The Fugitive in Hiding
Ich kann nicht Fürstendiener sein.--_'Don Carlos'_.
When Schiller arrived at Mannheim, in the latter part of September,
1782, he was soon made aware that he had reckoned badly on the 'Greek
climate of the Palatinate'. The friends to whom he showed himself were
shocked at the audacity of his conduct; they could only advise him to
conciliate the Duke of Württemberg and meanwhile to keep out of sight.
So he wrote another very humble letter to his sovereign, explaining the
desperate circumstances that had led to his flight and offering to
return on condition of being allowed to continue his authorship. This
letter he sent to his general, Augé, asking his mediation. In due time
Augé replied, advising him to return, as the duke was 'graciously
minded.' But this was not enough; Schiller knew his man too well and
had probably never expected that his appeal would have any other effect
than possibly to mollify the duke a little and thus avert trouble for
Captain Schiller.
The fugitive had fixed all his hopes on the production of 'Fiesco' at
the Mannheim theater. The manager, Meyer, was well disposed toward him,
and it was soon arranged that Schiller should read his new play to a
company of actors. The reading turned out a dismal failure. One by one
the distressed auditors withdrew, wondering if what they heard was
really the work of the same man who had written 'The Robbers'. The next
day Meyer looked over the manuscript by himself and saw that it was not
so bad after all; it had merely been murdered in the reading by its
author's bad voice and extravagant declamation. But the decision did not
rest with the friendly Meyer; it rested with Dalberg, who was just then
away from home. Meanwhile, as reports came from Stuttgart to the effect
that Schiller's disappearance had caused a great sensation and that
there was talk of pursuit, or of a possible demand for his extradition,
the two friends thought it best not to remain in Mannheim. Schiller did
not actually believe that the duke would pursue him, but there was no
telling; it was best to be on the safe side.
Accordingly 'Dr. Ritter' and 'Dr. Wolf' set out for Frankfurt. From
there Schiller addressed a pathetic letter to Dalberg, setting forth
that he was in great distress and asking for an advance of money
against the first performance of 'Fiesco'. But the cautious Dalberg,
who had just been in Stuttgart, replied coolly that 'Fiesco' was
unsuited to the stage and would need to be radically revised. So the
luckless author, having no other recourse, returned to the village of
Oggersheim, in the vicinity of Mannheim, and there, with the faithful
Streicher to keep him company, he spent the next few weeks, partly upon
the thankless revision of 'Fiesco' and partly upon 'Louise Miller',
which interested him more. Having done his best with 'Fiesco' he sent
it to Dalberg, who curtly refused it a second time. His theatrical
hopes thus completely baffled, Schiller turned over his play to the
bookseller Schwan, who gave him eleven louis d'ors for it and
immediately published it as a book for the reader.
In his extremity the exile now bethought him of the kind-hearted lady
who had offered him an asylum in case of need. Frau Henriette von
Wolzogen was a widow of humble means who had several sons in the
academy at Stuttgart. She had conceived a liking for Schiller, and
although there was some danger that her rôle of protectress might, if
discovered, offend the Duke of Württemberg, she did not hesitate to
keep her word. The necessary arrangements were soon made, and late in
November Schiller bade farewell to Streicher and set out for Bauerbach,
a little village near Meiningen, to occupy the vacant cottage that had
been placed at his disposal. He still kept the name of 'Dr.
Ritter',--not so much from the fear of arrest, probably, as from a
natural desire to remain in obscurity until he had won a position which
would justify his flight in the eyes of the world, and more
particularly of his father. While at Oggersheim he had occasionally
sent out misleading letters, in which he spoke of journeys here and
there, of remarkable prosperity and of brilliant prospects in Leipzig,
Berlin and St. Petersburg. But his family knew of his whereabouts, and
before leaving the Palatinate he contrived a meeting with his mother
and his sister Christophine, who drove over to a half-way village to
see him. He arrived at Bauerbach on the 7th of December, and wrote thus
to Streicher on the following day: 'At last I am here, happy and
contented that I am actually ashore. I found everything in excess of my
wishes; needs no longer trouble me, and no annoyances from outside
shall disturb my poetic dreams and my idealistic illusions.'--And in
this quiet retreat, well supplied by the villagers with the necessaries
of physical existence, he did actually find for the next seven months
all that he needed. There were books, friendship, leisure,
peace,--until the peace was disturbed by a maiden's eyes.
The books came from a man named Reinwald, who was in charge of the ducal
library at Meiningen and to whom Schiller, foreseeing his own need, had
made haste to introduce himself. Reinwald was some twenty-two years
older than Schiller, a bit of a poet and a man of some literary
ambition; but he had not got on well in the world. It was fated that he
should marry Christophine Schiller, become peevish and sour in the
course of time and lose the respect of his brother-in-law. For the
present, however, he proved a very useful friend; for he not only
executed orders for books and tobacco (Schiller had learned to smoke and
take snuff), but he served as general intermediary between the
mysterious Dr. Ritter and the outside world. Schiller's nature craved
friendship, and his imagination easily endowed Reinwald with the
qualities of an ideal companion of the soul. After a while we find him
writing in such a strain as this:
Your visit the day before yesterday produced a glorious effect, I
feel my spirits renewed and a warmer life courses through all my
nerves. My situation in this solitude has drawn upon my soul the
fate of stagnant water, which becomes foul unless it Is stirred up a
little now and then. And I too hope to become necessary to your
heart.[48]
As for Reinwald, he had long since passed the effusive age, but it
pleased him to receive the younger man's confidence. He wrote in his
diary: 'To-day Schiller opened his heart to me,--a youth who has already
been through the school of life,--and I found him worthy to be called my
friend. I do not believe that I have given my confidence to an unworthy
man. He has an extraordinary mind and I believe that Germany will some
day name his name with pride.'--Which was not bad guessing in its way.
Excepting Reinwald and the villagers Schiller saw at first but little of
his fellow-mortals. Both on his own account and for the sake of Frau von
Wolzogen he wished that the persons who saw him should not know who he
was. So he continued to scatter false reports with a liberal hand: he
had gone to Hannover, was going to London, to America, and so forth. In
the mean time, with no thought of leaving his nest at Bauerbach, he
devoted himself to his work. For the first time in his life he was the
master of his own movements; he had a chance to collect himself, to
browse among his books, to meditate and to dream. And as for mankind in
general, he felt that he had no cause to love it. 'With the warmest
feeling ', so he wrote after a time, when the first bitterness had
passed away, 'I had embraced half the world and found at last that I had
in my arms a cold lump of ice.'[49] Withal the demands of work were
imperious. He had risked everything upon his chances of literary success
and it was necessary to win. He had broken for good and all with the
Duke of Württemberg and there was nothing to be hoped for in that
quarter. At the same time,--and the fact is characteristic of his
large-mindedness,--he resolved not to air his personal grievance. To
Frau von Wolzogen, who had been admonishing him never to forget his debt
to the Stuttgart Academy, he wrote: 'However it may be with regard to
that, you have my word that I will never belittle the Duke of
Württemberg.'
Toward the end of December the wintry dullness of his Bauerbach cottage
was brightened by the arrival of its owner and her daughter. Lotte von
Wolzogen was a blond school-girl who had not yet passed her seventeenth
birthday. The records do not credit her with exceptional beauty, but she
was sufficiently good-looking and her demure girlish innocence appeared
to Schiller very lovable. Not that his plight was at all desperate; he
hardly knew his own mind and was in no position to make love to any
maiden, least of all to one with that menacing _von_ in her name. Still
he liked Fräulein Lotte very much, and the tenderness which now began to
manifest itself in his letters to the mother must be credited in part to
the daughter. Were this not so we could hardly account for such
expressions as these, which are contained in a letter written after the
ladies had left Bauerbach for a short sojourn in the neighboring
Waldorf: 'Since your absence I am stolen from myself. To feel a great
and lively rapture is like looking at the sun; it is still before you
long after you have turned away your face, and the eye is blinded to all
weaker rays. But I shall take great care not to extinguish this
agreeable illusion.' And again after they had left the Meiningen region
for Stuttgart, with a promise to return in May: 'Dearest friend--a week
behind me without you. So there is one of the fourteen got rid of. I
could wish that time would put on its utmost speed until May, so as to
move thereafter so much the more slowly.'
Such flutterings of the heart were not altogether favorable to that
austere program of literary industry which the ambitious young
dramatist had set for himself. When a man is in love other things seem
more or less negligible, and it takes resolution to steer a firm
course. Schiller was resolute--by spells. In the first list of books
ordered from Meiningen we find noted, along with works of Shakspere,
Robertson, Hume and Lessing, 'that part of the Abbé St. Réal's works
which contains the history of Don Carlos of Spain.' From this we see
that a second historical drama was already under way. At first,
however, it was not 'Don Carlos' that claimed the most attention, but
'Louise Miller ', which had made considerable progress in Oggersheim.
By January 14, 1785, Schiller was able to pronounce the new play
finished, though his letters show that the revision occupied him some
time longer. Meanwhile we hear of other dramatic projects,--a 'Maria
Stuart' and a 'Friedrich Imhof', whatever this last may have been.
Nothing is known of it save that it was to deal with Jesuitical
intrigue, the Inquisition, religious fanaticism, the history of the
Bastille, and the passion for gambling.[50] By the end of March he had
decided, after long vacillation between these two themes, to drop both
of them and proceed with 'Don Carlos'.
He began in prose, identifying himself completely with his hero and
writing with joyous enthusiasm. A letter of April 14 to Reinwald deals
at length with love and friendship and their relation to poetic
creation. All love, we read, is at bottom love of ourselves. We see in
the beloved person the sundered elements of our own being, and the soul
yearns to perfect itself in the process of reunion. Thus love and
friendship are of the nature of poetic imagination,--the waking into
life of a pleasing illusion. Wherefore the poet must love his
characters. He must not be the painter of his hero, but rather his
hero's sweetheart or bosom friend. Then he makes the application to Don
Carlos in these words:
I must confess to you that in a sense he takes the place of my
sweetheart, I carry him in my heart,--_ich schwärme mit ihm durch
die Gegend um_.... He shall have the soul of Shakspere's Hamlet,
the blood and nerves of Leisewitz's Julius, and his pulse from me.
Besides that I shall make it my duty in this play, in my picture
of the Inquisition, to avenge outraged mankind ... and pierce to
the heart a sort of men whom the dagger of tragedy has hitherto
only grazed.
But the 'bosom friend' of Don Carlos soon had his thoughts pulled in
other directions. In the first place there came, very unexpectedly, a
sugary letter from Dalberg. What led him to make fresh overtures to the
man whom, a few months before, he had treated so shabbily, is not
difficult to make out. He had become convinced that there was after all
nothing to be feared from the Duke of Württemberg. Moreover, since the
peremptory rejection of 'Fiesco' the Mannheim theater had been doing a
very poor business. What more natural than that the shrewd intendant,
with an eye to better houses, should bethink him of the pen that had
written 'The Robbers'? From Schwan and from Streicher, who had remained
in Mannheim, he knew of Schiller's address and occupation. So he wrote
him a gracious letter, inquiring after his welfare and expressing
particular interest in the new play. It was now Schiller's turn to be
foxy. He replied that he was very well, and that as for the play,
'Louise Miller', it was a tragedy with a copious admixture of satirical
and comic elements that would probably render it quite unfit for the
stage. Dalberg replied that the specified defects were merits,--he would
like to see the manuscript. The upshot of the correspondence was that
Schiller, who had been negotiating with a Leipzig publisher but had been
unable to make an acceptable bargain for the publication of 'Louise
Miller', now determined to revise it for the stage and meet the views of
Dalberg if possible. So about the middle of April he laid aside 'Don
Carlos' and, for the third time in his life, devoted himself to the
irksome task of converting a literary drama into a stage-play. On the
3rd of May he wrote to Reinwald:
My L.M. drives me out of bed at five o'clock in the morning. Here I
sit now, sharpening pens and chewing thoughts. It is certain and
true that compulsion clips the wings of the spirit. To write with
such solicitude for the theater, so hastily because I am pressed for
time, and yet without fault, is an art. But I feel that my 'Louise'
is a gainer.... My Lady [Lady Milford in the play] interests me
almost as much as my Dulcinea in Stuttgart [Lotte von Wolzogen].
Ere the revision of the new tragedy was finished Dulcinea herself
arrived in Bauerbach; an event to which Schiller had looked forward with
joyous palpitations and anxious forebodings. For back in March Frau von
Wolzogen had written him that she and her daughter would be accompanied
on their northward journey by a certain Herr Winkelmann, a friend of the
family. Schiller at once divined the approach of a rival and wrote in
great agitation that he would go to Berlin if Winkelmann came. In
justification of his threat he made the diaphanous plea that his
incognito was of the utmost importance to him, and that the inquisitive
Winkelmann (whom he had known at the academy) would be sure to blab. To
this Frau von Wolzogen sent some sort of soothing reply, hinting at the
same time that she, the mother, would not interfere with her daughter's
choice. So Schiller resolved to stand his ground. The ladies arrived in
the latter part of May and soon thereafter he was given to understand
that Lotte's affections were fixed upon the other man. There was nothing
for him now but the role of lofty resignation. To his former schoolmate,
Wilhelm von Wolzogen, he wrote as follows:
You have commended to me your Lotte, whom I know completely, I thank
you for the great proof of your love.... Believe me, my best of
friends, I envy you this amiable sister. Still just as if from the
hands of the Creator, innocent, the fairest, tenderest, most
sensitive soul, and not yet a breath of the general corruption on
the bright mirror of her nature,--thus I know your Lotte, and woe to
him who brings a cloud over this innocent soul!... Your mother has
made me a confidant in a matter that may decide the fate of your
Lotte and has told me how you feel upon the subject. [It appears
that Wilhelm disliked the young man,] I know Herr W--n and ...
believe me, he is not unworthy of your sister.... I really esteem
him, though I cannot at present be called his friend. He loves your
Lotte and I know he loves her like a noble man, and your Lotte loves
him like a girl that loves for the first time.
But the foolish dreams were not so easily to be given their quietus,
especially when he discovered that Lotte was only half in love with
Winkelmann after all. Then there seemed hope for him and he surrendered
himself freely to the intoxication of his little summer romance. What
were the world and a poet's fame in comparison with happiness? Still he
did not declare himself. He often called Frau von Wolzogen 'mother', and
averred in letters that no son could love her better. Probably a word
from her might have led to an engagement. But the word was not spoken.
She was a sensible lady, who knew how to look into the future and to
guard the welfare both of her daughter and of her protege. She saw that
if he was to make his way in the world as a dramatist he must return to
the world; a prolongation of the Bauerbach idyl could lead to nothing
but disappointment and unhappiness. Besides, his incognito had now
become only a conventional fiction; everybody knew who he was.
One day, accordingly, as they were walking together, she suggested that
he pay a visit to Mannheim and see what could be done with Dalberg. He
resolved to follow her advice. Late in July he set out, promising
himself and her a speedy return. But it was not so to be. Becoming
absorbed in the business of a new career he continued, indeed, to think
of her affectionately and to write to her, but at ever-increasing
intervals; and after a few months Bauerbach and the Wolzogens were only
a delightful memory. It is true that after the lapse of nearly a year he
one day took it into his head to suggest to the mother that she take him
for a son-in-law. But the wooing went no further. After all he had not
really been in love with Lotte in particular so much as with an ideal of
domestic bliss.
Shortly before his departure from Bauerbach there had been some talk of
his accompanying Reinwald on a contemplated journey to Weimar, where he
might make the acquaintance of Karl August, Goethe and Wieland. In his
excellent little book upon Schiller, Streicher expresses regret that his
friend had not acted upon this suggestion instead of following the
'siren voice' that led to the Palatinate. But it is difficult to
sympathize with this regret. He was not yet ripe for the role that fate
held in store for him in Thüringen. His education was to proceed yet a
while longer by the process of flaying. He was to suffer and grow
strong; to battle further with the goblins of despair; to tread the
quicksands of adversity and fight his way through to a firm footing
among the sons of men. Who shall say that it was not better so?
The long-cherished hopes of a connection with the Mannheim theater were
destined this time to be fulfilled. In the course of a few weeks
Schiller entered into a contract which assured him, for a year at least,
a respectable status in society and opened a new chapter in his life.
Before we take up that chapter, however, it will be proper to consider
the new play which he had brought with him as a passport to Dalberg's
favor. Thus far he had called it by the name of its heroine, but when it
was put upon the stage it was rechristened, at the suggestion of the
actor Iffland, and has ever since been known as 'Cabal and Love'. The
revision which he had undertaken, after the reopening of correspondence
with Dalberg, was even now not quite finished; so that the final touches
had to be given at Mannheim. It is probable that the political satire,
which was based in part upon veritable history and contained transparent
allusions to well-known personages, was more or less toned down in
deference to the wishes of Dalberg. Minor changes were also made at the
behest of the actors. But while it was not played and not printed until
the spring of 1784, it belongs in its substance and its spirit, not to
the Mannheim period of Schiller's life, but to the period which he had
spent in hiding. It is a freeman's comment upon high life as he had
known it. Scrupulously enough Schiller kept the letter of his promise
not to use his pen in belittling the Duke of Württemberg. But the
_Wirtschaft_ in Stuttgart was fair game, and there were other ways of
masking a dramatic battery than to lay the scene in Italy. In 'Cabal and
Love' the reigning prince does not appear upon the stage.
FOOTNOTES:
[Footnote 48: Letter of March, 1783; in "Schillers Briefe", edited by
Jonas, Vol. I, page 101.]
[Footnote 49: Letter of Jan. 4, 1783, to Frau von Wolzogen. ]
[Footnote 50: Undated letter of March, 1783; "Schillers Briefe", I,
101.]