Of far greater poetic interest are the verses entitled 'Rousseau', whose neglected grave (he died in 1778) is made the point of departure for a vigorous denunciation of the bigotry that had driven him from place to place and denied him peace among the living. The poem foresees a time when streams of blood shall flow for the honor of calling him son. There is no effort at portraiture, and no suggestion of any repellent or pitiable traits.[35] We get not Byron's "self-torturing sophist", but a martyred sage who suffered and died at the hands of Christians,--'he who makes out of Christians human beings'. Toward the end he is apostrophized as the 'Great Endurer, and bidden to leap joyously into Charon's boat and go tell the spirits about this 'dream of the war of frogs and mice, the hand-organ doodle-doodle of this life'.[36] In this poem there is certainly no lack of that 'fire' which Duke Karl found in Schiller's dissertation. Indeed fire abounds everywhere in his youthful versifying. He never contemplates, never dwells upon a temperate emotion. The poetry of common things and of the gentler feelings seems to have been nonexistent for him. His imagination likes to occupy itself with the supernal, the stupendous, or else with the awful and the revolting. This is seen in the two poems 'Elysium' and 'A Group from Tartarus'; the one aiming to portray a land of ineffable happiness, where sorrow has no name and the only pain is a gentle ecstasy, the other depicting the infinite misery of the inferno. In both there is a free blending of Christian with pagan conceptions, 'Elysium' being put for heaven and 'Tartarus' for hell. A similar blending is noticeable in many of the other poems, ancient mythology being made to furnish forth the setting and the symbols of modern passion. So it is, for example, in the lyric operetta 'Semele', the longest and most pretentious of the 'Anthology' poems. It consists of two scenes in irregular verses, dealing with Jupiter's love for the mortal Semele' and Juno's jealousy. Artistically it is much in need of the file, and Its sustained note of passionate pathos hardly comports, perhaps, with the type of the operetta. Nevertheless it contains powerful passages and telling stage effects. One can see that the young student--'Semele' appears to have been written at the academy--had learned, through, his occasional visits to the opera, how to manage a conventional theme and conventional machinery in such a way as to startle and thrill.