FOOTNOTES:

[11] Der Geisterseher, Schillers Werke, B. iv. p 350.

[12] Who the other three were is nowhere particularly mentioned.

[13] Wieland's rather harsh and not too judicious sentence on it may be seen at large in Gruber's Wieland Geschildert, B. ii. S. 571.

[14] The well-written life, prefixed to the Stuttgard and Tübingen edition of Schiller's works, is by this Körner. The Theodor Körner, whose Lyre and Sword became afterwards famous, was his son.

[15] In vol. x. of the Vienna edition of Schiller are some ludicrous verses, almost his sole attempt in the way of drollery, bearing a title equivalent to this: 'To the Right Honourable the Board of Washers, the most humble Memorial of a downcast Tragic Poet, at Löschwitz;' of which Doering gives the following account. 'The first part of Don Carlos being already printed, by Göschen, in Leipzig, the poet, pressed for the remainder, felt himself obliged to stay behind from an excursion which the Körner family were making, in a fine autumn day. Unluckily, the lady of the house, thinking Schiller was to go along with them, had locked all her cupboards and the cellar. Schiller found himself without meat or drink, or even wood for fuel; still farther exasperated by the dabbling of some washer-maids beneath his window, he produced these lines.' The poem is of the kind which cannot be translated; the first three stanzas are as follows:

"Die Wäsche klatscht vor meiner Thür,
Es plarrt die Küchenzofe,
Und mich, mich fuhrt das Flügelthier
Zu König Philips Hofe.

Ich eile durch die Gallerie
Mit schnellem Schritt, belausche
Dort die Prinzessin Eboli
Im süssen Liebesrausche.

Schon ruft das schöne Weib: Triumph!
Schon hör' ich—Tod und Hölle!
Was hör' ich—einen nassen Strumpf
Geworfen in die Welle."

[16] Jean Paul nevertheless, not without some show of reason, has compared this Posa to the tower of a lighthouse: 'high, far-shining,—empty!' (Note of 1845.)

[17] Doering says, 'Goethe was at this time absent in Italy;' an error, as will by and by appear.

[18] 1825.

[19] If we mistake not, Madame de Staël, in her Révolution Française, had this performance of Schiller's in her eye. Her work is constructed on a similar though a rather looser plan of arrangement: the execution of it bears the same relation to that of Schiller; it is less irregular; more ambitious in its rhetoric; inferior in precision, though often not in force of thought and imagery.

[20] The obstacles to their union have already been described in the words of Goethe; the steps by which these were surmounted, are described by him in the same paper with equal minuteness and effect. It is interesting, but cannot be inserted here. See Appendix I., No. 3.