satisfy the demands of art. The romantic school. Meanwhile the so-called romantic school of German literature was likewise beginning to extend its labours to original dramatic composition. From the universality of sympathies proclaimed by this school, to whose leaders Germany owed its classical translation of Shakespeare,[291] and an introduction to the dramatic literatures of so many ages and nations,[292] a variety of new dramatic impulses might be expected; while much might be hoped for the future of the national drama (especially in its mixed and comic species) from the alliance between poetry and real life which they preached, and which some of them sought personally to exemplify. But in practice universality presented itself as peculiarity or even as eccentricity; and in the end the divorce between poetry and real life was announced as authoritatively as their union had been. Outside this school, the youthful talent of Th. Körner, whose early promise as a dramatist[293] might perhaps have ripened into a fulness enabling him not unworthily to occupy the seat left vacant by his father's friend Schiller, was extinguished by a patriotic death. The efforts of M. von Collin (1779-1824) in the direction of the historical drama remained isolated attempts. But of the leaders of the romantic school, A. W.[294] and F. von Schlegel[295] contented themselves with frigid classicalities; and L. Tieck, in the strange alembic of his _Phantasus_, melted legend and fairy-tale, novel and drama,[296] poetry and satire, into a compound, enjoyable indeed, but hardly so in its entirety, or in many of its parts, to any but the literary mind. Later dramatists.