Friedrich Schiller.

Selections from Schiller's ballads and lyrics; online

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Schiller's Ballads and Lyrics










Entered at Stationers' Hall, London

Schiller's Ballads


little volume is only introductory. The se-
lections include some of Schiller's most charac-
teristic and famous poems, but the editor had no
thought of showing the poet's development or his
progress in his art. Of his earlier poems, which only
his name rescues from merited oblivion, no example
has been given, and of the so-called second period
only two, 5ln bte greube and te otter ried)enlanb.
The ballads are the only class well represented, but
enough of the others have been selected to show their
character. A brief introductory note gives the external
facts regarding each poem, and the footnotes aim to
explain whatever is necessary for the understanding of
the text, but nothing more. Viehoffs chronology has
been followed in the arrangement of the poems. The
vocabulary is intended to be complete, including
proper names as well as words occurring only in the
notes or questions. The questions are included to
furnish a basis for teachers who prefer to conduct the
recitation entirely in German. No outline of the poet's
life or critical essay on his poems as a whole has been
attempted. So much excellent work on the subject




is so easily available that this seemed quite unneces-
sary. It remains, therefore, only to thank those who
have aided me in the preparation of the work, and
here the relation has been chiefly that of teacher and
student. The separate introductions, as well as a
large part of the vocabulary, were compiled under
my direction either as class-room or special work.
The same is true of a portion of the notes, but all
this material has been carefully revised, so that my
chief obligation remains one of interested sympathy
in the work. To my colleague and associate Prof.
B. A. Eisenlohr are wholly due the questions on the
poems and the revision of the vocabulary to contain
words used only in them. Finally, to the American
Book Company, at whose suggestion the book was
begun, and whose patience and courtesy more than
once served to urge on a task that was long delayed,
my special acknowledgments are also due.

L. A. R.


$n bie ftreube 7

Die otter @rted)enlanb 12

Da Ceridjleierte 33itb 311 2ai l8

SBtirbe bcr ^rauen 2I

Der pajtergang 2 5

2)a 3JZabc^cn cm3 bcr Qrcmbe 37

Stage ber Sere 3^

Xte SBorte be laubcnS 44

$er 2:aud)er 46

I)er anbid)iil) 54

S)er SRing bc ^ol^frate 57

fitter Stoggenburg 62

Die #ranic$e be 3bi)lu 66

Der ong nad^ bem gtjenfjammer 74

De 9Kab(^en ^lage 8 5

Der ^ampf tnit bem rcuf)en 87

Die SBUrgfaaft , I0

Da eteufi^e 3e[t i 6

Da Sieb Don ber locfe "5




SQttbdjen con Orleans 134



Set raf toon abburg 138

S3erglteb 143

5)er ^ll^enjfiger 146

gragen 149

Vocabulary 171

Ztn Me

Written in October or November 1785, and first published
in 1786.

The poem belongs to Schiller's second period, and, though
showing extravagant enthusiasm and uncontrolled emotion, is
less bombastic and exaggerated than his earlier efforts. The
subject is characteristic of the i8th century cult of abstract
ideals, and reflects the enthusiasm that KOrner's friendship
aroused. As a hymn sung at a social gathering it celebrates
the love of humanity and universal brotherhood. The first two
stanzas tell the subject and the members of the company ; the
next two present joy as the law of the animate and inanimate
world, the third pair refer to the moral world, while the last
two pledge a sacred vow to the Good Spirit. The chorus strikes
the keynote of the Divine Fatherhood; then from the Unknown
it develops this conception as the Creator, who guides and re-
wards and judges justly, up to the Good Spirit to whom the
vow is pledged. In later years Schiller severely censured this
poem, but it had appealed to the German public and has always
remained a popular favorite among his lyrics. Beethoven's Ninth
Symphony was partly inspired by it.

greube, fdioner otterfunfen,

Stodjter QU (lt)ftum,
2Bir betreten feuertrurtfen,

^nmmltfdje, bein >dltgtum.
2)eine 3<*uber binben timber,

2Ba bie 9Jlobe ftreng geteilt;
Me 9ftenf(f)en toerben Sriiber,

2Bo bein fanfter gliigel toeilt.

5. ^ttnmltfdjc : i. e. greube. 7. 9Dtobe : the charm of a com-
mon joy unites those separated by caste or custom.



etb umf<$Iungen, SHtfltonen I
Xicfcn $uf$ ber ganjcn SBelt !
SBruber iiberm ternenjelt
em Iteber 33ater mofjnen.

Bern bcr grofee 2Burf gclungen,

@ine greunbc $reunb ju fetn,
SSer ein ^olbe 2Beib errungen,

5Hifd)e feinen ^ubel cin !
Sa leer aud) nut @ine <SeeIc

@ e t n nennt auf bem rbcntunb I
Unb mcr'S nic ge!onnt, ber ftcftlc

SScinenb fid) au biefem SBunb.

2Ba ben gro^en Sfttng Betuo^net,

^)ulbige ber @t)mpatf)ie !

3u ben ternen lettet fie,
2Qo ber Unbefannte t^ronet.

ftrcube trin!en aHe SSefen

lln ben Sriiften ber 9latur ;
Sltte uten, afle Sofen

Ujrer 9lofenfpur.

2. tefen ^llfe : symbolic of the brotherhood of mankind, all
the children of the One Father. 5. SBem ... gelungen : who-
ever has had the great happiness; mir tft ber gtofje SBltrf flC=
lunflen is a set phrase = I have won the grand prize. 10. >Ctn :
alolute possession, his own. 12. SBetltenb : because as joy-
less he must feel his deprivation. 13. 28a : all (beings) that;
the neuter including all animate creation. 16. bcr llnbefamttt :
/'. e. deity.

Sin btc greube

$iiffc gab fie unS unb 9teben,
(Stnen greunb, gcpriift tm Sob ;

SBoKuft trarb bem 2Burm gegeben,
Unb ber (f)erub ftefjt dor ott.

S^r ftiirjt nieber, ^Riflionen ?

5tl)nbe[t bu ben cf^fer, Belt?

@ud)' i^n iiberm ternenjelt,
Itber ternen mu^ er raofjnen.

greube ^et^t bie ftorfe

^n ber erotgen 9latur.
greube, greube tretbt bte SRtiber

^n ber grofeen SSeltenu^r.
SBIutnen lodEt fie QU ben ^etmen,

onnen au bem firmament,
pljaren roflt fie in ben 3ftaumen,

SDie bc @ef)er 9lor nid)t Icnnt.

mie feine onnen ftiegen

be $immel prac^t'gen
Saufet, SBriiber, cure 23a^n,

n)ie ein f)elb gum iegen

5lu ber SBa^r^ctt ^enerfpie
Sdcfjett fie ben $orfd)er an

3u ber Stitgenb fteilem
Scitct fie be ulber

3-4. SBltrtn . . . Gfyerilb : extremes respectively of sensual and
spiritual joy. 16. efyerS 9io()t : i. e. telescope.

10 fitter

5Iuf be foubenS onnenberge
@ief)t man ifjre ^afynen mdjn,

2)urrf) ben SRijj gefprengter arge
@ie im Gljor ber @ngel ftefjn.

S)ulbet mutig, 'UHflionen 1

ulbct fiir bie beffre SBelt !

2)roben iiberm ternettjelt
2Birb ein grower ott belofjnen.

ottern lann man nidjt bergelten ;

<Srf)6n t[t', i^nen gleic!) 311 fein.

ram unb Irmut foil fid) melben,

5J?it ben ^ro^en fief) erfreun.
roll unb 9tadje fet bergeffen,
Unferm Stobfetnb fei Derjtetin ;
Strane fott U;n preffen,
SReue nage i^n.

llnfer djulbbud) fci bernt^tet !
^UtSgefo^nt bie ganje 2BeIt 1
SBriibcr iiberm ternenjelt

SRt^tet ott, tote rtir geric^tet.

e fprubelt in
3n ber Straubc golbnem Slut
Srinfen anftmut ^annibalen,

|)elbenmut -

4. @te: object of fie^t, referring to ftreube. 15. <)reffen =
bebriicfen. 23. ilanmbalen : subject of trtnlcn; possibly the poet

Sin bie greube

SBriiber, fltegt ben euren
2Benn ber botte Corner freift,

aj$t ben @c^atim gum |)tmmel fprtjjen
S)iefe Ia bem guten eift 1


SDen ber terne 2BirbeI lofien,
5)en bc @etapfi |)t)mne preift,
S)iefe Ia bem guten etft

ttberm (Sternenjelt bort oben I

t^eften SJtut mit fdiroerem Seiben,

^)ilfe, IDO bie llnfdjulb tneint,
(Stoigleit gefcf)iDornen (Siben,

SBa^r^eit gegen ^reunb unb $einb,
SJiannerftoIj Dor ^onigSt^ronen,

Sruber, gait' e ut unb 33Iut
9Serbten[te feine kronen,

Untergang iier 2iigenbrut !

Gf) or.

ben ^eit'gen Quid bitter,
@d)tt)6rt bet biefem golbnen 2Bein,
elubbe treu u fetn,
e Bet bem ternenrtc^ter.

thought of the Greek legend that regards Bacchus as a civilizer
of men, but the figure is absurdly extravagant.

2. Iretft : the wine cup is sometimes passed about, each drink-
ing the pledge in turn. See vocab. 9tomer.

ii. @tjj!ett . . . Siben, see vocab. Snrigfeit.



Die (Botter

Written in the spring of 1788, and published in Wielai
eutfd)er SJlerfur, this poem was recast in its present and sho
form in 1 800.

The poem expresses Schiller's enthusiastic admiration of Gr
life and the poetic conceptions embodied in Greek mytholc
The original version provoked harsh criticism as an attack u
Christianity, but that was not the poet's intention, and in
revised form the passages upon which this criticism was ba
were changed or omitted. The poem is in form an elegy
menting the loss of a poetic conception of nature, and is noi
be interpreted as an attack upon Christian monotheism.

S)a tljr nocfj bte fdjb'ne SSelt regieret,
9ln bet $rettbe leidjtem angelbanb
eltge e[d)Ied)ter nod) gefttljret,
c^one SSefen aii bem gabellanb I
Sldj ! ba euer SSonnebienft nod) glance,
2Bte ganj anber, anber tnar e ba !
man betne Sempel noc^ befrdnste,

ber 2)td)tung

noty lieblid) urn bte SSa^r^eit manb,
bte c^opfung flop ba SebenSfuUe,
Hnb IDO nie empfinben tutrb, empfanb.
?tn ber Siebe SBufcn ftc gu briicfen,
ab man ^o^ern 5lbet ber ftatur,

tt)ie ben etngetoei^ten SBIidtcn,


2. i$r : construe ba tfcr . . . fd^one Sffiefen . . . nod) . . . regie
(unb) . . . secret. The auxiliary fiabt is to be supplied. 9.
tfjufia : see vocab. ** " ;ti -~ cnr ~ *

religious emotion.

16. eingetoeihten SltcEen ; i. e. to poetical a

S)te otter rieehcnlanbS 13

2Bo jefct nur, tote unfre SBeifen fagen,
@eelenlo ein geuerbafl fief) breljt,
Scnftc bamal feinen golbnen SSagen
elio in ftifler 9#ajeftat.
Sicfc 6Ijen flitttcn Creaben,
Sine 2)rt)a lebt in jenem S3aum,
Stu ben llrnen lieblidjer 3tajaben
prang ber (Strome ilberfc^aum.

Sorbeer toanb fic^ einft nm tlfe,
ScuttalS 2o(^ter fc^njeigt in biefem Stein,
tont' au jenem <S(^tIfe,
au biefem ^)ain.
empfing 2)emeter 3^^ re /
S)te fie u m ^3erfep^onen getoetnt,
llnb bon biefem |wgel rief pt^ere
5tci) umfonft ! bent fcijonen $reunb.

3u S5eu!alion efc^Iec^te ftiegen

noc^ bie ^immliftiien ^erab ;
S frfione Stouter gu befiegen,
ber Seto <So^n ben )irtenftab.

.. ettO : the sun-god was believed to drive a four-horse
riot daily across the sky. 5. Oreabcit is subject. 9. 2or=

: i. e. Daphne, changed to a laurel to escape Apollo.

jEcmtaI jod)ter : i. e. Niobe, changed by Zeus into a
:. II. tyrinr.' $Iage : Syrinx was a naiad who fled from
. She was changed into a reed, from which the god cut

pipe upon which he played. 12. Spfiilomeltt : see vocab.

2)etneter = Ceres. Cf. S5a leufifdje geft. 15. (>)tfier.e =
us, lamenting Adonis. 17. 2)CltfuIton efdjledjte : i.e. the
ian race. See vocab. 20. ber Ceto obit : i. e. Apollo, who
ime a shepherd to gain the love of mortal women.


3iDt|"d)en 9Hcnfdjen, ottern imb eroen
$niipfte %nor einen fd)bnen 33unb,
terblidje mit (Sbttern unb eroen
wlbigten in Slmatljunt.

ginftrer Qsrnjl unb traurige* Sntfagen
SBar au eurem Ijeitern 3)tenft berbannt ;
lucfiid) [oaten afle ^erjen [djlagen,
2)enn end) war ber lucfltdje Dertuanbt.
5)amat mar md)t ^cilig al ba 6d)bne ;
Reiner greube fc^amte fic^ ber ott,
2Bo bie feufd) errb'tenbe
23o bie rajie gebot.

Sure 2empel ladjten gleid)

bert)errlid)te ba |)elbenfpiel
%t be ^[t^mu fronenreidjen gef
Unb bie SBagen bonnerien pm
c^on gefdjlungne, feelenfiofle Stance
$rei[ten urn ben prangenben 5lltar ;
Gure <Sd)Iafe fdjmiidten <5iegefra'nje,
kronen euer buftenb

Qtooe tnuntrcr
Unb ber ^antfyer prdd)tige efpann
9J?eIbeten ben groften ^reubefiringer ;
unb <5att)r taumeln i^m boran !

4. $matf)imt: see vocab. n. $am6ne: see vocab. 12. ra
see vocab. 15. 2Sftf)rciu : see vocab. The prizes bestowed at
Isthmian games were wreaths, which the victors subseque
devoted to the gods by crowning their images with them.
^Jaitthet : the chariot of Bacchus was represented as drawn

S)ie Stter rte^enlonbS 15

llm iljn fpringen rafenbe -JJianaben,
S^re Stanje loben feinen SBein,
llnb be 2Birte braune SBangen laben
Suftig 511 bem 23ecf)er ein.

2)ama( trat fein grajjlicfyeS erippe
bag Sett beg terbenben. Sin Shift

ba lefcte Seben Don ber Sippe,
eine gacfel fenft' ein eniu.
elbft be Orfu ftrenge 9ttc^tertt)age
^)ielt ber (Snfet einer terblic^en,
Unb be 2^rafer [eelenuoUe
bie (rinnt)en.

eine greuben traf ber frofje fatten
^n @I^fien ainen mieber an ;
Sreue Siebe fanb ben treuen atten,
Unb ber 2BagenIen!er feine 33a^n ;
htu' piel tont bie getooljnten Sieber,
3n 5lke[ten 5lrme finft 5lbmet,
einen ^reunb erfennt OrefteS toieber,

the medieval symbol of death. The Greek con-
tion was a beautiful youth with an inverted torch. 10. 6nfel :
Minos, son of the mortal Europa by Zeus. n. 2!hrofer : i. e.
iheus, who went down to Hades to bring back his wife Eurydice.
his music he so moved Pluto that the god permitted her to
irn ; he failed, however, to fulfill the condition and lost her for-
r. 13. Ctltt : i. e. corresponding to his life in the upper world.
: poet had in mind Virgil's description of Elysium (Aeneid, Bk. 6,
-55). 15. fanb . . . atten : allusion to Alcestis and Admetus,
) are named in 1. 18. 19. einen greunb . . . Oreft : i. e.
ades; the two are the classical type of friendship. 20. 5p{)iloftct:
vocab. Sophocles uses the story as a tragic theme.

)6fj're ^reife [tdrftcn ba ben linger

ber Sugenb arbettooller 23al)it,
roper Slaten fyerrlidje 2Mbringer
$Iimmten 311 ben eligen Ijinan.
SSor bent SBteberforberer ber Stoten
9ieigte fid) ber otter [tide <5d)ar ;
$urd| bie gluten leudjtet bem ^iloten
SSom Dlmp ba

@d)6ne 2BcIt, too bt[t bit? $cfjre tmeber,
10 |)olbe Slutcnalter ber Siatiir !

5tt^, nur in bem geenlanb ber Sieber
fiebt noi^ beine fabel^afte (Spur.
9lugeftorben traitert ba efilbe,
Petite ottfyett jeigt fid) metnem
is %$, oon jenem lebcnroarmen 33ilbe

Slieb ber <Scf)atten nnr

jene SSIiiten [inb gefaHen
SSon be 9iorben fdjauerlidjem
6inen gn bereidjern unter alien,
5Ku^te biefe ottenoelt bergefin.
Straurig fud/ id) an bem ternenbogen,
, (Selene, finb' id) bort nid)t mefjr ;
bie 23d'Iber tuf id), burd) bie 2Bogcn,
fie tm'eber^aflen leer.

4. ^limmten . . . f)tnan : i. e. were received into Olympus.
The rest of the stanza gives specific instances, first of Hercules
(SBtcberforberer btr Soten), who brought Alcestis back from
Hades ; then of Castor and Pollux (ba 3ttriflttiQpaar) w ho be-
came maritime deities. 19. Ginen : i. e. the God of mono-
theism. 22. (Selene : see vocab.

5)ie otter riedfjenlanbS 17

Unbeftwfst ber $reuben, bie fie fdjenfet,
9He entjikft bon ifjrer ^errlidjfeit,
9?ie getoaljr be eifte, ber fie lenfet,
el'ger me burd) meine eltgfett,
gul)ilo feI6[t fitr if)re ^imftlcrS (Sljre,
@(ei(^ bem toten t^Iog ber ^Benbelu^r,
5)ient fie !nec!)tif(^ bem efe^ ber djtoere,
2)ie entgotterte 9tatur.

SJiorgen roiebcr neu fic^ 311 entbinben,
SStiljIt fie ^eute fic^ i^r eigne raB,
Uub an eiDtg gletdjer pinbel loinben
Don felbft bie TOonbe auf unb ab.

fe^rten 511 bem Sidjterlanfce
>eim bie otter, nnnii^ einer 2BeIt,
)ie, enttoadjfen i^rem tingelbanbe,

3ta fie fe^rten I;eim, unb
SlflcS C> ^ e nafjtnen fie mit fort,
5tfle garben, a He 2ebentb'ne,
Unb nn blieb nnr ba entfeelte 2Bort.
9Iu3 ber 3 e ^P u t toeggeriffen, f^meben
<5ie gerettet auf be ^inbu |>of)n :
2Ba unfterbliii) im efang foil leben,
im Seben unterge^n.

7. Sd^were : see vocab. 22. be ^Ptnbu iJDoljn: i. e. they live
in poetry.


Das ferfdjleierte


Written in August 1795, and first published in >ie ^
The source of the poem is not definitely known. V;
writers have described the temple at SaYs. which contai
casket that only certain priests might open or even 1
Should anyone else have the temerity to do so it was sai(
he would be deprived of his reason, and Pausanius tells
certain youth whom this fate befell. The same legend is ti
by Novalis in his unfinished romance 2)ie 2ef)tltnge 3U
For the casket Schiller substitutes the veiled image, an
central thought of the poem, as summed up in the last si
is that the search for truth demands due restraint, for it
to be grasped by the hand of rash impatience, but is dis
only to the reverent seeker.

(Sin ^tingling, ben beg 2Biffen fyeijser 2)ur[t
9?ad) ais in %t)J)teti trieb, ber ^riefter
efyeime 28eiI)eit 311 erlernen, Ijatte
cf)on manc^en rab mit fdjneflem eift burt^ei
tet rip iljn feine iJorf^bcgicrbc meiter,
Unb faum befdnftigte ber |)ierop^ant
5)en ungebutbtg <5trebenben. ,,2Ba ^ab' ic^,
SBenn i^ ntc^t oKcS ^abe?" fprarf) ber
; ,ibt' etma Ijter ein 2Beniger unb
3ft beine SSa^r^eit mie ber tone IM
3tm eine urnrne, bie man grower, fleiner
S9e[i|;en fann unb immer bo^i befi^t ?
3ft fie nid)t eine einj'ge, ungeteitte ?

3. QY : cf. vocab. 4. erternen : observe the force c
prefix; lemen = learn, erlernen = acquire by study. 5.
refers to the different stages of his progress, n. ber <i
liirf : the enjoyment of the senses. 14. etnc etllj'ge, ungei
*'. <;. SBafirljeit.

2)a terfdjleterte SBtlb ju <5a* 19

rim (Sinen Son au einer ^armonte,
tint @ine $arbe au> bcm 9tegenbogen,
) alle, rca bir bleibt, ift nid)t3, fo long
) fdjb'ne 5111 ber Stone fefjlt unb $arben."

fnbem [ie einft fo fprac^en, ftanben fie
einer etnfamem 9lotonbe ftifl,
ein berft^Ieiert 33ilb t>on 9tiefengro^e
n Bungling in bie 5tugen fiel. SBermunbert
it er ben $uf)rer an unb fprid)t : ,,2Ba tft',
> ^inter biefem djleier fid; berbirgt?"
:e SBa^r^cit/' ift bie 5lntn)ort. ,,2Bie?" tuft fener,
itf) SBaljrljeit ftreb' i<^ ja oUcin, unb biefe
abe ift e, bie man mir berl;tittt?"

2)a mac^e mit ber ott^eit QU/' berfetjt
^ierop^ant. ff ^ein 'Sterbli^er, fagt fie,
ft biefen @d)Ieier, bi id; felbft tf)n
i tuer mit ungemei^ter, fi^ulb'ger
t ^eiligen, berbotnen fritter ^ebt,
, fprt(|t bie ott^eit" ,,^un?" w cr fie^t bie

n feltfamer Orafelfprud; I 3)u felbft,

Ijotteft alfo niemal i^n ge^oben?"

(; ? 2Ba^rIi<^ nidjt ! llnb war and) me baju

fud)t." , r S)QS faff id) nid)t. 2Benn fton ber 2Baf)r=

: biefe biinne @d)eiberaanb mi<^ trennte"

. tietfdjletett : omission of the declensial ending, especially
re neuter nouns, is common in verse. 16. SRildtt : indicative
with imperative force. 21. fyatteft t subjunctive because the
tion is indirect.


,,llnb ein efe," fftflt iljm fetn $iif)rer ein,
, f ettrid}tiger, mein otyn, als bu e metnft,
3ft biefer biinne glor fiir beine )anb

letdjt, bod) aentnerfdjtoer fiir bein ettriffen."

Bungling ging gebanfentiofl nod) >aufe ;
raubt be SBiffcnS brennenbe 33cgier
cijlaf, er tDaljt fid) gliifyenb auf bent 2agcr
llnb rafft fic^ auf urn 9Kittcrnad;t. 3" m 2:enrpcl
unfreiroiflig if)n ber fdjeue Slritt.
marb e i^m, bie Jailer ju erficigen,
llnb mitten in ba ^nnre bcr 9iotonbe
Sragt ein befyerjtcr (Sprung ben SBagenben.

^>ier fteljt er nun, unb grauenDott umfangt
2)en Sinfamen bie lebenlofe Stifle,
2)ie nur ber Sritte fyofyler 2BieberI)QlI
^n ben gel)eimen ru'ften unterbridjt.
33on oben burc^ ber $uppel Cffnung toirft
55er 9ftonb ben bleidien, filberbiauen (Sd)ein,
llnb furdjtbar h3ie ein gegenraorfgcr ott
(Srglanjt bur(^ be ett)6Ibe ^infterniffe
^n i^rem langen djleier bie cftalt.

r tritt ^inon wit ungetmffem @d)ritt ;
(Sc^on nrill bie fred)e |)anb ba Deilige berii^ren,
2^a jucft e Ijeijj unb fu'^I burd) fein cbein,
tlnb ftbpt i^n >oeg mit unfidjtbarem 5(rme.
Ungliidlic^er, n)Q nriflft bu tun? <So ruft
3n fetnem ^nnern eine treue timme.

15. S)ie is object of imterbrtdjt. 1. 26, p. 20, to 1. 5, p. 21 : these
lines are the thought of the youth, but 1.6, p. 21, is what he says.

berfd&Ieterte 93tlb 311 cn 21

SBer furfjen ben 3IflljeiIigen roiflft bu ?
ein terblicfjer, [pracf) be DralelS 9ftunb,
Stiicft bie[en cfjleier, bi icfj [elb[t ifjn fyebe.
2)otf) fet|te nid)t berfelbe -Eftunb ^tnju :
2Ber biefen <Sd)Ieier ^cbt, fott SSa^r^eit flatten?
,,<Set ^inter if;m, roa toifl I $6) ^eb' i^n ouf."
(r ruft'S mit tauter 6ttmm': $$ toifl fie f^aucn."

(Sdjauen 1
eflt i()in ein Iange (Sdjo fpottenb

(Sir [print's unb Ijat ben djleier au[gebecft.
10 9iun, fragt iljr, unb roa geigte [itf) ifjm fn'er?
3rf) roeijj e mcfjt. 5Be[innungIo unb bleid),
o [anben i^n am anbern 2ag bie 5J3rie[ter
5lm ^u^ge[teE ber $[i auge[trecft.
SBa er aflba ge[e^en unb er[a^ren,
is ^)at [eine 3 un 9 e nie befannt. ?tu[ eroig
2Bar [eine 2eben ^eiterleit batyin,
^^n ri^ ein tie[er ram gum friiljen rabe.
,,2Se^i bem/ y bie roar [ein roarnungSboneS SSort,
2Benn unge[tiime ^rager in ifyn brangen,

bent, ber gu ber SBafjrfjeit ge^t bur^
tt)trb ifym nimmerme^r er[reuli<^ [ein \"

Written in August 1795, and first published in the 2Jhtfett=
SUmcmadj in 1796.

The poem presents in a series of stanzas in contrasting meter
the opposite natures of man and woman. The poet has happily
chosen for the praise of woman's activity the dactylic measure,

13- 3fi ' see vocab.

22 Sdjiller

thus lending to the verse a certain gentleness and calm, while
the trochaic measure suits the restless and strenuous work of
man. The peculiar effectiveness of this choice is easily evident
when the poem is read aloud.

By some Schiller's happy married life is regarded as the
inspiration of this poem, though all personal reference is avoided.
The idea of the poem is found in a letter to Lotte, Nov. 17.
1788, in which the poet says: "It seems to me that woman is
created to imitate the dear joy-giving sun in the mortal world,
and to make happy her own and our lives with gentle sunshine.
We arouse the storm, the rain, the snow and the wind, and
they are to scatter the clouds which we have driven together
upon God's earth, to melt the snow, and to make the world
young again with their radiance."

bie ^rouen ! fie flecfjten unb toeben
>immlifd)e 9lofen in irbifdje Seben,
Iec()ten ber Siebe beglii<fenbe Sknb,
Unb in ber rc^ie judjtigem <5d)Ieier
Mfyren fie njadifam ba etoige $euer
djoner efiifyle mit Ijeiliger >anb.

(ttrig au ber SSa^r^eit djranfen
<5d)tDetft be Cannes ttrilbe $raft ;
Unftftt treiben bie ebcmfen
5luf bem 9J?eer ber Seibenfdjaft ;
ierig greift er in bie $erne,
dimmer ttirb fein |)er3 gefiittt ;
9taftlo burc^ entlegne terne
3^agt er feine 2raume 33ilb.

4. rajte : again referred to 1. 18, p. 24, as &f)<m, a Greek
name meaning "charm." The poet seems to ascribe to the
Graces attributes of the veiled Roman vestals who tended the
perpetual fire of Vesta, the goddess of the fireside and of family
life. 7. bet SBafjrfyett = hwfjren in the sense of suitable or proper.
14. $rautne SBtlb : i. e. his ideal.

ber grauen 23

9Iber mit jauberifd) feffelnbem 2Midfe
SBinfen bie grauen ben glii^tling guriidfe,
SSarnenb juriirf in ber (Segenmart pur.
$n ber Gutter befdjeibener iitte
@inb fie geblieben mtt fdjamfyafier <Sttte,
ber frommen 5Jiatur.

i(t be bonnes <Streben,
jermolmenber eioalt
ber toilbe bur(^ ba Seben,
D^ne giaft unb ufent$alt.
2Ba er fdjuf, gerftort er roieber,
dimmer ru^t ber 2Biinfd)e trett,
dimmer, tote ba ^aiipt ber
fatlt unb [id? erneut.

5tber gufrieben mtt (tiHerem
S3red>en bie $rauen bes
^ci^ren fie forgfam mit liebenbem Sle
greier in i^rem gebunbenen SBirfen,
9teidjer al er in be 2Biffen Se^irfen
Unb in ber 2)id)tung unenbltd)em

treng unb ftolj, fiti) felbft geniigenb,

be Cannes falte Sruft,
id) an ein ^erj fid) fdjmiegenb,
ber Siebe otterluft,

2. 5fti$tltng : not fugitive but wanderer. 13. l)bet : a mytho-
logical monster with a hundred heads, each of which when cut
off was replaced by two. 23. ^Derjltd) . . . fdjmtegettb : heart to
heart sincerely pressing.


Rennet ntd)t ben Staufd) ber <5eelen,
9itd)t in Strdnen fdjtntlgt er l)tn ;
<Selbft be 2eben ^ompfe fifteen
Barter feinen tyarten inn.

Slber *trie, letfe bom 3^9* erfdjitttert,
<5d)nett bte aoliftfje |)arfe erjittert,
5llfo bte fii^Ienbe <SeeIe ber $rau.
3iittlt(i) gean^ftigt bom 33ilbe ber Oualen,
SBoIIet ber Itebenbe 5Bu[en, e ftra^Ien
$J3erIenb bie 5Iugen bon ^immltfcfiem Stew.

Sn ber banner |)errfc^gebiete
tit ber tarfe tro^tg 9ted;t ;
9fttt bent @(i)tt)ert betoetft ber

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Online LibraryFriedrich SchillerSelections from Schiller's ballads and lyrics; → online text (page 1 of 16)