In _Don Carlos_ we note the same want of political and historic sense which we had also to note in _Venice Preserved_, especially when we compare both plays with the narratives of Saint-Réal, from which they are taken, and which have high merit; or when we compare Otway's with Schiller's _Don Carlos_, and even with Alfieri's tragedy, _Filippo_, though the extraordinary concentration of the latter admits of little historic detail. Still Alfieri's Philip is as life-like and graphic a study of individuality as that of Saint-Réal, or Schiller; whereas the Philip of Otway makes no pretence to being other than a mere conventional stage-tyrant, violent, and ever in extremes; yet is he a man capable of much tenderness also; for he actually loves the Queen and his son, feelings of which the real Philip was incapable. Philip's jealousy in real life, as in the other two plays, only arises from a fierce sensual greed of personal possession, and from wounded pride. In Otway the king repents, although too late, and becomes reconciled to his wife and son, when he discovers that his jealousy has made him a blind tool in the hands of the enemies of Carlos and the Queen, and that they have not sinned in act. But the real Philip could not have repented. He did not believe them guilty in act. Otway's range is limited, his types are few. He could not draw a cold deliberate villain. As for his politics, they are simply those of an ordinary country clergyman's son. But he died very young, with little experience. The Philip of Schiller and Alfieri is a cold, cruel, ambitious bigot, only capable of simulating natural affection. But in each of the three tragedies the Queen and Don Carlos are powerfully presented. The German play has all the Elizabethan lack of unity. Schiller's own intense and catholic sympathy with human progress and popular aspirations dominates throughout; and while unity of motive--for instance, in the important place given to Posa, friend of Carlos, a magnificent humane ideal--is somewhat lacking, there is more human verisimilitude in his play than in that of Otway, because men and women are usually swayed by complex and manifold impulses. The political part taken by the Queen and Prince in favour of the Flemish rebels had indeed a great deal to do with the King's anger against them. The splendid interview of Posa with the tyrant, and also the Grand Inquisitor's are quite beyond Otway. Philip had wickedly married Elisabeth, who was originally betrothed to his son Carlos, and the conflict of conjugal duty with love is admirably rendered in all the tragedies, although the passion and pathos are perhaps warmest in Otway. This is the sole motive in the English and Italian plays. In Schiller there is a whole era, "the very form and pressure" of a time.