The second half of the 18th century brought new currency to Martin Opitz’s dictum that poetry is “concealed theology” at its root. Johann Caspar Lavater’s drama “Abraham and Isaac” (1776) turns the biblical narrative into an exemplary illustration of his unshakeable conviction that man can affect God’s decisions through faith and prayer. In Friedrich Schiller’s “Semele” (1779) the question of God’s credible self-disclosure to humans proves to be a kind of concealed theology.