iged to rest in the
first place in the idea of possibility.

Even in real subjects, for which the actors are borrowed from history, it
is not the reality of the simple possibility of the fact, but that which
is guaranteed to us by its very reality which constitutes the poetic
element. That these personages have indeed existed, and that these
events have in truth taken place, is a circumstance which can, it is
true, in many cases add to our pleasure, but that which it adds to it is
like a foreign addition, much rather unfavorable than advantageous to the
poetical impression.

It was long thought that a great service was rendered to German poetry by
recommending German poets to treat of national themes. Why, it was
asked, did Greek poetry have so much power over the mind? Because it
brought forward national events and immortalized domestic exploits. No
doubt the poetry of the ancients may have been indebted to this
circumstance for certain effects of which modern poetry cannot boast; but
do these effects belong to art and the poet? It is small glory for the
Greek genius if it had only this accidental advantage over modern genius;
still more if it were necessary for the poets, in order to gain this
advantage, to obtain it by this conformity of their invention with real
history! It is only a barbarous taste that requires this stimulant of a
national interest to be captivated by beautiful things; and it is only a
scribbler who borrows from matter a force to which he despairs of giving
a form.

Poetry ought not to take its course through the frigid region of memory;
it ought never to convert learning into its interpreter, nor private
interest its advocate with the popular mind. It ought to go straight to
the heart, because it has come from the heart; and aim at the man in the
citizen, not the citizen in the man.

Happily, true genius does not make much account of all these counsels
that people are so anxious to give her with better intentions than
competence. Otherwise, Sulzer and his school might have made German
poetry adopt a very equivocal style. It is no doubt a very honorable aim
in a poet to moralize the man, and excite the patriotism of the citizen,
and the Muses know better than any one how well the arts of the sublime
and of the beautiful are adapted to exercise this influence. But that
which poetry obtains excellently by indirect means it would accomplish
very badly as an immediate end. Poetry is not made to se