The Third Part of _Das junge Europa_ ("The Citizens") is an inferior production. Its chief interest for us lies in what it tells us of two of the most enthusiastic, indomitable heroes of the First Part, Hippolyt and Constantin. Hippolyt is finally driven to despair by the civilisation of the modern world, which leaves no room for the great exception, but requires all to be alike small. The bold Constantin, who fought in the streets of Paris in the Days of July, makes his appearance not very many years later as a Prussian judge, inflexibly, fanatically severe in his dealings with political revolutionaries. Constantin enters into long explanations of the influences that have wrought the change in his convictions (this character was evidently drawn from the life); but the author is still so possessed by the ideals of his own youth, that he makes this man commit suicide in despair at having been unfaithful to these ideals. From the year 1849 till his death in the Eighties, Laube, as is well known, devoted all his powers to the theatre. He speedily became the best and most highly esteemed theatrical manager of Germany and Austria. As such he always retained a preference for the French drama. What he himself wrote for the stage is what will keep his name longest in remembrance. Of the many historical dramas which he produced, the most important--_Monaldeschi_ (1834), _Struensee_ (1844), and _Die Karlsschüler_ (1847)--are suggestive of the ideals of Young Germany as they took shape in Laube's mind. The last-mentioned play became popular and is still often put on the stage; the others are effective pieces in a style that is now obsolete. The character of Monaldeschi is a vigorous conception. He is the bold, unscrupulous adventurer, who has no higher aim than to make his way and to enjoy life to the full, but who understands the meaning of power, and desires to use his power worthily--the Hippolyt of _Das junge Europa_ in historic costume. With Queen Christina's more complex feminine character, Laube has not been so successful, though his representation of her has elements out of which a good actress could make a telling part. But the play as a whole is overweighted by the intolerable sentimentality of the love scenes (Monaldeschi has a romantic attachment to a certain Sylva Brahe), and it suffers as a work of art from its author's dread of offending a Philistine public's sense of propriety. The real relations between Christina and Monaldeschi are smoothed down into indistinctness. The sharp edges of historic fact are filed away to make the subject fit into the mould of theatrical Romanticism.