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He studied the law at Leipzig, where he became intimately acquainted with Gellert. By his productions, which were printed in a periodical entitled, "Beiträge zu den Belustigungen des Verstandes und Witzes," the public became acquainted with his powers in satire. He died holding a high rank in the Customs, the 22nd of March, 1771, at Dresden. The "Satiren" of this writer, wherein was evinced a rich fund of wit, as well as a strong power of observation and a tact and facility in describing things, is a capital production. The cheerful strain of wit that runs through his works, and the correctness of his language and style, succeeded in rendering him very popular. The following are very entertaining to read::-"Das Schwiftsche Testament," "Das Mädchen vom 1ten April," ," "Das deutsche Wörterbuch," Klims Todtenliste," "Die Sprichwörter des Pansa," " Die Chronik des Dörfleins Querlequitsch," and the "Satyrischen Briefe.” CHRISTIAN FUERCHTEGOTT GELLERT (1715-1769) Was born on the 4th of July, 1715, at Heinichen, a little town in the Saxon mountains. He was the son of a vicar of small fortune, and at his outset was forced to earn a livelihood by copying, &c. He studied theology and philosophy at Leipzic, and became in 1751 Professor at the same University. He died on the 13th December, 1769.*

This again is one of our most esteemed writers of this period. His fame is neither founded on his genius nor on his philosophical qualifications; his literary reputation will therefore always be considered to depend upon the highly moral tone of his productions, the grand religious fervour which prevails in his hymns and poems. Almost every thing that he wrote is more or less adapted for the generality of the people. He wrote in a language so simple and correct, that no body could fail to understand him.

Gellert was indeed such a general favourite, that, when he died in 1769, the populace made pilgrimages, by hun

* Dr. H. Döring, Gellert's Leben. 2 vols. 1833.

dreds to the place of his sepulchre, so that the Leipzic senate felt at last bound to interfere, and to put a stop to it altogether. It is not too much to assert that nearly the whole of Germany mourned his loss.

Gellert's "Fabeln" have become the "real-work" of the German nation. They contain undoubtedly great moral truth and appropriateness of philosophy, with comments upon men and manners, and wise rules for their correction. The pictures of life are vivid, full of sprightliness and taking humour, and are expressed in a style of extraordinary ease and clearness, so that no one indeed need be at much pains at conceiving his meaning.

The greater number of them are exceedingly amusing, while the most popular are: "Die Geschichte vom Hute," "Der Blinde und der Lahme," "Die beiden Wächter,"

“Der grüne Esel," "Der Kranke." Some of his hymns are remarkably fine, and have even become Kirchenlieder. His morning hymn, "Mein erst Gefühl sei Preis und Dank," his Christmas hymn, "Dies ist der Tag den Gott gemacht," with "Die Güte Gottes," and "Erforsche mich, erfahr mein Herz," " Herr der du mir das Leben," "Gottes Macht und Vorsehung," &c. &c. are standard compositions, and, to sum up all, his "Auf Gott und nicht auf meinen Rath," is quite a favourite hymn throughout the whole of Germany.

In the department of novel writing, however, Gellert cannot be said to have possessed any talent; his "Schwedische Gräfin," although translated into several languages, being a very inferior production. Of even less value are the comedies of this writer, which, to say the truth, are absolute failures.

ABRAHAM GOTTHELF KÆSTNER (1719-1800) Was born at Leipzic, on the 27th of September, 1719, was Professor of Mathematics at Göttingen, and died 20th June, 1800. KESTNER was a celebrated and acute mathematician, the

author also of a great many epigrams, never likely to grow out of date. And even those pieces in this Collection which refer to local and personal occasions, and are scarcely to be understood without a key, are more caustic than almost any other production in the whole circle of German literaHis elegies, odes, and songs are not without merit. "Pondere non nervis, corpora nostra carent," is the motto from Ovid, which he has prefixed to his epigrams.

ture.

JOHANN ELIAS SCHLEGEL. (1718-1749.) Born at Meissen, 28th January, 1718. He showed very early talents for poetry, and translated while at college the "Electra" of Sophocles. The "Iphigenia" of Euripides he published under the title of " Die Geschwister in Taurien," which was acted with applause on the Leipzic stage, at the time he studied Jurisprudence at that University. He died as Doctor of History at Soroe, the 13th August, 1749.

SCHLEGEL had unquestionably great talents for dramatic composition, and a considerable force and variety of expression. His dramas approach, as may be easily supposed, the style of Gottsched; nor can Schlegel himself be considered as at all in fault, that his works have at last been, in a great degree, passed by; for in them a strong vein of imagination is discoverable, added to a poetical habit of mind, of which, indeed, the other writers of that age are much in want. We may style him almost the only playwright deserving of our mention in this, the new birth of German literature. The best of Schlegel's dramas are, "Hermann" and "Canut;" while he also evinced some talent for comedy: "Der Triumph der guten Frau," and "Die stumme Schönheit," were the only good comedies of that day, which were repeatedly acted, and were revived by Mendelssohn and Lessing with considerable applause. His younger brother,

JOHANN ADOLPH SCHLEGEL (1721-1793) Was born 18th September, 1721, at Meissen, and died as

Doctor of Theology and Counsellor of the Consistory on the 16th September, 1793.

He addressed himself more particularly to the composition of fables and hymns. His choice at the time was commendable, certainly, however indifferently he may have been remunerated for his literary labours. It is but fair to add, that he discovered a dearth of poetical talent, while, again, his "Ode to Klopstock," and his poem entitled “Die Unzufriedene," may be accounted his most perfect productions.

JUST FRIEDRICH WILHELM ZACHARIÆ. (1726-1777.) Born the 1st May, 1726, at Frankenhausen, where he studied the science of Jurisprudence.

He is the last author we have to mention as a member of this school. Zachariä was endowed with a poetical and witty invention, which confluence of intellectual gifts he put certainly to the most advantageous use. His comic epopees of "Der Renomist" (The Roisterer), "Das Schnupftuch," "Murner in der Hölle," and particularly his " Phoëton," earned him that meed of praise which was really his due. Then again his descriptive poems entitled: "Die Tageszeiten," and "Die vier Stufen des weiblichen Alters" (the four eras of woman's life), from their exquisite delineations and numerous beautiful passages, were very generally asked for and admired. Zachariä also translated into German Milton's "Paradise Lost," in which, however, he may be considered to have failed. Zachariä died at Braunschweig, when holding the office of Professor of Poetry, on the 30th of January, 1777.

II.

FRIEDRICH VON HAGEDORN (1708-1754) Was born at Hamburg, on the 23rd of April, 1708. In the division of German poetry now under review, this writer, it is not too much to assert, occupies rather a high

place; and even if he should not be esteemed a poet of the first calibre, he wrote, nevertheless, with considerable ease and grace. The language of Hagedorn is simple and correct in the highest degree. It is on this account that Wieland styles him," the poet, who, in the single article of refinement of style, has no worthy successor in the literature of any country; the author, who has wrought up his productions to the highest degree of finish; the man, whom few, if any, writers will ever equal in the matter of industry." Now the "Fables" of Hagedorn are easily distinguishable by their style, by their pleasant fancies, and witty ideas, from the efforts of anterior fabulists. They are told with a liveliness and vigour truly characteristic. His "Seifensieder" (soap-boiler) is an excellent poem, few even of his own works having been so successful and popular. Indeed we must, in historic justice, allow, that Hagedorn, acting in concert with a kindred spirit, named Haller, did more for the amelioration of the style of this period, than all the other writers put together. What is the exact distinction between these two writers? Hagedorn is the poet of men and manners; Haller, of nature and her scenes. The songs of the former are full of spirit,-in fact, they are exultation combined with jocularity in a most amusing manner. Hagedorn's "Lehrgedichte " are valuable fragments of moral truth, but he had more talents, certainly, for simple lyric poetry. Some epigrams, however, by this writer, are scrupulously correct; so much so, as to be paradigms in those times. In more extended metrical composition, the long ode, for example,—he was not so successful. Indeed, Hagedorn's inspiration, if we may so speak, was scarcely equal to this class of composition; he was unable to exert a sufficient sway over his subject. But in smaller efforts,-in little tales, for instance, he works with great clearness and skill: indeed, his chief merits are here to be found. He was a great lover of art, and, in fact, something of an artist himself, as several of his etchings

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