Thomas Chatterton.
Thomas Chatterton, whose career among all those of English men of letters was the most eccentric, was a posthumous son of a poor man who, besides being a choir-singer, kept the Pyle Street School in the city of Bristol, England. In a small tenement-house near by he was born, November 20, 1752. The mother maintained her two children, Thomas and a daughter two years older, by keeping a small school for girls. At the age of five years the boy was sent to the Pyle Street School, where the master, unable to teach him anything and deciding that he was an idiot, dismissed him. For a year and a half afterward he was so regarded. During this time he was often subjected to paroxysms of grief which were expressed generally in silent tears, but sometimes in cries continued for many hours. By many an expedient of a parent who understood him not, from frequent serious affectionate remonstrance to an occasional blow upon his face, he was led or forced along. One day this parent, while about to destroy an old manuscript in French, noticed the child looking with intense interest at the illuminated letters upon its pages. Withholding the paper from its threatened destruction she briefly succeeded in teaching him therefrom the alphabet, and in time from a black-letter Bible he learned to read. Not long afterward the family removed to a house near the Church of St. Mary Redcliffe, one of the oldest and noblest among the parochial structures in England. In a room called the Treasury House, over one of the porches of this church, was a pile of ancient documents, muniments of title, parish registers, and other things, which had been removed by the latest Chatterton, and whichwere kept in the house now occupied by the family. The boy when eight years old was sent to the Blue Coat, a charity school, where he learned with rapidity the elements taught thereat. The time not occupied with school tasks he devoted to reading whatever books he could borrow or obtain from a circulating library. While engaged in study he seemed unaware of everything passing around him. At twelve years of age he probably had read a larger number of books than any child who ever lived.
It is curious to study how the genius of some persons is developed and their destiny determined by the conditions of their childhood. The Chattertons for a hundred and fifty years had been sextons in St. Mary Redcliffe, the last being John, uncle of the poet. Whatever might have been in the transmission through several generations of ghostly interest in this monument of the Middle Ages, it is known that to Thomas Chatterton it was of all earthly objects the one most interesting. For the sports of other lads he had no heart; his leisure time was spent in the church, and in the study of its history and its varied quaint literature. In time he began to imitate the ancient manuscripts now in his mother's house, and with ochre, charcoal, and black lead, his success in that line was marvellous. These habits induced others kindred, among them absence of mind, under whose influence, sometimes, when in the company of others, he gazed silently at and about them with dreaminess, as if he was thinking how to connect contemporary things strange to him with those, his only familiars, two centuries before. It seems a pity for such a spirit to be without other guides than a weak, toiling mother, and a teacher dull and despotic as the head-master of the Blue Coat School. Of other things than books he had opportunities to learn little. The sense of honorable duty, either he had not been taught or its principles had been inculcated in ways too meaningless to make enduring impression upon his being. Under influences more benign he might have made a career, if not more brilliant, more felicitous. At the age of ten years he wrote some verses entitled "On the Last Epiphany," which, printed inFarley's Journal, showed that he had, if not high poetic genius, at least extraordinary sensibility of rhythm. Unfortunately his mind conceived for most of what he saw around him a hostility which drove him to express it in satirical phrase. A church-warden, whose name of Joseph Thomas would not have survived but for Chatterton's verses, was made immortal for the changes made by him while intent upon destroying ancient monuments, interfering with his own ideas of churchyard regularities. Some of the levellings of this man, particularly of an ancient cross mentioned by William of Worcester three centuries back, were scourged with a lash much imitating that of Alexander Pope, perhaps the only really existing poet whom he sought to imitate. Praises accorded to him inspired the feeling that if he could meet opportunities entirely favorable, he could become illustrious; and it is touching to note that in this ambition his leading thought was to be able to lift his mother and sister far above their lowly estate. Insufficiently taught in principles of personal rectitude, persuaded that greatest possessions were obtainable mainly through fraud, he commenced that strange career which none but a mind so littleinstructed could have failed to see must end in disaster. There can hardly be a doubt that insanity, if not born with him, was settling upon his understanding and that no degree of careful guidance or successful venture would have imparted entire relief.
In his fifteenth year he was apprenticed to John Lambert, an attorney of Bristol, by whom he was set to copying legal documents, an employment that lent many hours of leisure, which he devoted to study in heraldry and Old English. With these he became familiar, and then he began those impostures that were the bane of his short remnant of life. The first of these had for its victim, one Burgum, a pewterer, whose ignorance and vanity exposed him to the lad's designs to obtain money from him by flattery. Like many others in such conditions, the pewterer had eager desire to be thought a descendant of ancestry formerly of high lineage. One day he was told by Chatterton that among the ancient parchments appertaining to Saint Mary Redcliffe, he had discovered one with blazon of the De Bergham arms, and he intimated that from that noble family he, the pewterer, may have descended. The document was made out wholly by Chatterton. Investigation satisfied Burgum fully, and in return for the discovery he gave the boy a crown-piece. This compensation seemed so inadequate that the discoverer afterward celebrated it thus:
"Gods! What would Burgum give to get a nameAnd snatch the blundering dialect from shame?What would he give to hand his memory downTo time's remotest boundary? A crown!"
A year afterward, on occasion of the completion of the new bridge over the river Avon, he astonished the whole town by a paper printed in theBristol Weekly Journal, with the signature of "Dunelmus Bristoliensis," which was pretended to have been discovered among those multitudinous papers of the Treasury House, and which gave account of the city mayor's first passage over the old bridge that had been dedicated to theAssumption ofthe Blessed Virgin by King Edward III. and his queen, Philippa. Search for the sender was expedited by his offer of further contributions on the same line, and wonderful was the success attending his devices. No less than the other citizens was misled William Barrett, a learned surgeon and antiquary then engaged upon a history of Bristol. This man, who had been signally kind to the orphan, availed himself freely of his pretended findings, paid for them liberally, and used them in the preparation of his book. What pleased him most was the discovery that Bristol, among other notables two centuries back, had a great poet in the person of Thomas Rowlie, a priest, who, among other things, had written a great poem entitled "The Bristowe Tragedie; or, the Dethe of Syr Charles Bawdin," founded upon the execution of Sir Baldwin Fulford, in 1461, by order of Edward IV. This was indeed a great poem. The muse of tragedy had inspired the young maniac with much of her consuming fervor. The verses containing the intercession of Canyngemayor of Bristol, and his ideas of the chiefest duties of a monarch are among the most touching and noble among their likes in all literature.
As a contributor to theTown and Country Magazinehe obtained many a shilling, but far less often than what would have satisfied his eager wants, foremost among which was to see his mother and sister established in fine vestments and living in luxury. In time he grew to feel contempt for the Bristol people, high and low, and then he turned his eyes upon London. Application to Dodsley, the leading publisher, was discouraged for want of acquaintance with his condition and responsibility. He then essayed Horace Walpole, sending an ode on King Richard I. for his work "Anecdotes of Painting," and undertaking to furnish the names of several great painters, natives of Bristol. This application was signed "John Abbot of St. Austin's Minster, Bristol." In the letter he drew attention to the "Bristowe Tragedie" and other Rowlie poems. Walpole, who was as cold as urbane, expressed some curiosity to see these productions, which, when sent, he referred to Gray and Mason. These pronounced them forgeries. Whereupon Walpole, in the meantime informed of the real author and his condition, paid no further attention to the papers for a while, even to the request to return them. Enraged but undaunted by this failure he continued his work, both in old and contemporary English speech, producing "Aella," "Goddwyn," "Battle of Hastings," "Consuliad," "Revenge," etc. At length he grew restless to a degree beyond endurance. With the few acquaintances of his own age he talked of suicide. Feeling himself a stranger in that society, often spending whole nights in wakeful dreams instead of restful sleep, incensed with limitless ambition, he did indeed meditate upon making an end of himself. Among the papers on his desk one day was found his will, a singular document, containing among other things most incoherent bequests to several acquaintances, as of his "vigor and fire of youth" to George Catcall, the schoolmaster; "his humility" to the Rev. Mr. Camplin; his "prosody and grammar" and a "moiety" of his "modesty" to Mr. Burgum; concluding with directions to Paull Farr and John Flower, "at their own expense" to erect a monument upon his grave with this inscription: "To the memory of Thomas Chatterton. Reader, judge not. If thou art a Christian, believe that he shall be judged by a Supreme Power; to that power alone is he now answerable."
The Death of Chatterton, the Young Poet.
The Death of Chatterton, the Young Poet.
This document led to his dismissal by the attorney, who, in April 1770, returned to him his indentures. He at once set out for London with his manuscripts and a small sum of money raised by a few persons in Bristol. Through the help of a female relative he got board at the house of one Walmsley, a plasterer, in Shoreditch. In the history of literature nothing can be found so much to be compassionated as the life led by him during those summer months in the great city. Plodding the streets from day to day with his manuscripts, living mainly upon bread and water, not retiring to bed at night until near the morning, and then seldom closing his eyes, yet in this time guilty of no sort of known immorality, sending home frequent letters abounding in expressions of most fervid hopes and in promises of silks and other fine things to the objects of hisaffection, few cases could have appealed more piteously for help. The wits who might have succored were out of town. Goldsmith lamented that he had not known him. Johnson, with his stern kindness, if such a thing had been possible, could have saved him from despair. His deportment in the family with whom he lived was without exception of decorum, although he showed that any movement toward familiarity with him was offensive. In his sore stress he began to write papers upon politics, which were accepted by the partisan press. It was at the time when the arbitrary encroachments of George III. were met by the audacious courage of Mayor Beckford. Chatterton attached himself to the popular side; yet he seemed to have regret for the mistake in so doing, because of the comparative want of money in that party. In a long letter written to his sister, most of which is occupied with his great undertakings, he spoke thus of his political works:
"But the devil of the matter is, there is no money to be got on this side of the question. Interest is on the other side. But he is a poor author who cannot write on both sides. I believe I may be introduced (and if not I'll introduce myself) to a ruling power in the court party. I might have a recommendation to Sir George Colebrook, an East India director, as qualified for an office by no means despicable; but I shall not take a step to the sea whilst I can continue on land." In the midst of this struggle Beckford, the champion of popular rights, died suddenly, and the Walmsleys afterward testified that this event put Chatterton "perfectly out of his mind."
Soon after this he removed to Brook Street, Holborn, and became a boarder in the house of one Angell, a sack-maker. Here he continued to work day and night until desperation, long threatened, seized upon him. Court journals grew tired of articles showing little talent for political discussion, and he became ragged and almost shoeless. In the only despondent letter ever sent to his mother, he wrote of having stumbled into an open grave one day while walking in St. Pancras's Churchyard. The Angells, touched with his poverty and distress, kindly offered him food, which, except in one instance, he declined. One night after sitting with the family, apparently given over to despondency, he took affectionate leave of his hostess and the next morning was found dead from a dose of arsenic.
It was singular that the Rowlie writings were so far superior to his productions in modern English. The latter were commonplace, the former indicative of much genius. Indeed, one of the strongest evidences against their genuineness was the moral impossibility of their production in the age to which he assigned them. The imitation was as pathetic as it was audacious, attempted thus in honor of a model that never had existed.[Back to Contents]
Author signature. R. M. Johnston.
Robert Burns.
Robert Burns, the great lyric poet of Scotland, was born January 25, 1759, near the sea coast town of Ayr. His father, William Burness, had all he could do to support a family of children, of whom Robert was the eldest. The boy soon became a stalwart toiler and could turn a furrow and reap a swath with the best of his comrades; but his mind meanwhile grasped strongly and passionately all the literature to which it could get access. This was limited in extent; the books in his father's humble cottage were very few. He devoured, besides, everything in prose and verse that he could buy or borrow; and there were soon aroused in him all the longings of repressed genius and unemployed ambition.
Many of Burns's poems have had music set to them; but he began his rhythmical career by fitting poetry to music. A girl friend often worked beside him in the fields, as was the custom in that locality. She was a beautiful songstress, or at least seemed so to the untutored peasant-boy, and Robert soon learned to put new words to many of her tunes, not forgetting to include in them due commendations of the young lady herself. These efforts naturally received more or less applause; and the youth found his mind more and more drawn toward poetic effort.
His first few years seem to have been spent in a half-happy, half-careless boyhood; in them he had all the experiences of a poor but healthy Scotch peasant-lad, toiling in the fields, catching now and then a few weeks or months at school, coquetting with neighboring lasses, but with poverty and lack of social position always barring the way to his advancement.
Through all this, poetry was his solace and amusement; at the age of fifteen he had written many verses which, although crude, contained the promise of his subsequent career; but of course at that time they were admired only by a limited circle of his neighbors and friends. He also unhappily contracted certain convivial habits, which lasted in a greater or less degree all through his life, which no one regretted more than he did at times, and which greatly impaired and finally put an early end to a brilliant career.
When Robert was twenty-five years old his father, the good William Burness,died, and the family, who had kept well together, took a farm about eight miles distant from the old home, near Ayr. Here the young farmer-poet undertook to become a thorough and industrious husbandman. He turned his attention toward the literature of the farm; he tried to bend his powerful though dreamy mind toward the prosaic and the practical. But the venture did not thrive; some of the thousand-and-one casualties that are always besetting crops and crop-growers came his way, and the brave venture which he and his brother Gilbert had undertaken together, proved scant of success.
He, however, may be said to have done the greatest work of his life upon that farm. It was while one day weeding the "kailyard," or garden, with his brother, that he first decided, after they had talked it carefully over, to be an author, and to write verses that would "bear publishing." It is to be noticed that from this hour he became more methodical with his muse and seemed to work toward a purpose; and that within a short time after this resolve he wrote most of the poems that have made his name immortal.
In 1786 it was definitely decided that the farm was not going "to pay," and that his efforts as an agriculturist had failed. But these were not the only troubles that were gathering in the young poet's path. In 1785 he became engaged to his "Highland Mary." If we may judge by his poems, this was the one among his numerous love affairs in which his heart was most deeply enthralled; but there was another in which he was inextricably and fatally entangled. It was with a young girl, Jean Armour, to whom he seems to have been as sincerely attached as his headlong, susceptible nature would allow him to be to anyone. He made the best amends he could to "the bonnie lass" by giving her his written acknowledgment of marriage—a process perfectly legal in Scotland, though irregular—but her father still hoped for a more advantageous alliance for his daughter, and refused her to the poor poet; a sentiment in which the daughter, to all appearances, heartily joined.
It is interesting to think of this poverty-stricken family rejecting Burns, even after matters had gone thus far, on account of his lack of wealth, when he had at that very time, in his little desk, poems for which the world has since paid millions of pounds. But the future is often unseen, even by those highest in learning and deepest in wit; and it is little wonder that the unsophisticated family were unable to know even the pecuniary value of our young ploughman's brain.
Discouraged and depressed the young poet resolved on emigrating to Jamaica, as book-keeper of a wealthy planter. In order to procure the money with which to pay the expenses of his journey, and no doubt partly in pursuance of the plan made that day in the garden, he decided to publish a small volume, by subscription, which he did, at Kilmarnock, in July, 1786, having as the title-page of the book, "Poems, Chiefly in the Scottish Dialect; by Robert Burns." It will be seen that he now dropped the fifth and sixth letters from the name inherited of his father, and the boy Burness became the man Burns.
This book achieved immediate and unexpected success; and having realized a few pounds from its profits, Burns set out for Greenock, where he was to takeship for his new West Indian home. But his poems had attracted so much attention, and had been the cause of such commendation, that he was finally encouraged to stay and enjoy some of the fruits of his genius, which the world was now beginning to discover.
In November of the same year, encouraged by verbal praises and written commendations, some of them all the way from the literary centre of Edinburgh, he journeyed to that city, where he was received with great cordiality by many of the leading people, and urged to issue a second edition of his poems, which he did in April of the ensuing year. It was sold, like the first one, by subscription, and netted the author a much larger sum; while it procured him fame, all through the country, as "The Ploughman Poet."
During this year he took several tours in different parts of his native Scotland, in company with congenial spirits, once going a very little way into England. He was received gladly and hospitably everywhere by those who had read and admired his poems. His journals and letters during that period, probably upon the whole the most happy in his life, teem with accounts of courtesies, hospitalities, merry-makings, and gallantries, which he mentions as taking place all along the route. His poetic pen never seems to have remained idle very long at a time; and albums, fly-leaves, note-books, letters, and sometimes windowpanes, received in turn his quaint and fiery verses.
In October he returned to Edinburgh, where he remained for some time, filling social engagements, entangling himself in certain affairs of the heart, and endeavoring to get a settlement with his publisher, whom he considered as owing him the immediate payment of a considerable sum of money. He also assisted a compiler in making collections of old Scottish songs, and in furnishing new words to old airs. It is a singular fact, that while Burns was willing to earn money with the regular edition of his poems, he steadfastly declined remuneration for his songs, claiming that he did the work for love.
With the natural Scotch thrift of his fathers, he soon decided that he must have some more substantial occupation than that of a poet, and he applied for and received a position in the Excise. To add to his income he, in 1788, leased a farm on the river Nith, about twelve miles from Dumfries. The place contained one hundred acres, and was stated to be "more the choice of a poet than of a farmer." Its fine situation and beautiful views compensated, perhaps, in Burns's mind, for its sterility.
Here he brought his wife, Jean Armour, whom he had married under such unpleasant circumstances a few years before, and to whom he was drawn again as much by pity as by love, her parents having turned her out of doors. It is hardly necessary to say that the parents received him with open arms, now that he came with some signs of prosperity; and he no doubt entered anew upon married life with their sincere, if somewhat tardy, blessing.
Burns and Highland Mary.
Burns and Highland Mary.
Upon this farm of "Ellisland" Burns lived three years, and during that time he had three occupations—farmer, poet, and excise officer. In the last-named he was in the habit of riding two hundred miles per week, to different pointsthroughout the county. He wrote considerably, but perhaps not so well as if he had not been hurried and worried by practical affairs. As an officer he is generally admitted to have been thorough, correct, and at the same time humane; as a farmer, he again failed, and in 1791 sold back the lease of his place, pocketed, it is said, a loss of £300, and moved with his family to Dumfries. Here he took up the plan of living entirely upon his salary from the Government—£70 per annum. This would seem a meagre stipend now; but it would at that time have enabled Burns to support his family in comfort, though not in the way his abilities entitled him to do. His position gave him some perquisites, and he had the hope of an advance in his salary, which would follow a looked-for promotion to the office of supervisor. He spent his time in the performance of his duties, in collecting and writing songs for the above-mentioned compilation of Scottish melodies, and in meeting and conversing with the many friends whom his genius and geniality drew around him.
But his hopes and his health gradually failed together. Dumfries was on one of the great stage lines that led to and from London, and it was often invaded by tourists who were intent on "making a night of it" with the well-known peasant-poet. In these bouts, in which he was generally willing to recite his poems and sing his songs, he received much pleasure and applause, but nothing else, save the wear and tear of dissipation. His habit of outspoken opinion, in political and other matters, proved obstacles to his advancement in the public service; he fell gradually into debt, despondency, and disease—a mournful trio of companions for the most brilliant of Scottish poets! "An old man before his time," he lay down to die, in 1796, having lived, as time is counted, only thirty-seven short years.
The fame of this great and unfortunate poet has increased since his death; Scotchmen everywhere thrill with pride when Burns's magic name is spoken, and the world in general has a sincere love for the warm-hearted, plain-spoken bard, who turned his own soul to the gaze of his fellow-beings, that they might the better know their own. The space of this article will not permit even an enumeration of his wonderful poems; the world may almost be said to know them by heart. His "Cotter's Saturday Night," "Tam O'Shanter," "Bonnie Doon," "Auld Lang Syne," "Bruce's Address," "A Man's a Man for a' That," and many others that might be named, are likely to live for generation after generation; and his character as a man, although subject in many respects to severe criticism, can always be covered with a mantle of loving charity, when we remember his generosity of heart, his manly independence of spirit, his natural nobility of mind, and consider the difficult circumstances and terrible temptations that encompassed his stormy life.[Back to Contents]
Author signature. Will Carleton.
Schiller.
It is a common belief, and a common error, that clever children seldom became illustrious, and though we have instances of youthful dullards who have ripened into fame, they are rare in comparison with those who in early youth have given some indications of future renown. Of these last Germany's favorite bard is one. Born in the little village of Marbach, in the duchy of Würtemberg, on November 10, 1759, he, when a child, evinced proofs of remarkable imaginative and creative power. At as early an age as six he showed that he possessed a fearless nature and an inquiring mind. A terrific storm was raging, and his parents searched for him in vain; the vivid lightning and the crashing thunder increased their anxiety, but they could find no trace of the child. At length, when the storm was over, he was seen to descend from the topmost branches of a great lime-tree near the house. They rushed toward him and inquired why he had selected so dangerous a refuge. "I wanted to see," he replied, with an intrepid air, "where all the fire came from." Even at this period he found his favorite reading in the prophetic books of the Old Testament, and it was probably from Ezekiel that he derived his inspiration for Franz Moor's dream in "The Robbers." His mother taught him to read, and the stories she related to him were listened to with avidity; she was his closest companion and friend, and from her he inherited the gifts which made his name a household word in every home in Germany. He was brought up in a religious and scholarly household. Prayers twice a day, regular attendance at church, the study of Greek and Latin already commenced—these were his principal occupations at seven years of age, when other lads were playing about the fields. From his father he also inherited the literary instinct. The elder Schiller, at the time his son was born, was a lieutenant in the service of the dissolute and tyrannical Duke of Würtemberg, and was subsequently appointed governor of the palace of Solitude. He was a struggling man, and often felt the pinch of poverty. Nine books composed his library, among them "Erkenntniss Sein Selbst" and a Würtemberg "Hymnal." During the performance of his duties in Solitude he wrote a treatise on the cultivation of trees, which was very favorably received. Young Schiller's poetic instinct displayed itself on his tenth New-Year, when he greeted his father in German verse, to which he attached a translation in Latin. His taste for the stage also found early vent in the construction of a mimic theatre and cardboard characters, with which he used to play till he was fourteen, when the important question of hisfuture education was discussed in family council. His mother wished him to be placed in a private school at Tübingen, and his father was not averse; but the question was decided by the despotic Duke Carl, who insisted that the lad should be educated in the military academy he had established upon his estate, a few miles from Ludwigsburg, and which, two or three years afterward, was transferred to Stuttgart. Thither, therefore, Schiller was sent to study and prepare himself for the battle of life, and it was there he imbibed that contempt for servile obedience to military authority which, in "The Robbers," gave so extraordinary an impetus to revolutionary ideas in his native country, especially in the minds of the young. Slavish discipline was the law in the academy; the scholars wore a military uniform; they were soldiers, and were taught to obey the word of command; the sword and the drum were the symbols of authority; there were stated minutes and hours not only for important duties, but for the smallest observances and pleasures. The drum heralded the pupils to church, summoned them to their meals, announced when they were to begin to play and when to leave off, dismissed them to bed, commanded them to rise.
Schiller writhed under this discipline, which, to those who yielded patiently and uncomplainingly, might have been a death-blow to personal independence. In one of his letters to a young friend he wrote, "Do not imagine that I shall bow to the yoke of this absurd and revolting routine. So long as my spirit can assert its freedom it will not submit to fetters. To the free man the sight of slavery is abhorrent; to calmly survey the chains by which he is bound is not possible. My soul often revolts at the anticipation of punishment in cases where I am satisfied that my actions are reasonable." The masters of the academy had a difficult task to subdue the spirit of such a youth, and it was fortunate for literature that they did not succeed. The poet's wings would not be clipped, and in spite of the restrictions by which he was surrounded, Schiller pursued his imaginative course, and found time to feed upon the poetry he adored. To Klopstock's works he was specially indebted; that poet's "Messiah" and Virgil's "Æneid" may be said to have been the first solid stones in the foundation upon which his fame was to rest. There were, it is true, but slight traces of originality in a poem he wrote at this period, the hero of which was the prophet Moses, and it was due to the religious sentiment by which he was powerfully affected through Klopstock's works, that he chose such a subject. It had been decided that the church was to be his career, but he soon abandoned the idea, and transferred his affections to medicine, which he studied assiduously, without neglecting the groove to which his genius was leading him by slow but sure steps. Gerstenberg's great tragedy, "Ugolino," fell by chance into his hands, and gave him a new impetus; "Goetz von Berlichingen" fascinated him; and then came a revelation from a greater poet than all. Shakespeare, whose works he loved and revered with passionate ardor, and to emulate whom was perhaps the greatest ambition of his life. He was seventeen when he first saw himself in print. He wrote a poem called "Evening," which he sent to Haug's "Swabian Magazine;" it possessed no particular merit, and was chiefly remarkable for its resemblance to the works he hadread and admired; but the editor spoke of it in terms of praise, and predicted that its author would become an honor to Germany. He wrote in secret, and was already busy sketching "The Robbers," and writing scenes in that famous drama; he and his young friends used to meet clandestinely and declaim their compositions, concealing their manuscripts when their rooms were searched and inspected by the ushers and masters. He suffered intensely in his friendships, and his letters breathed rather the spirit of a man who had lived to see his fondest idols shattered, than that of a youth who had scarcely reached his spring-time. In his criticisms upon himself he was unsparingly harsh, and long after "The Robbers" had been declared to be a work of the highest genius, he penned the following remarkable condemnation of the play: "An extraordinary mistake of nature doomed me, in my birthplace, to be a poet. An inclination for poetry was an offence against the laws of the institution in which I was educated. For eight years my enthusiasm had to struggle with military discipline; but a passion for poetry is strong and ardent as first love. It only served to inflame what it was designed to extinguish. To escape from things that were a torment to me my soul expatiated in an ideal world; but, unacquainted with the real world, from which I was separated by iron bars—unacquainted with mankind, for the four hundred fellow-creatures around me were but one and the same individual, or rather faithful casts from the same model which plastic nature solemnly disowned—unacquainted with the passions and propensities of independent agents, for here only one arrived at maturity (one that I shall not now mention)—unacquainted with the fair sex, for it is well known that the doors of this institution are not open to females, except before they begin to be interesting and when they have ceased to be so—my pencil could not but miss that middle line between angels and devils, and produce a monster, which fortunately had no existence in the world, and to which I wish immortality merely that it may serve as a specimen of the issue engendered by the unnatural union of subordination and genius. I allude to 'The Robbers.' The whole moral world had accused the author of high treason. He has no other excuse to offer than the climate under which this piece was born. If any of the numberless censures launched against 'The Robbers' be just, it is this, that I had the presumption to delineate men two years before I knew anything about them." He was but twenty-one when The "Robbers" appeared in print and was produced upon the stage, and while he was hailed on all sides as the German Shakespeare, he lived in want and extreme privation.
Duke Carl was deeply incensed by the patriotic and independent sentiments of the poet, and he sent an official mandate to Schiller, ordering him to discontinue all further literary work and composition. To disobey the despotic command and to remain in the Duke's service, would have entailed imprisonment. He resolved upon flight from Solitude, and on the night following that on which "The Robbers" was being enacted for the first time in Hamburg to a crowded and enthusiastic audience, he fled, with a friend, from his fatherland to pursue his eventful and turbulent career. A description of his appearance at this period isextant: "He was cramped into a uniform of the old Prussian cut, that on army surgeons had an even uglier, stiffer look; his little military hat barely covered his crown, behind which hung a long queue, while round his neck was screwed a horse-hair stock several sizes too small. More wondrous, however, was the nether part of him. Owing to the padding of his long, white gaiters, his legs seemed thicker at the calf than at the thigh. Moving stiffly about in these blacking-stained gaiters, with knees rigid and unbent, he reminded one irresistibly of a stork." Freed now by his own bold act from military slavery, Schiller entered Mannheim with joyful hopes. With the manuscript of "Fiesco" under his arm, he called upon the régisseur, Meyer, in whose house he read two acts of the play before a company of actors. His hopes were speedily dashed to the ground; when he finished reading the second act every actor but one had left the room, and Meyer thrust a dagger into the poet's heart by declaring that "Fiesco" was nothing but high-flown rubbish. Having, however, heard but two acts of the play, and probably stirred to compassion by Schiller's mournful countenance, the régisseur requested that the manuscript should be left with him; and the following morning the poet was compensated for the intervening night of misery, by hearing Meyer proclaim that "Fiesco" was a masterpiece, and that the bad effect it had produced was due to the villainous manner in which Schiller had read his verse. Notwithstanding this favorable opinion, which was endorsed by others who read the play, it was with great difficulty that Schiller succeeded in obtaining a publisher for the drama, and then he was in an agony to see the public criticisms upon it. Meanwhile he was working at fever heat on "Marie Stuart" and "Don Carlos." Into this last work he threw all his heart and soul, spurred on, doubtless, by the passion of love, which now for the first time possessed him. The object of his affections was Charlotte von Wolzogen, whom he had met in Stuttgart, and into whose society he was now thrown. He experienced all an ardent lover's joys and tortures. "It is fearful," he wrote, "to live apart from humanity, without some sympathizing soul; yet no less fearful is it to cling to some kindred heart from which, sooner or later, in a world where nothing stands sure, one must wrench oneself, bleeding, away." On January 10, 1784, he was elected a member of the Deutsche Gesellschaft, and on the following day "Fiesco" was produced. Its first representation was but a partial success. It met with more favor on its second performance on the 18th. Its third representation was less favorable, and then it was quietly laid aside. His suit with Charlotte did not prosper, and he relinquished the hope of winning her. He was despondent and in debt. He owed money to Charlotte's mother and to his father; but he struggled on, and in the latter part of the year he issued a prospectus of a new journal, "Thalia," which was to make his fortune—an anticipation which was not realized. The journal was to be published six times a year; philosophy, biography, literary reviews, and dramatic criticisms were to be its leading features; and he threw himself into the task with enthusiasm. The difficulties he encountered were tremendous; these, with his love affairs (for Charlotte von Wolzogen was not the only woman upon whom he set his affections), the labor entailed by"Thalia," and the numberless ideas for fresh romance with which his brain was teeming, would have broken down most men; but though he repined at reverses, he rose continually superior to them. Long before "Don Carlos" was finished he commenced "The Ghostseer," in which he intended to develop an idea which had originally formed the scheme of "Friedrich Imhof." His life was a kind of fever; with his ardent friendships, his susceptible passions, his pecuniary anxieties, and his fertile brain forever at work, he knew no rest. He had removed to Jena, the capital of Saxe-Weimar, and at that time the literary centre of Germany. The Prince Charles Augustus and his famous mother, the Princess Amalia, made him welcome and encouraged him. A gleam of sunshine now shone upon him; and he saw a prospect of domestic happiness. He fell in love with Charlotte von Lengenfeld, and in 1789 they were engaged. On February 22, 1790, the fond couple were married at the little village church of Wenigen-Jena. It was a simple wedding. "We spent the evening in quiet talk over our tea," wrote Lotte, sixteen years after, when she was a widow. It was a happy union, and the honeymoon was short, for Schiller had no time for idleness. This year he wrote his "History of the Thirty Years' War," and had the satisfaction of hearing it highly praised in influential quarters. He had never enjoyed such happiness as now, his only sorrow in the early months of his marriage arising from a brief separation from his wife, who had to go to Rudolstadt for her mother's birthday.
Schiller presented to the Princess of Saxe-weimar.
Schiller presented to the Princess of Saxe-weimar.
In one of his letters to her he says, "Your dear picture is ever before me; all seems to speak to me of where the little wife walked, and My Lady Comfort" (Lotte's sister, Caroline) "sat enthroned. And to feel that my hand can always reach what my heart would have near it, to feel that we are inseparable,thatis a sense which I unceasingly foster in my bosom, finding it exhaustless and ever new." Recognition of his genius came from all sides, from Goethe, Wieland, Körner; and by the press he was hailed as the Shakespeare of Germany. He needed some such encouragement, for he was attacked by a dangerous illness, which was aggravated by pecuniary troubles; had it not been for his wife's tender care he could scarcely have recovered, and it was well for him and for his country that there came to him at this crisis an offer from the Hereditary Prince and Count von Schimmelmann, of a thousand thalers per annum for three years, in order that he might obtain the rest needed for his restoration to health. "I am freed for a long time," he wrote joyfully to his dear friend Körner, "perhaps forever, from all care." To the generous donor he said, "I have to pay my debt, not to you, but to mankind. That is the common altar where you lay down your gifts and I my gratitude." The method he adopted to recruit his health was to begin to work again. The French National Assembly conferred upon several celebrated foreigners the right of citizenship, and at this distance of time it is strange to read the name of the German Schiller among them. Though seldom free from suffering, which was frequently so acute that he spoke of it as torture, it was a proof of his indomitable spirit that during his last decade he achieved his most memorable triumphs; and yet, in the height of his powers, hisyouthful dread returned to him, and he expressed a doubt whether he had not mistaken his vocation. The encouragement of Goethe went far to sustain him; between these two great poets existed a warm friendship, and Goethe showed his confidence in Schiller by asking him to correct "Egmont" for the stage. But still he desponded, and it was not till he read Goethe's "Wilhelm Meister" that the full force of poetic fervor awoke within him. "Wallenstein" had been laid aside; he took it up again with glowing feelings; he wrote "The Glove" and "The Ring of Polycrates;" he revised "The Ghostseer" for a new edition, and later on he had the joy of witnessing a masterly performance of the part of Wallenstein by the fine actor, Graff. Following his great dramatic trilogy, "The Camp of Wallenstein," "The Piccolomini," and "The Death of Wallenstein" (the English rights in which he sold to Bell, the publisher, for £60). Schiller now devoted himself to "Mary Stuart" and "Macbeth," and still farther undermined his health by regularly burning the midnight oil. On May 14, 1790, "Macbeth" was performed, and received with tumultuous applause; three days before this performance he had read to the players the first four acts of "Mary Stuart," and when the last and fifth act was written he said to Körner, "I am only now beginning to understand my trade." Following "Mary Stuart," he wrote "The Maid of Orleans," and then he was absorbed in what is perhaps the greatest of his works, "William Tell," the first reading of which took place in Goethe's house on March 6, 1804. On the 9th it was rehearsed at the theatre, and on the very next day he commenced a new drama, "Demetrius, or, The Bloody Bridal of Moscow," thus following out, as indeed he had done throughout the whole of his career, his axiom that life without industry was valueless. "William Tell" was a triumphant success, and may be said to have been the last leaf in his laurel wreath, for he was destined not to live long after this great triumph. On May 9, 1805, he died, at the early age of forty-six, and all Germany mourned the loss. "Dear good one!" he said to his devoted wife, fondling her hand and kissing it the day before his death. It is recorded that in his last hours he spoke of hearing in his dreams the pealing of a bell. It may be that his own beautiful poem, "The Song of the Bell," was in his mind, and that, with the conviction that death was nigh, the fancy was inspired by the lines in his poem:
"And as the strains die on the earThat it peals forth with tuneful might,So let it teach that nought lasts here,That all things earthly take their flight."[Back to Contents]
Author signature. B. L. Farjeon.