Concerning the last appearance of Klaerchen, opinions are divided; Schiller was opposed to it, the author in favor of it; the public will not allow it to be omitted. * * * * * Since the present discussion does not attempt to deal with plays chronologically but with reference to other considerations, and particularly from the standpoint of author and adapter, I shall turn next to _Stella_, which also owes its appearance in the theatre to Schiller. Since the action of the piece is unimpassioned and smooth, he left it substantially unchanged, only shortening the dialogue here and there, especially when it seemed to be passing from the dramatic to the idyllic and elegiac. For just as there may be too many incidents in a piece, so there may be too great an expression of feeling. So Schiller resisted the enticements of many charming passages and struck them relentlessly out. Well-staged, the piece was presented on January 15, 1806, for the first time, and repeated. It soon became evident that, according to our customs, which are founded strictly on monogamy, the relation of a man to two wives, especially as it appeared in this play, was not to be reconciled, and for that reason was only fit material for tragedy. For that reason the attempt of the intelligent Cecilie to harmonize the incongruities proved futile. The piece took a tragic turn, and ended in a way that satisfied the emotions and elevated the feelings. At present the piece is quite competently acted, and consequently receives the most unqualified applause. But a sweeping assurance of this kind can hardly be of practical utility to the playhouses which intend to put on the piece; and I therefore add in detail some further and necessary considerations. The rôle of Fernando every actor, not too young, will be glad to undertake, actors, that is, who are fitted to heroic or lovers’ rôles, and they will try to express with all the emotion and effect possible, the impassioned dilemma in which they are placed. The allotment of the feminine rôles is more difficult. There are five of them,--carefully differentiated and contrasted characters. The actress who undertakes the rôle of Stella must depict to us not only her indestructible affection, her passionate love, her glowing enthusiasm, but must also make us share her feeling, and carry us along with her. Cecilie, who at first appears weak and repressed, must soon leave this all behind her, and appear before us as a high-spirited heroine of courage and intelligence. Lucia represents a person who in the midst of an easy and comfortable life has cultivated her talents independently, does not feel the outer pressures which force themselves upon her, but rather casts them off. Not a trace of priggishness or conceit should appear. The postmistress is no quarrelsome old woman, but a young, cheerful, active widow, who would like to marry again only in order to be better obeyed.