The French people was forged out of Franks and Visigoths by its kings. It learned to feel itself as a whole for the first time at Bouvines in 1214.[274] Still more significant is the creation of the House of Habsburg, which, out of a population linked neither by speech nor folk-feeling nor tradition caused to arise the Austrian nation, which proved its nationhood in defending Maria Theresa and in resisting Napoleon--its first tests, and its last. The political history of the Baroque age is in essentials the history of the Houses of Bourbon and Habsburg. The rise of the House of Wettin in place of that of Welf is the reason why “Saxony” was on the Weser in 800, and is on the Elbe to-day. Dynastic events, and finally the intervention of Napoleon, brought it about that half of Bavaria has shared in the history of Austria and that the Bavarian State consists for the most part of Franconia and Suabia. The latest nation of the West is the Prussian, a creation of the Hohenzollerns as the Roman was the last creation of the Classical Polis-feeling, and the Arabian the last product of a religious _consensus_. At Fehbellin[275] the young nation gained its recognition; at Rossbach[276] it won for Germany. It was Goethe who with his infallible eye for historic turning-points described the then new “Minna von Barnhelm” as the first German poetry of specifically national content. It is one more example, and a deeply significant one, to show how dynastically the Western nations defined themselves, that Germany thus at one stroke re-discovered her poetic language. The collapse of the Hohenstaufen rule had been accompanied by that of Germany’s Gothic literature also. What did emerge here and there in the following centuries--the golden age of all the Western literatures--was undeserving of the name. But with the victories of Frederick the Great a new poesy began. “From Lessing to Hebbel” means the same as “from Rossbach to Sedan.” The attempts that were made to restore the lost connexion by consciously leaning upon, first the French, and then Shakespeare, upon the Volkslied, and finally (in Romanticism) upon the poetry of the age of chivalry, produced at least the unique phenomenon of an art-history which, though it never really attained one aim, was constituted, for the greater part, of flashes of genius.