as opposed to the classics. The American Museum, for example, published a Speech on the learned languages, by the Hon. Francis Hopkinson, which concludes with the remark that the "languages most in use are, in truth, the most useful to be known."[28]

On the other hand there were unsympathetic writers who ridiculed the Germans and their literature. The Monthly Magazine published a letter entitled Literary Industry of the Germans, which decried their pedantic scholarship in unprofitable directions.[29] This attack is also expressed in the form of parodies, of which the following were found: The Wolf King, a satire on The Water King, The Fire King, etc. (1802), The Paint King, a burlesque on The Cloud King, The Fire King and others (1809, 1833), Against Faustus (1804), The Squeaking Ghost, "a tale imitated from the German, according to the true and genuine principles of the horrifick" (1808, 1809, 1810), Parody on Bürger's Earl Walter (1807), Ode to the German Drama, "Parody of Gray's Ode to Adversity" (1806), and Burlesque on the style in which most of the German romantic ballads are written (1799, 1801). In some of these instances the parodies may denote no real hostility but merely a rhymester's attempt to be clever.

It is worthy of note that several of the poems in these magazines may be grouped together, thus indicating particular interest in certain subjects. Each group forms, as it were, a cycle, though the individual poems were usually written by different persons. One of these groups attests the popularity of Frederick the Great, even before the American Revolution. The translations from his poetry are: Relaxation of War (1758, 1795, 1798), The King of Prussia's Ode imitated in rhime (1758), A literal translation of the King of Prussia's Ode (1758), Translation of an Epistle from the King of Prussia to Monsieur Voltaire (1759), Ode to Death (1786, 1806), Prayer of Frederick II in Behalf of Poets (1805), and A Song (1811). The original poems about Frederick are: Winter, a poem, containing a reference to "great Frederick's noble feats" (1758), On the compleat Victory ... (1758), Ode on the late Victory obtained by the King of Prussia (1758), On the glorious Victory ... (1758), The Third Psalm paraphrased, "Alluding to his Prussian Majesty" (1758), On reading in the publick Papers ... (1758), The Royal Comet, referring to "Prussia's great Frederick" (1758), and Mr. Voltaire's letter to his Prussian Majesty, Translated (1758).

Another group treats the kings of the natural elements, so common in German literature: The Erl King (1798, July 1833, Sept. 1833, 1835, 1836, 1838, 1839), The Erl King's Daughter (1798), The Water King, a Danish Ballad (1798), The Wolf King, a parody on The Water King, The Fire King, etc. (1802), Hrim Thor, or the Winter King (1802), Grim, King of the Ghosts (1802) and The Paint King, a burlesque on The Cloud King, The Fire King, etc. (1809, 1810, 1833). This interest in the weird element explains the popularity of Bürger's Lenore, which appears in translation in 1798, 1801, 1804, 1823, 1836, 1839, 1840.

Switzerland is described in a variety of poems, treating all phases of the life and scenery. The most prominent among them is the Swiss song, which is variously translated as the Ranz des Vaches, the Cow Boy's Chant, and The Song of the Swiss in a Strange Land (1805, Oct. 15, Oct. 29, Nov. 1, Nov. 8, Dec. 17, 1808, June, June 3, 1809, twice in 1833 and once in 1835). In addition to the translations, there are four imitations of the same poem: The Swiss Exiles' Song (1835), The Switzer's Return [from America] (1836), The Switzer's Song of Home (1837, 1838), and The Swiss Emigrant's Dream of Home (1840).[30]

The last group of poems to be mentioned refers to Goethe's novel, Die Leiden des jungen Werthers. This was evidently popular in America, though by no means causing the widespread delirium and sentimentality that had been rife in Germany. During our period the book was published here six times in translation, and an English imitation, The Letters of Charlotte, during her Connexion with Werter, had three American reprints.[31] These, together with translations imported from England, must have made Werter well known in this country. It is not surprising, therefore, to find in the magazines eight poems on the subject: Narcissa, containing a reference to Werter in the third stanza (1787), Charlotte's Soliloquy—to the Manes of Werter (1787), Death of Werter (1787), Werter's Epitaph (1787, 1791, 1805), On Reading the Sorrows of Werter (1790), Letter LXI of the Sorrows of Werter, Versified (1791), Werter's Farewell to Charlotte (1798) and Charlotte at the Tomb of Werter (1809).

The early American magazines, then, were instrumental in making German literature and especially German poetry known in America. It was possible for them to print translations of individual poems of an author long before there was a demand for them in book form. Gessner, Bürger, Gellert, Lessing and others have already been mentioned in this connection. It is interesting to note just what poets were introduced to the American public by means of the magazines. Gessner and Bürger were the most popular, the former appearing twenty-five times and the latter ten times before 1811. Gessner was perhaps the German poet best known in America. During this period his Death of Abel had no less than sixteen American imprints and four imitations, while translations of his Idyls appeared in book form twice in 1802 and once in 1807.[32] Bürger, on the other hand, was known only through these poems in the magazines, or perhaps through imported books. No volume of translations of his poems belongs to this period of American printing.

After these, Gellert, Lessing and Haller had some share of recognition both by translation and criticism. Goethe, as has been shown, was known as the author of Werter. As for his lyrical productions, only two appeared, The Erl-King (1798) and Frederick and Alice, "Imitated rather than translated from a fragment introduced in Goethe's Claudine von Villa Bella" (1807). Other poets, like Jacobi, Klopstock, Matthisson, Kotzebue, Patzke or Bürde, found an occasional admirer, but not enough was done to bring their characteristics plainly before the public. In addition to these, there were numerous parodies and original poems, which helped to emphasize the importance of things German. This influence, moreover, was aided by the translations of prose works and by articles on German literature, history and biography, which are scattered