It  is  a  weak  criticism  of  Wallenstein  which  objects  to
the  love-story  or  regards  it  as  a  mere  concession  to  the
sentimental  demands  of  the  average  play-goer.  For
the  reason  just  stated  it  must  rather  be  looked  upon  as
a  vital  element  of  the  plot.  No  doubt  the  play  can  be
imagined  without  it  and  would  in  that  case  be  more
in  accordance  with  history.  But  what  a  relatively  cold
affair  it  would  be !  The  tragedy  of  the  lovers  is  an  im-
portant part  of  the  Nemesis  that  follows  Wallenstein
from  the  moment  of  his  taking  the  fateful  step.  It  is
this  which  makes  in  no  small  degree  the  real  impres-
sivenesB  of  his  final  isolation.  Without  it  we  should
see  in  Wallenstein  a  masterful  spirit,  like  Macbeth,
playing  fast  and  loose  with  the  higher  law  and  meeting
an  ignoble  fate  at  the  hands  of  enemies  meaner  than
himself.  In  a  sense  the  moral  law  would  be  vindicated,
but  how  much  more  effective  is  the  vindication  when
this  masterful  spirit  first  makes  havoc  of  all  that  should
be  dearest  to  him  as  a  man !

It  is  quite  true  that  the  figure  of  Max,  like  that  of
Posa,    is    out    of  harmony  with    the    general    milieu.
