No less strange is the soliloquy where Moor, with the instrument of self-destruction in his hands, the 'dread key that is to shut behind him the prison of life, and to unbolt before him the dwelling of eternal night,'—meditates on the gloomy enigmas of his future destiny. Soliloquies on this subject are numerous—from the time of Hamlet, of Cato, and downwards. Perhaps the worst of them has more ingenuity, perhaps the best of them has less awfulness than the present. St. Dominick himself might shudder at such a question, with such an answer as this: "What if thou shouldst send me companionless to some burnt and blasted circle of the universe; which thou hast banished from thy sight; where the lone darkness and the motionless desert were my prospects—forever? I would people the silent wilderness with my fantasies; I should have Eternity for leisure to examine the perplexed image of the universal woe."
Strength, wild impassioned strength, is the distinguishing quality of Moor. All his history shows it; and his death is of a piece with the fierce splendour of his life. Having finished the bloody work of crime, and magnanimity, and horror, he thinks that, for himself, suicide would be too easy an exit. He has noticed a poor man toiling by the wayside, for eleven children; a great reward has been promised for the head of the Robber; the gold will nourish that poor drudge and his boys, and Moor goes forth to give it them. We part with him in pity and sorrow; looking less at his misdeeds than at their frightful expiation.
The subordinate personages, though diminished in extent and varied in their forms, are of a similar quality with the hero; a strange mixture of extravagance and true energy. In perusing the work which represents their characters and fates, we are alternately shocked and inspired; there is a perpetual conflict between our understanding and our feelings. Yet the latter on the whole come off victorious. The Robbers is a tragedy that will long find readers to astonish, and, with all its faults, to move. It stands, in our imagination, like some ancient rugged pile of a barbarous age; irregular, fantastic, useless; but grand in its height and massiveness and black frowning strength. It will long remain a singular monument of the early genius and early fortune of its author.
The publication of such a work as this naturally produced an extraordinary feeling in the literary world. Translations of the Robbers soon appeared in almost all the languages of Europe, and were read in all of them with a deep interest, compounded of admiration and aversion, according to the relative proportions of sensibility and judgment in the various minds which contemplated the subject. In Germany, the enthusiasm which the Robbers excited was extreme. The young author had burst upon the world like a meteor; and surprise, for a time, suspended the power of cool and rational criticism. In the ferment produced by the universal discussion of this single topic, the poet was magnified above his natural dimensions, great as they were: and though the general sentence was loudly in his favour, yet he found detractors as well as praisers, and both equally beyond the limits of moderation.
One charge brought against him must have damped the joy of literary glory, and stung Schiller's pure and virtuous mind more deeply than any other. He was accused of having injured the cause of morality by his work; of having set up to the impetuous and fiery temperament of youth a model of imitation which the young were too likely to pursue with eagerness, and which could only lead them from the safe and beaten tracks of duty into error and destruction. It has even been stated, and often been repeated since, that a practical exemplification of this doctrine occurred, about this time, in Germany. A young nobleman, it was said, of the fairest gifts and prospects, had cast away all these advantages; betaken himself to the forests, and, copying Moor, had begun a course of active operations—which, also copying Moor, but less willingly, he had ended by a shameful death.
It can now be hardly necessary to contradict these theories; or to show that none but a candidate for Bedlam as well as Tyburn could be seduced from the substantial comforts of existence, to seek destruction and disgrace, for the sake of such imaginary grandeur. The German nobleman of the fairest gifts and prospects turns out, on investigation, to have been a German blackguard, whom debauchery and riotous extravagance had reduced to want; who took to the highway, when he could take to nothing else—not allured by an ebullient enthusiasm, or any heroical and misdirected appetite for sublime actions, but driven by the more palpable stimulus of importunate duns, an empty purse, and five craving senses. Perhaps in his later days, this philosopher may have referred to Schiller's tragedy, as the source from which he drew his theory of life: but if so, we believe he was mistaken. For characters like him, the great attraction was the charms of revelry, and the great restraint, the gallows—before the period of Karl von Moor, just as they have been since, and will be to the end of time. Among motives like these, the influence of even the most malignant book could scarcely be discernible, and would be little detrimental, if it were.
Nothing, at any rate, could be farther from Schiller's intention than such a consummation. In his preface, he speaks of the moral effects of the Robbers in terms which do honour to his heart, while they show the inexperience of his head. Ridicule, he signifies, has long been tried against the wickedness of the times, whole cargoes of hellebore have been expended—in vain; and now, he thinks, recourse must be had to more pungent medicines. We may smile at the simplicity of this idea; and safely conclude that, like other specifics, the present one would fail to produce a perceptible effect: but Schiller's vindication rests on higher grounds than these. His work has on the whole furnished nourishment to the more exalted powers of our nature; the sentiments and images which he has shaped and uttered, tend, in spite of their alloy, to elevate the soul to a nobler pitch: and this is a sufficient defence. As to the danger of misapplying the inspiration he communicates, of forgetting the dictates of prudence in our zeal for the dictates of poetry, we have no great cause to fear it. Hitherto, at least, there has always been enough of dull reality, on every side of us, to abate such fervours in good time, and bring us back to the most sober level of prose, if not to sink us below it. We should thank the poet who performs such a service; and forbear to inquire too rigidly whether there is any 'moral' in his piece or not. The writer of a work, which interests and excites the spiritual feelings of men, has as little need to justify himself by showing how it exemplifies some wise saw or modern instance, as the doer of a generous action has to demonstrate its merit, by deducing it from the system of Shaftesbury, or Smith, or Paley, or whichever happens to be the favourite system for the age and place. The instructiveness of the one, and the virtue of the other, exist independently of all systems or saws, and in spite of all.
But the tragedy of the Robbers produced some inconveniences of a kind much more sensible than these its theoretical mischiefs. We have called it the signal of Schiller's deliverance from school tyranny and military constraint; but its operation in this respect was not immediate; at first it seemed to involve him more deeply and dangerously than before. He had finished the original sketch of it in 1778; but for fear of offence, he kept it secret till his medical studies were completed.[6] These, in the mean time, he had pursued with sufficient assiduity to merit the usual honours;