Samtliche Gedichte Und Balladen

by Friedrich Schiller

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Genres: Poetry, German Literature, Classics

608 pages, Hardcover

First published January 1, 2004

About the author

People best know long didactic poems and historical plays, such as Don Carlos (1787) and William Tell (1804), of leading romanticist German poet, dramatist, and historian Johann Christoph Friedrich von Schiller.

This philosopher and dramatist struck up a productive if complicated friendship with already famous and influential Johann Wolfgang von Goethe during the last eighteen years of his life and encouraged Goethe to finish works that he left merely as sketches; they greatly discussed issues concerning aesthetics and thus gave way to a period, now referred to as classicism of Weimar. They also worked together on Die Xenien ( The Xenies ), a collection of short but harsh satires that verbally attacked perceived enemies of their aesthetic agenda.

https://en.wikipedia.org/wiki/Friedri...

Reviews

[Mesoscope · Rating 5 out of 5]

One of the great joys of studying a new language is that you have the opportunity as an adult, with your critical and aesthetic faculties fully formed, to come completely fresh to poetic works that, for the native speaker, have been worn down into cliché through overuse and excessive reference. What would I give to have the opportunity to read Hamlet again for the first time? I can't, but I can read Schiller's "Das Lied von der Glocke", which, my reading tells me, is more well-known to many educated Germans than Blake's "Tyger, Tyger, Burning Bright" is known to English-speakers.

Friedrich Nietzsche included Schiller in his list of "impossible people" along with Rousseau and Carlyle, and once referred to him as the "moral trumpeter of Tübingen". And there is indeed something impossible about his long poems and ballads, which often raise complex philosophical problems, only to resolve them in a way that is merely clever. One wonders if he is trying to fool his reader or himself.

I found a similar simplicity of underlying conception in his "Letters on the Aesthetic Education of Man", which take post-Kantian problems of freedom and aesthetics and make something out of it as superficially-persuasive as a medieval proof of God's existence. They excite, but cannot persuade, because of their naïveté.

Many of Schiller's poems have the same defect. Take two of his most famous - "Die Kraniche des Ibykus" and "Der Ring des Polycrates". Both are masterfully formed, if somewhat ostentatious and stiff in their sparkling, bejeweled perfection, and both ultimately land with a moral thud, like a cautionary tale told to children. Yet both also operate in the region of the profound depths, and if they seek a resolution where perhaps no answer should be sought, they nonetheless recognize and echo the mysteries of life. To echo Nietzsche, they are impossible poems.

Be that as it may, they are two mighty pillars in the palace of German poetry, and the reader who wishes to come to terms with the German literary tradition must know them, and many others, most of which are equally impossible - long narrative poems such as "Der Spaziergang" and the aforementioned "Lied" could be plausibly presented without comment as a partial answer to the question "What is German poetry?"

And he sometimes surprises us - for myself, never more so than in one of his "Spruch des Konfuzius" poems:

Dreifach ist des Raumes Maß:
Rastlos fort ohn Unterlaß
Strebt die Länge, fort ins Weite
Endlos gießet sich die Breite,
Grundlos senkt die Tiefe sich.
Dir ein Bild sind sie gegeben:
Rastlos vorwärts mußt du streben,

Nie ermüdet stille stehn,
Willst du die Vollendung sehn;
Mußt ins Breite dich entfalten,
Soll sich dir die Welt gestalten;
In die Tiefe mußt du steigen,
Soll sich dir das Wesen zeigen.
Nur Beharrung führt zum Ziel,
Nur die Fülle führt zur Klarheit,
Und im Abgrund wohnt die Wahrheit.

For me, this electrifying and unusual poem points to an entirely different Schiller that could have developed - arguably a better Schiller - in just the same way that Hölderlin's magnificent "Hälfte des Lebens" suggests a better Hölderlin that might have been, had that poet not been submerged in Heiligkeit and fantasies of ancient Greece.

[Markus · Rating 5 out of 5]

Saemtliche Gedichte und Balladen
Friedrich Schiller (1759-1805)

It was unfortunate for Friedrich Schiller to be born contemporary of Johann Wolfgang Goethe. (1746-1832)
Goethe’s undeniable genius and towering works of literature throw a shadow on Schiller's work.
They knew and respected each other well and in later years became good friends.

Schiller's poetry, as from its early years of existence was classified as the poetry of thought rather than emotion. Schiller was considered a thinker.

The perfection in style and presentation of the subject can not hide a certain want of spontaneous, heartfelt and romantic emotional revealing of the poet's instincts.

Schiller's work would sometimes be compared to ancient Roman specific romantic traditions.

If Schiller found it difficult to be considered a true lyrical poet, it is remarkable to what extend Schillers work was popular.
Even Goethe found it surprising how Schiller was considered a poet of the people.

Now that I have finished reading I can assure you that I found a great number of poems like rare jewels of gold and diamond:

“The Destruction of Troya”, the Ballad of “Hero and Leander”, “Sehnsucht”, “Kassandra”, “The famous Wife”, “Dido”, adapted from the Aeneid, several poems to “Laura”, adapted from Petrarque.

They are too many to be mentioned here, but I assure you I will remember many of them.

Having said that I must also admit that some of the work seems old-fashioned, or obsolete.
It is not wise to choose a book of 600 pages just because it includes the collected works.

I would recommend a selection of Schiller's poems and ballads, of which I am sure many editions exist.

Otherwise, I consider Schiller a ‘must-read’ for all lovers of classic literature and poetry.

[JV]

Quando se pensa em poesia brasileira logo nos vem à mente “Canção do Exílio”, de Gonçalves Dias. Não se trata tanto de valor, de se foi maior que Bandeira ou Cecília Meireles, por exemplo, ou não mas por caminhos misteriosos os brasileiros acham Dias mais memorável que os outros. Talvez algo da musical nostalgia, do apelo ao sentimento ou da resignação nobre diante de injustiças tinha algo que ressoou na consciência pátria ou foi o oposto - já nela tudo isso havia que usou o poeta como porta-voz. Dias não é um poeta fácil, nunca alugaria seu verso por popularidade, e é imensamente popular, tanto quanto um poeta pode ser hoje. Outros grandes poetas como Murilo Mendes, entre outros, não tem o mesmo alcance cultural, por assim dizer, e no Brasil bem como fora poesia tem sido assunto apenas de poetas.

Ler Schiller é entrar em contato com grandes momentos da consciência alemã. Seu espectro nesse sentido é imbatível. As suas ideias foram tiradas de Kant e de discussões com Goethe - ele é jovial e inocente mas também cerebral, judicioso, muitas vezes retórico- e por se mover dentro dessa linha filosófica tão famosa ganhou várias traduções por todo o mundo. No nosso caso “Noiva de Messina” por Dias e “Maria Stuart” por Bandeira são os casos mais vistosos. Mas hoje esse quadro já nos é batido justamente por causa do seu sucesso no passado.

Mesmo assim sinto - ainda que audaciosamente - que Dias e Bandeira prestariam maior serviço às letras se traduzissem os poemas. Vejo hoje que a linguagem de Schiller se aproxima muitas vezes de um Ovídio, ou da época romana clássica (cuja tradução hj soa tão dura) e sua popularidade e música prescinde de rima. Realmente é uma lacuna por aqui.

[Ella87 · Rating 5 out of 5]

Erstaunlich. Heutzutage ist kein Autor fähig, so zu schreiben, ganz gleich wie gut er ist. Schiller bleibt - zusammen mit Goethe - der größte Deutsche.

[Erik Walter · Rating 5 out of 5]

Die Bürgschaft 🥹

[Klaus Mattes · Rating 5 out of 5]

Da werden Weiber zu Hyänen

Ach, Schiller! Neben Goethe immer, außer vom mittleren 19. Jahrhundert aus betrachtet, der etwas zweitkalssige unter den übergroßen Heroen der deutsfchen Literatur.

Schiller, der Schwabe in Oggersheim, Jena und Weimar, ist sehr ehrgeizig, überfleißig, angespannt, pathetisch, idealistisch, humorlos, weltfremd und alles andere als ein Frauenversteher gewesen. Aber als Meister der Sprachbearbeitung hat er es einfach drauf. Dazu – und das vielleicht mehr als Goethe – ist er ein eiskalter Kalkulator der Publikumsreaktionen, ein Dramaturg und Strippenzieher der Spannungsmomente, Actionszenen und Happy Endings. Man schaue sich nur einmal seinen, an sich lawinenartigen Einsatz des Wörtchens „und“ in den ewig langen Balladen an! Das sitzt auf dem Punkt. Beziehungsweise generiert ihn erst.