The space of time over which the Fourth Period extends from 1805 to 1832-was one of the most eventful in the history of Germany. The very existence of the German nation was at stake, and the struggle for life called forth both heroic deeds and spirited patriotic strains. The latter give, therefore, a decided stamp to the lyrical poetry of the Fourth Period, and the Freiheits- und Vaterlandslieder by Körner, Uhland, Rückert, Arndt, K. Follen, &c., rank with the finest patriotic effusions in any language. They may not, in general, have the dash and martial verve of the French war songs, but this defect-if it really is one-is based on the nature of the thing. For, in the same way as the Germans are, as a nation, not of an aggressive character, so their poets do not raise the wild and enthusiastic warwhoop of attack. They only call on their brethren to defend their country and to free it from the foreign yoke. Hence their appropriate name Freiheits- und Vaterlandsdichter; and what their songs may lack in martial enthusiasm is amply made up by deep-felt poetical sentiment, aroused by a sacred cause; and hence it comes that even the Trinklieder of those times bear the stamp of earnestness.

Unfortunately, however, the poets of Germany had soon to perceive that their country was merely liberated but not free. The foreign foe had been expelled, but the home tyrants remained. Every legitimate free aspiration was stifled; the nation vegetated, but did not live. This gave rise to a spirit of discontent and disappointment among the liberalminded men of Germany, many of whom expiated their noble aspirations in the mute walls of German fortresses. From that time dates the prevalence of Weltschmerz in the poetical literature of Germany-an expression which it is extremely difficult to define, and hardly possible to translate. The Weltschmerz consists of a feeling of bitter disappointment, and of deep discontent with the whole world, and with oneself. Byron and Shelley suffered from Weltschmerz in an eminent degree and they gave expression to it in brilliant sonorous stanzas. Among German poets it was perhaps Platen who first manifested that feeling, but it was sobered down in him by that self-control which is the proper attribute of genius, and by that mastery over the language which enabled him to give a classical form to his verse.*

I would call special attention to Platen's Ghazels, which form of poetry will probably be new to many readers.

Hölderlin is perhaps the only poet belonging to an earlier period who was afflicted with that self-mortifying 'world-grief;' but being a far more subjective poet than Platen, he gave expression to his feelings of inward disappointment in more unrestrained terms than the latter.

In the course of time the feeling of Weltschmerz became more and more prevalent among the poets of Germany, and it may be said to form the chief characteristic of the Fifth Period, which, in spite of that drawback, is one of the most brilliant of German lyrical poetry. The principal poet of that period is undoubtedly Heinrich Heine whose verses, though they are of a subjective kind in the highest degree, nevertheless produce a deep effect and exercise an irresistible charm upon his readers.

It was he who first introduced the feature of epigrammatic lyrics' into German literature, and although no poet has perhaps had more imitators than he, nobody has succeeded in rivalling him. He stands quite inapproachable in his own line, and his peculiarity is so entirely his own, that if any poet writes verses without the slightest attempt to imitate him, but with an epigrammatic conclusion, the reader at once exclaims: This is quite in the vein of Heine!

I refrain from giving here a full definition of the inherent charm of Heine's verses. I leave this for another occasion, and will merely mention some of their distinguishing characteristics. Most lyrical poems of Heine are extremely brief; nearly each of them contains a sentiment and some, generally unexpected, witty or humorous turn. Added to this his verses are distinguished by a most musical rhythmical flow, often arising from a graceful irregularity, and by a simplicity of expression, such as is hardly to be met with in any other poet. "The magic of Heine's poetical form," says Mr. Matthew Arnold, "is incomparable; he chiefly uses a form of old German popular poetry, a ballad form which has more rapidity and grace than any ballad form of ours; he employs this form with the most exquisite lightness and ease, and yet it has at the same time the inborn fulness, pathos, and old-world charm of all true forms of popular poetry."* In another passage the same critic justly

'Essays in Criticism' (p. 170) by Matthew Arnold. I cannot refrain from calling special attention to Mr. Arnold's brilliant Essay on 'Heinrich Heine.' The author impartially lays bare the foibles of the man, but he does full justice to the genius of the poet.

remarks that Heine was "in the European poetry of that quarter of a century which follows the death of Goethe, incomparably the most important figure." * This statement must not be wondered at, considering that one of his severest German critics-(and from reasons which it would be out of place here to explain fully, German critics have been more severe upon Heine than upon any other German poet)-declares that "when Heine first made his appearance, in 1822, with his Lyrical Poems,' Germany at once greeted him as an original poet. Such pure sounds of the heart had not been heard since the time when Goethe's lyre grew silent."+

Next to Heine the principal lyrical poets in the Fifth Period are Lenau and Geibel; Freiligrath, Herwegh and Anastasius Grün. The muse of the first was of a sombre character. Lenau was pre-eminently a lyrical poet, but the finest blossoms of his poetry are often crushed by the overwhelming burden of an incurable Weltschmerz-by which he may be said to have perished-and by the gnawing worm of scepticism. Still some of his lyrical productions belong, with their melancholy tenderness and their sincere affection for nature, to the gems of German lyrical poetry. His poems touch us deeply, but more perhaps from sympathy with the unhappy poet from whose heart they emanated, than because they express our own sentiments, as is so often done by Heine's lyrical epigrams. The lyrical poems of Emmanuel Geibel occupy a prominent place in modern German literature. His poems are distinguished by a gentleness and sweetness which could not fail to make him a great favourite with the large community of readers of lyrical poetry. His verse is, besides, highly polished and extremely melodious, and is frequently pervaded by a spirit of piety. To these circumstances his great popularity must be ascribed; a popularity which has only increased since he has devoted his muse, in some measure, to the national cause of Germany.

The political element forms altogether one of the principal characteristics of modern German lyrical poetry. Anastasius Grün-aristocrat as he is, and an Austrian aristocrat to

'Essays in Criticism' (p. 181) by Matthew Arnold.

Deutsche Nationalliteratur (vol. iii. p. 296), von Dr. Joseph Hillebrand.

boot was one of the first to make poetry the vehicle of political agitation. He did so in highly sonorous verse, but being rather highflown it made little impression on the public in general. Quite different was the effect produced by the political poems of Herwegh. His Gedichte eines Lebendigen ran like wildfire through Germany and kindled an enthusiasm in the hearts of the young which showed how great a hold poetry has over the German mind. With political poets it is a remarkable peculiarity-which could easily enough be explained-that all their productions, even those which are of a purely lyrical character, bear the stamp of energy and manliness. This is the case with the lyrical verses of Herwegh, and perhaps in a still higher degree with those of Ferdinand Freiligrath. Two distinct phases are perceptible in the poetical career of the latter. First his vivid imagination and powerful poetical instinct found a vent in the description of wild and fantastic visions of the Orient; in this peculiarity he bears a striking resemblance to Victor Hugo. Later, when the bent of his genius drove him into the dangerous channel of politics, his poetical impetuosity found an outlet in politico-poetical effusions; but the same spirit of manliness, the same enthusiasm for all that is good and noble, and the same vigour of expression is to be found in all his poetical productions, whatever their subject may be, and have made him the Poet Laureate of the German people.

Recent times have not produced an epoch-marking lyrical poet in Germany. Pretty and even impressive poetry has been written by a number of gifted writers, and has met with a sympathetic appreciation on the part of the people. Poetry and song are inborn instincts of the Germans; numbers of them write verses and nearly all of them love poetry. appeal

Uhland's

* His real name is Ant. Alex. Maria Graf von Auersperg. + One poet only must be excepted who arrested by his poems the general attention of the German public. I refer to Claus Groth, the author of 'Quickborn.' His verses being, however, written in Plattdeutsch, were unfortunately not available for our present purpose. We have heard that an English version of Groth's poems is contemplated. If carried out by skilful hands it is sure to meet with a cordial reception in this poetry-loving country.

fluous for classical scholars, but to a number of other readers my explanations, whether referring to Mythology or other topics may, possibly, prove very welcome. On the other hand, I have done my best to avoid the fault so often met with in commentaries of this kind, which consists either in paraphrasing the poems by poetical or rather flowery prose, or in a minute analysis of the various sentiments expressed by the poet. The former proceeding seems to me as if one would besprinkle a rose with Eau de Cologne; whilst the latter is a kind of critical anatomy which is apt to destroy the charm of the poem as a whole.

The aim of this volume is to increase the number of admirers of German poetry in this country, and to open to English readers of German fresh sources of intellectual pleasure, and should that aim be fulfilled I shall consider the great labour which I have bestowed on this work amply rewarded.

A second issue of this volume was so soon required after the first edition, published in 1875, that no sufficient time was left to me for revising it. I have, however, availed myself of the opportunity on issuing the present, third edition, of correcting some typical errors and of revising the Notes. I may add, that the success of this work has afforded me more gratification than that of any of my other books published in this country. It has shown me that the number of English admirers of German poetry is very considerable, and I believe it also justifies my assumption that the Deutsche Lyrik is not quite unworthy of the excellent Series in which it has appeared. From the numerous English versions of poems contained in this volume which I have received from various parts of Great Britain, I may also infer that this selection has given an impetus to many translators to render German poetry into English, and that it has made popular in this country many German poems, which were formerly not generally known.

KING'S COLLEGE, LONDON,

March, 1879.

C. A. BUCHHEIM. }