 In the history of ethics as well as aesthetics, mention of Kant is often quickly followed by mention of Friedrich Schiller (1759–1805), who criticized and developed Kant’s views in both areas. Perhaps best known to the general public as the author of the “Ode to Joy” (An die Freude) that provides the text for the fourth movement of Beethoven’s Ninth Symphony, as well as the source of materials for operas by Rossini and Verdi, in his lifetime Schiller was famous not only as a poet but also as a dramatist, historian, and (at least during the first half of the 1790s ) as an aesthetician and philosopher. As a student in the military college of the Duke of Württemberg he trained as a physician, and his earliest writings were on the mind-body relationship. But he achieved instant fame with his play The Robbers (Die Räuber) in 1782, and then had to flee Württemberg in order to continue writing plays. Between 1783 and 1787, he wrote Fiesko, Intrigue and Love (Kabale und Liebe), and Don Carlos. He met Goethe in 1787, and was professor of history in nearby Jena from 1789 to 1799. During this period he wrote histories of the Thirty Years’ War and the Dutch revolt against Spain. But he also devoted several years in the early 1790s to an intensive study of Kant, which then led to a series of essays including “On Grace and Dignity” (Über Anmut und Würde, 1793), Letters on the Aesthetic Education of Mankind (1795), and “On Naïve and Sentimental Poetry” (1795–6), as well as the unpublished “Kallias” letters on aesthetics (1793). After this period, Schiller returned to his original calling, writing the historical dramas Wallenstein (1798–9), Maria Stuart (1800), The Maiden of Orleans (Die Jungfrau von Orleans, 1801), The Bride of Messina (1803), and Wilhelm Tell (1804). Like so many of the others who have been discussed here (Baumgarten, Sulzer, Herz, Moritz) his life was cut short by lung disease, presumably tuberculosis, and he died at forty-five in 1805.