We shall be still more convinced when we think how little the poetic force of impression which is awakened in us by an act or a moral character is dependent on their historic reality. The pleasure which we take in considering an ideal character will in no way be lessened when we come to think that this character is nothing more than a poetic fiction; for it is on the poetic truth, and not on historic truth, that every æsthetic impression of the feelings rest. Moreover, poetic truth does not consist in that this or that thing has effectually taken place, but in that it may have happened, that is to say, that the thing is in itself possible. Thus the æsthetic force is necessarily obliged 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.