There seems to be universal agreement among Schiller's critics that his last drama, Wilhelm Tell, means a serious change of attitude toward the ideal which had guided the poet in its predecessors. Some scholars candidly regret its looseness of form, calling this a mistake which the poet should have avoided. Others endeavor with all possible pains to fit the play into the straight-jacket of the established model, and to justify the poet's willful deviations from the rules he himself had laid down. A third group asserts with much praise that the poet has written a real Volksstück—i. e., in this case, a play for the people—by choosing intentionally a popular style and form, and by making a whole people the hero of his play.