It is quite true that the exposition seems to promise somewhat more than is afterwards fulfilled. One who is familiar with Schiller's usual method naturally expects that something will come of the rescue of Baumgarten; but nothing does come of it except to throw a side-light upon the general situation and to bring out the character of Tell. Again, one expects to see more of Dame Gertrud, the 'wise daughter of noble Iberg'. One looks for her to reappear under circumstances that shall give her something important to do and shall put her sagacity and courage to the test. It is not the habit of Schiller to introduce such weighty personages at the beginning of a play and then drop them. To understand him in this instance one has but to remember that his hero is always the Swiss people. The Stauffachers, as a shining example of thrift and virtue; their dignified and influential position in the community; their fine new house that has roused the venomous jealousy of Gessler,--all this is part of the situation, and it is the situation that counts. And how superbly the picture is completed by the meeting at the Rütli! Such an old-fashioned parliament, held of necessity under the stars and in the darkness of night, but with all possible regard to the ancient forms, was not only a novel and a picturesque idea in itself, but it was the best device which could possibly be imagined for bringing sharply into view the whole character of the Swiss, in its winsome, patriarchal simplicity. Here again, however, we have a radical departure from Schiller's usual method; for what is actually done at this seemingly important meeting is, after all, in itself rather insignificant, and without direct influence upon the subsequent course of events. The conspirators decide to do nothing immediately, but to wait for a favorable opportunity during the Christmas season, some seven or eight weeks ahead. This determination obviously involves a halt in the dramatic action, so far as the conspiracy is concerned. In dealing with this difficulty, Schiller departs from his ordinary method of concentration and allows himself to be guided by the epical character of Tschudi's narrative. The result is that we have, somewhat as in Goethe's 'Götz von Berlichingen', a succession of dramatic pictures, rather than a drama bound together by a severe logic. In the third and fourth acts we hear no more of the conspirators,--aside from some expressions of regret for the delay,--and attention is concentrated upon Tell, who has hitherto taken no part except to rescue Baumgarten and to refuse his coöperation at the Rütli, on the ground that he is not the man for a confab, and that 'the strong man is mightiest alone'.