tragedies of Calderon, in which love, honour, and similar virtues are respectively to the rights and obligations in which they involve the characters of the action, treated as so many unyielding laws of independent force with all the stringency of a code. We find also frequently much the same thing assumed in Schiller's tragic characters, though the point of view is no doubt wholly different, at least to the extent that such individuals conceive and combat for their ends with the assumption they are universal and absolutely valid human rights. So in the early play of "Kabale und Liebe" Major Ferdinand seeks to defend the rights of Nature against the conveniences of fashionable society, and, above all, claims of the Marquis Posa freedom of thought as an inalienable possession of humanity. Generally speaking, however, in modern tragedy it is not the substantive content of its object in the interest of which men act, and which is maintained as the stimulus of their passion; rather it is the inner experience of their heart and individual emotion, or the particular qualities of their personality, which insist on satisfaction. For even in the examples already referred to we find that to a real extent in those heroes of Spanish honour and love the content of their ultimate ends is so essentially of a personal character that the rights and obligations deducible from the same are able to fuse in direct concurrence with the individual desires of the heart, and to a large extent, too, in the youthful works of Schiller this continual insistence upon Nature, rights of man, and a converted world somewhat savours of the excess of a wholly personal enthusiasm. And if it came about that Schiller in later years endeavoured to enforce a more mature type of pathos, this was simply due to the fact that it was his main idea to restore once again in modern dramatic art the principle of ancient tragedy.