[Footnote 116: Notwithstanding frequent references to occult powers and overruling destiny, the Greek idea of fate is quite foreign to "Wallenstein". It is essentially a modern character-drama. Cf. Fielitz, "Studien zu Schillers Dramen ", page 9 ff.] [Footnote 117: Nicht was lebendig, kraftvoll sich verkündigt, Ist das gefährlich Furchtbare. Das ganz Gemeine ist's, das ewig Gestrige, Was immer war und immer wiederkehrt, Und morgen gilt, weil's heute hat gegolten! Denn aus Gemeinem ist der Mensch gemacht, Und die Gewohnheit nennt er seine Amme. ] [Footnote 118: Dann sammelt sich der Jugend schönste Blüte Vor eurem Spiel und lauscht der Offenbarung, Dann sauget jedes zärtliche Gemüte Aus eurem Werk sich melanchol'sche Nahrung.... Wer fertig ist, dem ist nichts recht zu machen; Ein Werdender wird immer dankbar sein.--'_Faust_'.] CHAPTER XVII Mary Stuart Wohlthätig heilend nahet mir der Tod, Der ernste Freund! Mit seinen schwarzen Flügeln Bedeckt er meine Schmach--den Menschen adelt, Den tiefstgesunkenen das letzte Schicksal--_'Mary Stuart'_. After the completion of 'Wallenstein', in the spring of 1799, Schiller was not long in selecting a new dramatic theme. The unwonted leisure was irksome to him, so that he felt like one living in a vacuum. At first, being weary of war and politics, he was minded to try his hand upon something altogether imaginary, some unhistorical drama of passion. But the aversion to history and the balancing of attractions did not last long. On the 26th of April he wrote to Goethe as follows: I have turned my attention to a political episode of Queen Elizabeth's reign and have begun to study the trial of Mary Stuart. One or two first-rate tragic motives suggested themselves straightway, and these have given me great faith in the subject, which incontestably has much to recommend it. It seems to be especially adapted to the Euripidean method, which consists in the completest possible development of a situation; for I see a possibility of making a side issue out of the trial, and beginning the tragedy directly with the condemnation,