Though the "Heldenbuch"'s influence on modern poetry is limited, Johann Wolfgang von Goethe was familiar with it, having created a dramatic farce known as "The Romantic Poetry" in 1809, which featured various characters from the "Heldenbuch", such as Ornit. The text features rewritings of passages of that poem as well, yet changes the ending so that Ornit defeats the dragons. Von der Hagen dedicated his 1811 edition to Goethe and sent him an example, which was well received. The story "The New Melusine" contained within "Wilhelm Meister's Apprenticeship" is clearly inspired by the "Heldenbuch-Prosa". The nineteenth century also saw the poems of the "Heldenbuch" begin to play a role in poetological discourse: August Wilhelm Schlegel described these poems as a "heroic comedy" ("Heldenkomödie") that could co-existed beside the "great tragedy" of the "Nibelungenlied" during a series of lectures held in 1802/03. In his "Aesthetics", however, Friedrich Hegel described both the "Heldenbuch" and the "Nibelungenlied" as an example of the qualities an epic ought not to have.