207

Notes

1 Schiller and the Young Coleridge

1. For the details of Schiller’s career and thought I am drawing on a numberof works including Lesley Sharpe, Friedrich Schiller: Drama, Thought andPolitics (Cambridge: Cambridge University Press, 1991); Walter Schafarschik,Friedrich Schiller (Stuttgart: Philipp Reclam, 1999); F. J. Lamport, GermanClassical Drama: Theatre, Humanity, and Nation, 1750–1870 (Cambridge:Cambridge University Press, 1990); and T. J. Reed, The Classical Centre: Goetheand Weimar, 1775–1832 (Oxford: Oxford University Press, 1986), and Schiller-Handbuch, ed. Helmut Koopmann (Stuttgart: Alfred Kröner, 1998).

2. Schiller later revised the essay and published it in his Shorter Works inProse under the title ‘The Stage Considered as a Moral Institution’ (‘DieSchaubühne als eine moralische Anstalt betrachtet’).

3. See David Pugh, ‘“Die Künstler”: Schiller’s Philosophical Programme’,Oxford German Studies, 18/19 (1989–90), 13–22.

4. See J. M. Ellis, Schiller’s ‘Kalliasbriefe’ and the Study of his Aesthetic Theory(The Hague and Paris: Mouton, 1969).

5. See Paul Robinson Sweet, Wilhelm von Humboldt: a Biography, 2 vols(Columbus: Ohio State University Press, 1978–80) and W. H. Bruford, The Ger-man Tradition of Self-Cultivation: ‘Bildung’ from Humboldt to Thomas Mann(Cambridge: Cambridge University Press, 1975), ch. 1; also E. S. Shaffer,‘Romantic Philosophy and the Organization of the Disciplines: the Found-ing of the Humboldt University of Berlin’, in Romanticism and the Sciences,ed. Andrew Cunningham and Nicholas Jardine (Cambridge: CambridgeUniversity Press, 1990), 38–54.

6. Norbert Oellers, Schiller: Geschichte seiner Wirkung bis zu Goethes Tod, 1805–1832 (Bonn: Bouvier, 1967).

7. For Schiller’s reception in England see Frederic Ewen, The Prestige of Schillerin England, 1788–1859 (New York: Columbia University Press, 1932) andRobert Pick, Schiller in England, 1787–1960: a Bibliography (Leeds: EnglishGoethe Society, 1961); also Violet Stockley, German Literature as Known inEngland, 1750–1830 (London: Routledge, 1929) and F. W. Stokoe, GermanInfluence in the English Romantic Period, 1788–1818 (Cambridge: CambridgeUniversity Press, 1926).

8. For earlier scholarly discussions of Coleridge’s German reading in thisperiod see Werner W. Beyer, ‘Coleridge’s Early Knowledge of German’, ModernPhilology, 52 (1954–55), 192–200; A. C. Dunstan, ‘The German Influenceon Coleridge’, MLR, 17 (1922), 272–81; H. M. Goodman, ‘The GermanInfluence on Samuel Taylor Coleridge’, Ph.D. thesis (University of Florida,1957); Fritz Wieden, ‘S.T. Coleridge’s Assimilation of Ideas from Schiller’s

208 Notes

Early Writings’, in Analecta Helvetica et Germanica: eine Festschrift zu Ehrenvon Hermann Boeschenstein, ed. Achim Arnold et al. (Bonn: Bouvier, 1979),170–81; Elizabeth M. Wilkinson, ‘Coleridge und Deutschland’, Forschungs-probleme der vergleichenden Literaturgeschichte (Tübingen: Niemeyer, 1958),II, 7–23; and L. A. Willoughby, ‘Coleridge and his German Contemporaries’,PEGS, 10 (1934), 43–62 and ‘Schiller in England and Germany’, PEGS, 11(1935), 1–19.

9. David Fairer, ‘Coleridge in Conversation: Sonnets by Various Authors(1796)’, paper presented at the Coleridge Summer Conference, 20 July2000.

10. See Donald G. Priestman, ‘Godwin, Schiller and the Polemics of Coleridge’sOsorio’, Bulletin of Research in the Humanities, 82 (1979), 236–48.

11. For related discussions of the play see John David Moore, ‘Coleridge andthe “Modern Jacobinical Drama”: Osorio, Remorse, and the Developmentof Coleridge’s Critique of the Stage, 1797–1816’, Bulletin of Research in theHumanities, 85 (1982), 443–64, and Daniel Watkins, ‘In that New World:the Deep Historical Structure of Coleridge’s Osorio’, Philological Quarterly,69 (1990), 495–515.

12. Neil Vickers discusses this review in connection with Beddoes’s wide-rangingscholarly interests in ‘Coleridge, Thomas Beddoes and Brunonian Medicine’,European Romantic Review, 8 (1997), 47–94.

13. Giuseppe Micheli and René Wellek, The Early Reception of Kant’s Thoughtin England, 1785–1805 and Immanuel Kant in England, 1793–1838 (London:Routledge/Thoemmes Press, 1993), 47–54.

14. Carl August Weber, Bristols Bedeutung für die englische Romantik und diedeutsch–englischen Beziehungen (Halle: Niemeyer, 1935), 92–115; see alsoBeyer, ‘Coleridge’s Early Knowledge of German’.

15. Shaffer, ‘Kubla Khan’ and the Fall of Jerusalem: the Mythological School inBiblical Criticism and Secular Literature, 1770–1880 (Cambridge: Cam-bridge University Press, 1975); Dorothy A. Stansfield, ‘A Note on theGenesis of Coleridge’s Thinking on War and Peace’, The Wordsworth Circle,17 (1986), 130–4; Vickers, ‘Coleridge, Thomas Beddoes and BrunonianMedicine’, passim.

16. Monthly Review, n.s., 21 (1796), 574. Beddoes is translating, and slightlyabbreviating, the opening paragraph from the essay:

In der Tat scheinen die Zeitumstände einer Schrift wenig Glück zu ver-sprechen, die sich über das Lieblingsthema des Tages ein strenges Still-schweigen auferlegen und ihren Ruhm darin suchen wird, durch etwasanders zu gefallen, als wodurch jetzt alles gefällt. Aber je mehr dasbeschränkte Interesse der Gegenwart die Gemüter in Spannung setzt,einengt und unterjocht, desto dringender wird das Bedürfnis, durch einallgemeines und höheres Interesse an dem, was rein menschlich und überallen Einfluß der Zeiten erhaben ist, sie wieder in Freiheit zu setzen unddie politische geteilte Welt unter der Fahne der Wahrheit und Schönheitwieder zu vereinigen.

(NA, XXII, 106)

Notes 209

17. Vickers makes this conjecture in ‘Coleridge, Thomas Beddoes and BrunonianMedicine’, 57.

2 Coleridge and Weimar Classicism

1. For Coleridge’s studies in Göttingen see Clement Carlyon, Early Years andLate Reflections (London: Whittaker, 1836), Willoughby, ‘German Con-temporaries’, 47–50 and Weber, Bristols Bedeutung, 164–74. Schiller’s workdoes not appear among the books that Coleridge borrowed from the uni-versity library: Alice D. Snyder, ‘Books Borrowed by Coleridge from theLibrary of the University of Göttingen 1799’, Modern Philology, 25 (1927–28), 377–80. See also Wilkinson’s note, ‘Coleridge’s Knowledge of Germanas Seen in the Early Notebooks’ in CN, I, Appendix ‘A’.

2. Luigi Marino, Praeceptores Germaniae: Göttingen 1770–1820 (Göttingen:Vandenhoeck & Ruprecht, 1995). For some contemporary accounts of lifein Göttingen in the period, see ‘Selige Tage im Musensitz Göttingen’: Stadtund Universität in ungarischen Berichten aus dem 18. and 19. Jahrhundert, ed.István Futaky (Göttingen: Vandenhoeck & Ruprecht, 1991).

3. The circumstances of this translation are discussed in the second sectionof the next chapter, pp. 52–3 .

4. For the full circumstances surrounding Coleridge’s translation, see JoyceCrick’s edition of The Piccolomini and Wallenstein’s Death in the Bollingenedition of Poetical Works, ed. J. C. C. Mays, and ‘Coleridge’s Wallenstein:Two Legends’, MLR, 83 (1988), 76–86; see also Walter Grossman, ‘TheGillman–Harvard Manuscript of Schiler’s Wallensteins Tod’, Harvard LibraryQuarterly, 11 (1957), 319–45, and B. Q. Morgan, ‘What Happened toColeridge’s Wallenstein’, Modern Language Journal, 43 (1959), 195–201.

5. F. J. Lamport, ‘Wallenstein on the English Stage’, German Life and Letters,48 (1995), 124–47; Joyce Crick, ‘William Poel’s Wallenstein-Moment’, inCousins at One Remove, ed. Richard Byin (Leeds: Northern UniversitiesPress, 1998), 42–60.

6. ‘Some Editorial and Stylistic Observations on Coleridge’s Translation ofSchiller’s Wallenstein’, PEGS, 54 (1983–84), 37–75; and ‘Coleridge’s Wallen-stein: Available Dictions’, Second Hand: Papers on the Theory and HistoricalStudy of Literary Translation, ALW Cahiers, 3 (1985), 128–60. On Coleridgeas translator, see also Jibon Krishna Banerjee, ‘Coleridge’s English Renderingof Schiller’s Plays’, The Aligarh Journal of English Studies, 13 (1988), 103–13and Matthew Scott, ‘The Circulation of Romantic Creativity: Coleridge,Drama, and the Question of Translation’, Romanticism on the Net, 2 (May1996), online. <http://users.ox.ac.uk/~scat0385/circulation.html>

7. ‘Coleridge’s Wallenstein Translation as a Guide to his Dejection Ode’, TheWordsworth Circle, 18 (1987), 132–6.

8. In the Theatre of Romanticism: Coleridge, Nationalism, Women (Cambridge:Cambridge University Press, 1994), 63–93; see also her article: ‘CommandPerformances: Burke, Coleridge, and Schiller’s Dramatic Reflections on theRevolution in France’, The Wordsworth Circle, 23 (1992), 117–32.

210 Notes

9. The Robbers and Wallenstein, trans. F. J. Lamport (Hardmondsworth: Penguin,1979), 166–7.

10. As Carlson says, the play ‘dramatizes the tragedy of Romantic proposalsfor change’ (‘Command Performance’, 124).

11. Leonard M. Mackall, ‘Coleridge Marginalia on Wieland and Schiller’,Modern Language Review, 19 (1924), 346.

3 British Germanophiles

1. Monthly Review, 33 (Oct. 1800), 127–31; other reviews appeared in CriticalReview, 30 (Oct. 1800), 175–85 and in British Critic, 18 (Nov. 1801), 542–5.See Coleridge: the Critical Heritage, ed. J. R. de J. Jackson (London: Routledge,1970), 62–6. Coleridge later attributed one of the reviews to Anna LetitiaBarbauld and blamed her for turning public opinion against his Wallensteintranslation (TT, I, 573).

2. See also Henry Crabb Robinson on Books and Their Writers, ed. Edith J. Mor-ley, 3 vols (London: Dent, 1938), III, 107. Scott quoted from it on severaloccasions in Guy Mannering (1815), for which Coleridge thanked himin the 1818 Friend (I, 122 and 428–9n), and Hazlitt praised the workin Spirit of the Age, in Works, ed. P. P. Howe, 21 vols (London: Dent,1930–34), XI, 35. For Tieck see CL, V, 269. See also Ashton, German Idea,189 n.3.

3. ‘Wallenstein, translated by Coleridge’, Blackwoods Edinburgh Magazine, 14(1823), 377–97. Ten years later, Abraham Hayward praised Coleridge’sWallenstein in the preface to his own translation of Faust (London:Edward Moxon, 1833), xiii.

4. Julie A. Carlson, ‘Unsettled Territory: the Drama of English and GermanRomanticism’, Modern Philology, 88 (1990), 43–56. For the Anti-JacobinReview’s ‘veritable press campaign’ against German philosophy, directedin part by John Gifford’s Weimar contact James Walker, see GiuseppeMicheli, Early Reception, 88–94; also André Rault, ‘Die Spanier in Peru oderdie Deutschen in England: Englisches und deutsches Theater, 1790–1810’, Wissenschaftliche Zeitschrift der Ernst-Moritz-Arndt Universität, 32(1983), 83–9. The story was slightly different in America: a pirated editionof the first part of Coleridge’s translation, The Piccolomini, was publishedin New York in 1805.

5. For an earlier discussion of some of this material, see Ewen, Prestige ofSchiller, ch. 2.

6. The German Museum, 1–3 (1800–1). Further references are included in par-entheses in the text. There are very few existing copies, which accounts inpart for the critical neglect of this important work in the history of thereception of German ideas in early nineteenth-century Britain. For onecommentary to which my own is partly indebted, see Lieselotte Blumenthal,‘Geisweiler und Weimar: zur Rezeption deutscher Dichter in England um1800’, Jahrbuch der deutschen Schillergesellschaft, 11 (1967), 14–46. ForPeter Will, see John Alexander Kelly, German Visitors to English Theatres in

Notes 211

the Eighteenth Century (Princeton: Princeton University Press, 1936), 158–61and for Willich, see Micheli, Early Reception, 88–91.

7. Blumenthal, ‘Geisweiler und Weimar’, 32–3. 8. Crick, ‘Two Legends’, 81. 9. Quoted in Kelly, German Visitors, 161.

10. See Elke Ritt, Mary Stuart, a tragedy (1801) von Joseph Charles Mellish: dieautorisierte englische Blankversübersetzung von Schillers Maria Stuart: Analyseund Text nebst einer Biographie des Übersetzers und handschriftlichem Doku-mentationsmaterial (Munich: Tuduv, 1993).

11. ‘What are the Particular Effects of the Stage?’ Montly Mirror, 8 (1799), 357–60and 9 (1800), 42–6. Bernd Bräutigam has demonstrated how this essayaims to refute J. J. Rousseau’s claim that art cannot effect social change,‘Rousseaus Kritik ästhetischer Versöhnung: eine Problemvorgabe der Bil-dungsästhetik Schillers’, Jahrbuch der deutschen Schillergesellschaft, 31(1987), 137–55.

12. Translations of German Poems, trans. anon. [Benjamin Beresford] (Berlin:H. Frölich, 1801).

13. Annual Review, 4 (1805), 639. 14. British Critic, 25 (1805), 684–5. 15. The Gentleman’s Magazine, 75 (1805), 493, 581. 16. Monthly Magazine, 21 (1806), 46–7. The German is as follows:

Den kindlichen Charakter, den das Genie in seinen Werken abdrückt,zeigt es auch in seinem Privat-Leben und in seinen Sitten. Es ist schaam-haft, weil die Natur dieses immer ist; aber es ist nicht decent, weil nur dieVerderbniß decent ist. Es ist verständig, denn die Natur kann nie dasGegentheil seyn; aber es ist nicht listig, denn das kann nur die Kunstseyn. Es ist seinem Charakter und seinen Neigungen treu, aber nichtsowohl weil es Grundsätze hat, als weil die Natur bey allem Schwankenimmer wieder in die vorige Stelle rückt, immer das alte Bedürfniß zurückbringt. Es ist bescheiden, ja blöde, weil das Genie immer sich selbst einGeheimniß bleibt, aber es ist nicht ängstlich, weil es die Gefahren desWeges nicht kennt, den es wandelt. Wir wissen wenig von dem Privatle-ben der größten Genies, aber auch das weniger, was uns z. B. von Sophok-les, von Archimed, von Hippokrates, und aus neueren Zeiten von Ariost,Dante und Tasso, von Raphael, von Albrecht Dürer, Zervantes, Shakes-pear, von Fielding, Sterne u. a. aufbewahrt worden ist, bestätigt dieseBehauptung.

(NA, XX, 424–5)

The Monthly Magazine does not include Schiller’s list of examples. 17. H. C. Robinson, On Books and Their Writers, I, 77. See also CL, III, 407. Bio-

graphical essays of the 1820s continued to link Schiller’s ill health withhis study of Kant. See, for example, Specimens of the German Lyric Poets,trans. Benjamin Beresford (London: Boosey and Sons, 1822), 81: ‘hebecame entangled in the maze of Kant’s philosophy, and, by overstrainedintellectual exertion, brought on that illness, which occasioned his

212 Notes

premature death’, and ‘German Authors No. II: Schiller’, New Monthly Maga-zine and Literary Journal, 1 (1821), 206–22.

18. ‘On the Genius of Schiller and the Robbers’ and ‘On the German Literature,and the Genius of Schiller’, The Universal Magazine, 8 (1807), 29–32 and307–10, respectively.

19. The Universal Magazine, 9 (1808), 283–6. 20. The Universal Magazine, 12 (1809), 277–8 (‘Ode to Joy’) and 186–8, 270–3,

443–6 and 13 (1810), 10–13 (The Criminal from Lost Honour). 21. The Universal Magazine, 12 (1809), 28–30, 92–4, 384–6 and 463–6. 22. The Universal Magazine, 12 (1809), 92–3. The German original runs thus:

in so fern sich das Gemüth nur in seinem sittlichen Handeln vollkom-men unabhängig und frey fühlt, in so fern ist es freylich der befriedigteTrieb der Thätigkeit, von welchem unser Vergnügen an traurigen Rührun-gen seinen Ursprung zieht. Aber so ist es auch nicht die Menge, nicht dieLebhaftigkeit der Vorstellungen, nicht die Wirksamkeit des Begehrungs-vermögens überhaupt, sondern eine bestimmte Gattung der erstern, undeine bestimmte, durch Vernunft erzeugte Wirksamkeit des letztern, wasdiesem Vergnügen zum Grund liegt.

(NA, XX, 152–3)

23. William Mudford, Nubilia in Search of a Husband (London: J. Ridgeway,1809), 413.

24. The Scots Magazine and Edinburgh Literary Miscellany, 72 (1810), 426–8,577–80.

25. For Schiller’s later reception see ‘Account of Wieland, Goethe, Schilleretc. by a Late Traveller’, Monthly Magazine, 50 (1820), 108–9, which notesthat Schiller’s ‘literary and moral treatises present analysis and observa-tions which equally affect by their shrewdness and their profundity’. Seealso William Taylor, ‘The German Student, No. XX: Schiller’, MonthlyMagazine, 52 (1821), 223–6, 392–5 and ‘Schiller’s Intellectual System’,Monthly Magazine, 53 (1822), 25–8; also De Quincey, ‘Superficial Know-ledge’, London Magazine, 10 (1824), 27–8; and Carlyle, ‘Schiller’s Life andWritings – Part III’, London Magazine, 10 (1824), 22–3 and his Life of Schiller(London: Taylor and Hessey, 1825). Some of these are discussed in theeditors’ introduction in Aesthetic Letters, cxxxiii–cxcvi.

26. Crabb Robinson in Germany, 1800–1805, ed. Edith J. Morley (London:Humphrey Milford, 1929), 100. See also Crabb Robinson’s journal entryfor the day, in Hertha Marquardt, Henry Crabb Robinson und seine deutschenFreunde: Brücke zwischen England und Deutschland im Zeitalter der Romantik(Göttingen: Vandenhoeck & Ruprecht, 1964–67), 341–2. For a discussionof Crabb Robinson in Germany see Ernst Behler, ‘Schellings Ästhetik inder Überlieferung von Henry Crabb Robinson’, Philosophisches Jahrbuchdes Goerres-Gesellschaft, 83 (1976), 133–83.

27. It can be translated literally thus: ‘Greekness, what was it? Understanding,measure, clearness! / Wherefore I would have thought, a little patience,gentlemen, before you start talking to us of Greece.’

Notes 213

28. As David Vallins has shown, Coleridge’s interest in the role of feeling inmoral life was part of a larger project aimed at integrating psychologicalexperience with rational discourse more generally. See Coleridge and thePsychology of Romanticism (London: Palgrave, 1999).

29. The Letters of William and Dorothy Wordsworth, ed. Ernest De Selincourt:The Middle Years, 1812–20, rev. Mary Moorman and Alan G. Hill (Oxford:Oxford University Press, 1970), III, 13.

4 Schiller’s Poetry in Coleridge’s Notebooks

1. There are two variants in Coleridge’s transcription, apart from capitalization:in the second distich Coleridge brings the phrase ‘Mir grauet’ (‘I shudder’),which Schiller has in the first line, into the second; and in the fourth distich,Coleridge has ‘was der Körper den Lebenden’ (‘what the body [is] to theliving’) in place of Schiller’s ‘was der Körper den Liebenden’ (‘what thebody [is] to lovers’). Here Coleridge universalizes Schiller’s metaphor –though it is impossible to say whether this was deliberate. Some of thesedistichs reappeared in published form (SW & F, I, 315 and LS, 174).

2. This and all subsequent translations of Coleridge’s transcriptions aretaken from the editorial notes accompanying CN.

3. The poem originally appeared in Der Teutsche Merkur and Schiller hadpublished a revised version, toning down the implicit criticism of Chris-tianity, in the first volume of his Poems in 1800.

4. Coleridge in Malta and Italy (Oxford: Oxford University Press, 1969), 151, 267.5. Edoardo Zuccato, Coleridge in Italy (New York: St Martin’s Press – now

Palgrave, 1996), ch. 1. 6. Coleridge may have had in mind, too, Schiller’s distich ‘The Genius with

the Inverted Torch’ (‘Der Genius mit der umgekehrten Fackel’): ‘Lieblichsieht er zwar aus mit seiner erloschenen Fackel,/ Aber, ihr Herren, der Tod istso aesthetisch doch nicht’ (‘Admittedly, he looks lovely with his extin-guished torch / But Death, gentlemen, is not so aesthetic’, NA, I, 286).

7. See my article ‘Coleridge’s Francophobia’, Modern Language Review, 95(2000), 924–41.

8. Sultana, Malta and Italy, 386–7. 9. See Shaffer, ‘Romantic Philosophy’.

10. The number in square brackets is given by the editor of the Coleridgenotebooks for the sake of convenience; neither Coleridge nor Schillernumbered the distichs.

11. Evidence for Coleridge’s source occurs in the second distich, where he fol-lows a variant that appears only in The Muses’ Almanac (NA, I, 285; compareIIi, 150, 324).

12. The two distichs can be translated literally as follows: ‘The Incompetent/To censure is easy, to create is difficult; you who censure the weak/haveyou also the heart to pay tribute to the accomplished?’ and ‘Recompense/What rewards the master? the gentle answering echo/from pure reflex,out of the responding breast’.

214 Notes

13. It appeared in all subsequent editions of his collected poems. Coleridge’ssource in 1802 had been Schiller’s Poems, Part 1; the title he gives to thetranslation in Sibylline Leaves confirms that he was later reading the poemin The Muses’ Almanac, where it is entitled ‘The Visit’.

14. Bacchus in Romantic England: Writers and Drink, 1780–1830 (Basingstoke:Macmillan – now Palgrave, 1999), 119–25.

5 Semblance and Aesthetic Autonomy in Coleridge’s Criticism

1. Coleridge’s Poetics (Oxford: Blackwell, 1983), 132. 2. Schiller to Derrida: Idealism in Aesthetics (Cambridge: Cambridge University

Press, 1989), chs 1–3. 3. Nancy Webb Kelly, ‘Homo Aestheticus: Coleridge, Kant and Play’, Textual

Practice, 2 (1988), 200–18. 4. Aesthetic Theory, ed. Gretel Adorno and Rolf Tiedemann, trans. Robert

Hullot-Kentor (London: Athlone Press, 1997), 197. 5. See, for instance, Robinson, Diary, I, 305. 6. Though, characteristically, Schiller’s work is not so committed as Kant’s

to transcendental argumentation. See Dieter Henrich in ‘Beauty and Free-dom: Schiller’s Struggle with Kant’s Aesthetics’, in Essays in Kant’s Aesthetics,ed. Ted Cohen and Paul Guyer (Chicago and London: University ofChicago Press, 1982), 237–57 and also Eva Schaper, ‘Friedrich Schiller:Adventures of a Kantian’, British Journal of Aesthetics, 4 (1964), 348–62 and‘Schiller’s Kant: a Chapter in the History of Creative Misunderstanding’,in Studies in Kantian Aesthetics (Edinburgh: Edinburgh University Press,1979), 99–117. Paul de Man argues that Schiller’s residual empiricismmakes for a more thoroughgoing idealism than Kant’s, in a lecture called‘Kant and Schiller’, in Aesthetic Ideology, ed. Andrzej Warminski (Minne-apolis and London: University of Minnesota Press, 1996), 129–62; for areading of this lecture in relation to the reception of de Man, see MarcRedfield, ‘De Man, Schiller, and the Politics of Reception’, Diacritics, 20(1990), 50–70.

7. Critique of Teleological Judgement, trans. James Creed Meredith (Oxford:Clarendon Press, 1928), §25, 112.

8. See the editors’ note on Schein in Aesthetic Letters, 327–9.

6 Aesthetic Education in Biographia Literaria, The Friend and the Lectures on Literature

1. ‘On the Use of the Chorus in Tragedy’, in The Bride of Messina, WilliamTell, Demetrius, trans. Charles E. Passage (New York: Ungar, 1962), 4–5.

2. See Seamus Perry, Coleridge and the Uses of Division (Oxford: ClarendonPress, 1999).

3. Daniel Mark Fogel, ‘A Compositional History of the Biographia Literaria’,Studies in Bibliography, 30 (1977), 219–34.

Notes 215

4. System of Transcendental Idealism (1800), trans. Peter Heath (Charlottesville:University Press of Virginia, 1978), 233.

5. Coleridge and the Pantheist Tradition (Oxford: Clarendon Press, 1969), 153.For a recent discussion of Coleridge’s use of Schelling, see Tim Milnes,‘Eclipsing Art: Method and Metaphysics in Coleridge’s Biographia Literaria’,Journal of the History of Ideas, 60 (1999), 125–47.

6. F. W. J. Schelling, ‘Concerning the Relation of the Plastic Arts to Nature’,trans. Michael Bullock, in Herbert Read, The True Voice of Feeling: Studiesin English Romantic Poetry (London: Faber and Faber, 1953), 332.

7. Schelling, ‘Plastic Arts’, 347. 8. For other instances of Coleridge’s animadversions on didactic children’s

literature, see Lects Lit, I, 278–9 and SW & F, II, 970–1. On moralism inart, see Friend, II, 217–21 (not in the 1818 edition) and BL, II, 185–90.

9. Richard T. Martin, ‘Coleridge’s Use of sermoni propriora’, The WordsworthCircle, 3 (1972), 71–5.

10. Schiller to Derrida, Ch. 3. 11. See the references to Barbauld’s views in Lects Lit, I, 118–19 n. 17. 12. ‘On the Effects of a Permanent Theatre’ (1784): ‘When a central tendency

reigns in all our dramas, when our poets become one, united in a singlealliance to further this goal . . . then will we become a Nation’, in NA, XX,99 (Essays, 338).

7 Coleridge’s ‘Aesthetic State’

1. Heidi Robinson, ‘Der gesellschaftsfeindliche “innere” bzw. “ganze Mensch”:Mißdeutungen in der englischen Rezeption und Überlieferung von Schill-ers Kulturtheorie’, Arcadia: Zeitschrift für vergleichende Literaturwissenschaft,15 (1980), 129–48.

2. Eric Meyer, ‘Reconstructing Aesthetic Education: Modernity, Postmodernity,and Romantic Historicism’, in Intersections: Nineteenth-Century Philosophyand Contemporary Theory, ed. Tilottama Rajan and David L. Clarke (NewYork: State University of New York Press, 1995), 286–301; Richard T.Gray, Stations of the Divided Subject: Contestation and Ideological Legitima-tion in German Bourgeois Literature, 1770–1914 (Stanford: Stanford UP, 1995),Ch. 3; and Lore Metzger, ‘The Role of Feeling in the Formation of RomanticIdeology: the Poetics of Schiller and Wordsworth’, in Sensibility in Trans-formation: Creative Resistance to Sentiment from the Augustan to the RomanticAge, ed. Syndy McMillen Conger (Rutherford: Fairleigh Dickinson Univer-sity Press, 1990), 172–94. See also Josef Chytry, The Aesthetic State: a Questin Modern German Thought (Berkeley: University of California Press, 1989).

3. Walter Benjamin, ‘Goethe’, in Selected Writings, trans. Rodney Living-stone et al., ed. Michael W. Jennings et al. (Cambridge, Mass. and London:Belknap Press, 1996–), II, 176.

4. Sharpe, Friedrich Schiller, Ch. 6, 7. 5. Gadamer, Hans Georg, Truth and Method, 2nd edn. (London: Sheed &

Ward, 1979), 74.

216 Notes

6. For a close analysis of Gadamer’s critique of Schiller see ConstantinBehler, Nostalgic Teleology: Friedrich Schiller and the Schemata of AestheticHumanism (Berne: Peter Lang, 1995), 23–37; on Gadamer’s relationship tohistoricism see Paul Hamilton, Historicism (London and New York: Rout-ledge, 1996), 81–98.

7. See Manfred Misch, ‘Schiller und die Religion’, in Schiller Heute, ed. Hans-JörgKnoblock and Helmut Koopmann (Tübingen: Stauffenburg, 1996), 27–43.

8. Quoted in Misch, ‘Religion’, 207. 9. See Arthur William McCradle, Friedrich Schiller and Swabian Pietism (Berne:

Peter Lang, 1986); also David Pugh, Dialectic of Love: Platonism in Schiller’sAesthetics (Montreal and Kingston: McGill-Queen’s University Press,1996).

10. See also ‘The Uses of Aesthetic Morals’ (1796), in NA, XXI, 28–37 (Essays,119–28); also the notes for the lectures on aesthetics in 1792–3, in NA,XXI, 68–9.

11. Culture and Society, 1780–1950 (London: Chatto & Windus, 1958), xvi. 12. Georg Lukács, ‘Zur Ästhetik Schillers’, in Beiträge zur Geschichte der Ästhetik

(Berlin: Aufbau, 1954), 11–96. 13. John Colmer, Coleridge: Critic of Society (Oxford: Clarendon Press, 1959),

110. 14. Terry Eagleton, The Ideology of the Aesthetic (Oxford: Blackwell, 1990), 117. 15. For their discussions of Schiller see Herbert Marcuse, Eros and Civilization:

a Philosophical Enquiry into Freud (Boston: Beacon, 1955); Frederic Jameson,Marxism and Form (Princeton: Princeton University Press, 1971); and JürgenHabermas, The Philosophical Discourse of Modernity (Cambridge, Mass: MITPress, 1987). Lesley Sharpe summarizes the arguments in Schiller’s AestheticEssays, 86–94.

8 The Clerisy and Aesthetic Education

1. See also CL, V, 138 and CN, IV, 4800. Ben Knight, The Idea of the Clerisy inthe Nineteenth Century (Cambridge: Cambridge University Press, 1978),Ch. 1.

2. Colmer, Coleridge: Critic of Society, 158. 3. Nigel Leask, The Politics of Imagination in Coleridge’s Critical Thought (Bas-

ingstoke: Macmillan – now Palgrave, 1988), Ch. 19. 4. Leask, Politics of Imagination, 218. See also T. M. Holmes, ‘Property and

Politics in Schiller’s Theory of Aesthetic Education’, Oxford German Studies,11 (1980), 27–39.

5. Inquiring Spirit: a New Presentation of Coleridge from His Published andUnpublished Prose Writings, ed. Kathleen Coburn, rev. edn. (Toronto: Uni-versity of Toronto Press, 1979), 343–4.

6. Quoted in H. J. Jackson, ‘Coleridge’s Women, or Girls, Girls, Girls areMade to Love’, Studies in Romanticism, 32 (1993), 580. Coleridge’s comment,evidently not unique, is unwittingly echoed in the entry for Sara Coleridgein the Dictionary of National Biography (1st edn): ‘The unanimous testimony

Notes 217

of her friends represents her as an almost perfect woman, uniting masculinestrength of intellect to feminine grace and charm.’

7. Jackson, ‘Coleridge’s Women’, 585. For Coleridge’s relationship to the femi-nism of his day, see Anya Taylor, ‘Coleridge, Wollstonecraft, and the Rightsof Women’, in Coleridge’s Visionary Languages: Essays in Honour of J. B. Beer,ed. Tim Fulford and Morton D. Paley (Cambridge: Brewer, 1993), 83–98.

8. Alan Richardson, ‘Romanticism and the Colonization of the Feminine’,in Romanticism and Feminism, ed. Anne K. Mellor (Bloomington: IndianaUniversity Press, 1988), 13–25; Anne K. Mellor, Romanticism and Gender(London and New York: Routledge, 1993); Tim Fulford, Romanticism andMasculinity: Gender, Politics and Poetics in the Writings of Burke, Coleridge,Cobbett, Wordsworth, De Quincy, and Hazlitt (Basingstoke: Macmillan – nowPalgrave, 1999).

9. Lesley Sharpe, ‘Über den Zusammenhang der tierischen Natur der Fraumit ihrer geistigen: Zur Anthropologie der Frau um 1800’, Anthropologieund Literatur um 1800, ed. Jürgen Barkhoff and Eda Sagarra (Munich: Iudi-cium, 1992), 213–25. For contemporaries theories of female education,see Pia Schmid, ‘Weib oder Mensch, Wesen oder Wissen?: BürgerlicheTheorien zur weiblichen Bildung um 1800’, in Geschichte der Mädchen-und Frauenbildung, ed. Elke Kleinau and Claudia Opitz, 2 vols (Frankfurtand New York: Campus, 1996), I, 327–45.

10. Silvia Bovenschen, Die imaginierte Weiblichkeit: Exemplarische Untersuchungenzu kulturgeschichtlichen und literarischen Präsentationsformen des Weiblichen(Frankfurt: Suhrkamp, 1979); Hannelore Scholz, Widersprüche im bürgerlichenFrauenbild: Zur ästhetischen Reflexion und poetischen Praxis bei Lessing,Friedrich Schlegel und Schiller (Weinheim: Deutscher Studien, 1992). Seealso Ursula Naumann, ‘“Für einer Zeitung Gnadenlohn”? Schillers GedichtDie berühmte Frau und Sophie Ludwigs Buch Juda oder der erschlageneRedliche’, Zeitschrift für deutsche Philologie, 109 (1990), 16–26.

11. Von Humboldt’s essays are: ‘Sexual Difference and its Influence onOrganic Nature’ (‘Über den Geschlechtsunterschied und dessen Einflussauf die organische Natur’, 1794) and ‘Male and Female Form’ (‘Über diemännliche und weibliche Form’, 1795), both in the first volume of Werke,ed. Andreas Flitner and Klaus Giel, 5 vols (Stuttgart: Cotta, 1960–81). Seealso Sweet, Von Humboldt, I, 161–72. In contrast to Schiller, von Hum-boldt describes sexual differences without making qualitative distinctionsand sets out a transsexual ideal in which difference does not figure.

12. Review of The Muses’ Almanac for 1796, in Kritische Friedrich-Schlegel-Ausgabe, ed. Ernst Behler, 35 vols (Paderborn: Ferdinand Schöningh, 1958–79), II, 6.

13. For Schiller’s theory of dilettantism, see ‘Über den Dilettantismus’, in NA,XXI, 60–2.

14. Coleridge similarly refers to this absence of character in Lects Lit, I, 555–6,573, 594–5.

15. For similar reflections on ‘the insufficingness of the self for itself’ see also‘The Improvisatore’, PW, I, 465. Jackson relates this interest in sexualdifference to Coleridge’s polar logic, in her article ‘Coleridge’s Women’.

218 Notes

16. Virginia Woolf, A Room of One’s Own (London: Grafton, 1977), 94. 17. Quoted in Jackson, ‘Coleridge’s Women’, 598. 18. See Jean Watson, ‘Coleridge’s Androgynous Ideal’, Prose Studies, 6 (1983),

36–56; Anthony Harding, Coleridge and the Idea of Love (London: Cam-bridge University Press, 1974), 95–101; Sonia Hofkosh, Sexual Politics andthe Romantic Author (Cambridge: Cambridge University Press, 1998); andDiane Long Hoeveler, Romantic Androgyny: the Women Within (London:Pennsylvania State University Press, 1990).

19. Christine Battersby, Gender and Genius: Towards a Feminist Aesthetics(London: Women’s Press, 1989), 103.

20. See Kari Lokke, ‘Schiller’s Maria Stuart: the Historical Sublime and theAesthetics of Gender’, Monatshefte, 82 (1990), 123–41.

9 Epilogue: Bildung and History

1. Elinor S. Shaffer, ‘Coleridge’s Revolution in the Standard of Taste’, Journalof Aesthetics and Art Criticism, 28 (1969–70), 213–21.

2. Modiano, Coleridge and the Concept of Nature, 108. 3. Linda M. Brooks, ‘Sublime Suicide: the End of Schiller’s Aesthetics’, in

Friedrich von Schiller and the Drama of Human Existence, ed. Alexej Ugrinsky(New York: Greenwood, 1988), 91–101, and ‘Sublimity and Theatricality:Romantic “Pre-Postmodernism” in Schiller and Coleridge’, Modern LanguageNotes, 105 (1990), 939–64.

4. See the editorial commentary in NA, XXI, 328–9 and Elias, 52. Furtherreferences are to the German text in the Nationalausgabe and the Englishtranslation by Elias.

5. Thomas Weiskel, The Romantic Sublime: Studies in the Structure and Psychologyof Transcendence (Baltimore and London: Johns Hopkins University Press,1976), 41.

6. G. W. F. Hegel, ‘Über Wallenstein’, in Schillers Wallenstein, ed. Fritz Heuerand Werner Keller (Darmstadt: Wissenschaftliche Buchgesellschaft,1977), 15–16.

7. See Weiskel, Romantic Sublime, Ch. 2. 8. See Ilse Graham, Schiller: a Master of the Tragic Form: His Theory in His Practice

(Pittsburgh: Duquesne University Press, 1975). 9. Raimonda Modiano, Coleridge and the Concept of Nature, 108.

10. This is a point Hayden White makes with respect to Schiller’s essay in‘The Politics of Historical Interpretation: Discipline and De-Sublimation’,Critical Inquiry, 9 (1982), 125–6.

11. For related discussion of Coleridge’s views on history and historiography,see Mary Anne Perkins, ‘Coleridge, Language and History’, in Coleridge’sVisionary Languages: Essays in Honour of J. B. Beer, ed. Tim Fulford andMorton D. Paley (Cambridge: D. S. Brewer, 1993), 181–94, and Coleridge’sPhilosophy: the Logos as a Unifying Principle (Oxford: Clarendon, 1994),255–8; Myfanwy J. Lloyd, ‘The Historical Thought of S. T. Coleridge: theLater Prose Works’, D.Phil. thesis (University of Oxford, 1998) and my

Notes 219

article, ‘Romanticism and Coleridge’s Idea of History’, Journal of the Historyof Ideas, 60 (1999), 717–35.

12. Notebook 43, fols 38, 39v (BL Add. MS 47538). Cf. Notebook 44, fol. 21(BL Add. MS 47539):

Naturally, the Humanity developed in the form and under the conditionsof a one People, a Nation, a State or Commonwealth – this is the clue,this the guiding and enlightening Idea of the Dispensation of Moses, ofthe Epoch of the great Redemptive Process formed by the Law. The Indi-viduality as the kind in Adam, the Race in Noah, the Family in the Patri-archs, the State or Nation in Moses, and the kind in each Individual inthe Christian Church.

See also Perkins, Coleridge’s Philosophy, 260. 13. Notebook 39, fols. 15–16v (BL Add. MS 47534). 14. For a further discussion of this notion of history, see Graham Davidson,

Coleridge’s Career (Basingstoke: Macmillan – now Palgrave, 1989), 234 andPerkins, Coleridge’s Philosophy, 259.

15. See similar formulations in CN, IV, 4774, 5216, 5288, 5294, 5377.

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221

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—— ‘Schellings Ästhetik in der Überlieferung von Henry Crabb Robinson’,Philosophisches Jahrbuch des Goerres-Gesellschaft, 83 (1976), 133–83.

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—— Tragödie und Öffentlichkeit: Schillers Dramaturgie im Zusammenhang seinerästhetisch–politischen Theorie und die rhetorische Tradition (Munich: Fink,1973).

—— Weimarer Klassik: Portrait einer Epoche (Weinheim: Beltz, 1994, 1998). Bovenschen, Silvia, Die imaginierte Weiblichkeit: Exemplarische Untersuchungen

zu kulturgeschichtlichen und literarischen Präsentationsformen des Weiblichen(Frankfurt: Suhrkamp, 1979).

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222 Selected Bibliography

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—— ‘Sublimity and Theatricality: Romantic “Pre-Postmodernism” in Schillerand Coleridge’, Modern Language Notes, 105 (1990), 939–64.

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—— ‘On Stage Illusion: From Wordsworth’s Marginalia to Coleridge’sLectures’, The Wordsworth Circle, 19 (1988), 28–37.

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ed. Ted Cohen and Paul Guyer (Chicago: University of Chicago Press,1982), 221–36.

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—— Biographia Literaria, ed. James Engell and Walter Jackson Bate, 2 vols(London and Princeton, NJ: Princeton University Press, 1983).

—— Collected Letters of Samuel Taylor Coleridge, ed. Earl Leslie Griggs, 6 vols(Oxford: Oxford University Press, 1956–71).

—— The Complete Poetical Works of Samuel Taylor Coleridge, ed. E. H. Coleridge,2 vols (Oxford, 1912).

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—— Lay Sermons, ed. R. J. White (London and Princeton, NJ: PrincetonUniversity Press, 1972).

—— Lectures 1795: on Politics and Religion, ed. Lewis Patton and Peter Mann(London and Princeton, NJ: Princeton University Press, 1971).

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—— The Notebooks of Samuel Taylor Coleridge, ed. Kathleen Coburn et al., 5 vols(New York: Princeton University Press and London: Routledge, 1957– ).

—— On the Constitution of Church and State, ed. John Colmer (London andPrinceton, NJ: Princeton University Press, 1976).

—— Shorter Works and Fragments, ed. Heather Jackson and J. R. de J. Jackson,2 vols (London and Princeton, NJ: Princeton University Press, 1995).

—— Table Talk, ed. Carl Woodring, 2 vols (London and Princeton, NJ: Prince-ton University Press, 1990).

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83 (1988), 76–86. —— ‘Some Editorial and Stylistic Observations on Coleridge’s Translation of

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—— ‘William Poel’s Wallenstein-Moment’, in Cousins at One Remove, ed. RichardByin (Leeds: Northern Universities Press, 1998), 42–60.

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De Man, Paul, ‘Kant and Schiller’, in Aesthetic Ideology, ed. Andrzej Warminski(Minneapolis and London: University of Minnesota Press, 1996), 129–62.

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Eagleton, Terry, The Ideology of the Aesthetic (Oxford: Blackwell, 1990). Ellis, J. M., Schiller’s ‘Kalliasbriefe’ and the Study of his Aesthetic Theory (The

Hague and Paris: Mouton, 1969). Ewen, Frederic, The Prestige of Schiller in England, 1788–1859 (New York:

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224 Selected Bibliography

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Gadamer, Hans Georg, Truth and Method, 2nd edn (London: Sheed & Ward,1979).

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Goodson, A. C., Verbal Imagination: Coleridge and the Language of ModernCriticism (Oxford: Oxford University Press, 1988).

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Gray, Richard T., Stations of the Divided Subject: Contestation and IdeologicalLegitimation in German Bourgeois Literature, 1770–1914 (Stanford: StanfordUP, 1995).

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Hamilton, Paul, Coleridge’s Poetics (Oxford: Blackwell, 1983). Harding, Anthony J., Coleridge and the Idea of Love: Aspects of Relationship in

Coleridge’s Thought and Writing (London: Cambridge University Press,1974).

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Henrich, Dieter, ‘Beauty and Freedom: Schiller’s Struggle with Kant’s Aesthet-ics’, in Essays in Kant’s Aesthetics, ed. Ted Cohen and Paul Guyer (Chicagoand London: University of Chicago Press, 1982), 237–57.

Hoeveler, Diane Long, Romantic Androgyny: the Women Within (London:Pennsylvania State University Press, 1990).

Holmes, T. M., ‘Property and Politics in Schiller’s Theory of Aesthetic Educa-tion’, Oxford German Studies, 11 (1980), 27–39.

Humboldt, Wilhelm von, Werke, ed. Andreas Flitner and Klaus Giel, 5 vols(Stuttgart: Cotta, 1960–81).

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—— The Critique of Teleological Judgement, trans. James Creed Meredith(Oxford: Clarendon Press, 1928).

—— Observations on the Feeling of the Beautiful and the Sublime, trans. JohnT. Goldthwait (Berkeley: University of California Press, 1960).

—— Religion within the Bounds of Reason Alone, trans. Theodore M. Greene andHoyt H. Hudson (New York: Harper, 1960).

Kelly, John Alexander, German Visitors to English Theatres in the EighteenthCentury (Princeton: Princeton University Press, 1936).

Kelly, Nancy Webb, ‘Homo Aestheticus: Coleridge, Kant and Play’, TextualPractice, 2 (1988), 200–18.

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Lessons of Romanticism: a Critical Companion, ed. Thomas Pfau and RobertF. Gleckner (Durham, NC: Duke University Press, 1998).

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Lokke, Kari, ‘Schiller’s Maria Stuart: the Historical Sublime and the Aestheticsof Gender’, Monatshefte, 82 (1990), 123–41.

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—— ‘Zur Ästhetik Schillers’, in Beiträge zur Geschichte der Ästhetik (Berlin:Aufbau, 1954), 11–96.

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Mellor, Anne K., Romanticism and Gender (London and New York: Routledge,1993).

Metzger, Lore, ‘The Role of Feeling in the Formation of Romantic Ideology:the Poetics of Schiller and Wordsworth’, in Sensibility in Transformation:Creative Resistance to Sentiment from the Augustan to the Romantic Age, ed.Syndy McMillen Conger (Rutherford: Fairleigh Dickinson University Press,1990), 172–94.

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Moore, John David, ‘Coleridge and the “Modern Jacobinical Drama”: Osorio,Remorse, and the Development of Coleridge’s Critique of the Stage, 1797–1816’, Bulletin of Research in the Humanities, 85 (1982), 443–64.

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—— Dialectic of Love: Platonism in Schiller’s Aesthetics (Montreal and Kingston:McGill-Queen’s University Press, 1996).

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—— ‘How Enlightened are Schiller’s Aesthetics?’, in Impure Reason: Dialectic ofEnlightenment in Germany, ed. W. Daniel Wilson and Robert C. Holub(Detroit: Wayne State University Press, 1993), 166–84.

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—— Diary, Reminiscences, and Correspondence of Henry Crabb Robinson, ed.Thomas Sadler, 3 vols (London: Macmillan – now Palgrave, 1869).

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228 Selected Bibliography

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—— The Philosophy of Art, trans. Douglas W. Scott (Minneapolis: University ofMinnesota Press, 1989).

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—— Kleinere prosaische Schriften von Schiller. Aus mehrern Zeitschriften vomVerfasser selbst gesammelt und verbessert, 4 parts in 2 or 4 vols (Leipzig:Cotta, 1792–1802).

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—— The Robbers and Wallenstein, trans. F. J. Lamport (Harmondsworth:Penguin, 1979).

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‘Selige Tage im Musensitz Göttingen’: Stadt und Universität in ungarischen Berichtenaus dem 18. und 19. Jahrhundert, ed. István Futaky (Göttingen: Vandenhoeck& Ruprecht, 1991).

Selected Bibliography 229

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Sharpe, Lesley, Schiller’s Aesthetic Essays: Two Centuries of Criticism (Columbia,SC: Camden House, 1995)

—— Friedrich Schiller: Drama, Thought and Politics (Cambridge: CambridgeUniversity Press, 1991).

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230 Selected Bibliography

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231

Index

Adorno, Theodor, 100 aesthetic autonomy, 98

Coleridge on, 102–6, 111–14, 126–7, 140

and didacticism, 130–1 Gadamer on, 149–50 relation to politics, 163–4 Schiller on, 118, 120–1, 140, 150

aesthetic education Coleridge and, 5, 7, 42–4, 84–8,

97–100, 106–7, 121–6, 139–40, 157–65, 167–76; comparison with Schiller, 117–18, 121–3, 128–9, 130–40, 142–3, 157–8, 160–4, 170–2; cultivation, 157–65; ideality of art, 112–13, 121–2, 126; imitation/copy, illusion / delusion, 113–14, 122–3; indirect relationship between aesthetics and ethics, 115–18; liberal education, 160–1; poetic faith, 123; and radicalism, 163–5; role of the clerisy, 167–76; and Schelling, 123–8; state intervention, 161–3, 170; theory of imagination, 107, 129; in Biographia Literaria, 111–18, 121–6; in The Friend, 128–9, 160, 161–3; in A Lay Sermon, 164–5; in his lectures on literature, 126–8, 135–6, 160; in On the Constitution of Church and State, 158, 162, 167–76

distinct from civic education, 162, 170

economic aspects, 141–2, 161–3 Gadamer’s critique of, 149–50

Marxist critique of, 15, 99–100, 162–3

and radicalism, 98–100, 162–5, 206

and religion, 152–6, 164–5 and Schelling, 123–8 and Schiller’s poetry, see under

Schiller, poetry and philosophy

Schiller’s theory of, 14–16, 30–1, 35, 40, 50–1, 59–60, 82, 107–11, 119–21, 143–57; and aesthetic educators, 167, 171–3; and the Aesthetic State, 40, 144–57, 162; beauty, 16, 107–9, 111; form drive (Formtrieb), 108, 119–20, 128–9; and grace and dignity, 147, 180, 186; indirect relationship between art and morality, 117–18; play drive (Spieltrieb), 91, 108–9, 111, 115, 122–3, 144–5; semblance (Schein), 14, 85–6, 91, 107, 109–11, 113, 122, 144, 146; sense drive (Stofftrieb), 108, 119, 128–9; and tragedy, 40, 56, 119, 139, 148; and Wallenstein, 39–44, 120, 139

social and political aspects, 143–65, 167, 172–4

and the state, 43, 141–2, 151–2, 161–2, 170

and women, see separate entry see also aesthetic judgement,

beautiful soul, Bildung, clerisy, cultivation, culture, didacticism, freedom, history, indirection, play, pleasure, woman/women

232 Index

aestheticism Coleridge on, 105–6 Schiller accused of, 99–100, 143–4,

150 Schiller on, 126

aesthetic judgement, 100–1 distinguished from moral

judgement, 119 and politics, 163–4 see also Kant, Critique of Judgement

Aesthetic Letters, see under Schiller, works, also under aesthetic education, Schiller’s theory of

aesthetic pleasure, see pleasure aesthetic representation, 109–14 Aesthetic State, 141–65

see also aesthetic education, clerisy, cultivation

alienation, 107 Allgemeine Literatur-Zeitung, 35–7 androgyny, 187–8, 218 n. 18 Annual Review, 52 Anti-Jacobin Review, 46, 52 Ariosto, Ludovico, 64 Aristotle, 103

poetry essentially ideal, 112 art, relation to ethics, see aesthetic

education, also indirection Ashton, Rosemary, 2, 4, 6 Atheneum, 20 autonomy of art, see aesthetic

autonomy

Bacchus, 91–3 Barbauld, Anna Letitia, 130, 210 n. 1

The British Novelists, 130 on the moral of ‘The Rime of the

Ancient Mariner’, 134 on the morality of Tom Jones, 134

Barruel, Abbé, 34, 47 Battersby, Christine, 188, 218 n. 19 beautiful soul (schöne Seele), 61, 78,

86–7, 146, 178, 191 Beddoes, Thomas, 5

and Kant, 28–9 reviews Schiller’s Horae, 28–31

Beer, John, 3, 92

Benjamin, Walter, 147 Beresford, Benjamin, 52, 211 n. 12,

211 n. 17 biblical history, 202–3 Bildung, 7, 8, 85

and Christianity, 153–5 and history, 193–206 misunderstood, 143 as a social and political force,

142, 148 Wilhelm von Humboldt’s theory

of, 82 and women, see separate entry see also aesthetic education

Blumenbach, Johann Friedrich, 34, 48

Blumenthal, Lieselotte, 48, 211 n. 7

Bowles, William Lisle, 25 Brooks, Linda M., 2, 194, 218 n. 3 Bürger, Gottfried August, 36, 48

Coleridge and, 36 Schiller’s review of his Poems,

11–12, 36–7, 62 Burke, Edmund, 43, 177 Butler, Joseph, 97

Carlson, Julie A., 2, 39, 46, 209 n. 8, 210 n. 4

Carlyle, Thomas, 52, 57 children / childhood, 59–60, 182 children’s literature, 130–1 Christianity, 2–3, 49, 64–5, 71–2,

143 Chytry, Josef, 215 n. 2 Cipriani, Giovanni Battista, 113 civilization, see under cultivation clerisy, 7, 142, 158, 167–76

absence of curriculum, 169 and aesthetic education, 170–2 compared to mystery religion,

172–4, 176 and ideology, 174–6 origin of the notion of, 168–9 relation to the state, 170, 173–4 and women, 176, 186–8

Coburn, Kathleen, 35

Index 233

Coleridge, Samuel Taylor and aesthetic autonomy, see

separate entry and aesthetic education, see

separate entry aesthetics, understood not only in

epistemological but moral terms, 2, 97–8

and Barbauld, 134–6 and Beddoes, 28–31 and Christianity, 2–3, 64–5, 71–2,

79, 125, 143, 169, 219 n. 12 on the clerisy, see separate entry on copy and imitation, 113–14 and cultivation, see separate entry on delusion and illusion, 114 and didacticism, see separate entry on Fielding, 134–6 on France, 79–81, 132, 213 n. 7 on Goethe, 26, 35, 67, 68;

transcribes lines from Alexis and Dora, 83–4

in Göttingen, 29, 33–7 and historiography, see history and Humboldt, Wilhelm von, 82 on imagination, 107, 129,

140, 164 and Kant, 34, 72, 103–6; on his

ethics, 59–61, 87, 121; on his aesthetics, 103–6; critique of aesthetic autonomy, 104–6, 118

and liberal politics, 26 on literary criticism and morality,

105–6 and metrics, 75–6 on naturalism, 114 on poetic diction, 112, 113–14 and religion, 164–5 and Schelling, 97, 98, 123–8 and Schiller, grounds for

comparison, 2–6, 95–100; Schiller’s works in his library, 5; no extant marginalia, 4; identifies with Schiller, 6–7; and The Robbers, 23–6; plans to translate Schiller’s works,

26; compares Schiller to Shakespeare, 26, 39, 79–80; compares Schiller to Wordsworth, 26; acquires works while in Germany, 34; reads his review of Bürger’s Poems, 36–7; translates Wallenstein, 33, 38–44, 48–9; reacts to Schiller’s dramas, 46; transcribes and translates distichs from The Muses’ Almanac, 69–71, 83–91; acquires Poems, part 2 (1803), 73–4; and the study of metrics, 75–7; on Schiller’s supposed francophilia, 79–82; refers to Schiller while in Malta and Italy, 75, 78–82; Schiller’s aesthetics reflected in his poetry, 84–8, 96; adapts Schiller’s distichs in praise of Wordsworth, 85–6, 90–1; translates hexameters, 88; reads Schiller before studying Kant and Schelling, 96, 100; see also aesthetic education

and Schiller’s aesthetic essays, 3–6, 28–31, 34, 36–7, 58–65, 84–8; Aesthetic Letters, 29–30, 62; On Grace and Dignity, 4, 46, 60–2; On Naïve and Sentimental Poetry, 4, 46, 59–60, 62, 64–5; Shorter Works in Prose, 34, 61–2; see also aesthetic education

and Schiller’s poetry, 5, 67–93, 96; ‘The Bards of Ages Past’, 73; ‘The Dance’, 76–8; ‘Dithyramb’, 72, 91–3; ‘The Glove’, 73, 78; ‘The Gods of Greece’, 74, 78–9; ‘The Hostage’, 75; ‘The Ideals’, 75; ‘Laura at the Piano’, 74; ‘Sayings of Confucius’, 72; ‘The Sharing of the Earth’, 73, 78; ‘The Unknown Maiden’, 72; ‘The Victory Feast’, 75; ‘The Words of Belief’, 71–2, 79

234 Index

Coleridge, Samuel Taylor – continuedand Schlegel, A. W., 63–5 as sentimental poet, 131–2 on Shakespeare, 37, 105, 135–6 travels in Germany, 33–7 use of sources, 4, 6, 63–5, 95–100,

123–4 on women, see separate entry on Wordsworth’s poetry, 112,

115–16, 121, 123, 125–6 Coleridge, Samuel Taylor, works

Aids to Reflection, 97, 168–9 Biographia Literaria, 7, 37, 54–5, 76,

104; and aesthetic education, 111–18, 121–6; and Schelling, 123–6; transcendental deduction of the imagination, 97, 124–6; see also aesthetic education

‘Christabel’, 191 ‘Dejection: An Ode’, 25, 39, 189 ‘Destiny of Nations’, 132 ‘Fears in Solitude’, 132–3 The Friend, 7, 111, 142, 158; and

Aesthetic Letters, 128–9, 161–3 ‘Kubla Khan’, 25, 174, 190–1 A Lay Sermon, 7, 142, 158, 161,

164–5 Lectures 1808–1819 on Literature, 7,

111, 126–8, 135–6, 160, 184 Lyrical Ballads, see separate entry On the Constitution of Church and

State, 7, 98, 142–3, 158, 162; compared to Aesthetic Letters, 167–76

On Poesy or Art, 126–7 On the Principles of Genial Criticism,

103–4 Osorio, compared to Schiller’s

The Ghostseer, 26–7 Poems on Various Subjects, 25 review of M. G. Lewis, The Monk,

26, 103 Rime of the Ancient Mariner, 132;

compared to Schiller’s The Ghostseer, 27; its moral, 134

Sibylline Leaves, 73, 91–3

Sonnets by Various Authors, 25 The Statesman’s Manual, 128, 158 Theory of Life, 201 ‘This Lime-Tree Bower My Prison’,

189 ‘To the Author of “The Robbers”’,

25–6 ‘To W. Wordsworth’, 25 Wallenstein, Coleridge’s

translation of, 5, 33, 38–44, 48–9; its moral, 44; its reception, 45–6, 49; see also under Schiller, works

Coleridge, Sara, 176–7, 216 n. 6 Colmer, John, 162–3 Congreve, William, 105 Constant, Benjamin, 58 Cooper, Anthony Ashley, Earl of

Shaftesbury, 11, 103 Cotta, J. F., 29, 49 Crick, Joyce, 2, 38–9, 48–9, 209

nn. 4, 6 cultivation, 7, 43–4, 142, 157–65

Coleridge on, 157–65, 167 and civilization, 142, 158–62 and state sponsorship, 141–2,

150–2, 161–2, 167 and history, 201, 204–6 and ideology, 174–6

Cumberland, Richard, 130

Davidson, Graham, 219 n. 14 Davy, Humphry, 88 De Man, Paul, 214 n. 6 De Quincey, Thomas, 57–8 despotism, 141 determinism, 42, 59 didacticism, 130–9

and aesthetic education, 130, 134–9

and children’s literature, 130–1 Coleridge on, 117, 130–1, 134–6 Coleridge and Schiller as didactic

poets, 131–3 Schiller on, 131, 136–9 and sentimental poetry, 131–4 sermoni propriora, 132

Index 235

disinterestedness, 99, 135–8, 165, 174

Dunstan, A. C., 4, 207 n. 8 Dyer, George, 16–17

Eagleton, Terry, 163 Edgeworth, Maria, 130 education, 159–61 Eichhorn, Johann Gottfried, 34,

48–9 Ewen, Frederic, 4, 207 n. 5, 210 n. 5

Fairer, David, 25, 208 n. 9 feeling, 101, 106 Fichte, Johann Gottlieb, 16, 48,

96, 124 Fielding, Henry, 134–6

compared to Richardson, 135–6 Tom Jones, 134–5

form drive (Formtrieb), see under aesthetic education, Schiller’s theory of

France, 79–81 freedom, 15, 22, 40–4, 59

aesthetic freedom, 101–2, 107, 110–11, 118, 120, 122, 135

relationship to moral freedom, 119–23, 144–6, 148–9

French Revolution, 10, 23–4, 28, 50 and Aesthetic Letters, 35, 96 and Wallenstein, 39, 42–3

French theatre, 79–82 Fulford, Tim, 191

Gadamer, Hans Georg, 149–50 Garve, Christian, 48 Geisweiler, Constantin, 47 Geisweiler, Maria, 47 genius, 54–5, 176, 183–4, 187–8, 191 The Gentleman’s Magazine, 53 The German Museum, 5, 47–52, 57,

210 n. 6 publishes work by and on Schiller,

48–52 reports on the Weimar Court

Theatre, 51–2 and Wallenstein, 48–9, 53

Gillman, Anne, 185 Goethe, Johann Wolfgang von, 2,

16–19, 21–2, 33, 48, 57, 67–8, 153

and Coleridge, see Coleridge, on Goethe

and Schiller, see Schiller, and Goethe

Alexis and Dora (Alexis und Dora), 83–4

Götz von Berlichingen, 16 Iphigenia in Tauris (Iphigenie auf

Tauris), 22 Roman Elegies (Römische Elegien),

16–17 The Sorrows of Young Werther (Die

Leiden des jungen Werthers), 16 Torquato Tasso, 16 Wilhelm Meister’s Years of

Apprenticeship (Wilhelm Meisters Lehrjahre), 16–17, 157

Göttingen, 33–4, 48, 209 n. 2 Coleridge in, 29, 33–7

Grace and Dignity, see under Schiller, works: On Grace and Dignity

Gray, Richard T., 143–4 Greece (ancient), 74, 79

Habermas, Jürgen, 163 Hagedorn, F. von, 68, 74, 76 Hamilton, Paul, 2, 4, 7, 97–8,

216 n. 6 Harding, Anthony, 3, 218 Hartley, David, 28 Hazlitt, William, 46 Hegel, G. W. F., 198, 218 n. 6 Henrich, Dieter, 214 n. 6 Herder, Johann Gottfried, 17, 33,

48, 55, 57, 158 Heyne, C. G., 34 historical tragedy, 139 history, 8, 158, 193–206

aesthetic education and, 150, 193–206

Coleridge on, 200–5 irrational, 196–8 and Logos, 201–4

236 Index

history – continuedredemptive, 201–3 Schiller on, 194–200 as sublime, 194, 198–200, 204–5 universal history, 12–13, 194

Homer, 64 Humboldt, Alexander von, 48 Humboldt, Wilhelm von, 17, 23, 50

‘The Limits of State Action’, 50 meets Coleridge, 82 On Schiller and the Course of his

Intellectual Development, 17 ‘Theory of Human Education’, 82

Hutcheson, Francis, 103 Hutchinson, Sara, 70, 83–4

idealism, 3, 6, 43, 45, 58, 96 ideology, 99 Iffland, August Wilhelm, 22–3 imagination

Coleridge’s theory of, and Schiller, 107, 129, 140, 164

Coleridge’s transcendental deduction of, 97, 124–6

see also aesthetic education imitation, 109–14 indirection

Coleridge on, 115–18, 121–3 Schelling on, 127 Schiller on, 117–18, 119–21

individuation, 201–3

Jackson, H. J., 176, 187–8, 217 n. 15 Jameson, Frederick, 163 Jena Romantics, 16, 20–1 Jonson, Ben, 105

Kant, Immanuel, 2, 3 aesthetics, 100–6, 177, 196 British reception of, 28–9, 48 and Coleridge, see under Coleridge,

and Kant moral philosophy, 59–61, 178 and Schiller, see under Schiller, and

Kant on women, 177–8

Kant, Immanuel, works

Anthropology from a Pragmatic Point of View, 177

Critique of Judgement, 13, 29, 100–6, 109; beauty as symbolic of morality, 102–3, 214 n. 6; relationship between aesthetics and ethics, 103; the sublime, 196

Critique of Practical Reason, 13, 102 Critique of Pure Reason, 13, 28–9,

102 Groundwork of the Metaphysics of

Morals, 59 ‘Idea for a Universal History’, 13,

48 Observations on the Feeling of the

Sublime and the Beautiful, 177 Perpetual Peace: A Philosophic

Sketch, 29 Religion within the Bounds of Reason

Alone, 61, 153 ‘What is Enlightenment?’, 152

Kelly, Nancy Webb, 2, 99 Klopstock, Friedrich Gottlieb, 36, 48,

67, 130–1 Knights, Ben, 168 knowledge, relation to aesthetics, 2,

97–8, 102 Körner, Christian Gottfried, 13, 109 Kotzebue, August von, 22–3, 35, 47,

79–80

Lamport, F. J., 6, 207 n.1, 209 n. 5 Leask, Nigel, 172–3 Lessing, Gotthold Ephraim, 10–11,

22, 52, 67 Letters on the Aesthetic Education of

Man, see under Schiller, works, also under aesthetic education, Schiller’s theory of

Lewis, M. G., 24, 26 Lichtenberg, G. C., 48 Lloyd, Myfanwy J., 218 n. 11 Lockhart, John Gibson, 46, 57 Lockridge, Laurence, 3 Logos, 155, 201–4 Lukács, Georg, 162–3

Index 237

Lyrical Ballads, 36–7, 39, 76, 112 Schiller’s possible influence on the

preface, 36–7

Malta, 75, 78–82 Marcuse, Herbert, 163 Marino, Giambattista, 76 Maturin, Charles Robert, 113 McFarland, Thomas, 3, 125 Mellish, Joseph, 48–9, 51, 211

n. 10 Metastasio, Pietro, 75 Metzger, Lore, 215 n. 2 Meyer, Eric, 143–4 Mill, John Stuart, 176 Milnes, Tim, 215 n. 5 Milton, John, 117 modernity, 1, 6, 107, 163, 165 Modiano, Raimonda, 2, 194, 199,

218 n. 2 The Monthly Magazine, 5, 53–5, 57,

211 n. 16 The Monthly Mirror, 50 The Monthly Review, 28–31, 46 morality, relation to art, see aesthetic

education, also indirection, didacticism

More, Hannah, 55–7, 130 Mozart, Wolfgang Amadeus, 141–2,

161 Mudford, William, 56–7 music, 122, 141

Naïve and Sentimental Poetry, see under Schiller, works, On Naïve and Sentimental Poetry

Naturphilosophie, 29, 127–8, 201 Nicolai, F., 85 Noehden, Georg Heinrich, 24 Novalis (Friedrich von Hardenberg),

16

Orsini, G. N. G., 3

Paganini, Niccolo, 141–2 pantheism, 74, 127–8 Pantisocracy, 24

Peace of Amiens, 46 Perkins, Mary Anne, 218 n. 11, 219

n. 14 Perry, Seamus, 3, 214 n. 2 philosophy, relation to literature,

5, 39–40, 55–6, 58, 84–8, 96, 164

see also didacticism plagiarism, 95–100 play, 39, 45, 101

Coleridge’s reluctance to use the term, 99

distinguished from ‘real life’, 42–4 man only free when at, 115 radical potential of, 164–5 Schiller on, 118, 120–2 see also aesthetic education

play drive (Spieltrieb), see under aesthetic education, Schiller’s theory of

pleasure, aesthetic, 14, 40, 56, 79, 88, 101, 116–17, 146

Coleridge on, 105–6 politics, see under Aesthetic State, also

aesthetic education Priestley, Joseph, 28 Pugh, David, 6, 207 n. 3

radicalism, 163–4 see also under aesthetic education

Ratzeburg, 33 Reed, T. J., 207 n. 1 representation, aesthetic, 109–14 Richards, I. A., 3 Richardson, Samuel, 135–6 Ritt, Elke, 211 n. 10 The Robbers, see under Schiller, works Robinson, Heidi, 143, 215 n. 1 Robinson, Henry Crabb, 46, 136,

211 n. 17 meets Schiller in Weimar, 5, 57–8,

212 n. 26 translates Schiller’s poem ‘The

Genius’, 52 Romantic irony, 20–1 Rousseau, Jean-Jacques, 177,

211 n. 11

238 Index

Schaper, Eva, 214 n. 6 Schein, see under aesthetic education,

Schiller’s theory of Schelling, Friedrich Wilhelm Joseph

von, 3, 16, 20, 97, 123–8 Coleridge and, 123–8 compared to Schiller, 12, 124,

127–8 natura naturans, natura naturata,

126–7 On the Relation of the Plastic Arts to

Nature, 126–7 System of Transcendental Idealism,

124–6 Schiller, Johann Christoph Friedrich

von and aesthetic education, see under

aesthetic education, Schiller’s theory of

attitude towards nature, 15–16 and Christianity, 2–3, 49, 74, 79,

143, 152–6, 213 n. 3 his classicism, 60, 74, 79 and Coleridge, see under Coleridge,

and Schiller and didacticism, see separate entry on Fielding and Richardson, 136–7 and French neoclassical drama,

80–2 and the French Revolution, 10, 18,

23, 35, 39 on genius, 54–5, 183–4 and Goethe, 50, 52, 57–8, 80–1,

147, 153, 157 and history, see separate entry and Humboldt, Wilhelm von, 17,

23, 50, 82, 157 and Kant, 13–14, 60–1, 71, 87,

108; on aesthetics, 102–3, 106–7, 109–10, 118, 214 n. 6; on moral philosophy, 60–1, 178; on religion, 153; on social justice, 152; on the sublime, 195–6; on women, 177–8

life and work, summary of, 10–23; his early writings, 10–11; his

liberal politics, 11; and Neoplatonism, 11; early interest in art and morality, 11–12; move to Jena, 12; interest in history and historiography, 12–13; in ill health, 13, 55, 211 n. 17; reaction to Kant, 13–14; writes major aesthetic essays, 14–16; friendship and collaboration with Goethe, 16–17; friendship with W. von Humboldt, 17; begins to write poetry again, 17–20; relations with Jena Romantics, 20–1; returns to writing for the stage, 21–2; lifelong interest in art and social action, 22–3; his death, 22, 53, 55 ; his posthumous reputation, 23

naïve and sentimental poetry, theory of, 15, 64–5, 98–9, 131–3; see also under works: On Naïve and Sentimental Poetry

poetry and philosophy, 5, 12, 18–19, 20, 55–6, 58, 68–9, 84–8, 96, 131–2

reception of, in Britain, 23–4, 28–31, 38, 46–58, 143, 212 n. 25, 215 n. 1

and religion, 2–3, 50 and Weimar classicism, 16–17,

21–2, 39 on women, see separate entry

Schiller, Johann Christoph Friedrich von, works

Aesthetic Letters (Über die ästhetische Erziehung des Menschen in einer Reihe von Briefen), 14, 50–1, 59, 62, 82, 84–5, 89, 95, 107–11, 144–57, 180; and aesthetic freedom, 119–20; and French Revolution, 35, 142; and Kant, 102–3, 106; and Schelling, 124; and Wallenstein, 39–44; see also aesthetic education

Index 239

Anthology for 1782 (Anthologie auf das Jahr 1782), 10, 74

‘The Artists’ (‘Die Künstler’), 12, 132

‘The Bards of Ages Past’ (‘Die Sänger der Vorwelt’), 73

The Bride of Messina (Die Braut von Messina), 22, 52, 80

Cabal and Love (Kabale und Liebe), 10, 24

The Criminal from Lost Honour (Der Verbrecher aus verlorener Ehre), 11, 49, 56, 62

‘The Dance’ (‘Der Tanz’), 76–8, 180 distichs, 83–8 ‘Dithyramb’ (‘Dithyrambe’), 19,

72–3, 91–3 Don Carlos, 10, 12, 24, 54–5 Fiesco (Die Verschwörung des Fiesco

zu Genua), 10–11, 24 ‘The Genius with the Inverted

Torch’ (‘Der Genius mit der umgekehrten Fackel’), 79, 213 n. 6

The Ghostseer (Der Geisterseher), 26–7, 37, 49

‘The Glove (‘Der Handschuh’), 73 ‘The Gods of Greece’ (‘Die Götter

Griechenlandes’), 12, 74, 78–9, 132, 153

The History of the Thirty Years’ War (Geschichte des Dreißigjährigen Kriegs), 12, 13, 49

Horae (Die Horen), 17, 19–20, 23, 29–31, 50, 55, 67

‘The Hostage’ (‘Die Bürgschaft’), 20 ‘The Ideal and Real Life’ (‘Das Ideal

und das Leben’), 18, 132 ‘The Ideal of Woman’ (‘Das

weibliche Ideal’), 179–80 ‘The Ideals’ (‘Die Ideale’), 18,

132 Kallias Letters (Kalliasbriefe),

13–14, 109–10 ‘Laura at the Piano’ (‘Laura am

Klavier’), 74 Macbeth (Shakespeare), 22, 80

The Maid of Orleans (Die Jungfrau von Orleans), 22, 52, 57, 139, 189

Mary Stuart (Maria Stuart), 22, 49, 80, 120, 139, 189

The Muses’ Almanac (Musenalmanach), 5, 18–20, 23, 37, 60, 67, 69, 71–3, 82–8, 153, 155

‘Ode to Joy’ (‘An die Freude’), 56, 73

‘On the Effects of a Permanent Theatre’ (‘Was kann eine gute stehende Schaubühne eigentlich wirken?’), 11, 50

On Grace and Dignity (Über Anmut und Würde), 15, 17, 29, 50, 60–1, 84, 86–7, 155, 178–80

‘On the Grounds of Pleasure in Tragic Objects’ (‘Über den Grund des Vergnügens an tragischen Gegenständen’), 14, 117–18, 137–8

On Naïve and Sentimental Poetry (Über naive und sentimentalische Dichtung), 15, 30, 50, 54–5, 59–61, 64–5, 84–5, 180, 182; and the Aesthetic State, 148–50; and didacticism, 131–2; and women, 182–3

‘On the Necessary Limits in the Use of Beauty of Form’ (‘Über die nothwendigen Grenzen beim Gebrauch schöner Formen’), 29–30, 62, 149, 181–2

‘On the Pathetic’ (‘Über das Pathetische’), 14, 29, 62, 107, 118–19

‘On the Sublime’ (‘Über das Erhabene’),14, 30, 49, 62, 195–200

‘On the Uses of the Chorus’ (‘Über den Gebrauch des Chors in der Tragödie’), preface to The Bride of Messina, 22, 107, 120–1

240 Index

Schiller, Johann Christoph Friedrich von, works – continued

‘On Tragic Art’ (‘Über die tragische Kunst’), 14, 30, 56, 139

Phaedra (Racine), 22, 80 Philosophical Letters (Philosophische

Briefe), 11, 153 Poems (Gedichte), 5, 21, 52, 56, 67,

71–8 ‘The Praise of Woman’ (‘Würde der

Frauen’), 180–1 ‘The Renowned Wife’ (‘Die

berühmte Frau’), 73 review of Bürger’s poems, 11–12,

36–7, 62 The Robbers (Die Räuber), 6, 9, 24,

37, 53, 55 ‘Sayings of Confucius’ (‘Spruch des

Confucius’), 72 ‘The Sexes’ (‘Die Geschlechter’), 180 ‘The Sharing of the Earth’ (‘Die

Teilung der Erde’), 73, 78 Shorter Works in Prose (Kleinere

prosaische Schriften), 5, 17, 29, 37, 49, 52, 55–6, 61–2

‘To Goethe, on the occasion of his production of Voltaire’s Mahomet’ (‘An Goethe’), 80–2

‘To the Many’ (‘Vielen’), 83–4 ‘To the One’ (‘Einer’), 84 ‘The Unknown Maiden’ (‘Das

Mädchen aus der Fremde’), 19, 72–3

‘The Veiled Statue at Sais’ (‘Das verschleierte Bild zu Sais’), 173–4

‘The Victory Feast’ (‘Das Eleusische Fest’), 75

Votive Tablets (Votivtafeln), 19, 69–71, 86–91

‘The Walk’ (‘Der Spaziergang’), 18, 35, 132

Wallenstein, 12, 21–2, 38–44, 80, 120, 139, 190, 197–9; Coleridge’s translation of, 38–44; other translations, 48–9, 52–3; reception in Britain, 38, 48–9, 51–3

‘What is Universal History and Why do We Study It?’ (‘Was heißt und zu welchem Ende studiert man Universalgeschichte?’), 13, 195, 197

William Tell (Wilhelm Tell), 22, 52, 80

‘Words of Belief’ (‘Die Worte des Glaubens’), 19, 71–2, 79

Xenia (Xenien), 19, 60, 85–6 Schlegel, August Wilhelm von, 3, 16,

46, 48, 63–5, 82, 97 Lectures on Dramatic Art and

Literature, 63, 65 Schlegel, Friedrich von, 3, 16, 20, 48,

65, 181 Schleiermacher, Friedrich Daniel,

156 schöne Seele, see ‘beautiful soul’ Scott, Walter, 46 sentimental poetry, see Schiller, On

Naïve and Sentimental Poetry sermoni propriora, see didacticism Shaffer, Elinor S., 3, 29, 194,

207 n. 5, 208 n. 15, 218 n. 1 Shaftesbury, Earl of, see Cooper,

Anthony Ashley Shakespeare, William, 26, 39,

79, 105 Sharpe, Lesley, 4, 6, 148, 157,

207 n. 1 Sicily, 75, 78 Smith, Charlotte, 25 Solger, Karl Wilhelm Ferdinand, 3 Sotheby, William, 58, 78 Southey, Robert, 24 Spieltrieb, see under aesthetic

education, Schiller’s theory of Staël, Mme Germain de, 22, 57–8

De l’Allemagne, 57 Stoddart, John, 24, 58, 128 Stolberg, F. L., 68, 74, 76, 91 Strozzi, Giovanni Battista, 75–6 sublime, 25–6

Coleridge on, 194 Schiller’s theory of, 16

Index 241

and Schiller’s theory of tragedy, 40, 194

Sychrava, Juliet, 2, 98–9, 133

Taylor, Anya, 3, 92, 214 n. 14, 217 n. 7

Taylor, William, 5, 28, 36, 52, 57 Teutscher Merkur, 12, 34 Tieck, Ludwig, 46 Tom Jones, see under Fielding tragedy, Schiller’s theory of, 16, 40,

56, 119 relation to history, 139

The Universal Magazine, 49, 55–7

Vallins, David, 213 n. 28 Vickers, Neil, 29, 208 n. 12 Vico, Giambattisti, 200 Voss, J. H., 68, 74, 76

Wall, Anton, 48, 130 Wallenstein, see under Schiller, works,

see also under Coleridge, works Weimar, 48, 51–2, 57–8 Weimar Court Theatre, 5, 21–2, 33,

37–8, 51–2, 57–8 Weiskel, Thomas, 196 Wellek, René, 3, 208 n. 14 White, Hayden, 218 n. 10 Wieland, Christoph Martin, 33, 35,

48, 57 Wilkinson, Elisabeth M., 4, 35, 37 Will, Peter, 47–8 Williams, Raymond, 158 Willich, Anton, 47

Willoughby, L.A., 4, 35, 37 Wollstonecraft, Mary, 179, 217 n. 7 woman / women, 7, 35, 176–91

and aesthetic education, 142, 176–7, 182–4, 189, 191

characterless, 184, 186 and clerisy, 176, 186–8 Coleridge on, 176–7, 184–8 idealization of, 177, 181–8 naïve, 179–85 and natural virtue, 177–9, 184–5,

189–91 and polar logic, 186 relation to androgyny, 187–8 Schiller on, 177–84 and tragedy, 189–90

Woolf, Virginia, 187–8 Wordsworth, Dorothy, 33 Wordsworth, William, 2, 24, 26, 46,

68, 76, 82, 112 on Bürger’s Poems, 36 Coleridge praises in verse, 85–6,

90–1 discusses Schiller’s ‘Gods of

Greece’, 34 on Schiller’s ‘entrails’, 55 Schiller’s possible influence on

the preface to Lyrical Ballads, 36–7

travels with Coleridge to Germany, 33

see also Coleridge, on Wordsworth’s poetry

Zelter, Karl, 155–7 Zuccato, Edoardo, 76, 213 n. 5