ABSTRACT
Internal aesthetic conflicts between dramatic theatrical form and the tragic, which were more or less hidden, came into theoretical view only when efforts were made to understand the new dramatic forms that began to develop at the end of the nineteenth century. Friedrich Schiller shows how all subjects are entangled in the net of historical intrigue and causality, coincidences and circumstances. Thus, dramatic tragedy becomes historical drama again which it had been before the rise of the bourgeois Trauerspiel. Schiller's Robbers presents a subject beyond conventional humanism schizoid in nature, vanishing into picture-puzzles, and made up of mirror relations of questionable unity and a subject in the etymological sense. In Schiller's poems and plays, the classical verve and rhythm lend what is asserted a barely tolerable aura of ultimate truth and uncontradictability. Roland Galle describes how the Enlightenment stripped the tragic of the moral power it had held in terms of Christian practice and the metaphysical philosophy of history.
