It has been a commonplace remark that 1773, the year of the publication of _Goetz_, corresponds in European literature to 1789 in European political history. The remark may be exaggerated, but, if a work is to be named which marks the advent of what is covered by the vague name of romanticism, _Goetz_ may fairly claim the honour. It had precursors of more or less importance in other countries, but, by the nature of its subject, by its audacious disregard of reigning models, and by its resounding notoriety, it gave the signal for a fresh reconstruction of art and life. It gave the decisive impulse to the writer who is the European representative of the romantic movement, and whose genius specifically fitted him to work the vein which was opened in _Goetz_--a task to which Goethe himself was not called. In 1799 Scott published his translation of _Goetz_,[107] and followed it up by his series of romantic poems in which the influence of Goethe's work was the main inspiration. But it was in his prose romances, dealing with the Middle Ages, that he found the appropriate form for his inspiration--a form which ensured a popular appeal, impossible in the case of the severer form of the drama. In the enchanter's sway which Scott exercised over Europe during the greater part of the nineteenth century, the memories of _Goetz_ were not the least potent of his spells. [Footnote 107: Two of the scenes in _Goetz_ were imitated by Scott in his own work--the Vehmgericht scene in _Anne of Geierstein_ and the description of the siege of Torquilstone by Rebecca to the wounded Ivanhoe. Scott also borrowed from _Egmont_.] CHAPTER VI INFLUENCE OF MERCK AND THE DARMSTADT CIRCLE 1772