act like a veritable madman. He had yet to learn the profound wisdom,
for poets as well as actors, of Hamlet's rule to "acquire and beget, in
the whirlwind of passion, a temperance that may give it smoothness."

FOOTNOTES:

[Footnote 42: Schiller refers to the quoted passage in his review of
'The Robbers', Schriften, II, 357. It has not been found in Rousseau's
writings. Sturz drew from unpublished sources.]

[Footnote 43: On the character of De Retz's work, and its relation to
the original of Mascardi, consult the Notes and Introduction by
Chantelauze in Vol. V of the 'Grands Ecrivains' edition of De Retz,
p. 473 ff.]

[Footnote 44: It was evident, that is, to Schiller. In the dedication of
'Fiesco' to Professor Abel he wrote; "Die wahre Katastrophe des
Komplotts, worin der Graf durch einen ungluecklichen Zufall am Ziel
seiner Wuensche zu Grunde geht, muszte durchaus veraendert werden, denn
die Natur des Dramas duldet den Finger des Ungefaehrs oder der
unmittelbaren Vorsehung nicht."]

[Footnote 45: H. H. Boyesen, in his biography of Schiller, Chapter III.]

[Footnote 46: "Schillers Dramen," Berlin, 1898, I, III ff. Bellermann,
who defends through thick and thin the unity and consistency of the
original 'Fiesco', thinks that it is from first to last a tragedy of
vaulting ambition,--not a political play at all, but a character
play,--and that no other idea ever entered Schiller's mind. But his
argument is anything but convincing and he carefully refrains from all