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On one point, nevertheless, there is very general agreement: namely, that the diction of the choruses is magnificent in its kind. Nothing finer in German poetry anywhere. From the outset critical discussion of 'The Bride of Messina' has turned mainly upon its antique elements, that is, upon its chorus and its treatment of the fate-idea.
In employing the fate-idea for dramatic purposes the Greek poet had, in the first place, the great advantage of a definite mythological tradition which was known to everybody. In the second place, he wrote for people who still believed in oracles and received them seriously as credible manifestations of divine foreknowledge.
The truth would seem to be that the fate-idea, while of course it must be taken into consideration in any careful estimate of 'The Bride of Messina', has been made a little too prominent by many of the critics. What the spectator sees, says one writer who is in the main an admirable expounder of Schiller, is "gigantic Fate striding over the stage.
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