It is difficult to see anything here which can rationally warrant eternal justice in extirpating the race. And when we pass from the presuppositions to the play itself, we see that none of the characters except Don Cesar does anything seriously blameworthy. If then it were clearly the central purpose of Schiller to justify the moral government of the world, or to exhibit the workings of an august Fate in itself worthy of reverence, we should have to admit that he has missed the mark; for the fate that he represents is not worthy of reverence at all. But what is the central fact of the play, as seen by the unsophisticated spectator who has never read the Greek poets nor heard of the house of Labdacus? Evidently it is the murder expiated by a voluntary death. A high-minded youth knowingly kills his brother in a moment of blind rage, because he thinks that his brother has deceived him. When he learns the truth, and learns also of the old dreams and prophecies, he feels that he too must die. Here is the real tragedy,--in the resolution of Don Cesar and his steadfast adherence to it in the face of his mother's and his sister's entreaties. The apparatus of dreams and prophecies and fate is meant to work upon the mind of Don Cesar rather than upon that of the spectator. Superstition adds to the burden of his remorse until it becomes unbearable and death appears the only road to peace: Dying I bring to naught the ancient curse, A free death only breaks the chain of fate, In a prefatory essay upon 'The Use of the Chorus in Tragedy' Schiller defended his innovation and incidentally set his heel upon the head of the serpent of naturalism. True art, he insisted, must have a higher aim than to produce an illusion of the actual. Its object is not to divert men with a momentary dream of freedom, but to make them truly free by awakening and developing the power of imaginative objectivation. Nature itself being only an idea of the mind, and not something that appears to the senses, art must be ideal in order to represent the reality of nature. To demand upon the stage an illusion of the actual is absurd, since dramatic art rests entirely upon ideal conventions of one kind or another. Therefore, so the argument goes on, it was well when a poetic diction was substituted for the prose of every-day life, and the next great step is to reintroduce the chorus and thereby 'declare war openly and honestly against naturalism in art'. The chorus is likened to a 'living wall which tragedy builds about itself in order completely to shut out the actual world and to preserve for itself its ideal domain, its poetic freedom'.