This prelude possesses a sort of broad humor, and is not deficient in
character: but to have translated it into prose, or into any other metre
than that of the original, would have given a false idea both of its
style and purport; to have translated it into the same metre would have
been incompatible with a faithful adherence to the sense of the German
from the comparative poverty of our language in rhymes; and it would have
been unadvisable, from the incongruity of those lax verses with the
present taste of the English public. Schiller's intention seems to have
been merely to have prepared his reader for the tragedies by a lively
picture of laxity of discipline and the mutinous dispositions of
Wallenstein's soldiery. It is not necessary as a preliminary
explanation. For these reasons it has been thought expedient not to
translate it.

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 II., or the three parts of Henry
VI. We scarcely expect rapidity in an historical drama; and many prolix
speeches are pardoned from characters whose names and actions have formed