How loosely the play is articulated, and how little of logical compulsion there Is in the catastrophe, is shown with fatal clearness by Schiller's procedure in revising his work for the Mannheim stage. By a few strokes of the pen at the end he changed its entire character. In the original draft his vacillating mind had leaned more and more decisively towards the Catilinarian conception of his hero, and the book-version of 1783 was accordingly supplied with a motto from Sallust's 'Catiline.' The sentence runs: _Nam id facinus imprimis ego memorabile existimo, sceleris atque periculi novitate._ So the conspiracy was to be a _facinus_ and a _scelus_, and the hero, of course, another 'exalted criminal' in the style of Karl Moor. In the stage version we observe that the motto from Sallust has been dropped, and that while the title of 'tragedy' (_Trauerspiel_) is retained, the adjective 'republican' is omitted. Furthermore, without any radical revision of the preceding portraiture taken as a whole, a non-tragical conclusion has been substituted for the final catastrophe. Fiesco, hard pressed by the strenuous Verrina, declares that his heart has been right all along; only he was resolved that Genoa's freedom should be his work and his alone. So he breaks his scepter, concludes an eternal friendship with the amazed Verrina, and bids the people embrace their 'happiest fellow-citizen.' Thus the original version, which had called itself a republican tragedy and was a tragedy without being republican, became a play which is truly republican without being called so, but is no longer a tragedy.