Before issuing the first number of his paper, the 'Hamburger Dramaturgie,' a critical journal, which was to accompany the art of the author and actor throughout the representations, he already knew that the project begun with such high hopes must end in a miserable _fiasco_. Still he set to work upon his journal undauntedly, determined that it should, as far as it lay in his power, serve the purposes of the drama and instruct the populace as to the full import and aim of this noble art. The paper was a weekly one, the criticisms, therefore, had the merit of being thoroughly thought out and digested, not written like our modern theatrical criticisms under the very glare of the foot-lights. Lessing analysed the plays and their performance; he pointed out not only where, but why actors had erred; his sure perception and accurate knowledge of stage routine made him an invaluable guide to the performers. His criticisms, had they been continued, would have laid the basis of a science of histrionics, but unhappily for the world, the wretched vanity of the _artistes_, some of whom he had ventured gently to condemn, caused him to desist from this portion of his criticism. He confined himself solely to the play performed. After a while, however, even this did not suffice; bad management, stage cabals, private jealousy, and clerical intrigues, had undermined the slender popularity of the theatre. Before the end of its first year, the house saw itself forced to close its doors, thanks to creditors and to the rival and superior attractions of a company of French comedians. It is true the German troupe returned in the spring to make a final effort, but this also proved a failure; the debts were only increased, and the throng of creditors who besieged the box-office was so great that the public could not have entered if it had tried. In November (1768) the theatre finally closed its doors. _Transeat cum cæteris erroribus_, was Lessing's comment on the event. He was the poorer by another hope, and not only poorer in spirit but in fact. The promised salary had not been paid, the sale of his rich library would not suffice for his debts and needs, and he had moreover hampered himself with a printing-press that only helped yet more to cripple his means. His position was a sorry one. Literary work was once more his only resource. It happened that he had from the first been in arrears with his journal, first advisedly, then from a tendency to procrastination that befell him whenever the first white heat of interest had been expended. He now determined to continue it, employing it as a vehicle for his own opinions under the cover of criticisms of the national theatre, which he still hoped against hope might not be utterly defunct.