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Updated: June 15, 2025
This poem of the Exodus is on the model of the pseudo-classic productions of the Germany of his day; the influence of Klopstock's Messias, for instance, is striking. Depth of thought, feeling for art, and original poetic imagination are lacking in Shire Tiferet. Practically it is nothing more than an oratorical paraphrase of the Biblical recital.
I have seldom entered a shady walk without being soon obliged to turn aside to make room for the rope-makers; and the only tree I have seen, that appeared to be planted by the hand of taste, is in the churchyard, to shade the tomb of the poet Klopstock's wife.
Every one knows that this was Klopstock's birthplace; but the greatest geographer of all ages, Karl Ritter, whose mighty mind grasped the whole universe as if it were the precincts of his home, also first saw the light of the world here.
While giving his arm, he thought that he should not himself like to be an old fellow with his constitution breaking up; and he waited good-temperedly, first before the window to hear the wonted remarks about the guinea-fowls and the weather-cock, and then before the scanty book-shelves, of which the chief glories in dark calf were Josephus, Culpepper, Klopstock's "Messiah," and several volumes of the "Gentleman's Magazine."
While seated in the evening on his little cane-chair, he had often heard his father read from Gellert's fables, and sometimes from Klopstock's grand poem, "The Messiah." He and his sister, two years older than himself, had often wept scalding tears over the story of Him who suffered death on the cross for us all.
Every one knows that this was Klopstock's birthplace; but the greatest geographer of all ages, Karl Ritter, whose mighty mind grasped the whole universe as if it were the precincts of his home, also first saw the light of the world here.
I was treading upon tender ground, as I have reason to suppose that he has himself liberally indulged in the practice." The same day I dined at Mr. Klopstock's, where I had the pleasure of a third interview with the poet. We talked principally about indifferent things. I asked him what he thought of Kant. He said that his reputation was much on the decline in Germany.
Of late, however, the Ramlers, Rabeners, Gellerts, had attained to no inconsiderable polish of style; Klopstock's /Messias/ had called forth the admiration, and perhaps still more the pride, of the country, as a piece of art; a high enthusiasm was abroad; Lessing had roused the minds of men to a deeper and truer interest in Literature, had even decidedly begun to introduce a heartier, warmer and more expressive style.
Je lieber möcht ich im Himmel sein!" The soul strives to reach God with the passionate cry: "Ich bin von Gott und will wieder zu Gott." There is an apocalyptic finale where the choir sing Klopstock's beautiful ode on the promise of the Resurrection: "Aufersteh'n, ja, aufersteh'n wirst du, mein Staub, nach kurzer Ruh!"
We may leave out experiments in religious sentiment like Klopstock's Messiah. We must leave out also poems which have something of the look of epic at first glance, but have nothing of the scope of epic intention; such as Scott's longer poems. These might resemble the "lays" out of which some people imagine "authentic" epic to have been made. But the lays are not the epic.
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