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'They are going to separate us, she exclaims, as if she herself had no voice in the matter, when really her own timidity is the great obstacle. She is no Gretchen, or Claerchen, ready to give all for love's sake and Jump the consequences; still less is she a bourgeois Juliet, prepared to brave a family tempest provided only that her Romeo's bent be honorable, his purpose marriage.
The dramatist has a right to pervert facts for the purpose of exciting sympathy for his hero; but in this case, Schiller argued, the effect is to degrade the character of Egmont and thus to alienate sympathy. Finally the review took exception to Egmont's vision of Freedom In the form of Claerchen; this, Schiller thought, was a deplorable plunge into opera at the end of a serious drama.
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