Dramatic Representation in general, was carried on in the _Journal for
the Polite World_ (_Zeitung fur die elegante Welt_,) which Schlegel
supported by his advice and contributions. In this periodical he also
entered the lists in opposition to Kotzebue and Merkel in the
_Freimuthige_ (_The Liberal_), and the merits of the so-called modern
school and its leaders, was the subject of a paper war, waged with the
bitterest acrimony of controversy, which did not scruple to employ the
sharpest weapons of personal abuse and ridicule.

At this date Schlegel was engaged upon his _Spanish Theatre_, (2
vols., Berlin, 1803-1809). In the execution of this work, much was
naturally demanded of the translator of Shakspeare, nor did he disappoint
the general expectator, although he had here far greater difficulties to
contend with. Not content with merely giving a faithful interpretation of
his author's meaning, he laid down and strictly observed the law of
adhering rigorously to all the measures, rhythms, and assonances of the
original. These two excellent translations, in each of which he has
brought to bear both the great command of his own, and a wonderful
quickness in catching the spirit of a foreign language, have earned for
Schlegel the foremost place among successful and able translators, while
his _Flowers of Italian, Spanish, and Portuguese Poetry_ (_Blumenstrausse
d. Ital. Span. u. Portug. Poesie_, Berlin, 1804), furnish another proof
both of his skill in this pursuit and of the extent of his acquaintance
with European literature. Moreover, the merit of having by these
translations made Shakspeare and Calderon more widely known and better
appreciated in Germany would, in default of any other claim, alone entitle
him to take high rank in the annals of modern literature.

But a new and more important career was now open to him by his
introduction to Madame de Stael. Making a tour in Germany, this