From the earlier times, the Germans were accustomed to rhyme; it had this advantage in its favour, that one could proceed in a very naïve manner, scarcely doing more than count the syllables. If with the progress of improvement attention began more or less instinctively to be paid also to the sense and signification of the syllables, this was highly praiseworthy, and a merit which many poets contrived to make their own. The rhyme was made to mark the close of the poetical proposition; the smaller divisions were indicated by shorter lines, and a naturally refined ear began to make provision for variety and grace. But now all at once rhyme was rejected before it was considered that the value of the syllables had net as yet been decided, indeed that it was a difficult thing to decide. Klopstock took the lead. How earnestly he toiled and what he has accomplished is well known. Every one felt the uncertainty of the matter, many did not like to run a risk, and stimulated by this natural tendency, they snatched at a poetic prose. Gessner's extremely charming Idylls opened an endless path. Klopstock wrote the dialogue of Hermann's Schlacht (Hermann's Battle) in prose, as well as Der Tod Adams (The Death of Adam). Through the domestic tragedies as well as the more classic dramas, a style more lofty and more impassioned gained possession of the theatre; while, on the other hand, the Iambic verse of five feet, which the example of the English had spread among us, was reducing poesy to prose. But in general the demand for rhythm and for rhyme could not be silenced. Ramler, though proceeding on vague principles (as he was always severe with respect to his own productions). Could not help exercising the same severity upon those of others. He transformed prose into verse, altered and improved the works of others, by which means he earned little thanks and only confused the matter still more. Those succeeded best who still conformed to the old custom of rhyme with a certain observance of syllabic quantity, and who, guided by a natural taste, observed laws though unexpressed and undetermined; as, for example, Wieland, who, although inimitable, for a long time served as a model to more moderate talents.
But still in any case the practice remained uncertain, and there was no one, even among the best, who might not for the moment have gone astray. Hence the misfortune, that this epoch of our poetic history, so peculiarly rich in genius, produced little which, in its kind, could be pronounced correct; for here also the time was stirring, advancing, active, and calling for improvement, but not reflective and satisfying its own requirements.
In order, however, to find a firm soil on which poetic genius might find a footing,—to discover an element in which they could breathe freely, they had gone back some centuries, where earnest talents were brilliantly prominent amid a chaotic state of things, and thus they made friends with the poetic art of those times. The Minnesingers lay too far from us; it would have been necessary first to study the language, and that was not our object, we wanted to five and not to learn.
Hans Sachs.
Hans Sachs, the really masterly poet, was one whom we could more readily sympathise with. A man of true talent, not indeed like the Minnesinging knights and courtiers, but a plain citizen, such as we also boasted ourselves to be. A didactic realism suited us, and on many occasions we made use of the easy rhythm, of the readily occurring rhyme. His manner seemed so suitable to mere poems of the day, and to such occasional pieces as we were called upon to write at every hour.
If important works, which required the attention and labor of a year or a whole life, were built, more or less, upon such hazardous grounds on trivial occasions, it may be imagined how wantonly all other ephemeral productions took their rise and shape; for example, the poetical epistles, parables, and invectives of all forms, with which we went on making war within ourselves, and seeks squabbling abroad.
Of this kind, besides what has already been printed, something, though very little, survives; it may be laid up somewhere. Brief allusions will suffice to reveal to thinking men their origin and purposes. Persons of more than ordinary penetration, to whose sight these may hereafter be brought, will be ready to observe that an honest purpose lay at the bottom of all such eccentricities. An upright will revolts against presumption, nature against conventionalities, talent against forms, genius with itself, energy against indecision, undeveloped capacity against developed mediocrity; so that the whole proceeding may be regarded as a skirmish which follows a declaration of war, and gives promise of a violent contest. For, strictly considered, the contest is not yet fought out, in these fifty years; it is still going on, only in a higher region.
The "Hanswurst's Hochzeit."