“Es ist die Großmannsuchtˮ

Schiller’s early play, “The Robbers” (“Die Räuber&8j1;), is broadly considered to be a typical example of the Sturm and Drang movement. This article suggests rethinking of that conjecture. Schiller's interest in the image of the “strong man” (“Kraftmensch&8j1;) is undeniable: it is evidenced by the parallels between the text of “The Robbers” and the plays by several Sturm und Drang authors. However, Schiller’s attitude towards this type of character is more complex than is commonly believed. This becomes apparent when comparing the two versions of the tragedy, i.e. the closet drama printed in 1781 and the version adapted for the theatre in Mannheim. The latter version fits well into the Sturm und Drang canon: it asserts the greatness of a strong person who opposes the entire world reaching a tragic triumph. In the scenic version, Karl Moor acts as a pagan priest sacrificing Amalia and himself. Some parts of Karl’s speech and action obviously allude to the Gospel, and Karl himself acts as the redeemer who is able to reconcile his fellow robbers with the heavenly Father. In the closet drama, by contrast, the “Kraftmensch” is treated as a problematic figure; his messianic pretensions are shown to be inadequate. Instead of relying on the character’s strength, Schiller stresses the necessity of patience, an idea that the first version of “The Robbers” has in common with Schiller’s next works. The motive of patience is clearly expressed in Luise Miller, while Ferdinand (whom Luise on certain occasions opposes) acts according to the Sturm und Drang model. It appears that the difference between the two variants of “The Robbers” is caused not by external circumstances, but by internal factors: Schiller’s first play is a critical reconsideration of such Sturm und Drang notions as the “Kraftgenie” or “Kraftmensch”

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