At the University of Berlin, with French bayonets gleaming outside the windows and French drums drowning his words, he delivered the memorable addresses which sounded the _réveille_ in the ears of Germany, and did their part in driving those drums and bayonets out of the country. For from these lectures a general and powerful revulsion of feeling may be dated. In them Fichte's philosophy became a kind of national poetry. And what wonder that this poetry proved a torch, at which many other poetical torches were kindled--Körner's, Schenkendorf's, and Arndt's among the rest? The long-prepared-for war broke out in 1813, and ended, after various vicissitudes, in the downfall of foreign rule. But the War of Liberation, as it was called, has two aspects. It was a revolt against a monstrous tyranny, but a tyranny which represented many of the ideas of the Revolution. It was a war for hearth and home, but waged at the command of the old dynasties. The revolutionary tyranny was opposed in the interest of reactionary princes. Moreover, even in the ardour with which the struggle was maintained, there were two very different elements, which were so closely commingled that in the beginning it occurred to no one to distinguish between them, but which soon betrayed their opposite characters. The one element was national hatred of the French people--the national prejudice which seems to be inseparably connected with patriotism, and which led in this case to enthusiasm for everything German and contempt for everything French. The other element was pure love of freedom--the determination to attain political independence, to fight, not only in the name of Germany, but in the name of humanity, for human rights and privileges. This dual feeling may be traced even in Fichte's addresses. He affirmed that only a people that had been a people from of old, a people that understood the depths of its own spirit, its own language, i.e. itself, could be free, and the liberators of the world; "_and_" he added, "_the Germans are such a people_." Teutonic national arrogance lay dormant in these words. And the seed soon began to grow. The young, healthy love of freedom found expression in Theodor Körner's bold lyrics. It was Schiller's lyre that he touched, but the genius of a new era had tuned its strings in a new key. The patriotism of a whole group of other poets took the form of enthusiasm for the German Empire and a German Emperor, that is to say, for the Germany of the Middle Ages; and these made the glories of the past their theme. Max von Schenkendorf sang mournfully and longingly of the days when-- "Die hohen adligen Gestalten Am Rheinstrom auf und nieder wallten,"[2] and when predatory nobles ruled town and country from their fortified castles. He wrote odes to the old cathedrals, groped with tremulous awe among the skeletons of saints and knights buried in their chapels.