Note 1205 — Chapter V

It seems strange that Göthe, in his tragedy of "Egmont," should have endeavored to excite what may be truly called a meretricious interest in the breasts of his audience, by bringing an imaginary mistress, named Clara, on the stage, instead of the noble-hearted wife, so much better qualified to share the fortunes of her husband and give dignity to his sufferings. Independently of other considerations, this departure from historic truth cannot be defended on any true principle of dramatic effect.