The Robbers
The Robbers is the first dramatic play by German playwright Friedrich Schiller. The play was published in 1781 and premiered on 13 January 1782 in Mannheim and was inspired by Leisewitz's earlier play Julius of Taranto. It was written towards the end of the German Sturm und Drang movement, and many critics, such as Peter Brooks, consider it very influential in the development of European melodrama. The play astounded its Mannheim audience and made Schiller an overnight sensation. It later became the basis for Verdi's opera of the same name, I masnadieri.
Plot and description
The plot revolves around the conflict between two aristocratic 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 revealed to be complex.Schiller's highly emotional language and his depiction of physical violence mark the play as a quintessential Sturm und Drang work. At the same time, the play utilizes a traditional five-act structure, with each act containing two to five scenes. 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 anarchy in the Bohemian Forest.
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 class and religion and the economic inequities of German society. He also conducts a complicated inquiry into the nature of evil.
Schiller was inspired by the play Julius of Taranto by Johann Anton Leisewitz, a play Friedrich Schiller considered a favourite.
Content
Summary
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 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.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 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.
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 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.
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, stays true to Karl and denies Franz's advances. She sees through his lies and exaggerations about Karl.
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 Amalia — who does not recognize him — he learns that Amalia still loves him.
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, 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.