WorkFriedrich Schiller

Wallenstein

Wallenstein trilogy, Maria Stuart, Die Jungfrau von Orleans, Wilhelm Tell, and others; lyric poetry includes 'Die Künstler' (1789) and the Ballads, Inferred

Friedrich Schiller (1759–1805) · trilogy: Wallensteins Lager, 1798; Die Piccolomini, 1799; Wallensteins Tod, 1799

TranslatedAnalyzedReadMentioned

Documented 1829–1846

Additional passages preserved in the Memoirs (1852)

Letters • Books • Journals • Manuscripts

Selected engagements, in chronological order.

Totals count documented engagements, once at the earliest witness. How we count →

Reprints, Memoirs passages, and repeat notes within a single manuscript are shown but never counted twice. Evidence for this work is selective, not exhaustive. Methodology →

AttestedConfirmed readingEvidence ↓

Confirmed reading

Passages where the evidence goes beyond allusion to indicate that Fuller had this work in hand — an explicit statement of reading, sustained excerpting or translation, or a specific reading episode recorded by those who knew her.

undatedWallensteinAttested
“Read Schiller all the afternoon I wish I could write a play like Wallenstein and pour on fine [illegible] just such poetry - then die.”
Manuscripts (Houghton Library, Margaret Fuller Family Papers)
Explicit statement 'Read Schiller all the afternoon' naming Wallenstein.

When Fuller engaged with this work

I. Childhood

II. Adolescence2records

III. Self-Directed2records

IV. Transcendentalist1record

V. New York1record

VI. Europe2records

✦. Memoirs (1852)1record

1810

1820

1832

1836

1844

1846

1850

1829—

Journal Entry December 1829

analyzed · readSearch Digital Fuller (page unverified)

“Tis finely manifested in Wallenstein, where the two common men sum up their superficial observations on the life and doings of Wallenstein, and show that, not until this agitating crisis, have they caught any idea of the deep thoughts which shaped that Hero, who has, without their feeling it moulded their existences.”

Fuller, Margaret. "Journal Entry December 1829." Houghton Library, Harvard University; bMS Am 1086.

1829—

Letter to Unknown

p156

analyzed · read

“T is finely manifested in Wallenstein, where the two common men sum up their superficial observations on the life and doings of Wallenstein, and show that, not until this agitating crisis, have they caught any idea of the deep thoughts which shaped that hero, who has, without their feeling it moulded their existence.”

Fuller, Margaret. The Letters of Margaret Fuller. Edited by Robert N. Hudspeth. Vol. I. Ithaca: Cornell University Press, 1983.

1833—

Letter to James F. Clarke

p192

read

“I know I can sympathize with all who feel and think, from a Dryfesdale up to a Max Piccolomini.”

Fuller, Margaret. The Letters of Margaret Fuller. Vol. I: 1817-1838. Edited by Robert N. Hudspeth. Ithaca: Cornell University Press, 1983.

Inferred Inferred from Max Piccolomini, as a major character in Schiller's Die Piccolomini and Wallensteins Tod (parts II and III of the Wallenstein trilogy).

1834—

Fragmentary Reading Notes and Autobiographical Reflections

analyzed · readManuscript page

“more various, less vehement than Carlos / more reflective than Max… A work like Wallenstein”

Fuller, Margaret. "Fragmentary Reading Notes and Autobiographical Reflections." Houghton Library, Harvard University.

1842—

Journal Fragments, 1842

p43

mentioned

“how natural is the love of Wallenstein for Max, that of the de Stael for de Recamier.”

Fuller, Margaret. "Journal Fragments, 1842." Margaret Fuller Family Collection, Houghton Library, Harvard University.

1845—

Letter to Anna B. Ward

p168

analyzed · read

“I have seen men that could act the part of women with poetic appreciation when occasion called, as Wallenstein took care of Max Piccolomine when a baby in the freezing camp.”

Fuller, Margaret. The Letters of Margaret Fuller. Edited by Robert N. Hudspeth. Vol. IV. Ithaca: Cornell University Press, 1987.

Inferred Fuller alludes to the scene in Schiller's Wallensteins Tod (Part III of the Wallenstein trilogy) where Wallenstein describes caring for the young Max Piccolomini as a frozen child in camp. Hudspeth identified explicitly identify the source as Act 3, scene 18, and cite the Coleridge translation; Fuller uses the scene to illustrate her argument about men capable of acting 'the part of women' with tenderness.

Hudspeth identified explicitly identify the source as Act 3, scene 18, and cite the Coleridge translation; Fuller uses the scene to illustrate her argument about men capable of acting 'the part of women' with tenderness.

1846—

New-York Daily Tribune

“Philip Van Artevelde” · 1845

analyzed · read

“Schiller's Wallenstein does not strictly belong to this class, yet we are disposed to claim it as observing the unities of time and interest [...] This work, generally known to the reader through Mr.”

Fuller, Margaret. Life Without and Life Within; or, Reviews, Narratives, Essays, and Poems. Edited by Arthur B. Fuller. Boston: Brown, Taggard and Chase, 1860. · p134

1846—

Papers on Literature and Art

p94

analyzed · read2 selected passages

“Wallenstein by Schiller, Beethoven by Ries, are not the less true”

Inferred Fuller names Wallenstein alongside Ries's Beethoven memoir as an example of how 'portraits' by intimates reveal character — 'Wallenstein by Schiller, Beethoven by Ries'.

“our grief wants the true tragic element which hallows it in the Antigone, the Lear, and even Schiller's "Mary Stuart," or "Wallenstein.”

Fuller, Margaret. Papers on Literature and Art. New York: Wiley and Putnam, 1846.

Undated

Pieces with no legible date. They are part of the record but cannot be placed on the lifeline.

n.d.—

Journal Fragments

p. 46

analyzed · readManuscript page

“Read Schiller all the afternoon I wish I could write a play like Wallenstein and pour on fine [illegible] just such poetry - then die._ Yet his lofty enthusiasm is not of that sort which serves us for the endurance of common life.”

Fuller, Margaret. "Journal Fragments." Houghton Library, Harvard University.

n.d.—

Journal 1837–1843

p. 31

mentionedManuscript page

“1796– / Greatly stimulated by Schiller's / activity. S was now writing / Wallenstein.”

Fuller, Margaret. "Journal 1837–1843." Houghton Library, Harvard University; bMS Am 1086; Box 5.

n.d.—

The Modern Drama

“The Modern Drama”

mentioned

“jEdipus, Macbeth, Wallenstein, chain us for the hour, lead us through the age.”

Fuller, Margaret. Art, Literature, and the Drama. Edited by Arthur B. Fuller. New York: The Tribune Association, 1869. · p111

Preserved in the Memoirs (1852)

1852—

Memoirs of Margaret Fuller Ossoli

p108

read3 selected passages

“I know I can sympathise with all who feel and think, from a Dryfesdale up to a Max Piccolomini.”

Inferred Margaret Fuller's reference to "Max Piccolomini" identifies Johann Christoph Friedrich von Schiller's dramatic cycle, Wallenstein (specifically Die Piccolomini and Wallensteins Tod, both 1799).

“all of Schiller's principal dramas, and his lyric poetry”

Inferred Margaret Fuller engaged extensively with the works of Friedrich Schiller in her first year of German studies, reading "all of Schiller's principal dramas, and his lyric poetry." While no single item is definitively identified, her familiarity with major dramatic cycles like the Wallenstein trilogy and individual plays such as Maria Stuart, Die Jungfrau von Orleans, and Wilhelm Tell is evident, alongside an appreciation for his lyric poetry, including pieces like "Die Künstler" and his ballads.

“How natural is the love of Wallenstein for Max”

Emerson, Ralph Waldo, William Henry Channing, and James Freeman Clarke, eds. Memoirs of Margaret Fuller Ossoli. 2 vols. Boston: Phillips, Sampson and Company, 1852.