Schiller: National Poet-Poet of Nations

Martin, Nicholas, ed. Schiller: National Poet-Poet of Nations. Amsterdam: Rodopi, 2006. 341 pp. $86.00 hardcover. This volume is a collection of 16 papers (plus introduction) originally presented at a conference at the University of Birmingham (U.K.), which was held in June 2005 to commemorate the 200th anniversary of Schiller's death. Twelve of the contributors hold positions at universities in the United Kingdom (Paul Bishop, Steffan Davies, John Guthrie, David Hill, K. F. Hilliard, Alexander Kosenina, Francis Lamport, Nicholas Martin, Maike Oergel, T. J. Reed, Ritchie Robertson, and Lesley Sharpe), while two are in Germany (Jochen GoIz and Norbert Oellers), and one each in the United States Geffrey L. High) and Canada (David Pugh). Twelve of the essays are in English, and four in German; they vary in length from 12 to 25 pages. The volume's unifying theme is Schiller's position as a or trans-national figure (21), but the topic is taken very broadly, and one finds here a wide range of approaches and subj ect matter. Reed pays tribute to Schiller for his perseverance despite long years of illness, while Oellers contrasts his unheroic heroes with critics' long-held view of Schiller himself as a hero (Heros). Sharpe addresses Schiller's relationship to three theaters of his day (Mannheim, Weimar, Berlin), particularly with respect to their repertoire; GoIz discusses what he calls the self-contradictory nature of Schiller's efforts as a publisher of his own works; and Davies assesses Schiller's staging of Goethe's Egtnont not as a low point, but as the beginning of a constructive period in the GoetheSchiller relationship. Another group of essays deals more directly with Schiller's works: close textual readings are offered by Hill, who compares the earliest dramas of Schiller with those of J.M.R. Lenz; by Robertson, who investigates Schiller's Jesuit figures; and by Guthrie, who shows how Schiller uses gesture to complement text. Common thematic denominators are found by Lamport, who argues that Schiller's characters typically face problems of balancing their national mission (159) against personal considerations, and High, who shows that in all but one of Schiller's late dramas the first act establishes a situation of occupation as the backdrop against which the characters' moral conflicts are developed. Hilliard problematizes representation in Schiller's works, asking how the representative is prevented from usurping the thing or person it represents. …

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