANNOUNCEMENT.
GENIUS.
HONORS.
THE PHILOSOPHICAL EGOTIST.
THE BEST STATE CONSTITUTION.
THE WORDS OF BELIEF.
THE WORDS OF ERROR.
THE POWER OF WOMAN.
THE TWO PATHS OF VIRTUE.
THE PROVERBS OF CONFUCIUS.
HUMAN KNOWLEDGE.
COLUMBUS.
LIGHT AND WARMTH.
BREADTH AND DEPTH.
THE TWO GUIDES OF LIFE.
THE IMMUTABLE.
VOTIVE TABLETS.
DIFFERENT DESTINIES.
THE ANIMATING PRINCIPLE.
TWO DESCRIPTIONS OF ACTION.
DIFFERENCE OF STATION.
WORTH AND THE WORTHY.
THE MORAL FORCE.
PARTICIPATION.
TO ——
TO ——
TO ——
THE PRESENT GENERATION.
TO THE MUSE.
THE LEARNED WORKMAN.
THE DUTY OF ALL.
A PROBLEM.
THE PECULIAR IDEAL.
TO MYSTICS.
THE KEY.
WISDOM AND PRUDENCE.
THE AGREEMENT.
POLITICAL PRECEPT.
MAJESTAS POPULI.
THE DIFFICULT UNION.
TO A WORLD-REFORMER.
MY ANTIPATHY.
ASTRONOMICAL WRITINGS.
THE BEST STATE.
TO ASTRONOMERS.
MY FAITH.
INSIDE AND OUTSIDE.
FRIEND AND FOE.
LIGHT AND COLOR.
GENIUS.
BEAUTEOUS INDIVIDUALITY.
VARIETY.
THE IMITATOR.
GENIALITY.
THE INQUIRERS.
CORRECTNESS.
THE THREE AGES OF NATURE.
THE LAW OF NATURE.
SCIENCE OF MUSIC.
TO THE POET.
LANGUAGE.
THE MASTER.
THE GIRDLE.
THE DILETTANTE.
THE BABBLER OF ART.
THE PHILOSOPHIES.
THE FAVOR OF THE MUSES.
HOMER'S HEAD AS A SEAL.
GOODNESS AND GREATNESS.
THE IMPULSES.
NATURALISTS AND TRANSCENDENTAL PHILOSOPHERS.
GERMAN GENIUS.
THEOPHANIA.
THE ANIMATING PRINCIPLE.
TWO DESCRIPTIONS OF ACTION.
DIFFERENCE OF STATION.
WORTH AND THE WORTHY.
THE MORAL FORCE.
PARTICIPATION.
TO ——
TO ——
TO ——
THE PRESENT GENERATION.
TO THE MUSE.
THE LEARNED WORKMAN.
THE DUTY OF ALL.
A PROBLEM.
THE PECULIAR IDEAL.
TO MYSTICS.
THE KEY.
WISDOM AND PRUDENCE.
THE AGREEMENT.
POLITICAL PRECEPT.
MAJESTAS POPULI.
THE DIFFICULT UNION.
TO A WORLD-REFORMER.
MY ANTIPATHY.
ASTRONOMICAL WRITINGS.
THE BEST STATE.
TO ASTRONOMERS.
MY FAITH.
INSIDE AND OUTSIDE.
FRIEND AND FOE.
LIGHT AND COLOR.
GENIUS.
BEAUTEOUS INDIVIDUALITY.
VARIETY.
THE IMITATOR.
GENIALITY.
THE INQUIRERS.
CORRECTNESS.
THE THREE AGES OF NATURE.
THE LAW OF NATURE.
SCIENCE OF MUSIC.
TO THE POET.
LANGUAGE.
THE MASTER.
THE GIRDLE.
THE DILETTANTE.
THE BABBLER OF ART.
THE PHILOSOPHIES.
THE FAVOR OF THE MUSES.
HOMER'S HEAD AS A SEAL.
GOODNESS AND GREATNESS.
THE IMPULSES.
NATURALISTS AND TRANSCENDENTAL PHILOSOPHERS.
GERMAN GENIUS.
THEOPHANIA.
DIFFERENT DESTINIES.
THE ANIMATING PRINCIPLE.
TWO DESCRIPTIONS OF ACTION.
DIFFERENCE OF STATION.
WORTH AND THE WORTHY.
THE MORAL FORCE.
PARTICIPATION.
TO ——
TO ——
TO ——
THE PRESENT GENERATION.
TO THE MUSE.
THE LEARNED WORKMAN.
THE DUTY OF ALL.
A PROBLEM.
THE PECULIAR IDEAL.
TO MYSTICS.
THE KEY.
WISDOM AND PRUDENCE.
THE AGREEMENT.
POLITICAL PRECEPT.
MAJESTAS POPULI.
THE DIFFICULT UNION.
TO A WORLD-REFORMER.
MY ANTIPATHY.
ASTRONOMICAL WRITINGS.
THE BEST STATE.
TO ASTRONOMERS.
MY FAITH.
INSIDE AND OUTSIDE.
FRIEND AND FOE.
LIGHT AND COLOR.
GENIUS.
BEAUTEOUS INDIVIDUALITY.
VARIETY.
THE IMITATOR.
GENIALITY.
THE INQUIRERS.
CORRECTNESS.
THE THREE AGES OF NATURE.
THE LAW OF NATURE.
SCIENCE OF MUSIC.
TO THE POET.
LANGUAGE.
THE MASTER.
THE GIRDLE.
THE DILETTANTE.
THE BABBLER OF ART.
THE PHILOSOPHIES.
THE FAVOR OF THE MUSES.
HOMER'S HEAD AS A SEAL.
GOODNESS AND GREATNESS.
THE IMPULSES.
NATURALISTS AND TRANSCENDENTAL PHILOSOPHERS.
GERMAN GENIUS.
THEOPHANIA.
THE ANIMATING PRINCIPLE.
TWO DESCRIPTIONS OF ACTION.
DIFFERENCE OF STATION.
WORTH AND THE WORTHY.
THE MORAL FORCE.
PARTICIPATION.
TO ——
TO ——
TO ——
THE PRESENT GENERATION.
TO THE MUSE.
THE LEARNED WORKMAN.
THE DUTY OF ALL.
A PROBLEM.
THE PECULIAR IDEAL.
TO MYSTICS.
THE KEY.
WISDOM AND PRUDENCE.
THE AGREEMENT.
POLITICAL PRECEPT.
MAJESTAS POPULI.
THE DIFFICULT UNION.
TO A WORLD-REFORMER.
MY ANTIPATHY.
ASTRONOMICAL WRITINGS.
THE BEST STATE.
TO ASTRONOMERS.
MY FAITH.
INSIDE AND OUTSIDE.
FRIEND AND FOE.
LIGHT AND COLOR.
GENIUS.
BEAUTEOUS INDIVIDUALITY.
VARIETY.
THE IMITATOR.
GENIALITY.
THE INQUIRERS.
CORRECTNESS.
THE THREE AGES OF NATURE.
THE LAW OF NATURE.
SCIENCE OF MUSIC.
TO THE POET.
LANGUAGE.
THE MASTER.
THE GIRDLE.
THE DILETTANTE.
THE BABBLER OF ART.
THE PHILOSOPHIES.
THE FAVOR OF THE MUSES.
HOMER'S HEAD AS A SEAL.
GOODNESS AND GREATNESS.
THE IMPULSES.
NATURALISTS AND TRANSCENDENTAL PHILOSOPHERS.
GERMAN GENIUS.
THEOPHANIA.
TRIFLES.
THE EPIC HEXAMETER.
THE DISTICH.
THE EIGHT-LINE STANZA.
THE OBELISK.
THE TRIUMPHAL ARCH.
THE BEAUTIFUL BRIDGE.
THE GATE.
ST. PETER'S.
THE DISTICH.
THE EIGHT-LINE STANZA.
THE OBELISK.
THE TRIUMPHAL ARCH.
THE BEAUTIFUL BRIDGE.
THE GATE.
ST. PETER'S.
THE EPIC HEXAMETER.
THE DISTICH.
THE EIGHT-LINE STANZA.
THE OBELISK.
THE TRIUMPHAL ARCH.
THE BEAUTIFUL BRIDGE.
THE GATE.
ST. PETER'S.
THE DISTICH.
THE EIGHT-LINE STANZA.
THE OBELISK.
THE TRIUMPHAL ARCH.
THE BEAUTIFUL BRIDGE.
THE GATE.
ST. PETER'S.
THE PHILOSOPHERS.
THE HOMERIDES.
G. G.
THE MORAL POET.
THE DANAIDES.
THE SUBLIME SUBJECT.
THE ARTIFICE.
IMMORTALITY.
JEREMIADS.
SHAKESPEARE'S GHOST.
THE RIVERS.
RHINE.
RHINE AND MOSELLE.
DANUBE IN ——
MAIN.
SAALE.
ILM.
PLEISSE.
ELBE.
SPREE.
WESER.
MINERAL WATERS AT ——.
PEGNTTZ.
THE —— RIVERS.
SALZACH.
THE ANONYMOUS RIVER.
LES FLEUVES INDISCRETS.
RHINE AND MOSELLE.
DANUBE IN ——
MAIN.
SAALE.
ILM.
PLEISSE.
ELBE.
SPREE.
WESER.
MINERAL WATERS AT ——.
PEGNTTZ.
THE —— RIVERS.
SALZACH.
THE ANONYMOUS RIVER.
LES FLEUVES INDISCRETS.
RHINE.
RHINE AND MOSELLE.
DANUBE IN ——
MAIN.
SAALE.
ILM.
PLEISSE.
ELBE.
SPREE.
WESER.
MINERAL WATERS AT ——.
PEGNTTZ.
THE —— RIVERS.
SALZACH.
THE ANONYMOUS RIVER.
LES FLEUVES INDISCRETS.
RHINE AND MOSELLE.
DANUBE IN ——
MAIN.
SAALE.
ILM.
PLEISSE.
ELBE.
SPREE.
WESER.
MINERAL WATERS AT ——.
PEGNTTZ.
THE —— RIVERS.
SALZACH.
THE ANONYMOUS RIVER.
LES FLEUVES INDISCRETS.
ZENITH AND NADIR.
KANT AND HIS COMMENTATORS.
THE PHILOSOPHERS.
THE METAPHYSICIAN.
PEGASUS IN HARNESS.
KNOWLEDGE.
THE POETRY OF LIFE.
TO GOETHE,
THE PRESENT.
DEPARTURE FROM LIFE.
VERSES WRITTEN IN THE FOLIO ALBUM OF A LEARNED FRIEND.
VERSES WRITTEN IN THE ALBUM OF A FRIEND.
THE SUNDAY CHILDREN.
THE HIGHEST.
THE PUPPET-SHOW OF LIFE.
TO LAWGIVERS.
FALSE IMPULSE TO STUDY.
THE HEREDITARY PRINCE OF WEIMAR, ON HIS PROCEEDING TO PARIS.
THE IDEAL OF WOMAN.
THE FOUNTAIN OF SECOND YOUTH.
WILLIAM TELL. [59]
TO A YOUNG FRIEND DEVOTING HIMSELF TO PHILOSOPHY.
EXPECTATION AND FULFILMENT.
THE COMMON FATE.
HUMAN ACTION.
NUPTIAL ODE. [60]
THE COMMENCEMENT OF THE NEW CENTURY.
GRECIAN GENIUS.
THE FATHER.
THE CONNECTING MEDIUM.
THE MOMENT.
GERMAN COMEDY.
FAREWELL TO THE READER.
DEDICATION TO DEATH, MY PRINCIPAL.
PREFACE.
SUPPRESSED POEMS.
THE JOURNALISTS AND MINOS.
BACCHUS IN THE PILLORY.
SPINOSA.
TO THE FATES.
THE PARALLEL.
KLOPSTOCK AND WIELAND.
THE MUSES' REVENGE.
THE HYPOCHONDRIACAL PLUTO.
REPROACH—TO LAURA.
THE SIMPLE PEASANT. [62]
ACTAEON.
MAN'S DIGNITY.
THE MESSIAD.
THOUGHTS ON THE 1ST OCTOBER, 1781.
EPITAPH.
QUIRL.
THE PLAGUE.
MONUMENT OF MOOR THE ROBBER. [65]
THE BAD MONARCHS. [66]
THE SATYR AND MY MUSE.
THE PEASANTS. [67]
THE WINTER NIGHT.
THE WIRTEMBERGER.
THE MOLE.
HYMN TO THE ETERNAL.
DIALOGUE.
EPITAPH
TRUST IN IMMORTALITY.
APPENDIX OF POEMS ETC. IN SCHILLER'S DRAMATIC WORKS.
APPENDIX.
FOOTNOTES.
FOOTNOTES.
AESTHETICAL AND PHILOSOPHICAL ESSAYS
CONTENTS
INTRODUCTION.
VOCABULARY OF TERMINOLOGY.
LETTERS ON THE AESTHETICAL EDUCATION OF MAN.
LETTER I.
LETTER II.
LETTER III.
LETTER IV.
LETTER V.
LETTER VI.
LETTER VII.
LETTER VIII.
LETTER IX.
LETTER X.
LETTER XI.
LETTER XII.
LETTER XIII.
LETTER XIV.
LETTER XV.
LETTER XVI.
LETTER XVII.
LETTER XVIII.
LETTER XIX.
LETTER XX.
LETTER XXI.
LETTER XXII.
LETTER XXIII.
LETTER XXIV.
LETTER XXV.
LETTER XXVI.
LETTER XXVII.
AESTHETICAL ESSAYS.
THE MORAL UTILITY OF AESTHETIC MANNERS.
ON THE SUBLIME.
THE PATHETIC.
ON GRACE AND DIGNITY.
ON DIGNITY.
ON THE NECESSARY LIMITATIONS IN THE USE OF BEAUTY OF FORM.
REFLECTIONS ON THE USE OF THE VULGAR AND LOW ELEMENTS IN WORKS OF ART.
DETACHED REFLECTIONS ON DIFFERENT QUESTIONS OF AESTHETICS.
ON SIMPLE AND SENTIMENTAL POETRY.
SENTIMENTAL POETRY.
SATIRICAL POETRY.
ELEGIAC POETRY.
IDYL.
THE STAGE AS A MORAL INSTITUTION.
ON THE TRAGIC ART.
OF THE CAUSE OF THE PLEASURE WE DERIVE FROM TRAGIC OBJECTS.
SCHILLER'S PHILOSOPHICAL LETTERS.
PREFATORY REMARKS.
LETTER I.
LETTER II.
LETTER III.
LETTER IV.
THEOSOPHY OF JULILTS.
THE WORLD AND THE THINKING BEING.
IDEA.
LOVE.
SACRIFICE.
GOD.
THE WORLD AND THE THINKING BEING.
IDEA.
LOVE.
SACRIFICE.
GOD.
THEOSOPHY OF JULILTS.
THE WORLD AND THE THINKING BEING.
IDEA.
LOVE.
SACRIFICE.
GOD.
THE WORLD AND THE THINKING BEING.
IDEA.
LOVE.
SACRIFICE.
GOD.
LETTER V.
ON THE CONNECTION BETWEEN THE ANIMAL AND THE SPIRITUAL NATURE IN MAN.
INTRODUCTION.
PHYSICAL CONNECTION.
PHILOSOPHICAL CONNECTION.
ANIMAL SENSATIONS ACCOMPANY MENTAL SENSATIONS.
PHYSICAL PHENOMENA EXPRESS THE EMOTIONS OF THE MIND.
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PHYSICAL CONNECTION.
PHILOSOPHICAL CONNECTION.
ANIMAL SENSATIONS ACCOMPANY MENTAL SENSATIONS.
PHYSICAL PHENOMENA EXPRESS THE EMOTIONS OF THE MIND.
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