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pression of the whole face, which bore manifest indications of genius and profound thought. His gait was stiff and slow, and his attitudes/were ungraceful. In his dress, he was always simple and unostentatious. Though reserved in large companies, yet in the circle of his intimate friends, or in the bosom of his own family, no one could be more interesting, more eloquent, or more amusing, than Schiller. He was an affectionate, faithful husband, and a tender father. He disliked all the noisy pleasures of life; and of the few places of public resort that he fre quented, the theatre was the only one, on which he bestowed any attention. Thither he went, not so much in quest of amusement, as to watch the impression made by the poet and performers upon the public, with a view that his own works might benefit by the expérience. On his return home from the theatre, the first thing he did was to sit down to his writing-table, turn over his new dramatic manuscripts, and add, alter, or erase, dans

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During his residence at Jena, Schiller spent the greatest part of the year in his own beautiful garden, situated on an eminence, at one extremity of the town, in a retired corner near the Leitra but, in winter, he lived in the town, yet secluded from its bustle, in the house of his friend, the learned and venerable Griesbach. His garden richly deserved the name of the Hermitage, given to it by its former possessor, Schmidt, a brother-in-law of Klopstock's. It commands the most exquisite prospects of the ro mantic valley of the Saal, the neighbouring hills covered with pine-forests, and the wild environs of the Leitra, which runs at its foot. This little stream, after thaws, heavy rains, and thunderstorms, is swollen into an impetuous torrent. On the brow of this solitary hill, Schiller built a small neat summer-house, containing a single room, having unobstructed views on every side. Here he studied, and this was his favourite retreat. Here," he would sometimes say, jocosely, "I enjoy myself better than Diogenes in his tub. This is my stage-here I perform the r. principal characters; and," he once added, pursuing the simile, "if I am ever hissed, it will be from without, not from within."

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At the commencement of the French revolution, Schiller was one of its zealous champions. He hoped that it would essentially promote the happiness of mankind, the progress of the arts and sciences, and the diffusion of liberal ideas: but these hopes were soon blasted by the scenes of horror that so closely succeeded one another." Alas!" he would often exclaim, "man can only destroy; and it is out of ruins alone that he can reconstruct!? Considering the course of this revolution, he, at different times, remarked, that the conduct of the German na-.. tion, in similar situations, would not only have been humane, but really grand and sublime; and that it would have become the greatest, the most formidable, and the most cultivated of

nations."I was thoroughly impressed," said he, more than once, "with the horrors of the French war, when I composed 'Wallenstein's Camp, The Piccolomini, and Wallenstein's Death.' The sentiments, that I have put into the mouth of Max Piccolomini, and what he says to his Thekla, and his father concerning the blessings of peace, were no more than what I profoundly felt myself." When the rights of citizenship were con ferred on him by the republican French, he seemed, at first, to be much gratified; but, in the sequel, he appeared to derive no pleasure from the distinction. A friend, desirous of seeing the diploma, once requested permission to look at it. "I really do. not know where I have put it," replied Schiller, and abruptly broke off the conversation, which had led to the subject.

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At Weimar, Schiller devoted his chief attention and activity to the theatre. On this account, he and Göthe were much together, and both personally attended most of the rehearsals. Those of new plays took place in Schiller's or Göthe's house. The former very frequently invited the actors to his table, read his new master-pieces to them with the utmost pathos and effect,! and, in the most entertaining and instructive conversations, conveyed useful hints relative to their art, and their respective performances. This he did, in particular, previously to the first representation of "The Piccolomini," "Wallenstein," " Mary Stuart," " Macbeth," "The Maid of Orleans," and "The Bride of Messina."

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He had a strong aversion to the testimonies of applause, that were occasionally paid to him at the theatre. The public at Weimar were well acquainted with his sentiments on this subject; and it therefore appeared the more extraordinary, when, at the representation of his "Maid of Orleans," a very young doctor roared out lustily, "Bravo, Schiller "" "The young man," observed Schiller, with a smile, "knows neither himself, nor us, nor me," and hissed as loudly as he could. The audience joined in the hiss, and the young doctor received a reprimand from the police for his unseasonable applause...

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Schiller thought very highly of Iffland's plays, but less of Kotzebue's. His warmest admiration, however, was paid to Lessing, whom he frequently styled " the restorer of German literature." Lessing," said he, "put an end to the vile aping of the French, and made us better acquainted with the graver English." It is well known that Lessing was the first German writer whose remarks urged his countrymen to the attentive study of Shakspeare, and this, of itself, was, in Schiller's opinion, an extraordinary merit.

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No foreigner, perhaps, ever read Shakspeare so often, and studied him so profoundly as Schiller. Call upon him at what hour of the day you would, you were sure to find him with

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a volume of Shakspeare before him. He frequently expressed his intention of adapting all his plays to the German stage, as he had done his Macbeth; but his early decease probably prevented the execution of this design.

Schiller was extremely scrupulous in his revisal of pieces for the stage; yet, on this point, he did not perfectly harmonize with his friend Göthe. The latter erased too many passages, not only in his recent, but also in his earlier dramatic productions. There was even a time, when this practice was carried to such a length, that Schiller hesitated whether he should bring forward some of his later pieces at all; and hence they appeared on other stages, before they were represented on that of Weimar. These critical castrations must not, however, be placed entirely to Göthe's account, as he was not at liberty to exercise his own discretion, but was obliged to conform to the taste and the suggestions of a higher authority.

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There was seldom a post, that did not bring Schiller letters from booksellers in all parts of Germany, containing very advantageous offers for any work, that he might have in hand. One eminent bookseller, having heard that he was engaged upon his "Wallenstein," travelled to Weimar, and proposed to give him twelve carolines (guineas) per printed sheet, for the work. Schiller was previously in negotiation with Cotta of Tübingen, for this piece but, had that not been the case, he was much too steady in his attachments, to desert his old and respectable publisher for the sake of a higher price." Cotta," said he, deals honourably with me, and I with him;" and he did not even give the applicant any hope of proving more successful on a future occasion. Schiller received for most of his works sir, eight, and occasionally ten carolines, per sheet. The first edition of "Wallenstein" consisted of three thousand copies, and the whole was sold, before the expiration of the fair, at which it was published. along wala

It was not the hours of day that Schiller devoted to his principal performances: they were planned and composed amid the silence of night. As soon as it was dark, and the streets became quiet, Schiller, reversing the order of nature, sat down to his literary labours. Near him usually stood a pot of strong coffee, or wine-chocolate, but more commonly a bottle of old Rhénish, or Champagne, which he found requisite to keep up his spirits, and to raise his mind above the influence of corporeal infirmities. The neighbours frequently heard him, at all times of the night, declaiming aloud; and whoever had the curiosity to observe him, which it was easy to do from the opposite houses, on account of the narrowness of the street in which he resided, might see him, absorbed by his subject, hastily pace the room, while reciting some energetic passage. He would then throw himself again

into his chair, sometimes apply his lips more frequently to the goblet placed beside him, rest his head upon his left hand, write, again rise and declaim, and once more seat himself and read, In winter, he seldom quitted his writing-table till four, or perhaps five o'clock in the morning, and in summer before three. He then retired to bed, out of which he was rarely found before nine or ten. The forenoon, he commonly passed with his family; in the afternoon he hastily read over what he had written the preceding night, and prepared himself, as it were, for the labours of the ensuing. The rest of the day and the evening were devoted either to his extensive correspondence, or to indifferent matters, reading, the theatre, the society of his friends, the visits of numerous strangers, or the circle of his amiable family. "The Piccolomini," Wallenstein's Death," Mary Stuart," and the "Maid of Orleans," are the principal of Schiller's performances, that are known to be the fruit of his nocturnal vigils.

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This mode of life would have been sufficient to undermine a stronger constitution than Schiller's. He had long apprehended, himself, that his lungs were affected, and, in the early part of 1805, he suffered more severely than ever from violent spasms. His strength was so much reduced, that it was impossible for him to support a long illness, when, on the 7th and 8th of May, he was seized with a spitting of blood, which the eminent, physicians, who attended him, regarded as a very unfa vourable sympton. In this situation, he was deeply afflicted by the tears of his children: "Take the dear creatures into another room," said he, faintly. His wife stood mournfully by his bed, with her hand clasped in his: "Take comfort," said he, solemnly: "continual change and separation are our lot, upon earth." On the 9th, he was frequently delirious. Who fired the guns?--Can you see who commands the left wing ?-The chain-shot mows down whole ranks !What a magnificent appearance the regiment makes! white and blue. Are they in the camp? Droll enough!" Such were the expressions, that he used during these paroxysms, as far as they could be understood, In the afternoon, he became more tranquil, and before six o'clock he expired, with a countenance as serene, as if he were composing himself to profound slumber; leaving his exemplary wife, and four infant children, to lament, with the whole German nation, over his premature grave.

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Schiller died at the age of 45 years. On opening his body, an extraordinary disorganization was found to have taken place. The viscera of the right side were incapable of performing their functions, so that he had respired with the left lobe of the lungs only, and the latter was already considerably enlarged.

Schiller did not die rich. He was neither parsimonious nor prosaic enough to amass wealth. Every German reader knows

his beautiful piece, entitled, "Die Theilung der Erde," (The Partition of the Earth,) in which Jupiter says to the complaining poet, The world is given away, therefore opened

If, in my heaven, thou wilt live with me,''

Whene'er thou com'st, it shall be open to thee.

Though an excellent husband and father, and irreproachable in the management of his, concerns, yet the state of his health, and the mode of life induced by it, occasioned a considerable increase in his expenditure. In his own person, he observed the utmost simplicity, and was a decided enemy to every kind of ostentation. It was not till four years anterior to his death, that he had a house to himself at Weimar; and it cost him a considerable sum to purchase, and fit it up with elegance. It was but for a few years also, that he had enjoyed an augmentation of his pension from the Duke; in return for which, however, he rendered essential service to the theatre, accepting nothing for such of his pieces as were first performed at Weimar, and conducting himself, upon the whole, in the most disinterested manner.

There are, of course, various collections of Schiller's works. The legitimate edition of his dramatic pieces forms five octavo volumes, and that of his poems two. His historical works occupy four volumes; his minor prose works the same number; and his romance of "The Ghost-Seer," one. The periodical works, which he solely conducted, and in which many of his poetical pieces, as well as fragments of his larger works, originally appeared, were-" Thalia," 4 vols. 1785-1791. New Thalia," 4 vols. 1792-3. "Ladies Historical Calendar," annually, 1791-1793. Die Horen," monthly, 1795-1797: and "The Almanac of the Muses," annually, 1796-1801.

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SONNET. MARIUS IN CARTHAGE.

Amid an empire's ruins, there sate one

#1 Upon whose arm an empire's fate had hung,
With whose loud name the peopled earth had rung
From side to side in triumph; and upon

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Whose laurel'd forehead, by his valour won,
The leafy crown had flourish'd-he had flung
His sword far from him, and he mused among
Those relics, like himself, of glory flown.

He marvel'd much at carthly vanities:
And gazed upon that lofty city's pride,

Bow'd to the dust, and trampled-turn'd his eyes
Upon the useless weapon cast aside,

And, with rough hand checking the tear-drops' flow,

He felt the bitter sympathy of woe.

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