The Robbers - Knowledge

526:). His despair leads him to express and discover new goals and directions, and to realize his ideals and dreams of heroism. He does not shrink from breaking the law, for, as he says, "the end justifies the means". He develops a close connection with his robbers, especially Roller and Schweizer, but he recognizes the unscrupulousness and dishonor of Spiegelberg and his other associates. Amalia creates a deep internal twist in the plot and in Karl's persona. He swore allegiance to the robbers after Schweizer and Roller died for his sake, and he promised that he would never separate from his men, so cannot return to Amalia. In deep desperation due to the death of his father, he eventually kills his true love and decides to turn himself in to the law. 319:

Karl sends his robbers band to storm the castle and capture Franz. Franz observes the robbers approaching and takes his own life before he can be captured. The robbers take Amalia from the castle and bring her to Karl. Seeing that Karl is alive, Amalia is initially happy. Once the old count realizes that Karl is the robbers' leader, he in his weakened state dies from the shock. Karl tries to leave the robber band but is then reminded of his promise to stay. He cannot break this promise and therefore cannot be with Amalia. Upon realizing that Karl cannot leave, Amalia begs for someone to kill her; she cannot live without her Karl. With a heavy heart, Karl fulfills her wish. As the play ends, Karl decides to turn himself over to the authorities.

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epic-sized version and remains close to the original language, observing sentence structures, finding literal translations that emphasize the melodramatic aspect of Schiller's work. In contrast, Robert MacDonald's 1995 translation, written for a performance by the Citizen's Company at the Edinburgh Festival, includes some of Schiller's own revisions, modernizes the language trying to find equivalences to reach his British target audiences. While Lamport directs his translation toward an audience expecting classics as authentic as possible modelled on the original, McDonald opts for a performance translation cutting the text and interpreting many of the emotional moments that are left less clear in a more literal translation."

532:, the count's younger son, is an egoistic rationalist and materialist. He is cold-hearted and callous. He is rather ugly and unpopular, in contrast to his brother Karl, but quite intelligent and cunning. However, since his father loved only his brother and not him, he developed a lack of feeling, which made the "sinful world" intolerable for his passions. Consequently, he fixed himself to a rationalistic way of thinking. In the character of Franz, Schiller demonstrates what could happen if the moral way of thinking were replaced by pure rationalization. Franz strives for power in order to be able to implement his interests. 483:

what he believes the worst sin is, and the pastor explains that patricide and fratricide are the two worst, in his opinion. But of course, Franz has no need to worry, since he has neither a living father or brother to kill. Franz, aware of his guilt, sends the pastor away and is disturbed by the conversation. He hears the robber's approach and knows, from what he hears, that they are there for him. He attempts to pray, but is unable to, and begs Daniel to kill him. Daniel refuses to do so, so Franz takes the matter into his own hands and kills himself.

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discord among them. Spiegelberg hopes to be the leader of the group and tries to encourage the rest to replace Karl. Karl falls into a cycle of violence and injustice, which prevents him from returning to his normal life. He eventually swears to stay forever with his band of robbers. Shortly after, the band receives a newcomer, Kosinsky, who tells them the tale of how his bride-to-be, importantly named Amalia, was stolen from him by a greedy count. This reminds Karl of his own Amalia, and he decides to return to his father's home, disguised.

522:, his older son, is a self-confident idealist. He is good-looking and well liked by all. He holds feelings of deep love for Amalia. After his father, misled by brother Franz, curses Karl and banishes him from his home, Karl becomes a disgraceful criminal and murderous arsonist. While he exudes a general spirit of melancholy about the promising life he has left behind, Karl, together with his gang of robbers, fights against the unfairness and corruption of the feudal authorities (his character follows the literary archetype of the 492:

finally dies. Amalia forgives Karl and expresses that she still wants to be with him. Karl is bound by his promise to the robber band, and cannot leave. Amalia will not live without Karl, so she begs that someone kill her. One of the robbers offers to do so, but Karl insists that he do it. Karl kills her, and regrets his promise to the band. He decides to do something good by turning himself in to a farmer he met whose family was starving. The farmer would receive the reward money and be able to support his family.

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becoming a robber would be damaging. Kosinsky presses the matter, and describes what caused him to want to be a robber. His story shares many points with Karl's, especially that Kosinsky also had a fiancee by the name of Amalia. Kosinsky's story ends with the loss of his Amalia to his count. Karl, seeing perhaps a sliver of his upcoming fate, decides to return home. His robbers, now including Kosinsky, follow him.

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read it. In Karl's absence, Spiegelberg suggests that the group become a robber's band. Karl returns, and is obviously disillusioned from the bluntness of his father's letter. His friends ask that he become the leader of their robber's band, and Karl agrees. They formulate a pact, swearing to be true to each other and the band. The only discontent comes from Spiegelberg, who had hoped to be the leader.

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advice" from Franz and disowns Karl. The count hopes that such a drastic measure would encourage Karl to change his behavior, and upon his doing so, the count would be glad to have Karl back. The count has Franz write the letter and impresses upon him to break the news gently. Franz, however, writes an especially blunt letter as a way of driving a deeper wedge between Karl and his father.

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carried out by setting the town ablaze which ultimately destroys the town and kills 83 people. In the forest, they are surrounded by a large number of soldiers, and a priest is sent to give an ultimatum – give up Karl and the robbers live, or everyone dies. The robbers, however, stay true to their leader and with the cry "Death or Freedom!" the fight breaks out, ending the second Act.

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rest, and in this time he sings a song about a confrontation between the dead Caesar and his murderer Brutus. The song discusses patricide, this coming from a legend in which Brutus was possibly Caesar's son. This topic reminds Karl of his own situation, and he falls into depressive thoughts. He considers suicide, but ultimately decides against it.

512:(also called "Old Moor") is the beloved father of Karl and Franz. He is a good person at heart, but also weak, and has failed to raise his two sons properly. He bears responsibility for the perversion of the Moor family, which has caused the family's values to become invalidated. The Moor family acts as an analogy of 455:

In a last meeting with Amalia, who still does not recognize Karl, the two discuss their lost loves. Karl discusses the reality of his actions, in their violence, and explains that he cannot return to his love because of them. Amalia is happy that her Karl is alive, despite his distance, and describes

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After a long and exhausting battle, the robbers are victorious. Karl takes a moment to reflect on his childhood, and his recent actions. In this moment, Kosinsky, a newcomer, arrives in scene. He wishes to join the robbers, but Karl encourages him not to. Karl tells him to return to normal life, that

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the daughter of a rich banker whose fiancé he killed in a duel, and then ran from the authorities. Unknown to the count, the letter was written by Franz himself – the content entirely false – with Karl's actual letter destroyed. Greatly disturbed by the news, the count takes some supposedly "friendly

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In the same night, Herman enters the forest, delivering food to an old and ruined tower. In the tower, the old Count of Moor is left to starve following the unsuccessful attempt on his life. Karl notices this, and frees the old man and recognizes him as his father. His father does not recognize him.

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In Karl's absence, Spiegelberg makes another attempt to rally the robbers against Karl so he can be their leader. The robbers remain loyal to Karl and Schweizer, one of his close friends, kills Spiegelberg for this attempt. Karl returns to the band, and is asked what they should do. He tells them to

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Franz begins setting the foundations of his greater plan of removing both Karl and the count. He hopes to shock the old count so greatly that he dies. He encourages Herman, a bastard, to tell the old count a story about Karl. He promises that Herman will receive Amalia in return for his help. Herman

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Karl returns home, disguised, and finds the castle very different from how he left it. Franz introduces himself as the count, and with some careful questions, Karl learns that their father has died, and Franz has taken his place. Despite Karl's carefulness, Franz has his suspicions. In a moment with

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That same night, Franz is plagued by nightmares. Disturbed and full of fear, he hurries about the castle, meeting Daniel whom he orders to fetch the pastor. The pastor arrives, and the two have a long dispute over belief and guilt, in which the pastor's opinions are explained. Franz asks the pastor

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At the same time as Scene 1, Karl and a friend of his, Spiegelberg, are drinking at a pub. With the arrival of a few more friends comes the arrival of Franz's letter to Karl. Upon reading the message, Karl lets the letter fall to the ground and leaves the room speechless. His friends pick it up and

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Franz explores his suspicions about the identity of his guest. Karl leaves the castle. He runs into an old man, who turns out to be his father — he is alive. The old count was left to starve in an old ruin and in his weakness is unable to recognize Karl. Incensed by the treatment of his loved ones,

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The old count, still unaware of Karl's identity, laments the fates of his sons. Karl asks for the blessing of his father. The robbers bring Amalia to their camp, and Karl announces his identity as Karl of Moor and the robber's leader. This news is the final straw for the weakened old count, and he

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Franz seeks again to force Amalia to join him. He tells her that her only other option would be to be placed at a convent. This hardly bothers Amalia, she would rather be in a convent than be Franz's wife. This angers Franz and he threatens to take her forcefully, menacing her with a knife. Amalia

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Herman arrives to the castle in disguise. He tells the old count that he and Karl were both soldiers, and that Karl died in battle. He follows with Karl's supposed last words, placing the blame on the old count's shoulders. The old man is shocked and receives only harsh words from Franz. He cannot

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In this scene Franz visits Amalia. Amalia is engaged to Karl. Franz lies to her, hoping to make her disgusted with Karl and to win her for himself. He tells her Karl gave away the engagement ring she gave him so that he could pay a prostitute. This extreme character change, as presented in Franz's

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Count Maximilian of Moor has two very different sons, Karl and Franz. Karl is the elder son, and the count's favourite. In comparison, Franz is described as ugly, and he was neglected during his childhood. As the younger son, he has no claim of inheritance from his father. Franz spends his time in

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castle (Obersteinbach website refers to him as Franz). Her father Erhard von Lentersheim was an epileptic and alcoholic. He was put under a guardianship. As the son-in-law, Wilhelm exercised the right of disposing of his goods to himself. Additionally, to further benefit Wilhelm because Wilhelm's

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In this time, Franz has been busy. Using lies and exaggerations about Karl, he manages to break the count's heart and assumes the mantle of the new Count of Moor. Bolstered by his new title and jealous of Karl's relationship with Amalia, he attempts to persuade her to marry him. Amalia, however,

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Karl, having hoped for a reconciliation, becomes demotivated at the news. He agrees to become the head of a robbers band that his friends created, in the idealistic hopes of protecting the weaker and being an "honourable" robber. There are tensions in the band, as Moritz Spiegelberg tries to sow

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Schiller raises many disturbing issues in the play. For instance, he questions the dividing lines between personal liberty and the law and probes the psychology of power, the nature of masculinity and the essential differences between good and evil. He strongly criticizes both the hypocrisies of

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brothers, Karl and Franz Moor. The charismatic but rebellious student Karl is deeply loved by his father. The younger brother, Franz, who appears as a cold, calculating villain, plots to wrest away Karl's inheritance. As the play unfolds, both Franz's motives and Karl's innocence and heroism are

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During this time, Karl is living life as the Leader of the robber's band. They are camped in the Bohemian forests. The band is growing, with new members coming in. The loyalty of the robbers to Karl grows too, Karl has just rescued one of their own, Roller, from being hanged. The escape plan is

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Karl arrives to his homeland, and tells Kosinsky to ride to the castle and introduce Karl as the Count of Brand. Karl shares some memories of his childhood and youth, brought forth by the familiar scenery, but his monologue becomes progressively darker. He feels a moment of doubt regarding the

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Klaus van den Berg has compared the Lamport and MacDonald translations, "The two most prominent translations from the latter part of the twentieth century take very different approaches to this style: F. J. Lamport's 1979 translation, published in the Penguin edition, follows Schiller's first

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Franz uses the letter as an opportunity to push a false narrative of Karl's life on his father. Throwing away the original letter, Franz writes a new one that claims to be from a friend, describing in the barest terms the types of activities Karl is claimed to be doing in Leipzig. The letter

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The disguised Karl is led by Amalia through the castle halls. She is unaware of his true identity. Franz, however, is suspicious of the strange Count of Brand. He attempts to get one of his servants, Daniel, to poison the stranger, but Daniel refuses on account of his conscience.

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acts as an opponent of Karl Moor and is driven by crime. Additionally, he self-nominated himself to be captain in Karl's robber band, yet was passed up in favor of Karl. Spiegelberg tries to portray Karl negatively among the robbers in order to become the captain, but does not

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Daniel recognizes Karl from an old scar of his. They discuss the goings-on of the castle and Karl learns of the plot that Franz has carried out against Karl and his father. Karl wishes to visit Amalia once more before he leaves. He isn't concerned with vengeance at this point.

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mother-in-law, Louisa von Lentersheim (née von Eyb), had property of her own, Wilhelm had her strangled on December 7, 1727, by a servant. While the trial lasted for years, it did not end in conviction. Schiller also went to school with Wilhelm Philipp Johann Ludwig

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The old Count Maximilian of Moor receives a letter from Leipzig, containing news about his older son Karl. The content, however, as read by his younger son, Franz, is upsetting. Supposedly written by a friend of Karl's, it describes how Karl accrued massive debts,

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the play scheming to remove Karl as well as the count. At the beginning of the play, Karl is a student in Leipzig, where he lives a relatively carefree life, spending freely, accruing large amounts of debt. He writes to his father in hopes of reconciliation.

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The first act takes place in the Castle of the Count of Moor. The key characters are the Count of Moor and his younger son Franz. Not in scene, but mentioned, is the count's older son, Karl. Karl is a student in Leipzig, who lives freely but irresponsibly.

633:(1775) as well as the real-life story about the case of two Treusch von Buttlar brothers. The older good brother Ernst Carl and the evil younger brother Hans Hermann Wilhelm. This was one of the greatest social and legal scandals in early eighteen century 1789: 360:

story, causes Amalia to doubt the truth of it, and she remains true to Karl. She sees through Franz's lies and realizes his true intentions. She calls him out, and he lets his "polite" mask fall and swears revenge.

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feigns a change of heart, embracing Franz, and uses it as an opportunity to take the weapon. She turns it on Franz, promising the union of the two, knife and Franz, if he threatens her again.

671:. Fyodor Karamazov compares himself to Count von Moor, whilst comparing his eldest son, Dmitri, to Franz Moor, and Ivan Karamazov to Karl Moor. It is also referred to in the first chapter of 1998: 1404: 469:

The old man tells Karl what happened to him, how Franz treated him. Karl becomes full of rage upon hearing the story, and calls his robbers to storm the castle and drag out Franz.

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describes Karl as a womanizer, murderer, and thief. The letter shocks the old count deeply, causing him to declare — with the help of Franz's suggestions — Karl as disinherited.

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leaves the room to carry out the plan, and just as he's left, Franz reveals that he has no intention of holding up his end of the promise. Franz wants Amalia for himself.

1082: 915: 893: 1804: 1956: 1667: 260:. The play uses alternating scenes to pit the brothers against each other, as one quests for money and power, while the other attempts to create revolutionary 1824: 1840: 1968: 1962: 1428: 2028: 1142: 1898: 1784: 1488: 539: 383:

stand it, and falls to the floor, apparently dead. Franz takes up the title and warns of a darker time to come for the people on his land.

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him as a purely good person. Karl breaks character at Amalia's faith in him, and flees the castle, returning to his robbers nearby.

1903: 1335:"The German Shakespeare:Schiller used to be box-office poison. Why are his plays suddenly back in favour, asks Michael Billington" 272:

class and religion and the economic inequities of German society. He also conducts a complicated inquiry into the nature of evil.

1909: 1893: 1561: 2071: 1261: 1227: 1200: 787: 770: 748: 653:. As a close relative of the murdered mother-in-law, Wilhelm von Bibra may have spurred Schiller's interest in the incident. 2176: 993: 546:)). She spends most of the play avoiding the advances of the jealous Franz and hopes to be rejoined with her beloved Karl. 2166: 626: 1727: 1819: 1814: 1363: 1066: 1986: 1652: 1481: 1379: 212:. The play astounded its Mannheim audience and made Schiller an overnight sensation. It later became the basis for 538:, the count's niece, is Karl's love, and a faithful and reliable person (to learn more of their relationship see " 2020: 1702: 1662: 1547: 1980: 246:

Schiller's highly emotional language and his depiction of physical violence mark the play as a quintessential

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stays true to Karl and denies Franz's advances. She sees through his lies and exaggerations about Karl.

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wrote in 2005 that Robert MacDonald "did more than anyone to rescue Schiller from British neglect."

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is thought to model the 'law of the heart' after Karl Moor. This was first suggested by

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Hegel: The Phenomenology of Spirit: Translated with introduction and commentary

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sensibility of his return, but he gathers his courage and enters the castle.

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Amalia — who does not recognize him — he learns that Amalia still loves him.

257: 905: 2128: 846: 646: 523: 222: 1682: 948: 253: 1116: 618:, around 1730/40, served as an inspiration and background to his drama. 2009: 1647: 1457: 170: 166: 1012: 1466: 683: 634: 209: 2079: 1440: 867:(op. 227) and libretto by Andrea Maffei. Not published or performed. 1246:(1998). "Friedrich von Schiller (1759–1805)". In Classe, O. (ed.). 338: 185: 181: 104: 1722: 1452: 640:

Major Wilhelm von Buttlar married Eva Eleonora von Lentersheim at

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Schiller's Wound: The Theater of Trauma from Crisis to Commodity

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Beiträge zur Familien-Geschichte der Reichsfreiherrn von Bibra

208:, consider it very influential in the development of European 252:

work. At the same time, the play utilizes a traditional five-

217: 163: 952: 1302:"The Royal Robe with Folds: Translatability in Schiller's 204:("Storm and Stress") movement, and many critics, such as 1790:Über den Grund des Vergnügens an tragischen Gegenständen 780:

Schiller: Volume One: The Robbers, Passion and Politics

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Processes of Transposition: German Literature and Film

782:. Translated by Robert David MacDonald. Oberon. 2006. 1352:

Schönfeld, Christiane; Rasche, Hermann, eds. (2007).

1841:

What is universal history and why does one study it?

285:, a play Friedrich Schiller considered a favourite. 1195:. Oxford: Oxford University Press. pp. 432ff. 1041:

Die Schwebheimer Linie derer von Bibra und ihr Ende

904:(1977), loosely based German film adaptation with 736: 2153: 777:The same translation apparently also appears in 732:Public domain; widely available in many formats. 681:and briefly in chapter 28 of Charlotte Brontë's 256:structure, with each act containing two to five 41:"Die Räuber" redirects here. For the opera, see 1351: 198:. It was written towards the end of the German 1313:The Mercurian: A Theatrical Translation Review 1222:. Cambridge University Press. pp. 142ff. 1185: 1058:A Companion to the Works of Friedrich Schiller 743:. Translated by F. J. Lamport. Penguin. 1979. 516:, a typical political criticism of Schiller's. 2065: 1785:The Theatre Considered as a Moral Institution 1482: 1380:"Giselher Klebe – Räuber – Opera" 1114: 2029:Friedrich Schiller – The Triumph of a Genius 1408:. German version, 1978 (Bärenreiter), p. 133 1299: 585:Herrmann, the illegitimate son of a Nobleman 138: 51: 1460:has original text related to this article: 1215: 1104:(in German). Vol. 3. pp. 103–104. 796:Millar, Daniel and Leipacher, Mark (2010). 2072: 2058: 1489: 1475: 1329: 64: 1140: 1054: 1037: 1061:. Boydell & Brewer. pp. 93–99. 1010: 588:Daniel, an old servant of Count von Moor 499: 1242: 704: 631:Zur Geschichte des menschlichen Herzens 229: 14: 2154: 1496: 926:(2013), Indonesian film adaptation by 504:Playbill of Würzburg performance, 1804 2053: 1470: 1276: 1099: 149: 1249:Encyclopedia of Literary Translation 714:Encyclopedia of Literary Translation 495: 24: 1999:Wilhelm Friedrich Hermann Reinwald 1728:Der Antritt des neuen Jahrhunderts 1087:schullandheimwerk-mittelfranken.de 959:based on text from act 3, scene 1. 275:Schiller was inspired by the play 25: 2188: 1815:On the Aesthetic Education of Man 1416: 486: 432: 409: 377: 1451: 1422: 800:(unpublished). Presented by the 730:. G. G. & J. Robinson. 1792. 712:notes three translations in the 477: 441: 423: 400: 386: 368: 1820:On Naïve and Sentimental Poetry 1394: 1372: 1345: 1323: 1293: 1270: 1236: 1219:Hegel's Phenomenology of Spirit 1216:Ludwig Siep (16 January 2014). 1209: 1179: 1165: 1015:A Criminal as Hero: Angelo Duca 842:and libretto by Jacopo Crescini 649:(Adelsdorf) (1765–1794) at the 600:Band of robbers, servants, etc. 450: 345: 30:For the 1962 Spanish film, see 1987:Alexander von Gleichen-Rußwurm 1663:Das verschleierte Bild zu Sais 1134: 1108: 1093: 1075: 1048: 1044:. Books on Demand. p. 26. 1031: 1004: 987: 970: 885:(1957), opera and libretto by 818: 605: 459: 354: 331: 13: 1: 1698:Der Gang nach dem Eisenhammer 1055:Martinson, Steven D. (2005). 963: 739:The Robbers, with Wallenstein 701:and by others more recently. 418: 363: 234:The plot revolves around the 1951:Carl Christoph von Lengefeld 1939:Elisabetha Dorothea Schiller 1858:Wirtembergisches Repertorium 1300:van den Berg, Klaus (2009). 1011:Babinski, Hubert F. (1979). 982:Wayne State University Press 472: 395: 322: 176:. The play was published in 7: 2177:Plays by Friedrich Schiller 1981:Ludwig von Gleichen-Rußwurm 1975:Emilie von Gleichen-Rußwurm 1752:The Criminal of Lost Honour 1406:Schubert Thematic Catalogue 1100:Bibra, Wilhelm von (1888). 873:(1913), film adaptation by 694:The Phenomenology of Spirit 661:The play is referred to in 10: 2193: 2167:Fictional German criminals 510:Maximilian, Count von Moor 293: 288: 40: 29: 27:Play by Friedrich Schiller 2112: 2094: 1925: 1881: 1849: 1833: 1775: 1741: 1708:Der Kampf mit dem Drachen 1658:Die Götter Griechenlandes 1640: 1622: 1504: 1287:The British Theatre Guide 933: 656: 118: 110: 100: 89:13 January 1782 85: 75: 70:First edition of the play 63: 50: 1606:Die Huldigung der Künste 1038:Schwinger, Hans (2020). 976:Stephanie Barbé Hammer, 243:revealed to be complex. 1945:Charlotte von Lengefeld 1718:Das Lied von der Glocke 1703:Der Ring des Polykrates 1688:Die Kraniche des Ibykus 1083:"Die Schlossgeschichte" 999:Encyclopædia Britannica 802:Faction Theatre Company 728:Alexander Fraser Tytler 36:Robber (disambiguation) 1933:Johann Kaspar Schiller 1358:. Rodopi. p. 23. 1256:. pp. 1238–1239. 1119:The Brothers Karamazov 1017:by Paul F. Angiolillo" 994:Johann Anton Leisewitz 984:, 2001), page 32. 763:Robert David MacDonald 668:The Brothers Karamazov 505: 283:Johann Anton Leisewitz 184:on 13 January 1782 in 139: 52: 34:. For other uses, see 1993:Christophine Reinwald 1795:Augustenburger Briefe 1382:. Boosey & Hawkes 863:(ca. 1895), opera by 825:The Red-Cross Knights 503: 147:German pronunciation: 2172:Plays set in Germany 1957:Louise von Lengefeld 1805:Über das Pathetische 1800:On Grace and Dignity 1668:Die Teilung der Erde 1592:The Bride of Messina 1433:at Wikimedia Commons 1277:Berge, Emma (2010). 1254:Taylor & Francis 1176:, Project Gutenberg 829:Joseph George Holman 705:English translations 536:Amalia von Edelreich 230:Plot and description 188:and was inspired by 1778:philosophical works 1585:The Maid of Orleans 1569:Wallenstein's Death 1333:(29 January 2005). 1331:Billington, Michael 1189:(9 February 2018). 1115:Fyodor Dostoevsky. 1013:"Reviewed Work(s): 612:Treusch von Buttlar 520:Karl (Charles) Moor 151:[diːˈʁɔʏbɐ] 2137:Die Räuber (opera) 2081:Friedrich Schiller 2021:Friedrich Schiller 1969:Ernst von Schiller 1555:Wallenstein's Camp 1498:Friedrich Schiller 1401:Otto Erich Deutsch 1153:on 24 October 2007 840:Saverio Mercadante 813:Michael Billington 627:Christian Schubart 506: 220:of the same name, 174:Friedrich Schiller 80:Friedrich Schiller 43:Die Räuber (opera) 32:The Robbers (film) 2147: 2146: 2103:Julius of Taranto 2047: 2046: 2005:Weimar Classicism 1963:Karl von Schiller 1825:Über das Erhabene 1766:A magnanimous act 1693:Ritter Toggenburg 1527:Intrigue and Love 1446:Project Gutenberg 1427:Media related to 1263:978-1-884964-36-7 1229:978-1-107-02235-5 1202:978-0-19-253458-3 916:Gending Sriwijaya 877:and Walter Edwin. 850:(1847), opera by 838:(1836), opera by 789:978-1-84002-618-4 772:978-1-870259-52-1 750:978-0-14-044368-4 496:Dramatis personae 278:Julius of Taranto 195:Julius of Taranto 128: 127: 111:Original language 16:(Redirected from 2184: 2074: 2067: 2060: 2051: 2050: 1989:(great-grandson) 1834:Historical works 1534:Körner's Morning 1491: 1484: 1477: 1468: 1467: 1455: 1448: 1426: 1410: 1398: 1392: 1391: 1389: 1387: 1376: 1370: 1369: 1349: 1343: 1342: 1327: 1321: 1320: 1310: 1297: 1291: 1290: 1274: 1268: 1267: 1240: 1234: 1233: 1213: 1207: 1206: 1183: 1177: 1169: 1163: 1162: 1160: 1158: 1149:. Archived from 1138: 1132: 1131: 1129: 1127: 1112: 1106: 1105: 1097: 1091: 1090: 1079: 1073: 1072: 1052: 1046: 1045: 1035: 1029: 1028: 1008: 1002: 991: 985: 974: 951:173 No. 1, is a 928:Hanung Bramantyo 924: 902: 894:Death or Freedom 875:J. Searle Dawley 865:Lluïsa Casagemas 854:and libretto by 827:(1799), play by 793: 776: 765:. Oberon. 1995. 761:. Translated by 754: 742: 731: 726:. Translated by 558:Other characters 192:'s earlier play 161: 160: 159: 153: 148: 142: 96: 94: 68: 55: 48: 47: 21: 2192: 2191: 2187: 2186: 2185: 2183: 2182: 2181: 2152: 2151: 2148: 2143: 2108: 2090: 2078: 2048: 2043: 2037:Beloved Sisters 1959:(mother-in-law) 1953:(father-in-law) 1921: 1877: 1845: 1829: 1777: 1771: 1743: 1737: 1636: 1618: 1562:The Piccolomini 1500: 1495: 1438: 1419: 1414: 1413: 1399: 1395: 1385: 1383: 1378: 1377: 1373: 1366: 1350: 1346: 1328: 1324: 1308: 1298: 1294: 1275: 1271: 1264: 1241: 1237: 1230: 1214: 1210: 1203: 1184: 1180: 1170: 1166: 1156: 1154: 1141:Ivan Turgenev. 1139: 1135: 1125: 1123: 1113: 1109: 1098: 1094: 1081: 1080: 1076: 1069: 1053: 1049: 1036: 1032: 1009: 1005: 992: 988: 975: 971: 966: 936: 918: 896: 821: 790: 778: 773: 757: 751: 735: 720: 707: 659: 608: 603: 498: 489: 480: 475: 462: 453: 444: 435: 426: 421: 412: 403: 398: 389: 380: 371: 366: 357: 348: 334: 325: 296: 291: 266:Bohemian Forest 249:Sturm und Drang 232: 201:Sturm und Drang 162:) is the first 155: 154: 146: 101:Place premiered 92: 90: 71: 56: 46: 39: 28: 23: 22: 15: 12: 11: 5: 2190: 2180: 2179: 2174: 2169: 2164: 2145: 2144: 2142: 2141: 2133: 2125: 2116: 2114: 2110: 2109: 2107: 2106: 2098: 2096: 2092: 2091: 2077: 2076: 2069: 2062: 2054: 2045: 2044: 2042: 2041: 2033: 2025: 2017: 2012: 2007: 2002: 1996: 1990: 1984: 1978: 1972: 1966: 1960: 1954: 1948: 1942: 1936: 1929: 1927: 1923: 1922: 1920: 1919: 1913: 1907: 1901: 1896: 1891: 1885: 1883: 1879: 1878: 1876: 1875: 1868: 1861: 1853: 1851: 1847: 1846: 1844: 1843: 1837: 1835: 1831: 1830: 1828: 1827: 1822: 1817: 1812: 1810:Kallias-Briefe 1807: 1802: 1797: 1792: 1787: 1781: 1779: 1773: 1772: 1770: 1769: 1762: 1759:The Ghost-Seer 1755: 1747: 1745: 1739: 1738: 1736: 1735: 1733:Das Siegesfest 1730: 1725: 1720: 1715: 1713:Die Bürgschaft 1710: 1705: 1700: 1695: 1690: 1685: 1680: 1675: 1670: 1665: 1660: 1655: 1650: 1644: 1642: 1641:Selected poems 1638: 1637: 1635: 1634: 1626: 1624: 1620: 1619: 1617: 1616: 1609: 1602: 1595: 1588: 1581: 1574: 1573: 1572: 1565: 1558: 1544: 1537: 1530: 1523: 1516: 1508: 1506: 1502: 1501: 1494: 1493: 1486: 1479: 1471: 1465: 1464: 1449: 1436: 1434: 1418: 1417:External links 1415: 1412: 1411: 1393: 1371: 1364: 1344: 1322: 1292: 1269: 1262: 1244:Newmark, Peter 1235: 1228: 1208: 1201: 1187:Michael Inwood 1178: 1164: 1133: 1107: 1092: 1074: 1067: 1047: 1030: 1003: 986: 968: 967: 965: 962: 961: 960: 957:Franz Schubert 935: 932: 931: 930: 912: 910:Peter Sattmann 890: 887:Giselher Klebe 878: 868: 858: 852:Giuseppe Verdi 843: 831: 820: 817: 806: 805: 794: 788: 771: 755: 749: 733: 706: 703: 699:Jean Hyppolite 689:G. W. F. Hegel 658: 655: 621:One source of 610:The family of 607: 604: 602: 601: 598: 595: 592: 589: 586: 583: 580: 577: 574: 571: 568: 565: 561: 555: 554: 547: 533: 527: 517: 497: 494: 488: 485: 479: 476: 474: 471: 461: 458: 452: 449: 443: 440: 434: 431: 425: 422: 420: 417: 411: 408: 402: 399: 397: 394: 388: 385: 379: 376: 370: 367: 365: 362: 356: 353: 347: 344: 333: 330: 324: 321: 295: 292: 290: 287: 231: 228: 126: 125: 120: 116: 115: 112: 108: 107: 102: 98: 97: 87: 86:Date premiered 83: 82: 77: 73: 72: 69: 61: 60: 26: 9: 6: 4: 3: 2: 2189: 2178: 2175: 2173: 2170: 2168: 2165: 2163: 2160: 2159: 2157: 2150: 2139: 2138: 2134: 2131: 2130: 2126: 2123: 2122: 2118: 2117: 2115: 2111: 2105: 2104: 2100: 2099: 2097: 2093: 2088: 2087: 2082: 2075: 2070: 2068: 2063: 2061: 2056: 2055: 2052: 2039: 2038: 2034: 2031: 2030: 2026: 2023: 2022: 2018: 2016: 2013: 2011: 2008: 2006: 2003: 2000: 1997: 1994: 1991: 1988: 1985: 1982: 1979: 1976: 1973: 1970: 1967: 1964: 1961: 1958: 1955: 1952: 1949: 1946: 1943: 1940: 1937: 1934: 1931: 1930: 1928: 1924: 1918:(with Goethe) 1917: 1914: 1912:(with Goethe) 1911: 1908: 1906:(with Goethe) 1905: 1902: 1900: 1897: 1895: 1892: 1890: 1887: 1886: 1884: 1880: 1874: 1873: 1869: 1867: 1866: 1862: 1860: 1859: 1855: 1854: 1852: 1848: 1842: 1839: 1838: 1836: 1832: 1826: 1823: 1821: 1818: 1816: 1813: 1811: 1808: 1806: 1803: 1801: 1798: 1796: 1793: 1791: 1788: 1786: 1783: 1782: 1780: 1774: 1768: 1767: 1763: 1761: 1760: 1756: 1754: 1753: 1749: 1748: 1746: 1740: 1734: 1731: 1729: 1726: 1724: 1721: 1719: 1716: 1714: 1711: 1709: 1706: 1704: 1701: 1699: 1696: 1694: 1691: 1689: 1686: 1684: 1681: 1679: 1678:Der Handschuh 1676: 1674: 1671: 1669: 1666: 1664: 1661: 1659: 1656: 1654: 1651: 1649: 1646: 1645: 1643: 1639: 1633: 1632: 1628: 1627: 1625: 1621: 1615: 1614: 1610: 1608: 1607: 1603: 1601: 1600: 1596: 1594: 1593: 1589: 1587: 1586: 1582: 1580: 1579: 1575: 1571: 1570: 1566: 1564: 1563: 1559: 1557: 1556: 1552: 1551: 1550: 1549: 1545: 1543: 1542: 1538: 1536: 1535: 1531: 1529: 1528: 1524: 1522: 1521: 1517: 1515: 1514: 1510: 1509: 1507: 1503: 1499: 1492: 1487: 1485: 1480: 1478: 1473: 1472: 1469: 1463: 1459: 1456: German 1454: 1450: 1447: 1443: 1442: 1437: 1435: 1432: 1431: 1425: 1421: 1420: 1409: 1407: 1402: 1397: 1381: 1375: 1367: 1365:9789042022843 1361: 1357: 1356: 1348: 1340: 1336: 1332: 1326: 1318: 1314: 1307: 1305: 1296: 1288: 1284: 1282: 1273: 1265: 1259: 1255: 1251: 1250: 1245: 1239: 1231: 1225: 1221: 1220: 1212: 1204: 1198: 1194: 1193: 1188: 1182: 1175: 1174: 1168: 1152: 1148: 1146: 1137: 1122: 1120: 1111: 1103: 1096: 1088: 1084: 1078: 1070: 1068:9781571131836 1064: 1060: 1059: 1051: 1043: 1042: 1034: 1027:(3): 307–309. 1026: 1022: 1018: 1016: 1007: 1001: 1000: 995: 990: 983: 979: 973: 969: 958: 954: 950: 946: 942: 938: 937: 929: 925: 922: 917: 913: 911: 907: 903: 900: 895: 891: 888: 884: 883: 879: 876: 872: 869: 866: 862: 859: 857: 856:Andrea Maffei 853: 849: 848: 844: 841: 837: 836: 832: 830: 826: 823: 822: 816: 814: 810: 803: 799: 795: 791: 785: 781: 774: 768: 764: 760: 756: 752: 746: 741: 740: 734: 729: 725: 724: 719: 718: 717: 715: 711: 710:Peter Newmark 702: 700: 696: 695: 690: 686: 685: 680: 679: 674: 673:Ivan Turgenev 670: 669: 664: 654: 652: 651:Carlsakademie 648: 643: 642:Obersteinbach 638: 636: 632: 628: 624: 619: 617: 616:Willershausen 613: 599: 596: 593: 590: 587: 584: 581: 578: 575: 572: 569: 566: 563: 562: 560: 559: 551: 548: 545: 541: 537: 534: 531: 528: 525: 521: 518: 515: 511: 508: 507: 502: 493: 484: 470: 466: 457: 448: 439: 430: 416: 407: 393: 384: 375: 361: 352: 343: 340: 329: 320: 316: 312: 308: 304: 300: 286: 284: 280: 279: 273: 269: 267: 263: 259: 255: 251: 250: 244: 241: 237: 227: 225: 224: 219: 215: 211: 207: 203: 202: 197: 196: 191: 187: 183: 179: 175: 172: 168: 165: 158: 152: 144: 143: 141: 134: 133: 124: 121: 117: 113: 109: 106: 103: 99: 88: 84: 81: 78: 74: 67: 62: 59: 54: 49: 44: 37: 33: 19: 2149: 2135: 2129:I masnadieri 2127: 2119: 2101: 2085: 2084: 2035: 2027: 2019: 2001:(son-in-law) 1871: 1864: 1857: 1764: 1757: 1750: 1629: 1611: 1604: 1599:William Tell 1597: 1590: 1583: 1576: 1567: 1560: 1553: 1546: 1539: 1532: 1525: 1518: 1512: 1511: 1439: 1429: 1405: 1396: 1384:. Retrieved 1374: 1354: 1347: 1339:The Guardian 1338: 1325: 1316: 1312: 1303: 1295: 1286: 1280: 1272: 1248: 1238: 1218: 1211: 1191: 1181: 1172: 1167: 1157:22 September 1155:. Retrieved 1151:the original 1144: 1136: 1124:. Retrieved 1118: 1110: 1101: 1095: 1089:(in German). 1086: 1077: 1057: 1050: 1040: 1033: 1024: 1020: 1014: 1006: 997: 989: 977: 972: 914: 892: 880: 870: 860: 847:I masnadieri 845: 833: 824: 811: 807: 797: 779: 758: 738: 722: 713: 708: 692: 682: 676: 666: 660: 639: 630: 622: 620: 609: 591:Pastor Moser 557: 556: 549: 535: 529: 524:noble outlaw 519: 509: 490: 487:Second Scene 481: 467: 463: 454: 451:Fourth Scene 445: 436: 433:Second Scene 427: 413: 410:Second Scene 404: 390: 381: 378:Second Scene 372: 358: 349: 346:Second Scene 335: 326: 317: 313: 309: 305: 301: 297: 276: 274: 270: 247: 245: 240:aristocratic 238:between two 233: 223:I masnadieri 221: 206:Peter Brooks 199: 193: 137: 136: 131: 130: 129: 57: 2095:Inspiration 2086:The Robbers 2040:(2014 film) 2032:(1940 film) 2024:(1923 film) 1744:prose works 1683:Der Taucher 1653:Resignation 1578:Mary Stuart 1548:Wallenstein 1513:The Robbers 1441:The Robbers 1430:The Robbers 1304:The Robbers 1281:The Robbers 919: [ 897: [ 871:The Robbers 819:Adaptations 798:The Robbers 759:The Robbers 723:The Robbers 623:The Robbers 606:Inspiration 550:Spiegelberg 478:First Scene 460:Fifth Scene 442:Third Scene 424:First Scene 401:First Scene 387:Third Scene 369:First Scene 355:Third Scene 332:First Scene 132:The Robbers 58:The Robbers 2162:1781 plays 2156:Categories 2121:I briganti 2010:Play drive 1983:(grandson) 1977:(daughter) 1648:Ode to Joy 1541:Don Carlos 1462:Die Räuber 1458:Wikisource 1386:29 October 1145:First Love 964:References 906:Gert Fröbe 882:Die Räuber 861:I briganti 835:I briganti 678:First Love 663:Dostoevsky 573:Schufterle 540:Hektorlied 530:Franz Moor 419:Fourth Act 364:Second Act 339:deflowered 281:(1774) by 171:playwright 169:by German 140:Die Räuber 93:1782-01-13 76:Written by 53:Die Räuber 18:Die Räuber 1904:Milwaukee 1882:Memorials 1872:Die Horen 1613:Demetrius 1173:Jane Eyre 949:Op. post. 684:Jane Eyre 647:von Bibra 635:Franconia 564:Schweizer 473:Fifth Act 396:Third Act 323:First Act 210:melodrama 190:Leisewitz 182:premiered 1995:(sister) 1941:(mother) 1935:(father) 1910:Syracuse 1899:Columbus 1850:Journals 1776:Selected 1742:Selected 1623:Libretti 579:Kosinsky 553:succeed. 236:conflict 186:Mannheim 164:dramatic 105:Mannheim 1926:Related 1894:Chicago 1403:et al. 1126:20 June 1021:Italica 691:in his 582:Schwarz 570:Razmann 294:Summary 289:Content 264:in the 262:anarchy 123:Tragedy 91: ( 2140:(1957) 2132:(1847) 2124:(1836) 2089:(1781) 1947:(wife) 1916:Weimar 1889:Berlin 1865:Thalia 1673:Xenien 1631:Semele 1520:Fiesco 1362: 1260: 1226: 1199: 1065: 941:Amalia 934:Lieder 786: 769: 747: 657:Legacy 597:A Monk 576:Roller 258:scenes 114:German 2113:Opera 2015:Skull 1971:(son) 1965:(son) 1723:Nänie 1505:Plays 1309:(PDF) 947:195, 923:] 901:] 594:Pater 567:Grimm 514:state 218:opera 214:Verdi 119:Genre 1388:2014 1360:ISBN 1319:(2). 1258:ISBN 1224:ISBN 1197:ISBN 1159:2013 1128:2011 1063:ISBN 953:lied 908:and 784:ISBN 767:ISBN 745:ISBN 625:was 180:and 178:1781 167:play 2083:'s 1444:at 955:by 943:", 675:'s 665:'s 629:'s 614:at 542:" ( 254:act 216:'s 2158:: 1337:. 1315:. 1311:. 1285:. 1252:. 1085:. 1025:56 1023:. 1019:. 996:, 921:id 899:de 716:: 687:. 637:. 544:de 268:. 226:. 145:, 2073:e 2066:t 2059:v 1490:e 1483:t 1476:v 1390:. 1368:. 1341:. 1317:2 1306:" 1289:. 1283:" 1279:" 1266:. 1232:. 1205:. 1161:. 1147:" 1143:" 1130:. 1121:" 1117:" 1071:. 980:( 945:D 939:" 889:. 804:. 792:. 775:. 753:. 135:( 95:) 45:. 38:. 20:)

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