same kind. Just in the same manner, out of the more generally human, some snatch those poems which should have portrayed a foreign nationality, as, for instance, the Jewish pastoral poems, those on the patriarchs altogether, and whatever else related to the Old Testament. Bodmer's "Noachide" was a perfect symbol of the watery deluge that swelled high around the German Parnassus, and which abated but slowly. The leading-strings of Anacreon likewise allowed innumerable mediocre geniuses to reel about at large. The precision of Horace compelled the Germans, though but slowly, to conform to him. Comic heroic poems, mostly after the model of Pope's "Rape of the Lock," did not serve to bring in a better time.
I must here mention a delusion, which operated as seriously as it must be ridiculous when one examines it more closely. The Germans had now sufficient historical knowledge of all the kinds of poetry in which the different nations had distinguished themselves. This pigeonhole work, which, properly speaking, totally destroys the inner conception of poetry, had been already pretty completely hammered together by Gottsched in his "Critical Art of Poetry;" and it had been shown at the same time that German poets, too, had already known how to fill up all the rubrics with excellent works. And thus it ever went on. Each year the collection was more considerable, but every year one work pushed another out of the place in which it had hitherto shone. We now possessed, if not Homers, yet Virgils and Miltons; if not a Pindar, yet a Horace; of Theocrituses there was no lack: and thus they weighed themselves by comparisons from without; whilst the mass of poetical works always increased, so that at last there could be a comparison from within.
Now though matters of taste stood on a very uncertain footing, there could be no dispute but that, within the Protestant part of Germany and of Switzer-
