was still his place of
study during summer; till at last he settled constantly at Weimar.
Even then he used frequently to visit Jena; to which there was a fresh
attraction in later years, when Goethe chose it for his residence,
which, we understand, it still occasionally is. With Goethe he often
stayed for months.

This change of place produced little change in Schiller's habits or
employment: he was now as formerly in the pay of the Duke of Weimar;
now as formerly engaged in dramatic composition as the great object of
his life. What the amount of his pension was, we know not: that the
Prince behaved to him in a princely manner, we have proof sufficient.
Four years before, when invited to the University of Tuebingen,
Schiller had received a promise, that, in case of sickness or any
other cause preventing the continuance of his literary labour, his
salary should be doubled. It was actually increased on occasion of the
present removal; and again still farther in 1804, some advantageous
offers being made to him from Berlin. Schiller seems to have been,
what he might have wished to be, neither poor nor rich: his simple
unostentatious economy went on without embarrassment: and this was all
that he required. To avoid pecuniary perplexities was constantly
among his aims: to amass wealth, never. We ought also to add that, in
1802, by the voluntary solicitation of the Duke, he was ennobled; a
fact which we mention, for his sake by whose kindness this honour was
procured; not for the sake of Schiller, who accepted it with
gratitude, but had neither needed nor desired it.

The official services expected of him in return for so much kindness
seem to have been slight, if any. Chiefly or altogether of his own
accord, he appears to have applied himself to a close inspection of
the theatre, and to have shared with Goethe the task of superintending
its concerns. The rehearsals of new pieces commonly took place at the
house of one of these friends; they consulted together on all such
subjects, frankly and copiously. Schiller was not slow to profit by
the means of improvement thus afforded him; in the mechanical details
of his art he grew more skilful: by a constant observation of the
stage, he became more acquainted with its capabilities and its laws.
It was not long till, with his characteristic expansiveness of
enterprise, he set about turning this new knowledge to account. In
conjunction with Goethe, he remodelled his own _Don Carlo