In addition, other elements joined in with this circle, which appeared to be incompatible with it. Schlegel was in closer relationship with Iffland. He wished the performance of “Hamlet” after his translation, and could not deny Iffland his admiration as an actor. He also sought to win Tieck for the celebrated artist; but he could neither recognize him as a dramatic writer, nor could he tune into the admiration of his play; After all, he had caused the commentator to complain of this admiration. It was incomprehensible to him how one thought of Iffland’s great but always petty calculating talent of Fleck’s bold genius could prefer. As masterful as he might be in middle, temperate or comic roles, his playing was a painstakingly composed image of many small strokes that betrayed intention everywhere. Among these artificial details, nature was lost. Although Iffland showed himself friendly and accommodating, and also believed that his approval of the Sternbald had to be pronounced, Tieck could not trust him. He also thought he recognized calculation and manner, and repeated his view that he should not be drawn into the circle to which he did not fit; he is a two-sided nature that lacks inner truth.