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The Project Gutenberg EBook of Blackwood's Edinburgh Magazine, Volume 54, No. 334, August 1843, by Various This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: Blackwood's Edinburgh Magazine, Volume 54, No. 334, August 1843 Author: Various Release Date: April 13, 2008 [EBook #25065] Language: English Character set encoding: ASCII *** START OF THIS PROJECT GUTENBERG EBOOK BLACKWOOD'S EDINBURGH *** Produced by Brendan OConnor, Jonathan Ingram, Josephine Paolucci and the Online Distributed Proofreading Team at http://www.pgdp.net. (This file was produced from images generously made available by The Internet Library of Early Journals.) BLACKWOOD'S EDINBURGH MAGAZINE. No. CCCXXXIV AUGUST, 1843. VOL. LIV. FORMS AND BALLADS OF SCHILLER. BY SIR EDWARD LYTTON BULWER. PART THE LAST. We here close our attempts to convey to the English reader some notion, however inadequate, of the genius and mind of Schiller. It is in these Poems, rather, perhaps, than in his Dramas and Prose works, that the upright earnestness of the mind, and the rich variety of the genius, are best displayed. Here, certainly, can best be seen that peculiar union of intellect and imagination which Mr Carlyle has so well distinguished as Schiller's characteristic attribute, and in which it would be difficult to name the modern poet by whom he is surpassed; and here the variety of the genius is least restrained and limited by the earnestness of the mind. For Schiller's variety is not that of Shakspeare, a creative and universal spirit, passing with the breath of life into characters the most diverse, and unidentified with the creations its invisible agency invokes. But it is the variety of one in whom the consciousness of his own existence is never laid aside; shown not so much in baring the minds and hearts of others, as in developing the progress and the struggles of his own, in the infinite gradations of joy and of sorrow, of exquisite feeling and solemn thought. Hence, in the drama, arise his faults and deficiencies; in his characters, he himself speaks. They are gigantic images of his own moods at different epochs of his life--impassioned with Moor--philosophizing with Posa--stately, tranquil, and
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