P. 285, No. CCLX. First, which is both masculine and feminine, denotes here the ridge of a roof.

P. 287, No. CCLXI. Rost selig lächelnd, &c. The poet had originally used the expression jaucht, exults,' which expresses the contrast between the state of mind of the two maidens rather harshly; he, therefore, subsequently altered it into fost, which may be rendered here by whispers (happily).

P. 287, No. CCLXII. Lenau went in 1832 to America for his 'intellectual development,' and in the hope of finding fresh nourishment for his poetical genius in the American Urwälder. He soon returned greatly disappointed. As a nature-loving poet he considered it as a stigma, nay, as a curse of the New World, that there were no nightingales! The only good result of his tedious and costly expedition were a number of poems, several of which refer to the sea. The poem Seemorgen occurs in the series called: Atlantica.

P. 292, No. CCLXVIII. From a highly-interesting letter by Lady Duff Gordon, published in Lord Houghton's Monographs, and in a Memoir by her Daughter' (Macmillan's Magazine, Oct. 1874), we learn that Heine himself told Lady Duff Gordon, that the verses: Wenn ich an deinem Hause, &c., were meant for her and her braune Augen. The poet had made her acquaintance at Boulogne when she was a mere child, and it was at that time that he addressed to her these lines.

P. 300, No. CCLXXVII. This is one of the finest specimens of the 'West-Eastern Poetry' which formed the first stage in Freiligrath's poetical career.

P. 302, No. CCLXXVIII. Herwegh has proved by these stanzas, which form perhaps the most generally admired of his poems, that he was not merely a stern poet of liberty,' but that his muse was also capable of producing the most gentle strains of a purely lyrical character.

P. 308, No. CCLXXXV. Nun wend ich, &c. The hurry and swiftness of the wind is indicated in this strophe by the metrical form. The lines were written in 1847.

P. 311, No. CCLXXXIX. This song, so full of tender feeling, has furnished a very popular quotation in the line: rühret, rühret nicht daran!

P. 314, No. CCXCII. Haide, steppe. Lenau was by education and culture a German, but a Hungarian by birth, and to this circumstance we are indebted for some of his finest poems, giving pictures of Hungarian life. Here he thought of

his native 'pusztas' or steppes, in using the word Haibe. The present poem refers to a sad episode in his life, which was one of the causes that filled his mind with an incurable despondency.

P. 319, No. CCXCVIII. Though a 'political poet' par excellence, Hoffmann v. Fallersleben wrote perhaps the finest songs on and for children. His Kinderlieder were published in 1843.

P. 320, No. CCXCIX. These genial verses occur in L. Schefer's didactic poem: Der Weltpriester.

P. 322, No. CCCI. Jedes Herz, &c. Compare the adage 'In vino veritas!

P. 323, Klingklang is an onomatopoetic word, coined to express the noise produced by the clinking of glasses.

P. 323, No. CCCII. The song in praise of Frau Musica (cf. on this expression the note to No. I.), is from Scheffel's beautiful epic poem, Der Trompeter von Säkkingen, which is, on account of its freshness and originality, very popular in Germany.

P. 329, No. CCCVIII. I have selected the present verses from the author's Laienbrevier. They are of a somewhat didactic character, but I should think there are few people who will not be pleased to be made acquainted with them.

P. 330, No. CCCIX. Freiligrath's poem An Wolfgang im Felbe has an historical interest besides the great merit which it possesses as a poetical conception with a generous and humane tendency. It was addressed by the poet to his son Wolfgang, who, not being received during the late Franco-German war in the ranks of the combatants as a volunteer, had joined the corps of the Johanniter.

P. 338, No. CCCXIV. We think the form of the Ghasel, which has been explained before in the Notes to this volume, admirably suited to a 'Prayer' in verse.