SCHILLER.--Schiller is a vast genius, historian, lyrical poet, dramatic poet, critic, and in all these different fields he showed himself to be profoundly original. He wrote _The Thirty Years' War_; odes, ballads, dithyrambic poems, such as _The Clock_, so universally celebrated; dissertations of philosophic criticism, such as _The God of Greece_ and _The Artists_; finally, a whole repertory of drama (the only point on which it is possible to show that he surpasses Goethe), in which may be remarked his first audacious and anarchical work, _The Brigands_, then the _Conjuration of Fieso_, _Intrigue and Love_, _Don Carlos_, _Wallenstein_ (a trilogy composed of _The Camp of Wallenstein_, _The Piccolomini_, _The Death of Wallenstein_), _Mary Stuart_, _The Betrothed of Messina_, _The Maid of Orleans_, _William Tell_. By his example primarily, and by his instruction subsequently (_Twelve Letters on Don Carlos_, _Letters on Aesthetic Education_, _The Sublime_, etc.), he exercised over literature and over German thought an influence at least equal, and I believe superior, to that of Goethe. He was united to Goethe by the ties of a profound and undeviating friendship. He died whilst still young, in 1805, twenty-seven years before his illustrious friend. GOETHE.--Goethe, whom posterity can only put in the same rank as Homer, is even more universal genius, and has approached yet closer to absolute beauty. Of Franco-German education, he subsequently studied at Strasburg, commencing, whilst still almost a student, with the imperishable _Werther_, to which it may be said that a whole literature is devoted and, parenthetically, a literature diametrically opposed to what Goethe subsequently became. Then a journey through Italy, which revealed Goethe to himself, made him a man who never ceased to desire to combine classic beauty and Teutonic ways of thinking, and who was often magnificently successful. To put it in another way, Goethe in his own land is a Renaissance in himself, and the Renaissance which Germany had not known in either the sixteenth or seventeenth century came as the gift of Goethe. Immediately after his return from Italy he wrote _Tasso_ (of classic inspiration), _Wilhelm Meister_ (of Teutonic inspiration), _Iphigenia_ (classical), _Egmont_ (Teutonic), etc. Then came _Hermann and Dorothea_, which was absolutely classic in the simplicity of its plan and purity of lyric verse, but essentially modern in its picture of German customs; _The Roman Elegies_, _The Elective Affinities_, _Poetry and Truth_ (autobiography mingled with romance), _The Western Eastern Divan_, lyrical poems, and finally, the two parts of _Faust_. In the first part of _Faust_, Goethe was, and desired to be, entirely German; in the second, through many reveries more or less relative to the theme, he more particularly desires to depict the union of the German spirit with that of classical genius, which formed his own life, and led to _intelligent