By way of signalizing their community of interest the Dioscuri presently began to write satirical distichs at the expense of men and tendencies that they did not like. For example: Gentlemen, keep your seats! for the curs but covet your places, Elegant places to hear all the other dogs bark. The making of these more or less caustic epigrams amused them. Sometimes one would suggest the topic and the other write the distich; again, one would do the hexameter, the other the pentameter. They agreed that neither should ever claim separate property in the _Xenia_, as they were called. The number grew apace, until it reached nearly a thousand. About half the number on hand were published in 1797 in Schiller's _Musenalmanach_ and had the effect of setting all Germany agog with curiosity, rage or solemn glee. Some of those hit replied in kind or in vicious attacks, and for a little while there was great excitement. But having discharged their broadside Goethe and Schiller did not further pursue the ignoble warfare. They wisely came to the conclusion that the best way to elevate the public taste was not to assail the bad in mordant personal epigrams, but to exemplify the good in creative work. After his nine years of fruitful wandering in other fields Schiller returned at last, in 1796, to dramatic poetry. Once more it came in his way to write for the stage, since Goethe was now director of the Weimar theatre. After some hesitation between _Wallenstein_ and _The Knights of Malta_, both of which had long haunted his thoughts, he decided in favor of the former. It occupied him for three years and finally left his hands as a long affair in three parts. Yet it is not a trilogy in the proper sense, but a play in ten acts, preceded by a dramatic prelude. At first Schiller found the material refractory. The actual Wallenstein had never exhibited truly heroic qualities of any kind, and his history involved only the cold passions of ambition, envy, and vindictiveness. Whether he was really guilty of treason was a moot question which admitted of no partisan treatment. But Schiller's genius triumphed splendidly over the difficulties inherent in the subject. In the _Camp_ we get a picturesque view of the motley soldatesca which was the basis of Wallenstein's power and prestige. In _The Piccolomini_ we see the nature of the dangerous game he is playing, and in _Wallenstein's Death_ the unheroic hero becomes very impressive in his final discomfiture and his pitiable taking-off. The love-tragedy of Max and Thekla casts a mellow light of romance over the otherwise austere political action. [Illustration: 1. THE MILITARY ACADEMY IN STUTTGART WHERE SCHILLER WAS EDUCATED] [Illustration: 2. THE THEATRE IN MANNHEIM IN 1782 WHERE SCHILLER'S "THE ROBBERS," "FIESCO," AND "LOVE AND INTRIGUE" WERE FIRST PLAYED]