overthrown; these poetical Protestants broke away entirely from the yoke
of tradition. Yet their genius was not without a rule. Every work bears
in itself the organic laws of its development. Thus, although they laugh
at the famous precept of the three unities, it is because they dig still
deeper down to the root of things, to grasp the true principle from which
the precept issued. "Men have not understood," said Goethe, "the basis
of this law. The law of the comprehensive--'das Fassliche'--is the
principle; and the three unities have only value as far as they attain
it. When they become an obstacle to the comprehension it is madness to
wish to observe them. The Greeks themselves, from whom the rule is
derived, did not always follow it. In the 'Phaeton' of Euripides, and in
other pieces, there was change, place; accordingly they prefer to give a
perfect exposition of their subject, rather than blindly respect a law
never very essential in itself. The pieces of Shakspeare violate in the
highest degree the unity of time and of place; but they are full of
comprehensiveness; nothing is easier to grasp, and for that reason they
would have found favor with the Greeks. The French poets tried to obey
exactly the law of the three unities; but they violate the law of
comprehensiveness, as they do not expound dramatic subjects by dramas but
by recitals."

Poetical creation was therefore viewed as free, but at the same time
responsible. Immediately, as if fecundity were the reward of
correctness, the German theatre became filled with true and living
characters. The stage widens under their steps that they may have room
to move. History with its great proportions and its terrible lessons, is
now able to take place on the stage. The whole Thirty Years' War passes
before us in "Wallenstein." We hear the tumult of camps, the disorder of
a fanatical and undisciplined army, peasants, recruits, sutlers,
soldiers. The illusion is complete, and enthusiasm breaks out among the