Theoria - DISA

moral freedom which is born of self-mastery. By this interpretation
Schiller shows himself to be neither an imitator of
the Greeks, nor a pupil of Shakespeare, but only himself: a
German of the eighteenth century who has completely absorbed
Kant's ethical philosophy.
In Die Jungfrau von Orleans Schiller replaced the ancient belief
in the gods by the medieval conception of miracles. St. Joan
is chosen by the Virgin Mary to free France, on condition
that she remain a pure virgin untainted by the love of men.
Joan agrees to this condition willingly and in the full knowledge
of its implications. In the strength of her virtue she
secures victory for her nation. Then, however, temptation
comes her way. She falls in love with Lionel, who, to make
matters worse, is the commander of the enemy forces. While
the whole of France is celebrating the victory, she torments
herself with remorse for having broken her vow. She feels
guilty, and when her father comes to the coronation at Reims
to accuse her of witchcraft and sorcery, she does not defend
herself. When, in addition, a terrifying storm comes up, she
hears in it the voice of God. The people lose faith in her and
pursue her as a witch. Forsaken by all she wanders about the
country and is eventually captured by the enemy. Lionel saves
her from death, but Joan denies him her love. With this she
has regained control of herself and she is once more worthy of
her high mission. When France is in danger again, her supernatural
powers return to her. By a miracle she breaks the heavy
chain with which she is bound. Again she leads the French
army to victory, but as she has once yielded to temptation she
is no longer invulnerable. The last scene shows her dying on
the field of battle; heaven opens and the reconciled Mother of
God appears to receive her.
Schiller did his utmost to give to the command of the Virgin
Mary the same significance as the decision of the gods had in
Attic tragedy. But as in Maria Stuart what he intends to be
tragedy of fate on the Greek model turns out to be something
quite different. It is not only the influence of Shakespeare and
the admiration of human greatness that is responsible for this.
Die Jungfrau ton Orleans like Maria Stuart is not merely the enthusiastic
portrayal of an exceptional personality but the glorification
of moral strength which man can attain by self-mastery.
Schiller himself, however, believed that he had come very
near to the Greek ideal. In Die Braut von Messina he made his
final attempt to achieve it. He introduced now also the chorus
which had been such an integral part of Attic tragedy. Die
3°