In the composition of _Fiesco_, Schiller derived the main part of his original materials from history; he could increase the effect by gorgeous representations, and ideas preëxisting in the mind of his reader. Enormity of incident and strangeness of situation lent him a similar assistance in the _Robbers_. _Kabale und Liebe_ is destitute of these advantages; it is a tragedy of domestic life; its means of interesting are comprised within itself, and rest on very simple feelings, dignified by no very singular action. The name, _Court-Intriguing and Love_, correctly designates its nature; it aims at exhibiting the conflict, the victorious conflict, of political manœuvering, of cold worldly wisdom, with the pure impassioned movements of the young heart, as yet unsullied by the tarnish of every-day life, inexperienced in its calculations, sick of its empty formalities, and indignantly determined to cast-off the mean restrictions it imposes, which bind so firmly by their number, though singly so contemptible. The idea is far from original: this is a conflict which most men have figured to themselves, which many men of ardent mind are in some degree constantly waging. To make it, in this simple form, the subject of a drama, seems to be a thought of Schiller's own; but the praise, though not the merit of his undertaking, considerable rather as performed than projected, has been lessened by a multitude of worthless or noxious imitations. The same primary conception has been tortured into a thousand shapes, and tricked out with a thousand tawdry devices and meretricious ornaments, by the Kotzebues, and other 'intellectual Jacobins,' whose productions have brought what we falsely call the 'German Theatre' into such deserved contempt in England. Some portion of the gall, due only to these inflated, flimsy, and fantastic persons, appears to have acted on certain critics in estimating this play of Schiller's. August Wilhelm Schlegel speaks slightingly of the work: he says, 'it will hardly move us by its tone of overstrained sensibility, but may well afflict us by the painful impressions which it leaves.' Our own experience has been different from that of Schlegel. In the characters of Louisa and Ferdinand Walter we discovered little overstraining; their sensibility we did not reckon very criminal; seeing it united with a clearness of judgment, chastened by a purity of heart, and controlled by a force of virtuous resolution, in full proportion with itself. We rather admired the genius of the poet, which could elevate a poor music-master's daughter to the dignity of a heroine; could represent, without wounding our sense of propriety, the affection of two noble beings, created for each other by nature, and divided by rank; we sympathised in their sentiments enough to feel a proper interest in their fate, and see in them, what the author meant we should see, two pure and lofty minds involved in the meshes of vulgar