to a friend that he can only describe the morals of Weimar to him by word of mouth. When we hear that even skating was a scandal to the worthy Philistines of that town, we are not surprised by old Wieland's ill-natured remark, that the circle in question appeared to him to be aiming at "brutalising animal nature." Thus it was that the sweet, refined coquette, Frau von Stein, became Goethe's muse for ten whole years, the original of Leonore and Iphigenia; and later he created a still greater scandal by taking into his house Christiane Vulpius (the young girl whose presence had become a necessity to him, and who, in spite of her faults, never embittered his life by making any demands upon him), and living with her for eighteen years before obtaining the sanction of the Church to their union.
Goethe's as well as Schiller's youthful works had been inspired by what the Germans call the "Freigeisterei" of passion, its demand for freedom, its instinct of revolt. Both breathe one and the same spirit, the spirit of defiance. Goethe's Die Geschwister treats of the passion of brother for sister. The conclusion of Stella, in its original form, is a justification of bigamy; and Jean Paul, too, in his Siebenkäs, treats of bigamy as a thing perfectly permissible in the case of a genius to whom the first tie has become burdensome. Götz represents the tragic fate of the man of genius who rises in revolt against a lukewarm and corrupt age. Schiller's Die Räuber, with its device In Tyrannos, and its motto from Hippocrates, "That which medicine cannot cure iron cures, and that which iron cannot cure fire cures," is a declaration of war against society. Karl Moor is the noble-hearted idealist, who in "the castrated century" is inevitably doomed to perish as a criminal. Schiller's robbers are not highwaymen, but revolutionaries. They do not plunder, but punish. They have separated themselves from society to revenge themselves upon it for the wrongs it has done them. Schiller's defiance is still more personally expressed in those poems of his first period which were written under the influence of his relations with Frau von Kalb, poems re-written and entirely altered in the later editions. In the one which ultimately received the title Der Kampf, but which was originally called Freigeisterei der Leidenschaft, he writes: —
"Woher dies Zittern, dies unnennbare Entsetzen,
Wenn mich dein liebevoller Arm umschlang?
Weil Dich ein Eid, den auch nur Wallungen verletzen,
In fremde Fesseln zwang?
"Weil ein Gebrauch, den die Gesetze heilig prägen,
Des Zufalls schwere Missethat geweiht?
Nein – unerschrocken trotz ich einem Bund entgegen,
Den die erröthende Natur bereut.
"O zittre nicht – Du hast als Sünderin geschworen,
Ein Meineid ist der Reue fromme Pflicht,
Das Herz war mein, das Du vor dem Altar verloren,
Mit Menschenfreuden spielt der Himmel nicht."3
Comical as this naïve sophistry sounds, and unreliable as is the assurance that Heaven will not permit itself now and again to play with human happiness, the spirit of the verses is unmistakable; and, as Hettner aptly observes, Don Carlos uses almost the same words: "The rights of my love are older than the ceremonies at the altar."
The model for Schiller's young Queen Elizabeth was Charlotte von Kalb. This lady, the passion of the poet's youth, had been unwillingly forced into matrimony by her parents. She and Schiller met in 1784, and in 1788 they were still meditating a permanent union of their destinies. Soon after Schiller left her, she became Jean Paul's mistress. (Caroline Schlegel jestingly calls her Jeannette Pauline.) Jean Paul characterises her thus: "She has two great possessions: great eyes (I never saw their like) and a great soul." He himself confesses that it is she whom he has described in one of his principal works as the Titaness, Linda. In Titan (118 Zykel) we are told of Linda that she must be tenderly treated, not only on account of her delicacy, but also in the matter of her aversion to matrimony, which is extreme. She cannot even accompany a friend to the altar, which she calls the scaffold of woman's liberty, the funeral pyre of the noblest, freest love. To take, she says, the best possible view of it, the heroic epic of love is there transformed into the pastoral of marriage. Her sensible friend vainly insists that her aversion to marriage can have no other ground than her hatred of priests; that wedlock only signifies everlasting love, and all true love regards itself as everlasting; that there are as many unhappy free-love connections as marriages, if not more, &c.
Frau von Kalb herself writes to Jean Paul: "Why all this talk about seduction? Spare the poor creatures, I beg of you, and alarm their hearts and consciences no more. Nature is petrified enough already. I shall never change my opinion on this subject; I do not understand this virtue, and cannot call any one blessed for its sake. Religion here upon earth is nothing else than the development and maintenance of the powers and capacities with which our natures have been endowed. Man should not submit to compulsion, but neither should he acquiesce in wrongful renunciation. Let the bold, powerful, mature human nature, which knows and uses its strength, have its way. But in our generation human nature is weak and contemptible. Our laws are the outcome of wretchedness and dire necessity, seldom of wisdom. Love needs no laws."
A vigorous mind speaks to us in this letter. The leap from this to the idea of Lucinde is not a long one, but the fall to the very vulgar elaboration of Lucinde is great. We do not, however, rightly understand these outbursts until we understand the social conditions which produced them, and realise that they are not isolated and accidental tirades, but are conditioned by the position in which the majority of poetic natures stood to society at that time.
Weimar was then the headquarters and gathering-place of Germany's classical authors. It is not difficult to understand how they came to gather in this little capital of a little dukedom. Of Germany's two great monarchs, Joseph the Second was too much occupied with his efforts at reform, too eager for the spread of "enlightenment," to have any attention to spare for German poetry; and the Voltairean Frederick of Prussia was too French in his tastes and intellectual tendencies to take any interest in German poets. It was at the small courts that they were welcomed. Schiller lived at Mannheim, Jean Paul at Gotha, Goethe at Weimar. Poetry had had no stronghold in Germany for many a long year, but now Weimar became one. Thither Goethe summoned Herder; Wieland had been there since 1772. Schiller received an appointment in the adjacent Jena. Weimar was, then, the place where passion, as poetical, compared with the prosaic conventions of society, was worshipped most recklessly and with least prejudice, in practice as well as theory. "Ah! here we have women!" cries Jean Paul when he comes to Weimar. "Everything is revolutionarily daring here; that a woman is married signifies nothing." Wieland "revives himself" by taking his former mistress, Sophie von la Roche, into his house, and Schiller invites Frau von Kalb to accompany him to Paris.
We thus understand how it was that Jean Paul, when in Weimar, and under the influence of Frau von Kalb's personality, exclaimed: "This much is certain; the heart of the world is beating with a more spiritual and greater revolution than the political, and one quite as destructive."
What revolution? The emancipation of feeling from the conventions of society; the heart's audacious assumption of its right to regard its own code of laws as the new moral code, to re-cast morals in the interests of morality, and occasionally in the interests of inclination. The Weimar circle had no desire, no thought for anything beyond this, had neither practical nor social reforms in view. It is a genuinely German trait that outwardly they made deep obeisance to the laws which they privately evaded. In conversation, Goethe, in his riper years, invariably maintained that the existing conventions regulating the relations of the sexes were absolutely necessary in the interests of civilisation; and in their books authors gave expression to revolutionary sentiments which were more or less their own, only to recant at the end of the book. The hero either confesses his error, or commits suicide, or is punished for his defiance of society, or renounces society altogether (Karl Moor, Werther, Tasso, Linda). It is exactly the proceeding of the heretical authors of the Middle Ages, who concluded their books with a notice that everything in them must of course be interpreted in harmony with the doctrines and decrees of Holy Mother Church.
Into this Weimar circle of gifted women Madame de Staël, "the whirlwind in petticoats," as she has been