What Friedrich Schiller wrote. Brief biography of Friedrich Schiller

Biography and creativity

He studied at the Faculty of Law at Novorossiysk (Odessa) and Kiev Universities (graduated in 1912, then entered the military service volunteer.

After the service he returned to Kyiv. In 1909 he participated in N. S. Gumilev’s magazine “Island”, in 1910 three of his poems were published in the St. Petersburg magazine “Apollo”, in 1911 the poet’s first collection “Flute Marcia” was published in Kiev (destroyed by censorship, received a positive assessment by V. Bryusov and N. Gumilyov).

In the winter of 1911, Livshits, through the artist Alexandra Ekster, met the Burliuk brothers, with whom he organized creative group“Gilea” (later - a circle of cubo-futurists, to which V. Khlebnikov, A. Kruchenykh, V. Mayakovsky joined). Published in the collections “Tank of Judges”, “A Slap in the Face of Public Taste”, “Dead Moon”, “Roaring Parnassus”, etc. Own creativity Livshits, however, is far from the style of Khlebnikov or Kruchenykh - these are poems of an exquisite form, extremely rich in metaphors, imitating the style of Mallarmé; in texts of 1913-1916. important role plays the image of St. Petersburg (the “Swamp Jellyfish” cycle, where various architectural and natural monuments cities on the Neva). According to K.I. Chukovsky, Livshits is “an esthete and a secret Parnassian”, “in vain raping himself” by collaborating with the futurists; M. L. Gasparov analyzed Livshits’s work more than once.

And as if in unison with Chukovsky’s assessment, Akhmatova’s rare testimony sounds, simultaneously affecting two poets, her acquaintances and contemporaries. The only time I visited Blok, I casually mentioned to him that the poet Benedict Lifshitz complains that he, Blok, by his very existence prevents him from writing poetry. Blok did not laugh, but answered quite seriously: “I understand that. Leo Tolstoy is stopping me from writing.” (Alexander Blok in the memoirs of his contemporaries, compiled by Vl. Orlov, M., Fiction, 1980).

Before the start of the war with Germany, Benedict Livshits, along with other futurists, was a prominent regular at the Stray Dog. However, the tone in this institution was still set not by the Futurists, but by the Acmeists and their friends. In this artistic basement they lived “for themselves” and “for the public,” playing the role of bohemians of the imperial capital. They usually arrived after midnight and left only in the morning. Two decades later, Benedict Livshits, in his memoirs, left us an outwardly ironic, but essentially admiring description of this “intimate parade,” in which the poet turned into an actor on the stage, and the reader into a spectator. Here is an excerpt from his texts dedicated to this time: Drawn in black silk, with a large oval cameo at her belt, Akhmatova floated in, pausing at the entrance so that, at the insistence of Pronin, who rushed towards her, he could write his last poems in the “pig” book, according to which the simple-minded “ pharmacists" made guesses that tickled their curiosity.

In a long frock coat and a black regatta, who did not leave a single one unattended beautiful woman, retreated, backing between the tables, Gumilyov, either in this way observing court etiquette, without fear of a “dagger gaze in the back.” In the apt expression of Benedict Livshits himself, "...the very first breath of war blew the rouge from the cheeks of the regulars of the Stray Dog".

The photograph shown here from 1914 deserves a few special words. It has a separate history, full of names and coincidences... Artist Yuri Pavlovich Annenkov, a graduate of the Faculty of Law of St. Petersburg University, who studied painting at the Stieglitz School and in Paris, a famous book illustrator and portrait painter, a man who seemed to know everyone and everything in the literary and artistic world of the pre-revolutionary Petrograd - left many personal testimonies about the people of this era. Recalling in 1965 during a lecture at Oxford University about his last meeting with Anna Akhmatova, Yuri Annenkov told the story of one photograph of the first days of the 1914 war, which she gave him.

“One of these days, knowing that mobilized people would be walking along Nevsky Prospekt, Korney Chukovsky and I decided to go to this main street. There, quite by chance, Osip Mandelstam met and joined us... When the mobilized began to pass through, not yet in military uniform, with bundles on his shoulders, then suddenly the poet Benedikt Livshits came out from their ranks, also with a bundle, and ran up to us. We began to hug him, shake his hands, when an unfamiliar photographer approached us and asked permission to photograph us. We took each other's hands and were photographed like that..."

Annenkov's story coincides with the photograph right down to small parts... However, something remained beyond the scope of his story. And first of all, the unknown photographer turned out to be Karl Bulla “himself”, from whose workshop this photograph subsequently became widespread.

Osip Mandelstam, according to the later words of Viktor Shklovsky, “this strange... difficult... touching... and genius man» , in the photo - 23 years old. A little older than Mandelstam in the picture is Benedikt Livshits himself, he is 27... In the picture he is sitting, already shaved bald and with a deliberately made gallant face, a man leaving for the front. He still doesn’t know whether he will survive after mobilization and three years on the front line... During the First World War, he was wounded at the front and awarded the St. George Cross for bravery. In 1914 he converted to Orthodoxy, in honor of godfather, K.I. Arabazhina took the patronymic Konstantinovich (by birth - Naumovich), returned to Kyiv. In 1922 he moved to Petrograd.

He published collections of poems “Wolf Sun” (Kherson, 1914), “From the Topi Blat” (Kiev, 1922), “Patmos” (M., 1926), “Croton Noon” (M., 1928). After 1928, he published virtually no poetry, although he worked on the book “Odes of Kartvel.”

Since pre-revolutionary times, Benedict Livshits has been involved in literary translation a lot, becoming one of the best Russian interpreters of French symbolism (Laforgue, Corbière, Rollin and especially Arthur Rimbaud). He became famous for his collection of translations from French poetry “From the Romantics to the Surrealists” (1934); his translations were repeatedly republished after posthumous rehabilitation. In 1933, he published a book of memoirs, “The One and a Half-Eyed Sagittarius,” dedicated to the futurist movement of the 1910s.

Death

In October 1937, Livshits was arrested, and on September 21, 1938, executed in connection with the Leningrad “writer’s case,” along with Yuri Yurkun and Valentin Stenich. According to the version falsified during rehabilitation, he died of a heart attack on May 15, 1939. Rehabilitated in 1957.

The poet's wife, E.K. Livshits (1902–1987), was imprisoned. The poet's son, Kirill Livshits, born in 1925, died in the fall of 1942 in Battle of Stalingrad.

Works

One-and-a-half-eyed Sagittarius. L.: Writers Publishing House, 1933. - 300 pp.:ill. [Circulation 5300 copies]
From the Romantics to the Surrealists: An Anthology of French Poetry. L.: Time, 1934.
At the night window. M.: Progress, 1970. (“Masters of Translation”)
One-and-a-half-eyed Sagittarius: Poems, translations, memories / Enter. article A. A. Urbana; compilation E. K. Livshits And P. M. Nerler; text preparation P. M. Nerler And A. E. Parnis; notes P. M. Nerler, A. E. Parnis And E. F. Kovtuna. L.: Sov. writer, 1989. - 720 p. Il. 8 l.

06 January 1887 - 21 September 1938

Russian poet, translator and researcher of futurism

Biography and creativity

He studied at the Faculty of Law at Novorossiysk (Odessa) and Kiev Universities (graduated in 1912, then entered military service as a volunteer.

In the winter of 1911, Livshits, through the artist Alexandra Ekster, met the Burliuk brothers, with whom he organized the creative group “Gilea” (later the circle of Cubo-Futurists, which included V. Khlebnikov, A. Kruchenykh, V. Mayakovsky). Published in the collections “The Fishing Tank of Judges”, “A Slap in the Face of Public Taste”, “Dead Moon”, “Roaring Parnassus”, etc. Livshits’s own work, however, is far from the style of Khlebnikov or Kruchenykh - these are poems of an exquisite form, extremely rich in metaphors, imitating the style of Mallarmé ; in texts of 1913-1916. An important role is played by the image of St. Petersburg (the “Swamp Jellyfish” cycle, where various architectural and natural monuments of the city on the Neva are presented in a complex historiosophical context). According to K.I. Chukovsky, Livshits is “an esthete and a secret Parnassian”, “in vain raping himself” by collaborating with the futurists; M. L. Gasparov analyzed Livshits’s work more than once. According to Akhmatova’s memoirs, “the poet Benedict Lifshitz complains that he, Blok, by his very existence prevents him from writing poetry.”

In the words of Benedict Livshits himself, “...the very first breath of war blew the rouge from the cheeks of the regulars of the Stray Dog.”

Livshits is captured together with Yuri Annenkov, Osip Mandelstam and Korney Chukovsky in a photograph of the first days of the First World War, which was later given to Annenkov by Anna Akhmatova. According to Annenkov’s memoirs,

The unknown photographer turned out to be Karl Bulla “himself”, from whose workshop this photograph subsequently became widespread.

During the First World War, he was wounded at the front and awarded the St. George Cross for bravery. In 1914 he converted to Orthodoxy, in honor of his godfather, K.I. Arabazhina took the patronymic Konstantinovich (Naumovich by birth), and returned to Kyiv. In 1922 he moved to Petrograd.

Death

In October 1937, Livshits was arrested, and on September 21, 1938, he was shot in connection with the Leningrad “writer’s case,” along with Yuri Yurkun and Valentin Stenich. According to the version falsified during rehabilitation, he died of a heart attack on May 15, 1939. Rehabilitated in 1957.

The poet's wife, E.K. Livshits (1902-1987), was imprisoned. The poet's son, Kirill Livshits, born in 1925, died in the fall of 1942 in the Battle of Stalingrad.

Works

One-and-a-half-eyed Sagittarius. L.: Writers Publishing House, 1933. - 300 pp.:ill. [Circulation 5300 copies]
At the night window. M.: Progress, 1970. (“Masters of Translation”)
One-and-a-half-eyed Sagittarius: Memories. M.: Fiction, 1991.
Letters from Benedikt Livshits to David Burliuk // New literary review. 1998. No. 31. P.244-262.

Benedikt Livshits was born in Odessa. After graduating from high school, he entered the law faculty of Novorossiysk University, then transferred to Kiev University, from which he graduated in 1912. Then he served as volunteers in the 88th Infantry Regiment.
In 1914 he was called up from the reserves and took part in hostilities, but was wounded. Awarded the St. George Cross.
The first poems were published in 1909 in the Anthology modern poetry" (Kyiv). In 1910, Benedikt Livshits became an employee of the magazine.
Together with D. and V. Burliuk, V. Mayakovsky, he was a member of the association of futurists. Published in the collections “Tank of Judges”, “A Slap in the Face of Public Taste”, “Dead Moon”, “Roaring Parnassus”, etc. Author of several poetry collections, including “The Flute of Marcia” (1911, destroyed by censorship), “Wolf’s Heart” (1914), “From Topi Blat” (1922), “Crotonian Afternoon” (1928).
Having said goodbye to him early, in 1933 Benedict Livshits again turned to the era of his heyday, already as a memoirist, and published a book of memoirs, considered one of best works Russian memoirs dedicated to the 1910s of the twentieth century.
In 1934, fascinated by poetic translations, Livshits published a collection of French poetry of the 19th-20th centuries, entitled “From the Romantics to the Surrealists.”
Repressed in 1939

POETRY

No one except us... How deserted is the plane tree alley!
On these gray days, no one comes to the boulevard.
Here we are, alone and silent, hopelessly deceiving each other:
We are complete strangers - in these dark autumn coats.

All the alleys seem to be covered with tiger skin...
It is a yellow lace of leaves on black ground.
This is mourning and sorrow. I'm losing my last bet
Forced silence - autumn silver haze.

Well, is it time to leave?.. smiling, let's say goodbye to madness...
But how can I say it? - after all, an autumn word is like steel...
We are silent. We sit motionless, mournful mummies...
Is it a pity?
1908

Full moon honey not collected
And silver treasures await
Crystal bees and water cannon
Blooms like a wedding fan,
And the cold blows like a bright wind,
And you are in other silver
You slide through the villages of Selene,
Having forgotten at the languid tent
Stretched into your yesterday
My hyacinth, my imperishable color.
And again from a distant stream,
Born in a vain word,
Get up - it's a draw! -
Pour the trefoil blade,
Moonlighting at the ready.
1913

TO DAVID BURLIUK

Akin to both Scythian and Ashantian,
A Gilean in a fashionable bowler hat,
Your tropical mantle
You splash in the blue, in the distance.

Isn't this a striped sail?
Who once danced pockmarked,
Breaking through the Munich bush
On a drunken ship Rimbaud?

In 1909 he participated in N. S. Gumilev’s magazine “Island”, in 1910 three of his poems were published in the St. Petersburg magazine “Apollo”, in 1911 the poet’s first collection “Flute Marcia” was published in Kiev (destroyed by censorship, received a positive assessment by V. Bryusov and N. Gumilyov).

He studied at the Faculty of Law at Novorossiysk (Odessa) and Kiev Universities (graduated in 1912, lived in Kyiv for the next ten years). In 1909 he participated in N. S. Gumilev’s magazine “Island”, in 1910 three of his poems were published in the St. Petersburg magazine “Apollo”, in 1911 the poet’s first collection “Flute Marcia” was published in Kiev (destroyed by censorship, received a positive assessment by V. Bryusov and N. Gumilyov).

The one presented here clearly deserves a few special words. unique photo 1914. It has its own, separate history, rich significant names and coincidences...

The artist Yuri Pavlovich Annenkov, a graduate of the Faculty of Law of St. Petersburg University, who studied painting at the Stieglitz School and in Paris, a brilliant book illustrator and portrait painter, a man who seemed to know everyone and everything in the literary and artistic world of pre-revolutionary Petrograd - left many invaluable testimonies about the people of this era . Recalling in 1965 during a lecture at Oxford University about his last meeting with Anna Akhmatova, Yuri Annenkov told the story of one photograph of the first days of the 1914 war, which she gave him.

Annenkov's story coincides with the photograph down to the smallest details... However, something remains beyond the scope of his story. And first of all, the unknown photographer turned out to be Karl Bulla “himself”, from whose workshop this photograph subsequently became widespread.

Osip Mandelstam, in the later words of Academician Shklovsky, “this strange... difficult... touching... and brilliant man,” is 23 years old in the photograph. A little older than Mandelstam in the picture is Benedikt Livshits himself, he is 27... In the picture he is sitting, already shaved bald and with a deliberately made gallant face, a man leaving for the front. He still doesn’t know whether he will survive after mobilization and three years on the front line... During the First World War, he was wounded at the front and awarded the St. George Cross for bravery. In 1914 he converted to Orthodoxy, took the patronymic name Konstantinovich (Naumovich by birth) in honor of his godfather, and returned to Kyiv. In 1922 he moved to Petrograd.

Since pre-revolutionary times, Benedict Livshits has been involved in literary translation a lot, becoming one of the best Russian interpreters of French symbolism (Laforgue, Corbière, Rollin and especially Arthur Rimbaud), his translations were repeatedly republished after posthumous rehabilitation. In 1933, he published a book of memoirs, “The One and a Half-Eyed Sagittarius,” dedicated to the futurist movement of the 1910s.

Death

His biography and work reveal the personality of a rebel, a person who does not consider himself, in an era of general lawlessness, to be the property of a feudal lord. His life feat impressed even the august lady, which we will talk about later. The life of a poet and playwright itself resembles a theatrical drama, where Talent fights discrimination, poverty and wins.

The Europeans chose his “Ode to Joy” as the anthem of the European Union. Set to music by Ludwig van Beethoven, it sounded solemn and sublime.

The genius of this man manifested itself in many ways: poet, playwright, art theorist, fighter for human rights.

Born unfree

When Schiller Friedrich was born, serfdom was still relevant in Germany.

The subjects of the feudal lords could not leave the domain of their overlord. And if this happened, the fugitives were returned by force. The subject could neither change his craft, to which he was “attached” by the feudal lord, nor marry without the permission of his master. Friedrich Schiller lived in such a nightmare legal status, reminiscent of an iron cage.

He became a classic, rather, not thanks to the German society of his time, but in spite of it. Frederick, figuratively speaking, managed to enter the Temple of Art through a door closed to him by the state with remnants of the Middle Ages.

Only in 1807 (Schiller died in 1805) did Prussia abolish serfdom.

Parents

Schiller's biography begins in the Duchy of Württemberg (city of Marbach am Neckar), where he was born on November 10, 1759 in the family of an officer, regimental paramedic Johann Caspar Schiller. The future poet's mother was from a family of pharmacists and innkeepers. Her name was Elizabeth Dorothea Kodwais. In his parents' house there was an atmosphere of clean, orderly and intelligent poverty.

Father and mother of Johann Christoph Friedrich von Schiller full name classics) were very religious and raised their children in the same spirit. The father of the future poet, who came from a peasant wine-making family, was lucky enough to receive a medical education. He became an official under his master, an intelligent man, but not free. He changed places of residence and positions, following the will of his master.

Education

When the boy was five years old, the family moved to the city of the same county, Lorch. My father received a government position there as a recruiter. For three years, Pastor Lorch, a kind man who managed to interest the boy in Latin, took care of Friedrich’s primary church and humanitarian education. German languages, catechism.

When seven-year-old Schiller moved with his family to Ludwigsburg, he was able to attend a Latin school. At the age of 23, an educated young man was confirmed (the right to approach the sacrament). At first he dreamed of becoming a priest, following the charisma of his teachers.

Feudal despot

Schiller's biography in his youth turned into a series of sufferings due to failure to fulfill the will of the Duke of Württemberg. He ordered his serf to study at the Military Academy of Jurisprudence and become a lawyer. Schiller could not live someone else's life; he ignored his studies. Three years later, the young man was last rated in a peer group of 18 people.

In 1776, he transferred to the Faculty of Medicine, where he became interested in studying. But in teaching medicine he was attracted to secondary subjects - philosophy, literature. In 1777, the reputable magazine "German Chronicle" published the first work of the young Schiller, the ode "The Conqueror", written in imitation of his favorite poet Friedrich Klopstock.

Schiller's biography, as follows from the above, is not a “major” story. The guy who did not fulfill the order to become a lawyer was disliked by the tyrant duke. By his will, the 29-year-old academy graduate received only the position of regimental doctor, without an officer rank. It seemed to the despot that he had managed to ruin the life of the disgraced young man, however, Friedrich Schiller had already felt the power of his talent by that time.

Talent makes itself known

The 32-year-old playwright is writing the drama "Robbers". Not a single publisher from Stuttgart undertakes to publish such a serious work of a slave, fearing a conflict with the all-powerful Duke of Württemberg. Showing persistence, declaring himself to the public, Friedrich Schiller himself published it. His biography as a playwright begins with this essay.

The daring subject, who published the drama “The Robbers” at his own expense, was a winner. And Fate sent him a gift. A bookseller friend introduced him to the art connoisseur Baron von Dahlberg, who ran the Mainham Theatre. The drama, after minor edits, became the highlight of the next theater season in Prussia!

The author is overcome with courage, he revels in talent. During the same period, Schiller published his first collection of poems, Anthology for 1782. Any height seems achievable to him! He competes for primacy in the Swabian school of poetry with Gotthald Steidlin, who had previously published his “Collection of Muses.” To give an image of scandal to his collection, the poet indicates the city of Tobolsk as the place of publication.

Harassment and escape

Schiller's biography at that time is marked by a banal flight to the county of Palatinate. He decided to take this risky step on September 22, 1782, together with his friend Streicher, pianist and composer. The Duke of Württemberg was unshakable in his desire to turn the future classic into a government servant.

Schiller was sent to the guardhouse for two weeks for leaving the regiment to visit theatrical production"Robbers". At the same time, he was forbidden to write.

Friends, not without reason, feared intrigues on the part of the Archduke. Schiller changed his name to Schmidt. Therefore, they settled not in the city of Mannheim itself, but in the “Hunting Yard” tavern in the suburban village of Oggersheim.

Schiller hoped to make money with a new play he wrote, “The Fiesco Conspiracy in Genoa.” However, the fee turned out to be meager. Being in poverty, he was forced to ask Henrieta von Walzogen for help. She generously allowed the playwright to live in her empty estate.

Life under someone else's name

From 1782 to 1783, he hid in the estate of a benefactor under the fictitious name of Dr. Ritter Friedrich Schiller. His biography during this period is a description of the life of an outcast who chose risk in order to be able to develop his talent. He studies history and writes the plays "Louise Miller" and "The Fiesco Conspiracy in Genoa." To the credit of his friend, Andrei Streicher, he made great efforts to ensure that the director of the Mannheim Theater, Baron von Dahlberg, paid attention to his friend’s work. Schiller informs the baron in a letter about his new plays, and he agrees to stage them at his place!

During this period (1983), the estate is visited by Henrieta von Walzogen with her young daughter Charlotte. Schiller falls in love with a girl and asks his mother for permission to marry her, but is refused due to his poverty. He moves to Mannheim to prepare his works for production.

Finding freedom. Obtaining a formal position

If the play “The Fiesco Conspiracy in Genoa” on the stage of the Mannheim Theater is performed as an ordinary production, then “Louise Miller” (renamed “Cunning and Love”) brings resounding success. In 1784, Schiller entered the local German society, receiving the right to legalize his status, becoming a Palatinate subject, and finally draw a line under the persecution of the Archduke.

Him, who has his own views on the path of development German theater, is respected as a famous playwright. He writes his work “The Theater is a Moral Institution,” which has become a classic.

Soon Schiller begins a short affair with married woman Charlotte von Kalb. The writer, prone to mysticism, led a bohemian lifestyle. This lady considered the young poet as her next trophy in a series of women's victories.

She introduced Schiller to Archduke Karl August in Darmstadt. The playwright read the first act of the drama “Don Carlos” to him. Surprised and delighted by the author's talent, the nobleman granted the writer the position of adviser. This gave the playwright only social status, no more. However, this did not change his life.

Soon Schiller quarrels and breaks his contract with the director of the Mannheim Theater. He considers the author of his hit productions dependent on his will and money, trying to put pressure on Schiller.

Leipzig welcomes a desperate poet

Friedrich Schiller remained just as unsettled in life. This is not the first time his biography is preparing a blow in his personal life. Due to poverty, he is denied marriage by Margarita Schwan, the daughter of a court bookseller. However, soon his life changes for the better. His work was appreciated in Leipzig.

The playwright had long been persistently invited there by fans of his work, who organized themselves into a society controlled by Gottfried Kerner. Driven to extremes (he still had not repaid the debt of 200 guilders, taken out for the publication of “The Robbers”), the writer turned to his admirers with a request for financial assistance. To his joy, he soon received a bill of exchange from Leipzig for an amount sufficient to pay off his debts and move to live where he was valued. The classic's friendship with Gottfried Kerner bound him throughout his entire subsequent life.

04/17/1785 Schiller arrives in a hospitable city.

At this time, the classic man falls in love for the third time, but again unsuccessfully: Margarita Schwan refuses him. The classic man, who has fallen into black despondency, is favorably influenced by his benefactor, Gottfried Kerner. He dissuades his romantic friend from committing suicide, first by inviting Friedrich to his wedding with Minna Stock.

Warmed by friendship and having survived a severe mental crisis, F. Schiller writes a brilliant ode “To Joy” for his friend’s wedding.

The biography of the writer, who settled at the invitation of the same Kerner in the village of Loschwitz adjacent to Dresden, is marked wonderful works: "Philosophical Letters", the drama "The Misanthrope", modified by the drama "Don Carlos". In terms of creative fruitfulness, this period is reminiscent of Pushkin’s Boldino Autumn.

Schiller becomes famous. The playwright rejects an offer from the Hamburg Theater to stage his plays. The memories of the difficulties in cooperation and the break with the Mannheim Theater are too fresh.

Weimar period: departure from creativity. Tuberculosis

On August 21, 1787, he arrived in Weimar at the invitation of the poet Christoph Wieland. He is accompanied by his mistress, an old acquaintance, Charlotte von Kalb. Having connections in high society, she introduces Schiller to the presenters Johann Herder and Martin Wieland.

The poet begins to publish the magazine "Talia", published in the "Deutsche Mercury". Here he retreated from creativity for almost a decade, taking up self-education in the field of history. His knowledge is highly valued, and in 1788 he became a professor at the University of Jena.

He lectures on world history and poetry, and translates Virgil's Aeneid. Schiller receives a salary of 200 thalers per year. This is a fairly small income, but it allows him to plan his future.

The poet decides to arrange his life and marries Charlotte von Lengefeld. But four years later, fate prepares a new test for him: speaking in cold classrooms and contracting the disease from his student, Friedrich Schiller falls ill with tuberculosis. Interesting Facts in his biography indicate charisma and integrity of personality. The illness crosses out his teaching career and leaves him bedridden, but calm human courage often overcomes fate.

A new stage of fate

As if by magic higher powers, in difficult times his friends help him. And now, when Schiller’s illness made it impossible to work, the Danish writer Jens Baggens persuaded the Prince of Holstein and Count Schimmelmann to assign a subsidy of a thousand thalers to the classics for treatment.

Iron will and financial assistance raised the bedridden patient to his feet. He could not teach, and his friend, publisher Johann Cotta, provided him with the opportunity to earn money. Soon Schiller switches to new stage creativity. Ironically, it begins with a tragic event: the poet was summoned by his dying father, who at that time lived in Ludwigsburg.

This event was expected: previously, the father had been seriously ill for a long time. The classic, in addition to the filial duty of saying goodbye to his father, was also attracted by the opportunity to hug and console his three sisters and mother, whom he had not seen for eighteen years!

Perhaps that is why he did not go on his own, but together with his wife, who was pregnant.

Staying on your small homeland, the poet receives a powerful spiritual incentive - to develop creativity.

A month and a half after his father’s funeral, he visited his alma mater, military academy. He was pleasantly surprised that he was an idol for the students. They greeted him enthusiastically: before them stood a legend - Friedrich Schiller, poet No. 1 in Prussia. The touched classicist wrote his own after this visit. famous work"Letters about aesthetic education person."

His first child was born in Ludwigsburg. He's finally happy. But he only has seven years to live...

The poet returned to Jena, being in a state of creative upsurge. His polished talent shines with new strength! Schiller, after ten years in-depth study history, literary theory, aesthetics, again returns to poetry.

He managed to attract everyone best poets Prussia to participate in the magazine "Ory". In 1795, philosophical poetic works came from his pen: “Dance”, “Poetry of Life”, “Hope”, “Genius”, “Division of the Land”.

Collaboration with Goethe

Among the poets invited by Schiller to the magazine "Ory" was Ikh creative souls entered into the resonance that stimulated the creation of many priceless pearls from a German classical necklace literature XVIII century.

They had a common vision of the civilizational significance of the Great french revolution, development paths German literature, rethinking ancient art. Goethe and Schiller criticized the interpretation of religious, political, aesthetic and philosophical questions. Their letters sounded moral and civic pathos. Two brilliant poets who chose for themselves literary direction, competed with each other in its development:

from December 1795 - in writing epigrams;
in 1797 - in writing ballads.

The friendly correspondence between Goethe and Schiller is a wonderful example of epistolary art.

The last stage of creativity. Weimar

In 1799, Friedrich Schiller returned to Weimar. The works written by him and Goethe contributed to the development of German theater. They became the dramatic basis for creating the best theater Germany - Weimar.

However, Schiller's strength is running out. In 1800, he completed writing his swan song - the tragedy “Mary Stuart”, a profound work that had success and wide resonance in society.

In 1802, the Emperor of Prussia granted the poet nobility. However, Schiller treated this ironically. Its young and best mature years were full of hardships, and now the newly-made nobleman felt that he was dying. He humanly wanted to reject the title, which was useless to himself, but he accepted it, thinking exclusively about his children.

He was often sick and suffered from chronic pneumonia. Against this background, tuberculosis worsened, leading to his untimely death in the prime of his talent and at the age of 45.

Conclusion

Without exaggeration, we can say that the favorite poets of the Germans at all times were and will be Johann Goethe and Friedrich Schiller. The photo of the monument, which forever depicts two friends living in Weimar, is familiar to every German. Their contribution to literature is invaluable: the classics brought it onto the path of new humanism, summarizing the ideas of the Enlightenment, romanticism and classicism.