the Bavarian Hiesel, became the subject of an idealizing saga in which
we recognize the essential features of Karl Moor.[23]

Schiller's main fiction was thus, in a sense, warranted by the facts;
and it gains further in artistic plausibility when we consider that the
idealized bandit was already a familiar type in literature. The author
of 'The Robbers' was acquainted with Robin Hood, and he had probably
read 'The Two Gentlemen of Verona', in which the banished Valentine
becomes the captain of a band of outlaws on condition that they "do no
outrages on silly women or poor passengers", and the outlaws reply that
they "detest such vile, base practices."[24] He had also read, in 'Don
Quixote', of the high-toned robber, Roque Guinart, who had more of
compassion, in his nature than cruelty. Cervantes makes Roque comment
thus upon his mode of life: "Injuries which I could not brook and thirst
for revenge first led me into it contrary to my nature; for the savage
asperity of my present behavior is a disgrace to my heart, which is
gentle and humane." At the end of the episode Roque sends his captives
away "admiring his generosity, his gallantry, and his extraordinary
conduct, and looking upon him rather as an Alexander the Great than as a
notorious robber."[25] Here was a sufficient hint for a criminal in the
grand style, who should imagine himself the spiritual congener of
Plutarch's heroes.

'A singular Don Quixote whom we abominate and love, admire and
pity',--such was Schiller's own formula for his first dramatic hero.
From the standpoint of ordinary logic it must be admitted that Moor's
motive for becoming a robber (the lying letter that he receives from
Franz) is quite insufficient. He is duped too easily and should have
known his brother better. He is too ready to give up everything dear to
him, including the dear Amalia. 'I have no sweetheart any more', is a