mystifications were not altogether free from the element of
calculating humbug. Schiller knew full well that to be castigated in
public would not be a bad thing for his budding reputation; and so, as
no one else came forward to do the slashing, he did it himself. It is
amusing to read that a Frankfurt correspondent was so pained by the
review of 'The Robbers' that he sent in a defence of the piece and was
greatly surprised to learn that reviewer and author were one and the
same person.

These contributions to the _Repertory_ appeared in the first two
numbers; before the third came out Schiller had turned his back for good
and all upon his native Wuerttemberg. Ever since that first visit to
Mannheim he had felt drawn to the 'Greek climate of the Palatinate'. On
the 1st of April, 1782, we find him writing to Dalberg that it 'would be
untrue were he to deny his growing inclination for the drama'. The
letter goes on to say that he was then expecting to be very much
occupied, for several months, with medical studies; but he hoped to
finish a new play, 'Fiesco', by the end of the year. Toward the end of
May, taking advantage of the absence of the duke, he visited Mannheim
again and saw a second representation of 'The Robbers'. Through the
indiscreet gossip of the friends who accompanied him, the duke got wind
of this unauthorized journey, ordered 'the deserter' under arrest for
two weeks, and forbade him all further intercourse with foreign parts.

Schiller made use of his enforced leisure to work upon 'Fiesco', and to
plan a third drama, 'Louise Miller', which promised a chance of revenge
upon the petty tyrant who sought to own him body and soul. After serving
his time in the guard-house he wrote an urgent appeal to Dalberg, to
rescue him from his intolerable situation by giving him employment at
Mannheim. But Dalberg, a fearsome and politic creature, had no mind to