ore the entire body of generals that
he wishes by a voluntary death to glorify the code of war, which he had
criminally violated in the sight of the whole army, and that the only
favor he asks of the Elector, to whose just sentence he bows
unconditionally, is that he will not try, on behalf of the King of
Sweden, to force Nathalie's inclinations. This is granted him and he
returns to prison, which he leaves immediately after, to start, with
bandaged eyes, on the way which he perforce must think his last, and in
the moment when he expects the end he deservedly receives from the hands
of the Elector his life, his freedom, and his love.

Of course the romantic accessories of the first act have an
unsatisfactory sequel in the last, as the poet here too feels obliged
to take a roundabout road instead of the direct one. But we surely do
not need to prove thus late that the fault is quite as immaterial here
as there.

It is without doubt obvious to every one that in this drama the
evolution of an important man is presented with absolute directness, in
a way in which it is done nowhere else; that we gaze into the
characteristic medley of rough forces and wild impulses which as a rule
are the original ingredients of such a man, and that we accompany him
from the lowest stage up to the zenith, where the unrestrained roving
comet, that in its disorderliness was exposed to the danger of
self-destruction, is transformed into a clear self-dependent fixed star.
Do we need any other proof that the work is capable of producing a most
unprecedented effect? Even though it gave us nothing but the deep
psychological unfolding of this evolution, such an effect would perforce
be produced, for our dramatic authors, on general principles, seldom
give us opportunity to become acquainted with more than the outside skin
of the man, which, to be sure, is the same for Napoleon as for his most
insignificant corporal. In exceptional cases when they allow us a
glimpse into the heart and reins, they expect us to take a narrow
interest in a peculiarly organized individual, and are wanting in every
kind of background. However the psychological side in our drama is, with
extraordinary art, reduced to a mere substratum, out of which an
entirely new figure of tragedy develops, which combines in a wonderful
fashion the deepest tragic shudder with the gentle transports of a hope
that is not extinguished even in the blackest night. We are reminded of
a smilin