'Last night we had a great treat. Emil Devrient, who has been acting in London, you know, came back, and acted Marquis Posa in "Don Carlos." The play acts very much better than it reads. Schiller certainly has great dramatic genius; only I agree with Goethe that there is always a longing for exhibiting cruelty in its most monstrous form, and refinement of cruelty and depravity overstepping almost the natural conditions of humanity. I always thought Iago about the most awful character in Shakspeare; but Schiller's Philip II. is something beyond even this, without perhaps so much necessity for the exhibition of this absolute delight in evil. It is long since I have been so excited in a theatre. I was three rows from the stage, heard and understood everything, and was so completely carried away by the grandeur and intense feeling of Devrient (who was well supported by the Don Carlos), that I had some difficulty to keep quiet, and feel to-day rather odd, shaken, as it were, from such a strain upon the feelings.' Here is a letter, enclosed within one to his sister Fanny on September 9, written on a scrap of paper. The apologetic tone of confession is amusing:-- 'My dearest Father,--I have not before told you that I have been at work for just three weeks upon a new subject; reading, however, Hebrew every day almost for three hours as well. Schier is not a great Hebraist; and I found the language in one sense easier than I expected, so that with good grammar and dictionary I can quite get on by myself, reading an easy part of the Bible (historical books, e.g.) at the rate of about twenty-five verses an hour. Well, I began to think that I ought to use the opportunities that Dresden affords. I know that Hebrew is not a rich language; that many words occur only once, and consequently have an arbitrary meaning attached to them, unless they can be illustrated from cognate languages. Now I have a taste for these things, and have in three weeks progressed so far in my new study as to feel sure I shall make it useful; and so I tell you without fear I am working at Arabic. I hope you won't think it silly. It is very hard, and for ten days was as hard work as I ever had in my life. I think I have learnt enough to see my way now, and this morning read the first chapter of Genesis in three-quarters of an hour. It is rich, beyond all comparison, in inflexions; and the difficulty arises from the extreme multiplicity of all its forms: e.g. each verb having not only active, middle, and passive voices, but the primitive active having not less than thirty-five derivative forms and the passive thirteen. The "noun of action,"--infinitive with article (to akonein) of the Greek--is again different for each voice or form; and the primitive can take any of twenty-two forms, which are not compounded according to any rule. Again, there are twenty-eight sets of irregular plurals, which are quite arbitrary. No grammarian has ever given any explanation about them.