The total effect of the prelude is to put one in a very good humor with the personages who figure there. One indeed feels sub-consciously that they are detestable--not a whit better than the angry friar paints them. One sympathizes intellectually with his fierce denunciation and pities the land that is exposed to such a scourge. And yet--such is the poetic glamour thrown over them--feelings of this kind never become dominant. It is like the squalid slums of a great city, when seen through the sun-lit morning mist. The reality is horrible, revolting. The soul of the philanthropist is pained--but not so the eye of the artist. Schiller contrives that we see his vagabonds with the artistic eye and are drawn to them by their very picturesqueness. We quickly impute to them more virtue than their ways betoken; and when in their lusty final song they break out in a strain of lofty idealism: Und setzet ihr nicht das Leben ein, Nie wird euch das Leben gewonnen sein, one is hardly conscious of the incongruity. The dramatic fable devised by Schiller for the tragedy proper carries us back to the winter of 1634. Events extending over several months are concentrated by poetic fiat into the four days preceding the assassination of Wallenstein, which took place on the 25th of February. The prominent characters fall into two groups,--the abettors of Wallenstein in his treason, and the imperialists who work his ruin. The first group consists of historical personages, mainly officers, whom he had bound to him by one or another tie of selfish interest. Foremost among these are Illo, the Count and Countess Terzky, and General Butler, who turns against his chief and becomes the agent of his taking-off. The central figure of the other group is Octavio Piccolomini, whom Schiller converts from a young officer of thirty into an elderly man with a grown-up son. Octavio, in reality the trusted agent of the emperor, is regarded by Wallenstein with a superstitious infatuation as his own most faithful friend. Between these two groups stand the ingenuous lovers, Max and Thekla, imaginary characters who can make their perfect peace with neither side and are done to death in a pathetic struggle between love and duty.