We turn now to the _Mitschuldigen_. That it has a certain dramatic value may be inferred from the fact that, at a time when all German actors seemed afraid of rhythm and rhyme, it was turned into prose and produced at the theatre, where it could not maintain itself because a principal feature, the poetic rhythm and the rhyme, was lacking. But now, when the actors are more skilled in both, this attempt could be made. Some of its crudities were removed, some archaic touches modernized, and thus it continues to hold the boards still if the cast is good. It was put on at the same time as _Die Laune des Verliebten_, in March, 1805. Schiller made many suggestions for the production, but he did not live to see the _Raetsel_ produced in September of the same year. This had a great success, but the author desired to remain anonymous for a long time. Afterwards, however, he published a sequel, and the two pieces help to support each other. Let us not hesitate in the German theatre, where there appears so much variety besides, to place side by side pieces of similar motive and atmosphere, in order that we may at least give a certain breadth to the different departments of dramatic production. _Iphigenia_, not without some abbreviation, was put on the Weimar stage as early as 1802; _Tasso_ first in 1807 after a long and quiet preparation. Both plays continue to hold the boards, with the support of actors and actresses who are exceptionally excellent and well adapted to the rôles. Finally we shall mention _Goetz von Berlichingen_, which was produced for the first time in September, 1804. Although Schiller himself would not undertake this new revision, he coöperated in every possible way, and was able by his bold resolution to facilitate for the author many a point of revision; from the beginning to the final production he was most influential and effective both in word and deed. Since it is produced at few theatres, it may be worth while to relate here briefly the action of the piece, and to point out in general the principles according to which this revision was made. _Goetz von Berlichingen_ (_First Act_) By the insults which are accorded his servants by some peasants in the inn at Bamberg, we learn of the hostility between Goetz and the Bishop. Some horsemen in the service of this knight enter and relate that Weislingen, the Bishop’s right-hand man, is in the neighborhood. They hurry away to notify their master. Goetz appears in front of a hut in the woods, alert and listening. A stable-boy, George, declares himself a future hero. Brother Martin expresses envy of the soldiers, husband, and father. The servants come in with the news, Goetz hastens away, and the boy is quieted by the present of a saint’s picture.