Bob Der Räuber


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Bob Der Räuber

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Bob Der Räuber

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.

It did for me. Pe-Review I read this book once, when I was 14, and I only have a faint memory of sadness. I do think I liked it though.

Oct 13, Czarny Pies rated it liked it Recommends it for: Opera lovers. Recommended to Czarny by: Professor Rathe, U of T, French Drama. Shelves: german-lit.

Die Räuber,s rightfully considered to be a masterpriece of the the Sturm und Drang mouvement. First performed in , it had a great impact on romantic writers in Germany, France and England for the next seventy-five years.

Victor Hugo's Ernani and Adam Mickiewicz's Konrad Wallenrod are two of the most successful works to revisit the major themes of the Die Rauber which are the need to reconcile the apparent conflicts between personal or family loyalties and those of a country or nation.

Two op Die Räuber,s rightfully considered to be a masterpriece of the the Sturm und Drang mouvement. Two operas Italian operas I briganti Mercadante and I masnadieri Verdi were also based on Die Rauber.

It was not until when Offenbach's parody Les brigands was staged that Europe's authors finally decided that it was time to move on and look for new sources of inspiration.

Read this play. It will be a great help in understanding the thematic concerns of grand opera in the nineteenth century.

Written when Schiller was just 21 years old, The Robbers is one of the most influential dramas of German literature, noted for its frank examination of crime and moments of shocking violence.

In his preface to the play, Schiller explains his desire to present an honest depiction of human actions -- dramatic characterizations that resist the easy categorization of "good" and "bad" types.

Instead, the characters in The Robbers are complex and complicated, not so much morally ambiguous a 4. Instead, the characters in The Robbers are complex and complicated, not so much morally ambiguous as morally agonized.

The "hero" is the victim of his calculating brother, but his decision to become a robber is neither laudable nor heroic. However, he cannot be labelled an "anti-hero" because he possesses many traces of morality, even if his actions are sometimes less-than-ethical.

Instead, he is an all-too-human hero: one whose actions are both driven by circumstances outside his control and by his own choices, which range from wise to foolish, from rational to overly-emotional.

His struggle -- like ours -- is to find a middle ground when all around him is pulling him in extreme opposites. There are shocking moments throughout the play when characters' actions go against the expectations of the audience, but never to the point of seeming artificial or "shocking for the sake of shock alone".

Instead, we see that characters are often driven by psychological motives that are sometimes at odds with theatrical conventions.

In other words, Schiller's characters live and act at the behest of their own inner impulses, as opposed to the behest of any dramatic narrative arc.

Which is why the play is decidedly Sturm und Drang in form, even as it has a five-act structure. Bob Dylan once wrote, "To live outside the law, you must be honest.

Instead, it is a quality that has its own internal ethical topos. We can be honest with others or honest with ourselves, while still making poor choices, harming others or ourselves , or merely floating on the winds of fate.

The honesty of thieves might include a justice that is unjust, or a freedom that can inevitably lead to being trapped by circumstance.

Schiller's play lives between these spaces, defying us to ascribe any neat motives or outcomes to characters who, like real people, live messy, complicated lives that raise more ethical questions than provide easy answers.

Jun 30, Bruno rated it it was amazing Shelves: favourite-foreign-works , favourite-works , topfavourite-works , plays , topfavourite-works , topfavourite-works , topplays , german-literature.

One of the best, if not the best drama that I've ever read. It was a part of my schoolwork reading, but I've grown fond of it during the later years.

So much so that I've even put it on my top 10 list and it's hardly going off the shelf, as it's difficult to find drama that describes injustice and cruelness of society better than this one.

Not to mention the unconventional means to undo them. The different personalities of two brothers, their views and conflicts, as well as the supporting cast o One of the best, if not the best drama that I've ever read.

The different personalities of two brothers, their views and conflicts, as well as the supporting cast of characters, different locations and events that transpire through the plot.

No worry about side characters, because many of them just stand in the background or lament about what the main ones discuss.

It's mind boggling to remember each of their names and what their contribution is to the plot, which has a material for high budget film or a four part mini series, giving the size of a content.

Especially when giving the end that is ,,What's just happened? Look up Bob , bob , or BOB in Wiktionary, the free dictionary.

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