The German Classics of The Nineteenth and Twentieth Centuries, Vol. III | Page 2

public service. At first the duke had the boys taught under his own eye at Castle Solitude, where they were subjected to a strict military discipline. There being no provision for the study of divinity, Schiller was put into law, with the result that he floundered badly for two years. In 1775 the institution was augmented by a faculty of medicine and transferred to Stuttgart, where it was destined to a short-lived career under the name of the Karlschule. Schiller gladly availed himself of the permission to change from law to medicine, which he thought would be more in harmony with his temperament and literary ambitions. And so it proved. As a student of medicine he made himself at home in the doctrines and practices of the day, and for several years after he left school he thought now and then of returning to the profession of medicine.
For posterity the salient fact of his long connection with the Karlschule is that he was there converted into a fiery radical and a banner-bearer of the literary revolution. Just how it came about is hard to explain in detail. The school was designed to produce docile and contented members of the social order; in him it bred up a savage and relentless critic of that order. The result may be ascribed partly, no doubt, to the natural reaction of an ardent, liberty-loving temperament against a system of rigid discipline and petty espionage. The _��l��ves_--French was the official language of the school--were not supposed to read dangerous books, and their rooms were often searched for contraband literature. But they easily found ways to evade the rule and enjoy the savor of forbidden fruit.
[Illustration: FRIEDRICH VON SCHILLER]
So it was with Schiller: he read Rousseau more or less, the early works of Goethe, Lessing's Emilia Galotti, and plays by Klinger, Leisewitz, Lenz and Wagner--all more or less revolutionary in spirit. He also made the acquaintance of Shakespeare and steeped himself in the spirit of antique heroism as he found it in Plutarch.
Perhaps this reading would have made a radical of him even if he had just then been enjoying the normal freedom of a German university student. Be that as it may, the time came--it was about 1777--when the young Schiller, faithfully pursuing his medical course and doing loyal birthday orations in praise of the duke or the duke's mistress, was not exactly what he seemed to be. Underneath the calm exterior there was a soul on fire with revolutionary passion.
It was mainly in 1780--his last year in the Karlschule--that Schiller wrote The Robbers, altogether the loudest explosion of the Storm and Stress. The hero, Karl Moor, was conceived as a "sublime criminal." Deceived by the machinations of his villainous brother Franz, he becomes the captain of a band of outlaws and attempts by murder, arson and robbery to right the wrongs of the social order. For a while he believes that he is doing a noble work. When he learns how he has been deluded he gives himself up to the law. The effect of the play is that of tremendous power unchecked by any of the restraints of art. The plot is incredible, the language tense with turbulent passion, and the characters are extravagantly overdrawn. But the genius of the born dramatist is there. It is all vividly seen and powerfully bodied forth. What is more important, the play marks the birth of a new type--the tragedy of fanaticism. We are left at the end with a heightened feeling for the mysterious tangle of human destiny which makes it possible for a really noble nature such as Karl Moor to go thus disastrously wrong.
Toward the end of 1780 Schiller left the academy and was made doctor to a regiment of soldiers consisting largely of invalids. He dosed them with drastic medicines according to his light, but the service was disagreeable and the pay very small. To make a stir in the world he borrowed money and published The Robbers as a book for the reader, with a preface in which he spoke rather slightingly of the theatre. The book came out in the spring of 1781--with a rampant lion and the motto in Tirannos on the title-page. Ere long it came to the attention of Dalberg, director of the theatre at Mannheim, who saw its dramatic qualities and requested its author to revise it for the stage. This Schiller readily consented to do. To please Dalberg he set the action back from the eighteenth to the sixteenth century and made many minor changes. The revised play was performed at Mannheim on January 12, 1782, with ever-memorable success. The audience, assembled from far and near, went wild with enthusiasm. No such triumph had been achieved before on a German stage. The author himself saw