K. Ch. L. Schmidt controverts this hypothesis with the remark, that it is impossible that a narrative so disfigured (we should rather say, so embellished) could have been a family record; and that, if it does not belong altogether to the class of legends, its historical basis, if such there be, is no longer to be distinguished. [139] It is further maintained, that the narrative presents certain features which no poet would have conceived, and which prove it to be a direct impression of facts; for instance, the Messianic expectations expressed by the different personages introduced by Luke (chap. i. and ii.) correspond exactly with the situation and relation of each individual. [140] But these distinctions are by no means so striking as Paulus represents; they are only the characteristics of a history which goes into details, making a transition from generalities to particulars, which is natural alike to the poet and to the popular legend; besides, the peculiar Judaical phraseology in which the Messianic expectations are expressed, and which it is contended confirm the opinion that this narrative was written, or received its fixed form, before the death of Jesus, continued to be used after that event Acts i. 6 [141]. Moreover we must agree with Schleiermacher when he says: [142] least of all is it possible to regard these utterances as strictly historical; or to maintain that Zacharias, in the moment that he recovered his speech, employed it in a song of praise, uninterrupted by the exultation and wonder of the company, sentiments which the narrator interrupts himself to indulge. It must, at all events, be admitted that the author has made additions of his own, and has enriched the history by the lyric effusions of his muse. Kuinöl supposes that Zacharias composed and wrote down the canticle subsequent to the occasion; but this strange surmise contradicts the text. There are some other features which, it is contended, belong not to the creations of the poet; such as, the signs made to the father, the debate in the family, the position of the angel on the right hand of the altar. [143] But this criticism is merely a proof that these interpreters have, or determine to have, no just conception of poetry or popular legend; for the genuine characteristic of poetry and mythus is natural and pictorial representation of details. [144] § 19. MYTHICAL VIEW OF THE NARRATIVE IN ITS DIFFERENT STAGES.