So we see that by the end of his first year in Mannheim Schiller had indeed undergone a change. The _saeva indignatio_ of the dramatic pamphleteer had given way to the serener mood of the poetic artist. This change would doubtless have come about under any circumstances, through the natural ripening of his mind and art, but it was hastened by the influence of Klein and Wieland, and by the example of Lessing's 'Nathan'. Anton von Klein, a Jesuit _bel esprit_ living at Mannheim, was a steadfast champion of the regular heroic tragedy. He had written a searching review of 'The Robbers', pointing out its many faults and absurdities, but he recognized Schiller's talent and saw in him a man worth converting. At Mannheim a friendship sprang up between the two, and Schiller heard much talk about the superior merit of the noble poetic style,--a region of thought in which he had hitherto wandered but little. He had written thus far out of the fervor of his soul, and theory of any sort had touched him but little. From Rousseauite literature he had caught a fantastic conception of 'nature', and this had led him to portray men and women who were scarcely more natural than those of Gottsched himself. In the rush of feeling he had enlisted among the young revolutionists whose stormy and stressful tendency, curiously enough, was regarded as 'English'. And now he found that there was after all something to be said in favor of the classical French type. The 'anglo-maniacs' were not in possession of the whole truth. Might there not be, perhaps, a _tertium quid_,--a German drama having a character of its own and combining the literary dignity and artistic finish of the French with the warmth and variety of the pseudo-English school? As if in answer to this query, Lessing's 'Nathan', published in 1779, had already opened a vista of limitless possibilities. And 'Nathan' was in blank verse.