1. 10. wohl, redundant. Cf. No. 5, l. 1, n. 1. 13. Das Lied ist aus, all is over. 11. 17-19. Borrowed by Heine from the old Scotch ballad Edward, as translated by Herder: Und was soll werden dein Weib und Kind, Wann du gehst über Meer?-O! Die Welt ist groß, laß sie bettlen drin, . . . 1. 17. Was schert mich, what do I care for. 54. Der Mai ist gekommen In the style of the Volkslied, with many motives (spring, wandering, farewell, the sweetheart, the linden, the lark, the inn, etc.) from the same source. Sung everywhere to a popular melody. 1. 1. schlagen aus, blossom out. 1. 4. steht... der Sinn, sc. zu wandern. 1. 13. tehr'. . . ein, cf. No. 14, Title, n. 1. 14. Kanne, pitcher or jug. 1. 16. Liedel, popular diminutive of Lied. 1. 19. rauscht mich ein, lulls me to sleep with its murmur. Cf. No. 42, 1. 20, n. 1. 20. küsset... mich wach, wakes me with a kiss. 1. 22. Note the force of the acc. 55. Wanderlied Cf. the preceding poem. 1. 1. Wohlauf, an interjection of encouragement: Come! 11. 1–2. noch ... Wein, Drink once more the sparkling wine! The past participle used as a stronger imperative often takes a direct obj. in the acc. 1. 4. Supply es as impersonal subject. 1. 7. The impersonal construction conveys the highly poetical idea of a vague, mysterious impelling force, which irresistibly drives its object to wandering. 1. 9. Die Sonnc, sie, the repetition of the subj. by a personal pronoun is quite characteristic of popular style; cf. ll. 15, 33, and 37, and Psalms, xxiii, 4: "thy rod and thy staff they comfort me." 1. 31. Sie, obj. 1. 36. Der Liebe, dat. of reference. 56. Lenzfahrt 1. 2. Auf quillt der See. For emphatic position of the prefix, cf. No. 8, 1. 8. 1. 4. wie Segeldrang, like the tension of a sail. 1. 6. versäumt, sc. hat. 1. 10. einer ew'gen Sehnsucht Hort, a source (lit. “treasure”) of endless yearning. 1. 12. in einem fort, continually. 57. Der frohe Wandersmann Written 1823. Eichendorff put this song into the mouth of the "Taugenichts," a young lad leaving home in an irresponsible fashion to seek his fortune in the great world. 1. 13. I leave the government of the universe to God. 1. 16. Has also provided for my welfare in the best way. 58. An den Sonnenschein In Reinick's Lieder, 1844. Set to music by Schumann (op. 36, no. 4). 1. 14. daß . . . schickt, that would never do in my case. 59. Märzenwind In the Lieder eines fahrenden Gesellen, 1883. Baumbach ex presses a free and easy, happy-go-lucky philosophy of life, as represented by the young roamer on the road, or by the roving hunter and mountaineer. half tramp, 1. 2. Wind, for der Wind. 1. 14. steig' hinterdrein, climb over after it. 60. Schön-Rohtraut Written 1837. This breezy ballad shows the influence of the Wunderhorn. Note the abrupt beginning, the lively refrains, the rapid springs in dramatic narration, and the very condensed style. Composed as a four-part song by Schumann (op. 67, no. 2). The first stanza is in the mouth of the lad mentioned in stanza 2. 1. 6. ihr Jäger, her hunting-attendant. 1. 19. so wunniglich, (medieval) in such a blissful ("smitten") way. 1. 22. vergunnt, arch. for vergönnt. 61. Wer ist der Erste? Published in the same collection with No. 59. 1. 3. klar, bleak. 62. Meine Heimat 63. Weißt du noch? Roquette is not a very powerful or stimulating poet, but has written various pleasant and melodious songs. been set to music by R. Franz (op. 16, no. 5). 64. Im wunderschönen Monat Mai This poem has Published 1827 as a preface to the Lyrisches Intermezzo, a cycle of poems describing the growth and wreck of a love-passion. Cf. No. 25, n. Set to music very effectively by Schumann (op. 48, no. I). 1. 4. aufgegangen, blossomed out. 65. Leise zieht durch mein Gemüt Published 1831. This graceful and melodious spring-song was very daintily set to music by Mendelssohn (op. 19, no. 5). Though all its rimes are imperfect, the words of Professor Harris in regard to Goethe's poems are very applicable: "Seeming carelessness and inaccuracy are frequently the better art which refuses to neglect sense for sound or is cognizant of the higher harmonies of a language." 1. 8. ich lass' fie grüßen, I send her greeting. 66. Und wüßten's die Blumen, die kleinen Published 1822. Included in the Lyrisches Intermezzo cycle, mentioned under No. 64. Dramatic musical setting by Schumann (op. 48, no. 8). 1. 1. A conditional clause. 1. 2. Sc. set. 1. 9. fie, anticipates the true subj., Sternelein. 67. Mit einem gemalten Band Written 1771. Eminent critics call this poem the consummate flower of German anacreontic poetry. It was written for Friederike Brion, the pastor's daughter of Sesenheim, with whom Goethe fell in love during his student-life in Strasburg. In his Autobiography (Book xi) he says: "During the time that I had to be absent from her I busied myself for her sake, so that by some novel present or idea I might give her a new thought of myself. Painted ribbons had just then come into fashion; I at once painted a few ribbons for her, and sent them on with a little poem, as I had to be away somewhat longer than I had intended." adi. 1. 4. auf, connects Streuen directly with Band. 1. 12. genung, for genug. 1. 13. Fühle, imperative. 68. O lieb', so lang du lieben kannst! Written 1831. 1. 7. ein ander Herz, poetical archaic omission of -es in neut 1. 26. weint, in third pers., because the personal pron. is not in. serted after the relative der. 69. Rühret nicht daran! Written 1842 or 1843 70. Sie haben mich gequälet Written 1822, and included in the Lyrisches Intermezzo (cf. No. 64, n.). The indifference of Amalie Heine to the young poet's love furnishes the point to the epigrammatic turn in the third stanza. 1. 1. Sie, they, people in general. 1. 2. blau und blaß (in the predicate); lit., “they have tormented me to lividness and pallor," a humorous extension of the familiar expression braun und blau schlagen, to beat black and blue. 71. Das Schloß am Meere Written 1805. This dramatic poem, cast in the form of a dialogue between two travellers, has the abrupt beginning so common in the Volkslied, and shows the influence of Uhland's study of Scandinavian literature. It is an excellent example of a musical expression of two moods by the aid of natural accessories. Translated by Longfellow: Hast thou seen that lordly castle, That Castle by the Sea? 11. 3-4. wehen. . . drüber her, come floating across above it. 11. 5-6. It would fain stoop down into the waters, clear as a mirThe picture is that of the lengthened reflection in water. 1. 26. dar, for daher, along. ror. 72. Vineta Written 1825. In the popular legend, the proud city of Vineta lies sunken in the Baltic sea, between the island of Rügen and the mainland, and many a fisherman has caught glimpses of its reflected glory, and has heard the faint throbbing of its mysterious bells. The poem is a good type of that form of simile in which it |