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Geht man bei solchen Angeboten ein Risiko ein. Erste Гberweisung, wie gut deutsche, bevor er verfГllt.

Bob Der Räuber

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Bob Der Räuber

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Preview — Die Räuber by Friedrich Schiller. Die Räuber by Friedrich Schiller ,. Jaan Kärner -Translator. Mit seinem erschienenen leidenschaftlichen Drama der Selbtstzerstörung einer Familie machte Schiller bei der Uraufführung am Mannheimer Nationaltheater Sensation.

Fortan galt er den Zeitgenossen als ein deutscher Shakespeare. Die Themen und Motive des Sturm-und-Drang-Stücks blieben für Schiller bis zu seinen letzen klassischen Werken verbindlich und haben bis heu Mit seinem erschienenen leidenschaftlichen Drama der Selbtstzerstörung einer Familie machte Schiller bei der Uraufführung am Mannheimer Nationaltheater Sensation.

Die Themen und Motive des Sturm-und-Drang-Stücks blieben für Schiller bis zu seinen letzen klassischen Werken verbindlich und haben bis heute nichts von ihrer Faszination verloren.

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ACT I : everybody lies ACT II : everybody cries ACT III : everybody fights ACT IV : everybody panics ACT V : everybody dies gotta love German literature.

View all 4 comments. Sep 21, Jan-Maat added it Shelves: 18th-century , plays , germany. I wish I had first read this years ago when I was writing my undergraduate dissertation on The Brothers Karamazov.

Dostoevsky explicitly has old man Karamazov refer to Dmitri and Ivan as the two sons from the play, a not entirely fair comparison but perhaps the novel is Dostovesky's translation of the family dynamic and the rejection of society from Schiller's play into his own world vision.

Books are invariably in more complex relationships with each other, and I felt if the Karamazovs were look I wish I had first read this years ago when I was writing my undergraduate dissertation on The Brothers Karamazov.

Books are invariably in more complex relationships with each other, and I felt if the Karamazovs were looking back at the Moors that they in turn were modelled on Shakespeare's Edmund and Edgar from King Lear.

The other thought that occurred to me was that Max Weber would have liked this - the ersatz brotherhood of the Robber-band as a purely male endeavour which becomes an alternative counter society but one from the first caught up in ideas of violence: Stelle mich vor ein Heer Kerls wie ich, und aus Deutschland soll eine Republik werden gegen die Rom und Sparta Nonnenkloester sein sollen p.

The play - perhaps confirmation bias had the feel of a young writer and promised the melodrama and moustache twirling of popular theatre which then lay in the future.

Is it the earliest German book that I have ever read? The huge success of the play in Germany in its own time and subsequently was no doubt due to the ferocity with which it dramatized the conflict between the two value systems available to the middle class in its struggle against princely rule — self-interested materialism or university-educated idealism — while it left prudently unassailed the structure of power itself.

Here is what I think. Their father loves Karl. Everyone does. Karl is also engaged to a beautiful woman called Amalia. Franz resents this.

He resents everything that Karl has, but which he desires. He wants to win the hand of Amalia. So, he plots against Karl.

Karl himself seems to aid that venture. While he is away from home, he gets into debt and runs away from the law. Franz uses that and convinces his father to disinherit Karl.

Karl has plans of coming back home and hopes that his father will forgive him for his indiscretions. But when he receives the letter from his brother Franz stating that his father has disinherited him, he is hurt and angry.

And before he knows what he is doing, he joins with his companions and starts a band of robbers and becomes a fugitive who is hunted by the law.

Franz meanwhile continues with his nefarious plots — he wants his father, the elderly Count, to die, so that he can take over the estates, but the Count, eventhough feeble, has a sound constitution.

Using psychological threats and false news that his son Karl has died in a battle, Franz upsets the Count immeasurably that the Count dies in a shock.

The household staff serves him loyally. However, his plans to win Amalia come to naught. Meanwhile, Karl, as the head of his band of robbers, has adventures that robbers have.

He saves one of his band members from near certain death and while saving him, burns down the whole town. Karl, though he is a robber, is noble.

He is a robber — he kills, he burns — but he is also kind. Karl is wild with anger. What happens next? Does Karl exact revenge?

What happens to Franz? Does he reach the end that is reserved for all villains? Do Karl and Amalia get married?

What happens to the band of robbers? The answers to these questions form the rest of the story. The first thing I liked was the way the characters of Karl and Franz were portrayed.

Karl, though he is the noble hero, is also a robber. Karl robs people, kills them, burns houses and towns. So, we see two sides of Karl — the noble kind side and the ruthless robber side.

Karl is not a traditional, hero, but a complex character. Franz, the villain, is quite complex too. He is an atheist and a materialist.

They were insightful and profound. He gave thee life, thou art his flesh and blood — and therefore he must be sacred to thee!

Again a most inconsequential deduction! I should like to know why he begot me; certainly not out of love for me — for I must first have existed.

Or did he wish for me at the moment? Did he know what I should be? If so I would not advise him to acknowledge it or I should pay him off for his feat.

Am I to be thankful to him that I am a man? As little as I should have had a right to blame him if he had made me a woman. Can I acknowledge an affection which is not based on any personal regard?

Could personal regard be present before the existence of its object? In what, then consists the sacredness of paternity? As though this were aught else than an animal process to appease animal desires.

Or does it lie, perhaps, in the result of this act, which is nothing more after all than one of iron necessity, and which men would gladly dispense with, were it not at the cost of flesh and blood?

Do I then owe him thanks for his affection? Why, what is it but a piece of vanity, the besetting sin of the artist who admires his own works, however hideous they may be?

Look you, this is the whole juggle wrapped up in a mystic veil to work on our fears. And, shall I, too be fooled like an infant?

Did I solicit thee from darkness to promote me? The next passage is probably spoiler-ish, and so if you are planning to read the play, please be sufficiently forewarned.

One more thing I liked about the story was the internal conflict that Karl undergoes towards the end of the story, when he has to choose between his band of robbers who have sworn loyalty to him and his sweetheart Amalia.

I have seen this scene in countless movies, but I think Schiller probably was the first to write this scene. So three cheers to him. There were two surprises at the end of the story.

One of them was unexpected but in a nice way. The second one was also unexpected but it was not-so-nice and I felt that it was not required.

It just had shock value and I was upset with Schiller for doing that. The ending of the story is interesting — not the regular good-guys-win-and-the-bad-guys-die kind of ending, but one which is more complex than that.

One word on the translation. What were you thinking, my dear Mr. I am happy that I have finally been able to read one of the great landmark plays of German literature.

By that born dramatist of penetrating clarity, Friedrich Schiller : I would like to read some of his poems and his essays on aesthetics some day. I will leave you with one of my favourite passages from the play.

This one is spoken by Karl to Schwarz, one of his robber companions. Or is this the aim and limit of his destiny? It is a drama, brother, enough to bring tears into your eyes, while it shakes your side with laughter.

What do you think about it? View 2 comments. Note: I did not read this in German, but I think that the needless anglicizing of "Karl" and "Franz" to "Charles" and "Francis" was "unnotig Scheibe eines Pferdes" You can look up the details: German play.

Influenced: Doestoyevsky, Nietzsche, et. It's hard not to have run across Schiller and Die Rauber. But have you read it? I had a little anxiety before beginning this one because it fell into the "works that I would like to say that I've read, but I'm afraid will be a little dated fo Note: I did not read this in German, but I think that the needless anglicizing of "Karl" and "Franz" to "Charles" and "Francis" was "unnotig Scheibe eines Pferdes" You can look up the details: German play.

I had a little anxiety before beginning this one because it fell into the "works that I would like to say that I've read, but I'm afraid will be a little dated for my taste and prove me a Philistine".

Like Pushkin's Eugene Onegin. And my fears were partially realized and partially unfounded. Realized: The language itself was not always interesting, did not often move me.

There were some excellent sections, but I found much of it overly melodramatic. I admit that I am missing some critical context in that I have almost no socio-cultural knowledge of 18th, let alone 16th century Germany, but in terms of the language itself, I felt that someone kept switching on the "one-off-avuncular-shakespeare-filter".

I also felt that some of what happened off-stage, in between scenes, could have been more interesting to see staged than say about a dozen pages of a supposed tyrant trying to convince a septuagenarian to commit a murder for him.

Unfounded: The ideas and questions still reverberate: What are the live options for someone long-denied justice?

When one begins to operate outside of the conventional morality of society, is it possible to reintegrate oneself? What are the products of a corrupt society?

How do our actions and guilt impact our notions of self? Very similar to Shakespeare's dramas so I'm wondering if that was the point.

There are eloquent philosophical speeches and sometimes ecstatic language, characters that swear eternal vengeance on each other, and a tragic ending in which everything ends up covered in blood.

But it's a bit more abstract and a bit more grim than the Bard, and seems a bit more like one of his contemporaries, perhaps a classed-up version of one of John Webster's grand guignols.

Of course, it's incredibly unfair to compare Schiller or anyone to Shakespeare, but the influence is so obvious that it's hard not to.

That comparison makes the play's flaws -- the thinness of its characters and its overtalkative nature -- stand out more. That's not to say it's all bad -- it's a pretty decent read on its own, and from what I understand a Big Deal in German literature.

But it always feels a little incomplete, obscured by the shadow of its influences. Maybe Harold Bloom was onto something after all. View 1 comment.

Plays by their nature are very talky, but this one has long monologues without a lot of action at the start. There is more "drama" at the end.

In his preface, Schiller acknowledges the dramatic problems of the play as he says he meant it as a dramatic prose piece rather than a full-blown stage play.

The other strangeness in this play is that Schiller up-ends our expectations, set by Shakespeare and other classic tragedians, of finding our initial assessments "The Robbers" is a very strange play.

The other strangeness in this play is that Schiller up-ends our expectations, set by Shakespeare and other classic tragedians, of finding our initial assessments of the characters refuted; where innocence is rewarded and guilt is punished, the wicked are always stained and the good are always pure, and love wins in the end.

In "The Robbers", the innocent are killed, some of the guilty are rewarded, vengeance is deflected and love is finally shown as just a mistake.

This is pretty nihilistic stuff, but it does make for page-turning reading because you definitely don't see it coming and I was surprised by how much Schiller defied expectations.

Aug 08, Michael rated it liked it. Still, some wonderful moments, and I wish I could have been there in the theatre in the s when it reduced grown ups to tears and inspired hoards of young literate men to become bandits.

For which reason I never despair even when things are the worst. Courage grows with danger. Powers of resistance increase by pressure.

It is evident by the obstacles she strews in my path that fate must have designed me for a great man. Two brothers, one beloved and the other hideous, torn apart by the hideous one's jealousy.

He destroys his brother's life and tries to get the b "To this—that you may be taught that strength grows with the occasion. He destroys his brother's life and tries to get the brother's girl.

I don't actually remember reading it before but apparently I did. At any rate, it is the sort of story you recognize anyway. But it is a well-told, nonetheless.

It interweaves lines from Homer and the Bible. Creates villainous villains and broken heroes. Throws in some moral grayness and consequences.

And ends on a note of tragedy worthy of the tale. Very Robin Hood-esque. I also love this line from Amelia in her initial conversation with the perfidious Francis: "You have robbed me of a precious hour; may it be deducted from your life.

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Bob Der Räuber
Bob Der Räuber
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