to Ferdinand's similar entreaty: 'And be followed by your father's
curse! A curse, thoughtless man, which even murderers never utter in
vain, and which like a ghost would pursue us fugitives mercilessly from
sea to sea.'

In the sentimental novel 'Siegwart', the heroine, Therese, loves a young
squire, not for his blue blood, but for the nobility of his heart. Like
Louise she renounces her love for this life, and bids him farewell. In
writing to him she describes a scene between her father and his:

Your father came dashing into our yard with two huntsmen. 'Are you
the ----?' he called up to me. 'Is that Siegwart? He's a scoundrel,
if he knows it. He wants to seduce my son. And this, I suppose, is
the nice creature (here he turned to me again) who has made a fool
of him. A nice little animal, by my soul!'... My father, who can
show heat when he is provoked, told him to stop calling such names;
that he was a decent man and I a decent girl.

Here we seem to have the suggestion of the stirring scene in which the
irate old fiddler threatens to throw President von Walter out of doors
for insulting Louise.

It would be very easy to give further examples of Schiller's talent for
taking what suited his purpose, but such philology is not very
profitable. After all, what one wishes to know is not where the
architect got his materials, but what he made of them. And what he made
was a play abounding in admirable scenes, but ending in a rather
unsatisfactory manner. With even less violence to the inner logic of the
piece than was necessary in the case of 'Fiesco', 'Cabal and Love' might
have been given a happy ending. The whole tragedy hangs by a thread in