Friedrich Schiller, página 2 de 7

Lectura que contiene el CD-Audio que corresponde al nivel europeo A2 perteneciente a la serie Lecturas adaptadas de clásicos de la literatura de habla alemana

The special subject of the greater part of the letters and essays of Schiller contained in this volume is Aesthetics; and before passing to any remarks on his treatment of the subject it will be useful to offer a few observations on the nature of this topic, and on its treatment by the philosophical spirit of different ages. First, then, aesthetics has for its object the vast realm of the beautiful, and it may be most adequately defined as the philosophy of art or of the fine arts. To some the definition may seem arbitrary, as excluding the beautiful in nature; but it will cease to appear so if it is remarked that the beauty which is the work of art is higher than natural beauty, because it is the offspring of the mind. Moreover, if, in conformity with a certain school of modern philosophy, the mind be viewed as the true being, including all in itself, it must be admitted that beauty is only truly beautiful when it shares in the nature of mind, and is minds offspring. Viewed in this light, the beauty of nature is only a reflection of the beauty of the mind, only an imperfect beauty, which as to its essence is included in that of the mind. Nor has it ever entered into the mind of any thinker to develop the beautiful in natural objects, so as to convert it into a science and a system. The field of natural beauty is too uncertain and too fluctuating for this purpose. Moreover, the relation of beauty in nature and beauty in art forms a part of the science of aesthetics, and finds again its proper place.

This is the third and final part of the Wallenstein trilogy by German playwright and mastermind Friedrich Schiller. The work as a whole produced a profound impression, and it is certainly Schillers masterpiece in dramatic literature. He brings out with extraordinary vividness the ascendency of Wallenstein over the wild troops whom he has gathered around him, and at the same time we are made to see how the mighty generals schemes must necessarily end in ruin, not merely because a plot against him is skilfully prepared by vigilant enemies, but because he himself is lulled into a sense of security by superstitious belief in his supposed destiny as revealed to him by the stars. Wallenstein is the most subtle and complex of Schillers dramatic conceptions, and it taxes the powers of the greatest actors to present an adequate rendering of the motives which explain his strange and dark career. The love-story of Max Piccolomini and Thekla is in its own way not less impressive than the story of Wallenstein with which it is interwoven. This is the bilingual edition of this literary masterpiece including the English and German versions of the play.

This is the second part of the Wallenstein trilogy by German playwright and mastermind Friedrich Schiller. The work as a whole produced a profound impression, and it is certainly Schillers masterpiece in dramatic literature. He brings out with extraordinary vividness the ascendency of Wallenstein over the wild troops whom he has gathered around him, and at the same time we are made to see how the mighty generals schemes must necessarily end in ruin, not merely because a plot against him is skilfully prepared by vigilant enemies, but because he himself is lulled into a sense of security by superstitious belief in his supposed destiny as revealed to him by the stars. Wallenstein is the most subtle and complex of Schillers dramatic conceptions, and it taxes the powers of the greatest actors to present an adequate rendering of the motives which explain his strange and dark career. The love-story of Max Piccolomini and Thekla is in its own way not less impressive than the story of Wallenstein with which it is interwoven.

Der Geisterseher (Aus den Memoiren des Grafen von O**) ist ein Romanfragment Friedrich Schillers, das in mehreren Fortsetzungen zwischen 1787 und 1789 in der Zeitschrift Thalia erschien und spater in drei Buchausgaben veroffentlicht wurde. Zeittypische Elemente wie Geisterbeschworung, Spiritismus und Verschworungen verknupfend, kam der Text der Leseerwartung entgegen und brachte Schiller zu Lebzeiten den groten Publikumserfolg ein. Die romantische Schauer- und deutschsprachige Kriminalliteratur wurden durch ihn nachhaltig beeinflusst.Johann Christoph Friedrich Schiller, ab 1802 von Schiller (* 10. November 1759 in Marbach am Neckar; 9. Mai 1805 in Weimar), war ein Arzt, Dichter, Philosoph und Historiker. Er gilt als einer der bedeutendsten deutschen Dramatiker, Lyriker und Essayisten.

Ambientato nella Venezia del 1700, durante il periodo del carnevale, Il visionario raccontaloscura macchinazione ordita ai danni del Principe von ***, erede al trono di Curlandia, regione storica dellarea baltica compresa nellattuale territorio della LettoniaJohann Christoph Friedrich von Schiller (Marbach am Neckar, 10 novembre 1759 Weimar, 9 maggio 1805) e stato un poeta, filosofo, drammaturgo, medico e storico tedesco.

Un joven príncipe alemán vive misteriosas aventuras en el ambiente veneciano del siglo XVIII. Aparentemente una «novela gótica» con una trama de intrigas y vivencias románticas, esta obra refleja, no obstante, el espíritu ilustrado de su autor.

Friedrich Schillers "The Maid of Orleans" is a meticulously crafted verse drama that dramatizes the life of the iconic heroine Joan of Arc, exploring themes of individuality, faith, and national identity against the backdrop of the Hundred Years War. Schiller employs a rich and lyrical style characterized by vivid imagery and emotional depth, demonstrating his mastery of poetic language. The play, steeped in the Romantic movements emphasis on heroism and the conflict between personal agency and societal expectations, captures the complexity of Joans character as both a soldier and a saint, thereby elevating her quest for freedom and justice into a profound philosophical discourse. Friedrich Schiller (17591805) stands as one of Germanys foremost playwrights and poets, whose works reflect his deep engagement with the ideas of the Enlightenment and the struggles for freedom in his own time. His background in law and history, coupled with a passionate interest in the human condition, informs his portrayal of Joan as a multidimensional figure caught between divine purpose and human frailty, underscoring the tragic elements of misplaced ideals and societal upheaval. For readers interested in the interplay of history and drama, "The Maid of Orleans" presents a compelling exploration of heroism and sacrifice. Schillers lyrical brilliance and profound insights into human nature not only render this work a pivotal piece of German literature but also resonate with contemporary discussions about identity and purpose, making it a must-read for scholars and lovers of dramatic art alike.

Schillers grand historical tragedy, a battle of wits between Mary Queen of Scots and her captor, Queen Elizabeth I.Mary has been held prisoner for nineteen years by her cousin, Elizabeth I, who has condemned her to death, but is reluctant to be seen to carry out the sentence. Leicester, Elizabeths favorite and Marys ex-lover, engineers a meeting of the two Queens - an encounter which never took place in historical fact - from which Mary emerges triumphant but doomed.Friedrich Schillers play Mary Stuart (Maria Stuart in the original German) had its premiere in Weimar, Germany, in June 1800.This English version by Jeremy Sams was first staged at the National Theatre, London, in 1996.

Una polémica Kant-Schiller-Goethe-Hegel. Los dos ensayos -sobre el concepto de belleza y sus implicaciones éticas el primero y sobre aspectos subjetivos y objetivos de la creación literaria el segundo- son representativos y orientadores en la transicion del clasicismo al romanticismo aleman.

Encontrar ese "principio objetivo" de la belleza es el problema estético que F. Schiller intenta desentrañar en Kallias. La objetividad del hecho estético, contemplado así bajo la perspectiva principal de la obra de arte, determinará desde entonces, el discurso filosófico desde la filosofía crítica hasta el idealismo hegeliano. Será en Cartas sobre la educación estética del hombre donde se dé cumplida respuesta a las cuestiones apuntadas en Kallias.

A common apartment in the Castle of Fotheringay.HANNAH KENNEDY, contending violently with PAULET, who is aboutto break open a closet; DRURY with an iron crown.KENNEDY.How now, sir? what fresh outrage have we here?Back from that cabinet!PAULET.Whence came the jewel?I know twas from an upper chamber thrown;And you would bribe the gardener with your trinkets.A curse on womans wiles! In spite of allMy strict precaution and my active search,Still treasures here, still costly gems concealed!And doubtless there are more where this lay hid.[Advancing towards the cabinet.KENNEDY.Intruder, back! here lie my ladys secrets.PAULET.Exactly what I seek.[Drawing forth papers.KENNEDY.Mere trifling papers;The amusements only of an idle pen,To cheat the dreary tedium of a dungeon.PAULET.In idle hours the evil mind is busy.