In Klopstock, Anglo and Graecomania were combined. The latter had, however, also its particular school, in which each of the Greek and Roman poets found his imitator. Voss, for instance, took Homer for his model, Ramler, Horace, Gleim, Anacreon, Gessner, Theocritus, Cramer, Pindar, Lichtwer, Æsop, etc. The Germans, in the ridiculous attempt to set themselves up as Greeks, were, in truth, barbarians. But all was forced, unnatural, and perverted in this aping age. Wieland alone was deeply sensible of this want of nature, and hence arose his predilection for the best poets of Greece and France. The German muse, led by his genius, lost her ancient stiffness and acquired a pliant grace, to which the sternest critic of his too lax morality is not insensible. Some lyric poets, connected with the Graecomanists by the _Göttingen Hainbund_, preserved a noble simplicity, more particularly Salis and Hòlty, and also Count Stolberg, wherever he has not been led astray by Voss's stilted manner. Matthison is, on the other hand, most tediously affected. The German, never more at home than when abroad, boasted of being the cosmopolite he had become, made a virtue of necessity, and termed his want of patriotism, justice to others, humanity, philanthropy. Fortunately for him, there were, besides the French, other nations on which he could model himself, the ancient Greeks and the English, from each of whom he gathered something until he had converted himself into a sort of universal abstract. The great poets, who shortly before and after the seven years' war, put an end to mere partial imitations, were not actuated by a reaction of nationality, but by a sentiment of universality. Their object was, not to oppose the German to the foreign, but simply the human to the single national element, and, although Germany gave them birth, they regarded the whole world equally as their country.