Schiller has here again been very successful with the rhythm and metre of the verses. The first five lines consist of dactylic and the last two of amphibrachic verses. The contents require no special comment. Compare the Dithyrambe by Kleist (p. 44), and the Notes thereon. Himmlischen Chor, &c., the heavenly host. The last strophe (p.111.) represents a 'voice from above,' which calls upon Hebe to fill the cup of the poet with nectar, so that, inspired by divine poetry, he should become godlike, and worthy to receive the celestials' in his heart. P. 111, No. CI. This lyrical epigram-if we may use this expression-was first published in the Musenalmanuch of 1773. Widerspigen, barbs. Wen er traf, &c., he who has been hit by it should leave it alone. P. 111, No. CII. Goethe himself has given the clue to the origin of this poem in a letter of his (of 1796) to Frau Unger. After relating how he had first become acquainted with the 'excellent musical compositions' of Zelter, he adds: Seine Viclodie des Liedes Ich denke dein hatte einen unglaublichen Reiz für maich, und ich konnte nicht unterlassen, selbst das Lied dazu zu dichten, das im Musenalmanach 1796 steht. The song here alluded to as having suggested to Goethe the present poem is by Frau Friederike Brun (1765-1835) who was the authoress of a number of poems and of several books of travel. The first strophe runs thus: Ich denke dein, wenn sich im Blüthenregen Der Frühling malt, Und wenn des Sommers miltgereifter Segen Goethe's poem is, of course, with the exception of the general idea suggested by the song of Frau Brun, quite original, and in the poet's happiest style. P. 112, No. CIII. Viehoff truly says of this poem: Das Gedicht ist einer von Goethe's schönsten lyrischen Klängen, aus freude trunkner Seele emporgestiegen, wie jauchzender Lerchenjubel schallend. The present Dailied-Goethe has another poem bearing the same title-was first published in the Iris for 1775. It is supposed to have been prompted to the poet by his relation to Friederike Brion. P. 114, No. CV. This lyrical romance' which bears a slight resemblance to Des Märchens Klage (p. 103) was first published in a cycle of songs,, mit Begleitung der Chitarra von 23 Ehlers," in 1803. In the same year Schiller inserted it in his German version of Picard's Parasite (Act iv. Sc. 4) and all will agree with the opinion expressed by the lady who is made to sing the present song that it is aus einem Herzen geflossen, das die Liebe kennt." The first line: An der Quelle faß der Knabe forms a familiar quotation in German and likewise the two last lines: Raum ist in der kleinsten Hütte, &c. P. 116, No. CVI. The Maiden from afar, which Körner aptly characterized as "ein liebliches Räthsel," was first published in the Musenalmanach for 1797. Some critics assume that Schiller actually described spring time,' but the opinion that the poet allegorised poetry in these graceful verses seems to be more generally adopted. P. 117, No. CVII. In these stanzas the poet pays a just ribute of admiration to the German Muse who is a child of he people, as it were, and not a protégée of royal and princely courts. On this account she is not fettered by the constraint of conventionalism, and is able to follow the free course of nature. She never enjoyed the Macenian patronage which called forth the flourishing state of Roman literature during the Augustan Age, nor was she benefited by the munificence of any Medici, who had so liberally promoted art and poetry at Florence.* FOURTH PERIOD. P. 118, No. CVIII. This encouraging appeal to the poetical youth of Germany was written by Uhland in 1812, and was published in the first number of the periodical called: *It is to the above poem that Macaulay alludes in saying in his Essay on Frederick the Great-where he gives such a biased and unjust estimate of the hero-' it was the just boast of Schiller that in his country no Augustus, no Lorenzo had watched over the infancy of poetry,' &c. I have proved elsewhere (Life of Lessing, p. xxxiii. prefixed to my edition of Minna von Barnhelm) that Frederick, though he had no high opinion of German literature, such as it existed during his times, instinctively felt its future greatness. Deutscher Dichterwald, edited by Justinus Kerner, De la Motte Fouqué, L. Uhland, &c., in 1813. Several other poems by Uhland, occurring in the present volume, were first published in that periodical. Nicht an wenig ftolze Namen, &c. "Poetry in general," says Goethe in Wahrheit und Dichtung (Book x.) "is a gift to the world and to nations, and not the private inheritance of a few cultivated men." Singft tu nicht, &c. This verse might almost be applied to the poet himself; he having published-in 1815-his principal ballads and lyrics at the age of twenty-eight. P. 119, No. Weht und rauscht, &c. This line might come first in the English translation, viz., German Genius acts and moves in the fresh oak-forests, and not amidst cold marble statues. P. 120, No. CX. These sonnets, which with several others were composed in the years 1807 and 1808, furnish an undeniable proof, that the southern languages cannot claim the privilege of being the sole domain of the artistic form which originated in Provençal poetry, but that it can most successfully also be cultivated in German. The language does here, of course, nothing for the poet and it must be a masterhand like that of a Goethe, a Platen or a Geibel that can produce a German sonnet which may rival with those of Petrarca. It may also be of interest to the reader to know that the present three sonnets are among those of which an unparalleled literary and personal abuse has been made by that romantic child' Bettina. This enfant terrible of the romantic school boldly concocted letters which she pretended to have written to Goethe, and which, according to her astounding assertion, had actually furnished him with materials for his sonnets. It has, however, been conclusively proved-first by Riemer-that it was Bettina who had paraphrased those sonnets in reducing them to an epistolary shape. Thus she wanted to make the world believe that the great poet was not only deeply attached to her, but that he actually used her tender effusions' for the production of some of his finest verses-- whilst it is wellknown that the sonnets alluded to were inspired by Minna Herzlieb of Jena-the prototype of Ottilie in the Wahlverwandschaften. A 'charade on the surname Herzlieb actually occurs in the last sonnet of the series (see l. i. p. 122), viz., Lieb Kind! Mein artig Herz! P. 125, No. CXIV. This is perhaps the most melodious of Platen's poems, which certainly is saying a great deal. It was written in 1820. P. 126, Es brehte sich oben, &c., there moved above the melodious course of the numberless glittering stars. This refers to the well-known Pythagorean theory of the 'music of the spheres.' P. 127, No. CXVII. Only a poet imbued with deep religious feeling could produce such an impressive picture of the solemn Sunday-calm, amidst beautiful scenery. Uhland wrote these tender verses in 1805 at the age of eighteen. P. 128, No. CXVIII. In the winter of 1833-34 Rückert had the misfortune to lose a little daughter, aged about three years, and his son, who was only three years older. This calamity, which he is reported never to have forgotten during his life, prompted him to the composition of a number of Kindertodtenlieder. He wanted, however, to keep his sacred grief to himself and naturally felt an invincible reluctance against the publication of those poems, which appeared only after his death in 1872. P. 134, No. CXXI. The author of the beautiful romantic epic poem: Die bezauberte Rose, wrote a Poetisches Tagebuch—from 13th June 1813 to 17th February 1817-which contains both the present strophes and those given on page 203 in this volume. P. 135, No. CXXII. The Lebens-Lieder und Bilder form a series of twenty-two songs, written by Chamisso in 1831. The form of the Echo-song' is of very rare occurrence in German poetry. P. 136, No. CXXIII. A sentiment similar to that expressed in these lines is to be found in the following verses, (the first two of which form a familiar quotation), which Schiller has put in the mouth of the Chorus 'Cajetan' in his Braut von Messina: Etwas fürchten und hoffen und sorgen Muß der Mensch für den kommenden Morgen, P. 137, No. CXXIV. The last strophe of this song bears the stamp of the stormy times of its origin-it having been composed in the year 1806. P. 138, No. CXXV. Den lieben Gott, &c. This strophe involuntarily reminds us of the beginning of G. Neumark's beautiful Troftlied, (1657): Wer nur den lieben Gott läßt walten Der wird ihn wunderlich erhalten, In aller Noth und Traurigkeit. P. 139, No. CXXVI, This Wanderlied, which was first published in 1834, has become one of the most popular student's songs in Germany. P. 140, No. CXXVII. Hoffnung auf Hoffnung, &c., hope after hope becomes shipwreck. The expression zu Scheiter(n) gehen is equivalent to scheitern, to wreck; to strand. P. 142, No. CXXIX. This is an admonishing 'reply' to the wish expressed by the poet in the preceding stanzas, to be able to lead an ideal life, remote from the doings of men.` The words: Die Menschen lieben lernen, give us an insight into the poet's feelings, who has often been accused of coldness, because he understood the rare art of hiding the ardour of his passion under the smooth cover of an elegant form. Platen has justly been compared to a snow covered volcano. P. 143, No. CXXX. The date prefixed to this patriotic poem will sufficiently explain its purport. Mit rechten Treuen halten, &c., practise with true fidelity. The plural form of Treue is now and then to be met with in poetry. Du hohes Land, thou magnificent country. Die Acht, lit., 'proscription,' 'ban,' might here be rendered by death (to the knave), &c. Der füttre, he shall serve as food to. The Hermanns, schlacht is an allusion to the celebrated battle which Hermann (or Armin') der Cherusker fought against Varus in the year nine A.D., by which the Germans were freed from the Roman yoke. P. 144, No. CXXXI. Modern Greece had in her struggles against the Turks (in 1821-26) not only found in England, but also in Germany, a spirited bard who pleaded her cause; and the present sonorous poem, whose strains have a truly Byronic ring about them, is one of the famous Griechenlieder, which Wilhelm Müller, imbued with the heroic spirit of ancient Greece, composed in his youthful enthusiasm. The majestic movement of the metre fully corresponds with the noble spirit which pervades these stanzas; a remarkable feature of which is that the poet |