The fuel was furnished in the eighteenth century in the renaissance of German folk-lore and folk poetry. The researches of Scott among the Scotch Highlands, Bishop Percy’s ‘Reliques’ of English and Scottish folk poetry, the vogue which Goethe’s _Werther_ gave to Ossian and his supposed Welsh poetry, and, most of all, the ballads of Bürger, including the immortal ‘Lenore,’ contributed, toward the end of the century, to an intense interest in old Germanic popular literature. Uhland, one of the most typical of the romantic poets, fed, in his youthful years, on ‘old books and chronicles with wonderful pictures, descriptions of travel in lands where the inhabitants had but one eye, placed in the centre of the forehead, and where there were men with horses’ feet and cranes’ necks, also a great work with gruesome engravings of the Spanish wars in the Netherlands.’[74] When he looked out on the streets he saw Austrian or French soldiers moving through the town and realized that there was an outside world of romantic passions and great issues--a thing Schubert never realized. Even then he was filled with patriotic fervor and his beloved Germanic folk-literature became an expression of it. In 1806-08 appeared Arnim and Brentano’s _Des Knaben Wunderhorn_, a collection of German folk poetry of all sorts--mostly taken down by word of mouth from the people--which did for Germany what Percy’s ‘Reliques’ had done for England. Under this stimulus the German romantic movement became, in Heine’s words, ‘a reawakening of the poetry of the Middle Ages, as it had manifested itself in its songs, paintings, and architecture,’[75] placed at the service of the national awakening. But patriotic fervor was the ‘underground meaning’ of the romantic movement. This hardly penetrated to Schubert. He saw in it only his beautiful songs and the inspiration of immortal longings awakened by ‘old books and chronicles with wonderful pictures.’ He had at his disposal a wonderful lyrical literature. First of all Goethe, originator of so much that is rich in modern German life; Rückert and Chamisso, and Müller, singers of the personal sentiments; Körner, the soldier poet, and Uhland, spokesman for the people and apologist for the radical wing of the liberal political movement; Wieland and Herder; and, in the last months of his life, Heine, ultra-lyricist, satirist, and cosmopolite.