The admirers of Schiller, who have abstracted their idea of that author from the Robbers, and the Cabal and Love plays, in which the main interest is produced by the excitement of curiosity, and in which the curiosity is excited by terrible and extraordinary incident, will not have perused, without some portion of disappointment, the dramas which it has been my employment to translate. They should, however, reflect, that these are historical dramas, taken from a popular German history; that we must therefore judge of them in some measure with the feelings of Germans, or by analogy with the interest excited in us by similar dramas in our own language. Few, I trust, would be rash or ignorant enough, to compare Schiller with Shakspeare, yet, merely as illustration, I would say, that we should proceed to the perusal of Wallenstein, not from Lear or Othello, but from Richard the Second, or the three parts of Henry the Sixth. We scarcely expect rapidity in an historical drama; and many prolix speeches are pardoned from characters, whose names and actions have formed the most amusing tales of our early life. On the other hand, there exist in these plays more individual beauties, more passages the excellence of which will bear reflection than in the former productions of Schiller. The description of the Astrological Tower, and the reflections of the young lover, which follow it, form in the original a fine poem, and my translation must have been wretched indeed, if it can have wholly overclouded the beauties of the scene in the first act of the first play, between Questenberg, Max. and Octavio Piccolomini.