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It is difficult to trace sources for Sterne in English letters, that is, for the strange combination of whimsicality, genuine sentiment and knavish smiles, which is the real Sterne. He is individual, exotic, not demonstrable from preceding literary conditions, and his meteoric, or rather rocket-like career in Britain is in its decline a proof of the insensibility of the English people to a large portion of his gospel. The creature of fancy which, by a process of elimination, the Germans made out of Yorick is more easily explicable from existing and preceding literary and emotional conditions in Germany. Brockes had prepared the way for a sentimental view of nature, Klopstock’s poetry had fostered the display of emotion, the analysis of human feeling. Gellert had spread his own sort of religious and ethical sentimentalism among the multitudes of his devotees. Stirred by, and contemporaneous with Gallic feeling, Germany was turning with longing toward the natural man, that is, man unhampered by convention and free to follow the dictates of the primal emotions. The exercise of human sympathy was a goal of this movement. In this vague, uncertain awakening, this dangerous freeing of human feelings, Yorick’s practical illustration of the sentimental life could not but prove an incentive, an organizer, a

During these six months in Germany, Handel reverted for a moment to German music; he set what is known as the Brockes Passion, a sacred cantata in verse by the Hamburg poet Brockes, which had already been set once by Keiser. Later on it was set to music again by two of Handel's former friends, first by Telemann, and then by Mattheson.

Chrysander attributed to 1716 a set of nine German songs with violin obbligato to semi-sacred words by Brockes; but there is some difficulty about accepting this date, for, although eight of the poems had already been printed by Brockes, there is one which is found only in the second edition of the book, printed in 1724.