"In the further course of the 19th century, the letters lost their immediate political relevance, but because of their cultural and historical significance and their German usability, they found equally committed editors and a broad public." Also Wolfgang Menzel, who in 1843 found a volume of letters published by the half-sister Raugräfin Luise, saw in the Duchess of Orléans the "simple German woman and the most open soul in the world", who "only had to watch too much moral corruption... understandable that she sometimes expresses herself about it in the crudest words". From then on, the letters were gladly used in the anti-French demeanor of increasing German nationalism. Liselotte was stylized as a martyr of the French court and elevated to a national cult figure, for example in Paul Heyse's play "Elisabeth Charlotte" from 1864. Theodor Schott and Eduard Bodemann also followed these beliefs. However, the historicism also recognized the enormous cultural-historical value of the letters and extensive editing activities began in the editions of Bodemann and Wilhelm Ludwig Holland.