[18]. Braunschweig, 1651.
[19]. Berlin-Jena, 1656.
[20]. Kurzer Wegweiser sur Deutsch-Tichtkunst. Je[h]na, 1663. Some of Buchner’s original work seems to be lost, if it ever was published.
[21]. I use the Zürich reprint of 1749.
[22]. 1702.
[23]. A comparison of the three contemporaries, Gravina, Werenfels, and Addison, would make an interesting critical essay.
[24]. “Some are so rigorous that they will only have a time of one or two days.” I quote from Borinski, p. 364, not having seen the original.
[25]. V. sup., ii. 552-557.
[26]. Op. cit., Part I., Chaps. 1-5 and 8. His special enemy or target is Danzel’s Gottsched und seine Zeit (Leipzig, 1848), an unhesitating championship of the classical champion.
[27]. 1725-26. These eccentric and sometimes baroque titles were a mania with German men of letters. It had become epidemic in the fifteenth century, and continued so till the eighteenth, if not longer, the last very distinguished patient being, of course, Jean Paul. In this the feminine is an exaggeration of the Addisonian tendency to “fair-sex it,” as Swift says.