for you! care for my wife and children!" and, rushing forward, grasped several spears and buried them in his breast,--a large, strong man, he bore the soldiers down with him as he fell, and his companions pushed forward over his dead body into the midst of the host, and the victory was won, and another book was added to the epic story of the men of Schwyz and Uri and Unterwalden;--and how Duke Leopold fell fighting bravely, as became his house, and six hundred and fifty nobles with him, so that there was mourning at the Court of Austria for many a year, and men said it was a judgment upon the reckless spirit of the nobles; and how Martin Malterer, standard-bearer, of Freyburg in the Breisgau, happening to come upon Leopold as he was dying, was as one petrified, and the banner fell from his hands, and he threw himself across the body of Leopold to save it from further outrage, waiting for and finding his own death there;--and how this ruinous contest between Switzerland and Austria was not finally closed till the time of Maximilian, in 1499, when first the right of private war was abolished in Germany;--and how, through the various fortunes of the succeeding centuries, the character of the Swiss has remained for the most part the same as in the earlier time:--these things one may read at large elsewhere; but we hasten to the conclusion. The story of Tell has been the subject of several dramas. Lemierre, a popular French dramatist of his day, (though J. J. Rousseau affects to call him a _scribe_ whom the French Academy once crowned,) produced a play founded upon it, in Paris, in 1766; but the language of Swiss freemen on a French stage was little to the taste of those days, and it was a failure. Voltaire, when asked what he thought of it, replied,--"_Il n'y a rien à dire; il est écrit en langue du pays._" But twenty years afterwards it was revived with prodigious success; for the truth which was in it flashed out then, forerunner of the storm which was soon to break over France. Again, when Florian, whom we are to remember always for his "Fables," banished in 1793 by the decree which forbade nobles to remain in Paris, taking refuge at Sceaux, was arrested and thrown into prison, he consoled his captivity by composing his drama of "Guillaume Tell,"--the worst of his productions, it is recorded. Lastly, it has been consecrated for all time by the genius of Friedrich Schiller. The legend was first brought to Schiller's notice, doubtless, by Goethe, who writes to him concerning it from Switzerland in 1797. Goethe himself thought of founding an epic on it. It was not, however, till 1801, before his journey to Dresden, that Schiller's attention was permanently directed to it. Completed on the 18th of February, it was brought out at Weimar on the 17th of March, 1804, with the most extraordinary success: the fifth act, however, was suppressed, in deference to the intended court alliance with the daughter of a murdered