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Erich Schmidt, building on a suggestion of Lichtenstein, found a “Dosis Yorikscher Empfindsamkeit” in Tellheim, and connected the episode of the Chevalier de St. Louis with the passage in “Minna von Barnhelm” (II,
Lessing's life has been sketched in the introduction to his "Minna von Barnhelm" in the volume of Continental Dramas in The Harvard Classics. "The Education of the Human Race" is the culmination of a bitter theological controversy which began with the publication by Lessing, in 1774-1778, of a series of fragments of a work on natural religion by the German deist, Reimarus.
Still Lessing’s name has not become European through his wit, and his charming comedy, Minna von Barnhelm, has won no place on a foreign stage. Of course we do not pretend to an exhaustive acquaintance with German literature; we not only admit—we are sure that it includes much comic writing of which we know nothing.
In German I read, partly with my fingers and partly with Miss Sullivan's assistance, Schiller's "Lied von der Glocke" and "Taucher," Heine's "Harzreise," Freytag's "Aus dem Staat Friedrichs des Grossen," Riehl's "Fluch Der Schonheit," Lessing's "Minna von Barnhelm," and Goethe's "Aus meinem Leben."
"But, sire, you have never deigned to become acquainted with 'Minna von Barnhelm' nor 'Emilia Calotti." "Well, well, Herzberg, do not be so furious; you are a lover of German literature, and some allowance must be made for those who are in love. You will not persuade me to read your things which you call German comedies and tragedies.
Minna van Barnhelm is a true comedy of the refined class; in point of form it holds a middle place between the French and English style; the spirit of the invention, however, and the social tone portrayed in it, are peculiarly German.
The comic secondary figures are drawn with much drollery and humour, and bear a genuine German stamp. Emilia Galotti was still more admired than Minna von Barnhelm, but hardly, I think, with justice. Its plan, perhaps, has been better considered, and worked out with still greater diligence; but Minna von Barnhelm answers better to the genuine idea of Comedy than Emilia Galotti to that of Tragedy.
"They are already here," cried Herzberg, zealously. "We have, for example, Lessing, who has written two dramas, of which every nation might be proud 'Minna von Barnhelm, and Emilia Calotti." "I know nothing of them," said the king, with indifference. "I have never heard of your Lessing." "Your majesty, this wonderful comedy, 'Minna von Barnhelm, was written for your majesty's glorification."
In his "Minna von Barnhelm," he inculcates the finest feelings of honor; his "Nathan" is replete with the wisdom "that cometh from above" and with calm dignity; and in "Emilia Galotti" he has been the first to draw the veil, hitherto respected, from scenes in real life. His life was, like his mind, independent. He was the boldest, freest, finest spirit of the age.
But I must here, first of all, make honorable mention of one work, the most genuine production of the Seven Years' War, and of perfect North- German nationality: it is the first theatrical production caught from the important events of life, one of specific, temporary value, and one which therefore produced an incalculable effect, "Minna von Barnhelm."
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