It is evident that in this exposition the movement of Homer has been united by Klopstock to the ideas of Tasso. The German poet claims nevertheless the originality, and believes that he himself was called to enjoy the first inspiration. In order that this high aspiration might have been realized, a mass of learning very difficult to find would have been necessary. I will explain briefly this idea. I believe that the one who, disdaining to follow in the footsteps of Homer or of Vergil, would wish to open another road to epopœia, should be well acquainted with the ground over which he ventures to trace it, and the goal toward which he aspires to conduct it; I think he should make himself master of his subject so that nothing might remain obscure or unknown to him; so that if he should choose either the downfall of Man, as Milton, or his rehabilitation, after the example of Klopstock, he would be able to acquaint himself with the inner meaning of these mysteries, to explain all the conditions, to comprehend the beginning and the end, and, raising himself to the intellectual nature where they had birth, to spread light upon physical nature. This is the first attainment that I deem indispensable to the epic poet; I say that he should understand what he would sing. Homer knew what Ilium was, what Ithaca was; he could explain to himself the nature of Achilles and Helen, of Penelope and Ulysses; consequently he could depict them. I do not wish to investigate here whether Milton has understood in the same manner the beginning of the World and the nature of Satan; nor whether Klopstock has well understood the mystery of the incarnation of the Messiah. I only say that if they have not understood these things, they cannot sing them in a manner really epic.