I have divided it into two parts, and represented it in contest with itself; but this occurs where it acts as a real person, and as an unthinking multitude. As chorus and an ideal person it is always one and entire. I have also several times dispensed with its presence on the stage. For this liberty I have the example of Aeschylus, the creator of tragedy, and Sophocles, the greatest master of his art. Another license it may be more difficult to excuse. I have blended together the Christian religion and the pagan mythology, and introduced recollections of the Moorish superstition. But the scene of the drama is Messina--where these three religions either exercised a living influence, or appealed to the senses in monumental remains. Besides, I consider it a privilege of poetry to deal with different religions as a collective whole. In which everything that bears an individual character, and expresses a peculiar mode of feeling, has its place. Religion itself, the idea of a Divine Power, lies under the veil of all religions; and it must be permitted to the poet to represent it in the form which appears the most appropriate to his subject. End of Project Gutenberg's The Bride of Messina, by Frederich Schiller