The ‘odes’ and ‘arias,’ which in early eighteenth-century Germany stood in the place of songs, began to give place toward the middle of the century to music of a more national character. The work of Johann Sebastian Bach, though not widely recognized at the time, spoke for a solid tradition of native German singing. And the wars of Frederick the Great, who reigned from 1740 to 1786, did much to arouse patriotism in outward life. Any vigorous cultural life in Germany during these wearing conflicts was, of course, impossible, but after the close of the Seven Years’ War (1756-63) Prussia and Saxony began to revive, and with them revived a consciousness of German nationality and German identity. The courts were, of course, thoroughly Parisian, but the middle class was more than ever national in feeling. And among this class in the last third of the century arose a type of dramatic entertainment which corresponded to the _opéra comique_ in France and was quite as national--the _Singspiel_. The founder of this type was Johann Adam Hiller (1728-1804), first director of the famous Leipzig Gewandhaus orchestra and one of the most noted musicians of his day. The _Singspiel_ was not greatly unlike the English ballad opera in form, though much more sincere in spirit. It was a simple play, usually light in character, with frequent interspersing of songs and choruses. The plot was usually drawn from German village life and the characters were all familiar types. These were, on the whole, so truly observed that the _Singspiel_ became a truly national art. Moreover, its artistic value was often high; the songs and choruses were usually organic parts of the action, and the best musicianship frequently went into their composition. The _Singspiel_ was the direct parent of German opera, as has been narrated in another place.[16] But its value to the art of song was even more important. For, while in the _Singspiel_ the nobles and aristocratic characters sang arias modelled on the French style, the peasants and middle class people sang true songs in the spirit of folk-music. Accordingly the _Singspiel_, with its immense popularity, spread abroad the knowledge and love of the German _volkstümliches Lied_. It was for more than a quarter of a century the direct continuer of the tradition of German song.