WILHELM TELL. Schiller's lar play, if not his best, is 'William T ' of which more copies have been sold than any other German work of literature. During the years 1899 to 1905 a yearly average of 232 stage performances in German lands was maintained, a record equalled by no other Ger man drama. Many critics condemn its struc ture, others find Tell's slaying of the tyrant Gessler from ambush morally indefensible; but it has become the national poem of the Swiss people. Read and seen on the stage in Ger many's dark days it inspired the revolt against the despotism of the great Napoleon. and again in 1848 and later in 1870 its powerful influence was felt and the Riitli oath became the motto of the new empire. On the 100th anniversary of Schiller's birth in 1859 the Wrkantone' dedicated the immense Mytenstein near the Rutli "To Schiller, Telrs Singer.* Although every child knows the story of Tell's appleshot, it is not Tell but the Swiss people who are the heroes of the drama, or more exactly the three forest cantons Schwyz. Uri and Unterwalden, who by their historical defeat of the forces of the duke of Austria at Morgarten in 1315 and by later victories made themselves independent of the House of Habs burg while remaining in the empire down to the Thirty Years' War. Still, the drama is built about the Tell legend, for history knows no Tell, nor any tyrannical Gessler, nor was there any revolt against Kaiser Albrecht. as in the drama, which follows the chronicle of cEgidius Tschudi (1505-72). The legend. it
self, most probably came we know not bow. from the Dane Saxo Granunaticus, who wrote in the 12th century, but long before Goethe's visit to the Forest Cantons in 1797, it had been accepted by the Swiss as fact. Goethe had wished to treat the subject in an epic, but resigned it to Schiller for dramatic inseam. helping him with all his data and knowledge of Swiss customs, topography and local color. for Schiller never saw Switzerland. It was finished and first produced in March 1804, and rapidly made its way over delighted Germany, but was not tolerated in Vienna till 1827.
In their revolt against Habsburg tyrant". representatives of the three original maims met on the Ruth and swore their 'desire to be a united people of brothers, to be separated in no trial and danger; to be free as their fathers were; to suffer death rather than live in servitude; to trust in God on high and not to fear the power of men.' Hence Schiller carried three parallel plots, of which Tell, the and the nobles were the protagonists, yeomanry all blend into one compact whole. leading from a common revolt against tyranny to common SUCCefii.
The noble blank verse, the occasional lyrics and the striking scenery conspire to make a drama of irresistible charm, such that amateur actors give the play twice a week during the summer at Altori to never-diminishing audi