In the context of Goethe–Schiller Monument, analyze the German lands in Europe of the 19th-century contexts.
The commissioning of Rietschel's Goethe–Schiller statue had one clear motivation: to honor Weimar's famous poets and their patron; indeed, Schiller and Goethe had been entombed, along with Grand Duke Karl August, in the ducal burial chapel (the Fürstengruft) in Weimar. A second motivation may have been to increase "culture tourism" to the city, which had a claim as the "Athens on the Ilm". The statue was nonetheless part of a wider, essentially popular movement in mid-19th-century Germany. Ute Frevert has summarized the program of speakers at its dedication: "Unlike the Grand Duke, who wanted to harness the ceremony to the cart of dynastic legitimation, the bourgeois speakers transformed it into a national celebration at which the 'German people' paid homage to its 'heroes'". In the mid-19th century, the German-speaking population in Europe was divided between many, mostly small countries. Paul Zanker has written of this movement:After the wars of liberation in German lands had brought neither political freedom nor national unity, the citizenry began to seek in cultural pursuits a substitute for what they still lacked. For example, they erected monuments to intellectual giants, usually at the most conspicuous place in the city, an honor that until then had been reserved for princes and military men. ... There arose a true cult of the monument, which included broadsheets, picture books, and luxury editions of "collected works". With all this activity, the Germans began to see themselves, faute de mieux, as "the people of poets and thinkers."
This is especially true of the period of the restoration, and in particular, the years after the failed revolution of 1848, when monuments to famous Germans, above all Friedrich von Schiller, sprouted everywhere.
By 1859, the centenary of Schiller's birth and the occasion for 440 celebrations in German lands, Schiller had emerged as the "poet of freedom and unity" for German citizens. Ute Frevert writes, "It did not matter who spoke, a Hamburg plumber, a political emigrant in Paris, an aristocratic civil servant in Münster, a writer in Wollenbüttel, they unanimously invoked Schiller as a singer of freedom and the prophet of German unity." Rüdiger Görner illustrates the origins of this reputation with a speech from the "famous" tenth scene of the third act of Schiller's 1787 play, Don Carlos: "Look all around at nature's mastery, / Founded on freedom. And how rich it grows, / Feeding on freedom."Wolf Lepenies takes a similar perspective, writing that "After the revolution of 1848 failed, Schiller became more popular, as the festivities for his hundredth birthday in 1859 demonstrated; the occasion was celebrated throughout the German lands in a mood of patriotic fervor. Two years earlier, the Goethe–Schiller monument had been erected in Weimar, but only after the Prussian victory over France in the war of 1870—1871 did it become a national place of worship."
Ilm Ute Frevert Wolf Lepenies Paul Zanker Don Carlos Karl August ducal burial chapel Weimar