 “On Naïve and Sentimental Poetry” played a distinctive role in Friedrich Schlegel’s intellectual development and so in the entire German romantic movement (Lovejoy [1920] 1947; Beiser 2005: 116ff). It likely shaped Hegel’s distinction between ancient and modern art, most notably his discussion of modern tragedy and comedy. The essay’s vision of art’s role in modernity has also been influential: Nietzsche makes use of Schiller’s definition of the naïve in The Birth of Tragedy’s analysis of Greek culture (24–6; Martin 1996: 29–44); Georg Lukács found in Schiller’s portrait of the artist a potent description of art’s task in the modern world (Lukács 1953: 111ff; Sharpe 1991: 194–6). Recently, Daniel Dahlstrom has cited the essay as developing a kind of poetic phenomenology reminiscent of Husserl (Dahlstrom 2018: 101–121)