While Goethe excels Schiller in completeness of aesthetical and philosophical perception, and in the versatility of his world-embracing and brilliant attainments, as a lover of his race, and as a poet who knew how to embody that love in the most exquisite conceptions, Schiller far surpassed him, and stands preeminent among all other poets. While Goethe represented the actual thoughts and feelings of his age, Schiller reflected its ideal yearnings; while the practical result of Goethe's influence was to develop the capacities of each individual to their utmost extent, Schiller's aim was to lead men to consecrate their gifts to the good, the beautiful, and the true, the ethical trinity of the ages. The one poet represents the majesty, and at the same time the tyranny of the intellect; the other, the power and the loveliness of the affections; and although Goethe will always receive the respect and admiration of the world, Schiller will command its love.
4. THE GÖTTINGEN SCHOOL.—This association was formed at the epoch of Goethe and Schiller, when poets such as no other times had produced started up in quick succession. The following are among the principal members of this school: Voss (1756-1826) is distinguished by a classical taste and great fluency of style. His "Louise" is a masterpiece of bucolic poetry. His "Idyls" are the best of his minor poems. Christian Stolberg (1748-1821) was the author of two dramas, many elegiac poems and translations from the Greek. Leopold Stolberg (1750-1817), his brother, was still more successful as a poet, and distinguished for his acute observation of the beautiful in nature. Hoelty (1748-1776) was a poet of the gentler affections, the eloquent advocate of love, friendship, and benevolence. Claudius (1743-1815), in his poetical productions, ranges through song, elegy, romance, and fable. Bürger (1748-1794) was remarkable as the author of wild, picturesque ballads and songs. His most celebrated poem is "Leonore", which was at one time known by heart all over Germany. Schubart (1739-1791), though not belonging to the Göttingen association, may be here referred to. His songs and poems evince a warm imagination, and his descriptions are true and beautiful. One of the most powerful writers of this period was Klinger (1753-1831), whose highly wrought productions reflected most vividly the vehemence of thought and feeling of his time, and whose drama, "Storm and Stress", gave the name to that peculiar school known as the Storm and Stress literature.
5. THE ROMANTIC SCHOOL.—The founders of the Romantic School, Novalis, the two Schlegels, and Tieck, opposed the system which held up the great masters of antiquity as exclusive models of excellence; they condemned this theory as cold and narrow, and opposed alike to the true interests of literature and progress. They pointed out the vast changes in religion, morality, thought, habits, and manners which separated the ancient from the modern world, and declared that to follow blindly the works of Virgil and Cicero was to repress all originality and creative power. From the times of Pericles or Augustus they turned to the Middle Ages, and, forgetting their crimes and miseries, threw around them a halo of illusive romance. It was not only in poetry that this reaction was visible—in art and architecture the same tendency appeared. The stiff and quaint but vigorous productions of the old German painters were drawn forth from the obscurity where they had long mouldered; the glorious old cathedrals were repaired and embellished; the lays of the minnesingers, collected by Tieck, were on every lip, and the records of the olden times were ransacked for historic and traditionary lore.
Although the Romantic School soon fell into extravagances which did much to diminish its influence, the whole of Germany was to some extent affected by it. The love for particular epochs led to researches in the language and antiquities, as such, as in Oriental studies, and during the calamitous period of the French invasion the national feeling was revived and kept alive by the stirring and patriotic songs which recalled the glories of the past.
The brothers Schlegel are more celebrated as philologists and critics than as poets; although their metrical compositions are numerous, they are wholly deficient in warmth, passion, and imagination. Tieck is more distinguished as a novelist than a poet, but even his prose tales are so pervaded by the spirit of poetry that they may be said to belong to this department.
Among other poets, Körner and Arndt are best remembered by their patriotic songs, which once thrilled every German heart.
Seldom in romance or history is there found a more noble or heroic character than Theodore Körner (1791-1813). Short as was his existence, he had already struck, with more or less success, almost every chord of the poetic lyre. His dramas, with many faults, abound in scenes glowing with power and passion, and prove what he might have achieved had life been spared to him. But it is his patriotic poems, his "Lyre and Sword," which have invested the name of Körner with the halo of fame and rendered his memory sacred to his countrymen.
The name of Arndt (1769-1860) is also associated in every German mind with the cause of national liberty; and his poems have incited many German hearts to the achievement of heroic deeds. His patriotic song, "Where is the German's fatherland," is a universal favorite. Arndt is not less celebrated for his historical and scientific works than for his poems.
The Suabian School is represented by Uhland, Schwab, Kerner, and others who have enriched German poetry with many original lyrics. Uhland (1787- 1862) is the most distinguished ballad writer of the present age in Germany. The conceptions embodied in his poetry refer chiefly to the Middle Ages, and his stories are many of them founded on well-known legends.
Kerner (b. 1786) is more intrinsically romantic than Uhland, but he is equally at home in other species of composition. Schwab (1792-1850) is distinguished among the lyric poets. An epic tendency, combined with great facility in depicting scenery and describing events, is the main feature of his metrical romances.