This exposition is based on the version that Schiller originally wrote in 1785. It differs from his final version of this work in several respects. For example, at the end of the first verse, Schiller originally wrote: “Beggars become brothers of princes wherever your gentle wing lingers.” In the final version of Schiller’s poem, Schiller wrote: “All men become brothers wherever your gentle wing lingers.” (All translations from the German are my own.)
The first verse of the poem is well known because of its inclusion in the fourth movement of Beethoven’s Symphony No. 9. It personifies Joy, calling her a divine spark and a daughter who comes from Elysium, the land of the blessed spirits in Greek mythology. Drunk with fire, we enter her sanctuary. The magic wielded by Joy heals all the rifts that have arisen in human society. In the presence of Joy, the beggar becomes the brother of a prince.
The original version of the “Ode to Joy” has nine stanzas. Each stanza contains eight lines, and can be sung to the music that Beethoven composed for the purpose.
Between each of these eight stanzas, Schiller inserts four lines with a different rhyme scheme. There is also an additional four lines after the last stanza of the poem.
The subject matter of these intermediate sections is slightly different. They are exhortations addressed either to the world or to the intimate circle of brothers who ecstatically declaim this ode.
The first intermediate section offers an embrace and a kiss to the entire world, and reminds the brethren that a dear Father dwells above the starry sky.
Beethoven’s Symphony No. 9 also incorporates the second verse in the fabric of its fourth movement. It invites others to share in the jubilation experienced by the brotherhood. This happiness extends to whoever has succeeded in winning the friendship of even a single individual or whoever has married a charming wife. However, anyone who is completely friendless must leave the fellowship with tears.
The second intermediate section is an exhortation to render homage to Sympathy. She leads you to the stars, where the Unknown has His throne. If I am not mistaken, Schiller inserts the concept of sympathy at this point because he wants us to sympathize with those who have no friends.
The third stanza sets forth the blessings that Joy gives us. Every being drinks joy from the breasts of Nature. Everyone, whether he be good or bad, follows her flowery path. She gives kisses and the fruit of the grapevine, as well as friends who are faithful unto death. Even the worm enjoys pleasure, and the seraph stands before God.
The third intermediate section is addressed the millions of people who inhabit the globe. It asks the world whether it is prostrating itself before its Creator or whether it even knows who He is. The world will find Him if they look above the stars.
The fourth stanza abounds in metaphors. Joy is the strong wing of eternal Nature. She drives the wheels in the great world clock. She entices flowers from buds and suns from the firmament. She rolls spheres in places where the astronomer cannot detect them.
The fourth intermediate section takes its cue from the astronomical references in the preceding stanza. The brethren are urged to be as happy as the suns that fly across the heavens and live their lives like heroes who are about to obtain the victory.
The fifth stanza is my personal favorite. If I remember correctly, Schiller did not make any changes in this stanza when he revised the poem. Joy smiles at the investigator from the fiery mirror of truth. She leads the patient sufferer on a path that ascends the steep hill of virtue. Her flags wave victoriously on the sunny mountain of faith. Through rips in broken coffins, we can see her stand in the choir of angels.
The fifth intermediate section takes its cue from the concept of patient suffering expressed in the preceding stanza. Suffer patiently for a better world. A great God will reward you.
The sixth stanza says that it is a beautiful thing to be like gods. The divine attribute of forgiveness is especially recommended. Forget your grudges and your desire for revenge. Forgive your deadly enemy. Don’t even let him shed tears or suffer gnawing remorse.
The sixth intermediate section shows how the Judge who lives above the starry heavens views these things. He destroys the book in which our faults are written, so that the entire world is reconciled to Him.
This comes very close to the Christian message. The entire world is indeed reconciled to God through the saving work of Jesus Christ. We can only hope that Schiller recognized this fact.
The seventh stanza associates Joy with wine. Joy bubbles in goblets. Cannibals imbibe meekness from the golden blood of grapes, and people in despair imbibe the courage of heroes. Therefore, “Let the foam spray up to heaven. This glass to the good Spirit!”
The seventh intermediate section identifies the Spirit to whom the glass of wine is dedicated. It is He whom the stars and the seraphim praise. He lives above the starry heavens.
The eighth stanza lists practical virtues that should guide the brotherhood: “Firm courage in grievous suffering, help where innocence weeps, eternal duration to their sworn oaths, truth to friend and foe, and manly pride before the throne of kings, even if death ensues.” Merit should receive its crown, but the brood of liars should perish.
The eighth intermediate section urges the brotherhood to come closer together and to swear by the celestial Judge that they will be true to their oath.
There are twelve more lines to the poem. I memorized the poem in German a long time ago, and these twelve lines were not in the poem that I memorized. Either Schiller did not include them in his final version, or else I had a defective copy. Personally, I think that the poem is better without the last twelve lines, probably because I am used to seeing it without them.
Nevertheless, in Schiller’s original version, the ninth stanza expresses further aspirations of the brotherhood: “Rescue from the chains of tyrants, magnanimity toward evil people, hope when on the deathbed, and grace in the high court!” The dead shall live. All sins shall be forgiven, and hell shall no longer exist.
The final four lines continue in the same vein. They wish for a happy hour of departure, sweet sleep in grave clothes, and a mild sentence from the mouth of Him who judges the dead.
The division into stanzas and intermediate sections is my own idea. I do not know whether or not Schiller intended such a division.
Reference
Raptus Association: Schiller’s ‘Ode to Joy’ in its original, 1785 version
