"DON CARLOS" completes the list of Schiller's youthful works. But we can see at the first glance that the three earlier dramas form one group, while "Don Carlos" is a world in itself, and a very different world. To name "Don Carlos" is to awaken quite other feelings in us than those aroused by the names of "The Robbers," "Fiesko," or "Love and Intrigue."
The different external form strikes us at once. Here for the first time do we hear the sound of Schiller's stately verse, at that time a bold innovation. "Iphigenia" had not as yet been written in verse form. Wieland's incidental warning was merely the result of a theory. ( "Advice to a Young Poet," Deutscher Merker, 1782.) "Nathan the Wise" ( 1778) was Schiller's only model. But while Lessing seldom gets beyond his clear versified prose, Schiller, with the pride of a born poet, writes poetically beautiful verse as soon as he has once caught the enthusiasm of his own imagery. Streicher, who once more gives an account of Schiller's changes of mind, tells us how he felt that the new form of Iambic meter with its sonorous flow would be adapted to this new subject