234 大師之間的友誼﹕歌德與席勒(1794-1805) 2018-06-10
https://www.youtube.com/watch?v=KSMsFsUC_k4&t=13sThe Sorrows of Young Werther explores the conflicts between ideas and feelings, between circumstance and desire, continues in his controversial novel probing the institution of marriage, Elective Affinities.
The cosmic drama of Faust goes far beyond the realism of the novels in a poetic exploration of good and evil, while Italian Journey, written in the author’s old age, recalls his youth in Italy and the impact of Mediterranean culture on a young northerner.
“I am proud of my heart alone, it is the sole source of everything, all our strength, happiness and misery. All the knowledge I possess everyone else can acquire, but my heart is all my own”
― from THE SORROWS OF YOUNG WERTHER (1774) by Johann Wolfgang von Goethe
"Just trust yourself and you'll learn the art of living."
~Johann Wolfgang von Goethe 1749~
German poet, novelist, and dramatist. In 1791 he was appointed director of the Weimar court theatre, a post he held for many years. In the field of literature his most famous work was the poetic drama in two parts, Faust
席勒 Friedrich Schiller、歌德與洪堡特的友誼...
Goethe, Lessing, and Schiller: German Dramatists, Freemasons, Poets, and Romanticists
Goethe–Schiller ：
十年友誼 十年合作 (1794.6~1805)
Monument Ernst Rietschel's 1857 Dimensions 3.7 m
Location Weimar (copies in San Francisco
Cleveland, Milwaukee, Syracuse, & Anting)
https://en.wikipedia.org/wiki/Goethe%E2%80%93Schiller_Monument
Correspondence Between Schiller and Goethe
Goethe, Schiller, von Humboldts in Jena, c. 1797
Schiller, Wilhelm and Alexander von Humboldt with Goethe in Jena
On Schiller and the Course of His Spiritual Development by Wilhelm von Humboldt 1830.
魯克（Nicolaas A. Rupke）『洪堡特後傳』）（Alexander von Humboldt (1769-1859): A Metabiography
他和他哥哥（創建柏林大學的語言學家Wilhelm von
Humboldt 1767~1835）一樣，都是德國文化偶像，與歌德、席勒、貝多芬齊名。
Goethe, Schiller, Alexander and Wilhelm von Humboldt in Jena, c. 1797
In 1830 Humboldt edited and published his correspondence with the poet Schiller and included a lengthy essay “On Schiller and the Path of his Intellectual Development” (“Ueber Schiller und den Gang seiner Geistesentwicklung”, GS Vol 6: 492–527).
In the same year appeared also an extensive essay on the late Goethe in the form of a review of the concluding part of the poet’s Italian Journeythat had been published the previous year. There he attempted, as he had done before in his Schiller essay, to interpret the various sides of the poet from one central point of view: this time from the poet’s perception of art and nature (“Rezension von Goethes Zweitem römischen Aufenthalt”, GS Vol 6: 528–550).
Art in its most basic sense is to be understood as the transformation of what is real into an image (Das Wirkliche in ein Bild zu verwandeln, GS Vol 2: 126, de transformer en image ce qui, dans la nature est réel”, GS Vol 1: 1). The art of the poet, more specifically, “consists in his ability or competence (Fertigkeit) to render the imagination creative according to rules”, to incite the imagination through the imagination (GS Vol 2: 127) and thereby create “a live act of communication” (lebendige Mitteilung) (GS Vol 2: 132). Among all the arts poetry occupies a special position in Humboldt’s view, because the material from which it is fashioned is not like ordinary material, as the stone or marble the sculptor uses, but instead consists of something already endowed with form, namely language. Poetry therefore “is art through language”. Through his imagination the poet creates works that represent “a world” embodying a totality of their own that differs in principle from the world of reality. In his definition of art Humboldt no longer looks at artworks as objects in order to gather from them a list of quasi objective qualities from which the nature of art could then be derived, but instead focuses on the process of aesthetic production and the rules by which it is governed and on how these rules are revealed in the poet’s art. In other words, a generative one has replaced the traditional mimetic or objective concept of art.
Alexander and Wilhelm von Humboldt
1836
歌德圈，絕非「好朋友聚在一塊兒而已。」 Alexander von Humbold 去美洲前，歌德指著一排多彩房間.....You are one of us, YOU should report back.
「席勒圈」-- 2018年：益友錄；文化群英會：Bauhaus(德) 、維也納 (廿世紀之交)、 Nohant (法)、Weimar-Jena (德)
依舊謎般？
一介之士，必有密友。密友不必定是刎頸之交。大率雖千百里之遙，皆可相信，而不為浮言所動；聞有謗之者，即多方為之辯析而後已；事之宜行宜止者，代為籌畫決斷；或事當利害關頭，有所需而後濟者，即不必與聞，亦不慮其負我與否，竟為力承其事，此皆所謂密友也。
求知己於朋友易；求知己於妻妾難；求知己於君臣則尤難之難。
張潮《幽夢影》
劉廣定《胡適與林語堂的交往：紅樓夢及其他》
《胡適研究通訊》總第40期〈2017.12.25〉
http://www.mh.sinica.edu.tw/koteki/files/20180313092125821.pdf
知音其難哉！音實難知，知實難逢；逢其知音，千載其一乎！
《知音》是劉勰《文心雕龍》的第四十八篇。
Das Goethe-und-Schiller-Denkmal auf dem Theaterplatz in Weimar, 2013
2013
薩弗蘭斯基《歌德與席勒--友誼的故事》封面
歌德與席勒：兩位文學大師之間的友誼
作者： （德）呂迪格爾·薩弗蘭斯基
出版社：生活‧讀書‧新知三聯書店
出版日期：2017/01/01
語言：簡體中文 馬文韜譯
Goethe- und Schiller-Archiv, Weimar;Theatre and Goethe-Schiller-Denkmal; 紀念碑
Johann Wolfgang Von Goethe HouseFreistaat Thüringen 另設有六個不屬於任何行政區的獨立市:
艾森納赫
艾爾福特
格拉
耶拿
蘇爾
威瑪
歌德與席勒：大師之間的友誼 1794~1805
《席勒 (Friedrich Schiller 1759~1805)與歌德 (Johann Wolfgang von Goethe 1749~1832)》，1794.7.20 在Jena相識
Johann Wolfgang von Goethe 's sketch of Friedrich Schiller 's garden from the footpath on the left bank of the Leutra River
Weimarer Hoftheater 1907
“There is nothing that says more about its creator than the work itself."
W. Benjamin在1931年4月的對青少年廣播稿{巴士底監獄}；{浮士德博士} (從第一本到歌德的 (看過街頭木偶戲的，30歲前構思，80歲再完成......)，
歌德 席勒文学书简 / [歌德, 席勒原著] ; 张荣昌, 张玉书译
合肥市 : 安徽文藝, 1991，401頁，5.5元
臺大總圖書館
郭松棻、李瑜 教授合贈 2016.07.07
Correspondence between Schiller and Goethe, from 1794 to 1805
Publication date 1877
https://archive.org/stream/correspondencebe02schi/correspondencebe02schi_djvu.txt
1949
（德）弗里德里希·席勒．三十年战争史：商务印书馆，2009
Friedrich Schiller, The Thirty Years' War 1608-1648 (1792) part 1英譯朗讀
https://www.youtube.com/watch?v=Z0O8u5-vnS8
Defenestrations of Prague 歐洲列強均想插手帝國事務，以獲取利益。它們分為兩派，其中哈布斯堡王朝集團由奧地利大公國、西班牙帝國與神聖羅馬帝國的天主教諸侯國組成，並得到羅馬教皇及波蘭立陶宛聯盟的支持；而另一方為反哈布斯堡王朝集團，由法蘭西王國、丹麥王國、瑞典帝國、荷蘭及德意志的新教諸侯國組成，並得到英格蘭王國、俄國的支持。法國雖是天主教國家，但是在首相黎塞留樞機主教的主導下，對於世俗政治的考量勝過了神學觀念，為削弱歐洲大陸上的頭號競爭對手哈布斯堡王朝，毅然支持新教國家陣營。 戰爭導火線是1618年的波希米亞（即今捷克）人民反抗神聖羅馬帝國的民族及宗教起義，著名的布拉格擲窗事件（或稱扔出窗外事件）。而整場戰爭共分為4個階段，分別是波希米亞階段（1618年－1624年）、丹麥階段（1625年－1629年）、瑞典階段（1630年－1635年）及法國-瑞典階段（1636年－1648年），最後以哈布斯堡王朝集團戰敗，參戰各國於1648年簽訂《威斯特伐利亞和約》為止，共達三十年之久。
Wallenstein《華倫斯坦三部曲》 (1800年)
is the popular designation for a trilogy of dramas by German author Friedrich Schiller. It consists of the plays Wallenstein's Camp (Wallensteins Lager), a lengthy prologue, The Piccolomini (Die Piccolomini), and Wallenstein's Death (Wallensteins Tod).
The plays' premieres occurred at the Weimarer Hoftheater (now the Deutsches Nationaltheater Weimar) from 1798 to 1799, in productions directed by Johann Wolfgang von Goethe:
The Capuchin's sermon in Wallenstein's Camp is based on the Discalced Augustinian Abraham a Sancta Clara's 1683 book, Auf, auf, ihr Christen. Schiller, who like Abraham was from Swabia, wrote to Goethe, "This Father Abraham is a man of wonderful originality, whom we must respect, and it would be an interesting, though not at all an easy, task to approach or surpass him in mad wit and cleverness."
《華倫斯坦三部曲首部：華倫斯坦的軍營》》 (1800年)
".....如果公雞一啼，他就會直打寒噤。"
"這點他和獅子相似。"*
*按，參考《伊索寓言‧獅子、普羅米修斯和大象》
"To suffer, to weep,
To enjoy, to be glad,"
~ "Prometheus" by Johann Wolfgang von Goethe.
“Dare to be wise! Energy and spirit is needed to overcome the obstacles which indolence of nature as well as cowardice of heart oppose to our instruction. It is not without significance that the old myth makes the goddess of Wisdom emerge fully armed from the head of Jupiter; for her very first function is warlike. Even in her birth she has to maintain a hard struggle with the senses, which do not want to be dragged from their sweet repose. “ (Friedrich Schiller)
2018.5. 漢清講堂 鍾漢清
2018.4.21 參加Sorman教授的新書《我為何成為美國公民》發表。 (結尾引 I. Berlin 的話，說，『我們只是我們這個時代的公民。』)
他舉出Flaubert的書信集和羅曼羅蘭的日記，都是傑作。
Sir Isaiah Berlin
訃告2018.5.10
在《歡樂頌》中離世：104歲科學家選擇安樂死
鄧映易譯《歡樂頌》
the ode "To Joy"(1785)
1785 席勒
貝多芬："Ode to Joy" is best known for its use by Ludwig van Beethoven in the final (fourth) movement of his Ninth Symphony, completed in 1824.
Die Horen (The Horae) 月刊，1795~97
Johann Jakob Engel, Fichte, Goethe, Herder, Alexander von Humboldt, Wilhelm von Humboldt, Friedrich Heinrich Jacobi, Johann Heinrich Meyer, August Wilhelm Schlegel, and Karl Ludwig von Woltmann1770~1817 歷史教授.
The Horae -- Goddesses of the Seasons and the Orderly Progression of Things
The hearers are children of Zeus and Themis. They are gods of the seasons and later of the hours of the day. The three daughters mean Eunomia (legalism), Dike (justice), and Eirene (peace).
goddesses of the seasons, the beautiful and the order. Well-guarded, they watch over the work of men and guard, as Homer reports in the Iliad, the heavenly gates by pushing away or pushing the dense clouds under the thunder of a thunder.
席勒從1793年夏天開始寫《審美教育書簡》，1795年發表在《季節女神》(Horen )上。
這些書簡為第一部現代審美批判的綱領性文獻。
原文網址：https://read01.com/J8xOPP.html
Die Propyläen
was a periodical begun in July 1798 by Johann Wolfgang von Goethe and his friend Johann Heinrich Meyer.
文哲三代 ：新生活觀、世界觀1700~1800 (W. 狄爾泰)
第一代：康德與萊辛
第二代：歌德、席勒、費希特
第三代：耶拿浪漫派和黑格爾、謝林
《Weimar-Jena 群英會 1795~1830》
Wilhelm von Humboldt (1767~1835 )洪堡特
1789.12.24 與席勒相識
他在1830年 (席勒沒後25年)整理與席勒的通信出版，並寫了長篇論文：On Schiller and the Course of His Spiritual Development by Wilhelm von Humboldt 1830. 歌德剛出版的《義大利之旅》評論，探討歌德的藝術觀
洪堡特洪堡特《論人類語言結構的區別及其對人類精神發展的影響》姚小平譯，北京：商務，2002，譯序中〈與席勒、歌德的友誼〉，頁7~12： 進一步參考姚小平，《洪堡特：人文硏究和語言硏究》，北京：外語敎學與硏究出版社，1995
「每一個人，不管操什麼語言，都可以被看作是一種特殊世界觀的承擔者。世界觀本身的形成要通過語言這一手段才能實現...每種語言中都會有各自的世界觀。」
「每一個人，不管操什麼語言，都可以被看作是一種特殊世界觀的承擔者。世界觀本身的形成要通過語言這一手段才能實現...每種語言中都會有各自的世界觀。」
Johann Gottfried Herder 1744-1803
赫爾德
Of German Character and Art (with Goethe, manifesto of the Sturm und Drang) (1773)
Herder moved there in 1776, where his outlook shifted again towards classicism.
維蘭德Christoph Martin Wieland 1733~1813，被譽為“魏瑪古典主義第一人”和“德國的伏爾泰”，與歌德、席勒、赫爾德並稱魏瑪古典主義四大奠基人，啟蒙運動時期的重要作家，詩人、批評家、哲學家、出版家和翻譯家。維蘭德一生創作了近70部作品。他首先將莎士比亞的22部劇本譯成德文，編為《莎士比亞戲劇集》。
在魏瑪期間，他創辦的德國啟蒙運動時期影響最大的文學雜誌《德意志信使》Der teutsche Merkur，在德國文化史上產生過深遠影響。
晚年的維蘭德傾心從事對古希臘、古羅馬文學翻譯，如阿里斯托芬、色諾芬、賀拉斯、盧奇安和西塞羅等人的作品。
Friedrich Gottlieb Klopstock(克洛卜施托克1724～1803) Goethe in his autobiography recorded his personal impression of Klopstock: "He was of small stature, but well built. His manners were grave and decorous, but free from pedantry. His address was intelligent and pleasing. On the whole, one might have taken him for a diplomatist. He carried himself with the self-conscious dignity of a person who has a great moral mission to fulfil. He conversed with facility on various subjects, but rather avoided speaking of poetry and literary matters."[2]
主要作品有《救世主》(1745～1773)和抒情詩《頌歌》(1747～1780)。其中《頌歌》對德國作曲影響深遠。還寫作劇本。
Not quite "Sturm and Drang" anymore - the Muses' Court at Weimar, 1805
"Live with your century but do not be its creature."
1794 引席勒『審美教育書簡』(On the Aesthetic Education of Man in a Series of Letters), 1794
2018.4.21 參加Sorman教授的新書《我為何成為美國公民》發表。只要先看最後兩章 (結尾引 I. Berlin 的話，說，『我們只是我們這個時代的公民。』)，就可以確定新書是本傑作。
他舉出Flaubert的書信集和羅曼羅蘭的日記，都是傑作。
「你要同你的時代生活，但不要做它的寵兒；你獻給你同時代的人，應該是他們所需要的，而不是他們所讚美的。」
~~席勒《審美教育書簡 1795》第九封信
馮至譯，北京：中國文聯出版公司，1985 年。【台北：淑馨，1989】Ravelstein 2005 p.82
Weimar not only plays a role in the biographies of the three men named in the title. Alone Franz Liszt, the restless, whose real home Europe ...
讚
https://www.slideserve.com/iman/lecture-8-german-classicism-schiller-and-maria-stuart
Weimar's literary circles 遺珠
August von Kotzebue (1761 當地人；浪跡德俄– 1819) 柯策布 dramatist and writer：
1798 openly attacked the romantic style for which Goethe was known, his position in Weimar was uncomfortable.
Passion, specifically love, and political interest are present in all Schiller's plays, often to powerful theatrical effect.
Schiller's passion is for republican freedom, as against an oligarchical imperial system.
Schiller《論激情》重譯 Laocoön 拉奧孔的出處Virgil's Aeneid (ii, 109 et seq.)
Gotthold Ephraim Lessing 萊辛
1729- 81到胡適1935
拉奧孔Laocoön : An Ess胡ay on the Limits of Painting and Poetry1766
The Diversity of the Arts
The Place of the Laocoön in the Life and Work of G. E. Lessing (1729-1781)
By E. H. Gombrich, TRIBUTES, pp.28-49
G. E. Lessing (萊辛) 1766 的 Laocoön ，有朱光潛中譯【拉奧孔】，北京：人民文学/商務
G. E. Lessing 萊辛 1766 的Laocoön ，有朱光潛中譯【拉奧孔】，北京：商務，1976/2016
https://zh.wikipedia.org/wiki/%E6%8B%89%E5%A5%A5%E5%AD%94
r "Do not trust the Horse, Trojans / Whatever it is, I fear the Greeks even bearing gifts." This line is the source of the saying: "Beware of Greeks bearing gifts."
Laocoön and His Sons in the Vatican Museums
雕像《拉奧孔與兒子們》
Laocoön and his sons
https://www.youtube.com/watch?v=C3cwGCezgSQ
https://en.wikipedia.org/wiki/Pergamon_Altar
米開蘭基羅？
7 - Goethe and the Weimar theatre
Goethe was Director of the Weimar Court Theatre from 1791 to 1817 and steered it from comparative insignificance to national importance, as a theatre where a repertoire of literary merit was combined with a style of playing predicated on a classical aesthetic. This style, in its decisive departure from the realistic tendencies of the contemporary German stage, aroused controversy and dissent, both in Goethe's day and after. Whether a rare flowering or a theatrical dead end, the Weimar theatre under Goethe, particularly during the years of collaboration with Schiller (1798-1805), was at the very least a highly significant experiment that raised the national level of debate about theatrical performance.
Goethe's major plays were not, on the whole, written with the stage in mind, nor did he take on the directorship of the theatre in order to put them on the stage, for they formed only a tiny part of the repertoire. His concern was, within the constraints imposed by the means at his disposal, to bring to audiences the great plays of world literature in a vivid yet elevated style and thus take German theatre out of its provinciality.
German theatrical life underwent huge changes in the course of the eighteenth century. For the first half the commercial theatre with dedicated buildings hardly existed. Theatrical life was divided between the courts and the non-aristocratic sector. The former was served largely by French theatre companies and Italian opera companies, and there was only limited access for members of the bourgeoisie.
From court theatre to the federal system - Goethe-Institut
Nationaltheater Mannheim (© Christian Kleiner), Deutsches Nationaltheater Weimar GmbH (© Thomas Müller), Nationaltheater at Max-Joseph-Platz, Munich (© Felix Löchner) | collage
Friedrich Schiller (1821-1880)
The Robbers: 1781:82 首演 Mannheim ；Mary Stuart: 1800；
Wallenstein: 1796~99；Don Carlos: 1785；
On the Naïve and Sentimental in Literature
~The Western Canon: The Books and School of the Ages is a 1994 book by Harold Bloom
Friedrich Schiller:
席勒： After the success of the play "The Robbers" (1781), devoted himself entirely to literature, and completed his tragedy "Intrigue and Love" (1783 中國最著名的戲劇《陰謀與愛情》取材自他的"經驗"。) and "Conspiracy of Fiesco" (1784). In Weimar, wrote a blank verse drama "Don Carlos" . He was a professor of history Jena University, wrote a "History of the Thirty Years' War" (1789). Schiller was the leading German playwright after the publication of his classic works "Wallenstein" (1796-1799 三部曲), "Mary Stuart" (1800), "The Maid of Orleans" (1801), "William Tell" (1804).
German playwright, poet and historian. Surgeon by training.
Max Klinger
1857–1920)
Das Lied von der Glocke (design for bk cover)
p
en and ink over pencil on cardboard
34.3 x 24.9 cm. (13.5 x 9.8 in.)
例：(Herbert Simon translated into wretched English doggerel Schiller's Das Lied von Der Glocke. ( Models of My Life, p.9) Herbert A. Simon 還把席勒(Schiller)的詩《大鐘歌》翻譯成糟糕的英文打油詩。
"Vivos voco--Mortuos plango--Fulgura frango."
https://www.youtube.com/watch?v=l4isfql_MaY 0:30
https://en.wikipedia.org/wiki/Song_of_the_Bell
[44] "I call the living--I mourn the dead--I break the lightning." These words are inscribed on the great bell of the Minster of Schaffhausen--also on that of the Church of Art near Lucerne. There was an old belief in Switzerland that the undulation of air caused by the sound of a bell, broke the electric fluid of a thunder-cloud.
歡樂就是堅強的發條，使永恆的自然循環不息。在世界的大鐘裡面，歡樂是推動齒輪的動力。 —— 席勒 《歡樂頌》
Slowly now the cords upheave her! From her earth-grave soars the bell; Mid the airs of heaven we leave her! In the music-realm to dwell! Up--upwards yet raise-- She has risen--she sways. Fair bell to our city bode joy and increase, And oh, may thy first sound be hallowed to peace! [47]
[47] Written in the time of the French war.
Goethe wrote his epilogue to the "Song of the Bell" shortly after Schiller’s death in order to have it read by the actress Amalie Becker at the conclusion of a memorial celebration in the Lauchstädt Theater. After the three last acts of Maria Stuart, the "Song of the Bell" was recited with distributed roles.
席勒傳：：或德國理想主義的發明
[德]薩弗蘭斯基 衛茂平
人民文學出版社, 2010
Schiller o la invencion del idealismo
R. Safranski
by Rudiger Safranski | 16 Sep 2011
Schiller’s Life: from early days at Stuttgart and Mannheim to the Classicist period at Jena and Weimar
Sturm und Drang - Schiller reading "Die Räuber"
ロマン主義の誕生―ノヴァーリス；The Blue Flower, By Penelope Fitzgerald
THE BLUE FLOWER, which won the National Book Critics Circle Award, revitalizes historical drama through the story of Novalis, an eighteenth-century German romantic poet and visionary genius, and his unlikely love affair with a simple child-woman.
歌德與席勒的悲劇、限制：
歌德：falls away from characterization into an exaltation of passion；
席勒：is rejected for having substituted violence for reality.
The Western Canon: The Books and School of the Ages is a 1994 book by Harold Bloom
一尋找一個定義； 二 對啟蒙運動的首輪進攻 ；三 浪漫主義的真正父執 ；四 拘謹的真正父執； 五 奔放的浪漫主義；六 持久的影響
The Roots of Romanticism (recorded 1965), 浪漫主義的根源 譯林出版社 2008
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榮耀與丑聞：反思德國浪漫主義
作者： (德)薩弗蘭斯基 出版社：上海人民出版社：2014
Chatto & Windus, 1999. Pimlico. 2013, Princeton University Press
伯林于《拘謹的浪漫主義者》（" The Restrained Romantics"）解釋哲學家康得、費希特（Johann Gottlieb Fichte）和劇作家、詩人、歷史學家席勒（Friedrich Schiller）。康得的道德哲學強調道德存在和意志自由，以對抗 外在的自然。學生席勒和費希特的堅持和宏揚。費希特尤爲突出，他強調：人是一種不斷活動的東西而不只是一個思索的存在。 費希特的知識論、法國大革命、歌德（Johann Wolfgang von Goethe）的著名小說《威廉．邁斯特》（Wilhelm Meister）。
伯林總結了浪漫主義運動中蘊含的兩種深刻內涵，
一爲自由意志的無限張揚，一爲否認事物有其固有本質（頁117）。
啓蒙運 動及其傳統歌頌和諧的自然，人是其中一個組成部分，浪漫主義則貶低自然，高揚意志自由；啓蒙運動及其傳統認爲宇宙萬物皆有一種既定構造，中規中矩，浪漫主 義則否認有這樣一種縝密的理性構造，張揚無限創造的活力和運動過程。
ROSSINI: William Tell Overture (full version 8:50)
https://www.youtube.com/watch?v=xoBE69wdSkQ
"Prometheus" is a poem by Johann Wolfgang von Goethe, in which the character of the mythic Prometheus addresses God (as Zeus) in misotheist accusation and defiance.
The poem was written between 1772 and 1774 and first published in 1789 after an anonymous and unauthorised publication in 1785 by Friedrich Heinrich Jacobi. It is an important work of the Sturm und Drang movement.
Schiller’s Wilhelm Tell was staged in Weimar
under the direction of Johann Wolfgang Goethe on March 17, 1804. 錢春綺翻譯席勒的《威廉·退爾》
1956年7月出版了第一部譯作。台北桂冠
1829年《威廉·泰爾》在巴黎的佩萊蒂耶劇院首演。羅西尼創作的最後一部歌劇；擱筆並渡過了四十多年。《威廉·泰爾序曲》，以及歌劇尾聲的《瑞士士兵進行曲》（March of the Swiss Soldiers），如今經常被演奏。
史詩中描寫的「絕對的過去」，既是時間範疇 (最初的)，也是價值範疇(最好的)
"Of all people Schiller had to glorify this Swiss sniper"
During the 19th century, William Tell inspired many freedom fighters, e.g. in Italy and the Russian Empire.
Jose Rizal, the famous Philippine revolutionary nationalist and author, translated the drama into his native Tagalogin 1886,
Although Schiller’s play was frequently staged during the Nazi regime, it was banned from public performance in 1941.[1] Adolf Hitler, who had only narrowly escaped an assassination attempt by the young Swiss Maurice Bavaud (who was later dubbed the “New William Tell” by Rolf Hochhuth),
Flüelen harbor with light boats from the Lake Lucerne trade routes unloading, 1817 Tiny chapel on Lake Lucerne with frescoes depicting heroic scenes from the life of William Tell.
哥德自傳
![Goethe und Schiller: Geschichte einer Freundschaft: Written by Rudiger Safranski, 2011 Edition, Publisher: Fischer Taschenbuch [Paperback]](http://m.media-amazon.com/images/I/4180exJr79L._AC_UY218_ML3_.jpg)
