Lessing had not been wrong in thinking that this drama would vex pious Christians much more than ten controversial pamphlets against Göze. As soon as it appeared (spring, 1779), intense wrath was felt against the poet, as if he had degraded Christianity. The "Fragments" and his polemics against Göze had not made him so many enemies as "Nathan." Even his friends greeted him coldly, shunned him, excluded him from the social reunions he loved, and left him to the persecution of his adversaries. Through this silent excommunication he felt himself aggrieved, lost more and more of his bright humor and elasticity of spirit, and became wearied, downcast, and almost stupefied. The treatment of pious Christians terribly embittered the last year of his life. He died in vigorous manhood like an aged man, a martyr to his love of truth. But his soul-conquering voice made itself heard on behalf of tolerance, and gradually softened the discordant notes of hatred and prejudice. In spite of the ban placed upon "Nathan," as well as upon its author, both in Protestant and Catholic countries, this drama became one of the most popular in German poetry, and as often as the verses inspired by conviction resound from the stage, they seize upon the hearts of the audience, loosening the links of the chain of Jew-hatred in the minds of Germans, who find it most difficult to throw off its shackles. "Nathan" made an impression on the mind of the German people, which, despite unfavorable circumstances, has not been obliterated. Twenty years before, when Lessing produced his first drama of "The Jews," an arrogant theologian censured it, because it was altogether too improbable that among a people like the Jews, so noble a character could ever be formed. At the appearance of "Nathan" no reader thought that a noble Jew was possible. Even the most stubborn dared not assert so monstrous an absurdity. The Jewish ideal sage was a reality, and lived in Berlin, an ornament not alone to the Jews, but to the German nation. Without Mendelssohn, the drama of "Nathan" would not have been written, just as without Lessing's friendship Mendelssohn would not have become what he did to German literature and the Jewish world. The cordiality of the intimacy between these two friends showed itself after Lessing's death. His brothers and friends, who only after his demise realized his greatness, turned, in the anguish of their loss, to Mendelssohn, as if it were natural that he should be the chief mourner. And in very sooth he was; none of his associates preserved Lessing's memory with so sorrowful a remembrance and religious a reverence. He was beyond all things solicitous to protect his former friend against misapprehension and slander.