INTRODUCTION. No branch of modern German literature can boast of the same degree of originality as its lyrical poetry. The epic, didactic, and dramatic literature of modern Germany has, more or less, received the first impulse from ancient or modern foreign productions, and has been, in some measure, modelled after them; but her lyrical poetry is the genuine outgrowth of her own genius. This circumstance alone will fully suffice to account for the excellence of German lyric poetry, and explain the high estimation in which it is held by all impartial critics of foreign countries. The development of modern German lyric poetry dates from the sixteenth century. The impulse of the people to give expression to their sentiments found vent and nourishment in a number of poems and songs which, their authors being unknown, are designated by the collective title of Volkslieder. These were sung or recited by the people, but found little favour with the scholars of the age, and the learned adherents of Luther strove to supersede the Volkslied by the Kirchenlied. In order to do this more effectually, and partly, perhaps, because they could not rid themselves of the popular instinct, the authors of the Religious Hymns borrowed from the Volkslied the metrical form, the simplicity of expression, and frequently even the airs; and to this circumstance is owing, in some measure at least, the irresistible charm which pre-eminently distinguishes the German Kirchenlied from all other similar poetical productions. Martin Luther excelled herein, as in every other respect, all his countrymen of his time. He was not only a great theologian, but a poet and a musician withal, and his sonorous verse at once struck firm root in the hearts of the people. He is, therefore, rightly considered as the founder of the German Kirchenlied, which gives its principal stamp to the First Period of modern German lyrical poetry. Martin Luther did not, however, disdain to give expression to secular lyrics, which were, of course, generally tinged with a religious colouring. Witness his beautiful poem, Frau Musica, placed at the beginning of this volume. Some of his poetical contemporaries and immediate successors likewise cultivated both secular lyrical poetry and the Kirchenlied; more particularly after the revival of German poetry through the efforts of Martin Opitz in the early part of the seventeenth century. It is true, most of the poetical performances were slavish imitations of ancient classical productions; still many lyrical poems of those times breathe the genuine spirit of original poetical inspiration, and are distinguished by a most touching natural simplicity. The religious struggles, more particularly the Thirty Years' War, gave rise to a number of spirited patriotic effusions which proved, likewise, that the spirit of poetry had not died out. The unparalleled calamity of the 'Long War' had stifled the national life of Germany for more than a century. Scholarship was soon revived, and it flourished, but the poet's divine voice' was as rarely heard as the song of birds on a chilly autumn day. And this phenomenon is based on the laws of nature. As long as the gigantic struggle was raging the poets raised their voices to comfort the sufferers, or to encourage the combatants, but as soon as the contest was over a feeling of utter exhaustion was everywhere prevalent. The source of all original production seemed stopped, and the first dawn of a new intellectual life shone with a borrowed light. The Second Period of German lyrical poetry is therefore, although it extended over a considerable portion of the eighteenth century, not distinguished by a general character, and can hardly be judge das a whole. Gellert excelled greatly in the Kirchenlied; Hagedorn produced the most cheerful songs-it is true, chiefly in the Anacreontic style, but still with a considerable amount of genuine feeling-whilst the verses of Gleim were characterised by naïve good humour and a playful cheerfulness, which not unfrequently had the homely ring of the Volkslied. Still, that period had no decided stamp as regards lyrical poetry. The Third Period of German lyrical poetry may be said to possess-paradoxial as it may sound-two distinct general characters. The one was chiefly represented by the famous Göttinger Hainbund, or Dichterbund, and the other by a single poet only, who, in his overtowering eminence stands, among all modern poets, quite alone as a Lyrist, in the came way as Shakespeare is unique as a dramatist. That that lyric poet was Goethe is obvious. The principal bards of the Göttinger Hainbund were: Claudius, Bürger, F. L. Stolberg, Hölty, and Voss, and the central |