(_γγ_) The _third_ type of composition in this class is characterized by a mode of treatment which in recent times is most clearly represented among us Germans in the work of Schiller. The majority of his lyrical poems, such as those named by him Resignation, the Ideals, the realm of Shades, Artists, the Ideal and Life, are just as little songs in the true sense as they are odes or hymns, epistles, or elegies in the classic sense. Their position, on the contrary, is distinct from all these types. Their significance consists above all in the imposing fundamental thought of their content by the force of which, however, the poet neither appears to be carried away as a dithyrambic poet might be, nor in the press of his enthusiasm is there any appearance of conflict with the greatness of his subject. He remains rather throughout completely master of the same, and unfolds all that is therein implied from every point of view with his own poetic reflection. And he does this in the full impulse of genuine feeling, no less than with the comprehensive breadth of his intelligence, expressed with a compelling force in the most admirable and full-toned utterance and image, and yet, withal, for the most part in quite simple, if really arresting rhythms and rhymes. These great thoughts and fundamental interests, to which his entire life was dedicate, appear consequently as the most intimate possession of his spirit. But he does not sing so much as one tranquilly self-absorbed,[15] or to a circle of companions, as the rich-songed mouth of Goethe was wont to do, but as a singer who delivers himself of what is on its own account intrinsically of worth in a storehouse of all that is most excellent and distinguished. His songs ring out, in fact, much as he says of his bell: Hoch über'm niedern Erdenleben Soll sie im blauen Himmelszelt, Die Nachbarin des Donners, schweben Und grenzen an die Sternen weit, Soll eine Stimme seyn von oben, Wie der Gestirne helle Schaar, Die ihren Schöpfer wandelnd toben Und führen das bekränzte Jahr. Nur ewigen und ernsten Dingen Sei ihr metall'ner Mund geweiht, Und stündlich mit den schnellen Schwingen Berühr' im Fluge sie die Zeit.[16] 3. HISTORICAL EVOLUTION OF THE LYRIC.