While I now, like a shepherd on the Pleisse, was absorbed childishly enough in such tender subjects, and always chose only such as I could easily recall into my bosom, provision from a greater and more important side had long been made for German poets.
The first true and really vital material of the higher order came into German poetry through Frederick the Great and the deeds of the Seven Years' War. All national poetry must be shallow or become shallow which does not rest on that which is most universally human, — upon the events of nations and their shepherds, when both stand for one man. Kings are to be represented in war and danger, where, by that very means, they appear as the first, because they determine and share the fate of the very least, and thus become much more interesting than the gods themselves, who, when they have once determined the fates, withdraw from all participation in them. In this view of the subject, every nation, if it would be worth anything at all, must possess an epopee, to which the precise form of the epic poem is not necessary.
The war-songs started by Gleim maintain so high a rank among German poems, because they arose with and in the achievements which are their subject; and because, moreover, their felicitous form, just as if a fellow combatant had produced them in the loftiest moments, makes us feel the most complete effectiveness.
Ramler sings the deeds of his king in a different and most noble manner. All his poems are full of matter, and occupy us with great, heart-elevating objects, and thus already maintain an indestructible value.
For the internal matter of the subject treated is the beginning and end of art. It will not, indeed, be denied that genius, that thoroughly cultivated artistical talent, can make everything out of everything by its method of treatment, and can subdue the most refrac-
