At Strasburg he had lighted upon the autobiography of Goetz von Berlichingen, the knight with the iron hand, who had played so great a part in the Peasants’ War in the sixteenth century. Goetz (born in 1480) was one of the manliest of the warriors who, in the age which formed the border-line between the mediæval and the modern world, fought valiantly for the causes they conceived to be those of justice and freedom. His autobiography is a frank and simple record of his adventures, written with a view to prevent his descendants from misunderstanding him. As Goethe read it, it seems to have flashed upon him that, notwithstanding external differences, there was much inward resemblance between the influences with which Goetz contended and those which in his own day choked up the springs of thought and natural feeling. Goetz had not allowed his spirit to be broken by the tyrannical forces of his period; he had asserted his individuality, and had been loyal to his own loftiest aims. Here, then, was a figure which might be made the medium for the expression of Goethe’s own aspirations; and he forthwith decided that Goetz should be the hero of his first drama. The execution of the scheme was somewhat delayed; but, stimulated by his sister Cornelia, to whom all his thoughts and wishes were confided, he set to work early in the winter of 1771, and before the end of the year the drama in its original form was completed. Its title in this form was “Geschichte Gottfriedens von Berlichingen mit der eisernen Hand, dramatisirt” (“History of Gottfried of Berlichingen with the iron hand, dramatised”). While it was being written, he read in the evening to his sister the work done during the day, and he was greatly encouraged by her warm sympathy. Copies of the play, in manuscript, were despatched to Salzmann and Herder. Salzmann lost no time in congratulating his friend, but Herder’s response, to which Goethe looked forward anxiously, was long postponed.