Humbrecht comes to woo Evchen, just as Schiller's Wurm comes to woo
Louise, and we hear that the girl's head has been turned by reading
novels. Just so Louise, whose father can scarcely find words to express
his detestation of the young baron's infernal, belletristic poison. When
Wurm arrives at Miller's and asks for Louise, he is informed that she
has just gone to church. 'Glad of that, glad of that', he replies, 'I
shall have in her a pious Christian wife'. Here is a reminiscence of the
scene in which Lessing's Count Appiani exclaims, on hearing that Emilia
has just been at church: 'That is right; I shall have in you a pious
wife'. The devout heroine was a hardly less hackneyed figure in the
dramatic literature of the time than the blustering father of whom
Goethe complained.[53] In Schiller's Louise we have the religious
sentiment sublimated into something quite too seraphic for human
nature's daily food. Her high-keyed sense of duty to God, her natural
filial piety and her superstitious reverence for the social order,
combine to produce in her a curious distraction which is the real source
of the tragic conflict. She feels that her love is holy but that
marriage would be sinful; and so she hesitates, responds to her lover's
ardor with tremblings and solicitudes, knows not what to do, does the
foolish thing and atones tragically for her weakness.

Not before Schiller's time had this conflict between love and filial
duty been so powerfully depicted, but it is found in Wagner's 'Remorse
after the Deed' (1775), wherein a coachman's daughter, Friederike Walz,
is loved by the aristocratic Langen, who is opposed by his mother.
Langen goes to his sweetheart, all courage and resolution. He is
prepared, like Leisewitz's Julius, to defy his kin, renounce the lures
of his rank and flee to the ends of the earth with 'Rikchen'. To which
she replies: 'Langen, you are terrible. To marry with the curse of
parents is to make one's whole posterity miserable'. So Louise replies