Of the essay upon 'Naïve and Sentimental Poetry', contributed to the _Horen_ in 1795, the first part is devoted to the 'Naïve', which is defined as nature in felt contrast with art. To be naïve an action must not only be natural but must put us to shame by suggesting a contrast with our own sophisticated standards. From this it follows that our pleasure in the naïve, being connected with an idea of the reason, is not purely aesthetic, but partly moral. The _naïveté_ of children appeals to us because they are what we were and what we should again become. They represent an ideal, a theophany. Though we may look down upon the childish, we can only look up to the childlike. A naïve action always implies a triumph of nature over art: if it is unintentional (naïve of surprise) we are amused; if deliberate (naïve of character) we are touched. Genius is always naïve. Both in its works and in social intercourse, it manifests the simplicity and directness of nature. It is modest because nature is modest; but cares nothing for decency, for decency is the offspring of corruption. It is sensible, but not shrewd. It expresses its loftiest and deepest thoughts with naive grace: they are divine oracles from the mouth of a child. These thoughts duly expounded, the essay goes on to consider the modern man's feeling for nature. This results, according to Schiller, from our imputing _naïveté_ to the non-rational world. We are conscious of having wandered away from the state of innocence, happiness and perfection. 'Nature' represents this state to our imaginations; it is the voice of the mother calling us back home, or whispering to us of boundless happiness and perfection. Poetry which expresses this boundless longing for the ideal is 'sentimental', while that which reflects nature herself, in some definite part or phase, is 'naïve'. The naïve poet _is_ nature; the sentimental poet seeks a lost nature. The Greeks are prevailingly naïve, the moderns prevailingly sentimental, but neither in any exclusive sense. The words are to be understood as expressing only a mode of feeling. The same poet, the same poem, may be naïve at one moment and sentimental at another. All sentimental poetry, then, is concerned with the disparity or contrast between reality and the ideal. If the poet is mainly interested in the real, we have, in the broad sense, satire, which may be pathetic or humorous. If he dwells more upon the ideal, we have elegiac poetry--elegiac in the narrower sense, if the ideal is conceived as a distant object of longing, idyllic if it is portrayed as a present reality. The second part of the essay is devoted to a review of the sentimental poets of modern Germany.