GE ErkfA.N LYRICS.*

WE are glad to see that Professor Buchheim has republished

his collection of German lyrics. The book appeared first in 1875, and the fact that it has now reached its seventh edition shows that the compiler's labour has not been in vain. But we fear that the appreciation has only come from the happy few. Most of the English nation have the firm and not easily shaken conviction that Germany has produced two poets,— namely, Goethe and Schiller. Of Heine they know little, except the garbled translations which they (?) sing to Schubert's and SAurrtann's wonderful settings, and many of them have learnt U bland's " Siingers Finch" when at school. But this somewhat limited familiarity with the poetical literature of Germany is considered sufficient. It is a great pity, more especially as German poetry is very easily compre- hensible to English readers, even to those who have but a slight knowledge of the language. It is far easier than German prose, and, unlike French poetry, does not require a sensitive and trained ear to appreciate its beauties. To care for French poetry, and especially modern French lyrics, one must be more or less of a poet ; while to care for German poetry, one need have nothing more than a poetry-loving nature. And yet among the really cultivated English, there are many who appreciate Sully Prudhomme and Leconte de Lisle, while few have any knowledge of Miller, Lenau, Geibel, Sze. It is possible to say in objection to this, that the taste which relishes French poetry will not appreciate German. But though the reverse may be often true, though a man knowing French and German equally well may enjoy German poetry, and yet not have an ear sufficiently delicate to care for French ; still, any one liking poetry at all, must be able to appreciate the much simpler melody of the German lyre.

Professor Bachheim divides his book into five periods, which embrace the whole field of German lyrical poetry, from Martin Luther down to our own day. In the first division. interesting as it is, as showing the manly and vigorous temper of the poets of the time, there is little that is supremely good, little that ranks, for instance, with the English lyrics of the same period. It was only later that Germany began to pro- duce that wonderful collection of song-writers, which cul- minated in one of the greatest lyrical poets the world has ever seen—Heinrich Heine—for, colossal as Goethe undoubtedly was, his greatest achievement was Faust, to which even his exquisite lyrics are only second.

German lyrical poetry is very interesting psychologically.

For in this people, stronger and more earnest as they are in many ways than other nations, there remains something of that divine quality, "Das E wig Kindliehe." Therefore we can scarcely wonder that Longfellow, the only writer of English who has a touch of the same quality himself, should have written the most appreciative and subtle criticism of Germany and the Germans that we possess. No one could read "Hyperion," interspersed as it is with extraordinarily good translations, without wanting to know more of the poetry of the Fatherland. Longfellow was not a great poet; but he has in his poetry something fresh and manly, and, at the same time, childlike, which makes it resemble German verse. From the famous " Aennchen von Tha.rau " of Simon Dach, down to our own day, the same notes are found. The passionate pleasure in life and movement, the depression that even at its worst can realise that over the next hill the sun is shining, the love uf Nature as children feel it,—of the country of their birth, and of all natural, simple enjoyments : these are the distin- guishing characteristics of the German poets. No one has written about the spring as they have. They seem to make it peculiarly their own, and the beautiful word "Lenz" conveys an impression of joyousness which we miss in the names other nations give to that season.

Very individual, too, are the quantities of " Wanderlieder," or "songs of travel," with which this literature abounds. They exist nowhere else, for the gipsy songs of Hungary, the • Deutacha L. ilk. By C. A. Buchheim, PhD, Professor of German Lite ature in Sian sCvlkge, Loaded. " Golden Treasury' Series. London Macmillan and LG.

only analogous poetry, form a distinct class by themselves. These " Wanderlieder "arose from the practice which existed: from earliest times in Germany, of a young apprentice, as soon as he had learnt his trade, starting off to try his fortune from place to place. The years which were so occupied were called " Wander-Jahre," and as they formed a very integral part of .the life of the population, the songs are easily accounted for. The most perfect example of this genus, Wohin," is not included in this collection, but there are many beautiful specimens. The three other subjects with which the lyrics principally deal—wine, women, and war—are not confined to the German nation !

In his desire to make a representative collection, Professor Buchheim has inserted a certain number of lyrics which might well have been dispensed with. There are no less than seven poems by that excellent person, Graf Platen. Now :—" Of a poet we ask two things. That in his lyrical poetry we hear the tones of Nature (Naturlaute), and that in his epic or dramatic poetry we should find living characters (Gestalten)." Whatever Graf Platen's merits may have been, his verse contains nothing of Nature. He has a wonderful facility for writing in strange and involved metres ; but the poet is not judged by the same standard as the man who invents Chinese puzzles. And we miss in his works that "drop of human blood" whose presence is so indispensable. Also Schlegel's remarks on the proper arrangement of the sonnet, though most instructive, are scarcely worthy of a place next Uhland's " Freie Kunst." On the other hand, there is only one of Bodenstedt's lyrics, and that not a very characteristic.

example. "Es hat die Rose sich beklagt " would not have taken up much room. Then, too, there are none by Moritz_ von Strachwitz, that immensely talented and little recognised author, whose death, in 1847, was so premature. Of Scheffel, also, we have only one specimen, and some of his lyrics are as fine as anything that has been written, except by Goetla- Ubland, and Heine. Take, for instance :—

"Die Sommernacht hat mir's angethan,

Das ist ein schweigsames Reiten.

Leucht-Kafer durchschwirren dem duuklen Gruad.

Wie Traume die einst zu guter Stund Das sehnende Herz ruir erfreuten.

Die Sommernacht hat mir's angethan, Das ist em schweigsames Reiten. Die Sterne funlaln so fern und gross, Sie spiegeln so hell sich im Meeresschooss, Wie die Lieb in der T,efe der Zeiten.

Die Sommernacht hat mir's angethan, Das ist em n schweigsames Reiten.

Die Nachtigall schlagt aus dem Myrtengestrauch, Sie schlagt so sahmelzend, sie schlagt so welch, Als sang' sic verklungne Leiden.

Die Sommernacht hat mir's angethan, Das ist em schweigsames Reiten.

Das Meer geht wild! das Meer geht hoch ! Was brauchst die verlornen Thrtinen noch Die dew stillen Reiter eutgleiten P"

That gives the whole mysterious fascination of a summer night to a higher degree than any other lyric with which we are

acquainted. We add the translation which appears to us the nearest to the original of those we have seen :—

" It is the spell of the summer-night, As I silently ride it has bound me.

The fireflies dance through the myrtle flowers Like dreams, that dreamt in long-vanished hours, Still hover as memories round me.

It is the spell of the summer-night, I know not what it presages. The far stars quiver so large and bright And the depths of sea reflect back their light, Like love from the heart of the ages.

It is the spell of the summer-night, As I ride through the silent forest.

The nightingale sings from the myrtle spray, She sings so moving, so soft a lay, As of sorrows that were the sorest.

It is the spell of the summer-night, As I ride through the silence forward. The sea runs wild, the sea runs high ! What boot the tears of a day gone by, That entice the still rider onward?"

But when we think of the labour such a book as this entails, we can only wonder that Professor Buchheim has done his work so well. There was much that was new to us, and with which we were very glad to make acquaintance. Notably, on p. 7, a beautiful lyric, by Paul Fleming, an author who lived between 1609 and 1640, and who has never had the reputation

he deserved. On p. 16, No. 13, is a fine set of verses by Ulrich YOB Hutten, one of the most remarkable personages of the Reformation period, who was forced to flee in 1521 to an island in Lake Zurich. In the second part we find the charming " Volkslied," "Wenn ich em n VOglein war'," which is familiar to most readers from Leigh Hunt's poem, in which occur the often-quoted lines :— "But thoughts like these are idle things,

And I stay here."

We did not know it was inspired by a German modeL We were struck by Eichendorff's " Sehnsucht " (p. 123) and by some lovely lines of Ernst Schulze (p. 134). A graceful lyric by Moiike is given on p. 307, and a striking " Reiterlied " by Herwegh. (p. 316.) The latter is very well represented, and will be new to most readers. So is Lenan, who, of minor German poets, is perhaps the most successful writer of lyrics. But his verse is tinged by an unusual gloom, which seems to foreshadow his sad and comparatively early death, under painful circumstances. There is a sonnet by Gottfried Keller. (p. 324.) If it is representative of the work of the great novelist, he does not seem as pre-eminent as a poet as in his own line.

An enormous proportion of these lyrics concern themselves with music, which is not to be wondered at in the literature of the most musical of nations. Of these, the best are no doubt by Heine, who cared for that art as no poet has ever done. Professor Bachheim has been very happy in his selections, both from the latter and from Schiller, who, though not a great lyrical poet, has written one that is supreme, "Des Madchen's Klage." (p. 103.) He has also given an excellent choice from Goethe, whose lyrics are wonderfully spontaneous and musical.

We must congratulate Professor Buchheim on the admi- rable notes which give every possible information the reader can want. The introduction is a careful and interesting bit of criticism, and will make a sound basis on which to begin the study of German lyrical poetry.