Friedrich Schiller, página 3 de 8

Avec Les Brigands, histoire d'un conflit entre un père et ses fils, le jeune Schiller - il a vingt ans - avait conquis d'un coup son public. Quelques années plus tard, en 1787, avec Don Carlos, il re

Une fois pour toutes, il n'est pas fait pour Se soumettre et s'en remettre à d'autres, Cela n'est pas dans sa nature, il en est incapable. Une âme de seigneur est née en lui Pour occuper une place de

Une pièce prise entre deux feux : d'une part un pamphlet révolutionnaire et, d'autre part, un mélodrame flamboyant. L'amour entre le major Ferdinand de Walter et Louise Miller, fille d'un musicien, c

Dans le temple de Thalie et de Melpomène, du moins tel qu'il est chez nous, la déesse du lieu trône, reçoit dans son vaste sein le scientifique abruti et l'homme d'affaires épuisé : elle endort l'esp

Ce livre est la reproduction fidèle d''une oeuvre publiée avant 1920 et fait partie d''une collection de livres réimprimés à la demande éditée par Hachette Livre, dans le cadre d''un partenariat avec

Un joven príncipe alemán vive misteriosas aventuras en el ambiente veneciano del siglo XVIII. Aparentemente una «novela gótica» con una trama de intrigas y vivencias románticas, esta obra refleja, no obstante, el espíritu ilustrado de su autor.

Ambientato nella Venezia del 1700, durante il periodo del carnevale, Il visionario raccontaloscura macchinazione ordita ai danni del Principe von ***, erede al trono di Curlandia, regione storica dellarea baltica compresa nellattuale territorio della LettoniaJohann Christoph Friedrich von Schiller (Marbach am Neckar, 10 novembre 1759 Weimar, 9 maggio 1805) e stato un poeta, filosofo, drammaturgo, medico e storico tedesco.

The Robbers by Friedrich Schiller is the first drama by German playwright Friedrich Schiller. The play was published in 1781 and premiered on 13 January 1782 in Mannheim, Germany, and was inspired by Leisewitz earlier play Julius of Taranto. It was written towards the end of the German Sturm und Drang ("Storm and Stress") movement, and many critics, such as Peter Brooks, consider it very influential in the development of European melodrama.The play astounded its Mannheim audience and made Schiller an overnight sensation. It later became the basis for Verdis opera of the same name, I masnadieri.The plot revolves around the conflict between two aristocratic brothers, Karl and Franz Moor. The charismatic but rebellious student Karl is deeply loved by his father. The younger brother, Franz, who appears as a cold, calculating villain, plots to wrest away Karls inheritance. As the play unfolds, both Franzs motives and Karls innocence and heroism are revealed to be complex.Schillers highly emotional language and his depiction of physical violence mark the play as a quintessential Sturm und Drang work.[citation needed] At the same time, the play utilizes a traditional five-act structure, with each act containing two to five scenes. The play uses alternating scenes to pit the brothers against each other, as one quests for money and power, while the other attempts to create a revolutionary anarchy in the Bohemian Forest.Schiller raises many disturbing issues in the play. For instance, he questions the dividing lines between personal liberty and the law and probes the psychology of power, the nature of masculinity and the essential differences between good and evil.

Ay, my good neighbors! we at least todayAre Frenchmen still, free citizens and lordsOf the old soil which our forefathers tilled.Who knows whom we tomorrow must obey?For England her triumphal banner wavesFrom every wall: the blooming fields of FranceAre trampled down beneath her chargers hoofs;Paris hath yielded to her conquering arms,And with the ancient crown of DagobertAdorns the scion of a foreign race.Our kings descendant, disinherited,Must steal in secret through his own domain;While his first peer and nearest relativeContends against him in the hostile ranks;Ay, his unnatural mother leads them on.Around us towns and peaceful hamlets burn.Near and more near the devastating fireRolls toward these vales, which yet repose in peace.Therefore, good neighbors, I have now resolved,While God still grants us safety, to provideFor my three daughters; for midst wars alarmsWomen require protection, and true loveHath power to render lighter every load.[To the first Shepherd.Come, Etienne! You seek my Margots hand.Fields lying side by side and loving heartsPromise a happy union![To the second.Claude! Youre silent,And my Louison looks upon the ground?How, shall I separate two loving heartsBecause you have no wealth to offer me?Who now has wealth? Our barns and homes affordSpoil to the foe, and fuel to the fires.In times like these a husbands faithful breastAffords the only shelter from the storm.

Una polémica Kant-Schiller-Goethe-Hegel. Los dos ensayos -sobre el concepto de belleza y sus implicaciones éticas el primero y sobre aspectos subjetivos y objetivos de la creación literaria el segundo- son representativos y orientadores en la transicion del clasicismo al romanticismo aleman.

Miller. Hab ihn nicht in mein Haus geschwatzthab ihm s Madel nicht nachgeworfen; wer nimmt Notiz davon?Ich war Herr im Haus. Ich hatt meine Tochter mehr coram nehmen sollen. Ich hatt dem Major besser auftrumpfen sollenoder hatt gleich Alles Seiner Excellenz, dem Herrn Papa, stecken sollen. Der junge Baron bringts mit einem Wischer hinaus, das mu ich wissen, und alles Wetter kommt uber den Geiger.Frau (schlurft eine Tasse aus). Possen! Geschwatz! Was kann uber dich kommen? Wer kann dir was anhaben? Du gehst deiner Profession nach und raffst Scholaren zusammen, wo sie zu kriegen sind.

This is the second part of the Wallenstein trilogy by German playwright and mastermind Friedrich Schiller. The work as a whole produced a profound impression, and it is certainly Schillers masterpiece in dramatic literature. He brings out with extraordinary vividness the ascendency of Wallenstein over the wild troops whom he has gathered around him, and at the same time we are made to see how the mighty generals schemes must necessarily end in ruin, not merely because a plot against him is skilfully prepared by vigilant enemies, but because he himself is lulled into a sense of security by superstitious belief in his supposed destiny as revealed to him by the stars. Wallenstein is the most subtle and complex of Schillers dramatic conceptions, and it taxes the powers of the greatest actors to present an adequate rendering of the motives which explain his strange and dark career. The love-story of Max Piccolomini and Thekla is in its own way not less impressive than the story of Wallenstein with which it is interwoven.

This is the third and final part of the Wallenstein trilogy by German playwright and mastermind Friedrich Schiller. The work as a whole produced a profound impression, and it is certainly Schillers masterpiece in dramatic literature. He brings out with extraordinary vividness the ascendency of Wallenstein over the wild troops whom he has gathered around him, and at the same time we are made to see how the mighty generals schemes must necessarily end in ruin, not merely because a plot against him is skilfully prepared by vigilant enemies, but because he himself is lulled into a sense of security by superstitious belief in his supposed destiny as revealed to him by the stars. Wallenstein is the most subtle and complex of Schillers dramatic conceptions, and it taxes the powers of the greatest actors to present an adequate rendering of the motives which explain his strange and dark career. The love-story of Max Piccolomini and Thekla is in its own way not less impressive than the story of Wallenstein with which it is interwoven. This is the bilingual edition of this literary masterpiece including the English and German versions of the play.

The present is the best collected edition of the important works of Schiller which is accessible to readers in the English language. Detached poems or dramas have been translated at various times since the first publication of the original works; and in several instances these versions have been incorporated into this collection. Schiller was not less efficiently qualified by nature for an historian than for a dramatist. He was formed to excel in all departments of literature, and the admirable lucidity of style and soundness and impartiality of judgment displayed in his historical writings will not easily be surpassed, and will always recommend them as popular expositions of the periods of which they treat.PREFACE TO THE SIXTH EDITION