How different everything was in those old days! In both life and literature the detached Ego, in its homeless independence, is omnipresent. The guiding star here is, indeed, nought else but the free, unhistorical Ego. The country is divided into a multitude of small States, ruled by three hundred sovereigns and fifteen hundred semi-sovereigns. In these States the so-called "enlightened" despotism of the eighteenth century prevails, with its narrow, petrified social conditions and relations. The nobleman is lord and master of his serfs, the father, lord and master of his family--everywhere stern justice, but no equity. There are in reality no great tasks for the individual, hence there is no room for genius. The theatre is the only place where those who are not of princely birth can gain any experience of all the manifold phases of human life, hence the stage mania of literature. Lacking any social field in which to work, all activity necessarily takes the form either of war with reality or flight from it. Flight is prepared for by the influence of the rediscovered antique and of Winckelmann's writings; war, by the influence of the sentimentally melancholy English writers (Young, Sterne) and of Rousseau, reverenced as the apostle of nature, who, as Schiller expressed it, "would fain out of Christians make men." Our first proceeding must be to trace the rising of this star, the genesis of this free, Romantic Ego, to whom, be it remembered, all the greatest intellects of Germany stood sponsor.