According to Friedrich Schiller the theatre is to supposed to be a moral institution. In making this demand it hardly occurred to Schiller that by moralizing from the stage he might drive the audience out of the theatre. Audiences had no objection to moralizing in his day. It was only later that
Friedrich Nietzsche attacked him for blowing a moral trumpet. To Nietzsche any concern with morality was a depressing affair; to Schiller it seemed thoroughly enjoyable. He knew of nothing that could give greater amusement and satisfaction than the propagation of ideas. The bourgeoisie was setting about forming the ideas of the nation.
Putting one's house in order, patting oneself on the back, submitting one's account, is something highly agreeable. But describing the collapse of one's house, having pains in the back, paying one's account, is indeed a depressing affair, and that was how Friedrich Nietzsche saw things a century later. He was poorly disposed towards morality, and thus towards the previous Friedrich too.
The epic theatre was likewise often objected to as moralizing too much. Yet in the epic theatre moral arguments only took second place. Its aim was less to moralize than to observe. That is to say it observed, and then the thick end of the wedge followed: the story's moral. Of course we cannot pretend that we started our observations out of a pure passion for observing and without any more practical motive, only to be completely staggered by their results. Undoubtedly there were some painful discrepancies in our environment, circumstances that were barely tolerable, and this not merely on account of moral considerations. It is not only moral considerations that make hunger, cold and oppression hard to bear. Similarly the object of our inquiries was not just to arouse moral objections to such circumstances (even though they could easily be felt-though not by all the audience alike; such objections were seldom for instance felt by those who profited by the circumstances in question) but to discover means for their elimination. We were not in fact speaking in the name of morality but in that of the victims. These truly are two distinct matters, for the victims are often told that they ought to be contented with their lot, for moral reasons. Moralists of this sort see man as existing for morality, not morality for man. At least it should be possible to gather from the above to what degree and in what sense the epic theatre is a moral institution.