Augustus the Second, where, in addition to every other species of ostentation, they were also looking about for a court-poet, who could give elevation and grace to their festivities, and immortalise a transitory pomp. Von König was more mannerly and more fortunate: he tilled this post with dignity and applause.
In all sovereign states the material for poetry comes downwards from above; and "The Review-camp at Mühlberg" ("Das Lustlager bei Mühlberg") was, perhaps, the first worthy object, provincial, if not national, which presented itself to a poet. Two kings saluting one another in the presence of a great host, their whole courts and military state around them, well-appointed troops, a mock-fight, fêtes of all kinds,—this is business enough for the outward sense, and overflowing material for delineating and descriptive poetry.
This subject had, indeed, the internal defect, that it was only pomp and show, from which no real action could result. None except the very first distinguished themselves; and, even if they had done so, the poet could not render any one conspicuous lest he should offend the others. He had to consult the "Court and State Calender;" and the delineation of the persons therefore went off pretty dryly,—nay, even his contemporaries very strongly reproached him with having described the horses better than the men. But should not this redound to his credit, that he showed his art just where an object for it presented itself? The main difficulty, too, seems soon to have manifested itself to him,—since the poem never advanced beyond the first canto.
Amidst such studies and reflections, an unexpected event surprised me, and frustrated my laudable design of becoming acquainted with our new literature from the beginning. My countryman, John George Schlosser, after spending his academical years with in-
