86 Milton D. Baumgartner 



played a part in shaping the lyrical poetry of Germany during the 

 eighteenth century. 



Conclusion 



In this study it has been shown that Dryden, unlike Pope, was 

 first introduced into Germany directly from England. At Ham- 

 burg Mac Flecknoe was translated and adapted early in Hans 

 Sachs. Hans Sachs fostered literary cliques, and as a result 

 there was introduced into Germany a direct personal literary criti- 

 cism. Later it was revived by Bodmer and utilized in the Swiss- 

 Gottsched controversy. The other satires of Dryden were not 

 closely related to Germany, but the Treatise on the Origin and 

 Progress of the Satire was translated by Nicolai, and accepted as 

 a guide. 



While early noted by German critics the Essay on Dramatic 

 Poesie, however, was not introduced into Germany until after the 

 partial French translation, which Gottsched in turn translated. 

 Although Lessing learned to know Dryden through Voltaire's Let- 

 tres, Gottsched's translation induced him to translate the Essay. 

 His translation proved the fallacy of Gottsched's contention, that 

 Dryden preferred the French theater to the English. The Essay 

 also influenced Lessing's utterances in the seventeenth Literatur- 

 brief, as is shown by the external and internal evidence. Lessing's 

 translation won recognition for it in Germany. 



The relation of Dryden's plays to Germany is not so conse- 

 quential as that of his satires and the Essay on Dramatic Poesie; 

 nevertheless four of his plays were translated. The State of 

 Innocence and All for Love played the most prominent part; the 

 former at Ziirich, and the latter at Mannheim. The State of 

 Innocence was introduced as a companion piece of Paradise Lost; 

 and All for Love found its way into Germany because of its con- 

 nection with Shakspere's Antony and Cleopatra, and became Dry- 

 den's most widely disseminated play. 



The fables and poetic-classical translations of Dryden owe their 

 popularity in Germany to their elegant form. This characteristic 

 of Dryden's fables exerted an influence upon Hagedorn, and 

 caused him to follow this elegance of form in his own poetry. 



374 



