Aus sieben Schanzen jagten wir Die Mützen von dem Bär. Da, Friedrich, ging dein Grenadier Auf Leichen hoch einher; 40 Dacht’, in dem mörderischen Kampf Gott, Vaterland und dich, Sah, tief in schwarzem Rauch und Dampf, Dich seinen Friederich; Und zitterte, ward feuerrot 45 Im kriegrischen Gesicht (Er zitterte vor deinem Tod Vor seinem aber nicht); Verachtete die Kugelsaat, Der Stücke Donnerton, 50 Stritt wütender, tat Heldentat, Bis deine Feinde flohn. Nun dankt er Gott für seine Macht, Und singt: Viktoria! Und alles Blut aus dieser Schlacht 55 Fliesst nach Theresia. Und weigert sie auf diesen Tag, Den Frieden vorzuziehn, So stürme, Friedrich, erst ihr Prag, Und dann führ uns nach Wien! 60 +LXX. FRIEDRICH GOTTLIEB KLOPSTOCK+ 1724-1803. By his profound seriousness and the fervor of his utterance, Klopstock turned German poetry into new channels. Impatient of rime, which he regarded as an ignoble modern jingle, and averse to the shallow _Verstandespoesie_ of the reigning Saxon school, he conceived of poetry as the intense expression of sublimated feeling. His most famous work is the _Messiah_, a long religious epic in hexameters. In his _Odes_, composed in the rimeless meters of the Greek and Roman lyrists, he made large use of mythologic names and conceptions which he erroneously supposed to be old German. We hear of ancient bards inhabiting the German forests, singing ‘lawless songs’ of intense emotion, and deriving their inspiration from ethnic tradition and from the elemental feelings of love and friendship. In his so-called _Bardiete_ he used the dramatic form for this same idealization of the ancient Germans. Although now little read, Klopstock exerted a great influence in dignifying the poet’s calling and strengthening the national self-respect and self-reliance of literary Germany. 1 _From the ‘Messiah’: First Song, lines 1-137._