characteristic expression at the last. Goethe died with a struggling cry for "More light." Schiller passed away with these memorable words upon his lips, "Calmer and calmer: many things are now growing clear and plain to me."

Schiller may stand as the highest outcome of German culture, and may be said to represent in the successive phases of his intellectual development the whole of thinking Germany. His greatest faculty may be characterized as a half-poetical, half-philosophical imagination. In the many gradual stages of his mind-growth, perhaps the most striking feature is the influence exercised upon him by the study of Kant's philosophy, a system of ethics based on the cultivation of self-knowledge.

Schiller's first complete drama, written when he was barely 18, was THE ROBBERS, a wild stormy unnatural play containing a vehement and unreasoning protest against the whole fabric of modern society, which the hero, Karl Moor, regards as altogether false and hollow. In spite of its many faults-Schiller himself spoke of it as an example of the offspring which Genius in its unnatural union with Thraldom may give to the world-it will ever remain a singular monument of the early genius and early fortune of its author. Close upon this followed FIESCO, a republican story of Genoese conspiracy under the Dorias and KABALE UND LIEBE, a powerful protest against the class-distinctions which estrange man from man and disband society: the latter is perhaps the finest type of the tragedy of domestic life.

During his stay at the Court of Karl August, Duke of Weimar, the friend of Goethe, he wrote the remarkable novellistic fragment THE GHOST-SEER and completed DON CARLOS, the first of his plays that bears the stamp of anything like full maturity of his powers and an embodiment of the noblest thought and of the purest moral sentiment. It is in every sense a noble tragedy. As a masterly picture of the struggle (against Philip II, of Spain) of the Flemish Provinces for political and religious freedom DON CARLOS may fairly take its place in the same rank as Goethe's grand tragedy

EGMONT, which deals with the same period. His Philip may match with Alfieri's and is a picture of unequalled power: Don Carlos himself is the beau ideal of youth and its generous aspirations. The skilful manner in which the political complications between Spain and the Netherlands are shadowed forth betrays the masterhand and anticipates the keen insight into character which was afterwards to win Schiller such a distinguished rank among modern historians. The stately massiveness of structure, the keen and vivid conception of character mark the composition of DON CARLOS as an era in his intellectual growth. In his two later historical works, THE THIRTY YEARS' WAR and the REVOLT OF THE NETHERLANDS, we have passages of description, which recall the massive and splendid eloquence of Burke with the power of character painting of a Thiers or Macaulay.

To his intellectual union with Goethe we owe some of his finest ballads, the Fight with the Dragon, the Hostage, the Cranes of Ibycus, and the Lay of the Bell, the crown of didactic poetry. Schiller's next great work was the trilogy of WALLENSTEIN, the grandest of his dramatic works, and in the judgment of Macaulay the greatest literary production of the 18th century. The Wallenstein trilogy may indeed be compared-longo sed intervallo—with the Oresteia of Eschylus, of whose wild rugged grandeur, Schiller in many of his finest passages often reminds us. The subject is the military conspiracy of Wallenstein and his subsequent assassination, an incident of the Thirty Years' War. The last play of the trilogy ("Wallenstein's Death") is surpassed in dramatic effect only by the sublime conclusion of Othello.

His next work was MARY STUART, a brilliant and somewhat meretricious play-idealistic rather than historical—which unduly heightens the character of Mary, and in which Schiller has been accused of having sacrificed historic truth to dramatic effect. In the MAID OF ORLEANS, which has been called the apotheosis of purity of mind strengthened by religious belief, Schiller has followed the pure and lofty ideal of the lowly shepherdess of Domrémi who rose

to a station in the van of armies, and at the right hand of kings, as sketched by De Quincey and Southey, rather than the grosser conception of her character we find in Shakespeare and Voltaire. A striking parallel might be made between Joan of Arc and Iphigeneia, as exemplifying the triumph of Mind over Fate. Joan of Arc, says Carlyle, among all Schiller's plays is the one which evinces most of that quality denominated genius in the strictest sense of the word. Wallenstein embodies more thought, more knowledge, more conception; but it is only in parts illuminated by that ethereal brightness which shines over every part of this.

In the BRIDE OF MESSINA we have a successful echo of Greek song, a play bearing the stamp of antique tragedy, with a chorus and the idea of fatalism which runs through so much of the Greek Drama. His last great work was the famous WILLIAM TELL-the hero of the Swiss Revolt-Schiller's most popular drama both at home and abroad; it has been translated into nearly all modern languages, and has made the name of William Tell a household word among all civilized nations. Exhibiting as it does some of the highest triumphs which his genius, combined with his art, ever realized, no work did so much to awaken in the German mind its long cherished and now realized dream of a close national unity. In it we can see how well Schiller deserved the name so often ascribed to him of the "poet of liberty."

To sum up briefly the main characteristics of Schiller's genius,he stands forth as the representative of the brightest and highest aspect of the Teutonic character.

Historian, philospher, poet, above all patriot, it is easy to see why Schiller has so entirely grasped the heart and mind of the German nation. "Schiller's genius," says Carlyle "is of a kind much narrower than Shakespeare's, but in his own peculiar province, the exciting of lofty, earnest and strong emotion, he admits of no superior. Others are finer, more piercing, varied, thrilling in their influence: Schiller in his finest mood is overwhelming."

Something more than a great author, he was in an eminent sense of the word a great man; remarkable for the nobility and aspiring grandeur of his moral character, no less than for the great works in which he has given those qualities their finest expression. Though ranking rather with the Miltons and Dantes of human thought than with the Shakespeares and Goethes, few poets have with grander or more enduring results taken unto themselves the noble motto Pingimus in æternitatem.

FOOTBALL.

At the beginning of term a meeting of the two upper forms was held. It was resolved that the College should play football according to the Rugby Union Rules; that the colours should be dark and light blue striped horizontally-the stripes being two inches in width-and dark blue stockings. At the same time Munro was elected Captain. The first match-VI. & V. Forms v. College with Masters-was played on Thursday, Oct. 14th, and was throughout very evenly contested. The ground was in a slippery condition, and all found it hard work to keep close to the ball. Play began at three o'clock when Maclachlan Senior kicked off for the VI. & V. For some time the ball was kept in the middle of the ground. Forbes was the first to get away with it, and after making a good run was collared by Mr. Warner when within ten yards of the goal line. Soon after Maclachlan ran in and touched down the ball immediately behind the College goal. A well kicked goal by Maclachlan was the result. The College now determined to equalize matters and played with renewed ardor. For a long time they penned their opponents, and so successfully that a touch down was obtained by Mr. Warner. Nothing came of the punt out which followed, though a few minutes later Mr. Pyne made a spirited run, and touched down the ball, and a goal was kicked by Mr. Ellis. Each side was now on its mettle, and a long succession of scrummages followed, in which weight told in favour of the VI. & V. but their runs were frustrated by the admirable back play of Messrs.

Warner and Pyne, the College half-backs. About this period Mr. Warner made two or three good rushes, and Bartlett Senior seeing that he was out of breath, seized the opportunity and safely landed the ball behind the College goal line. The place kick by Maclachlan, was not successful. Once more the ball was gradually driven back to the other goal, and Mr. Ellis obtained a touch down, the try at goal failed—unfortunately for the College-the ball going over the post. It wanted but a few minutes of time, it was agreed to leave off play. Thus the game resulted in a draw, perhaps the most satisfactory termination to an inter-collegiate game.

For the VI. & V., Forbes and Davidson were most prominent among the forwards, and Maclachlan half-back played with great judgment. For the College, Teague and Maclachlan, junior did good service. Our matches to come are- -Exeter v. Newton College, Oct. 30th; Paignton v. Newton College, Nov. 6th; Newton College v. Paignton, (return,) Nov. 27th; Newton College v. Exeter (return,) Feb. 13th.

Subjoined are the names of the Newton College Football Eleven. Mr. Pyne, Mr. Gifford Wood, Mr. Ellis, Munro, Maclachlan, Forbes, Davidson, Bartlett, Villars Wilson, Dundas, Poland, G. Gorton.