It is not difficult to imagine the emotions with which Schiller, now at the fervid age of twenty-two, returned to his post after that intoxicating visit to Mannheim, and, his ears still tingling with the thunderous plaudits of the theater and the complimentary babble of his new friends, resumed the dosing of his sick grenadiers in Stuttgart. For a while things went on very much as before. In order to better his position in a professional way, he formed the plan of taking his doctor's degree and then qualifying for a professorship in physiology. But from the first the poet in him prevailed more and more over the medical man. Soon after leaving the academy he had published a long elegy upon the death of a young friend named Weckerlin. It is a rebellious, declamatory poem, in which the pathos of untimely death is made the occasion for ventilating radical views as to the goodness of God and the consolations of religion. Passages like the following show the young Schiller at his best as a poet: Liebe wird Dein Auge nie vergolden, Nie umhalsen Deine Braut wirst Du, Nie, wenn unsere Thränen stromweis rollten, Ewig, ewig, ewig sinkt Dein Auge zu.[33] For the rest, the death of Weckerlin is a 'discord on the great lute', and a 'barbarous doom'. And yet, the poem continues, the dead youth has drawn the better lot; he will sleep calmly in his narrow house, unmindful of the wretched tragi-comedy going on above his head. So his friends are bidden 'to clap their hands and shout a loud _plaudite_'. As for a reunion, there will be one, but it will not be in the 'paradise of the rabble'.--In another poem dating from this period, 'The Chariot of Venus,' the love-goddess is put on trial and castigated for her sins. Her havoc among the sons of men is described in half a hundred rhetorical stanzas which were evidently inspired by the genius of the clinic or the hospital, rather than by one of the sacred nine. Besides these poems a large number of others were written by Schiller during the year 1781, prior to the time when Dalberg's invitation caused him to turn his attention to the stage. It was of course important to acquaint the public with his lucubrations, but poetry in large quantities was not an easily marketable commodity. The usual mode of publication was the poetic 'almanac' or 'calendar', in which a number of ambitious verse-makers would unite their wares in a single volume. Of such almanacs there were several in Germany and one at least in Suabia. It was edited by one Stäudlin, a rival whom Schiller thought it would be both feasible and pleasant to outshine. So he sent out letters to his friends inviting contributions, and in due time there appeared, after a fresh outlay of borrowed money, an 'Anthology for the Year 1782'. It consisted of some four-score poems, signed with all manner of intentionally misleading symbols and purporting to emanate from Tobolsko, in Siberia. The most of the verses were the work of Schiller.[34]