Читать книгу Blackwood's Edinburgh Magazine, Volume 54, No. 334, August 1843 - Various - Страница 2

The Poems included in the Second Period of Schiller's literary career are few, but remarkable for their beauty, and deeply interesting from the struggling and anxious state of mind which some of them depict. It was, both to his taste and to his thought, a period of visible transition. He had survived the wild and irregular power which stamps, with fierce and somewhat sensual characters, the productions of his youth; but he had not attained that serene repose of strength—that calm, bespeaking depth and fulness, which is found in the best writings of his maturer years. In point of style, the Poems in this division have more facility and sweetness than those that precede them, and perhaps more evident vigour, more popular verve and gusto, than some that follow: in point of thought, they mark that era through which few men of inquisitive and adventurous genius—of sanguine and impassioned temperament—and of education chiefly self-formed, undisciplined, and imperfect, have failed to pass—the era of doubt and gloom, of self-conflict, and of self-torture.—In the "Robbers," and much of the poetry written in the same period of Schiller's life, there is a bold and wild imagination, which attacks rather than questions—innovates rather than examines—seizes upon subjects of vast social import, that float on the surface of opinion, and assails them with a blind and half-savage rudeness, according as they offend the enthusiasm of unreasoning youth. But now this eager and ardent mind had paused to contemplate; its studies were turned to philosophy and history—a more practical knowledge of life (though in this last, Schiller, like most German authors, was ever more or less deficient in variety and range) had begun to soften the stern and fiery spirit which had hitherto sported with the dangerous elements of social revolution. And while this change was working, before its feverish agitation subsided into that Kantism which is the antipodes of scepticism, it was natural that, to the energy which had asserted, denounced, and dogmatized, should succeed the reaction of despondency and distrust. Vehement indignation at "the solemn plausibilities" of the world pervades the "Robbers." In "Don Carlos," (commenced in this period, though published much later,) the passion is no longer vehement indignation, but mournful sorrow—not indignation that hypocrisy reigns, but sorrow that honesty cannot triumph—not indignation that formal vice usurps the high places of the world, but sorrow that, in the world, warm and generous virtue glows, and feels, and suffers—without reward. So, in the poems of this period, are two that made a considerable sensation at their first appearance—"The Conflict," published originally under the title of "The Freethinking of Passion," and "Resignation." They present a melancholy view of the moral struggles in the heart of a noble and virtuous man. From the first of these poems, Schiller, happily and wisely, at a later period of his life, struck the passages most calculated to offend. What hand would dare restore them? The few stanzas that remain still suggest the outline of dark and painful thoughts, which is filled up in the more elaborate, and, in many respects, most exquisite, poem of "Resignation." Virtue exacting all sacrifices, and giving no reward—Belief which denies enjoyment, and has no bliss save its own illusions; such is the sombre lesson of the melancholy poet—the more impressive because so far it is truth—deep and everlasting truth—but only, to a Christian, a part of truth. Resignation, so sad if not looking beyond the earth, becomes joy, when assured and confident of heaven. Another poem in this intermediate collection was no less subjected to severe animadversion, but with infinitely less justice. We mean "The Gods of Greece." This lament for the beautiful old mythology, is but the lament of a poet for the ancient founts of poetry; and few, now-a-days, can be literal enough to suppose it seriously intended to set up Paganism, to the disparagement of Christianity. But the fact is, that Schiller's mind was so essentially religious, that we feel more angry, when he whom we would gladly hail as our light and guide, only darkens us or misleads, than we should, with a less grave and reverent genius. Yet a period—a transition state—of doubt and despondency is perhaps common to men in proportion to their natural dispositions to faith and veneration. With them, it comes from keen sympathy with undeserved sufferings—from wrath at wickedness triumphant—from too intense a brooding over the great mysteries involved in the government of the world. Scepticism of this nature can but little injure the frivolous, and will be charitably regarded by the wise. Schiller's mind soon outgrew the state which, to the mind of a poet, above all men, is most ungenial, but the sadness which the struggle bequeathed, seems to have wrought a complete revolution in all his preconceived opinions. The wild creator of the "Robbers," drunk with liberty, and audacious against all restraint, becomes the champion of "Holy Order,"—the denouncer of the French republic—the extoller of an Ideal Life, which should entirely separate Genius the Restless from Society the Settled. And as his impetuous and stormy vigour matured into the lucent and tranquil art of "Der Spaziergang," "Wallenstein," and "Die Braut von Messina," so his philosophy threw itself into calm respect for all that custom sanctioned, and convention hallowed.

But even during the painful transition, of which, in his minor poems, glimpses alone are visible, Scepticism, with Schiller, never insults the devoted, or mocks the earnest mind. It may have sadness—but never scorn. It is the question of a traveller who has lost his way in the great wilderness, but who mourns with his fellow-seekers, and has no bitter laughter for their wanderings from the goal. This division begins, indeed, with a Hymn which atones for whatever pains us in the two whose strain and spirit so gloomily contrast it, viz. the matchless and immortal "Hymn to Joy"—a poem steeped in the very essence of all-loving and all-aiding, Christianity—breathing the enthusiasm of devout yet gladsome adoration, and ranking amongst the most glorious bursts of worship which grateful Genius ever rendered to the benign Creator.

And it is peculiarly noticeable, that, whatever Schiller's state of mind upon theological subjects at the time that this hymn was composed, and though all doctrinal stamp and mark be carefully absent from it, it is yet a poem that never could have been written but in a Christian age, in a Christian land—but by a man whose whole soul and heart had been at one time (nay, was at the very moment of composition) inspired and suffused with that firm belief in God's goodness and His justice—that full assurance of rewards beyond the grave—that exulting and seraphic cheerfulness which associates joy with the Creator—and that animated affection for the Brotherhood of Mankind, which Christianity—and Christianity alone, in its pure, orthodox, gospel form, needing no aid from schoolman or philosopher—taught and teaches. Would, for objects higher than the praise which the ingenuity of labour desires and strives for—would that some faint traces of the splendour which invests the original, could attend the passage of thoughts so noble and so tender, from the verse of a poet to the rhyme of a translator!