[8] See the whole oration (in Hettner, s. 120,) which gives a most vivid expression of the impact of Shakspere upon the newly aroused mind of Germany.

[9] “German Literature,” Vol.  II. pp. 82-83

[10] “Unter allen Menschen des Achtzehnten Jahrhunderts war Geothe wieder der Erste, weicher die lang verachtete Herrlichkeit der gothischen Baukunst empfand und erfasste.”—­Hettner, 3.3.1., s. 120.

[11] Construirtes Ideal.

[12] Scherer, II. 129-31.  “Oberon” was englished by William Sotheby in 1798.

[13] “Vor den classischen Dichtarten faengt mich bald an zu ekeln,” wrote Buerger in 1775.  “Charakteristiken”:  von Erich Schmidt (Berlin, 1886) s. 205.  “O, das verwuenschte Wort:  Klassisch!” exclaims Herder.  “Dieses Wort war es, das alle wahre Bildung nach den Alten als noch lebenden Mustern verdrangte. . .  Dies Wort hat manches Genie unter einen Schutt von Worten vergraben. . .  Es hat dem Vaterland bluehende Fruchtbaeume entzogen!”—­Hettner 3.3.1. s. 50.

[14] “German Literature,” Vol.  II. p. 230.

[15] “Literaturegeschichte,” 3.3.1. s. 30-31.

[16] See ante, p. 48.

[17] “Our polite neighbors the French seem to be most offended at certain pictures of primitive simplicity, so unlike those refined modes of modern life in which they have taken the lead; and to this we may partly impute the rough treatment which our poet received from them”—­Essay on Homer (Dublin Edition, 1776), p. 127.

[18] See Francis W. Newman’s “Iliad” (1856) and Arnold’s “Lectures on Translating Homer” (1861).

[19] “Romance,” Edgar Poe.

[20] “Lockhart’s Life of Scott,” Vol.  I. p. 163.

[21] For full titles and descriptions of these translations, as well as for the influence of Buerger’s poems in England, see Alois Brandl:  “Lenore in England,” in “Charakteristiken,” by Erich Schmidt (Berlin, 1886) ss. 244-48.  Taylor said in 1830 that no German poem had been so often translated:  “eight different versions are lying on my table and I have read others.”  He claimed his to be the earliest, as written in 1790, though not printed till 1796.  “Lenore” won at once the honors of parody—­surest proof of popularity.  Brandl mentions two—­“Miss Kitty,” Edinburgh, 1797, and “The Hussar of Magdeburg, or the Midnight Phaeton,” Edinburgh, 1800, and quotes Mathias’ satirical description of the piece ("Pursuits of Literature,” 1794-97) as “diablerie tudesque” and a “’Blue Beard’ story for the nursery.”  The bibliographies mention a new translation in 1846 by Julia M. Cameron, with illustrations by Maclise; and I find a notice in Allibone of “The Ballad of Lenore:  a Variorum Monograph,” 4to, containing thirty metrical versions in English, announced as about to be published at Philadelphia in 1866 by Charles Lukens. Quaere whether this be the same as Henry Clay Lukens ("Erratic Enrico"), who published “Lean ’Nora” (Philadelphia, 1870; New York, 1878), a title suggestive of a humorous intention, but a book which I have not seen.