Schiller : Johann Christoph Friedrich von (1759-1805): German poet, dramatist, historian, & philosopher; one of the founders of modern German literature.
... of its adherents. This was a popular movement in the real sense of the word. It found much of its justification in the enduring appraisal of the literature of the great romanticists Herder, Goethe, Schiller, Novalis and others. A supposedly glorious past, the communication with that past in the sanctuaries of nature and at the sites of the prehistoric monuments, a contact with the deepest individual... Michael Burleigh quip that Germany was “going boldly into the future in search of an imaginary past”. 470 Volker Mauersberger, narrating the surrender to the Nazis of Weimar – as the town of Goethe, Schiller and Nietzsche a symbol of German culture – quotes a historian who said that the völkisch movement, culminating in Nazism, was “the reconstruction of a past which was resplendently gilded in the collective ...
... ts to the modernism of today which is already becoming the modernism of yester-day" - the literature which stretches in France from Rousseau and Chateaubriand to Hugo and takes on its way Goethe, Schiller and Heine in Germany and covers in England Burns and Byron and the five names that stand out in the annals of the second phase of Romanticism and give to it not only, as the others do, its distinction ...
... in us, and considers the essence of the Romantic, it is difficult to say what else can be so regarded. Occasionally he lets himself refer to Elizabethan poetry as Romantic, as when he writes about Schiller adapting in Classical mood "the Romantic pages of Macbeth " 28 or when he tells us that the Romantic. pursues violent feelings and that, "like an Elizabethan dramatist, he may find them in the ...
... fantastic estimate of The Borderers, a play of Wordsworth: "His drama is absolutely wonderful. There are those profound touches of the human heart, which I find three or four times in The Robbers of Schiller and often in Shakespeare, but in Wordsworth there are no inequalities." Yes, there is a lot of padding in many of Wordsworth's poems, but as he wrote a large amount of poetry the quantity ...
... revived religion, transformed education, elevated the morals of France, inspired the Romantic movement and the French Revolution, influenced the philosophy of Kant and Schopenhauer, the plays of Schiller, the novels of Goethe, the poems of Wordsworth, Byron, and Shelley, the socialism of Marx, the ethics of Tolstoi, and, altogether, had more effect upon posterity than any other writer or thinker of ...
... the English alexandrine does not render the French; terza rima in Latinised Saxon sounds entirely different from the noble movement of the Divina Commedia, the stiff German blank verse of Goethe & Schiller is not the golden Shakespearian harmony. It is not only that there are mechanical differences, a strongly accentuated language hopelessly varying from those which distribute accent evenly, or a language ...
... understood that young Hitler in no way drew from primary sources, which means that mostly he did not have his knowledge from let us say Darwin, Chamberlain, Dühring, Le Bon, Nietzsche, Schopenhauer or Schiller. He drew his knowledge in the first place from articles about all this in newspapers, brochures and popular writings.” (Brigitte Hamann 126) “In actual fact, knowledge meant nothing to Hitler; he ...
... (in German Aufklärung, in French les Lumières ). German Romanticism presented the world with some of the greatest novelists, poets, philosophers and musicians: the literary men Herder, Goethe, Schiller, Novalis, Heine, Hölderlin; the philosophers Fichte, Schlegel, Hegel, all of them having to define themselves against Kant, paragon of the Aufklärung; and musicians of the stature of Mozart, Beethoven ...
... also elected a member of the Thuringian parliament at Weimar. In 1928 he was the chief organizer of the first National-Socialist “Day of the Party” where the Nazis, under the stony gaze of Goethe and Schiller, showed their intentions uninhibitedly and the savage way they were to go about them. 501 It was on this “Day of the Party” that Hitler, after the debacle of the November Putsch in 1923 and his i ...
... constituting characters. They make up that brilliant and confusedly complex, but often crude and unfinished literature, stretching from Rousseau and Chateaubriand to Hugo and taking on its way Goethe, Schiller and Heine, Wordsworth, Byron, Keats and Shelley, which forms a hasty transition from the Renascence and its after-fruits to the modernism of today which is already becoming the modernism of yesterday ...
... have dashed off pages of Hamlet in the green room while some actor was tidying himself up and chatting to him over his shoulder. For inspiration acts according to the peculiarities of a writer. Schiller could not compose his dramas unless he had a boxful of rotting apples under his table, and Milton could not continue fluently his Paradise Lost between the vernal and the autumnal equinoxes: wintry ...
... is, and dropsy. Many eminent men had syphilis (Henry VIII, Benvenuto Cellini, Baudelaire), and sufferers from tuberculosis can be listed with out end — Voltaire, Kant, Keats, Dostoevsky, Moliere, Schiller, Descartes, Cardinal Manning, Spinoza, Cicero, St. Francis. But in the realm of physical deformity names are not so numerous. Several celebrated writers were eunuches or eunuchoid. Peter Stuyvesant ...
... conveyed by misplaced accent in speech or writing. Careless or slurred pronunciation may wittingly or unwittingly generate the fallacy of accent. Here are two funny examples. Example 1: "F.C.S. Schiller tells us in his Formal Logic that he once heard an audience of philosophers solemnly accept as an authentic quotation from William James the reading 'If you are radically tender, you will take up ...
... Goethe seems to have laid the stress on the heroine, Gretchen, while Faust was no more than the Faust of the old legend. It was almost twenty-five years later that—perhaps under the influence of Schiller—the characterisation of Faust acquired deeper symbolic hues and that he was raised to a higher philosophical plane. The Second Part, written during the last eight years of his life when he enjoyed ...
... make no turbulent response to the touches of outward things." But neither my ardour nor my arguments availed: he proved quite opaque. In fact he did remind me of Madame de Stael who, to quote from Schiller's famous letter to Goethe: "insists on explaining everything, understanding everything, measuring everything. She admits of no darkness, nothing incommensurable: where her torch throws no light Here ...
Share your feedback. Help us improve. Or ask a question.