with grace. The witty and amiable Thuemmmel was also formed on an
English model, and Archenholz solely occupied himself with
transporting the customs and literature of England into Germany. If
Shakespeare has not been without influence upon Goethe and Schiller,
Sterne, in his "Sentimental Journey," touched an echoing chord in the
German's heart by blending pathos with his jests. Hippel was the first
who, like him, united wit with pathos, mockery with tears.

In Klopstock, Anglo and Graecomania were combined. The latter had,
however, also its particular school, in which each of the Greek and
Roman poets found his imitator. Voss, for instance, took Homer for his
model, Ramler, Horace, Gleim, Anacreon, Gessner, Theocritus, Cramer,
Pindar, Lichtwer, AEsop, etc. The Germans, in the ridiculous attempt to
set themselves up as Greeks, were, in truth, barbarians. But all was
forced, unnatural, and perverted in this aping age. Wieland alone was
deeply sensible of this want of nature, and hence arose his
predilection for the best poets of Greece and France. The German muse,
led by his genius, lost her ancient stiffness and acquired a pliant
grace, to which the sternest critic of his too lax morality is not
insensible. Some lyric poets, connected with the Graecomanists by the
_Goettingen Hainbund_, preserved a noble simplicity, more particularly
Salis and Holty, and also Count Stolberg, wherever he has not been led
astray by Voss's stilted manner. Matthison is, on the other hand, most
tediously affected.

The German, never more at home than when abroad, boasted of being the
cosmopolite he had become, made a virtue of necessity, and termed his
want of patriotism, justice to others, humanity, philanthropy.
Fortunately for him, there were, besides the French, other nations on
which he could model himself, the ancient Greeks and the English, from