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illusions which the progress of reason is fast driving from the earth; as if its pageantry, and allegories, and figurative shadowing-forth of things, might supply men's nature with much of that quickening nourishment which we once derived from the superstitions and mythologies of darker ages. Viewing the matter in this light, they proceed in the management of it with all due earnestness. Hence their minute and painful investigations of the origin of dramatic emotion, of its various kinds and degrees; their subdivisions of romantic and heroic and romantico-heroic, and the other endless jargon that encumbers their critical writings. The zeal of the people corresponds with that of their instructors. The want of more important public interests naturally contributes still farther to the prominence of this, the discussion of which is not forbidden, or sure to be without effect. Literature attracts nearly all the powerful thought that circulates in Germany; and the theatre is the great nucleus of German literature.

      It was to be expected that Schiller would participate in a feeling so universal, and so accordant with his own wishes and prospects. The theatre of Mannheim was at that period one of the best in Germany; he felt proud of the share which he had in conducting it, and exerted himself with his usual alacrity in promoting its various objects. Connected with the duties of his office, was the more personal duty of improving his own faculties, and extending his knowledge of the art which he had engaged to cultivate. He read much, and studied more. The perusal of Corneille, Racine, Voltaire, and the other French classics, could not be without advantage to one whose exuberance of power, and defect of taste, were the only faults he had ever been reproached with; and the sounder ideas thus acquired, he was constantly busy in exemplifying by attempts of his own. His projected translations from Shakspeare and the French were postponed for the present: indeed, except in the instance of Macbeth, they were never finished: his Conradin von Schwaben, and a second part of the Robbers, were likewise abandoned: but a number of minor undertakings sufficiently evinced his diligence: and Don Carlos, which he had now seriously commenced, was occupying all his poetical faculties.

      Another matter he had much at heart was the setting forth of a periodical work, devoted to the concerns of the stage. In this enterprise, Schiller had expected the patronage and coöperation of the German Society, of which he was a member. It did not strike him that any other motive than a genuine love of art, and zeal for its advancement, could have induced men to join such a body. But the zeal of the German Society was more according to knowledge than that of their new associate: they listened with approving ear to his vivid representations, and wide-spreading projects, but declined taking any part in the execution of them. Dalberg alone seemed willing to support him. Mortified, but not disheartened by their coldness, Schiller reckoned up his means of succeeding without them. The plan of his work was contracted within narrower limits; he determined to commence it on his own resources. After much delay, the first number of the Rheinische Thalia, enriched by three acts of Don Carlos, appeared in 1785. It was continued, with one short interruption, till 1794. The main purpose of the work being the furtherance of dramatic art, and the extension and improvement of the public taste for such entertainments, its chief contents are easy to be guessed at; theatrical criticisms, essays on the nature of the stage, its history in various countries, its moral and intellectual effects, and the best methods of producing them. A part of the publication was open to poetry and miscellaneous discussion.

      Meditating so many subjects so assiduously, Schiller knew not what it was to be unemployed. Yet the task of composing dramatic varieties, of training players, and deliberating in the theatrical senate, or even of expressing philosophically his opinions on these points, could not wholly occupy such a mind as his. There were times when, notwithstanding his own prior habits, and all the vaunting of dramaturgists, he felt that their scenic glories were but an empty show, a lying refuge, where there was no abiding rest for the soul. His eager spirit turned away from their paltry world of pasteboard, to dwell among the deep and serious interests of the living world of men. The Thalia, besides its dramatic speculations and performances, contains several of his poems, which indicate that his attention, though officially directed elsewhither, was alive to all the common concerns of humanity; that he looked on life not more as a writer than as a man. The Laura, whom he celebrates, was not a vision of the mind; but a living fair one, whom he saw daily, and loved in the secrecy of his heart. His Gruppe aus dem Tartarus (Group from Tartarus), his Kindesmörderinn (Infanticide), are products of a mind brooding over dark and mysterious things. While improving in the art of poetry, in the capability of uttering his thoughts in the form best adapted to express them, he was likewise improving in the more valuable art of thought itself; and applying it not only to the business of the imagination, but also to those profound and solemn inquiries, which every reasonable mortal is called to engage with.

      In particular, the Philosophische Briefe, written about this period, exhibits Schiller in a new, and to us more interesting point of view. Julius and Raphael are the emblems of his own fears and his own hopes; their Philosophic Letters unfold to us many a gloomy conflict that had passed in the secret chambers of their author's soul. Sceptical doubts on the most important of all subjects were natural to such an understanding as Schiller's; but his heart was not of a temper to rest satisfied with doubts; or to draw a sorry compensation for them from the pride of superior acuteness, or the vulgar pleasure of producing an effect on others by assailing their dearest and holiest persuasions. With him the question about the essence of our being was not a subject for shallow speculation, charitably named scientific; still less for vain jangling and polemical victories: it was a fearful mystery, which it concerned all the deepest sympathies and most sublime anticipations of his mind to have explained. It is no idle curiosity, but the shuddering voice of nature that asks: 'If our happiness depend on the harmonious play of the sensorium; if our conviction may waver with the beating of the pulse?' What Schiller's ultimate opinions on these points were, we are nowhere specially informed. That his heart was orthodox, that the whole universe was for him a temple, in which he offered up the continual sacrifice of devout adoration, his works and life bear noble testimony; yet, here and there, his fairest visions seem as if suddenly sicklied over with a pale cast of doubt; a withering shadow seems to flit across his soul, and chill it in his loftiest moods. The dark condition of the man who longs to believe and longs in vain, he can represent with a verisimilitude and touching beauty, which shows it to have been familiar to himself. Apart from their ingenuity, there is a certain severe pathos in some of these passages, which affects us with a peculiar emotion. The hero of another work is made to express himself in these terms:

      'What went before and what will follow me, I regard as two black impenetrable curtains, which hang down at the two extremities of human life, and which no living man has yet drawn aside. Many hundreds of generations have already stood before them with their torches, guessing anxiously what lies behind. On the curtain of Futurity, many see their own shadows, the forms of their passions enlarged and put in motion; they shrink in terror at this image of themselves. Poets, philosophers, and founders of states, have painted this curtain with their dreams, more smiling or more dark, as the sky above them was cheerful or gloomy; and their pictures deceive the eye when viewed from a distance. Many jugglers too make profit of this our universal curiosity: by their strange mummeries, they have set the outstretched fancy in amazement. A deep silence reigns behind this curtain; no one once within it will answer those he has left without; all you can hear is a hollow echo of your question, as if you shouted into a chasm. To the other side of this curtain we are all bound: men grasp hold of it as they pass, trembling, uncertain who may stand within it to receive them, quid sit id quod tantum morituri vident. Some unbelieving people there have been, who have asserted that this curtain did but make a mockery of men, and that nothing could be seen because nothing was behind it: but to convince these people, the rest have seized them, and hastily pushed them in.'11

      The Philosophic Letters paint the struggles of an ardent, enthusiastic, inquisitive spirit to deliver itself from the harassing uncertainties, to penetrate the dread obscurity, which overhangs the lot of man. The first faint scruples of the Doubter are settled by the maxim: 'Believe nothing but thy own reason; there is nothing holier than truth.' But Reason, employed in such an inquiry, can do but half the work: she is like the Conjuror that has pronounced the spell of invocation, but has forgot the counter-word; spectres and shadowy forms come crowding at his summons; in endless multitudes they press and hover round his magic circle,

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