Abstract

Philosophical reflection is a constitutive element of Schiller’s dramatic production from its very beginning. This chapter reconstructs the different stages of the interaction between Schiller’s tragedies and philosophy, the turning point of which can be seen in his theoretical work inspired by Kant. In his early tragedies, philosophical themes enter directly into the dramatic construction: in Die Räuber, we find a philosophical anthropology and critique of materialism, whereas in Fiesco and in Don Karlos echoes of the thought of Shaftesbury, Montesquieu and Ferguson bring out the relationship between moral principles and political action. Instead, the late tragedies, beginning with Wallenstein, show a more complex and critical attitude towards philosophical thought, and are partly conceived as a response to questions left open in his theoretical writings.