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There is naturally a great deal of the conventional and merely imitative in these poems; even the weakest side of Klopstock, his "bard" nonsense,* is imitated in a puerile quatrain to his friend Scharffenstein. 1 and 2) have an emotional eloquence, a bold virility, an oratorical rhythm, that evince power of an unusual order. celebrating the virtue of the duke's favorite, Schiller's first poems were inspired by religion, friend- ship, Klopstockian nature-enthusiasm (without a trace of really intimate feeling for nature), and hatred of oppression — all typical lyric motives of the time. But in spite of their echoes of eighteenth-century verse, and with all their clumsiness and strain, such poems as Der Abend and Der Eroberer (Nos. a dedication to Death, m contrast with Staud- lin's exploitation of himself and his claim of immortality. So there appeared, anonymously, in February 1782, a belated Antholoqie auf das Jahr 1782, with 1 • 1 1 -.1 rtx" 1 Anthology. With all his generation, Schiller revelled in the mournful sentimentality of Young's "Night Thoughts", and in the patriotic sentimentality and friendship and liberty cult of the Gottinger Hain, Holty and Voss, the Stolbergs and Burger. The severe and formal moral earnestness of the revered physician Haller, whom Schiller still admired as a poet even when he tried to refute his physiological theories, and above all the "seraphic" elevation and the majestic organ-tones of Klopstock, these were the things that appealed most deeply to Schiller's mood; and in the case of a German youth brought up by pious parents in a religious atmosphere, the influence of tlie language and the splendid psalmody of the Luther INTRODUCTION. Of his mother's two favorite poets, Gellert apparently made little impression upon the youth Schiller, who doubtless felt the lack of power in this good but timid man; while Uz exerted a notable influence, but only through his solemn didactic verse, not through his poetry in lighter Anacreontic or Horatian vein. The great success of Die Rduher on the Mannheim stage and the sudden fame it brought could not help raising to a high pitch the confidence and self-consciousness of the young poet-surgeon, ^o that when a rival for the highest poetic laurels of the home- land appeared, a challenge and a test of strength immediately suggested themselves to the exuberant Schiller. 2)a3 milbe, ciferne SSiirfelf^iel has become pro- verbial for war. Caesar's "The die is cast" (quoted from Menander), which Ulrich von Hutten adopted as his device: jacta est alea. It was a rather boisterous and Bohemian Hfe he and his friends and former schoolmates now led, forming a little Mermaid group of wits in which Schiller was the leading spirit.

The impor- tant literature used will be found listed in the Biblio- graphical Note, or mentioned in the annotation of the individual poems. The spirit of satire and parody is much in evidence in the collection: satire of German journal- ists, of Klopstock's other-worldliness, of Staudlin's Almanack, parody of the conventional praise of a lady (in part very coarse), of the serenade (in a vulgar Bauernstdndchen) , of mythological poetry, suggesting the later opera-bouffe Olympus of Offenbach. C.) burned alive the victims of his cruelty, so that their groans sounded like the bellowing of the bull. The editor desires to express his gratitude to the Royal Library in Berlin and the libraries of Northwestern University and Western Reserve University for the use of first editions and other material, and to his colleagues, Professors Guido H. The epigrams in the collection, in part complimentary, as to Klopstock, Wieland, and Spinoza, are largely satirical — of Lavater, of the doctor as homicide, of the old maid, of the favor of princes; and several are given to erotic jest and innuendo. Stempel and Eugene Leser, for valuable suggestions and kind assist- ance in proof-reading. The didactic appears quite baldly in the advice of Ein Vater an seinen Sohn, and in light XXll INTRODUCTION. The main purpose of the present volume is to present Schiller's personality as expressed in his poems; a personality that compelled the homage and won the affection of such men as Humboldt and Goethe, and that through a century full of vicissitudes and rich in literary development has made Schiller always in the widest sense the best- beloved of German authors. Staudlin's list of contributors was XVm INTRODUCTION. Note the almost regular increase in the length of the indented sections. VIII, 181) calls this poem rhythmically ein uni)crgleicf)Urfe^ ^etftcrmer! 2)cr r^t^t^* mifc^e 53au (ift) in feinem berfc^iebenen ©angc unb %om mi ira^r* l^aft fifjopferifc^cr ^raft unb too Uiger Unabl;dngigfeit toon aller iibcrlic* ferung in ben ®ien[t be^j fturmifc^ h}ed;felnben ^nf)alt§ geftellt.

Baird sc'h Tller'S poems SELECTED AND EDITED WITH INTRODUCTION AND NOTES JOHN SCHOLTE NOLLEN Professor of German in Indiana University NEW YORK HENRY HOLT AND COMPANY Copyright, 1905, BY HENRY HOLT AND COMPANY. ^uttn, of Pomona College, late of Iowa College, the editor inscribes tbis edilion of a poet in wbose life and works there is always an " etbtcal core ". To dignify this personality as much as possible, to refine it until it attains the purest and noblest humanity, this must be his first and para- mount concern, before he may venture to appeal to the sympathy of worthy men." Schiller himself bears triumphantly this severe test, which he applied with excessive rigor to an older contemporary in his review of Biirger's lyric poetry. But there was another reason than apparent modesty for this show of anonymity.

The purpose of the iutroduction and annotation of this volume is to elucidate the nature and the growth of Schiller as a lyric poet. 9), well repre- sents the natural tendency of Schiller's imagination to attempt compassing the illimitable. Quite different is the use of nature in the Morgenphantasie (No. The "war of frogs and mice" alludes to the Batraeho- myomachy, ^ parody on the Iliad, formerly attributed to No.

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