needs not a man's lifetime to bring such things to maturity.
But I must here, first of all, make honourable mention of one work, the most genuine production of the Seven Years' War, and of perfect North German nationality: it is the first theatrical production caught from the important events of life, one of specific, temporary value, and one which therefore produced an incalculable effect, — "Minna von Barnhelm." Lessing, who, in opposition to Klopstock and Gleim, was fond of casting off his personal dignity, because he was confident that he could at any moment grasp and take it up again, delighted in a dissipated life in taverns and the world, as he always needed a strong counterpoise to his powerfully labouring interior; and for this reason, also, he had joined the suite of General Tauentzden. One easily discovers how the above-mentioned piece was generated betwixt war and peace, hatred and affection. It was this production which happily opened the view into a higher, more significant, world, from the literary and citizen world in which poetic art had hitherto moved.
The intense hatred in which the Prussians and Saxons stood toward each other during this war could not be removed by its termination. The Saxon now first felt, with true bitterness, the wounds which the upstart Prussian had inflicted upon him. Political peace could not immediately reestablish a peace between their dispositions. But this was to be brought about symbolically by the above mentioned drama. The grace and amiability of the Saxon ladies conquer the worth, the dignity, and the stubbornness of the Prussians; and, in the principal as well as in the subordinate characters, a happy union of bizarre and contradictory elements is artistically represented.
If I have put my reader in some perplexity by these cursory and desultory remarks on German literature, I
