sentiment sublimated into something quite too seraphic for human nature's daily food. Her high-keyed sense of duty to God, her natural filial piety and her superstitious reverence for the social order, combine to produce in her a curious distraction which is the real source of the tragic conflict. She feels that her love is holy but that marriage would be sinful; and so she hesitates, responds to her lover's ardor with tremblings and solicitudes, knows not what to do, does the foolish thing and atones tragically for her weakness. Not before Schiller's time had this conflict between love and filial duty been so powerfully depicted, but it is found in Wagner's 'Remorse after the Deed' (1775), wherein a coachman's daughter, Friederike Walz, is loved by the aristocratic Langen, who is opposed by his mother. Langen goes to his sweetheart, all courage and resolution. He is prepared, like Leisewitz's Julius, to defy his kin, renounce the lures of his rank and flee to the ends of the earth with 'Rikchen'. To which she replies: 'Langen, you are terrible. To marry with the curse of parents is to make one's whole posterity miserable'. So Louise replies to Ferdinand's similar entreaty: 'And be followed by your father's curse! A curse, thoughtless man, which even murderers never utter in vain, and which like a ghost would pursue us fugitives mercilessly from sea to sea.' In the sentimental novel 'Siegwart', the heroine, Therese, loves a young squire, not for his blue blood, but for the nobility of his heart. Like Louise she renounces her love for this life, and bids him farewell. In writing to him she describes a scene between her father and his: Your father came dashing into our yard with two huntsmen. 'Are you the ----?' he called up to me. 'Is that Siegwart? He's a scoundrel, if he knows it. He wants to seduce my son. And this, I suppose, is the nice creature (here he turned to me again) who has made a fool of him. A nice little animal, by my soul!'... My father, who can show heat when he is provoked, told him to stop calling such names; that he was a decent man and I a decent girl. Here we seem to have the suggestion of the stirring scene in which the irate old fiddler threatens to throw President von Walter out of doors for insulting Louise.