It is in this entirely musical poetry that Wackenroder's idea of art attains to its truest and highest expression. The vigorous pantheism which in Goethe's case is plastic, and finds expression in the creation of the _Diana der Epheser_, here becomes musical. In all Tieck's early works, with their piety, their sensuality, their reminiscences of Wackenroder and of Goethe, we feel the rush of a strong, broad wave of Romantic pantheism. In _Sternbald_, for example, he writes: "We often listen intently and peer into the future, in eager expectation of the new phenomena that will soon pass before us in motley, magic garb. At such times we feel as if the mountain stream were trying to sing its melody more clearly, as if the tongues of the trees were loosened, that their rustling might be to us intelligible song. Soon the flute-like notes of love are heard in the distance; our hearts beat high at his coming; time stands still as if arrested by a magic word; the shining moments dare not flee. We are enclosed, as it were, in a magic circle of melody, and rays of a new, transfigured existence penetrate like mysterious moonlight into our actual life." And again: "O impotent Art! how stammering and childish are thine accents compared with the full swelling organ tones that well forth from the inmost depths, from mountain and valley, forest and stream! I hear, I feel how the eternal World Spirit sweeps all the strings of the terrible harp with constraining fingers, how all the most diverse forms are born of his playing and speed throughout nature upon spirit wings. My little human heart in wild enthusiasm takes up the contest and fights itself weary and faint in its rivalry with the highest.... The eternal melody, jubilant and exultant, storms past me." Both life and poetry are here resolved into music.