PART III. FROM HIS SETTLEMENT AT JENA TO HIS DEATH. (1790-1805.)

Academical duties. Study of History: Cosmopolitan philosophy, and national instincts. History of the Thirty-Years War. (p. 119.)—Sickness, and help in it. Heavy trial for a literary man. Schiller's unabated zeal. (125.)—Enthusiasm and conflicts excited by Kant's Philosophy. Schiller's growing interest in the subject: Letters on Æsthetic Culture, &c. Claims of Kant's system to a respectful treatment. (129.)—Fastidiousness and refinement of taste. Literary projects: Epic poems: Returns to the Drama. Outbreak of the French Revolution. (137.)—Edits the Horen: Connexion with Goethe. A pleasant visit to his parents. Mode of life at Jena: Night-studies, and bodily stimulants. (143.)—Wallenstein: Brief sketch of its character and compass: Specimen scenes, Max Piccolomini and his Father; Max and the Princess Thekla; Thekla's frenzied grief: No nobler or more earnest dramatic work. (152.)—Removes to Weimar: Generosity of the Duke. Tragedy of Maria Stuart. (178.)—The Maid of Orleans: Character of Jeanne d'Arc: Scenes, Joanna and her Suitors; Death of Talbot; Joanna and Lionel. Enthusiastic reception of the play. (181.)—Daily and nightly habits at Weimar. The Bride of Messina. Wilhelm Tell: Truthfulness of the Characters and Scenery: Scene, the Death of Gossler. (201.)—Schiller's dangerous illness. Questionings of Futurity. The last sickness: Many things grow clearer: Death. (219.)—General sorrow for his loss. His personal aspect: Modesty and simplicity of manner: Mental gifts. (222.)—Definitions of genius. Poetic sensibilities and wretchedness: In such miseries Schiller had no share. A fine example of the German character: No cant; no cowardly compromising with his own conscience: Childlike simplicity. Literary Heroism. (227.)