Of the subordinate outlaws there are several whose portraits are very well drawn. Here Schiller was able to profit by the psychological observations he had made upon his comrades in the academy. There were no cutthroats there, but there were traits and exploits, animosities and fidelities, which only needed to be heated in the poetic crucible in order to befit the rôle of robbers in the Bohemian Forest. In particular we may guess that the blatherskite Jew, Spiegelberg, with his swaggering self-conceit and his bestial vulgarity, was copied to some extent from life, though nothing definite is known of his original. Taken as a whole the robbers form a picturesque company, each with his own character. Shakspere would probably have been content to say 'first robber','second robber', etc.; but for Schiller, accustomed to the pose of leadership among his fellows, to company drill and to the weighing of men according to their moral qualities, this was not enough. There had to be sheep and goats, classified according to their loyalty. On the one hand, closest to the leader stand the devoted Roller, the sturdy Schweizer and the romantic idealist, Kosinsky; on the other are the envious malcontent, Spiegelberg, and the wretched Schufterle. The others, less distinctly characterized, represent the mass. It will now be in order to look at 'The Robbers' a moment from the point of view of dramatic art.[29] In a suppressed preface to the first edition Schiller expressed himself very contemptuously with regard to the stage, declaring that he had essayed a dramatized story and not a stage-play. He would not advise that his work be put upon the boards; for the rabble of the theater would not understand him, would take him for an apologist of vice, and so forth. There seems no good reason to doubt the essential sincerity of these expressions, though their author quickly changed his tune when the staging of 'The Robbers' became a practical question. In the heat of authorship, however, he had aimed at a literary rather than a dramatic triumph. His chief models were literary dramas. 'Götz von Berlichingen' had won its way into favor as a book for the reader. The dramatic works of Klinger, Lenz, Wagner and the like, were for the most part too extravagant and amorphous for representation, and Shakspere's day had not yet come.