arose those one-sided schools of German literature, which have given occasion to the critical divisions, Grecomania, Gallomania, and Anglomania. Thus the style and spirit of the ancient classics were cultivated by many. With others, French belles lettres were the cherished model; in fact, Martin Opitz, in the previous century (1597–1639), had created a penchant in this direction, which had now for some time been declining. England was daily growing in German favour, and the Anglomaniacs were as numerous, and more influential than either of the rival sections. Ebert translated Young's "Night Thoughts." Bodmer translated—and continued—"Paradise Lost." Sterne was done into German, with great applause, by Bode; Shakspeare by Eschenberg, C. F. Weisse, and others; Addison by Gottsched, and his true-blue frau; Smollett by Mylius; Richardson by Ebert; Pope, Thomson, and "Ossian" Macpherson, by various hands. Nicolai wrote "Sebaldus Nothanker," in imitation of Goldsmith's "Vicar." Von Itzehoe produced comic novels à la "Humphrey Clinker." Hippel tried the
Tears and laughter for all time
of Yorick, and was the originator of a style afterwards so popular—what Menzel calls subjective tragi-comedy. Lichtenberg followed the lead of Swift; Zacharia of Pope; Hermes of Richardson; Kleist of Thomson. To each of these three schools of taste did Lessing, at one period or other of his course, zealously and seriously incline. Now we find him deep in Theophrastus and Anacreon, Terence and Plautus; and even Latinizing the "Messiah" of Klopstock. Now ambitious above all things of becoming the German Molière, and brimful of Voltaire and Diderot. Now absorbed in transUtions from the English, e.g. Hutcheson and Law; and startling friend Richier by putting both Corneille and Racine below one William Shakspeare. But while he was susceptible to the influences of each of these three schools, he was at no time the blind devotee of either: he took a more critical and comprehensive survey than his fellows, rejoicing in his own liberty while profiting by the sway of foreign genius. Of the three, it was to the Anglomania that he was most favourably and durably disposed, and that is the last point for which we would quarrel with him. Lessing was but eighteen years old when he produced, in 1747, his first play—"The Young Author." Two years afterwards, when his father repudiated him, on account of his refusal to take orders,[1] he offered this piece to the theatre at Hamburg, where it was performed with considerable éclat. The drama was now his mission. In 1748, he produced "The Misogynist," a comedy, portraying a crabbed old fellow, who has been afflicted with a triplet of vexatious wives, sufficient to supply his inductive science with a conclusion against the sex at large. This was followed, next year, by "The Jews" and "The Freethinker." The
- ↑ Lessing had passed three years at the Uniyersity of Leipzig as a theological student, but was taken up with theatricals (before and behind the scenes), committed excesses as a "fast" Jüngling, and consorted with admirers of Voltaire and the New Light. He was decent enough to refuse clerical office and advancement, declaring that he could not become so great a hypocrite; and was then given to understand that henceforth he must provide for himself. His pen obeyed the call, and galloped over sheet after sheet in gallant style, worthy of authorship in its teens.
