In “Egmont” this new conception could not find full expression, for the outlines of the scheme had been drawn at a time when Goethe worked under wholly different influences. Even in “Egmont,” however, in the form in which he gave it to the world, his new method predominates. Goethe’s Egmont, who differs in many particulars from the Egmont of history, is a man of most genial temper. He is sincerely devoted to the cause of freedom, and makes troops of friends by his frankness, his courage, his inexhaustible generosity. But he lacks the power to read the signs of hostile intention in others, and this defect, which necessarily springs from some of his best qualities, exposes him to deadly peril, and leads ultimately to his ruin. Interwoven with the history of his relations to the public movements of his age is the story of his love for Clärchen. Such a love at such a time would seem wholly unnatural if Egmont were a prudent statesman, conscious of the actual circumstances in which he and his country are placed; but he has no doubt as to the triumph of his cause, for he trusts absolutely the King of Spain and his counsellors, believing their objects to be as honourable as his own. There is no incongruity, therefore, between Egmont’s patriotism and his love, and in such a nature as his, were the conditions favourable, each feeling would purify and ennoble the other. Clärchen is in every respect worthy of him. She is one of the finest of the many fine feminine characters conceived by Goethe. She is capable of heroic action as well as of the tenderest love, and she obeys an irresistible impulse when, having heard of Egmont’s imprisonment, she appeals with passionate fervour to the people for his deliverance. The concluding scene, in which Freedom in the form of Clärchen appears to Egmont in a dream as he lies in prison awaiting execution, produces exactly the impression that Goethe meant it to produce. It softens the effect of the tragic conflicts which have led to Clärchen’s death, and are about to lead to her lover’s, and we are reminded that there are in the world forces for good, the victory of which may be delayed, but cannot in the end be prevented, by individual defeat and sorrow. Although less interesting than the two central figures, the other characters in this great drama are most vividly presented. William of Orange, the resolute patriot who never allows himself to be diverted from his path by mistaking appearance for reality, contrasts strongly with the heedless Egmont; and Alva, cold, cruel, and treacherous, is a fitting representative of a crushing and inhuman tyranny. The crowds which from time to time give voice to popular feeling play an essential part in the evolution of the tragedy, and are brought before us with extraordinary animation and truth to nature.