Mylius, who was then editing a small journal, the _Rudigersche Zeitung_. Much correspondence brought him a little money from the overburdened home, and with addition of some small earning from translations, this enabled him to obtain a suit of clothes, in which he might venture to present himself to strangers in his search for fortune. A new venture with Mylius, a quarterly record of the history of the theatre, was not successful; but having charge committed to him of the library part of Mylius’s journal, Lessing had an opportunity of showing his great critical power. Gottsched, at Leipsic, was then leader of the war on behalf of classicism in German literature. Lessing fought on the National side, and opposed also the beginning of a new French influence then rising, which was to have its chief apostle in Rousseau. In 1752 Lessing went back to Wittenberg for another year, that he might complete the work for graduation; graduated in December of that year as Master of Arts, and then returned to his work in Berlin. He worked industriously, not only as critic, but also in translation from the classics, from French, English, and Italian; and he was soon able to send help towards providing education for the youngest of the household of twelve children in the Camenz parsonage. In 1753 he gave himself eight weeks of withdrawal from other work to write, in a garden-house at Potsdam, his tragedy of “Miss Sarah Sampson.” It was produced with great success at Frankfort on the Oder, and Lessing’s ruling passion for dramatic literature became the stronger for this first experience of what he might be able to achieve. In literature, Frederick the Great cared only for what was French. A National drama, therefore, could not live in Berlin. In the autumn of 1755, Lessing suddenly moved to Leipsic, where an actor whom he had befriended was establishing a theatre. Here he was again abandoning himself to the cause of a National drama, when a rich young gentleman of Leipsic invited his companionship upon a tour in Europe. Terms were settled, and they set out together. They saw much of Holland, and were passing into England, when King Frederick’s attack on Saxony recalled the young Leipsiger, and caused breach of what had been a contract for a three years’ travelling companionship. In May, 1758, Lessing, aged twenty-nine, returned to his old work in Berlin. Again he translated, edited, criticised. He wrote a tragedy, “Philotas,” and began a “Faust.” He especially employed his critical power in “Letters upon the Latest Literature,” known as his _Literatur briefe_. Dissertations upon fable, led also to Lessing’s “Fables,” produced in this period of his life. In 1760 Lessing was tempted by scarcity of income to serve as a Government secretary at Breslau. He held that office for five years, and then again returned to his old work in Berlin. During the five years in Breslau, Lessing had completed his play of “Minna von Barnhelm,” and the greatest of his critical works, “Laocoon,” a treatise on the “Boundary Lines of Painting and Poetry.” All that he might then have saved from his earnings went to the buying of books and to the relief of the burdens in the Camenz parsonage. At Berlin the office of Royal Librarian became vacant. The claims of Lessing were urged, but Frederick appointed an insignificant Frenchman. In 1767 Lessing was called to aid an unsuccessful attempt to establish a National Theatre in Hamburg. Other troubles followed. Lessing gave his heart to a widow, Eva König, and was betrothed to her. But the involvements of her...