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From this the transition to more measured strophes, either in ottave rime, or in direct lyrical metres, would be easy. Rhyme, and the connexion which it forms, have nothing in them inconsistent with the essence of dramatic dialogue, and the objection to change of measure in the drama rests merely on a chilling idea of regularity.
Hence towards the beginning of the sixteenth century they adapted the more comprehensive forms of Italian poetry, Ottave Terzine, Canzoni, Sonetti; and the Castilian language, the proudest daughter of the Latin, was then first enabled to display her whole power in dignity, beautiful boldness, and splendour of imagery.
The project of an epic poem brought Schiller back to his art; he first thought of Gustavus Adolphus, then of Frederick the Great of Prussia, for his hero, and intended to adopt the ottave rime, and in general construction to follow the model of the "Iliad."
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