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    Juliet , ' have in reality no connexion -with the nation , are their artistic productions to toe compared ¦ with ours ? Are their actors more celebrated than our Ekhof , Schroder , Fleck , and Devrierit ? The stage alone , has not the power to create a nation , but its co-operation cannot be valued too highly , nor its influence in penetrating oh every side into the souls of the people . In many momentous points , the German stage offers in- its past history , a most admirable example . Even with the talents displayed in the ' Forty Years , ' much more might be accomplished , if Schiller ' s idea were steadily and unremittingly striven after , instead of being wasted in one-sided theories , or on frivolities . "

    The relation of the stage with the nationality of a people would prove a fruitful subject were the argument to be , as it might be , thoroughly worked . The Mannheim theatrical board saw , however , but a short , a very short way into this relation , and Schiller proposed an Ideal which they were never prepared to realise . In fact , the record of the poet ' s life is that of a complete struggle with the theatrical powers , and . a perpetual conflict ¦ with managerial incompetency . Each piece was retarded by doubt and delay , as if the author were yet untried . Nay , he seems to have had less trouble with " The Robbers" than with

    " Fiesco" or " Don Carlos . " Tet , perhaps , Schiller was well situated in regard to the stage , which -was then in its infancy , and more plastic than it has been since . In a more advanced period of its development lie would have found it almost impossible to have planted the poetic drama on the boards , as is now the case in England . Drama in Germany had its peculiar development . Shakspeare predominated in the highest minds ; but , strange to say , the doubtful plays of our great poet had at least as much , influence as his acknowledged performances . " Arden of Feversham" had as much influence as " Romeo , " " Coriolanus i" " Hamlet , " " Lear . " The example of Lillo was most potent . Even as it was ,

    Schiller himself was early smitten with the _ mania , and , in his ' VCabal and Love , " showed what he could do in the manner of these apocryphal models . In a word , in Germany , as in all other countries , drama had a tendency to gravitate towards the domestic . In Germany there were also special reasons for the tendency . From the want of a definite jurisdiction , the oppression which the higher classes exercised over the middle ones was only too palpable , The drama , therefore , naturally represented the interests of the middle classes . Lessing and Schiller endeavoured to elevate the relative subjects by artistic treatment . Such was the natural course of the stage under the given circumstances . .

    At a later period of his career we have to consider Schiller in his relations with Goethe , and and particularly in regard to the all-famous "Xenien . " The reader will find particulars in Palleske ' s work . The friendship of the poet , as lovely as that of David and Jonathan , is beautifully painted . This portion of the work will give unalloyed pleasure to the intelligent reader . The reflections made by the present biographer

    on " Wallenstein " and on Tieck s ' suggestion , that { Schiller should have written a cyclus of such dramas , describing the guilt of the . Emperor , the intrigues of the Jesuits , the unmitigated hatred existing between the Lutherans and t-ho ^ Reformed , and the employment of Wallenstein in services which were criminal , servo- to -show us still more intensely th&n ever the marvellous nature of the Shakespearian historical dramas , to which "Richard HI , " serves as the keystone- ' — " the dia torted offspring and scourge or a barbarous race and their bloody deeds . " Schiller meditated the subject for

    seven yews . <• Was thia a less tender friendship for his hero than he bad experienced in former dayu for Don Carlos when at Bauerbach ? Assuredly not ; and flo surely as Shakapeare cherished his Richard , with no lees love in hjis groat heart tha . n the fascinating Borneo , just as surely did Schiller , from the same Impulse , incessantly strive to Inspire the spectators with his own interest in his hero . Ho repeatedly analysed the character . A realist like Wallonstein seemed unsuitable for tragedy , but in this character Schiller in truth loved the realist Goethe . Ho thoroughly scanned Wallenstein ' e passions . Ambition and , revenge tiro « old and . ropulaivo influences , for they are entirely egotistical . Even jealousy is not BQ . repulsivo an egotist as rovonge , for it is kindled withe flamo of love , " Wo now dismiss the reader to a book which will

    prove in all respects satisfactory , whether as biography or criticism . It is excellently translated by Lady Wallace , and worthily dedicated to the Queen .

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    BUNYAN'S PILGRIM'S PROGRESS . With Illustrations by Charles Uonnett , and a Preface by the Rev . Charles Kingsley . —Liqugrman , Green , Longman , aiid Roberts . The illustrations of this work' are numerous , consisting , however , riot of scenes but of characterheads , which are in most instances admirably significant . For this peculiarity Mr . Kingsley has given his reasons in the preface . Bunyan ' s men , he tells us , are not merely life-portraits but English portraits- —men of the solid , practical * unimpassioned , Midland race . Mysticism was unknown to Bunyan ; he is wholly Midland English ; and as

    the character of Midland men has undergone little change since his time , the truest types of his creations are still to be looked for in the country where he wrote . Mr . Bennett has , therefore , chosen the manner of Duref and Holbein rather than of more classical models . The nude is altogether excluded . But there is another reason for the method of illustration adopted . Landscape painting would have been improper . . No pictures of scenery appear to have presented themselves to Bunyan ' s mind , such as the general illustrator would delight

    in . Mr . Kingsley detects no " word-painting in Bunyan ' s descriptions . Born and bred in the monotonous Midland , he has no natural images beyond the pastures and brooks , the towns and country houses which he saw about him . He is as thoroughly " naturalist" in them as in his characters ; but when he requires images of a grander kind he goes to Scripture for them ; and his " Delectable Mountains" — " beautiful with woods , vineyards , fruits of all kinds , flowers also " - —are merely formed from the common repertory of the Puritans , without individuality of any kind .

    Such is Mr . Kmgsley ' s statement of the limitations of the Bunyan mind . ^ Ve think he has overmuch narrowed them ; nevertheless , tlier * e can be no doubt that Bunyan dealt with man rather than with nature . Though not a mystical , he was decidedly a subjective writer . Mr . Kingsley is therefore correct in saying that in his Valley of the Shadow of Death , Bunyan " describes , not objectively , for the sake of the grand and terrible , but subjectively for the sake of the man who passes through it , naming merely , and that without an epithet , all its satyrs and hobgoblins , snares , sins , and pitfalls . " In Mr . Kingsley ' opinion , " the same insensibility to the beautiful and awful in nature , which is noticeable in the early Christians , the mediaeval monks , and perhaps in all persons under strong religious excitement , " pertains also to honest John Bunyan , converted from blackguardism to Puritanism . " Where , " he adds , "the unseen world is all in all , the visible world is only im p ortant in as far as it bears n on the soul within . " In all this , aa we have said , Mr . Kingsley has , in our opinion , taken too contracted a view , . and sacrificed much to a favourite theory . Bunyan , certainly , was not a Spenser ; nevertheless , he was a poet , and frequently the verses that he scatters up and down his book are musical and sweet . We should be sorry , therefore , that landscape sceneiT should be altogether ignored in all Bunyan ' s illustrations ; but we admit that a certain conventional severity is proper , and should in any future attempt be observed . Wo could have wished that Mr . Bennett had allowed ' himaelf larger range and scope ; but what he has done he has done hnely and well .

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    AGAINST WIND AND rri ) B . liy Holmo Loo , nuthor of " Sylvan Holt ' s Dnughtor , " " KutUo Brando , " &o . &c—Smith , Eldor , and Co . If " Against Wind aud Tide " does not become a $ popular as '' Sylvan Holt's Daughter , " it will not be that it is a less able work of fiction , but because the writer has boon less fortunate in the choice of her subject . There is no such angolic character in this work as Margaret Holt ; the characters are far less pleasant personages to read about , and perhaps for this reason are more true to nature . An outline of the book will give the reader a pretty good idea of its merit . It appeal's that , nhdrtly before the time tho history ooinmonces , Sir Philip Nugent ' s yacht was wrecked oh the coast of Chinelyn , and some lives were lost , but Sir Philip reached the shore , though much bruised and exhausted . He was taken to the 'I

    house of one Simon Hawthorne , under the care of whose only daughter , Mary-he soon recovered but not until he had fallen in love with his nurse ' Simon , proud of the idea of his daughter becoming a titled lady , makes no objection to the marriage " which shortly after takes place , " -piivately , " ° the village church , after which they go direct abroad on the honeymoon trip , and no more is heard of them for a time .

    Some months after , on a bitter cold winter's night , when old Simon is smoking his evening pipe , he hears a knock at his door , and on opening it his daughter falls fainting with exhaustion at his feet . From her he gleans that Sir Philip had been married before he married her , though the marriage had been dissolved soon after it took place , and while he and his first wife were living abroad . This explanation , however did not satisfy poor Mary , who , thinking that those whom God hath put together no man should put asunder , leaves him , and tramps all the way

    back to her father ' s house . In the course of time she becomes the mother of twin children , the difference in whose natures furnish tlie writer with the groundwork of her story . Both the boys bore a great likeness to their father . In character they were very different : Cyrus inherited all the " blood " and haughty bearing of his father , while Robert , on the other hand , was the very counterpart of his mother . Cyrus was his mother ' s favourite , and , indeed , everybody's . Robert , though-a boy of good solid worth and sense , is completely thrown in the background whenever they appeared together . Cyrus was

    what is termed a " high-souled " youth ; his soul revolts at the . idea of becoming a farmer or varnish maker ; he is always talking of what lie intends to do and the position he will win , while Robert , is perfectly content to follow the calling his mother has in view for him . So Cyrus goes to his father , and Robert to the varnish manufactory . Cyrus receives a good education , and writes poetry ; Robert settles down into a steady , hardworking varnish maker . Both , however , have their share of troubles , which brings out most forcibly the contrast in the two characters . Cyrus becomes infatuated with a shallow beauty of fashion , whom his father afterwards wins—not

    knowing his son loved her . Cyrus on leaving goes to Paris , where he lives a life of debauchery , and runa into debt , from which his father three times sets him free . Ho then comes to London , and writes infidel poetry , joins some democrats— - advocates their cause , till one night , being left to write an article in accordance with the principles of the paper upon which he is engaged , he writes instead one advocating the views of the opposition party . From journalism he turns to lecturing on strikes , and uses his education to incite the poor to destroy their masters' property , for which he is sentenced to two years' imprisonment . Thia seems the best thing that could have happened to him , for on getting free he resolves to earn his own living and to refuse any aid from cither father or brother . For a long time his continued ctforts are of no avail , and he sinks into the deepest

    poverty . Soon after Robert was installed at the factox'y he received a visit from Lady Leigh , wh ' o wished to adopt him ; Robert however , politely" though firmly refused . Lady Leigh , it should bo said , had adopted three or four children and got them married oil * well , and at the time she asked Robert to go mid live under her care , she had two girls ., one of whom sho had uit

    settled to her own satisfaction as exactly sable for tho wife of Cyrus , who was then a great favourite with her . In tho course of time , when Cyrus is in Paris , she became the wife of Robert , and a good loving littlo wife sho proved , much to tho old lady ' s annoy unco . Sho did not live to enjoy lior wedded life long , for inheriting from her mother that foil disease , consumption , she died shortly after her marriage . Her charaoter is the most finished of any in tho

    work , and tho early mention that she is consumptive , aud that her health is giving way , is boautifully oonoeived . It is hardly said , yet thu reader feels what tho author moans . Her death wub a great blow to poor Robert , but ho . struggled on manfully , never once thinking that his lot »« harder to bear than that of other people . This gives the writer tho opportunity of showing—wliiou she does most forcibly — the difference between tU J

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    326 THE LEADER , [ Ko . 506 . Dec . 3 , 185 9

• Citation
  • Leader (1850-1860), Dec. 3, 1859, page 1326, in the Nineteenth-Century Serials Edition (2008; 2018) ncse2.kdl.kcl.ac.uk/periodicals/l/issues/vm2-ncseproduct2323/page/18/