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stellt fest, daB sein Lied, welches von Gott handelt, deshalb dem Teufel
zuwider sein werde. Der himmlische Vater erweist den Menschen schon
auf dieser Welt seine Gnade. Denn durch sein Walten ist ihnen alles
Irdische untertan: Wetter, Gestirne und Getier. Dem, der sich zum
Herren bekehrt, wird alle Not schon hier getilgt und das tigliche Brot
beschert. Der SchluB dieser Strophe betont die Freude, wahrend das
Elend der Verlorenen Strophe 2 beschlieBt.
In der ersten Strophe wendet sich der Dichter an Gott den Sohn, er
m6ge ihm bei der warnenden Verkiindigung beistehen: alle Menschen
sollen ihr Ende bedenken. Die pers6nliche Note dieses Anrufs-die
Wiederholung des "Ich"-findet sich in Strophe 11 wieder: V. 1, 3, 4,
171, 179, 180, 181. Waihrend im Gegensatz zu den Strophen 2, 4, 5 alle
Strophen der zweiten Gedichthalfte (einschlieBlich 6) positiv ausklingen,
wird jetzt zuletzt die Warnung des Dichters zum zentralen Gedanken. Das
AusmaB menschlicher Siinde scheint ihm gr6Ber als je. Es jammert ihn,
daB so viele der Holle verfallen sind.
Die vorliegende Untersuchung widerlegt das Urteil Helmut de Boors:
"Die 'Wahrheit' ... fiuhrt ohne viel Kunst die Warnung vor dem Tode
in der dualistischen Antithese von Gott und Teufel, Himmel und Hl1le
durch." 10 Ebenso mag sich Waag irren, wenn er unter anderem das
Gedicht fur ein Fragment halt.11 Der symmetrische Aufbau scheint mir
unbedingt dagegen zu sprechen. Vielmehr deutet dieser auf das bewuBte
Gestalten seitens eines Menschen, der nicht nur als Prediger, sondern
auch als Dichter zu Werk gegangen ist.
The direction that the vast majority of Don Carlos scholarship has taken
during the past century readily lends itself to division into two categories:
those who exalt and those who condemn Posa's idealistic theories of free-
dom and the machinations he employs to implement them. The studies
of such authorities as Jakob Minor, Karl Berger, Ludwig Bellermann, and
Eugen Kiihnemann see Posa as the bold hero without blemish, the paragon
of virtue who sacrifices himself for his ideals and for his friend Don
Jakob Minor, Schiller: Sein Leben und Seine Werke, 2 vols. (Berlin, 1890),
II, 520-594; Karl Berger, Schiller: Sein Leben und Seine Werke, 2 vols. (Miin-
chen, 1909), I, 497-528; Ludwig Bellermann, Schillers Dramen: Beitrdge zu
ihrem Verstdndnis, 3 vols. (Berlin, 1908), II, 250-270; Eugen Kiihnemann, Schil-
ler (Miinchen, 1905), pp. 226-285.
2 Max Kommerell, Der Dichter als Fiihrer in der deutschen Klassik (Berlin,
1928), pp. 215 if.; Reinhard Buchwald, Schiller: Leben und Werk (Wiesbaden,
1959), pp. 423-450; Andry von Gronicka, "Friedrich Schiller's Marquis Posa,"
GR, XXVI (1951), 196-214; E. L. Stahl, Schiller's Drama (Oxford, 1954), pp.
30-44. Benno von Wiese in his widely read and much acclaimed study merely
side-steps the issue in an attempt to gain an impregnable position. A justifica-
tion of Posa's actions is given by Frances Ebstein, " In Defense of Marquis Posa,"
GR, XXXVI (1961), 205-220.
8 Friedrich Schiller,
Briefe, ed. Gerhard Fricke (Miinchen, 1955), pp. 47-48.
burg: "Ich weiB nicht zu bestimmen, wie weit in Hamburg die Toleranz
geht. Ob zum Beispiel ein Auftritt des K6nigs mit dem Grossinquisitor
stattfinden kann. Wenn Sie ihn gelesen haben, werden Sie finden, wieviel
mit ihm fur das Stuck verloren sein wiirde" (p. 117). In the Briefe
iiber Don Carlos (1788). written in response to certain criticisms that had
been made, Schiller contended that the drama's unifying element is the
conflict between freedom and despotism: ". . . und wenn das Stuck eine
Einheit hat, wo anders als in [Freiheit] k6nnte sie liegen? . . . Frei-
heitssinn mit Despotismus im Kampfe, die Fesseln der Dummheit zerbro-
chen, tausendjahrige Vorurteile erschittert, eine Nation, die ihre Men-
schenrechte wieder fodert." 4
These attitudes are meant to show that Schiller saw humanity threatened
by selfish political and religious interests whose objective was to replace
freedom with strict, planned obedience and to reinterpret traditional Chris-
tianity to fit a new mentality. Freedom as the first premise of a mean-
ingful existence is based on the traditional contention that man inherently
possesses the right to choose freely between his own conception of good
and evil. But the Church and State, as portrayed by Schiller in this drama,
abolished this right in an effort to create a common basis for happiness,
world peace, and universal harmony. The Church deviated from tradition
because it was convinced that human beings were miserable when required
to make moral decisions. The political authority was also confident that
the masses were primarily concerned with physical comforts and that if
given the choice between preserving freedom or exchanging it for ma-
terial wealth, the majority would always choose the latter. So Philip and
the GroBinquisitor decided to replace the traditional conception of free-
dom with an expedient one that would lead to material wealth and happi-
ness for the multitude and to easy government for the rulers. To over-
come individual resistance might mean the use of force, but that would
be justified if the goals were universal happiness and perfection. Nothing
ill could befall anyone who stayed within the rules. The decision to
abolish freedom was based upon the conviction that man is a dependent
and materialistic creature incapable of self-determination.
King Philip was forced to adopt this attitude because the grandees and
such clerics as Domingo surrounding him have sold themselves willingly
and have prostituted their nobility for the King's favor. Marquis Posa's
address to Philip contains this insight:
die haben
Freiwillig ihres Adels sich begeben,
Freiwillig sich auf diese niedre Stufe
Herabgestellt. Erschrocken fliehen sie
that man is only a creature and deny him the right to be a creator, then
we may say that the real meaning of the Inquisitor's answer to Philip's
question: " Wem hab' ich gesammelt? " becomes a simple one: permanent
negation. Both Philip and the Inquisitor put the security of tradition
and power before the danger of thought and freedom. Only one ideal
may therefore triumph: that of the Inquisitor with his concept of abso-
lute power and oppression, which in turn is absolute negation. Such is
Philip's legacy.