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IJUJBifcJ MM 

German lyrics and ballads : Willi a lew e 
Stanford University Libraries. 

3 6105 04924 7500 



?S AND DALLADi 



1ISIS ^IIMMIIII HIM 

"school" of education* 

LIBRARY 



TEXTBOOK COLLECTION 
GIFT OF 

J'MES 0. GRIFFIN 



STANFORD N^p/ UNIVERSITY 
LIBRARIES 




* 



r 



It 



GERMAN LYRICS AND BALLADS 



©ebicfjte jmb gemalte $enfterfdjeiben ! 
©ietjt man bom Width in bie Stirdje tynein, 
$a tft alleS bunfel unb biifter; 
Unb fo fieljt'3 audj bcr §err ^fn'Iifter: 
$er tnag benn n>of)l toerbriefjlicfj fetn 
Unb tebenSlang toerbriefrlief) bleiben. 

$otnmt aber nur einmal herein! 
SBegrixfet bie fynlige StapeHe; 
3)a ift'3 anf einmal farbig fytfe, 
©efdjidjt' unb .gierrat glcin^t in SdmeUe, 
SBebeutenb mirft ein ebler ©efyein; 
3)ie§ ioirb eudj $inbern ©otteS taugen, 
©rbaut eud) unb ergtffct bie 5lugen! 

©oct^c 



fteatb'a fBobern Xanfluafle Series 



GERMAN LYRICS AND BALLADS 



WITH A FEW EPIGRAMMATIC POEMS 



SELECTED AND ARRANGED BY 

JAMES TAFT HATFIELD 

PROPHSSIR OF TUB Gl»H»» LANGUAGE AND LITERATURE 
IN NoRT HWbSTEK H UMVBR51TY 




BOSTON, U.S.A. 
D. C. HEATH & CO., Publishers 
1900 



633847 

Copyr iGmy*900 
By D. C Heat* & Co. 



$rau ZTCarianne t>on Salptus 

3ugeeignet 



V 



PREFACE 



The lamented death of Professor E. R. Ruggles, late 
Professor of German at Dartmouth College, interrupted 
his work upon a book of German lyrics and ballads for 
the use of English-speaking students. By the kindness 
of Mrs. Ruggles all the material collected by her hus- 
band was given to the present editor, to whom the 
publishers had entrusted the task anew. 

Especial care has been taken to offer a pure and com- 
plete text of each poem. The book consists of three 
parts, graded according to the maturity demanded of 
the student. Within each part the selections, beginning 
with those of narrative, objective character, form a 
cycle, each poem helping to shed light on those as- 
sociated with it. 

There has been no hesitation in drawing upon any 
sources which might make the collection more useful. 
If the names of all friends who have generously assisted 
were printed here, the list would be inconveniently long, 
and it would be hardly practicable to enumerate the 
books which have been found helpful. In criticism 
free use has been made of the valuable works of 
R. M. Meyer, Biese, Hewett, Harris, Eugen Wolff, 
Winchester, and Ziegler. 

In bringing to its close a work which has been one 
of the greatest interest and pleasure, and which is in- 

• • 
Vll 



PREFACE 



tended to be of some practical service to young people, 
the editor would add a plea for such an emotional treat- 
ment of these selections in the class-room as shall make 
them a source of spontaneous joy and refreshment, 
rather than a task and burden, to those who study 
them. 

Evanston, Illinois, 
February 22, 1900. 



CONTENTS 



PAGE 

Introduction xiii 



FIRST PART 



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ix 



X 



CONTENTS 



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CONTENTS 


XI 






PAGB 

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Xii CONTENTS 



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Notes 




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211 






. . 223 



INTRODUCTION 



I. GOETHE AND SCHILLER 

Goethe and Schiller must be counted among the prod- 
ucts of the general reaction against that rationalistic spirit 
which had so largely predominated in Europe, — particularly 
in France, the most influential nation in matters of taste and 
art, — during the latter part of the eighteenth century. 

The Age of Rationalism must be given the credit for break- 
ing down the strongholds of superstition, fanaticism, and tyr- 
anny: it vindicated man's right to a full and fearless use of 
common sense in every field of life; it made uncompromising 
war against cloudy generalizations, against all vagueness, and 
emphasized only the positive and practical. It encouraged the 
complacent conviction that the human intelligence is able to 
understand and to solve every problem in the universe. The 
rationalistic spirit expressed itself in literature in a carefully 
finished style, conformed to well-demonstrated rules and polite 
conventionalities, and in clear and utilitarian teaching. On the 
one hand it led to a dry, monotonous, trite moralizing ; on the 
other, to a copying of the conventional motives of Greek love- 
lyrics, which degenerated into moral frivolity. In either case, 
nature itself, with all its apparent irregularities and irration- 
alities, was well-nigh ignored. 

The strongest reproach to be brought against the eighteenth 
century's worship of reason is that it glorified the brain at the 
expense of the heart; that it subtracted from life the deepest 
and highest emotions, those by which human nature becomes 

• • • 

xm 



xiv 



INTRODUCTION 



truly great, and from which we draw our fullest inspiration. 
Much meaning lies in Goethe's words: 

2)a« ©djaubern tjt ber 9ftenfdjf)eit BefkS Zeil 1 

The emotions of this School were shallow, and it subordi- 
nated man entirely too much to his material environment. 

Although during the eighteenth century Germany in general 
was almost slavish in its imitation of French literary models, 
the capacity for genuine emotion was still alive in the German 
temperament, as in all sound and normal natures. In the 
homely, hearty (though sometimes prosy) work of poets like 
the sturdy Matthias Claudius (Nos. 16, 40) natural notes are 
struck and simple manliness is found; his lyrics do not soar, 
but they have a true German ring. 

A most important influence against superficial, cautious, 
mediocre rationalism was Kant's "ideal philosophy," which 
brought depth and height, richness and force into Germany's 
intellectual life. But before Kant's system had won its way, 
other strong influences were already at work. The spirit of 
youth, which hotly defends the rights of natural feeling, of the 
individual soul, against the prudent maxims of cold intellect 
and against the conventions of society which have been estab- 
lished by mere custom or utility, found a bold and assertive 
prophet in the Swiss-French philosopher Jean Jacques Rous- 
seau (17 1 2-1 778), who proclaimed with captivating eloquence 
the sovereign rights of "Nature," protested that mankind had 
become enslaved and degraded by civilization, and called for a 
return to the simple instincts and habits of more primitive life. 
Herder, under whose powerful and regenerating influence 
Goethe came while a young student in Strasburg (1 770-1 771), 
had recognized and accepted the truth contained in this new 
declaration of human rights, although in developing the 
doctrine he searched for facts and hugged them in a way for- 



1 Faust, 1. 6272. 



INTRODUCTION 



XV 



eign to the sentimental, romantic, less profound Rousseau. 
He saw in all true poetry a necessary outlet and expression of 
the native character and consciousness of nations; he set him- 
self against the spurious imitation of Greece and Rome which 
prevailed in France and, by a secondary process, in Germany ; 
he was strongly patriotic. The corner-stone of his theory of 
poetry was that it must come directly from the very depths of 
the heart: he found in the Bible, with its earnest simplicity, 
in the works of Shakespeare, with their romantic heartiness, 
in " Ossian's " pathetic outpourings of soul, in the naive, popu- 
lar songs of various nations ( Volkslieder) genuine elements of 
poetry. 1 

It was Goethe's application of this theory which gave him 
so high a place among modern lyric poets: through Herder 
he came to reject the trifling, artificial style of his earliest pub- 
lished poems and to write from the heart and to the heart. 
His songs are true successors of the Volkslied in freshness, 
simplicity, and singing quality. They gush from a full, warm, 
overmastering feeling, often lying close to the well-spring of 
tears (Nos. 67, 96, 100, 11 1, 108, 112, 101, 42); above all, 
Goethe is lyric: his poems sing themselves (cf. No. 9); beauti- 
fully smooth and melodic, characterized by the most skilful 
use of tone-color, they are charmingly graceful and dainty 
(Nos. 67, 96, 29, 87, 108), natural and simple (Nos. 28, 29, 
100, 101). The most exquisite artistic effects seem to be pro- 
duced 

As effortless as woodland nooks 
Send violets up and paint them blue. 

Goethe's poems are the expression of personal sensations, 
experiences, and reflections; his sympathies were universal. 
"Whatever," he says, 2 "gave me happiness or tormented me, 

1 Herder invented the convenient word "Volkslied" as early as 1773. 

2 Werke, Weimar ed., xxvii, 109. 



xvi 



INTRODUCTION 



or in any way occupied my thoughts. I transmuted into a pic- 
ture, a poem, ami in this way made a final reckoning with it, 
both in order to *;i\e clear outlines to mv ideas of external ob- 
jeets as well as to quiet my mind. Nobody needed this gift 
more than 1, whose temperament was forever driving me from 
one extreme to another. All the things which I have pub 
UnIuM, then, are Inn fragments of one long personal confes 
sion." As a poet, iioethe is in the best sense of the words 
realist: while his work does not photographically reproduo 
seenes tor their own sake. : .:s motives always tally with fact 
in the natutal world. 1: would be difficult to improve thi 
biiet estimate which uoe:l\e'> *rri;:cal friend Merck made o 
his pa i titular £-it: -\.";:: s:r.\ your inevitable tendency 
is to lend poetio ior:v. :o w h.:; :> rsal: other writers try to lew 
tealitx to what is ca"ed yoevLcal. to ihe imaginative, and thi 
alwa\N ends v.*. nor.>er.>f ." : 

" M\ wax as >.*.v. 0-.x:Ve. £ -was not to aim at th 

pei vm\ i t v.; : i on o : >. x ■ v. e .'. s :* : : : / t a. I :r.pressions were mad 
upon m\ hea::. .;■*..: "*\ .*■*.". % .is roe t. was to round ou 

and o \ pre >s ; V e : v. ■ v. a :\ • : . > : : c i* .-. ■. " * H is realization am 
poe t to ■. r. : e: pi v :a : » x : " *■ i v. ; r* : - a f :ie natural world i 
uwmii pa>vv. v \os ... r . and equally ad 

mnaMc ;s V > :\ , »;" >-.p. : .f.rii:c* into situations 

ax «e« as 'v.'sc . ^ " > .-v .^ . . Nc»s. 4i. S2V- H 

civaV.x wv'o-.'iv >.v.'; i - " r~ i»i 0>e iorass of Kri 
pocttx \* > v >-. "^^iir-c geseranons o 

;sv,\ ot xo.;.,x.- >; " ~ sr.;"r so ^xumstakabl 

*\ . ~ »«»>«. \»S.. » .->, 

11 X . \ » . » X, . ■ » »» 

Ko. x.x, .;, x % - . • ;~ t" ^ fi-rrersi of cold an 

,\; ,\ *.a. '.^ ■**■.■■.•■.*« x \\ — rrsrm oc boi-beadc 

x ,s s ;> .v * % * . . •> . >:;rrr. iai $cress/*wh 

;>v.vaxa :.■ > .* r.vrr ire s&i-iesiiaii] 

a\' ,v . iv. \"^s».ic itwxse feefin 



INTRODUCTION 



XVII 



r one literary aim. Young Goethe was one of the most 
Qg among them all, but he was too sound and manly by 
re to remain long with these extravagant sentimentalists, 
ample literary training, his immense stock of aesthetic in- 
lation, his intimate knowledge of the best and simplest 
»tic work of classical antiquity, made him intolerant of 
t was loose, slovenly, and excessive. The practical re- 
lsibilities which came to him while helping to conduct the 
srnment of the state of S axe -Weimar soon brought him 
n from soaring flights, from boundless ether to the solid 
md. Especially did his travels and his residence in Italy 
6 — 1788) bring him into complete sympathy with the 
it of Greek art and thereby into clearness, peace, and set- 
convictions: into an abiding love of symmetry, beauty, and 
>se. The realist becomes more of an idealist; but whether 
ctive and conscious, as in his earlier work, or more naive, 
1 that of his later life, he always expresses genuine human 
ing. From the time of his Italian residence he emerges 
e and more conspicuously above the vast throng of mediocre 
:emporary writers, of the stormy as well as the rationalistic 
i. He shows a growing feeling for form, a more painstak- 
selection of what is of universal human value from among 
myriad sensations of the heart 

/ith him from 1794 to 1805 is associated Schiller, who 
ds at his side and shares his ideals of classic art. The 

friends encourage and criticise each other ; together they 
>r untiringly to define more and more clearly the eternal 
iciples of art-criticism. It is a new renaissance of classical 
ure which they offer to Germany, a revival of humanism, a 
ig back (ignoring French theories and imitations) to the 
uine works of the best Greek art. Homer and Phidias 
Dme their unsurpassable ideals of artistic excellence. By 

" classicism" of Goethe and Schiller we understand an 
reciation of pure beauty ; freedom, nobility, simplicity, and 



xvi 



INTRODUCTION 



or in any way occupied my thoughts, I transmuted into a pic- 
ture, a poem, and in this way made a final reckoning with it, 
both in order to give clear outiines to my ideas of external ob- 
jects as well as to quiet my mind. Nobody needed this gift 
more than I, whose temperament was forever driving me from 
one extreme to another. All the things which I have pub- 
lished, then, are but fragments of one long personal confes- 
sion." As a poet, Goethe is in the best sense of the word a 
realist: while his work does not photographically reproduce 
scenes for their own sake, its motives always tally with facts 
in the natural world. It would be difficult to improve the 
brief estimate which Goethe's critical friend Merck made of 
his particular gift: "Your striving, your inevitable tendency, 
is to lend poetic form to what is real ; other writers try to lend 
reality to what is called poetical, to the imaginative, and this 
always ends in nonsense." 1 

"My way as poet," said Goethe, 2 "was not to aim at the 
personification of some abstract idea. Impressions were made 
upon my heart, and my only duty, as poet, was to round out 
and express them in an artistic way." His realization and 
poetic interpretation of the phenomena of the natural world is 
unsurpassed (Nos. 87, 11 1 (2), 42, 28, 10 1), and equally ad- 
mirable is his power to put a deep significance into situations, 
as well as to make them strongly dramatic (Nos. 42, 82). He 
greatly widened the scope and enriched the forms of lyric 
poetry. It is no wonder that all succeeding generations of 
poets, of whatever name or "school," show so unmistakably 
his refreshing influence. 

Rousseau's call to men to throw off the fetters of cold and 
calculating prudence liberated an appalling crew of hotheaded 
young enthusiasts, the mad youths of "storm and stress," who 
proposed to throw overboard all artistic form and self-restraint 
and to make the truthful, forcible expression of intense feeling 



1 Heinemann's Goethe, i, 179. 



2 Eckermann, iii, 1 1 7. 



INTRODUCTION 



xvii 



their one literary aim. Young Goethe was one of the most 
daring among them all, but he was too sound and manly by 
nature to remain long with these extravagant sentimentalists. 
His ample literary training, his immense stock of aesthetic in- 
formation, his intimate knowledge of the best and simplest 
artistic work of classical antiquity, made him intolerant of 
what was loose, slovenly, and excessive. The practical re- 
sponsibilities which came to him while helping to conduct the 
government of the state of S axe -Weimar soon brought him 
down from soaring flights, from boundless ether to the solid 
ground. Especially did his travels and his residence in Italy 
(1786 — 1788) bring him into complete sympathy with the 
spirit of Greek art and thereby into clearness, peace, and set- 
tled convictions: into an abiding love of symmetry, beauty, and 
repose. The realist becomes more of an idealist; but whether 
reflective and conscious, as in his earlier work, or more naive, 
as in that of his later life, he always expresses genuine human 
feeling. From the time of his Italian residence he emerges 
more and more conspicuously above the vast throng of mediocre 
contemporary writers, of the stormy as well as the rationalistic 
type. He shows a growing feeling for form, a more painstak- 
ing selection of what is of universal human value from among 
the myriad sensations of the heart 

With him from 1794 to 1805 is associated Schiller, who 
stands at his side and shares his ideals of classic art. The 
two friends encourage and criticise each other; together they 
labor untiringly to define more and more clearly the eternal 
principles of art-criticism. It is a new renaissance of classical 
culture which they offer to Germany, a revival of humanism, a 
going back (ignoring French theories and imitations) to the 
genuine works of the best Greek art Homer and Phidias 
become their unsurpassable ideals of artistic excellence. By 
the "classicism" of Goethe and Schiller we understand an 
appreciation of pure beauty ; freedom, nobility, simplicity, and 



xviii 



INTRODUCTION 



calmness ; an enthusiasm for the heroic, a reverent awe in the 
presence of eternal mysteries. 

Schiller reveals a more sentimental nature than Goethe: his 
work has conscious ethical purpose ; it is full of earnest striving 
to bring about a condition of the world which shall better 
correspond to the demands of the soul (Nos. 8, 89, 121). The 
essential depth and moral earnestness of the German inner 
life is nowhere more clearly shown. His ballads often depict 
a conflict between the higher And lower nature, with the vic- 
tory of moral forces (No. 43). Although framed in order to 
illustrate an idea, the scenes are clearly conceived and vividly 
worked out (Nos. 89, 8, 84, 43). Schiller is rhetorical: his 
elaborate artistic stanzas (No. 84) have the sonorous eloquence 
of the "grand style" at its height and to a degree which would 
be turgid and bombastic if attempted by a less mature artist. 
His subjects, as in Die Kraniche des Ibykus, Der Ring des 
Polykrates, and Die Biirgschaft (No. 43), are taken by pref- 
erence from classical life. 

« 

II. ROMANTICISM 

At the end of the eighteenth century the so-called ••Ro- 
mantic Movement" began in a literary group at the university 
of Jena. The settled conviction of Goethe and Schiller that 
the ancient Greeks offer a fixed standard of artistic excellence 
seemed to these young men unprogressive and reactionary; 
they held that such a canon must place a chilling restraint 
upon the living spirit of their own age. Fearless of conse- 
quences, they left the highway which Goethe and Schiller had 
labored so hard to cast up, and reclaimed the freedom shown 
in Goethe's earlier work. The movement was once more a re- 
volt of the natural feelings, of the "inborn genius," against 
the tyranny of intellect and fixed rules ; a sympathy with what 
all men instinctively long for, in contrast with the aristocratic 



INTRODUCTION 



xix 



prescriptions of the schools. For every individual was claimed 
the sovereign right to treat literature and life according to his 
own unchartered whim, to construct an ideal world, radiant 
with marvellous beauty, even if he must find it in his own 
imagination. Every arbitrary personal fancy was lawful, every 
feeling or enjoyment had a right to full expression. The ro- 
mantic movement was a sentimental attempt to reconcile, at 
any cost, those ever-warring elements, the intellect and the 
heart, the actual and the ideal, the real and the romantic. 

"Come, let us live the poetry we sing!" 

was its appeal, and in striving for a sweeter and lovelier exist- 
ence than this workaday world affords it abandoned the firm 
ground of truth, and betook itself to the realm of dreams. It 
is not surprising that many members of the romantic school 
led morally frivolous and unregulated lives. 

With a strong enthusiasm for Germany's historical past, 
this school developed, particularly, a passionate admiration of 
German medieval life, especially that most colored by in- 
fluences from the south of France, with its knights, fair ladies 
and minstrels, its songs and pageants, its picturesque tradi- 
tions and beliefs, its' yearning devotion and intense fervor. It 
reclaimed from this period much richly-colored poetic material 
which had been ignored by the age of rationalism in its con- 
tempt for everything " barbarous" and medieval. 

Of immense influence in the history of modern German po- 
etry was the general enthusiasm which was developed for old 
popular German songs. The publication in England of Bishop 
Percy's Reliques of Ancient English Poetry (1765) stirred up 
great interest in the whole subject in Germany. This interest 
caused Burger (1 747-1 794) to rescue poetry from conven- 
tionalities and bring it back to actual life ; it was fostered by 
various German literary periodicals, such as Boie's Deutsches 
Museum, was greatiy furthered by the publication of Herder's 



XX 



INTRODUCTION 



Volkslieder in 1778 and 1779, and was carried to an almost 
religious enthusiasm by the romanticists. A new era began 
in the autumn of 1805 with the publication of the first volume 
of Arnim and Brentano's collection of old German popular 
songs under the title Des Knaben Wunderhorn (dated 1 806) ; 1 
the book was at once reviewed by Goethe, who commented 
upon each of its songs (about 200 in all) and said: 44 It should 
be found in every house where fresh-hearted people live." 
The first romanticists contributed nothing of universal value to 
the stock of national poems; the second generation far sur- 
passed them in truth and simplicity, and the influence of the 
Wunderhorn in effecting this result was incalculable. It was 
a gold-mine from which the younger poets dug great treasure: 
they not only gained much from the hearty, martial tone of 
the Volkslied, from its humor and its strong love of external 
nature, but they made endless use of its themes and properties, 
its general style, metrical forms, vocabulary, and grammar. 
This valuable source is unmistakably evident in the poetry of 
Eichendorff, with its freshness, its out-of-door spirit, its medie- 
val figures, and its simple love-motives (Nos. 94, 30, 57). 

About 1805 there was gathered at the university of Tubin- 
gen a group of Swabian youths who were fired with an almost 
precocious zeal for aesthetics, and whose passion for a new 
German poetry had been chiefly kindled and was largely fed 
by the romanticists. One member of the group, Ludwig Uh- 
land, was destined to give such full utterance to the poetic 
feelings of the German people that his songs became veritable 
Volkslieder, dear to every heart. As his monument in Tubin- 
gen states, Uhland was a poet, a scholar, and a German man. 
His youthful romanticism was at first over-sentimental and 
misty, tending toward pallid and lachrymose subjects (Nos. 71, 
1 1), but it expanded to a true, warm, human sentiment (Nos. 

1 The vignette upon the title-page of the present collection is reproduced 
from the first edition of the Wunderhorn. 



INTRODUCTION 



xxi 



76, 36, 31), gained much in clearness of outline, and came to 
reflect the old Germanic hero-spirit (Nos. 2, 3, 46). Materials 
taken from the feudal life of the Middle Ages were dear to 
him (Nos. 88, 71, 83, 46), and he made the freest use of the 
Volkslied (Nos. 36, 5, 31, 83). Carefully wrought-out per- 
fection of technical form was to him a matter of conscience. 
His talent was always more epic than lyric; he had a true 
sense of nature (Nos. 71, 14, 95); his love for the picturesque 
landscape of Swabia constantly appeared in his verse (Nos. 76, 
3, 95, 12). His themes have a homely, domestic quality, but 
withal no lack of pith : all is sound, genuine, German, full of 
fresh air, and dignified by unswerving moral earnestness. In 
Morike, the last representative of the Swabian group (No. 60), 
we find a marvellous artistic sense and lyric grace. 

The heroic days of 18 13, when Prussia made its final exer- 
tion to throw off French tyranny, called forth the fiery lays of 
the poets of the War of Liberation. The most popular of these 
was the young hero Theodor Korner, whose religious patriotic 
devotion was sealed by the sacrifice of his life on the field of 
battle. His poems are the immediate birth of impassioned 
moments, full of life and deep sentiment (No. 50); he escapes 
the narrow spirit of revenge and hatred which animated some 
of his fellows, and which aroused Goethe's aversion for the 
whole group. 

Ruckert, whose intense patriotism was expressed in vehement 
war-songs, was a poet of wide range and endless productivity, 
whose ease in verse-making sometimes tempted him to do 
careless and trivial work. His love of country was strong 
(No. 6); he struck the note of childlike simplicity (Nos. 22, 6), 
— thanks to his feeling for popular sources, — and he was 
especially an interpreter of romantic love between the sexes 
(No. 99). 

Youthful freshness of spirit and wholesome fun (Nos. 4, 93) 
make Wilhelm Miiller perennially attractive to young people. 



« 



xxii 



INTRODUCTION 



The political tendency of his Songs of the Greeks gave him 
his chief fame while living (cf. No. 4). Miiller was a highly 
sympathetic interpreter of the various moods of nature (Nos. 
2i f 17, 72). As to his employment of the popular material of 
the Wunderhorn (cf. No. 1), Heine wrote to him (June 7, 1826): 
" I am magnanimous enough even to repeat plainly — and you 
shall some day hear it spoken out publicly — that I first clearly 
learned from the reading of your * Seventy-seven Songs' 1 how 
out of the old existing Volkslied-iorms are to be constructed 
new forms, which shall themselves be popular, without any 
necessary imitation of the awkwardness and crudeness of the 
older language." An example of Muller's use of older motives 
for more conscious effects is found in No. 24. Not to be 
overlooked is his exquisite delicacy of sentiment (No. 72). 
The spirit of his work was felt by poets like Reinick (Nos. 58, 
33, 34) and Baumbach (Nos. 59, 61). 

Hauff reflects the spirit of the Volkslied^ and his produc- 
tions are free from the prevalent fault of the early romanticists, 
the predilection for mystical and ill-defined elements: his 
popular motives are fresh, clear-cut, and simple, and some 
of his poems have become nineteenth-century Volkslieder 
(Nos. 37, 5 1). 

The poet Platen, whose youth was much influenced by the 
romantic movement, was of too classic and aristocratic a tem- 
perament to remain long in fellowship with it; he must be 
especially mentioned as the poet of finished artistic form, as 
one who causes the reader to forget the ruggedness of the 
German language, and whose work has the distinction of com- 
plete symmetry, stateliness, and musical rhythm (Nos. 85, 117). 
His poetry is tinged with the deep melancholy which pervaded 
his life. 

Heinrich Heine was the last product of romanticism, 
although, by the irony of fate, it was his own keen blade which 
was to give it a finishing thrust. His earlier work was firmly 



INTRODUCTION 



XX111 



rooted in its soil (No. 13); he exploited the materials of the 
Volkslied more fully than any other German poet had done. 
With a heart passionately hungry for the world of dreams, his 
life was rent by his hopeless failure to reconcile this yearning 
with the prosaic facts of his environment (No. 105). He 
turned his marvellous wit against his own sentimentality, as 
well as that of the whole romantic school, and held it up to 
ridicule. There is in his poems a perfect grace and delicacy 
of form, a music which steals irresistibly into the heart 
(Nos. 27, 64, 65, 66); no lyric poet, except perhaps Goethe, 
has gained so sure a hold upon his people. We cannot fail to 
admire his fine sensibility, his keen perception of the full 
poetic value of some simple situation. There is often a fine 
and pure sentiment which rings true (Nos. 78, 53, 13, 38), but 
this is likely to pass into overwrought sentimentality and 
pinchbeck emotion. His sea-poems, with their refreshing 
breeze and their dash of briny waves, brought a new element 
into German poetry (No. 73). During his long exile his heart 
returned continually to his native land, and yet he was hardly 
a true German: he had too little downright earnestness and 
sincerity. He failed to round out his own life into a symmet- 
rical whole. Even his wit is often forced, and his apparently 
childlike naivete* sometimes covers a lack of true simplicity. 
In his inmost nature lay a certain vein of vulgarity; he was a 
literary offspring of Byron ; he never lost his craving to strike 
attitudes before the public. 

III. THE PERIOD OF POLITICAL TRANSITION 

The years from 1830 to 1848 were alive with revolutionary 
influences. There was a widespread feeling that a new epoch 
was at the door, that the conventional forms of society and 
government were about to be superseded by a more liberal, 
humane, and democratic order of things. Those who gave 



xxiv INTRODUCTION 

themselves up to the calm contemplation of classic beauty 
were reproached with indifference to the actual joys and sor- 
rows of their fellow-men. Political and social questions became 
the theme of lyric poetry. Everywhere was acrid criticism 
and unsparing attack: the characteristic poets were political 
agitators, who were compelled to leave Germany and live in 
exile. Typical is Herwegh, who spent many years in Switzer- 
land and France. In a style which has been termed 
"journalism set to^ music" he sounded a stirring battle-cry of 
freedom, asserting an unbending independence and a deathless 
scorn of slaves and cowards (No. 91). In keen and defiant 
tones (No. 52) he proclaims the breaking of all bonds with the 
past, and incites to revolution, with all its hazards; in spite 
of its eloquent swing his work has a flavor of rhetoric and 
demagogism. 

Count Strachwitz, a member of the ancient nobility, although 
less radical than Herwegh in his political program, had some 
very "modern" views of life. He rejected completely the 
doctrine of resignation and submission, and preached the 
gospel of self-assertion — of seizing, fighting, and winning, as 
set forth in Tennyson's Locksley Hall and Maud (cf. No. 90). 
Above all things, he loathed mediocrity. He gave clear and 
vigorous expression to the primitive (far too primitive) instincts 
of human nature, — as if "human nature" had any inalienable 
rights which evolution is bound to respect. Hoffmann von 
Fallersleben, radical and revolutionary in his political poetry, 
was withal a man who had thoroughly lived into and ap- 
preciated the old-German spirit, as witness his homely and 
simple Abendlied (No. 1 5). 

The apparent failure of the revolution of 1848 sensibly 
abated the ardent expectation of social change, and, in general, 
although the fiery political spirit was by no means dead, 
brought a settling back into more conservative ideals. Ema- 
nuel Geibel was the most popular German poet during the 



INTRODUCTION 



XXV 



period from 1848 to 1871, and is to be reckoned among the 
most wholesome and worthy singers of our century, although 
certain modern critics assume a patronizing, not to say con- 
temptuous tone toward his work, which they consider hopeless- 
ly conservative and respectable. He had a reverent piety 
toward the historic past of Germany, and was a foe to de- 
structive radicalism. There is no astonishing originality or 
titanic force in his creations ; they do not offer to jaded nerves 
that intense thrill which accompanies the free handling of high 
explosives capable of blowing our slowly-evolved civilization 
into atoms; he was decidedly opposed to the "emancipation of 
the flesh" which some of the younger democrats demanded; 
he had religious feelings (Nos. 1 10, 20), but he was none the less 
manly and hearty ; his sentiment is deep, intense, and genuine 
(Nos. 113, no, 69). A citizen of the free republic of Liibeck, 
his every heart-beat was for political liberty, but he had little 
sympathy with the fiery rhetoric which begins and ends in 
declamation and denunciation. His work shows epic vigor, 
action, and life (Nos. 47, 54), deriving much from the Vo Iks- 
lied, from the old English ballads, and, particularly, from 
Uhland, whose spirit he has caught, although being himself 
of a less rugged nature; he shares Uhland's conscientiousness 
in matters of verse-technique. Like Uhland he loves nature, 
and makes effective use of its imagery (Nos. 20, 113, 54); like 
him, also, he is full of German fresh -heartedness and love of 
life, of hope, courage, and cheer (Nos. 20, 1 18, 54). 

The pietistic and sentimental poet Karl Gerok, though pos- 
sessing but a limited range of expression, has true delicacy, 
sweetness, and melody. His Herbstgefiihl (No. 19) is a grace- 
ful interpretation of nature in one of her emotional moods. 



xxvi 



INTRODUCTION 



IV. MODERN GERMANY 

Welded into a great nation by the hand of Bismarck, the 
German people gained a full (and perhaps excessive) conscious- 
ness of having become a world-power. The stirring call to arms 
in 1870 awakened a fresh poetic response throughout the 
fatherland, but hardly created great poetry or new poets. Since 
the war there has been a decline of interest in poetry for its 
own sake: under the strenuous newer conditions of militarism 
and industrialism there has been less willingness to leave room 
for it Modern life looks at hard facts, and occupies itself most 
seriously in achieving practical, external results. Socialism 

* 

talks some very plain prose about ugly truths underlying our 
present order, and is too much concerned in setting itself at 
the task of redressing wrongs, through the action of organized 
political society, to spend much time and energy upon 
aesthetics. The increased intensity of the struggle for 
existence, for luxury, and for novelty, seems to afford little 
opportunity for the serene enjoyment of the beautiful; the 
human soul shares in the whirl and rush and distraction of 
modern life. The revolutionary theories brought in by Dar- 
winism and the extension of research have made our age one 
of transition, which yet awaits an interpreter. Not that the 
poetic spirit is extinct in Germany: it has had many expres- 
sions, but these are. too varied for any sharp classification, and 
none is so fully the product of the spirit of the times as to be 
identified as its prophetic voice. Some of the most important 
poets have gone over to fiction or the drama. 

Heyse (No. 119) is a fine aristocratic nature, whose work 
often reflects the color and glow of a southern atmosphere; 
Storm, on the other hand, a North-German, is genuinely loyal 
to the simple motives of the sequestered region of his birth 
(No. 77); he gives strong expression to natural affections 
(Nos. 79, 75); his clearly-drawn pictures (No. 77) are not un- 



INTRODUCTION 



XXV11 



touched by the mysterious charm of romanticism which invests 
the ancient or remote with a dignity of its own; his poems 
are " memories," bora of deep personal experiences. With his 
fine humor is associated prevailing earnestness and solemnity; 
with acutest sensibility and intense passion is blended a serious 
manliness. The Swiss poet Conrad Ferdinand Meyer is 
strong-hearted and robust, sounding a note of courage and 
endurance (Nos. 32, 56); both his words and emotions show 
compression and intensity; his style is at times rugged and 
grimly grandiose (No. 109). He is a thorough-going student 
of Germanic and Romance culture. He sees a profound 
symbolism in nature (No. 56). With the fullest epic power, he 
is also deeply contemplative. His work is not naive and 
popular, but calls for earnest penetration and mature thought 
(No. 109). 

Theodor Fontane is a keen, observant realist, robust and 
hearty in facing the world and its problems. He has an inti- 
mate feeling for the strongly-pulsing life of the great German 
capital. As a poet, he is at his best in the ballad : his springing 
tone, his bold strokes and vivid pictures are full of natural 
freshness and strength (No. 86). 

Of the many gifted women of Germany, perhaps none shows 
better poetic gifts than Isolde Kurz, who has produced a small 
quantity of thoroughly excellent work. She has a fervent 
emotional intensity (No. 120), always under due restraint, a 
wonderful imagination, and a daring fancy; she is an earnest 
and deep student of life, herself possessing broad culture. 
Her loyal enthusiasm for her southern home in the valley of 
the Neckar is reflected in many of her poems (No. 107). A 
touching personality is that of Johanna Ambrosius, a simple 
peasant woman, who amid the hardest drudgery has given (in 
excellent form) poetic expression to the pathetic facts of her 
daily life (No. 80). 

A force which must be reckoned with in any discussion of 



xxviii 



INTRODUCTION 



modern German life and thought is the influence of Friedrich 
Nietzsche, investigator, critic, poet, and philosopher, now, 
unfortunately, under the shadow of an incurable malady. His 
nature is pre-eminently an artistic one in its capacity for intense 
sensations and complete possession by an emotion, as well as 
in lyric power of expression. His soul is athirst for beauty, 
and the sentence-rhythm of his prose is of masterly eloquence. 
In triumphant progress his philosophical writings have swept 
over Germany, finding especially eager acceptance from the 
students in the universities. Best known is the so-called . 
" Nietzsche Bible," Thus Spake Zoroaster, written in rhapsodic 
prose and interspersed with a few lyrics (cf. No. 1 16). His 
program for humanity demands the development and su- 
premacy of the "superior being," a man whose physical, 
intellectual, aesthetic, and moral powers are brought to the 
highest possible exercise — a lusty, somewhat ruthless in- 
dividual, who shall exploit the possibilities of human life in a 
way hardly dreamed of hitherto. This sovereign individual 
must be rescued from that sympathetic self-immolation which 
the social body now requires of its members. 

About the year 1889 was heralded, with much flourish of 
trumpets, the advent of an out-and-out "modern" and revolu- 
tionary school of lyric poetry — " Youngest Germany " — which 
was to destroy all previous literary values. This school was 
rather international than native, deriving its tenets from certain 
recent writers in France, Russia, and Scandinavia. It pro- 
tested against all false and romantic views of life, and demanded 
that human existence should be faced precisely as it is. In 
poetics, its followers went to school to Walt Whitman; in 
philosophy, Nietzsche was their prophet, with his demand that 
men shall dare to carry out to the full their personal impulses. 
Their resultant temper of mind has often proved to be moral 
skepticism and sickly world-weariness: all has been tried, 
and all is found to be stale and unprofitable. The favorite 



INTRODUCTION 



xxix 



field of experience is that of the great capitals. The school 
prides itself upon its intimate knowledge of extremely vulgar 
life and of morbid types. Many of the younger poets who 
were associated with the rise of this movement are already 
forgotten. They showed a juvenile immaturity and a lack of 
finish in technique, and they had the crudest notions as to that 
supremely valuable source of poetic inspiration, the heart of 
a noble woman. Many of them are nervously worn out, 
effeminate, and decadent They have, however, rendered 
service in helping to break down an over-sentimental idealism. 
The noblest and most original man among them is Detlev von 
Liliencron. There is a vigor and maturity in his work which 
places him above many of the younger authors, He is a 
chivalrous soldier-poet, who has an unquestioned talent for 
interpreting, in instantaneous pictures, the militarism of 
Prussia (No. 35). 

It does not lie within the scope of this collection to consider 
the very suggestive work of the present generation of lyric 
poets, whether impressionists, symbolists, or realists. The 
most interesting group is perhaps that associated with Stefan 
George of Berlin in a passionate, intense, almost hieratic cult 
of the concentrated expression of single phases of emotion. 
The organ of this group is the exclusive journal Blatter fur 
die Kunst (cf. No. 115). Many believe that its devoted 
earnestness and untiring labors hold the promise of a great 
"art of the future." A sympathetic presentation of its work 
is given in Die deutsche Litteratur des Neunzehnten Jahr- 
hunderts, by Richard M. Meyer, Berlin, 1900. 



LYRICS AND BALLADS 



FIRST PART 

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LYRICS AND BALLADS 



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Unb al3 bic ©tunbe lommen, 
35afc aHe§ fertig toar, 
35ie gorm ift eingemauert, 
2)ie ©peife gut unb gar, 

S)a ruft er feinen SBuben 
3ur geuerroadjt herein: 
„3<f) toff' auf furje SBeilc 
33eim $effel bid) allein, 

SBiK mid) mit cinem %xxmk 
Nod) ftarfen ju bem ©uft, 
2)a3 giebt ber jaljen ©peife 
(Srft einen Pollen tJIuft; 

2)od) Ijiite bid) unb rtifjre 
2)en £aljn mir nimmer an, 
©onft todr' eS urn bein Seben, 
gitrttrifciger, getljan !" 

$er Sube fte^t am fleffel, 
©djaut in bie ©lut Ijinein; 
2)a§ toogt unb tr>allt unb ttrirbelt, 
Unb tt)itt entfeffelt fein, 



LYRICS AND BALLADS 



Unb 8ifd)t il)m in bie Cljren 
Unb gudt iljm burd) ben ©inn 
Unb gieljt an alien f^ingern 
3ljn nad) bem $a1)nt l)in. 

6r fiiljlt iljn in ben £>anben, 
6r Ijat iljn umgebreljt; 
S)a tDtrb iljm angft unb bange, 
@r toeip nidjt, toaS er tljat, 

Unb Iduft l)inau§ juni 2)teifter, 
2)ie ©<f)ulb iljm ju gefteljn, 
SSMU feine Snie' umfaffen 
Unb iljn urn ©nabe fleljn. 

2)od) ttrie ber nur toernomnten 
35e§ $naben erfteg 2Bort, 
2)a reipt bie Huge 9ted)te 
S)er jft^e 3orn t^m fort. 

6r fto^t fein f^arfed Slejfer 
S)em 39uben in bie Srujh 
35ann ftiirgt er nad) bem $effel, 
©ein felber nid)t 6ett>upt. 

33iefleid)t, bafc er nod) retten, 
S)en ©trom nod) Ijemmen fann — 
2)ocf) fielj, ber ©ufi ift fertig, 
83 fe^It fein S£ropfen bran. 

2)a eilt er, abguraumen, 

Unb fieljt, unb toill'S nid)t feljn, 



LYRICS AND BALLADS 



©ang oljne %kd unb 9Mel 
2)ie ©lode Dor fid) fteljn. 

2)er $nabe liegt am 39oben, 
6r fdjaut fein SBer! ntc^t meljr: 
31$, SReifkr, nrilber 9Mfter, 
S)u ftiefceft gar ju fel)r! 

6r [teUt fty bem ©eri^te, 
6r llagt fidj felber an. 
@§ tljut ben 3ttd)tem toelje 
SOBoljl um ben toadern SJlann; 

2)od) fann tljn feiner retten, 
Unb Slut ttriH ttrieber Slut. 
(Sr f)M fein StobeSurtel 
Wit ungebeugtem 9Jlut. 

Unb al3 ber Jag gelommen, 
2)afc man iljn ftiljrt IjinauS, 
35a ttrirb iljm angeboten 
S)er Iefcte ©nabenfdjmauS. 

„%<t) bonf eud)," fori^t ber 9Jleift 
w3ftt £>erren lieb unb toert; 
2)od) eine anbre ©nabe 
9Kein ^)erj t>on eud) begeljrt: 

Sajjt mid) nur einmal $5ren 
2)er neuen ©lode $Iang! 
3d) §aV fie ja bereitet, 
afloat' tuiffen, ob'S gelang." 



LYRICS AND BALLADS 



2)ie 33tttc toarb getoafjret, 

©ie fd^ten ben £>errn gering; 

$)ie ©locfe toarb gelautet, 

9113 er jum SEobe ging. 

$)er SJteifter l)5rt fie Hingen, 
60 t)oU, fo $ett, fo rein! 
$)ie 9tugen geljn iljm iiber, 
63 mujj Dor greube fein; 

Unb feine Slide leucfjten, 
31(3 tttfren fic Derlldrt ; 
(Sr ^att* in ifjrem JMange 
SBoljl mel)r al§ JMang gel)5rt. 

$at aud) geneigt ben Bladen 
3um ©trei<$ DoK 3wt>erfi<^t ; 
Unb toaS ber Job toerfprocfyen, 
$)a§ &ricf)t ba§ Seben nicfjt. 

$)a§ ift ber ©locfen $rone, 
S)ie er gegoffen l)at, 
S)ie SJtagbalenenglocfe 
3u 33re§lau in ber ©tabt. 

S)ie toarb gur ©iinberglocfe 
©eit jenem Stag getoeiljt. 
SBeijs nidjt, ob'S cmber§ toorben 
3n biefer neuen 3^** 

UMItjelm mailer. 



LYRICS AND BALLADS 



2. Da* Sdtwcvt 

3ur ©djmiebe ging ein junger £>elb, 
@r Ijatt' ein gute§ ©<$toert befteUt ; 
2)od) al§ er'§ toog in freier £>anb, 
35a§ ©djtoert er Diet ju fitter erfanb. 

2)er altc ©djmieb ben 33art fid) ftreic^t : 
„2)a§ ©djtoert ift nic^t ju fdjroer nod) leidjt, 
3u fdjtoad) ift (Suer Stmt, i<$ mem'; 
®od) morgen foil geljolfen fein." 

„9tein, l)eut, bei aHer 3titterf<$aft ! 
2)urd) meine, ni<$t burd) fteuerS $raft." 
2)er ^tingling fj)rid)t% iljn $raft burcfybringt, 
$)a3 ©djtoert er Ijod) in Siiften f<$ttringt. 

UI)Ian 



3. De* Huafreu Sergtieb 

3[d) bin Dom ©erg ber ^irtenlnab', 
©el)' auf bie ©djloffer alT Ijerab; 
35ie ©onne ftraljlt am erften Ijier, 
2lm Ictngften tuetlet fie bei mir; 
3d) bin ber ffnab* bom Serge! 

£ier ift beS ©tromeS 9Jlutterl)au3, 
3d) trinf iljn frifd) Dom ©tein IjerauS; 
6r brauft born $el§ in ttrilbem Sauf, 
3$ fang' iljn mit ben Slrmen auf; 
3$ bin ber $nab' bom Serge! 



LYRICS AND BALLADS 



7 



35er ©erg, ber ift mem (Sigentum, 

35a gieljn bie ©tiirme rings Ijerum; 

Unb Ijeulen fie don 9lorb unb ©iib, 

©o iiberfdjaflt fie bod) mein Sieb: 

3d) bin ber $nab' born Serge! 15 

©inb Slifc unb 2)onner unter mir, 

©0 fte^ id) 1)0$) im Slauen Ijier; 

3d) fenne fie unb rufe gu: 

„Saftt meineS SaterS £>au3 in atu^!" 

3$ bin ber $nab' bom Serge! 20 

Unb toann bie ©turmglorf' einft erfdjatlt, 

SDtand) %tmx auf ben Sergen mailt, 

35ann fteig* id) nieber, tret' in§ ©lieb 

Unb fuming' mein ©d)toert unb fing' mein Sieb: 

3$ bin ber $nab' bom Serge! 25 

Ut}Ianl>. 



4. Der Heine 3Y&*fot 

3d) toar ein lleiner $ nabe, ftanb feft faum auf bem Sein, 

2) a naljm mi<$ fd^on mein Sater mit in ba§ 9tteer Ijinein 
Unb leljrte leidjt mid) fdjttrimmen an feiner fidjern £>aub 
Unb in bie f^Iuten tauten bis nieber auf ben ©anb. 

(Sin ©ilberftiiddjen toarf er breimal in3 DJieer Ijinab, 5 
Unb breimal mufjt' id)'§ Ijolen, ef) er'3 gum Soljn mir gab. 

3) ann rei<$f er mir ein 9tuber, Ijiefj in ein Soot mid) geljn, 
6r felber blieb jur ©eite mir untoerbrofjen fteljn, 

2Bie§ mir, ttrie man bie SBoge mit fdjarfem ©d)Iage bri<$t, 
SBie man bie SSHrbel meibet unb mit ber Sranbung fid)t. 10 



8 



LYRICS AND BALLADS 



Unb toon bem fleincn $afjne ging'3 flug§ in§ grojje ©df)iff, 
63 trieben un§ bie ©tiirme urn mandfjeS gelfenriff ; 
3df) fajj auf Ijoljem 9Kafte, f$aut' itber SJteer unb Sanb, 
6§ f<$toebten $erg' unb Sturrne tooriiber mit bem ©tranb. 

15 S)er SSater Ijiefc midf) merfen auf jebeS 23ogeI§ t?fag, 
9luf aKer SQBinbc 2Bel)en, auf afler SSBolfen 3ug ; 
Unb bogen bann bie ©tiirme ben 9){aft bi§ in bie glut, 
Unb fprifcten bann bie SBogen §ofy tiber meinen £>ut, 
35a falj ber SSater pritfenb mir in ba§ 9lnge|idf)t — 

20 3$ faj$ in meinetn $orbe unb riittelte midf) ni<$t ; — 
S)a f J)ra<$ er, unb bie SQBange ttwrb iljm ttrie Slut fo rot : 
„©ludf gu auf beinem SJlafte, bu fleiner £>t}briot !" 
Unb Ijeute gab ber 93ater ein ©d£)toert mir in bie £>anb 
Unb toeiljte m\$ gum ®cimpfer fiir ©ott unb SSaterlanb. 

25 (Sr map miS) mit ben Slidfen bom Sopf bi§ gu ben 3eljn, 
9Jiir fear's, ate tljat' fein 2luge Ijinab in§ £>erg mir feljn ; 

Ijielt mein ©(^tt>ert gen £>immel unb f<$auf iljn fid^er an 
Unb beud&te m\tf) gur ©tunbe nid)t fdf)ledf)ter ate ein 9Kann. 
3)a fprac^ er, unb bie SQBange toarb iljm ttrie 33Iut fo rot : 

30 „©liicf gu mit beinem ©dfjtoerte, bu fleiner £>i)briot !" 

IPiltielm mailer. 



5. Der weifte Qirfdi 

@3 gingen brei 3ftger tooljl auf bie 93irfdl), 
©ie toollten erjagen ben toeifjen £>irfdf). 

©ie legten fief) unter ben Stannenbaum, 
2)a fatten bie bret einen feltfamen Straum. 



LYRICS AND BALLADS 

35er erjie. 

„9Kir ^at getrinimt, i<$ flopf auf ben 33ufd), 
35a raufd^tc bcr £>irf<$ l)erau3, ^ufd^ l)uf<$!" 

2)er jtoeite. 

„Unb al§ er fprang mit bcr £>utibe ©eflaff, 
2)a brannt' t<$ il)n auf bag ftell, piff paff!" 

2)er btitte. 

„Unb ate idf) ben £>irfd) an ber @rbe fal), 
®a ftiep idf) luftig in§ £>orn, trara!" 

©o lagen fie ba unb fprad£)en, bie brei, 
2)a rannte ber toeipe ^orbei. 

Unb el) bie bret 3dger iljn rec^t gefeljn, 
©o fear er batoon iiber Jiefen unb #oljn. 
£ufdf) $uf4 ! Jriff paff ! trara ! 

Utjlanfc. 



6. Barbaroffa 

S)er alte 2krbaroffa, 
S)er Saifer grieberi^, 
3[m unterirb'fd&en ©d£)Ioffe 
£>alt er berjaubert fidf). 

@r ift niemalS geftorben, 
6r lebt barin nodf) jefct; 
6r Ijat im ©df)lojj toerborgen 
3um ©dfjlaf fidf) Ijingefefct. 



LYRICS AND BALLADS 



@r Ijat fyinabgenommen 
2)e3 SRei^eg £ertli$feit 
Unb toirb cinft tmeberfommen, 
Wit il)r, ju fcincr 3eit. 

S)cr ©tuljl ift elfenbeinern, 
S)arauf ber $aifer fifct; 
S)er Stifd) ift marmelfteinern, 
SBorauf fein $aupt cr ftiifct. 

©em 33art ift nidjt Don %latyt, 
(Sr ift b*n geucrSglut, 
3ft burd) ben Stifd) gett)acl)fen, 
SBorauf fcin $inn au§rul)t. 

@r nicft al3 tote im Straume, 
©em Slug' Ijalb offen jtoinft; 
Unb }e natt) langem 9taume 
6r eincm Snaben tointt. 

6r fjmdfjt im ©dfjlaf jum jftiafien 
„©el) I)in bot§ ©djlofc, o 3toe*9> 
Unb fiel), ob nod) bie 9taben 
#erfliegen urn ben 33erg. 

Unb toenn bie alten 3taben 
91 od) fliegen tmmerbar, 
©0 mufc id) aud) nod) fdjlafen 
a3erjaubert ljunbert Saljr." 

a 



LYRICS AND BALLADS 11 

7. &elfa?er 

SDtc 5Jitttcmac^t jog nftljer fc^on; 
3>n ftummer 3tuty lag SBabtylon. 

9iur oben in be§ $timg3 ©dfjloft 

2)a flacfert'3, ba ifirmt be§ $onig§ Strofc. 

2)ort often in bcm SonigSfaal 5 
Sklfajer Ijielt fein $onig§maf}l. 

SDic $nedf)te fajsen in fdfjimmernben 3teiljn 
Unb leer ten bie Sedjer mit funfelnbem SOBein. 

@§ flirrten bie 33ed)er, e§ jaudfjjten bie ftne$t'; 
©o tlang e§ bcm ftflrrigen $onige redjt. 10 

S)e§ AflnigS SBcmgen leu<$ten ©lut ; 
3m SOBein ertou<i)3 iljm fccter 2Jtut. 

Unb blinblingS reifct ber 5Jlut iljn fort; 

Unb er Idftert bie ©ottljeit mit funbigem SQBort. 

Unb er briiftet fid) fredf), unb Idftert ttrilb; 15 
S)ie Anedjtenfdjar il)m Seifatl briitlt. 

2)er $onig rief ntit ftoljem Slicf; 
S)er 2)iener eilt unb te^rt jurticf. 

6r trug biel giilben ©crctt auf bem £>aupt; 

2)a§ mar au§ bem Stempel 3»el)ot)aI)$ geraubt. 20 

Unb ber Sonig ergriff mit frebler #anb 
(Sinen Ijeiligen Seeder, gefiillt bi3 am 3tanb. 



12 LYRICS AND BALLADS 

Unb cr Icert iljn Ijaftig bi§ auf ben ©runb, 
Unb rufet taut mit fdfjaumenbem SRunb: 

25 „%tf)ot)af) ! btr funb' ity auf etmg $o^n, — 
%<f) bin ber Jfimtg Don Sabglon !" 

S)o(^ !aum baS graufc 2Bort oerflang, 
©em $flnig toarb'3 Ijeimlid) tm fflufen bang. 

2)a3 geflenbe Sa^en berftummte jumal; 
30 @§ ttmrbe leidfjenftiH tm ©aal. 

Unb fielj! unb fielj! an toeifeer SBanb 
S)a fam'S Ijerbor, tote 9Jtenfd)enIjanb ; 

Unb fd&rfeb, unb fdfjrieb an tDci^er SBanb 
Sudfjftaben bon fttutx, unb fdfjrieb unb fdjtwmb. 

35 2)er jlonig ftieren Slidte ba faft, 

9Jlit fdjlotternben iluien unb totenblafe. 

2)ie ifned&tenfdfjar fafe fait burdfjgraut 
Unb fafe gar [till, gab teinen Sauh 

2)ie 2Jlagier famen, bodf) teiner berftanb 
40 3u beuten bte glammenfdfjrift an ber SBanb. 

Selfajer tt>arb aber in felbiger 9latf)t 
S3on feinen Jfnedfjten umgebradfjt. 

§eine. 



LYRICS AND BALLADS 

8. Dcr Qanbfdiutt 

93or feinem Sdmengarten, 

2)a3 $amj)ffj)iel gu ertoarten, 

©afc Jftinig grmtj, 

Unb urn iljn bic ©rofeen bcr $rone • 

Unb rings auf ljoljem Salfone 

2)ie 2)amen in fdjonem $ranj. 

Unb ttrie er toinft mit bcm Singer, 
9luf tfyut fid) bcr twite 3ttringer, 
Unb fyinein mit bebiidjtigem ©djrttt 
gin 26it)C tritt 
Unb fteljt fid) ftumm 
9iing§ urn 

9Jiit langcm ©aljnen 
Unb fdjuttelt bic 9HaI)nen 
Unb ftredt bic ©lieber 
Hnb Icgt fid) nicber. 

Unb bcr $tinig minft ttricber, 

S)a 5ffnct fid) beljenb 

(Sin jtt)eitc3 Stljor, 

2)arau3 rennt 

9Rit tmlbem ©prunge 

(Sin Stiger Ijerbor. 

2Bic bcr ben 25mcn erfdjaut, 

Sriiflt cr laut, 

©<$lcigt mit bcm ©djroeif 

(Sinen furdjtbaren 9teif 

Unb redet bie Quriw, 

Unb im $reife fc^eu 



LYRICS AND BALLADS 



Umgeljt er ben Seu, 
©rimtnig fdjnurrenb; 
2)rauf ftrecft er fi<$ murrenb 
3ur ©eite nieber. 

Unb ber Stinig toinft toieber, 
2)a fpeit bag boppelt geoffnete #au3 
3roei Seoparben auf einmal au§; 
2)ie fturjen trtit mutiger $amj)fbegier 
9luf bag Stigertier; 

2)a3 Jmcft fie mit feinen grimmigen Safcen, 
Unb ber Seu mit ©ebriifl 
Stytet fid) *»f — ba nrirb'3 ftill, 
Unb Ijerum im $ret3, 
33on TOorbfu^t 

Sagern fid) bie greulidjen $afcen. 

£a fdllt Don be§ 9lltan§ Stanb 
(Sin £>anbfdjul) Don fdjflner §anb 
3tt)if(|en ben SEiger unb ben Seun 
SRitten Ijinein. 

Unb ju Slitter 2)elorge§ fpottenbertDeif 
SBenbct fid) graulein ftunigunb': 
„£err Slitter, ift (Sure Sieb' fo Ijeifi, 
2Bie %i)x mirt fdjttrtrt ju jeber ©tunb', 
@i, fo Ijebt ntir ben £anbfd)ul) auf!" 

Unb ber Slitter in f^neHcm 2auf 
©teigt I)inab in ben furdjtbarn 3tt)inger 
9Jlit feftem ©djritte, 



LYRICS AND BALLADS 



15 



Unb au3 ber Ungeljcuer 5Jiittc 

9timmt cr ben £cmbf<$ulj tnit fecfem Singer. 

Unb mit (Srftaunen unb mit ©rauen 

©efjen'3 bie fitter unb Sbelftauen, 

Unb gelaffen bringt er ben £>anbfdf)ul) jurikf ; 60 

SDa fdjaUt ifym fein Sob au§ jebem 9Dtunbe, 

9lber mit jfirtlidjem 2iebe§blicf — 

(Sr berljeifct iljm fein nafyeS ©liicf — 

(Smpfangt iljn graulein $unigunbe. 

Unb er ttrirft tyx ben £mnbfdf)ul) in§ ©efidfjt: 65 

„2)en 2)anf, Same, begeljr' id) ni<fyt!" 

Unb berlafet fie jur felben ©tunbe. 

Stiller. 



9. Per ttcntg in Gtjule 

@3 mar ein iltinig in Stfjule, 
©ar treu bi3 an bag ©rab, 
S)em fterbenb feine 33ul)le 
(Sinen golbnen Setter gab. 

@3 ging iljm ntd)t3 bariiber, 5 
(5r leert* il)n jeben ©df)mau§; 
S)ie 9lugen gingen il)m iiber, 
©0 oft er trant barau3. 

Unb al§ er fam ju fterben, 

3tylf er feine ©tcibf im 9teid), 10 

©tinnf atle§ feinem (Srben, 

S)en Seeder nid)t iugletd). 



LYRICS AND BALLADS 



Sr fafc ktm $tinig3tnal)le, 
2)ie Slitter urn iljn Ijer, 
3luf fyoljem SJaterfaale, 
Sort auf bem ©djlofc am 9)icer. 

2)ort ftanb ber alte 3^er, 
St rant lefcte SebenSfllut, 
Unb roarf ben ljeil'flen Sedjer 
£>inunter in bie glut. 

@r fa^ i^n jliirjen, trinfen 
Unb finfen tief ins 2Reer. 
2)ie Slugen ttyaten tym ftnfen; 
Iran! nie einen Sropfen me^r. 



lO. Der rcidiftc $ftrfl 

^pretfenb mit Did f$onen Steben 
$brer Stinber Bert unb $af)l, 
Soften mele beutfdje gttrjhn 
CPinjt ju SBorm* tm Uaiferfaal. 

„$>errliA." fpra$ bcr gturjt don Sacften 
„;Jjt mcin Sanb unb feint SKacbt, 
eilber begen feme Sfcrge 

in mancbem tiefen 5<bad)t.* 

.3ebt mein Sanb in uppVie* jYufle.* 
eprad) ber JSurtiirft Don bem Xbein, 
,$olfcne Saattn in ben ibalmt, 
«uf ben Sergen eblen Sein!* 



LYRICS AND BALLADS 



17 



„©rofce etitMe, reidje Slofter," 

Subtmg, $txx ju Saijem, tyrad), 

„©d)affen, bafc mem fianb bem (Suren 15 

SBofjl ntdjt fteljt an ©djcifcen nadj." 

Gberljarb, bcr tnit bcm 33arte, 
2Burttemberg§ geliebter £>err, 
©J>rad): „9Jiein Sanb l)at Heine ©tdbte, 
Striigt nu$t Serge filberfdjtoer ; 20 

2)od) ein $leinob berborgen : — 
SDafe in SBtilbern, nod) fo grofe, 
3$ mein #auj)t fann tuljnlid) legen 
3ebem Untertljan in ©djofc." 

Unb e3 rief ber #err don ©adjfen, 25 
S)er Don 33at)ern, ber bom 9tl)etn: 
„©raf tm 8art ! 3fl)r feib ber Keityfie, 
guer Sanb tragt gbelftetn !" 

Kerner. 



11. Die KapcUc 

©roben fteljet bie SJapeUe, 
©djauet ftill ind %f)al l)inab, 
©runien fingt bet SBicf unb Quelle 
grolj unb l)ell ber #irtenfnab\ 

SEraurig tflnt ba3 ©Ifldlein nieber, s 
©djauerlid) ber Seidjenc^or; 
©tide finb bie frozen Sieber, 
Unb ber ftnabe laufdjt empor. 



LYRICS AND BALLADS 



2)roben bringt man fie gu ©rabe, 
2)ie fid) frcuten in bcm Stljal; 
£irtentnabe, #irtenf nabe ! 
2>ir aud) fingt man bort einmal. 

Uljlan 



12. Sdjafers Sonnta^sliefc 

$>a§ ift ber Sag be§ £errn! 
3fd) bin aHein auf toeiter Slur; 
9tod) cine 9Jtorgenglorfe nur, 
9lun ©title nalj unb fern. 

Slnbetenb Inie' id) l)ier. 
O fiifee§ ©raun! gcl)eime§ SBeljn! 
9113 fttieten biele ungefel)n 
Unb beteten mit mir. 

S)er #immel nal) unb fern, 
Sr ift fo flar unb feierltd), 
©o ganj, al§ tootlf er 5ffnen fid). 
®a§ ift ber SEag be§ £errn! 

Utjlan 



13. Die VOaUfaVivt nadt Hcvlaav 

l. 

9lm genfter ftanb bie 2Jlutter, 
3 m 33ettc lag ber ©ol)n. 
„2Billft bu nic^t auffte^n, 2Billjeim, 
3u fdjaun bie ^roaeffion?" — 



LYRICS AND BALLADS 



„%<t) bin jo hard, o 9Jtutter, 
2)afc id) mtfjt Ijor' unb fefy'; 
3$ bcnf an ba§ tote ©ret<$en, 
2)a tl)ut ba§ |)erg mir toelj." — 

„©telj auf, toir tooflen nad) $eblaar, 
9limm 93u<$ unb 9tofenfrang; 
S)ic 3Jlutter=©otte3 Jjeilt bir 
2)cin tranfe§ |)erge gang." 

@§ pattern bie $irdjenfaljnen, 
@3 fingt tm $irdjenton: 
2)a3 ift gu &5ln am 9il)eine, 
S)a geljt bie sprogeffion. 

Die Gutter folgt ber 9Jtenge, 
S)en ©ol)n, ben fuljret fie, 
©ie fingen beibe im 61)ore: 
„@eiobt feift bit, TOarie !" 

2. 

$>ie 9Wutter=@otte3 gu Jfeblaar 
Strcigt I)eut il)r befte§ $leib; 
#eut I)at fie biel gu fcljaffen, 
6§ fomnten Diet hank £eut\ 

2)ie franfen fieute brtngen 
3>I)r bar al§ Dpfertyenb' 
2lu3 2Ba<$3 gebilbete ©lieber, 
SSiel mcidjferne giife' unb $flnb\ 



LYRICS AND BALLADS 



Uttb mcr cine 2Bad)3l)anb opfert, 
£>em Ijeilt an bcr #anb bie SBunb'; 
Unb mcr einen 2Badf)3fu& opfert, 
2)em mirb ber guft gefunb. 

9ta<$ $eblaar ging manner auf Sriicfen, 
2)er je^o tanjt auf bem ©eil, 
©ar manner forfeit jefct bie Sratfdfje, 
2)em bort leiu ginger mar ljeil. 

®ie Gutter nal)m ein 2Bad)3li<$t 
Unb bilbete brau§ ein #erj. 
„a3ring' ba£ ber 9Jiutter=:©otte§, 
2)ann Ijeilt fie beinen ©djmerg." 

2)er ©oI)n nal)m feufgenb ba§ 2Bad)§ljerj, 
©ing feufgenb gum ^eiligenbilb ; 
S)ie SEIjrane quiHt au3 bem 9lugc, 
2)a§ SSort au3 bem #ergen quiflt: 

„2)u £>odf)gebenebeite, 
S)u reine ©otteSmagb, 
$>u ^tinigin be3 £immel§, 
S)ir fei mein 2eib geflagt! 

3fd) mofjnte mit meiner Gutter 
3u Pollen in ber ©tabt, 
S)er ©tabt, bie biele Ijunbert 
Sapcflen unb $irdf)en I)at. 

Unb neben un3 tooljnte ©retcfjen, 
2)od) bie ift tot je&unb — 



LYRICS AND BALLADS 



21 



9Jtatie, bir firing' id) cin 2Bad)£ljerj, 55 
#eir bu meine #er3en§ttmnb\ 

£>eif bu mcin hanltZ £etje — 

3d) !DtH au$ fpcit unb frit!) 

!3nbrimftiglid) beten unb fingen: 

©elobt fcift bu, SJiarie !" 60 

3. 

2)er frante ©ol)n unb bic 2Rutter, 
SDic fdjliefen im $citnmerlein; 
$>a fam bic 9Jhtttet=©ottc3 
©anj leife gefdjritten herein. 

©ie bcugtc fid) ilbcr ben Sranfen 65 
Unb Icgtc il)re #anb 
©anj Icifc auf fetn #etje 
Unb Idd^elte milb unb fdjroanb. 

S)ie SJlutter fd)aut atle3 im Sttaume, 

Unb I)at nod) meljr gefdjaut; 70 

©ie erroadjte au3 bem ©glummer, 

2)ie #unbe bcflten fo laut. 

2)a lag baljingeftrecfet 
S^r ©oljn, unb bcr toat tot; 
@§ fjrielf auf ben bleidjen SBangen 75 
S)a§ lidjte SJlorgenrot. 

®ie Gutter fatter bie £>dnbe, 
3>I)r toar, fie ttmftte ni^t mie; 
2lnbct<$tig fang fie leife: 
„©etobt feift bu, 9Karie !" 



80 

& e i n e. 



LYRICS AND BALLADS 



14. fcinfetjr 

Ski einem SOBirte munbermilb, 
S)a mar id) jungft gu ©afte; 
(Sin golbner 9fyfel mar fein ©<J)Ub 
9ln eittcm langen 9l[te. 

(S3 mar ber gute Slpfelbaum, 

Ski bcm icf) eingefeljret ; 

9Jiit filler Soft unb frif^cm ©djaum 

£at er mid) moljl genciljret. 

6s tamcn in fcin griine§ #au3 
SStel leidjtbefdfjmingte ©dfte; 
©ie fprangen frci unb Ijielten ©d)mau§ 
Unb fangcn auf ba3 befte. 

3$ fanb ein Sett ju fiifcer 3lu^ 
9luf mei<$en, grunen fatten ; 
2)cr SBirt, er becfte felbft mid) ju 
3Kit fcincm ftiljlen ©fatten. 

9tun fragt' id) nad) ber ©d&ulbigfeit, 
S)a riflttelf er ben SSipfel. 
©efegnet fci er allejeit 
33on ber SBurjel bi§ gum ©ipfel! 

Ut)Ian 



15. Ubtnblicb 

9lbenb mtrb e§ micber: 
liber SSalb unb gelb 
©aufelt f^rteben nieber 
Unb e3 ruljt bie Sett. 



LYRICS AND BALLADS 



23 



Slur ber 93ad) ergiefeet 5 
©id) am gelfen bort, 
Unb er brauft unb fliefcet 
3mmer, hnmer fort. 

Unb fcin 2lbenb bringet 

Qfrtebcn iljm unb 9htf}', 10 

Seine ©lode tlinget 

3ftm ein 9taftlieb ju. 

©0 in beinem ©treben 

2Mft, ntein ^crj, au<$ bu: 

©ott nur lann bir geben 15 

2Bal)re 2lbenbrul>\ 

Hoffmann von 5allersleben. 



16. UfrenMiefc 

S)er 3Konb ift aufgegangen, 

®ie golbnen ©ternlein prangen 

9lm £>immel l)etl unb flar; 

2)er SBalb fteljt fdjtoarj unb fdjtoeiget, 

Unb au§ ben SBiefen fteiget 5 

2)er toeifje Slebel nmnberbar. 

2Bie ift bie SBelt fo pie, 

Unb in ber SDdmmrung #utle 

©0 traulid) unb fo ljolb! 

%l% eine ftiHe Sammer, 10 

2Bo il)r be§ Staged jammer 

93erfd)lafen unb bergeffen fotlt. 



LYRICS AND BALLADS 



©el)t itjx ben SOtonb bort fteljen? — 

(St ift nur Ijalb ju feljen 

Unb ift bo<§ runb unb fdfjon! 

©o finb tnofjl mcmdje ©acljen, 

SDie mix getroft belacfjen, 

SOSeil unfre 5lugen fic ni^t fel)n. 

SOBir ftolje 9Jienfd)enfinber 

©inb eitel armc ©itnbet 

Unb ttriffen gar nic^t biel; 

2Btr fpinnen Suftgefpinfte, 

Unb fudjen triele Sunfte 

Unb tontmen toeiter don bem Qitl. 

©ott, lafe un§ bem £>etl fdfjauen, 

9luf ni$t§ Skrgangltd)^ trauen, 

9iid)t 6itelfett un£ freun ! 

Safe un§ einfciltig toetben, 

Unb toot btr §tcr auf 6rben 

SQBtc Sinber fromm unb ftoljlid) fetn! 

* * 
* 

SBottft enblicl) fonbcr ©riimen 
2lu§ biefer SEBelt un§ nefjmen 
2)urd) einen fanften Stob! 
Unb, ruenn bu un§ genommen, 
Safe un3 in £>imtnel fommen, 
$)u unfer £>ert unb unfer ©ott! 

©o legt eud) benn, il)r Sritber, 
3fn ©otte§ Watnen nieber; 
Salt ift ber 5lbenbl)aud). 



LYRICS AND BALLADS 



SSerfd&on' un§, ©ott! mit ©trafen 

Unb lafc un§ ruljig fd&lafen 

Unb unfern frcmfen 3lad)iax autyl 

€ I a u b i u s. 



17. mor^enlieb 

SBer fd^Idgt fo rafdf) an bic genfter tnir 
W\t fdf)toanfen griinen 3^9^n? 
2)er junge 9Jtorgenroinb ift Ijier 
Unb tmU fidf) luftig jeigen. 

„£>erau3, IjerauS, bu 5Kenf(^enfo^n !" — 
©o ruft ber fede ©efede — 
„63 fdfjtodrmt Don griifjling&mmnen fd^on 
93or beincr ^ammerf^metle. 

£>orft bu bic heifer fummen \\\tf)t? 
£orft bu ba§ ©la3 mcf)t flirren, 
SBenn fie, betciubt Don SDuft unb Sid&t, 
$axt an bie ©d&etben fd^ioirren? 

2)ie ©onnenftraljlen fteljlen fidf) 
33eljenbe burdf) flatter unb SRanfen 
Unb neden auf beinem Sager bidf) 
SJtit blenbenbem ©d&toeben unb ©cf)tt)anfen. 

$ie 9ta<$tigatl ift ^eifer faft, 
©o lang fjat fie gefungen, 
Unb toeil bu fie getjort ni$t fjaft, 
3ft fie Dom SSaum gefprungen. 



26 



LYRICS AND BALLADS 



$)a fd)lug t$ mit bem leeren 3^*9 
9ln beine gcnftcrfc^eibcn : 
£erau3, IjerauS in bag ftruljlingSreid) ! 
(Sr ttrirb nid)t lange meljr bleiben." 

Wiltitlm mailer. 



18. <D fcannefraum! 

O Stannebaum, o Stannebaum, tt>ie treu finb bcinc flatter ! 

®u griinft nid)t nur jur ©ommergeit, 

9?ein, aud) iin SBinter, menn e3 fdjneit. 

O Stannebaum, o Stannebaum, n>ie treu finb beine SIdtter ! 

5 O 9Kcigbetein, o 9Jiagbelein, tote falfc^ ift bein ©emiite ! 
S)u fc^murft mir Sreu' in meinem ©tiid, 
9?un arm id) bin, geljft bu jurttcf. 
O 9Jiagbelein, o 9Jlagbelein, tt)ie falfd) ift bein ©ernute ! 

$)ie 9lad)tigafl, bie 9iad)tigafl naljmft bu bir gum ©jempel : 
io©ie bleibt fo lang ber ©ommer lad)t, 
3m £>erbft fie fid) Don bannen mad)t. 

2) ie 9lad)tigafl, bie 3lad)tigafl naljmft bu bir jum (Sjrempel. 

3) er 33ad) im Sfcljal, ber 33ad) im St^al ift beiner galfdtfjett 

©piegel : 

6r ftrdmt aflein menu 3tegen fliefct, 
15 33et Storr' er balb ben Quell berfdjlieftt. 
3)er 33ad) im Stfyil, ber 33ad) im Zf)d ift beiner galfd^ett 

©piegel. 



LYRICS AND BALLADS 



19. QerfcftsefutJl 

9JJtiber ©lanj bcr ©onne! 
SlaffeS $immetblaii ! 
3?on berflungner 2Bonne 
Strautnet [till bie 2lu. 

2ln ber lefcten 9iofe 
Sofet lebensfatt 
©id) ba3 lefcte, lofe, 
33leid)e Slumenblatt. 

©olbeneS (Sntfarben 
©<$leid)t fid) burd) ben £>ain; — 
Sludj 93ergefjn unb ©terben 
3)eud)t mir fiifl gu fein. 

<Ser 



20. Qoffnmtd 

Unb brciut ber SBinter nod) fo fefjr 
9Jiit trotjigen ©eberben, 
Unb ftreut cr (5i3 unb ©djnee umljer, 
@3 muft bo d) gfriiljling tnerben. 

Unb brilngen bic 9tebel nod) fo bidjt 
©id) Dor ben SSlict ber ©onne, 
©ie toedet bod) tnit ifjrem 2id)t 
(Sinmal bie SBelt jur SBonne. 

33laft nur, iljr ©turme, blaft mit 2Wadjt, 
9JJir foil barob nidjt bangen, 
3luf leifen ©oljlen uber 9tad)t 
$ommt bod) ber Senj gegangen. 



LYRICS AND BALLADS 



®ct timd)t trie (Srbe griinenb auf, 
SBeifi nictyt, true iljr gef<tyeljen, 
Unb lactyt in ben fonnigen £)immel Ijinauf 
Unb mtfctyte bor Suft bergefjen. 

©ie flic^t fid) bluljenbe $rdnje in§ $aax 
Unb fc^miictt fid) mit 9tofen unb ?ttyren 
Unb Itifet bie SSrUnnlein riefeln flat, 
2113 tDdren e§ §freubengdljren. 

®rum ftitl! Unb ttrie e3 frieren mag, 

© & er 3> fli^b bitty gufrieben; 
@3 ift ein grofeer 2Jiaientag 
®er ganjen 2Belt befctyieben. 

Unb tt)enn bir oft aud) bangt unb graut, 
3113 fei bie $dfl' auf grben, 
Slur unDerjagt auf ©ott bertraut! 
@§ mufc bod) grilling toerben. 

® eibeL 



21. 5tu^tin$&einfU0 

SDie $enfter auf ! bie £)erjen auf ! 

©efdjnrinbe, gefttyttrinbe! 
S)er alte SBinter mitt fjerauS, 
@r trippelt dngftlid) burd) ba§ £au3, 
(Sr nrinbet bang fid) in ber Sruft 
Unb framt jufatnmen feinen SBuft. 

©efctynrinbe, gefdjroinbe ! 



LYRICS AND BALLADS 



2) ie genfter auf! bie £>er$en auf! 
©efd&tmnbe, gefd&tmnbe ! 

@r fjmrt ben grueling bor bem SEljor, 

3) er tDtB iljn jupfen bet bem Oljr, 
3l)tt jaufen an bem ineijjen S3art 
9lai) folder nrilben SSuben 3lrt. 

©efd&tmnbe, gef<$tt)inbe ! 

3)ie genfter auf! bie £>erjen auf! 

©ef<$tr>inbe, gefdfjroinbe! 
3)er grueling poc^t unb flopft }a f<$on — 
C>or<$t, Ijord&t, e3 ift fein lieber Son! 
6r pod&t unb flopfet, tuaS er lann, 
9Jlit fleinen S3Iumenfnofpen an. 

©ef^minbe, gef^minbe ! 

®ie genfter auf! bie $erjen auf! 

©ef$tt>inbe, gef$ttrinbe! 
Unb tnenn iljr no<$ nid^t offnen tnollt, 
@r Ijat t)iel ©ienerfdfjaft im ©olb, 
3)ie ruft er fidf) jur $ilfe fjer 
Unb pod^t unb flopfet immer meljr. 

©efd^minbe, gefdfjtmnbe! 

2)ie genfter auf! bie £>erjen auf! 

©efdf)tt)inbe, gefdfjttrinbe! 
(S§ fommt ber 3funfer SSJiorgentmnb, 
(Sin baufe6adfig rote§ ®inb, 
Unb blaft, ba£ atleS flingt unb flirrt, 
33i3 feinem £erm geoffnet roirb. 

©efdf)tt)inbe, gefd()tmnbe! 



LYRICS AND BALLADS 



3)te 3-enfter <*uf! ^ e #«#n auf! 

©efdfjtmnbe, gefd()tmnbe! 
@3 fommt ber fitter ©onnenfd&etn, 
®er hxify mtt golbnen Sangen ein, 
®er fanfte ©(^mct^ler 33lutenf)au<J) 
©df)leidf)t burdf) bie engften Stifcen audf). 

©ef$tt)inbe, gefd()tt>inbe ! 

3)ie genfter auf! bte $erjcn auf! 

©efdf)ttrinbe, gef^tDtnbe! 
3um Slngriff fdpgt bte Wad&ttgaH, 
Unb f)oxtf)\ unb Ijordf)', ein SBieberljatt, 
(Sin SDBteber^aH au§ meiner SSruft! 
^eretn, herein, bu tfculjltttgsluft, 

©efd()tt>inbe, gefd^tDtnbe ! 

VO i 1 1} e I m JTl u 1 1 c r. 



22. 21 u 5 bet 3u$enb}eit 

2lu§ ber 3fugenbgett, au3 ber 3>ugenbjeit 
$lingt ein Steb mir immerbar; 
O tme liegt fo tt>ett, o ttrie liegt fo toeit, 
2Ba§ mettt etnft mar! 

SBaS bte ©dfjmalbe fang, ttmS bte ©djmalbe fang, 
2)te ben £)erbft unb fyru^Iing brtngt; 
Ob ba3 2)orf entlang, ob ba3 2)orf entlang 
®a3 jefct no$ fltngt? 

„2ll§ td^ Slbfd^teb nafjtn, al3 Slbfdjieb nal)m, 
SBaren $tften unb $aften fdfjmer; 
2113 idf) toteber tarn, al§ idf) toteber fam, 
SBar aHe§ leer/' 



LYRICS AND BALLADS 



31 



O bu Sinbermunb, o bu $inbermunb, 
Unbetoujjter SBeidljeit frof), 
Sogeltyradjefunb, Dogelfpradjefunb, 15 
2Bie ©alomo! 

O bu £>eimatflur, bu $eimatfhir, 

Safe ju beinem fjeil'gen 9taum 

9Rid) nod) einmal nur, mid) nod) einmal nur 

(Sntflieljn im SEraum! 20 

2113 id) 9lbfdf)ieb naljm, aid i<$ 9lbfd)ieb naljm, 
2Bar bie SBelt mir boll fo fef)r; 
9lld id) toieber fam, aid icl) ttrieber fam, 
2Bar aCted leer, 

SBoljl bie ©<$toalbe feljrt, tooljl bie ©d)toalbe feljrt, 25 
Unb ber leere $aften fd)tDoH; 
3[t ba§ £)erj geleert, ift bad £erj fldwtt, 
2Birb'd nie meljr boll. 

Seine ©df)toalbe bringt, feine ©ctytoalbe bringt 
®ir juriirf, tnonacty bu treinft; 3° 
2)od) bie ©df)toalbe fingt, bodf) bie ©$tt>albe fingt 
3m 3)orf trie einft: 

„3lld M& 2lbfd)ieb nafjm, aid id) Slbfc^ieb naf)m, 
SBaren Siften unb Saften fd)toer; 
9113 id) toieber fam, aid id) ttrieber fam, 35 
Bar ailed leer.'' 

aatf ert. 



LYRICS AND BALLADS 



23. Sdtwaibtniicb 

9lu§ fernem 2anb, 

93om 2Jteere§ftranb, 

2luf fjoljen, luftigen SBegen 

Sliegft," ©d)tt>albe, bu 

Oljne Staft unb Stu^ 

2)er lieben $)cimat entgegen. 

O farid), footer 

ttber fianb unb 9JJeer 

£>aft bu bie ®unbe bernommen, 

2)afj im £eiinattanb 

2)er SBinter fd)toanb, 

Unb ber grilling, bcr ftriiljling gefommen? 

2)ein Siebdjen f^rtd^t t 
„2Beij5 felber nid)t, 

SBofjer mir gefommen bie 9Jia!)nung; 

2)o<$ fort unb fort 

35 on Ort ju Ort 

Socft mid) bie $riil}ling§af)nung. 

©o oljne Staft, 

3n freubiger £>aft, 

3luf fjoljen, luftigen 2Begen 

glieg' id) unbertoanbt 

S)em £>eimatlanb, 

2)em lenjgefdjmiirften, entgegen." 

Sturm. 



LYRICS AND BALLADS 



33 



24. tvaubctidialt 

2)a3 2Banbem ift be§ 9Mfler3 Suft, 

®a§ SBanbern! 
®a§ muft ein fd^lcc^ter 9JliilIer fein, 
$)em niemate fiel ba§ SBanbern ein, 

2)a§ SBanbern. 5 

3?om SBaffer Ijaben ttrir'S gelernt, 

3?om Staffer! 
$a£ ^at nid)t ftaft bet Stag unb 9iad&i, 
3P Pets auf 2Banberfd)aft bebad&t, 

®a3 SBajfer. io 

®a3 fefjn mir aud) ben 9tabern ab, 

2)en SRabern! 
2)ie gar nid^t gerne ftitte fteljn, 
2)ie fi<$ mein 2ag nid)t ntiibe breljn, 

Stte SRaber. 15 

©ie ©teine felbft, fo fd^tuer fie finb, 

2)ie ©teine! 
©ie tangen mit ben tnimtern 9teil)n 
Unb tDotlen gar nod) fdfjneHer fein, 

$)ie ©teine. 20 



D SBanbern, SBanbern, meine Suft, 

O SBanbern! 
£>err 2Jiei[ter unb gfrau TOeifterin, 
Saftt mid) in gfrieben toeiter jieljn 

Unb toanbern. 25 

rr>tlf]elm mailer. 



Lyrics and ballads 



25, 3d? tvcift nicf?t, was foil cs fccocu ten 

3$ tt)eip ni<$t, maS foil eg bebeuten, 

i<$ fo traurig bin; 
(Sin 9Jictr<$en aug alten 3eitat> 
2)ag lommt mir nicfyt aug bcm ©inn. 

$ie fiuft ift fiifjl unb eg bunfeit, 
Unb ruljig fliefet ber SRfjein; 
®er ©tyfel beg Sergei funfelt 
3m 3lbenbfottnenf4)cin. 

2)ie fdjonfte Sungfrau fifcet 
2)ort oben tmmberbar, 
3>fjr golbneg ©efc^meibc blifcet, 
©ie lammt iljr golbeneg $aax. 

©ie fdmmt eg mit golbenem ®amme 
Unb fingt ein Steb babei; 
2)ag Ijat cine ttmnberfame, 
©emaltige DJielobei. 

2)en ©differ im fleinen ©dfjiffe 
Srgreift eg mit ttrilbem SBelj; 
@r fdjaut ni<f)t bie gfelfenriffe, 
(5r fd)aut nur Ijinauf in bic $61)\ 

3>dj glaube, bic SSeUen berfdjlingen 
5tm (Snbe ©differ unb $aljn; 
Unb bag Ijat mit iljrem ©ingen 
2)ie Sorelei getljan. 

£) e i n e. 



LYRICS AND BALLADS 



26. Det $ltt£ bet Ciefce 

SBcnn id) em Soglein tMr', 
Unb aucty pet gfluglein f>att', 
glGg' id) ju bit; 
SBeil e§ aber md)t fann fein, 
33ieib' id) altyier. 

Sin id) gleicty tt>eit Don bit, 
Sin id) bod) im ©d)laf bei bir, 
Unb reb' mit bit; 
SBenn id) ertoadjen tlju', 
33in id) attein. 

@§ bergeljt feine ©tunb' in ber 9ta<tyt, 
2)a mein £>erje nidjt erttmdjt, 
Unb an bitty gebenft, 
2)aft bu mir biel taufenbmal 
S)ein £>erj gefdjenft. 

Polfsl 



27. Du Mft wie eine Blume 

2)u bift tt>ie eine 33lume 
©o Ijolb unb fc^on unb rein; 
3d) fd)au' bid) an, unb 2Befjmut 
©d)leid)t mir in§ ^>erg Ijinein. 

2Jiir ift, aid ob id) bie £>anbe 
SufS £>aupt bir legen foM\ 
Setenb, bap ©ott bid) erljalte 
©o rein unb fdjint unb fjolb. 



df e i n e, 



36 



LYRICS AND BALLADS 



28. Qeitenrostein 

©al) em ®nab' ein 9titelein fteljn, 
3tfl§lein auf ber £>eiben, 
93Bar fo jung unb morgenfd)fln, 
Sief cr fctynefl, e3 naf) ju feljn, 
5 ©alj'S mit bielen greuben. 

9to3lein, 3to3lein, 9to$lein rot, 
9to§lein auf bcr £>etben. 

ifnabe fprad): „3<J) breeze bid), 
9to3lein auf ber $>eiben!" 
io Kfidlein fpra<$: „3d) ftedje bid), 

Staft bu ctDtg benfft an mid), 
Unb id) torn nid)t leiben." 
9to3lein, 9io3lein, Stoslein rot, 
Stitelein auf ber $>eiben. 

15 Unb ber toilbe ®nabe bra<$ 

'8 9to§lein auf ber £>eiben; 
StoSlein toeljrte fid) unb ftad), 
#alf iljm bod) tein 2Bef) unb 2ld), 
DJiupt' e§ eben leiben. 

20 9t6§lein, 9to3lein, 9to3lein rot, 

9to§Iein auf ber $etben. 

© e 1 1} e. 



29. Has Peitcf?en 

(Sin Skildjen auf ber SBiefe ftanb, 
©ebtidt in fid) unb unbefannt; 
6§ toar ein ljerjig'3 93eild)en. 
2)a lam eine junge ©djaferin 



LYRICS AND BALLADS 



Wit leidjtem ©<$ritt unb ntunterm ©inn 

Staler, baljer, 

2)ie SCBicfc l)er, unb fang. 

„2id) !" bcntt ba§ Skild&en, ^104^ id) nur 

2)ie fdjonfte SSIuntc ber Statur, 

2ld), nur cm fleine§ 2Beild)en, 

33i3 mid) ba3 fiteb^en abgepfliidt, 

Unb an bent Sufen ntatt gebriirft! 

2ld) nur, ad) nur 

(Sin SHertelftiinbdjen lang!" 

9ldj ! aber ad) ! ba§ 9Jtdbd)en !am 

Unb nidjt in ac^t ba§ 23eild)en naljm, 

(Srtrat ba3 arme 33eild)en. 

@3 fan! unb ftarb tytb freuf fid) nod): 

„Unb fterb' id) benn, fo fterb* id) bod) 

2)urd) fie, burd) fie, 

3u iljren fyiifeen bo<$.'' 

<S o e t fjc 



30. Das jerfcrodjene Hingtein 

Sn einem fiifjlen ©runbe 
®a geljt ein SJtiiljlenrab ; 
59hin' fiiebfte tft berfdjnmnben, 
2)ie bort getuoljnet Ijat. 

©ie l)at mir Streu' bertyrodjen, 
©ab ntir ein'n 3ting babei, 
©ie Ijat bie Streu* gebrodjen, 
9Jlein 3tinglein fprang entgiDci. 



LYRICS AND BALLADS 



3$ motyt' ate ©Jrielmann reifen 
SBett in bte SBelt l)inau§ 
Unb fingen ntcine SBeifen 
Unb gefjn Don £>au3 ju £au§. 

3$ mod&t' al3 9teiter fliegen 
2Bo^I in bie blut'ge ©d)lad)t, 
Urn fttHe $euer liegcn 
3m Selb bci bunllcr 9lad)h 

$6x f id) ba§ Dtii!)lrab geljen, 
%6) meife nidjt, n>a§ id) ttrifl — 
3$ mtfdjt' am liebften fterben; 
S)a to&x'& auf cinmal [till ! 

<£ id?enborff. 



31. Her tPirtin €3d?terlein 

@S jogcn bret 33urfd)e tooljl iiber ben St^ein, 
33ei ciner $rau SBirtin, ba teljrten fie cin: 

^rau SBirtin, l)at ©ie gut 33ier unb SBein? 
SBo $at ©ie 3l)r f defines 2M)terlein?'' 

„2Jtein 33ier unb SBein ift frifd) unb liar. 
9Jtein SEod)terlein licgt auf ber StotenbaljrV' 

Unb al§ fie traten jur itammer Ijinein, 
3)a lag fie in einem fdjttmrjen ©d)rein. 

3)er erfte, ber fdjlug ben ©djleier jurild 
Unb fdjaute fie an mit traurigem 33licf: 

„2id), lebtcft bu no<$, bu fd)6ne 9Jfaib ! 
3d) iDflrbe bid) lieben bon biefer 3ett." 



LYRICS AND BALLADS 



39 



2)er gtoeite bedfte ben ©deleter ju 
Unb fe^rtc fid& ab unb toeinte bagu: 

„9l<i), bafc bu licflft auf ber Stotenba^rM 15 
3d) §aV bidj) gelicbet fo mandjeS Satyr." 

2)er britte Ijub tljn luieber fogletdf) 
Unb fiipte fie an ben Dtunb fo blei<$: 

„2)i<$ liebt' i<$ immer, bid) lieb' idj nodf) Ijeut 
Unb toerbe bid) lieben.tn @tt)tgfeit." 20 

Uf}Iant>. 



32. <Ein Hftcf?en gtcubc 

SBie Ijeilt fid& ein berlaffen £>ers, 
3)er bunleln ©df)tocrmut Seute? 
9Jlit Sedfjer^unbgelaute? 
9Jlit bitter m ©pott? 9Kit freblem ©dfjerj? 
9Zein / ntit ein bift<$en greube! 

2Bie flidfjt fidf) ein jerriffner Shang, 
2)en \atf) ber ©turm jerftreute? 
SBie fnttpft fidf) ber erneute? 
9Jlit toeldfjem @nbdf)en bunten 33anb§? 
9Jlit nur ein bifedfjen greube ! 

2Bie fttfjnt fidf) bie berjdljrte ©df)ulb, 
2)ie bitterlicfy bcreute? 
9Jtit einem ftrengen $eute? 

TOtt 23iifeerfjaft unb Ungebulb? 
5letn. 9Jiit ein btpc^en greube! 

£. S- Meyer. 

M 



IO 



15 



LYRICS AND BALLADS 



33. tfuriofe <5eftf?itf?te 

3fdf) bin.einmal etoa3 tyinau^fpajiert, 
5)a ift mir cin niirrifdf) 2)ing paffiert: 
3fdf) fal) cinen 3fager am SBalbesljang, 
3*itt auf unb nicbcr ben ©ec entlang; 
93tel £irfdf)e fprangen am SBege bidfjt; 
2Ba3 tijat ber 3ager?— 6r fdfjofc fie nidfjt, 
(Sr blie§ cin Sieb in ben 2Balb Ijinein — 
Stun fagt mir, il)r Seut J , tt>a3 foil ba3 fcin? 

Unb al§ idf) toeiter bin forttyajiert, 

3ft ttrieber cin niirrifdf) 3)ing mir ^af fieri : 

3m flcinen Saljn einc $ifd)erin 

guljr ftet3 am SBalbeSljange baljin; 

9ling§ fprangen bie $ifdf)lein im 9lbenblidf)t ; 

2BaS t^at ba3 3Ktib<f)en? — @ie fing fic nid&t, 

©ic fang ein Sieb in ben SBalb Ijinein — 

9lun fagt mir, iljr Seut\ toa§ foil ba3 fein? 

Unb ate idf) mieber juriitftyajiert, 
5)a ift mir ba3 narrifd^fte SMng paffiert: 
(Sin leere§ ^3ferb mir entgegenfam, 
3[m @ee ein leerer 9tadf)en fdfjtoamm; 
Unb ati idf) ging an ben (Srlen borbei, 
2Ba3 f)'6xt' idf) brinnen?— 2)a pfterten amei, 
Unb'3 mar fdjon fpat unb 2Jionbenfdf)ein — 
Stun fagt mir, il)r Seut\ toa3 foil ba3 fein? 

K e i n i cf . 



LYRICS AND BALLADS 



34. tfdferliei> 

@§ toaren cinmal brei $dferfnaben, 

2) ie ttydten mit ©ebrumm brumm brumm 

3fn SEau il)r ©djndblein tunfen, 
Unb murben fo betrunfen, 
3113 toUi'S ein Safe mit 9lum. 

3) a Ijaben fie getroffen an 

(Sine munberfdjone Slum' Slum' Slum', 
3)a murben bie jungen Slafer 
9lDe brei berliebte ©cfcdfer 
Unb flogen urn fie Ijerum. 

3)ie Slume, bie fie fommen fal), 

SBar gerabe aud) nid)t bumm bumm bumm. 
©ie mar don fdjlauem ©imte 
Unb rief bie Safe ©frinne: 
„©pinn mir ein 9tefclein urn!" 

35ie Safe ©pinne txoti) Ijeran 

Unb mad)t' bie Seine frumm frumm frumm; 

©ie fpann ein 9tefc fo feine 

Unb fefcte fid) bareine 

Unb fafe ba mduSdjenftumm. 

Unb al3 bie $dfer lommen an 

2Kit jdrtlid)em ©efumm fumm fumm, 

©inb fie Ijineingeflogen, 

Unb murben auSgefogen, 

£alf iljnen fein ©ebrumm. 



LYRICS AND BALLADS 



2)a§ Sliimlein abet ladjenb fprad), 
Unb ftimmert fid) nidjt brum brum brum: 
„©o geljt'3, il)r lieben Safer, 
©o geljt'3, tyx lieben ©cfjafer, 
SErofc aDem ©umm unb Srumm!" 

Heinicf. 



35. Die HTtifif fommt 

Slingling, bumbum unb tfdjingbaba, 
3iel)t im SEriumpl) ber $erferfd)al)? 
Unb urn bie (Sdfe braufenb bridjfa 
2Bie Subaton beg 2Beltgerid)t3, 
35oran ber ©djeflentrtiger. 

33rumbrum, ba3 grofee Sombarbon, 
®er 33edenfd)lag, ba3 £>elifon, 
3)ie piccolo, ber S^^nift, 
2)ie Siirfentrommel, ber f^lotift, 

Unb bann ber £>erre £>auf)tmann. 

®er ^auptmann naljt mit ftoljem ©inn, 
®ie ©djuppenfetten unterm Sinn, 
®ie ©<$atpe fdjniirt ben fdjlanfen Seib, 
33eim 3eu§! 5)a§ ift fein 3eitbertreib, 
Unb bann bie £>erren Sieutenante. 

3tt>et SieutenantS, rofenrot unb braun, 
2)ie ga^ne fcfjiifcen fie al3 3<mn; 
2)ie gfaljne fommt, ben $mt nimm ab, 
2)er finb mir treu bi§ an ba3 ©rab, 
Unb bann bie ©renabiere. 



LYRICS AND BALLADS 



3)er ©renabier im ftrammen SEritt, 
3fn ©d)ritt unb Stritt unb Stritt unb ©djritt, 
3)a§ ftampft unb broljnt unb Uappt unb flirrt, 
2aternengla3 unb genfter flirrt, 
Unb bann bic Heinen SJlftbdjen. 

2)ie 3Jtabd)en aDe, Sopf an Jtopf, 
2)a3 9luge blau unb blonb ber.3opf; 
3lu3 Stljur unb Stljor unb £>of unb £)au3 
©d)aut SJtine, Strine, ©tine au3, 
Sorbet ift bic SJtufife. 

Stlingling, tfdjingtfdjing unb ^aufenfrad), 
9todj au3 ber gerne tont e3 frfjroarf), 
©anj leife bumbumbumbum tf<$ing, 
3og ba ein bunter ©rfjmetterling, 
Stf^ingtfdjing, bum, urn bie 6<fe? 

Ciliencron. 



36. Der $ute ttamerafe 

3fd) ^att* einen $ameraben, 
(linen beffern finb'ft bu nit. 
3)ie SErommel fdfjlug gum ©treite, 
@r ging an meiner ©eite 
3fn gleidjem ©djritt unb SEritt. 

(Sine $ugel lam geflogen; 
©ilt'3 mir ober gilt e§ bit? 
3^n Ijat e§ toeggeriffen, 
@r liegt mir bor ben fjiipcn, 
2113 mar's ein ©tiitf bon mir. 



LYRICS AND BALLADS 



aQBiH mir bic £anb nod) reid)en, 
©crmcil id) eben lab': 
„Stann bir bie £)anb nidfjt geben; 
SMeib bu im eto'gen Seben 
2Jlein gutcr $amerab!" 

37. Sclbatenliebe 

©tel)' id) in finftrer 2Jlitternadf)t 
©o einfam auf ber fernen SBad)t, 
©o benf id) an mem ferne§ Sieb, 
Ob mir'S audf) trcu unb Ijolb berblieb. 

2113 id) gur ftafynt fortgemiifet, 
©at fie fo Ijerjlid) mid) gefiifct, 
9Jlit Sdnbem nteinen £mt gefd)murft 
Unb meinenb mid) an3 £>erj gebrudt! 

@ie liebt mid) nod), fie ift mir gut, 
3)rum bin id) frol) unb moljlgemut; 
SJtein #erj fd)lagt marm in falter 9tad)t, 
SBenn e3 an§ treue Sieb geba^t. 

3fe^t bei ber Sampe milbem @d)ein 
©eljft bu mo^l in bein Sammerlein 
Unb fdjirfft bein SRadfjtgebet jum #errn 
3lud) fiir ben Siebften in ber gem' ! 

3)od), menn bu traurig bift unb meinft, 
Wxtf) don ©efaljr umrungen meinft, 
@ei ruljig, bin in ©otteS £mt, 
@r liebt ein treu ©olbatenblut. 



LYRICS AND BALLADS 



$ie ©lode f<f)ldgt, balb naljt bie 9tunb' 
Unb loft mid) ab gu bicfer @tunb'; 
©djlaf mo^l im ftiDcn $dmmerlein 
Unb benf in beinen Strdumen mem. 



38. VXcin Kinfc, wir waren Kinfcer 

9Kcin Sinb, mir maren ftinber, 
3roei $inber, flein unb frolj; 
SBir frozen in§ £>iil)nerl)du3d)en, 
SSerftetften unS unter ba3 ©trol). 

2Bir frdljten tt>ie bie £)dl)ne, 
Unb famen Seutc borbei — 
„$iferefiil) !" fie glaubten, 
(Ss mare £)al)nengefd)rei. 

2)ie $iften auf unferem #ofe 
S)ie tapejiertcn nrir cms, 
Unb tooljnten brin beifammen 
Unb marten cin bomeljmeS £mu3. 

$e3 9lad)bar3 altc $afce 

$am ofter§ gum Sefudj; 

SQBtr marten il)r Sutfling' unb ®nidffe 

Unb Somplimentc genug. 

SBir Ijaben nad) iljrem Sefinben 
33eforgIid) unb freunblid) gefragt; 
SBir Ijaben feitbem ba§felbe 
3Jlan<$er alien $afce gefagt. 



LYRICS AND BALLADS 

2Bir fafeen aud) oft unb fpradjen 
SSermmftig, nrie altc 2euf, 
Unb flagten, nrie afleS bejfer 
©etoefen ju unfercr 3*tt; 

2Bie 2icb' unb %xtu f unb ©lauben 
Skrfdjrounben au3 ber SBett, 
Unb nrie fo teucr bcr $ajfee, 
Unb rote fo rar ba3 ©elb! 

SSorbet finb bic ^inberfjriele, 

Unb aDe3 roKt borbei, — 

3)a3 ©elb unb bie SGBelt unb bic 3eiten, 

Unb ©lauben unb Sieb' unb SEreu\ 

$ e i n e. 



39. 9a* Statt im Sudje 

3fd) {jab' etnc altc SDtuljme, 
2)ie em alte3 Sudjlein f)at, 
@3 liegt in bem altcn S3ud)e 
(Sin alte3, biirrcg 93latt. 

©o btirr finb tooljl aud) bie £)ftnbe, 
S)ie einft im Sens iljr'S gepfliidt. 
2Ba3 mag bod) bie 2llte Ijaben? 
©ie toeint, fo oft fie'3 erblicft. 



©ran. 



LYRICS AND BALLADS 



40. 3ei bem (Rvabc meines Paters 

ftriebe fet urn biefen ©rabftcin Ijer! 
©anfter griebe ©otteS ! 2lcf), fie Ijaben 
©men guten 9Rann begraben, 
Unb mir tear er mefjr. 

Straufte mir Don ©egen, biefer 2Jtann, 
2Bie ein milber ©tern au§ beffern SEBelten! 
Unb idj fating il)m nid)t bergelten, 
SBa3 er mir gettyan. 

(5r entfd)lief; fie gruben ityn Ijier ein. 
Seifer, fiifeer SEroft, Don ©ott gegeben, 
Unb ein 3lljnben Don bem eto'gen Seben 
5Dflff urn fein ©ebein! 

m il)n 3fefu§ 6l)riftu§, grofc unb I)el)r, 
greunblid) nrirb ermetfen ! — 9ld), fie ^aben 
6inen guten 2Jlann begraben, 
Unb mir mar er metyr. 



41. Das grfennen 

@tn SSBanberburf^, mit bem ©tab in ber £>anb, 
ftommt mieber Ijeim au§ bem fremben Sanb. 

©ein £>aar tft beftaubt, fein 2lntlifc toerbrannt, 
SSon mem mirb ber Surfd) moljl guerft erfannt? 

©o tritt er tn§ ©tabtdjen, burd)3 alte Stljor, 
3lm ©d^lagbaum leljnt juft ber 3^Hner babor. 



48 



LYRICS AND BALLADS 



3)er SoDner, bcr mar ifjm ein lieber greunb, 
Oft ^attc bcr 33ed)er btc beiben bereint. 

3)odf) fiel) — greunb 3oDTnann crfennt tljn ni<$t, 
10 3u feljr Ijat bie ©onn' iljm berbrannt ba3 ©efidfjt. 

Unb meiter manbert nad) fur^em ©rufe 

S)er Surfdfje unb fdfjiittclt ben ©taub Dom gup. 

2) a fdfjaut au3 bem genfter fein ©d&afcel fromm: 
„3)u bliiljenbe 3fungfrau, bid fdfjonen SBiDfomm !" 

15 £>odf) fiel) — aufy ba3 2Jtctgblein erfennt iljn ni<^t / 
£)ic ©onn' f)at ju feljr iljm berbrannt ba§ ©efidfjt. 

Unb meiter geljt cr btc ©tra^' entlang, 

(Sin Stfjranlein Ijfingt iljm an ber brauncn 2Bang\ 

3) a manft bon bcm $ir<$fteig fein 2Jtutterdf)en Ijer: 
20 „©ott grufc' (Sudf)," fo fprid)t cr unb fonft nid)ts meljr. 

3)o^ fiefj, — ba$ SJlutterd&en fd&ludfoet boll Suft : 
„2Jlein ©oljn!" unb finft an be3 Surfdfjen Sruft. 

2Bic feljr audf) bic ©onnc fein Slntlifc berbrannt, 
®a3 2Jlutteraug' I)at iljn bo<$ glei<$ erfannt. 



SECOND PART 



42. fcrlfSnia 

SBcr reitet fo feat burdf) Ka$t unb 2Binb? 
@§ ift ber Stater mit feinem Sinb; 
(5r f)at ben Snaben moljl in bem 9Irm, 
(5r fafet iljn fidf)er, er Ijalt iljn marm. 

„5Jlein ©ol)n, ma§ birgft bu fo bang bein ©eftdjt? 
„©iet)ft, Stater, bu ben (Srlfonig nid^t ? 
S)en (Srlenfonig ntit $ron' unb @<$tt)etf?" — 
„9Jiein ©oljn, e3 ift ein 9tebelftreif — 

„%w liebe3 $inb, fomm, gel) mit ntir! 
©at fdfjime ©piele fpiel' i<$ ntit bir; 
SJtand) bunte ©lumen finb an bem ©tranb; 
Sfteine SJtutter Ijat maud) gtilben ©emanb." 

„9Jlein Stater, mein Stater, unb Ijoreft bu nidfjt, 
2Ba§ (Srlenftmig mir leife Derfprtd^t ?" — 
„©ei ruljig, bleibe ruljig, mein $inb; 
3n biirren Slattern fdufelt ber SBinb." — 

„2Biflft, feiner $nabe, bu mit mir geljn? 
SJieine Stouter foDen bidf) marten f<$5n ; 
5Jleine Stod&ter ftiljren ben nad&tlidfjen 9leiljn 
Unb miegen unb tanjen unb fingen bidf) ein/' 

49 



LYRICS AND BALLADS 



„9Jtein Stoter, mem SSater, unb fieljft bu nidfjt bort 
(SrlfonigS Stouter am biiftern Ort ?" — 
„2Jtein ©ofjn, mein @ol)n, idf) fety' e§ genau: 
(£§ f<$einen bic altett SBeiben fo grau." — 

„3id) Hebe bidf), midf) reijtbeine f<^one. ©eftalt ; 
Unb bift bu ni<f)t miDig, fo Brou^ id) ©email." 
„9Jtein SSater, mein SSater, jejjt fafet er midf) an! 
(Srlfonig Ijat mir ein 2eib3 getljan!" — 

3)em SSater graufet% er reitet gefdfjminb, 
6r pit in Slrmen ba§ ddjjenbe JHnb, 
©rreid^t ben £)of mit Wtyt unb 3lot; 
3n feinen 3lrmen ba3 $inb mar tot. 

43. Hie Sfirgfdtaft 

3u 3)ioni)§, bem Sfcijrannen, fdfjlidf) 

2Jtoro3, ben 2)oldf) im ©emanbe; 

3fl)n fdf)lugen bie £)<ifdf)er in 33anbe. 

„2Ba£ moDteft bu mit bem 2)ol<f)e? ©pridf)!" 

(Sntgegnet il)m finfter ber 2Buteri$. 

„2)ie ©tabt bom St^rannen befreien!" 

„2)a3 fotift bu am Sreuge bereuen." 

„3>d) Mn," fpridfjt jencr, „ju fterben bereit 
Unb bitte nidfjt urn mein Seben; 
2)odf) mitift bu ©nabe mir geben, 
3fdf) fXe^c bidf) urn brei Stage S^it, 

id) bie ©dfjmefter bem ©atten gefreit; 
3fdf) laffe ben ftreunb bir ate Surgen, 
3fl)n magft bu, entrinn' id), ermiirgen." 



LYRICS AND BALLADS 



2) a Iftd)elt ber $5uig mit arger Sift 
Unb \px\6)t uad) turgem Sebcnfen: 
„2)rei Stage mill id) bit f^enfcn; 

3) odj ttrijfe, meuu ftc berftridjeu, bie gtift, 
@l) bu iuxM mix gegebeu bift, 

©o mufc cr ftatt beiner erblafieu; 
®od) bit ift bic ©trafe erlaffen." 

Hub cr fommt jum grcunbc: „3)er $ouig gebeut, 

3)aft id) am ®reus mit bem Seben 

SBqaljle bag fre&elube ©trebeu; 

3)od) tt>iH cr mir gouueu brei Sage 3*it 

Si§ id) bic ©djmefter bem ©atteu gefrcit; 

©o blcib bu bem $fluig jum spfaube, 

33te id) fomme, gu lofeu bic Saube." 

Uub ftytoeigeub umarmt ilju ber treue ftmmb 

Uub liefert fid) au3 bem Sfcijramteu; 

3)er aubcre jieljet fcou bamteu. 

Uub if)t ba§ brittc SRorgeurot fdjeiut, 

©at er fdjueH mit bem ©atteu bie ©djtoefter bereiut, 

(Silt Ijeim mit forgeuber ©eele, 

2)amit er bie grift uidjt berfeljle. 

2)a giefct uueubli^er 3tegeu Ijerab, 

S5ou beu Sergeu jiurjeu bie Quelleu, 

Uub bie Settle, bie ©trome fdjtoetleu. 

Uub cr fommt au3 Ufer mit mauberubcm ©tab, 

2)a reifcet bie Sriidfe ber ©trubel Ijiuab, 

Uub bouuerub fpreugeu bie SBogeu 

2)e3 ©eit)5l6e§ fradjenbeu 33ogeu. 



52 LYRICS AND BALLADS 

Unb troftloS irrt er an UferS 9tanb; 
2Bie toeit cr aud) fpaljet unb blidet 
45 Unb bie ©timnte, bie rufenbe, fd)idet, 

5)a ftofeet fein 9ladjen bom fidjern ©tranb, 
3)er il)n fefce an ba3 gettmnfdjte Sanb, 
Sein ©djiffer lenfet bic galjre, 
Unb ber toilbe ©trom mirb gum 2Jleere. 

so 5)a finlt cr an3 Ufer unb toeint unb fleljt, 
3)ie #anbe gum 3^3 erljoben: 
„D Ijemme be3 ©trome3 Stoben! 
@£ eilen bie ©tunben, im SJlittag fteljt 
2)ic ©onne, unb menn fic niebergetyt, 

55 Unb id) fann bie ©tabt nidjt errei<$en, 
©o mufe ber greunb mir crbleid^en." 

£)od) toadjfenb erneut fid) be3 ©tromeS 2But, 
Unb SBette auf SBeKe gerrinnet, 
Unb ©tunbe an ©tunbe entrinnet. 
6o 5)a treibt il)n bie Singft, ba fafet er fid) 2»ut 
Unb mirft fid) Ijinein in bie braufenbe glut 
Unb teilt mit gemaltigen 3lrmen 
S)en ©trom, unb ein ©ott l)at (Srbarmen. 

Unb geminnt ba3 Ufer unb eilet fort 
65 Unb banfet bem rettenben ©otte; 
£)a ftiirjet bie raubenbe 9totte 
£>erbor au3 be3 2Balbe3 nadjtlicfjem Ort, 
£)en $fab i^m fperrenb, unb f^naubet SJtorb 
Unb ^emmet be3 2Banberer§ (Sile 
70 SJtit broljenb gefdjnmngener $eule. 



LYRICS AND BALLADS 



53 



„2Ba§ tDottt ifjr?" ruft er, bor @df)reden bleidf), 

„3df) Ijabe nidfjte ate mein Seben, 

3)a3 mufe id) bem ffonige gcben!" 

Unb entreifct bic $eule bem 9tddf)ftcn gleid) : 

„Um be3 greunbeS mitten erbarmet eudf)!" 75 

Unb brci mit getoaltigen ©treidf)en 

Srlegt er, bic anbcrn enttoeidf)en. 

Unb bic ©onne berfenbet gliiljenben 33ranb, 

Unb bon ber unenblid)en 9Dtul)e 

@rmattet, jtnfen bie ffniee. 80 

„0 l)aft bu mitf) gndbig au3 3iduber3l)anb, 

2lu§ bem ©trom mid) gerettct an§ Ijeilige Sanb, 

Unb foil Ijier t>erfdf)mad)tenb berberben, 

Unb ber ^tounb mir, ber liebenbe, fterben!" 

Unb Ijordf)' ! ba fprubelt e3 filberljetl, 85 

©anj natye, nrie riefelnbe3 9taufdfjen, 

Unb ftitte l)dlt er, ju laufdfjen; 

Unb fiel), au§ bem ftelfen, gef<$todfcig, fdjnetl, 

©Inringt murmelnb Ijertoor ein lebenbiger Duett, 

Unb freubig biitft er \\§ nieber 90 

Unb erfrif<$et bic brennenben ©lieber. 

Unb bic ©onnc blidt burdf) ber Qxot\§t ©riin 
Unb malt auf ben gldnjenben 9Katten 

2) er Sdume gigantif<$e ©fatten; 

Unb gtoei SBanberer fieljt er bie ©trafce jieljn, 95 
SQBiH eilenben 2aufe3 boriiber flieljn, 

3) a Ijort er bie SBorte fie fagen : 
„3efct tt>irb er an§ $reuj gestagen." 

J 



54 LYRICS AND BALLADS 

Unb bie 2lngft beflugelt ben eilenben gufj, 

ioo jagen ber ©orge Qualen; 

5)a fdjimmern in 3lbenbrot3 ©traljlen 
35on feme bie Sinnen bon ©tjrafu*, 
Unb entgegen fommt itym ^l)iloftratu§, 
S)e§ £aufe3 reblid)er fitter, 

ios 2>er erlennet entfefct ben ©ebieter: 

„3urticf ! bu retteft ben greunb n\6)i meljr, 
©o rette bag eigene Seben! 
S)en Stob erleibet er eben. 
SSon ©tunbe ju ©tunbe getoartef er 
no SJlit Ijoffenber ©eele ber SBieberfetyr, 
3f^m fonnte ben mutigen ©lau6en 

2) er £ol)n beS Sttyrannen nidfjt rauben." — 

„Unb ift e3 gu \pai, unb fann id) il)m nid&t 
(Sin Setter ttrillfommen erfdfjeinen, 
us ©o foil midf) ber Sob il)m bereinen. 

3) e3 riiljme ber blut'ge Stijrann fidfj nidfjt, 

3)afe ber ftreunb bem ftreunbe gebrodjen bie ^Pflidf)t; 

@r fdfjladfjte ber Dpfer jtoeie 

Unb glaube on fiiebe unb Streue !" 

120 Unb bie ©onne geljt unter, ba fteljt er am SEljor 

Unb fieljt ba3 Sreuj fd^on erjjofyet, 

3)a3 bie 9Jienge gaffenb umfteljet; 

9ln bem ©eile fdfjon jieljt man ben ftreunb empor, 

3)a jertrennt er getoaltig ben bitten Gljor: 
i2s ,,9Kidf), £>enfer!" ruft er, „ertmirget! 

S)a bin id), fur ben er gebiirget!" 



LYRICS AND BALLADS 



Unb (Srftaunen ergrcifet ba3 SSolf umljer, 

3n ben ^rmen liegen fid) beibe 

Unb toeinen bor ©d)tnerjen unb greube. 

S)a fieljt man fein 9luge tljrdnenleer, 

llnb gum $6nige bringt man bie SBunbermdr; 

2)er fuljlt cin menfd)lid)e§ 9tul)ren, 

Sdjjt fd)neH bor ben %f)xon fie fiiljren. 

Unb blicfet fie lange bertimnbcrt an; 

S)rauf tyridjt er: ift eud) gelungen, 

3$r l)abt ba§ |>erj mir bejmungen; 

llnb bie Sreue, fie ift bod) fein leerer SBaljn; 

©o neljmet aud) mid) gum ©enoffen an! 

3<$ fei, gerodljrt mir bie 23itte, 

3»n eurem 23unbe ber britte." 

Stiller. 



44. Xenoptjon 

3u (Site am Slltare 
©tanb opfernb Xenopljon, 
S)en ^riefterfrang im |>aare, 
2)a§ iljm berblidjen fd)on. 

©efaltct feine |>dnbe 
gleljt er gum ©ott empor, 
2)afe ©ieg er nieberfenbe, 
©ered)t tt)ie ftet§ gubor. 

2)od) ba ber Sranb nun loljte 
3um £>immel toolfenleer, 
9tal)t fturmifd) iljm ein 23ote 
SSon SDtantinea l)er: 



56 



LYRICS AND BALLADS 



„2afe bir in $lagetonen 
SSerfunben ©d)icffal3mad)t, 
15 @§ fiel Don beincn ©flatten 

2)er altre in bcr ©djladjt." 

@r ruft unb tuft e§ toieber, 
2)od) jcner fprid)t fcin SSort, 
2)en Shanj nur legt er nicbcr 
20 Unb opfcrt betenb fort. 

2)er iljm cntbot bie $unbe, 
Scifjrt fort nad) einer 3eit: 
„@r fanf mit manner 2Bunbc 
9tatf) tapferm SBiberftreit." 

25 S)er SSater l)at fcernommen 

2)a3 SBort tiefinnerlid), 
Unb mit ber |>anb, bcr frommen, 
Scfrdnjt er tt)icbcr fid). 

Unb bringt in gleidjer ©title 
30 3um S)an! ba§ Dpfer bar, 

©0 bcugte fid) fein 2BtHc 
3u (SH8 am mitar. 

<5 r e i f . 

45. petru* 

Domine, quo vadis? 
Venio iterum crucifigi. 

„2Beil berftodft ber $ube Simon 9iomo§ ©otter Ijat 

gefftymdljet, 

SBeil berbotnen 33unb er fttftet, Stotetra^t in bie ©etfter 

fact. 



LYRICS AND BALLADS 



SBeit cr cincn 3Kijfetptcr alter 9tcid)e $onig glaubt, 
®eb' morgen preis bcm SSolfc an bem $reuj fetn 

frebelnb £>aupt." 

Jtatfer 5Rcro IjafS gefprodjen. spetruS fttiet jit 9lati)t 

im Jhtfer; 

Setenb tt)S(^ft be§ ©reife§ ©laube, £>immel§feljnfu<3()t regt 

fid) ftarfer; 

SJlorgen tmrb ba$ SBort erfiiflet, ba3 ber £>err propljetifd) 

tyrad) : 

„8rrembe £>anb ttrirb einft bi<$ giirten; ©imon, folgc 

bamt mir nad)!" 

3)a — tDeldj leif borfidjtig Slopfen ? ®urdj bic SRiegcl 

adjjt bie $eile, 

Unb bic altc $forte rocidjet bor bem eingeflemmten i< 

Seile — 

SBirb'S ju lange bem Styrannen? fenbet er bie ©djlcidjter 

f<$on? 

SRein, e§ ft>ri<$t ein fii^nesi SSagftilrf feinem toflen SSiiten 

l)ol)n. 

greunbe finb'S ! 2)ie Kljriften lagen im ©ebet an IjeiFger 

©tatte, 

Safe ben alten, treuen 2)iener nod) einmal ber |>err 

errette. 

©od) umfonft ©ebet unb 3^^e! 2)ie§mal, ad), feim 

(Sngel naljt — 

©a befdjliefcen brei ber Suljnften frifd) auf eigne |>anb 

bie Z1)al 



58 LYRICS AND BALLADS 

Starf tuoljl finb bie 9l6merfrieger, SEBadje tyaltenb bor 

ben Stpren, 

©tarfer bod) ber SBein bon 6l)io§, ben bie brcie mit fid) 

fiiljren. 

3Rcid)tig finb be§ SerferS Sliegel, bod) bem @ifer aflju* 

fdjtoacfy, — 

20©^^ mit ftotjberllarten 23lufen fte^n bie brei f<$on 

im ©emad). 

„9lettung, SRettung, alter SSater! ©tftrfer al§ ber SEob 

ift Streue. 

Unfrer 2ieb' unb Kljrifti $ird)e ift bein ©aupt gefdjenft 

auf§ neue! 

£>ier nur bro^t ber Stob bir; auf benn, giirte beine 

2enben, fliel)! 

©$tffe, jtete bereit jur Wbfafrt, triffft bu in ^uteoli." 

25 2Uter hunger, fannft bu toanfen, ben ber ©err ben gelfen 

nannte, 

2)er foeben in ber ©eljnfudjt Ijeifgen SiebeSflammen 

brannte ? — 

3a, er giebt fid) f)\n ben greunben, iiberrafdjt unb ^alb 

im Straum; 

fjrci fdjon auf bem $orum fte^t er, unb er felber glaubt 

e3 faum. 

(£ilenb§ ju ber spforte lenfen nun bie bier bie leifen 

©<$ritte — 

30 Unterm Stljore furjer 5lbfd)ieb, Sruberfufc nad) ©fyriften* 

fitte ; 



LYRICS AND BALLADS 59 

3cnc feljren gu ben 3$ren, ftxofyz fiinbenb, fd)nefl im 

Sauf, 

Sttefen nimmt bie 9tad)t bcf^irmcnb in ben toeiten SRantel 

auf. 

Sluf ber ©raberftrafce jieljt cr: toegetDeifenb fie^n bie 

©terne ; 

SleroS golbneS £>au§ berbdmmert fd)on in ntid)tlid) blauer 

gerne — 

Slber l)at bie tiefe 9Jtittnad)t folder leifen S33anbret35 

meljr? 

3$m entgegen fommt ein anbrer auf bem f<$malen 2Beg 

baljer. 

Unb e§ grauft bem 9llten; feitroarts biegt er au§ mit 

fdjroanfem gufce, 
©<$nefl Doriiber a\ bem gremben fdjmiegt er fi<§ mit 

fludjt'gem ©rufte; 
©rfifeenb fc^aut iljm ber ins Slntlifc, baft ber ©ternglanj 

auf iljn font — 
spetruS, roie bod) ftarrft bu feltfam? ©prid), ma§ beine4o 

Slu^t berljdlt? 

2luf be§ SRanneS Ijoljer ©time gtftngen blut'gen ©d)tt)eifce§ 

Stropfen, 

SOB ot)l nid)t bon be§ 2Bege§ 5Ku^e mag fo bang ba§ |>erj 

iljm flopfen; 

Sleid) jum %ob ba§ fdjime 3lntlifc. — $etru3, fennft bu 

bie ©eftalt? 

©djon einmal bor beinen 3lugen ift fie alfo l)ingemallt. 



60 LYRICS AND BALLADS 

45©rufeenb neigt er fi<$ gum Stinger, fctner 9lugen Ijefle 

©onnen 

©inb Don eineS fltflcn ©rame§ SRegentDolfen milb urn* 

ronnen ; 

geft nun ru^n fie auf bem glu<$ttmg. — $etru§, fennft 

ben Slid bu ntt&t? 

©djon einmal rief er bid) ©djroadjen tmeber ju bergeftner 

$flidjt. 

3fa, ba§ ift bet $txx ! ©o ftonb er bor bem ungeredjten 

£>eiben, 

50 ©0 blieb (till unb flar feitt 9lntlifc mitten in ben roilben 

Seiben. 

Unb ber Stinger jtnft jur @rbe, bod) ba§ ^erj lafet iljm 

nidfrt Ru$', 

Unb er ruft: „3Rein £>err unb £>eilanb! 9tebe, tooljin 

ge^eft bu ?" 

Unb ber £>eilanb ft)ri<$t, ba3 3luge unbertoanbt auf iljn 

geridjtet, 

3Jlit bem Slid, ber an ber Sage lefctem f^ctlfc^ unb 

SBaljrljeit fM&tet : 
55 „2Reine ftirdje fteljt berobet, meine Sreuen finb ucrtrrt — 

3u ber ©tabt ift meine ©trafee, too man neu mi<$ 

freuj'gen tmrb!" 

Unb ber $>err berfdjmanb; bo<$ eifger, ate er erft ben 

SEob gefloljen, 

Sliest ber hunger jefct ba3 Seben, bem be3 2Jleifter§ Slide 

broken. 



LYRICS AND BALLADS 61 

©d&nefl ben 2auf juriiefgemenbet ! tiber £>efla3 graut eg 

Won; 

9lero§ golbneS £>au§ erglanjet balb al§ gotbner ©onnen* 60 

tljron. 

» 

Unb bic Sonne, bie jeftt Steuben auSgiefct fiber alien 

Sanben, 

irifft bie Gljriften laut unb jubelnb, ben Styoftet bod) 

in Sanben. 

Sauter meinenb faf) fie jene, al3 fie mieber fanf gu %$al, 
3)od| ein felig=fterbenb 5lntlifc traf am $reuj ifyr letter 

©traljt. 

Kinfel. 



46. fcaiUefer 

9lormannen^eriog SBilljelm fprad^ einmal: 
„2Ber finget in meinem £>of unb in meinem ©aal? 
2Ber finget bom Dlorgen bi§ in bie fpcite 9iad)t 
©0 tieblidj, baft mir ba§ ©erj im Seibe la<$t?" 

„2)a3 ift ber SaiKefer, ber fo gerne fingt 5 
3m $>ofe, mann er ba3 9tab am Sronnen fdjmingt, 
3m ©aale, mann er ba§ geuer fdjiiret unb fadjt, 
SBann cr abenb3 fid) legt, unb mann er morgenS er* 

madjt." 

©er £>erjog fprad): ,,3$ l)ab' einen guten $nedjt, 
S)en 2aiHefer; ber bienet mir fromm unb red)t, 10 
@r treibt mein 9tab unb fdjitret mcin fteuer gut 
Unb finget fo ljell; ba§ l;6^et mir ben 9)tut." 



62 



LYRICS AND BALLADS 



S)a fprad) ber Saiflefer: „Unb fear' id) fret, 
93iel beffer tooHf id) bienen unb fingen babei. 
15 SQBie moflt' id) bienen bem £>erjog fjod) ju ^Pferb! 
2Bie tootlf i<$ fingen unb flingen mit ©d)ilb unb mit 

©djmert !" 

9ii$t lange/fo ritt ber Staiflefer in§ ©efilb 
2luf einem Ijoljen $ferbe, mit ©djtoert unb mit ©d)itb. 
2)e3 |)erjog§ ©djroefter fdjaute bom Sturm in3 fjelb; 
20 ©ie fprad) : „2)ort reitet, bei ©ott ! ein ftatttidjer £>elb." 

Unb ate er ritt boruber an ^rauleins Sturm, 
S)a fang er balb mie ein Siiftlein, balb tok ein ©turm. 
©ie fprad) : „2)er finget, ba§ ift eine Ijerrlidje Suft ! 
@3 jittert ber Sturm unb e§ jittert mcin £erj in ber 

Sruft." 

2sS)er ©crjog SBil^elm fuf)r tooljl iiber ba§ 2Reer, 
@r fuljr nadj (Sngeflanb mit gemaltigem |>eer. 
@r fprang bom ©d)iffe, ba fiel er auf bie £>anb: 
„£>ei!" rief er, „id) faf{' unb ergreife bid), (Sngeflanb!" 

5lte nun ba§ 5Rormannen^eer jum ©turme fdjritt, 
30 S)er eble Staiflefer bor ben £>erjog ritt : 
„9Jland) Satyrlein l)ab' id) gefungen unb gcuer gefdjurt, 
SDtand) 3&$rletn gefungen unb ©d)roert unb Sanje ge* 

riiljrt. 

Unb §aV ity (Sudj gebient unb gefungen ju S)anf, 
3uerft ate ein $ne$t unb bann ate ein Slitter franf, 
35 ©0 lafet mid) ba3 entgelten am Ijeutigen Stag: 
SSergonnet mir auf bie $einbe ben erften ©d)lag !" 



LYRICS AND BALLADS 



63 



2)er SEaiflefer ritt bor aflem 5Rormannenl)eer 

3luf cinem f)ol)en $ferbe mit ©djroert uttb mit ©peer; 

@r fang fo Ijcrrlidf), ba§ flang iiber |>afting3felb, 

3Son 9tolanb fang er unb mand)em frommen $ttb. 40 

Unb al§ ba§ 9lotanb§lieb tote ein ©turm erfdjofl, 
2)a tuaflete mand) fattier, mand) £>erje fdjroofl, 
2)a brannten Slitter unb 9Jtannen bon Ijoljem 9Jiut; 
2)er SEaiHefer fang unb fdjiirtc ba3 $euer gut. 

2)ann fprengf er Ijinein unb fiiljrte ben erften ©top, 45 
SDabon ein englifdjer Slitter gur 6rbe fdjofc; 
S)ann fctytoang er ba3 ©<$toert unb fuljrte ben erften 

©djiag, 

2) abon ein englifdjer Sitter am Soben lag. 

9tormannen fal)en% bie Ijarrten nidjt afljulang, 

©ie brazen herein mit ©efdjrei unb mit ©djilberflang. 50 

£ei ! faufenbe $feile, flirrenber ©d)tt>erterf<$lag ! 

39i§ £>aralb fiel unb fein trofcigeS ©ecr erlag. 

£err SSityelm ftedfte fein Sanner aufs blutige ^tlb; 
3inmitten ber SEoten fpannt' er fein ©ejelt; 
®a faj$ er am Dlaljle, ben golbnen $ofal in bcr £>anb, 55 
5luf bem |>aupte bie $onig§frone bon (Sngeflanb: 

„3Rein tapfrer 5tatHefcr, fomm, trinf mir Sefdjeib! 
S)u f)a\t mir biel gefungen in Sieb' unb in Seib; 

3) od) tyeut im |>afting£felbe bein ©ang unb bein $Iang, 
S)er timet mir in ben Oljren mein Seben lang." 60 

Ufjlanb. 



64 LYRICS AND BALLADS 

47. 2)e& X>eutfd?rtttera Uvc 

„£>err Dtt bom SBityl, nun brctngt bic Slot: 
Stun geigt, tuic treu 3f)r'§ meint! 
3)a§ gfelb ift rot imb bie Srubcr finb tot 
Unb Winter un3 raffelt bcr geinb. 

5 2Bol)l flag* ity manti) gebrodjnen ©peer, 
SWandf) SBappenftfjilb jcrfpalten; 

2) od) fd&merjt'S urn ben Ijeiligen $eld) mid) nod) mefjr 
3n meineS SDtantelS ^altem 

3m ©djladjtfelb tranfcn toir aHe baraus, 
io Q\x fiiljncn un§ mit ©ott; 

©oil nun beim tiriiften ©iege§f<$mau§ 
S)er £>eib' i^n fdjmingen jum ©pott? 

£err Dtt unb fiiljlt 3$r ©udj ftarf unb jung, 
9loti) einmal tuenbet ba3 SRoft, 
15 Skrfudjt mit f^arfem ©djroertcsfdjttmng 
9?o<Jj einmal ju ^emmen ben Strofc. 

Unb Ijaltet 3ljr nur fo lang iljn auf, 
2il§ 3$r ein 3lbe fagt, 
©0 rettet meine3 ©engfteS 2auf 
20 S)en &eld), urn ben 3^ luagt." 

£>erm Ott§ Sefinnen fear nid)t grofc, 
©prad): „3a," unb toeiter nid)t§; 

3) e§ 5Qteifter§ 9lof$ bon bannen f<$oB 
3m ©traljl be3 9Jionbenli<p. 



LYRICS AND BALLADS 



Unb al3 ba§ Sreug auf bent SWantel toetjs 

9tidjt meljr ju fentten fear, 

S)a faufte fcf)on auf ©ftulcn Ijeif; 

£>eran bcr Sitauer @<$ar; 
• 

Unb al3 ber SRantel fern tm ©(Jjttmng 
9tur f<$ien tt)ie ein fltegenbcr ©dfjroan, 
3)a ficlen fie ben Slitter jung 
SJlit grimmigen ©treidfjen an. 

2)ie frummen ©dfjroerter blinften frei, 
@§ raffelten butnpf bie $eulen, 
2)aatmfd)en ging xf)x ^ampfgef^rei 
2Bie ljungriger SBoIfe £>eulen. 

£err Dtt Dom Mfy foradf) : „9lbe 9Jiarie" 
Unb fii^rf einen |>ieb, ber traf : 
2>cr £>au{)tmann flog bom ©attel aufs $nie 
9Jtit bur^gefpaltnem ©djlaf. 

2)a3 gtoeite SBort ber £>e(b bann fpradf) 
Unb fyieb nodf) frdftiger fester; 
S)er SBannertrdger jufammenbradfj, 
Unb iiber iljn fiel bag ^anier. 

Unb SBort urn 2Bort, unb ©treidf) urn ©treidf), 
2)a3 toar ein tapfer ©ebet: 
33ei jebem ©prud) lag alfogleid) 
(Sin £>eibe batjiugetndljt. 

Unb e§ Haffte bem fitter ba3 Stafytyentb toeit 
Unb e§ fdrbten bie 9tinge fid() rot, 



66 



LYRICS AND BALLADS 



@r abet toarb nid)t lap im ©treit, 
llnb jeber @d)lag luar Stob. 

Unb e§ barft fcin ©djilb, unb e3 fanf fein ^ferb, 
S)a fampff cr fort gu gup; • 
55 SDtit beiben ©iinbcn fdjroang er bag ©<$tt)crt 
Unb betetc tDeitcr ben ©rug. 

Unb al§ ju Snbe ba3 9ltoe ging, 
6r fitljrte not!) einen ©trei<$, 
Unb in getiirmter Sei^en 9ting 
60 £in fanf er blutenb unb bletd). 

©em 9Jiunb toarb ftumm, fein 9lrm roarb fdfjtoer, 
3m Stobe ftanb fein £>erj; 
9lid)t „9lmen!" fonnt > er fpre^en meljr, 
2)a§ tt)ar fein letter ©djmera. 

65 2)odj bie Sitauer toarfen bie SRenner Ijerum, 
$ein ©treit meljr liiftete fie. 
©erettet tear ba§ £>eiligtum 
2)urd) be§ 3titter3 „2lbe 2Rarie." 

©ott geb' iljm broben felige ©tatt 
70 2luf3 tofenbe ©(fytodjtgetitmmel ! 
SBer fo auf (Srbcn gebetet l)at, 
SDtag „9lmen" fagen im |>immel. 

©eibeL 



LYRICS AND BALLADS 



48. ttnferea* Qofer 

3u SRantua in 33anben 

3)er treue $o\tx tear, 

3n SDtantua gum SEobe 

%uf)xt' ifjn ber geinbe ©djar; 

(53 blutetc ber Sriiber ^crg, 

©anj 2)eutfd)Ianb ad) ! in ©d)tnad) unb ©d) 

2Rit iljm ba§ Sanb SEiroL 

3)ie |>anbe auf bem 9tiicfen 
3lnbrea§ £>ofer ging 
2Rit rutytg feften ©Written, 
3$m fd)ien ber SEob gering; 
S)er SEob, ben er fo mandjeS -3M 
SSom 3felberg gefd^itft in§ SE^al 
3m ^eil'gen Sanb £irol. 

2)od) ate au3 $erfergtttem 

3m feften SJtantua 

S)ie treuen SQBaffcnbriiber 

S)ie fyixtV er ftretfen fal), 

S)a rief er au3 : „©ott fci mit eud), 

SDtit bem fcerratnen beutfdjen 9teid), 

Unb mit bem Sanb SEirol!" 

S)em SEambour tmtt ber SBirbel 
9tid)t unterm ©djlegel Dor, 
5113 nun 5lnbrea3 £>ofer 
©d)ritt burd) ba§ finftre %§ox; — 
5lnbrea3, nod) in SSanben frei, 
Sort ftanb er feft auf ber Saftei, 
2)er SOtann bom Sanb SEirol. 



68 



LYRICS AND BALLADS 



2)ort foil er nieberfnieen ; 
30 (Sr tyradj: „$a$ tlju' id) nit! 

25MH fterben, tt)ie id) ftelje, 

2BW fterben, lute id) ftritt, 

@o mie xtf) \ttff auf biefer ©djanj'; 

@§ leb' mein guter $atfer ^ranj, 
35 aMit iljm fetn Sanb Sirol !" 

Unb bon bcr £anb bie Sinbc 
Stimmt if)m ber Corporal; 
5lnbrea§ £>ofer betet 
SlU^ier gum Icfctentnal; 
40 S)ann ruft er : „9tun, fo trefft mid) redjt ! 

©ebt fteuer ! — 2id) ! trie ftyefet tljr fdjlety ! 
5lbe, mein Sanb Stirol!" 

in of en. 



49. ffans <Eu(er 

„§ot$, ^laxity, brauften potyt e3; gel), lafc ben 9Jiann 

herein ; 

@§ trirb ein armer spilger, ber fief) berirrte, fetn! — 
©riifc' ©ott, bu fdjmucfer Srieger, nimm $lafc an 

unfrem £ifd), 

2)a§ 33rot ift tueife unb locfer, ber Stranf ift IjeD unb 

frifd^ !" 



5 „6§ ift nid)t %xar\t, nityt ©peife, toonadd e3 not mir 

t*ut, 

S>o^, fo 3$t feib £>an£ (Suler, fo trill id) 6uer Slut ! 



LYRICS AND BALLADS 69 

SBtfet 3$r, Dor Sflonben ffaV id) @ud) nod) ate geinb 

bebroljt : 

3)ort Ijatf id) cinen ©ruber, ben 33ruber fdjlugt 3$r 

tot. 

Unb als er rang am 23oben, ba fdjroor id) e§ iljm 

Safe id) iljn rootle radjeu, frttl) ober foat, an @ud) !" 10 
„Unb l)ab' id) iljn erfdjlagen, fo fear's im redjten 

©treit, 

Unb f ommt %f)x, iljn ju riidjen, — moljlan, i<$ bin 

bereit ! 

2)odj nidjt im £>aufe fSmpf i<$, nidjt jtmfd&en %$ixx 

unb SSanb; 

$m 9lngefid)te beffen, tooftir id) ftritt unb ftanb! — 

2) en ©abel, 9Jtqrtfje, toeifet bu, toomit id) iljn erfdjlug: 15 
Unb foUtf id) nimmer lommen: — Stirot ift grofc ge* 

nug !" 

©ie geljen miteinanber ben naljen gels Ijinan; — 
©ein giilben £l)or Ijat eben ber 9Jiorgen aufgetljan; — 

3) er #an3 ttoran, ber 3tombc n fy riiftig Ijinterbrein 
Unb Ijflljer ftet^ mit beiben ber liebe ©onnenfdjein. 20 

9lun fte^n fie an ber ©pifce, — ba liegt bie Slfyenmelt, 
2)ie tmmberbare, grofce, bor iljnen aufgeljeflt: 
©efunfne 9lebel jeigen ber Staler reidje 2uft, 
9Jtit ^utten in ben Slrtncn, mit #erben an ber Sruft. 

S)agmifd)en 9liefenbad)e, barunter $luft an $luft, 25 
S)aneben 2Btilberfronen, bariiber freie Suft; 



70 LYRICS AND BALLADS 

Unb fidjtbar m$t, bo<$ fitljlbar, toon ©otteS %tuf)' um= 

freift, 

3>n £>tttten unb in £>erjen ber alten Streue ©etfl. 

2)a3 feljn bie beiben broben, — bem g^ntben finlt bie 

£>anb, 

3o^)an§ aber jeigt Ijinunter auf§ liebe SSatcrlanb: 
„i$vlx ba§ ljab' id) gefo^ten, bein 33ruber ljat'S bebroljt, 
$iir ba§ Ijab' id) geftritten, fiir ba§ fcfytug id) il)n tot." 

2)er grembe fiel)t l)inunter, jteljt £>anfen in§ ©efid)t, 
gr mill ben 2(rm erljeben, ben 2(rm erljebt er ni<$t: 
35 //Unb Ijaft bu il)n erfdjlagen, fo mar's im re^ten 

©treit, 

Unb millft bu mir toerjeil)en, lomm, $an$, i$ Mn 

bereit !" 

Seibl. 



50. (Bebet wafjrenfc &er Sdtiadtt 

33ater, id) rufe bi<$! 
Sriillenb ummolft mid) ber £)ampf ber ©efdjitfce, 
©pritljenb umjuden mid) raffelnbe 35Ufee. 
Senler ber @<$Iad)ten, id) rufe bi<$! 
5 Siatcr bu, fiiljre mid)! 

SJater bu, fiiljre mid)! 
%uf)x' mid) jum ©iege, fti^r' mid) jum SLobe : 
£err, id) erfenne beine ©ebote; 

£err, mie bu millft, fe fiiljre mid), 
io ©ott, id) erfenne bid)! 



LYRICS AND BALLADS 



©ott, id) erfenne bi<$! 
©o im ^crbftlt^en Sauf^en ber ©latter, 
SBtc tm ©dfjla^tenbonnertoetter, 

Urquett bcr ©nabe, erfenn , id) bi<$. 

aSatcr bu, fegne mid) I 

SSatcr bu, fegne m\tf)\ 
3n bcinc $anb befell' id) tnein Seben, 
£)u lannji eg neljmen, bu ^aft e3 gegeben; 
3um Seben, gum ©terben fegne mi<$! 

3kter, id^ preife bid)! 

SSater, id) preife bic^ ! 
'8 ift }a fein $ampf f iir bic ©titer ber Krbe; 
£)a3 £)eiligfte fd)ti£en fair mit bem ©<$tt>erte; 
SDrum faltenb unb fiegenb preif id) bid). 

©ott, bir ergeb* i<$ mxtf) ! 

©ott, bir ergeb' id) mi<$! 
SBenn mid) bie Conner be§ 3;obe§ begriifcen, 
SBenn meine Slbern geoffnet fliefcen, 

2)ir, mein ©ott, bir ergeb' i$ mi<$! 

SSater, idj rufe bid)! 

K 5 r n e r. 



51. Heiters ZtTorgengefand 

SJiorgenrot, 

Seudjteft mir gum friiljen Sob? 
S9alb mirb bie Strompete blafen, 
2)ann mufc id|j mein Seben laffen, 
3fd) unb manner $amerab! 



LYRICS AND BALLADS 



Jfaum geba^t, 

SBar ber Suft ein (Sub* gema<$t. 
©eftern nod) auf ftoljen Soffen, 
£>eute burd) bic 33ru[t gef^offen, 
9Korgen in ba§ filmic ©rab ! 

2ldj, ime balb 

©<$ttrinbet ©<$flnljeit unb ©cftalt ! 
S^ujt bu ftolg mit bcinen SBangen, 
£)ie mit 9JtiI$ unb ^urpur prangen? 
31^! bic ffiofen melf cn all'! 

ffiarum [till 

^tig' id) mid), tote ©ott eS toill. 
■Stun, fo it)iH id) toader ftreiten, 
Unb foflt' id) ben Stob erleiben, 
©tirbt cin braber 9teiter§mann. 

£> a n f f . 



52. Heiterliefc 

S)ic bange 9ta<$t ift nun Ijerum, 
SBir reiten ftifl, fair reitcn (tumm 
Unb retten in§ 33erberben. 
SSie toeljt fo fdjarf ber SJiorgentirinb ! 
grau SBirtin, nod) ein ©Ia3 gef$toinb 
33orm ©terben, borm ©terben. 

ffiu jungeS ©ra§, ttaS fteljft fo grttn? 
SRufet balb toie lauter SRoSlein bliiljn, 
9)iein Slut ja foil bid) fdrben. 



LYRICS AND BALLADS 



Den erften @<$Iud, an§ ©dwwrt bie $>anb, 10 
Den trint' id), fiir ba8 Satertanb 
3u fterben, *u fterbcn ! 

Unb fcfmetl ben jtneiten Ijinterbrein, 

Unb bet [ofl fur bie tJreitjeit fein, 

Der jroeite ©ajlud bom ©erben! 15 

Dies SReftctjen — nun, mem bring' Mj'B gleidt)? 

Dies SReftd)en bir, riimifcb, SReid), 

3um ©terben, jum ©terben. 

Dein 2iebd)en — bodj ba§ ©la8 ift leer, 

Die Stugel [aufi, eS blifct ber ©peer; » 

*8ringt meinem £inb bie ©c&erben! 

2tuf ! in ben fjeinb true JBetterftfilag ! 

D iReiterluft, am friifjen iag 

3u fierben, ju fterben! 



53. Die iSrettaMere 

9fad) $rantreidj jogen jiwi ©renabier 1 , 
Die roaren in Sufelanb gefangen. 
Unb al§ fie famen ins beutfdje Ouartier, 
©ie liefeen bie ff&bfe tjangen. 

Da b>rten fie beibe bie traurige 2Rat, s 
Dap granfrcicf) betinren gegongen, 
Sefiegt unb jerfdjlagen baS flrofje £>«r, — 
Unb ber ffaifer, ber ffaifer gefangen. 



74 LYRICS AND BALLADS 

S)a meinten jufammen bic ©renabier' 
io 2BoI)I ob bcr fldgltd^cn Jfunbe. 

SDer eine fprad): „35He toelj mirb mir, 
2Bie brcnnt mcinc altc SBunbe!" 

SDer aubrc fpra<$ : „£)a§ Steb ift au§, 
9lu<$ id) mS^f mtt bit fterben, 
is 2)o$ Ijab' id) 2Beib unb $tnb ju £au3, 
£)ie ol)ne mid) berberben." 

„2Ba§ f^crt mid) 2Betb, toa§ fd)ert mid) Jhnb, 
3fd) trage meit beffreS Serlangen; 
2afc fic bettcln geljn, iDcnn fie ljungrig finb, — 
20 3Jlem $aifer, tncin $atfer gcfangcn! 

©etta^r' mir, ©ruber, cine SBitt': 
SBenn id) jefct fterben merbe, 
@o nimm meine Settle nad) granfreid) mtt, 
33egrab' mid) in granfreidjS (Srbe. 

25 2)a§ (Sljrenfreuj am roten 39anb 
©ollft bu auf§ £>erj mix legen; 
£)ie fyiirtte gieb mir in bie £>anb 
Unb giirf mir urn ben £)egen. 

©0 void id) liegen unb l)ord)en ftitl, 
30 SBie eine ©<^tlbtt>ac^% im ©rabe, 
33i3 einft id) l)ore $anmtengebrit£[ 
Unb toieljernber fRoffe ©etrabe. 



LYRICS AND BALLADS 



75 



2)cmn reitet mem Scrifer moljl iiber mein ©tab, 
SSiel ©ctytoerter flirrcn unb bitten; . 
£)ann fteig' id) gett>affnet Ijertoor au§ bcm ©tab, — 35 
£)en $aifer, ben Jfaifer ju fdjiifcen!" 

$ e i n e. 



54. Her Htai ift defotntnen 

2)er 9Jiai ift gefommen, bie Sdume fc^Iagen au§, 
S)a bleibe, mer Suft Ijat, mit ©orgeh ju £>au3; 
2Bie bie SBoIfen toanbern am Ijimmlifdjen Qtlt, 
©0 fteljt aud) mir ber ©inn in bie toeite, toeite SSelt. 

£err SJater, fjrau SJiutter, baft ©ott eudj beljiif! s 
2Ber toeift, too in ber fttxnt tnein ©lucf mir nod) bluljt? 
6§ giebt fo mandje ©trafee, ba nimmer id) marf^iert, 
6§ giebt fo mand)en SBein, ben i$ nimmer nodj probiert. 

Qfrifd) auf brum, frifdj auf im Ijeflen ©onnenftraljl, 
SBojjl itber bie 39erge, tooljl burd) ba§ tiefe Stljal! 10 
£)ie Quellen erflingen, bie Sdume rauf^en aW, 
2Rein £>erj ift nrie 'ne fierce, unb ftimmet ein mit @d)atL 

Unb abenbs tm ©tiibtlein, ba fe^r* idj burftig ein : 
„£err 28irt, £err SBirt, eine $anne blanfen SBein! 
(Srgreife bie f^tebel, bu luffger ©pielmann bu! 15 
SSon meinem @<$a£ ba§ Siebet, ba3 fing' id) baju." 

Unb flirt)' id) feine &erberg', fo Iieg' id) ju 9tad)t 
2Bol)l unter blauem £>immel, bie ©terne fatten SBadjt : 

1 



76 



LYRICS AND BALLADS 



3fm SBinbe bie Sinbe, bie rauf<$t mid) em gemadj, 

20 6§ liiffet in bcr gtii^ ba§ 2Worgenrot midj toad). 

• 

O SBanbern, o SBanbern, bu frcic Surfdjenluft ! 
2)a toc^ct (SotteS Obem fo frtfd^ in bic 33ruft ; 
S)a finget unb jaucfyjct ba§ ^)crg gum ^immcl^clt : 
SBie bift bu bo<$ fo fdjon, o bu toeite, toeite SBelt! 



55. tPaitfeerUefe 

SBoljlauf! nodj getrunfen 
£)en funfelnbcn SBcin! 
9lbc nun, iljr Sieben! 
©efdjieben muft fcin. 
5 Slbc nun, iljr Serge, 

S)u ociterlic^ £au§! 
@§ treibt in bie fame 
Wirt) miid)tig ljinau§. 

S)ie ©onne, fie bleibet 
io Sim £>immel nid)t fteljn, 

@3 treibt fie, bur<$ Sdnber 
Unb SJiecre ju geljn. 
S)ie SSoge nid)t Ijaftet 
2(m einfamen ©tranb, 
is ®te ©tiirme, fie braufen 

9Kit 9Kad)t burdj bdS Sanb. 



9Kit etlenben SBoHen 
2)er SSogel bort jieljt 



LYRICS AND BALLADS 



Unb fingt in ber 3rcrnc 
6tn Ijcttnatltdj Stcb. 
@o tretbt c§ ben Surfdjen 
SDurdj SBdlbcr unb gclb, 
3u glct^cn bcr SJiuttcr, 
2)cr nxmbernben SBclt. 

£)a griiftcn il)n 3S5gcl 
Scfamtt iibcrm 9Jiccr, 
@te flogcn toon glurcn 
SDcr £)ctmat Ijieljer; 
£)a buftcn btc Slumcn 
33ertraulid) um U)n, 
©tc tricben bom Sanbe 
£)ic Siiftc ba^in. 

2)tc 335gcl, btc fennen 
©cm toiitcrlic^ £au§. 
2)te Shtmcn cinft pflangf cr 
£)cr Stcbe gum ©traup; 
Unb Siebc, btc folgt iljm, 
©ic gcl)t iljm gur £wtb: 
©o mtrb tfjm jur £>ctmat 
£)a§ femcftc Sanb. 

Kern 



56. tentfafyvt 

3lm #immct tt)ct<$ft bcr ©onnc ©lut, 
2Iuf qutttt bcr ©ec, ba3 (St3 jcrfprang, 
S)a§ crfte ©cgel teilt btc glut, 
Wxx fdjrotllt ba§ ^crg tme ©cgclbrang. 



LYRICS AND BALLADS 



3u ttxmbern ift ba§ £crj berbammt, 
S)a§ fcinen Sugenbtag berfaumt, 
©obalb bic SeujeSfonnc flammt, 
©obalb bic SBefle tmeber f^ftuntt. 

93crfd)ergte Sugenb ift cin ©dperj 
Unb cincr eto'gcn ©eljnfudjt £ort, 
3la$) feinem Senge fud)t ba§ $erg 
3fn cincm fort, in cincm fort ! 

Unb ob bic Sodfe bir ergraut 
Unb balb ba§ £erj toirb ftitlc fteljn, 
9loti) muft c3, mann bic SBefle blaut, 
9lad) fcincm 2enjc toanbern geljn. 



57. Her frot^e tPanfeerstnann 

SBcm ©ott toill re<$te ©unft crtoeifen, 
£)en fd)icft cr in bie toeitc SBelt; 
£)em toil! cr fcinc SBunber toeifen 
3n 33crg unb SBalb unb ©trom unb gelb. 

S)ic SrSgen, bic gu £aufc licgen, 
(Srquicfct nid)t ba§ 2Worgcnrot, 
©ic iDiffcn nur toon Sinbcrmicgen, 
SSon ©orgcn, 2aft unb 9tot urn S3rot. 

£)ie Sadjlcin toon ben Scrgcn fpringen, 
£)ic Serpen f^mirrcn Ijod) toor Suft, 



LYRICS AND BALLADS 



79 



2Ba3 foflf id) ntc^t mit tljnen fingen 
2lu§ bofler ftel)!' unb frif^er Sruft? 

SDen liebcn ©ott faff idj nur toalten; 

$er mtykin, Serpen, SBalb unb gelb 

Unb 6rb' unb £>immel mid erljalten, 15 

$at autf) Incin , ©ad)' auf§ bcff beftellt! 

€idjenborf f. 



58. Un ben Sonnenfdietn 

O ©onncnf^ein ! ©onnenf^ein ! 
SBie fdjeinft bu mir in§ £erg Ijtnein, 
SQBcrfft brinnen lautcr SiebeSluft, 
S)aB mir fo enge tmrb bte 33ru[t ! 

Unb enge mirb mir ©tub' unb £>au§, 5 
Unb nrie id) lauf gum Z$ox IjinauS, 
2)a locfft bu gar tn§ frifc^e ©run 
SDie aacrf4)onften 2J?ab<$en l)in ! 

O ©onnenf^ein ! £)u glaubeft tooljl, 

2)aft id) mic bu c§ ma^cn foil, 10 

2)er jebc f<$mutfe Slume fufct, 

SDie ebcn nur fidj bir erf^Iiefct? 

£>aft bod) fo lang btc SBelt erblidt, 
Unb toetftt, baft ft<$'§ fur mid) nid)t f<$idt ; 
2Ba§ madjft bu mir bcnn foldje spcin? 15 
O ©onnenf^em ! ©onnenfd)ein ! 

Vie in id. 



LYRICS AND BALLADS 



59. mdvjcnxvxnb 

Jfitfjl mar bie SKdrgculuft, Ijetfc mar mein Slut. 
2Btnb lam geflogen unb nafyn mir ben £>ut. 

titer ben ©artenjaun marb er gemeljt. 
2)ort Ijat gefangen iljn 9tadjbar§ 2Wargret, 

£>at iljm bie (Srbe geblafcn town Stanb 

Unb il)m ein 2kil<$en geftecft unter§ 33anb, . 

• 

SBarf iljn Ijeriiber mir oljne cin SBort. 
2113 id) \f)t banfen motif, mar fie f<$on fort. 

Stun tnufc id|j taglt<$ am ©artengaun fteljn, 
SBarf auf ben SBinb, bod) ber SBtnb mill ni$t mel)n. 

©retdfjen aud) f<$au' id) burd)8 ©artenftalet, 
Slber nidjt einmal ben Slonbfopf fie breljt. 

£>ilft mir ber 28inb nid|jt, fo mcrf itf) Ijinein 
©elber ben £>ut iljr unb fteig' Ijinterbrein. 

B a u m b a d?. 



60. Sdtdn-Xolitvaut 

2Bie Ijeifct ifonig 9ttugang§ Sta^teriein? 

SRojjtraut, @djon*9tol}traut. 
SBa§ tljut fie benn ben gangen Sag, 
S)a fie moljl nidjt fpinnen unb nd^en mag? 

Stljut fif^en unb jagen. 



LYRICS AND BALLADS 



D baft id) bodj iljr 3fager todrM 
ftifdjen unb jagen frcutc mid) feljr. 

— ©djmeig ftitle, mem £)ergc! 

Unb iiber cine Heine SBeir, 

9loI)traut, @<$6n*9tol)traut, 
@o bient ber Stnab' auf 9Mngang§ ©d)lofe 
3fn 3agertra<$t unb §at ein ffiofe, 

9Jlit 9ioI)traut gu jagen. 
O baft td) bod) ein Jfonig^fo^n toftr'! 
9tol)traut, ©4)on«So^traut lieb' tdj fo feljr. 

— ©c^roeig ftifle, mein £>erje! 

6in3mal§ fie ruljten am (Sidjenbaum, 

2)a ladjt ©<$on*9tol)traut : 
„2Ba3 fie^ft midj an fo munniglid)? 
SSBenn bu ba§ ^erg tyaft, fiiffe mic$ !" 

21^ ! crfd^raf ber Snabe ! 
2)o<$ benfet er: mir iff§ toergunnt, 
Unb fuffet @$ta-Xoljttaut auf ben 2»unb. 

— ©d)tt>cig ftifle, mein £>erje! 

S)arauf fie ritten fdjmetgenb l)eim, 

9tol)traut, ©d)5n*9tol)traut ; 
6§ jau<$jt ber $nab' in feinem ©inn : 
„Unb miirb'ft bu tyeute Saiferin, 

9Jlid) f oHf* ntyt Mnfen : 
3$r taufenb ©latter im SBalbe ttrifet, 
3$ flab' @d)5n s 3tol)traut3 2Wunb gefiifet !" 

— @d)toeig ftille, mein £erje! 

mdrif 



82 



LYRICS AND BALLADS 



61. tPer ift fret €tfte ? 

£>a§ (Sitcom f J>rid)t : „3n be3 Ij5d)ften @tamm§ 
©egmeige iDarb id) geboren, 
£)rum trag* id) and) ein rotes 2Bam3 
Unb 33uf$el an bctbcn Oljren. 
5 £>er 33u$enfern, ber Sannenjapf, 
SDie 6id)el famt bcm ©ic^clnapf, 
3febtt>ebe 9lufc im SBalb ift mein, 
2)rum tnufe i<$ im SBalb bcr (Srfte fcin." 

2)a fpridjt bcr ©eier: „£>oljo ©efett! 
io 2)u<f nieber tm bitten ©ecifte, 

©ottft pad' id) bid) bet bcm roten $eti 

Unb f<$Iep{>e bid) fort gum 9lefte. 

3Ba§ fid) im gorfte rtiljrt unb regt, 

2Ba§ gebern unb tt>a§ £>aare tragt, 
*5 3d) tmirge alle, groft unb Hein, 

S)rum ntup id) tm SBalb bcr (Srfte fcin." 

2)cr Sager Ijort ben praljlenben SDBei^ 
Unb ruft: „23erftumme, bu @d)reier, 
©onft flicgt au§ bem SRoljr mein ljeifce3 33lei 
20 Unb fctyidt ben ©eier jum ©eicr. 
®en Saren f^iefe' id) in bcr Aluft, 
2)en Slbler Jjol' id) am bcr Suft, 
3fd) birfd)e 9tel) unb £>irfd) unb ©<$toein, 
S)rum tnufc itf) im SBalb ber (Srfte fcin." 

25 ftlad^ljaarigeS SWabel beg SBegeS fam 
2Wit rotem, la^enbem 9Jiunbtein, — 
$o, toilber 3fager, iDarum fo jaljm 



LYRICS AND BALLADS 



83 



®k\d) einem f^meidjelnben £>iinblein? 

aSor ber bu gieljft ben gritnen $ut, 

SDie in bic ©tim bir treibt ba3 39lut, 30 

SDie, SBeibmann, lieber SBeibmann mcin. 

SKufe tooI)l im SBalb bic (Srfte fein. 

Baumbadj. 



62. Jtteine Qeimat 

2tu§ t^ren 9leftem mar bic ©$ar 

2)er ©anger trauernb fortgejogen; 

SDie SBeit lag 5be, fait unb liar 

Unb ftumm unb tot ber £>immetebogen. 

2)otf) tyeut bur$f$ttrirren neu bie Suft 5 

2)er l)eimgefel)rten 93ogeI Sieber, 

Unb jebe§ Sieb, bas jaudfot unb ruft: 

„9lun f)aV id) tneine $eimat mieber!" 

SOBte lange fang au<$ \<S) mfyt me^r! 

SBelt oljne ©d)ein, £>erj oljne Sieben, 10 

©0 jog xtf) trauernb Ijin unb Ijer, 

2tu§ meiner £eimat fortgetrieben. 

2)od) l)eute f<$idt gum £immetegelt 

9Jiein £erg toon neuem Subellieber; 

Unb tnutig fd)reif id) burd) bie SOBelt, 15 

©enn eine ^eimat Ijab' id) toieber! 

„3Bo aber liegt bein £>cimatlanb?" 
©0 fc^ id) beine Stppen fragen — 
O 9Jtab$en, retd)' mir beine £anbl 

toill bir mein ©eljeimnte fagen. 20 



LYRICS AND BALLADS 



©o rec^t ! — 9?un fiel) m\<S) freunblidj an ! 
©cb beiner 9Iugen fanfte Siber! 
3fn iljre Stiefen fd)au' id) bann : — 
Unb meine £>eimat §aV id) tmeber! 

Sdje ren be 



63. tPeiftt fcu noc*i? 

SBeifct bu notf), iDtc id) am gfelfm 
Set ben aSeil^en bid) belauf^te? 
SBeifet bu xiofy ben glieberftrauc^, 
2Bo ber ©trom boriiber raufctyte? 
SBeipt bu nod) ben 33erge§pfab, 
2Bo id) um ben ©trauft bid) bat, 
SOBeifet bu riod) ? 

2ld), e§ mar em fttfee§ Sift, 
9113 bu ba errbtenb ftanbeft, 
Unb jttr (Srbe aB bie Slumen 
Qfielen, bie gum ©traufc bu toanbeft! 
2)eine liebe Heine £>anb 
©pielte mit bem blauen 33anb, 
SBeifet bu nod)? 

Unb e§ faljen gel§ unb ©trom 
£)ein (Srroten unb bcin SSeben, 
©aljen aud) ben erften $ufc, 
£>alb genommen, Ijalb gegeben! 
Unb be§ £immel§ golbner ©tral)l 
tiberflog ©ebtrg unb Stl)al, 
2Beifct bu nod)? 

H o q n e 1 1 e. 



LYRICS AND BALLADS 



64. 3m ttmn5erfd}dnen TXlcnat TXlai 

3ftn tmmberfdjimen 3Konot SJiai, 
2113 aUc ifnofpcn fprangen, 
S)a ift in mcinem £)ergen 
2)ie Siebe aufgegangen. 

3fm ttmnberf gotten SJlonat SJiai, 
2113 aUc SBogel fangen, 
S)a ljab' id) iljr geftanben 
SJiein ©eljnen unb 33erlangen. 

f? e t n e. 



65. Ceife jieljt 5ut*fj mein (Bemftt 

Seife gieljt bur<$ mcin ©emiit 
£iebli$e§ ©cldutc : 
Slinge, fleineS grii^Itng^Iieb, 
SHing IjinauS in§ Sffieite. 

Sling IjinauS bi§ an ba3 £>au§, 
2Bo bie Slutnen fpriefeen; 
SBcnn bu cine 9tofe fd)auji, 
©ag', idj laff fie griifeen. 



66. nnb xvix ft ten's Me Blumcn, Me fleinen 

Unb tmtfeten'S bie Slurnen, bie fleinen, 
SQBie tief berttmnbet mein £>erj, 
©ie ttmrben mit mit meinen, 
3u Ijeilen meinen ©d)tnerg. 



LYRICS AND BALLADS 



Unb tmifeten'S bie 9tadf)tigaflen, 
2Bie id) fo traurig unb franl, 
©ie lieften froljli<$ erfdfjaflen 
(Srquidenben ©efang. 

Uno ttriiftten fie mein SMje, 
2)ie gotbnen ©tcrnetein, 
©ic fdmett au3 iljrer 
Unb fprctd^cn Stroft mir ein. 

2)ie aUc fonnen'3 nid)t ttriffen, 
9lur cine fennt mcincn ©dfjmerg: 
©ic Ijat jo felbft gerriffen, 
3crriffcn mir ba§ £>erj. 

d) c i n c. 



67. ntit einem gemalten &anb 

iJIetnc 33lumen, flcinc SIdttcr 
©trcucn mir mit leister ^anb 
©utc junge griiljlingSgotter 
SLdnbclnb auf ein luftig Sanb. 

Sep^t, nimm'S auf beine fttiigel, 
©djling'3 um meincr Stebften JHeib; 
Unb fo ttitt fic bor ben Spiegel 
21H in iljrer SJiunierleit. 

©ieljt mit 9fcofen fidj umgeben, 
©elbft trie eine 9tofe jung. 
(Sinen Slid, geliebteS Seben! 
Unb tdj bin beloljnt genung. 



LYRICS AND BALLADS 



giiljle, tt)a§ bie3 ^erj empfinbet, 
Steic^c fret tmr beine £><ntb, 
Unb bag 33anb, ba§ un§ berbittbct, 
©ei fein fd)tt)ad)e3 9tofenbanb! 

©oetlj 



68. © liefc', f<? lan$ 5u lichen fannft 

O Iteb% fo long bu lieben fannft! 
O IW, fo long bu lieben magft! 
2)ie ©tunbe fommt, bie ©tunbe fommt, 
2Bo bu an ©riibern fteljft unb fiagft ! 

Unb forge, baft bein #erge Qlii^t 
Unb Siebe Ijegt unb Siebe tragt, 
©o lang iljm no<$ ein anber £)erj 
3n Siebe tnarm entgegenf<$Ictgt ! 

Unb mer bir feme Sruft erfepefet, 
O tlju iljm, ma§ bu fannft, gulteb! 
Unb maty iljm jebe ©tunbe frol) 
Unb mad)' tym tctne ©tunbe trtib! 

Unb pte beine 3unge moljl, 
35alb ift ein bofeS SBort gefagt! 
O ©ott, e§ mar ntd^t bite gemeint, — 
2)er anbre aber geljt unb flagt. 

O lie^, fo lang bu lieben fannft! 
O lieb', fo lang bu lieben magft ! 



88 



LYRICS AND BALLADS 



2)ie ©tunbe fommt, bie ©tunbe fommt, 
20 2Bo bu an ©riibern fteljft unb tlagft ! 

2)ann fnieft bu nieber an ber ©ruft 
Unb birgft bie Slugen, triib' unb nap, 
— ©ie feljn ben anbern nimmermeljr — 
3n§ lange, feud^te $ird)Ijof3gra3. 

25 Unb ftmd)ft: „D fd)au' auf midj Ijerab, 

2) er f)ier an bcincm ©rabe toeint! 
SSergieb, bap id) gefranft bid) l)ab' ! 
D ©ott, e3 toar nid)t b5§ gemeint!" 

@r abet fietyt unb Ijflrt bid) nid^t, 
30 $ommt nid)t, bafe bu il)n frol) umfangft; 

3) er SJiunb, ber oft bid) fiifete, fj)rid)t 
9?ie mieber: „3dj bergab bit liingft!" 

@r that's, bergab bit lange fd)on, 
3)o<$ mand)e I)ei£e Sttyriine fiel 
35 Um bi<$ unb um bein IjerbeS SSort — 
3)odj [till — er ruljt, et ift am 3iel ! 

D lieb', fo lang bu lieben fannft! 
D lieb', fo lang bu lieben magft! 
S)ie ©tunbe fommt, bie ©tunbe fommt, 
40 SBo bu an ©riibern fteljft unb flagft. 

$ r e i I i g r a t tj. 



LYRICS AND BALLADS 



89 



69. Hii^tret ntdjt batanl 

2Bo [till cm £>erg t>oH Stebe glu^t, 
D riiljret, ruljret nid^t baran! 
2)en ©otteSfunfen lofdjt nid^t au3! 
giiljrttjaljr, e§ ift nic^t moljlgetljan. 

SIBenn'S irgenb auf bem (Srbenrunb 5 
(Sin unentmeiljteS $pia&d)en giebt, 
©0 ift'S ein jungeS 2Kenfd)enljerg, 
2)a§ fromm gum erftenmale licbt. 

O gimnet iljm ben f?rii^Iing§traum / 
Snbem'S boll rofger Sluten fteljt! 10 
3Ijr tt)ifet nid)t, meldj ein ^arabieS 
Wit biefem Sttaum berloren geljt. 

@3 brad) fdjon manty ein ftarfeS ©erg, 

S)a man fein Sieben iljm entrife, 

Unb manges bulbenb toanbte fid^ 15 

Unb toarb boll £>aft unb ginfterniS; 

Unb mand)e§, ba§ fi<$ blutenb f<$tof$, 

©d)rie laut na<$ Su[t in feiner 9lot 

Unb marf fidj in ben ©taub ber SQBcIt : 

2)er fd)ime ©ott in iljm ttmr tot. 20 

S)ann toeint iljr tooljl unb flagt eu<$ an ; 
2)od) feine Stljrane Ijeijjer 9fceu' 
2Kad£)t eine melle 9fcofe bluljn, 
(Srtoedft ein totes ©erg auf§ neu\ 

<S e i b e I. 



LYRICS AND BALLADS 



70. Sie tjafren midj gequdlet 

©ie Ijaben mid) gequalet, 
©eargert blau unb blaft, 
2)ie cinen mit tljrer Siebe, 
2)ie anbern mit iljrem £)a£. 

©ie Ijaben ba§ Srot mir bergiftet, 
©ie floffen mir ©ift in§ ©la§, 
S)ic cinen mit iljrer Siebe, 
2)ie anbern mit iljrem 

2)o<$ fie, bie mid) am meiften 
©equalt, gectrgert, betriibt, 
S)ie Ijat mid) nie geljaffet, 
Unb Ijat mid) nie geliebt. 



71. Da& Sdjioft am Hteere 

„#aft bu ba§ ©d^lop gefeljen, 
S)a§ Ijolje ©djlofe am SJleer? 
©olben unb rofig toeljen 
S)ie SQBoIfen briiber Ijer. 

(S3 m5<$te ft<$ nieberneigen 
3fn bie fpiegetflare Slut; 
(5§ mi)<$te ftreben unb fteigen 
3n ber 2lbenbit)olfen ©rut." 

„2Bol?l Ijab' id) e§ gefeljen, 
2)a3 Ijolje ©djloft am 5Dleer 



LYRICS AND BALLADS 



Unb ben 9Jionb bariiber fteljen 
Unb 9tebel toeit umljer." 

„SDer SBinb unb be§ 3Jlccre§ SBaflen, 
©aben fie frtfdjen ®lang? 
23ernaljmft bu au§ Ijoljen fallen 
©aiten unb geftgefang ?" 

„25ie 2Binbe, bie SBogen afle 
Sagen in tiefer 9tu^; 
(Sinem ®lagelieb au§ ber §aHe 
£>ort' id) tnit St^rdnen gu." 

„©aljeft bu oben geljen 
S)en Sonig unb fein ©emaljl? 
S)er roten SJlantel SQBe^en, 
S)er golbnen kronen ©traljl? 

guljrten fie nidjt tnit SBonne 
(Sine fd)one Sungfrau bat, 
#errlidj tt>ic eine ©onne, 
©traljlenb im golbnen £>aar?" 

„3Boljl falj idj bie ©Item beibe, 
Oljne ber kronen 2id)t, 
3m fdfjtoargen Strauerf leibe ; — 
SDie 3ungfrau fal) tdj nidjt." 

Utjla 



LYRICS AND BALLADS 



72. Vincta 

2lu3 be§ 9Jleere§ tiefent, tiefem ©runbe 
$lingen Slbenbglodfen bumpf unb matt, 
Un§ ju geben tounberbare $unbe 
SSon ber fd)5nen alien SBuuberftabt. 

3n ber gluten ©d)ofe Ijinabgefunfen 
Slteben unten tljre Strummer fteljn; 
3$re 3i nne ^ laffen golbne gunfen 
2Bieberf<$einenb auf bent Spiegel feljn. 

Unb ber Sniffer, bet ben 3auberf dimmer 
(Sinmal fal) im fjeHen 9lbenbrot, 
9tadj berfelben ©telle fd)ifft er tmmer, 
Ob aud) ringSumljer bie Silippt broljt. 

2lu§ be3 £>erjen§ ttefetn, tiefem ©tunbe 
$lingt e§ ntir ttrie ©laden, bumpf unb matt ; 
91$/ fie geben tounberbare $unbe 
Son ber Stebe, bie geliebt e§ Ijat. 

(Sine fdjflne SQBelt tft ba berfunfen, 
3fl)re Strummer blteben unten fteljn, 
Sajfen fi<$ ate golbne £>immel3funfen 
Oft tm ©piegel meiner Strftume feljn. 

Unb bann m5d)f id) tauten in bie Stiefen, 
9D?id) berfenfen in ben SBieberfdjein, 
Unb mir tft, al§ ob midj (Sngel riefen 
3fn bie alte SBunberftabt herein. 

mtltjelm mailer. 



LYRICS AND BALLADS 



73. Sturm 

@§ toiitet bcr ©turm, 

Unb et pettfd)t bic Snellen, 

Unb bic 2BeHn, toutfd^umenb unb biiumenb, 

Stiirmen fid) auf, unb e§ toogen lebenbig 

S)ic toeifcen SIBafferberge, 

Unb ba3 @d)ifflein etflimmt fie, 

£)aftig tniiljfam, 

Unb pl5fcti<$ fturst e§ ^inab 

3>n fd)toarge, tneitgftljnenbe glutabgrimbe. — 

O 2Keer ! 

9Jlutter ber ©d)6nljett, bcr ©d)aumentftiegenen ! 
©rofemutter ber Siebe! fdjone meiner! 
©dfjon flattert, teityenttritternb, 
S)ie toetfte, gefpenftifdje 9Jl5toe 
Unb tnefct an bent SJiaftbaum ben @d)nabel 
Unb ted)jt Dott graftbegter nad) bem £)ergen, 
®a§ bom Sftuljm beiner Stouter ertont, 
Unb ba§ bein (Snfel, ber fleine ©d)alf, 
Sum ©pielgeug ertoiiljlt. 

SSergebenS tnetn SSitten unb gleljn! 

SJlein 9tufen ber^aUt im tofenben ©turm, 

3fm ©d)lad)tltirm ber SSinbe. 

(S3 brauft unb pfeift unb praffelt unb Ijeult, 

35Me em SLoHIjauS Don Stonen! 

Unb gttrifdjenburdf) f)bx' id) uerneljmbar 

Socfenbe ^arfenlaute, 



LYRICS AND BALLADS 



©eljnfudfjttmlben ©efang, 
©eelenfd)tnel$enb unb feelenjerreipenb, 
Unb idj erlenne bic ©timnie. 

$ern cn f<$ottifdf)er gelfenfiifte, 

3Bo bag graue <Sd)topIein IjinauSragt 

Uber bic branbenbe ©ee, 

2)ort, am Ijotygetoolbten genfter, 

©teljt einc fd^one, franfe §rau, 

3artburdf)fid)tig unb marmorblap, 

Unb fie fpielt bie &arfe unb fingt, 

Unb ber SJMnb burdjttriiljtt if)re langen fiodfen 

Unb tragt iljr bunfteS fiteb 

tiber ba3 toeite, ftiitmenbe 9D?eer. 



74. Seemcrgen 

2)er SKorgen frifd), bic SBinbe gut, 
S)ic ©onne gttiljt fo Ijefle, 
Unb braufenb geljt e3 burd) bic glut; 
2Bic toanbern fair fo fc^nefle ! 

®ie 2Bogen ftiirgen fid) Ijeran; 

2) od) mie fie aud) fid) baumen, 

3) em ©d)ift ttcrfcnb in bie 33aljn, 
3fn toller SKiilje fdjaumen : 

2)a§ ©d)iff, boll froljer SBanberluft, 
3ie^t fort unaufguljatten, 
Unb mad)tig ttrirb Don feiner 33ruft 
S)er SOSogenbrang gefpatten. 



LYRICS AND BALLADS 



95 



©emirft Don golbner ©tral)lenl)anb 

9lu§ bem ©efprii^ bet 2Bogen, 

Sommt iljm gur ©eif ein Srtebanb 15 

£eflflatternb nad)geflogen. 

©0 roett nati) Sanb mein Sluge fdjmeift, 

©elj' id) bic glut jtdj beljnen, 

2)ie uferlofe; mi<$ etgreift 

(Sin ungebulbig ©eljnen. 20 

2)afc id) fo lang eu<$ meiben mu£, 
* «8erg, SBiefe, Saub unb Slilte ! — " 
2)a ladjelt feinen SKorgengrufc 
(Sin $inb au3 bet Sajute. 

SSo ftcmb bic Suft, ba§ £>immel3li<$t, 25 

3m falten Sffiogettlarme, 

SQSie moljl tljut 2Kenfd)enangefid)t 

TOit feiner jffltet SBarme ! 



75. fcroft 

©0 fomme, toa§ ba fommen mag! 
©0 lang bu lebeft, ift e3 Stag. 

Unb geljt e§ in bic SBelt IjinauS, 
SBo bu mir bi[t, bin tdj ju £>cm3. 

3* fey bein liebeS 3Ingefi$t, 5 
3$ fe^e bie ©fatten bet 3ufunft nidjt. 



Storm. 



LYRICS AND BALLADS 



76. Uuf bev iXbcvfatitt 

liber bicfen ©trom, Dor Saljren, 
Sin idj cinmal fdjon gefaljren; 
£>ier bie Surg im 9lbenbfdf)immer, 
2)riiben raufdjt ba3 SBeljr, ttrie itmner. 

Unb Don biefem $al)n umfd)loffen 
SBaren mit mir jmeen ©enoffen: 
2ld)! cin greunb, ein batergteityer, 
Unb ctn junger, IjoffnungSreidjer. 

3ener toirfte [till Ijienieben, 
Unb fo ift er au<$ gefd)ieben; 
©tefer, braufenb Dor un§ alien, 
3[t in $ampf unb ©turm gefaUcn. 

©o, mcnn idj bergangncr Stage, 
©liicflid)er, gu benfeu mage, 
SKufc id) jiet8 ©enoffen miffen, 
Steure, bie ber Slob entriffen. 

2)o<$, toa§ aHe greunbfdjaft binbet, 
3ft, toenn ©eift gu ©eift fid) finbet; 
©eiftig toaren jene ©tunben, 
©eiftern bin \<t) nod) Derbunben. — 

9litnm nur, gdljrmann, nimm bie 9Jtiete, 
S)ie id) gerne breifad) biete ! 
3tt)een, bie mit tnir iiberfu^ren, 
SBaren geiftige 9laturen. 

Uljlanb. 



LYRICS AND BALLADS 



77. Die Stabt 

2lm gtauen ©ttanb, am gtauen SJieet 
Unb feitab liegt bie ©tabt; 
3)et 9iebel btiidft btc 2)ad)et fd)tuet 
Unb but<$ bic ©tiHc btauft ba3 SKeet 
(Sintimig urn bie ©tabt. 

<S§ taufd()t fein 2Balb, e§ fdjiiigt im 9Kat 
Sein 33ogel oljn' Untetlafc; 
3)ie 2Banbetgan3 mit partem ©<$tei 
9tut fliegt in $etbfte3nad)t botbei, 
Sim ©ttanbe toeljt ba§ ©ta3. 

2)o<$ Ijftngt mein ganjeS ©erg an bit, 
S)u grauc ©tabt am SKeet; 
2)et 3ugenb 3<*ubet fu* unb fiir 
SRu^t lad)elnb bod) auf bit, auf bit, 
S)u gtauc ©tabt am SJieer. 

Storm. 



78. Un meine mutter Qeine 

l. 

3$ bin^ gemoljnt, ben $opf red^t Ijod) gu ttagen, 
2Kein ©inn ift aud) ein bifcd)en ftatt unb gal)e; 
2Benn fetbft bet £5nig mit in§ 2tntlifc fftlje, 
tmitbe ni$t bie 2tugen niebetfd&lagen. 

2)od), liebe SKutter, offen mill i<$'§ fagen: 
SBie madjtig au<$ mein ftolget 9D?ut fi<$ bliilje, 
3fn beinet felig fiifeen, ttauten 9tal)e 
(Stgteift mid) oft ein bemuttoofleS 3^gen. 



98 



LYRICS AND BALLADS 



3$ e3 betn ©eift, bet ^eimli^ midf) begtmnget, 
10 2)ein IjoI)er ©eift, ber afle^ lii^n burdf)bringet, 
Unb blifcenb fi<$ gum £>immelslidf)te fdfjttringet? 

Dudlt midf) (Srinnerung, baft idj beriibet 
©o mand)e Sljat, bic bir ba§ ©erg betrubet, 
®a§ fc^dne ©erg, ba§ midfj fo feljr geliebet? 

2. 

15 3m toHen SBaljn $atf tdf) bi<$ einft berlaffen, 
3>d& tnollte geljn bie gange SQBelt gu @nbe, 
Unb tooflte feljn, ob id) bie Siebe fanbe, 
Urn UebeboE bie Siebe gu umfaffen. 

S)ie Siebe fu^te idf) auf alien ©affen, 
20 SSor jeber Stpre [tariff id() au§ bie ©anbe, 
Unb bettelte urn gringe Siebefpenbe, — 
2)odf) lad&enb gab man mir nur falte§ ©affen. 

Unb immer itrte idf) nadf) Siebe, immer 
Waft) Siebe, bo<$ bie Siebe fanb id) nimmer, 
25 Unb feljrte urn na<$ ©aufe, franf unb triibe. 

2)o<$ ba bift bu entgegen mir gefommen, 

Unb ad)! tna§ ba in beinem Slug' gefdfjtoommen, 

2)a3 tear bie fiifee, langgefudjte Siebe. 

f?eine. 



LYRICS AND BALLADS 



79. $fitr meine Sdfyte 

£el)le nimmer mit ber 2BaljrI)eit! 
Skingt fie Seib, nidfjt bringt fie 9teue; 
2)od), toeil SBaljrljeit cine sperle, 
2Birf fie auty nid)t bor bie ©iiue. 

2JIute ebelften ©emitted 
3ft bie Stiidffidjt; bod) gugeiten 
©inb erfrifdjenb ttric ©emitter 
©olbne aiwrt^tsloftflleitcn. 

SSJadrer ljeimatlid)er ©robljeit 
©efce beine ©tirn entgegen; 
9lrtigen fieutfeligleiten 
©etye fd&meigenb au3 ben SBegen. 

2Bo gum 2Beib bu nidjt bie Softer 
SOSagen ttmrbeft gu begeljren, 
#alte bid) gu toert, um gaftlidj 
3fn bem $au\t gu berfeljren. 

3Ba§ bu immer fannft, gu tnerben, 
Arbeit fdjeue nid)t unb SBadjen; 
Slber Ijiite beine ©eete 
35 or bem (Sarriere=9Dla<$en. 

SQBenn ber ^tibel oiler ©orte 
Sanget um bie golbnen 5¥ctlber, 
£>afte f eft : bu Ijaft bom Seben 
SDod) am (Snbe nur bid) felber. 

Storm. 



100 



LYRICS AND BALLADS 



80, nXeiner Hodjter 

3$ mfldjte Hctben bi<$ in lauter ©eibe, 
3fn§ £>aar bir fled)ten blifcenbe§ ©ef^meibe, 
9Jtit ©pangen fd)tnucfen beinen fd)lanfen 9lrm; 
2)od), liebeS $inb, Dergieb, i$ bin ju arm. 

5 SDBie gem frebenjf id) bir beinem SJJa^Ie 
2>en fd)5nften SBcin au§ filbernem ^ofale, 
^uflf bi<$ ^Ra^tjeit ein in ^urjuir roarm; 
2)o<$, liebeS $inb, Dergieb, itf) bin ju arm. 

3$ Ijab' bir ni<$t3 al3 meine Cieb' ju geben, 
io 2)rau3 tt)ifl id) bir ein toarmeS Stiicfylein tueben, 
9Jtit ©litcf unb ©egen§ttmnfd)en iaufenbfad), 
2)aj* ©ott bi<$ fd)ufc' Dor Seib unb Ungemacfy; 

2)aj* er bicfy fd)irme Dor be§ ©d)merje§ Sofen, 
2)ie 33ruft bir fd)tnutfe mit ber Siebe 9tofen, 
15 2)i<$ fpeif unb trdnf mit feinem ©nabenlid)t; — 
2)a3 ift mein SQBunfc^, mein $inb, me^r Ijab' id) nicfyt. 

3otjanna Jlmbrofius. 



81. Spriidje unb SinngeMdjte 

\. £ebensregel 

£>atf bi<$ rein, 
Slc^f bic^ flein, 
©ei gem aHein, 
SHad)' bicfy nid)t gmein, 
5 ©0 tmrb bir afljeit loo^l fcin. 

21 us t>em \ 6. 3al)rl)unbert. 



LYRICS AND BALLADS 



101 



2. <5ottIid?e Had?e 

©ottes 9Jiitl)len maljlen langfam, marten aber trejfli<$ 

flein ; 

Db au§ Sangmut er jtcfy fftumet, bringt ntit ©d)ttrf 

er alleS ein. 

£ o g a u. 

3. Die befte Sl^enet 

gfreube, SKafeigfeit unb gtuf)' 
©cfyliefct bem Slrjt bic SUjiire ju. 

C o g a u. 

Stefjn tft 3uriicfe gefjn 

SBer in ben SBegen ©ott§ gebad)te ftiflsufteljn, io 
2>er ttmrbe Winter fid) unb tn§ SSerbcrben geljn. 

Xngelus Silefius. 

5. 8)of|Itf|un 

2Bol)ltl)aten, ftiH unb rein gegeben, 

©inb %ok, bie im ©rabe leben, 

©inb 33Iumen, bie im ©turm befteljn, 

@inb ©ternlein, bie ni<$t untergeljn. is 

C I a u b t u s. 

6. 

„333er tft ein unbraud)barer 9Kann?" 

®er nicfyt befeljlen unb aud) nicfyt geljordjen fann. 

<S> o e t e. 

7. 

9lfle§ in ber Kelt Iftfet fty ertragen, 
9iur nid)t eine 9teil)e Don fd)6nen Sagen. 

<5 o e t f} e. 



102 LYRICS AND BALLADS 

8. 

2oJ)a§ ift bie toaljre Siebe, bie immcr unb immer fid) 

glei<$ bleibt, 

SScnn man iljr aHeS gettuiljrt, tuenn man iljr alleS 

berfagt. 

<5 o e 1 1) e. 

9- 

Srilgc gem nod) langcr be3 2el)rer3 Siirben, 
SDBenn ©filler nur nid^t gleid) Seljrer toitrben. 

<5 o e t ti e. 

jo. (Erinnerung 

SBiHft bu immer toeitcr fd)tt)eifen? 
25 ©iel), ba§ ©ute liegt fo nal). 

Seme nur ba§ ©litdf ergreifen, 
2)enn ba§ ©liicf ift immer ba. 

<5 o c t Ij e. 

U. Das ZKfttcfyon 

3m ^ejameter fteigt be3 ©pringquette fluffige ©aule, 
3m pentameter brauf fallt fie melobifd) Ijerab. 

Sd>i Her. 

\2* (Jreunb unb ^Jeinb 

30 Steuer ift mir ber ftreunb ; bodj aud) ben geinb f ann 

id) ntijjen: 

3eigt mir ber ftreunb, tt>a§ id) fann, leljrt mi$ ber 

fteinb, toaS id) foil. 

S <k i II e r. 



LYRICS AND BALLADS 103 

*3. Der red?te Sefjrmetfter 

fjolg' al§ hunger nid)t bem Seljrer, be|fen ©aal tft 

immer boll, 

SBetl im ©J)iel er a£te ©d)tiler ju 2)oftoren ma<$en foil; 
2)er mit 9JJu^ bem Sottor leljret, bafc er nur ein 

©filler tft, 

Seffen Heine ^Pforte fud)e, el? ju groft bu morben bift. 35 

ID ill] elm in filler. 

ft. Hed?t unb £tebe 

2>as 9ted)t fagt: „3ebem bag ©eine!" 
2)ie Siebe: „3ebem ba§ Seine!" 

tDilbelm mailer. 

*5. 2lfjnenti>ert 

9ll)nen finb ftir ben nur 9iuflcn, ber ctl§ 5RuH ju iljnen 

tritt ; 

©tel) al§ 3ci^l <™ ty m ©pifce, unb bie 5RuHen gctljlen 

mit. 

mtlljelm mailer. 

16. £Dem gebiit^rt bie Krone? 

2)ie grijftten SOBiiften finb leister regiert, 40 
2113 fleine ©tirten fultitriert. 

KHItjelm mailer. 

SBeifct, mo e§ feinen $>errn unb feinen 2>iener giebt? 
2Bo ein§ bem anbern bient, meil ein§ ba§ anbre tiebt. 

Hficfert. 



104 



LYRICS AND BALLADS 



*8. 

2lm 9lbenb ttrirb man Hug 
45 Stir ben Dergangnen Jag, 

®ocfy niemals flug genug 
fjiir ben, bcr fommen mag. 

HAcfert. 

2>aft fie bie ^erlc tragi, ba§ mad)t bic 9Jtufif)el franf; 
®em ^)immcl fag' fitr ©d)merj, ber bid) Derebelt, S)anf. 

Hfltfert. 

20. 

50 9l\&)t ber ift in ber SBelt Derttwift, 

2)effen SSater unb ^flutter geftorben, 
©onbern ber fur $>erj unb ©eift 
$eine Sieb' unb letn SBiffen erroorben. 

Harfert. 

2\. 2JIte unb Heuere. 

©predjt Don ben 9llten mit me^r @l)rfurcfyt, i^r hunger 

ber ©eicf)tl)eit, 
55 SBeil iljr iljnen ja bod) alleS in allem Derbanft: 
$unft l)abt iljr Don ben ©riecfyen erlernt, ^olitif Don 

ben Stomern, 
£abt felbft Religion blofc Don ben 3fuben gelernt. 

platen. 

22. 

S)er SBelt mel)r geben, ate fie un§ giebt, 
S)ie 2Bett meljr lieben, ate fie un§ liebt, 
60 5Rie urn ben SeifaE ber 9Renge toerben, 
9Jlad)t ruljig leben unb fetig fterben. 

SobenfUbt. 



LYRICS AND BALLADS 



105 



23. 3m <5arten 

$ute, Ijtite ben $uft unb bie ©cinbe, 

61? fie beruljren ba§ drmfte Sing! 

S)enn bu jertrittft einc Ijajtfid)e Staupe 

Unb toteft ben f<$onften ©<$metterling. 65 

Storm. 

2*. 

3m Clemen groft 
©iebt gludlicfyer 2o3, 
2113 mit Rot unb $ein 
3fm ©roften flein. 

Hoquette. 

25. 

2Ber triel einft ju bertunben Ijat, 70 

©d^toeigt triel in fid) Ijinein. 

2Ber einft ben 93lifc ju jiinben l)at, 

9Jlufe lange — SBoIfe fein. 

ritefcfdje. 

26. 

Seiner al)nt, toa3 afleS iljm auf (Srben 
2)unfle ©<$idfal§m<id)te nod) trebenjen; 75 
Ceiber Ijat ja ba§ ©eborenmerben 
Unberecfyenbare ffonfequenjen. 

^tsloa. 



THIRD PART 



82. Her Sanger 

„2Ba3 I^r' i<$ brauften Dor bem SEIjor, 

2Ba3 auf ber Sriidfe flatten? 

Safc ben ©efang t>or unferm Oljr 

3fm ©aale tmeberljaflen !" 

S)er Sonig f pram's, ber ^Sage lief; 

2)er Snabe !am, ber $onig rief: 

„2af;t mir Ijerein ben Sltten !" 

„©egruf$et feib mir, eble $errn, 

©egritftt il)r, fd)5ne S)amen! 

SBeldf) reiser $>immel ! ©tern bei ©tern ! 

2Ber fennet t^re 9iamen? 

3fm ©aal &oH ^prac^t unb ©errli^feit 

©dfjliefct, 2lugen, eudj; Ijier ift nidfjt 3t\t, 

©id) ftaunenb ju ergofcen." 

®er ©anger brilcft' bie 2lugen ein 
Unb fcfylug in boflen Sonen; 
2)ie Slitter fdjauten mutig brein 
Unb in ben ©djoft bie ©djflnen. 
2)er $onig, bem ba3 Cieb gefiel, 
Siefc, il)n &u eljren fur fetn ©piel, 
Sine golbne $ette Ijolen. 

107 



108 



LYRICS AND BALLADS 



„2)ie golbne $ette gieb tnir nid)t, 
2)ie Sette gieb ben Stittern, 
35 or beren tiiljnetn 9lngefid)t 
25 2>er geinbe Canjen fplittern; 

©ieb fie bem Sanger, ben bu Ijaft, 
Unb laft iljn nod) bie golbne Caft 
3u anbern Saften tragen. 

3fd) finge, nrie ber SSogel ftngt, 
30 2)er in ben 310**8*1* tooljnet; 

2)a§ Sieb, ba3 au§ ber SPeljle bringt, 
3ft Soljn, ber reid)lid) loljnet. 
®od) barf id) bitten, bitf id) ein§: 
Safe mir ben beften 33ed)er 2Bein§ 
35 3>n purem ©olbe reicfyen," 

@r fefct' iljn an, er tranf iljn au3: 
„© Sranf boll fiifcer Sabe! 
O tt)ol)l bem Ijodjbegltidften $>au§, 
2Bo ba§ ift Heine ©abe! 
40 (Srgeljt'S eud) tttoljl, fo benft an mtc^, 

Unb banfet ©ott fo trnrm, ate id) 
giir biefen Srunf eud) banfe." 

<5 e 1 1? e. 



83. Dc& Sanders £lud{ 

@§ ftanb in alten 3eiten ein ©d)lofj, fo l)od) unb Ijeljr, 
SBeit glanjt' e3 fiber bie Sanbe bi£ an ba§ blaue SKeer, 
Unb ring§ bon buft'gen ©drten ein bliitenreid)er ®ranj, 
®rin fprangen frifcfye SSruimen in 9tegenbogenglanj. 



LYRICS AND BALLADS 



109 



2>ort fafc em ftoljer $6nig, an Ccmb unb ©iegen reicf), 5 
6r faft auf feincm 3;l)rone fo finfter unb fo bleid); 
2)enn toa§ er finnt, ift ©d)recfen, unb toa3 er blicft, ift 

»ut, 

Unb toa§ er fjmd)t, ift ©eipel, unb toa§ er fd)reibt, ift Slut. 

(Sinft jog na<$ biefem ©cf)lo|fe ein eble§ ©dngerpaar, 
S)er ein J in golbnen Socfen, ber anbre grau Don £>aar ; 10 
S)er 9IIte mit ber C>arfe, ber fafe auf f$mucfem Stofc, 
@3 fd)ritt t^m frtfdj jur ©eite ber blii^enbe ©enoft. 

S)er 3llte fprad) jum Sungen: „9tun fei bereit, mein 

©ol)n! 

S)enF unfrer tiefften Sieber, ftinlm , an ben DoHften Son! 
9limm aEe ®raft gufammen, bie Suft unb aud) ben 15 

©d)tnerj ! 

88 gilt un§ fyeut, ju ritljren be3 ®tfnig3 fteinern ©erj." 

©d)on fteljn bie beiben ©anger im Ijoljen ©dulenfaal, 
Unb auf bent £l)rone fifcen ber Sonig unb fein ©etnaljl ; 
2)er Sonig furcf)tbar pradjtig, ttrie blut'ger 9torblicf)tfd)etn, 
2)ie ftonigin fitfc unb milbe, al§ blicfte SSoflmonb brein. 20 

S)a fcfylug ber ©rete bie ©aiten, er f<$lug fie tounberDoH, 
2)afe reiser, itnmer reiser ber $Iang gum Oljre \(f)tooU ; 
S)ann ftromte ^tmmlifc^ Ijelle be§ ^ungting^ ©timme Dor, 
2)e§ 3llten ©ang bajtoifd)en, ttrie bumpfer ©etfterdjor. 

©ie fingen Don Seng unb Ciebe, Don fel'ger golbner 3eit, 25 
Son greifyeit, 9Mnnerttriirbe, Don Sreu' unb ^eiligfeit; 



110 LYRICS AND BALLADS 

©ie fingen Don aHem ©ufcen, mas Dienfcfyenbruft burd)= 

bebt, 

©ie fingen Don aflem $ofyn, toa3 9Jtenfd)enI}era erljebt. 

2)ie ©5fling^ar im ffreife Derlernet jebcn ©pott, 
3oS)e§ $5nig§ trojj'ge $rieger, fie beugen fid) t>or ©ott; 
2)ie $5nigin, jerfloffen in SBeljmut unb in Cuft, 
©ie mtrft ben ©dngern nieber bie 9iofe Don iljrer 33ruft. 

Ijabt mein SSolf DerfiUjret; Derlodt iljr nun mein 

2Beib?" 

2)er $tfnig fd)reit eS tmitenb, er bebt am ganjen Seib ; 
35 6r tt)trft fein ©d)tt)ert, baS blifcenb be§ 3ungling§ SSruft 

burd)bringt, 

2)rau§, ftatt ber golbnen Sieber, ein 33lutftraljl Ijod)auf 

tyringt. 

Unb tote Dom ©turm jerftoben ift all ber $6rer 

©d)roarm. 

2)er Siingling Ijat oerrMjelt in feineS 9Jieifter§ 9lrm; 
2)er fd)Iagt urn iljn ben 9Jiantel unb fefct i^n auf ba§ 

9io&, 

40 @r binb't iljn auf red)t f efte, Derlafct mit tljm ba§ ©djlofe. 

2)o<$ Dor bem Ijoljen Sljore, ba pit ber ©angergreiS, 
2)a fafct er feine £>arfe, fie, alter $>arfen $rei§, 
9ln einer 9Jtarmorfaule, ba l)at er fie jerfdjetlt; 
2)ann ruft er, bafc eS fd)aurig burd) ©djlofc unb ©ftrten 

gettt: 

45//2BeIj eud), iljr ftoljen fatten! nie tone fiifcer Slang 
2)urdj eure 9taume ttrieber, nie ©aite nod) ©efang, 



LYRICS AND BALLADS 111 

9iein! ©eufjer rntr unb ©toljnen unb footer ©flatten* 

f^ritt, 

33i§ eucf) ju ©d)utt unb SJtober ber 9tad)egeift jertritt! 

SBelj eud), iljr buffgen ©ftrten im Ijolben 9JlaienIi(^t ! 
®ud) jeig' id) biefeS Soten entfteHteS 9lngefid)t, 5° 
®a{$ iljr barob berborret, bafc jeber OueH toerjtegt, 
®afc ifjr in fiinffgen Sagen berjieint, berobet liegt. 

SBelj bit, berrud)ter SJtorber! bu glu<$ be§ ©angertumS! 
Utnfonft fei all beitt 9tingen nad) $ranjen blut'gen 

9iuf»m§ ! 

®ein Slame fei bergeffen, in etu'ge 9tad)t getaucf)t, 55 
©ei, tt)ie em lefcteS 9todjeln, in leere 2uft.berljaud)t!" 

2)er 9llte Ijat'3 gerufen, ber $immel Ijat'S geljort, 
2)te SJtauern liegen nieber, bie fatten finb jerftort; 
9iod) eine Ijolje ©aule jeugt Don berfdjttmnbner 5prad)t; 
9lud) biefe, fd)on geborften, fann ftiirjen fiber 9tacfyt. 60 

Unb ring§, ftatt buffger ©arten, ein fibe§ £eibelanb, 
Sein S3aum uerftrenet ©fatten, fein DucH burd)bringt 

ben ©anb, 

2)e3 $onig§ 9lamen melbet fein Sieb, fein $>elbenbu<$; 
SJerfunfen unb fcergejfen! ba§ ift be3 ©angers $lud). 



Ufilanb, 



112 



LYRICS AND BALLADS 



84. 2)er <5raf von Qab&burg 

3u 2lad)en in feiner $aiferj)radf)t, 

3im altertiimlicfyen ©aalc, 
©a& ®onig 9tubolf§ Ijeilige 9Ra$t 

SSeim feftlid)en $ronung§mal)Ie. 
5 SDie ©peifen trug ber ^falggraf be§ 9tl)ein3, 
@3 fcf)enfte ber 33ol)me be§ perlenben 23ein3, 

Unb atte bie S3dl)Ier, bie jteben, 
SBie ber ©terne 61)or um bie ©onne jtd) jieflt, 
Umftanben gefd)dftig ben $errfd)er ber SBelt, 
io S)ie SBurbe be§ 2lmte3 gu itben. 

Unb rings erf i'tUte ben fyoljen Sklfon 
2)a3 25oW in freub'gem ©ebrdnge; 

Saut mifd)te fid) in ber ^ofaunen Son 
2)a§ jaud)genbe 9tufen ber SJtenge. 
is 2)enn geenbigt nad) langem berberblid)en ©treit 

SBar bie faiferlofe, bie fdjredlid)e 3eit, 
Unb ein Slitter toar ttrieber auf (Srben. 

9l\ti)t blinb me^r roaltet ber eiferne ©peer, 

ytityt furd)tet ber ©d)ttwcf)e, ber f^rtebltd^e meljr, 
20 S)e3 SJtddjtigen SSeute gn toerben. 

Unb ber $aifer ergreift ben golbnen ^ofal 
Unb tyrid)t mit gufriebenen ffllicfen: 

„2BoI)l gldnget ba§ ^eft, tool)! pranget ba3 9M)l, 
SJtein foniglid) &erg gu ent^utfen; 
25 ®od) ben ©anger Dermiff id), ben Sringer ber 2uft, 

®er mit fu^em $lang mir betuege bie Sruft 



LYRICS AND BALLADS 



113 



Unb tnit gottlid) ertjabenen Seljren. 
©o f)ab' idj'3 geljalten Don Sugenb an, 
Unb tuaS id) al§ Slitter gepflegt unb getljan, 

3K<$t tuifl alS $aifer entbefjren." 30 

Unb fielj! in ber giirften umgebenben $ret§ 

2rat ber ©anger tm langen Salare; 
SI)m gldnjte bie Code filberroeife, 

©ebleid)t Don Der f^ulle ber $al)re. 
„©ufter SBoljllaut fd^Idf t in ber ©aiten ©olb, 35 
2)er ©anger fingt Don ber SJfinne ©olb, 

6r preifet ba§ £)od)fte, ba§ 23efte, 
23a§ ba§ £erj jt<$ tminf<$t, toa§ ber ©inn begeljrt ; 
2)od) fage, toaS ift be§ ®aifer§ toert 

In fcinem Ijerrlicfyjien %t\te?" — 40 

„9lic^t gebieten toerb' id) bem ©finger," fpridjt 

®er $errfd)er mit lad)elnbem 9Jtunbe, 
„@r ftefjt in be§ grofceren $erren ^flidjt, 

6r gel)ord)t ber gebietenben ©tunbe: 
2Bie in ben Suften ber ©turmnrinb fauft, 45 
9Jian meifc nid)t, Don toannen er fommt unb brauft, 

SSie ber QueE au§ Derborgenen Siefen, 
©0 be3 ©angers Sieb au§ bem 3>nnern fdjaflt 
Unb toedfet ber bunfeln ©efuljle ©eroalt, 

2)ie im ©erjen tounberbar fdjliefen." 50 

Unb ber ©anger rafd) in bie ©aiten fftflt 

Unb beginnt, fie ntad)tig ju fdjlagen: 
„9tuf8 SSeibmcrf l)inau§ ritt ein ebler £>elb, 

S)en fliidjtigen ©emSbod ju jagen. 



LYRICS AND BALLADS 



folgte ber ®napp' mit bem 3dgergef<i)of$, 
Unb aU er auf feinem ftattlidjen SRojj 

3n cine 9lu fommt gerttten, 
(Sin ©locflem Ijort er erflingen fern: 
(Sin ^prtefter toot's mit bem Seib be§ $txxn, 

SSoran tarn ber SJieSner gefcf)ritten. 

Unb ber ©raf jur @rbe ficfy neiget Ijin, 

S)a§ ^)aupt mit ®emut entbtopet, 
3u oere^ren mit glaubigem ©Ijriftenfinn, 

SBa§ atte 2Jtenf<$en erWfet. 
(Sin Sd^Iein aber raufdjte burdf)3 $elb, 
3$on be3 ©ief$bacf)§ reifcenben gluten gefdfpellt, 

2)a3 Ijemmte ber SBanberer Strttte ; 
Unb beifeit legt jener ba§ ©aframent, 
35 on ben fjii^en jicfjt er bie ©d()uf)e beljenb, 

2)amit er ba3 SSdc^Iein burd^f^ritte. 

'2Ba3 fc^affft bu?' rebet ber ©raf iljn an, 

2)er tfjn bertounbert ktrad)tet. 
'C>err, t<$ toaHe ju etnem fterbenben 95tann, 

®er nadf) ber £>immel§foft f<$madf)tet ; 
Unb ba id) mid() nalje be§ 99a(^e§ ©teg, 
2)a Ijat iljn ber ftromenbe ©iejjbadfj Ijintoeg 

3m ©trubel ber SBeHen geriffen. 
2)rum bafc bem Sed^enben locrbe fein $eit, 
©o toiH iti) ba3 SBiifferlein jefct in 6iP 

©urd&toaten mit nadfenben gfil^en. 9 

®a fefct iljn ber ©raf auf fein ritterltdf) $ferb 
Unb reidt)t ifjm bie J>radf)tigen 3<*ume, 



LYRICS AND BALLADS 



115 



2)afe cr lobe ben $rcmfett, bcr fcin begeljrt, 

Unb bie Ijeilige $flid)t ni<f)t Derfaume. 
Unb cr fclbcr auf feine§ Suappen Stier 85 
33ergnuget nod) tDcttcr bc§ 3agen§ 33egier; 

®er Qttbrc btc 9teife DoHfiiljret, 
Unb am nS<f)ften SJiorgen mit banfenbem 33Iicf 
SDa bringt cr bcm ©rafen fcin 9tofc juriicf, 
33ef<$eiben am 3tyd gefitljret. 9° 

'9lid)t idoHc ba§ ©ott,' ricf mit ©emutfinn 

®er ©raf, 'bafc gum ©treiten unb 3agcn 
2)a3 9tofe id) befdjritte fiirbcrf)itt, 

®a3 meinen Stopfer getragen! 
Unb magft bu'S nid)t f)aben gu cigncm ©etoinft, 95 
©0 bleib' e§ gemibmet bcm gitttlid)en 2)icnft, 

®enn itf) f)ab' e3 bcm ja gegeben, 
93on bcm id) @^rc unb irbifd)e§ ©ut 
3u Seljen tragc unb Seib unb 23Iut 

Unb ©eele unb 9ltem unb Seben.' — 100 

'©0 m5g* @udj ©ott, bcr aHm&djtigc £ort, 

®cr ba§ 3?lel)en bcr ©<f)tt)ad)en erpret, 
3u @l)ren 6ud) bringen §ier unb bort, 

©0 ttrie 3^r jefct il)n geeljret. 
3fl)r fcib cin mad)tiger ©raf, befannt 105 
2)urd) ritterli<$ SBalten im ©diroeigerlanb, 

@ud) bluett fcd)§ lieblidje SE5(^tcr. 
©0 mflgen fie/ ricf cr begciftert au3, 
*©cd)§ kronen @ud) bringen in @ucr £au§, 

Unb gldnjcn bic foiit'ften ©cf <f)ied)ter ! ' " no 



116 LYRICS AND BALLADS 

Unb mit finnenbem £muj)t fafc bcr $aifer ba, 
91I§ bttdjt' er bergangener fyxttn ; 

Sefct, ba cr bcm ©anger in§ 9lugc fal), 
®a crgrcift iljn bcr SBorte Sicbeuten. 
115 ®ie 3tigc be3 $riefter§ crfennt cr fdjnett 

Unb berbirgt ber Stljrdnen fturjenben Duett 
3n be3 9Jtantel3 jmrjmrnen ftalten. 

Unb atlc^ blicfte ben $aifer an 

Unb erfannte ben ©rafen, bcr bag gettjan, 
120 Unb toereljrte ba§ gottlufje SKalten. 

Sdiiller. 



85. Das (Brab im tfufento 

9ldc^tli(^ dm 33ufento lifpcln bet ©ofenja bumpfe fiieber; 
2lu3 ben 2B'affern f^aflt eg Slntoort, unb in 2Birbeln 

flingt c§ tmeber! 

Unb ben ^lufe f)inauf, Ijinunter jieljn bie ©fatten tapf* 

rer ©oten, 

®ie ben Sllarid) betneinen, il)re§ S3olfe3 beften SSoten. 

5 Slttgufrit^ unt) fern ber £eimat mufeten l)ier fie iljn be* 

graben, 

2Baljrenb nod) bie 3fugenblo<fen feine ©gutter blonb 

umgaben. 

Unb am Ufer be§ 33ufento rci^ten fie fid) urn bie SBctte, 
Urn bie ©tr5mung abjuleiten, gruben fie cin frifd)e§ 

»ette. 



LYRICS AND BALLADS 117 

ber toogenteeren £ol)lung ttmljtten fic empor bie (Srbe, 
©enften tief Ijinein ben £eid)nam, mit ber 3tiiftung, auf 10 

bem $ferbe. 

2)ecften bann mit 6rbe tDieber tf)tt unb feme ftolje £abe, 
2)ap btc fyotyn ®trmngett)<id)fe ttmdtfen au§ bem £>elben= 

flrabe. 

9lbgetenf t jum jtueitenmale, toarb ber i$lu% ^erbeigejogen : 
9Jtad)tig in iljr alte§ Sette fcftfumten bie 33ufentmt)ogcn. 

Unb e§ fang ein 6I)or toon 9Jtctnnern: „©<$laf in beinems 

#elbenel)ren ! 

Seined 9t5mer3 fdjnibe £abfu<3(jt foil bir je bein ©rab 

berfeljren !" 

©angen% unb bie Sobgefdnge tonten fort im ©oten* 

Ijeere ; 

2BdIjc fie, 33ufentott>clIe, todlje fie Don SJleer ju 5Jieere! 

platen. 



86. Hvd\\batb Douglas 

„%tf) i)ab' e§ getragen fieben 3»aljr 
Unb id) fann e§ nid)t tragen meljr; 
2Bo immer bie SQBclt am fd^onften mar, 
2)a mar fie flb unb leer. 

ttritt ^intreten dor fein ©efid)t 5 
3fn biefer #ned)t3geftalt ; 



118 



LYRICS AND BALLADS 



@r fcmn meinc SSittc toerfagen nidfjt, 
3fd) bin ja toorben alt; 

Unb triig' er nod) ben alien ©roll, 
10 3frifd) tt)ic am erften Stag, 

©o fomme, toa§ ba fommen foil, 
Unb fomme, ttm§ ba mag." 

©raf $ougla§ fpruj&fs. 2lm 2Beg cin Stein 
Sub iljn ju garter Stutf, 
15 @r faf) in SBalb unb fiefo ^inein, 
2)ie 9lugen fielen iljm ju. 

@r trug einen #arnifd), roftig unb fitter, 
2)ariiber ein spilgerfleib, — 
2)a 1)0x6)', bom SBalbranb fd)o£( e3 Ijer 
2o- SSie bon £>5rnern unb ^agbgeleit. 

Unb $ie§ unb ©taub aufmirbelte bidjt, 
£er jagte 9Keuf unb 5Jiann, 
Unb el)e ber ©raf fief) aufgeri^ft, 
SBaren 8tofc unb 3teiter f)eran. 

25 $5nig 3a!ob fafe auf l)ol)em $to% 
©raf 2)ougIa§ gruftte tief, 
2)em $flnig ba§ Slut in bie SBange fdjofc, 
2)er 2)ougla§ aber rief : 

„$5nig 3afob, f<f)aue mid) gnabig an 
30 Unb pre mi<$ in ©ebulb, 

2Ba§ meine SMber bir angetljan, 
@3 mar nidjt meine ©d)ulb. 



LYRICS AND BALLADS 



2)enF nid)t an ben alten 2)ougla3=5Reib, 
2)er trofcig bid) befriegt; 
2)enf' Itcber an beinc Sinberjeit, 
2Bo id) bid) auf ben $nieen gettriegt. 

2)enF licbcr jurucf an ©tirling=©d)lofc, 
2Bo id) ©pieljeug bir gefdjnifct, 
2)id) geljoben auf beine3 S3ater§ 9tofc 
Unb $feile bir jugefpifct. 

2)enF licbcr guriicf an Sinlitfjgott), 
9ln ben ©ee unb ben 93ogell)erb, 
2Bo id) bid) fifdjen unb jagen frof) 
Unb fd)ttrimmen unb fpringen gelefjrt. 

O benF an aHeS, tt>a3 einften mar, 
Unb fcinftige beinen ©inn; 
3d) ljab' e§ gebufcet fieben ^a^r, 
S)aj$ id) ein ®ougla§ bin." 

„3$ fey bi<$ nt^t, ©raf 2ird)ibalb, 
3d) Ijdr* beine ©timme nid)t, 
9ftir ift, a(8 ob ein 3iaufd)en im 2Balb 
S3on alten Qtittn fpridjt. 

W\x flingt ba3 9taufd)en fiifc unb traut, 
3d) lauf$' iljm immer nod); 
2)astt)ifd)en aber flingt e§ laut: 
'@r ift ein 2)ougla§ bod).' 



LYRICS AND BALLADS 



3d) fd)' bid) nid)t, id) Ijore bid) nid)t, 
2)a§ i[t atle§, toaS id) fcmn; 
(Sin 2)ougla§ Dor meinem Stngefic^t 
SKir* cin bcrlorcncr SJtann." 

$flnig 3a!ob gab fcincm 3tofc ben ©porn, 
Sergan fling jefct fein 3titt, 
©raf 2)ougla§ fafete ben 3ugel bom 
Unb Ijielt mit bcm $5nige ©d)ritt. 

S)cr 2Bcg trntr [tcil unb bic ©onnc ftad) 
Unb fein ^angcr^cmb tt)ar fd^tDcr ; 
2)od) ob er fd)ier gufammenbrad), 
@r lief bod) nebcnljcr. 

,/®tinig 3afob, id) toar bcin ©enefdjall, 
3d) ttritt c§ nid)t fitrber fein, 
3d) ttritt nur toartcn bcin 9top im ©tatl 
Unb tym fd)iittcn bic $5rner ein. 

3$ ttritt il)m felber madien bic ©treu 
Unb c§ tranfcn mit cigner £anb, 
Slur lap mid) attnen ttrieber auf§ ueu' 
2)ic Suft im SSaterlanb. 

Unb toittfl bu nid)t, fo f)ab' einen SRut, 
Unb id) tt)it( e$ banfcn bir, 
Unb gicl) bein ©(tytoert unb triff mid) gut 
Unb lafr mid) fterben ^ier !" 



LYRICS AND BALLADS 



$onig $afob fprang fjerab bom $ferb, 
£ett leudjtete fcin ©efid)t, 
9lu3 ber ©<f)eibe gog er fein breite§ ©djtoert, 
3lber fallen liefe cr t% nidfjt. 

^tmm'S f)in, nimm'S l)in unb trag e3 ncu 
Unb bettwdje mir meine 9tu^; 
2)er ift in tieffter ©eele treu, 
2Bcr bie £>eimat licbt ttrie bit. 

3u $to% ttrir reiten nacf) Sinlitljgott), 
Unb bu reiteft an meincr ©eif; 
®a tooflett ttrir ftf^en unb jagen frol), 
9ll§ tDic in alter 3eit/' 

Sontane. 



87. Bet $if<*er 

2)a§ Staffer raitf^', bag Staffer fd»mofl, 

(Sin $ifd)er fcfc baran, 

©al) nad) bem 9lngel ruljeboll, 

$uf)l bis an3 £erg f)inan. 

Unb ttrie er fifct unb ttrie er lauf^t, 

Seilt fid) bie glut empor; 

9lu§ bem betnegten SBaffcr raufd)t 

(Sin feudjteS 2Bcib Ijerbor. 

©ie fang ju il)m, fie fprad) ju il)m: 
„2Ba3 lodft bu meine SBrut 
9Jtit SRenfgemoift unb 2Kcnfd)enlift 
£rinauf in SobeSglut? 



LYRICS AND BALLADS 



2ldj, mufeteft bu, toie'3 Sif^Ietn ift 
©o rooljlig anf bem ©runb, 
S)u ftiegft Ijerunter, tt)ie bu btft, 
Unb mitrbeft erft gefunb. 

Sabt fid) bic liebe ©onne nid)t, 
®er 9Jtonb fid) nid)t im 2Kcer? 
ffeljrt meHenatmenb il)r ©efidjt 
Rufct boppclt fd)imer f)er? 
Socft bid) bcr ticfc £immel nid)t, 
2)a§ feu^toerlBlrtc »lau? 
Sodt bid) bcin eigen Slngefid^t 
9lid)t l)er in ettfgctt Stau?" 

35a3 Staffer raufd)f, ba3 2Ba|fer fdimoll, 

Stefct' iljm ben nadicn guft; 

©cin £erj ttmd)§ itjm fo fet;nfud)tSt)olI, 

2Bie bet bcr Siebften ©rufe. 

©ic fprad) ju il)m, fie fang ju iljm ; 

S)a toar'S urn iljn gefdjeljn: 

©alb jog fic tf)n, Ijalb fanf cr Ijin 

Unb tDarb nid)t meljr gefetjn. 

<5 o c 1 1} c. 



88. Has <BUUf pon ^entjaU 

S3on @bcn^aH bcr junge Sorb 
Sftflt fdjmettern gefttrommetenf^all ; 
6r $ebt fid) an be§ Stifd)e3 Sorb 
Unb ruft in trunfner ©tifte ©d)tt)all: 
„9lun §er tnit bem ©(tide bon (SbenljaH ! 



LYRICS AND BALLADS 



123 



2>er S^enf fcernimmt ungem ben ©prud), 

S)e§ £>aufe§ dltefter akfafl, 

9limmt jogernb au§ bcm feibncn £ud) 

2)a3 fjolje Strinfgla^bon Snjftafl, 

©ie nennen'3: ba§ ©liicf Don (Sbenljall. 10 

2)arauf ber Sorb: „3)em ©la§ jum ^3ret§ 

©d)enf 9toten cm au3 Portugal!" 

9Jtit £anbejtttem giefct ber ©rei§, 

Unb jmrpurn Std)t ttrirb iiberatt; 

($3 jirafjlt au§ bcm ©liicf c bon 6bcn^aH. 15 

2)a fprtd)t ber Sorb unb fd)ttringt'§ babei: 
„2)tc3 ©la3 Don leudjtcnbcm £rt)ftatt 
©ab meinem 2lt)n am Duett bic get; 
2)rein fdjrieb fie : '®ommt bieS ©ia§ ju gall, 
galjr toofjl bann, ©liicf Don ©bengal! !' 20 

(Sin $eld)gla§ ttmrb gum So§ mit gug 

S)em freub'gen ©tamm Don (Sbenfjall; 

2Bir fcfjtiirfen gem in Dollem 3ug, 

2Bir lauten gem mit lautem ©d)att; 

©tofet an mit bem ©liicfe bon @benljatt!" 25 

(£rft flingt e§ milbe, ttef unb Doll, 

©leid) bem ©efang ber 9tacf}tigatt, 

®ann toie be§ SBalbftromS laut ©erott; 

3ulefct erbroljnt tt)ie $onnerl)att 

2>a3 Ijerrlid)e ©liicf Don (Sbenfyafl. 3° 



LYRICS AND BALLADS 



,/3um £>orte nimmt citt fiiljn ©efd)(ed)t 
©id) ben jerbredjlidjen $rt)ftatt; 
@r baucrt Ictnger fdjon, ati ted}t; 
©tofct an ! mit biefcm ^rftft'gcn $ratt 
»erfu# id) ba3 ©iiid toon @benf)att." 

* 

Unb al§ ba§ StrinfglaS gellenb fpringt, v 
©pringt ba§ ©etoolb' mit jftfjem Snail, 
Unb au§ bcm 3tifc bic 3?Iamme bringt; 
SHe ©afte finb jerftoben all' 
2Kit bem bredjenben ©lucfc toon (Sbenljatt. 

(Sin ftitrmt ber 3?einb mit Sranb unb 9Jlorb, 
®er in ber 9lad)t erftieg ben SSatl; 
SSom ©diroerte faUt ber junge Sorb, 
£dlt in ber £)anb nod) ben Srt)jM, 
2)a§ gerfprungene ©litcf toon (Sbenljafl. 

9lm SJlorgcn irrt ber ©djenf allein, 
®cr ©rei§, in ber jerftorten $a!T; 
(£r fudjt be§ £errn tocrbrannt ©ebein, 
6r fud}t im graufen Strummcrfatt 
2)ic ©d)erben be3 ©liids toon (SbenljatL 

„S)te ©teimoanb," fprtdit er, „fpringt gu ©tu<f, 

Site Ijolje ©Sule tnufj ju gall, 

©Ia§ ift ber @rbe ©tola unb ©Kid, 

3tt ©pittter faM ber grbenfcall 

6mjt, flletdj bem ©Hide toon @bcn!jafl." 

UI)Ianb. 



LYRICS AND BALLADS 



125 



89. Bet tZauctier 

„2Ber magt e§, StitterSmann ober Snapp', 
3u tauten in biefen ©d)lunb? 
(Sincn golbnen Sedjer merf id) Ijinab, 
Skrfdjlungen fcf>on l)at iljn ber f^tDarjc 9Jhmb. 
SQBcr mir ben ©et^er farm mieber jeigen, 5 
6r mag iljn beljalten, er ift fcin eigen." 

$er $5nig tyridtf e§ unb mirft Don ber 

2)er ftli|ipe, bic fdjroff unb ftcil 

£)inau£l)angt in bic unenblid)e ©ee, 

2)cn 33ed)er in ber Gljarijbbe ©eljeul. 10 

^SDBcr ift ber Sefyergte, id) frage mieber, 

3u tauten in biefe SSiefe nieber?" 

Unb bie Sitter, bie $nap:pen um if)n f)er 

SSerneljmen'S unb fcfimeigen ftiH, 

©eljen ljinab in ba§ milbe ?Reer, 15 

Unb feiner ben Seeder geminnen mill. 

Unb ber $5nig jum brittenmal mieber fraget : 

„3ift fetner, ber fid) Ijinunter maget?" 

2)od) dlleS nodj ftumm bteibt mie ju∨ 

Unb ein @beKned)t, fanft unb fed, 20 

£ritt au§ ber $nappen jagenbem 61)or, 

Unb ben ©iirtel mirft er, ben SJiantel meg, 

Unb afle bie SJiftnner umf)er unb grauen 

9luf ben l)errlid)en ^tingling Dermunbert fdjauen. 



126 LYRICS AND BALLADS 

25 Unb true cr tritt an be§ gelfen £)ang, 
Unb blidt in ben ©djlunb f)inab, 
2)ie SBaffer, bic fie f)inunter fd)lang, 
2)ie ©Ijartybbe jefct briiHenb ttriebergab, 
Unb voit mit be§ ferncn 2)onnerS ©etofe 

30 (Sntftiirjen fic fcfydumenb bem finftern ©d)ofte. 

Unb e§ toaHet unb fiebet unb braufet unb aifdjt, 
SSic menu SBaffer mit geuer fid) mengt; 
33i£ jum £immei fprifcet bcr bampfenbe ©ifd)t, 
Unb glut auf glut fid) olju' @nbe brdngt 
35 Unb mitt fid) nimtner erfd)i)pfen unb leeren, 
9ll§ tnotttc ba3 SJlcer nod) ein SJieer gcbdrcn. 

2)od> enblid), ba Icgt fid) bic nrilbe ©eroalt, 
Unb fcfytnarg au3 bem tneijjen ©d}aum 
$lafft ^inunter cin gdljnenber ©palt, 
40 ©runblo§, al3 ging'3 in ben £oilenraum, 

Unb reifcenb fiel)t man bic branbenben SBogen 
£inab in ben ftrubelnben £rid)ter gejogen. 

3[efct fdjnett, el) bie Sranbung toieberfel)rt, 
$er bungling fid) ©ott bcflcfltt, 
45 Unb — ein ©cfyrei be3 @ntfefcen§ tnirb rings geljort, 
Unb fdjon §at iljn ber SBirbel ^intneggcfputt, 
Unb gctjeimniSbofl iiber bem fii^nen ©djnrimmer 
©cfylieftf fid) ber 9tad)en; er geigt fid) nimmer. 



Unb ftille mirb'S iiber bem SBafferfdjlunb, 
3n ber Siefc nur braufet e3 fyofyl, 



LYRICS AND BALLADS 



127 



Unb bcbcnb l)ort man Don 9Jtunb ju SJtunb: 

„€>o^erjigcr bungling, fa^re tool)!!" 

Unb fuller unb fuller f)flrt man'§ Ijeuten, 

Unb e§ Ijarrt nod) mit bangem, mit fd)recflid)em SBeilen. 

„Unb todrfft bu bie ®rone fclbcr ^incin, 55 

Unb fpradtft : « 2Ber mir bringet btc Sron', 

(£r foil fie tragcn unb Sonig fein' — 

W\tf) geliiftctc nidjt nad) bcm tcurcn So^n. 

2Ba3 bie fjeulenbe Stiefe ba untcn fcerljeljle, 

2)a§ erjaljlt feme lebenbe gliicfli^e ©cclc. 60 

2Bof)I mand)& Saljrjeug, bom ©trubcl gefafet, 
©d)ofe gal) in bic Siefe Ijinab; 
2)o<f) serfdEjmettert nur rangcn fid) $iel unb SDlaft 
$ert)or au§ bcm atleS berfd)lingenben ©tab." — 
Unb l)eflcr unb fetter, nrte ©turmeS ©aufen, 65 
£>6rt man'3 naljcr unb immcr nciljer braufcn. 

Unb c§ toallet unb ficbet unb braufct unb jifdjt, 
SBic toenn SQBaffer mit $euer fid) mcngt, 
33i£ jum £immet fprifcet bcr bampfenbe ©ifd)t, 
Unb SBelF auf 2M' fid) oljn' 6nbc brdngt, 70 
Unb nrie mit be3 ferncn 2)onner§ ©etofe 
(Sntfturgt c§ bruflenb bcm finftern ©<$ofee. 

Unb fiel)! au§ bcm finftcr flutcnbcn ©d)ofe, 

2)a l)ebet fid)'§ f^manentneip, 

Unb cin 9lrm unb ein gltinjcnber 5Raden tt)irb blofe, 75 

Unb e3 rubert mit Sraft unb mit emfigem gleifc, 

Unb er ift'S, unb l)od) in feincr Sinfen 

©djttringt er ben Sedjer mit freubigem SBinfen. 



128 



LYRICS AND BALLADS 



Unb atmete lang unb atmete tief 
&> Unb begriifetc ba3 Ijimmlifdje £id}t. 

Wit Sro^Iorfen e§ einer bem anbertt rief : 
„(5r lebt ! cr ift ba ! c§ befjielt iljn nid)t ! 
9lu$ bcm ©rab, au3 bet ftrubelnben SBaffcr^o^Ie 
$at ber Srabc gerettet bie Icbenbc ©eele!" 

85 Unb cr fommt, e§ umringt xt)n bie jubelnbe ©d)ar; 

3u be§ $onig§ gii&en er finft, 

2)cn Seeder reidjt cr tl)m fniecnb bar, 

Unb bcr $flnig bcr licblidjm Softer urinft; 

2)ie fiiHt iljn mit funfelnbcm 2Beit* bis gum 9tanbc, 
90 Unb bcr Singling fi$ alfo jum $tinig toanbte : 

„2ang lebc bcr $flnig ! 68- frcuc fid), 
2Bcr ba atmct tm rofid)ten Sid^t ! 
S)a untcn abcr ift'3 fiirdjterlid), 
Unb bcr 5Jienfd) berfudje btc ©fitter nid^t 
95 Unb begeljre nimmcr unb nimmcr ju fd)auen, 
28a§ fie gntfbig bcbccfcn mtt 9tad)t unb ©rauen. 

63 rip mid) l)inunter blifceSfdjneH, 
S)a fturjf mir au§ felftdjtem ©d)ad)t 
SBilbflutcnb entgegen ein reifcenber Duett ; 
100 W\tf) Jmdte bc3 2)opj)elftrom§ ttmtenbc 9flad)t, 
Unb trie cincn ftreifel, mit fdjttrinbelnbem 2)ref)en, 
Strieb midi'S urn, id) fonnte nid)t ttriberfteljen. 

2)a jcigtc mir ©ott, ju bem id) rief, 
3n ber ^dd^ften fd)recflid)en 9lot, 
105 9lu3 bcr Stiefe ragenb ein $elfenriff; 



LYRICS AND BALLADS 



129 



2)a§ crfafef id) beljenb unb entrann bcm Stob. 
Unb ba I)ing aud) ber 33edf)er an fpi^cn SoraHen, 
©onft lt)dr , cr ins Sobenlofe gefatten. 

®enn unter mir lag's nod) bergetief 

3n jmrpurner $infterni§ ba, no 

Unb Ijier bem Otjtt gleicf) ctntg fd)ltef, 

2)a§ 9lugc mit ©df)aubcrn Ijinunter fal), 

2Bie'§ t)on ©alamanbern unb Klol^en unb 2)ra^cn 

©idf) regt' in bcm furdf)tbaren £ottenradf)en. 

©dimarj ttrimmelten ba, in graufem ©emifdf), 115 

3u fdfjeuftlidfjen ^lumpen gebaflt, 

$er fhuptye Stafc ber Slippeufifd), 

2)e§ jammers greulidfje Ungeftalt, 

Unb brauenb tnieS mir bic grimmigcn Stynt 

2)er entfefclidf)e £ai, be§ 9Jteere§ £i)(ine. 120 

Unb ba Ijing idf) unb roar'3 mir mit ©raufen betuufet, 

SSon ber menfd)Ii($en £rilfe fo meit, 

Unter 2art)en bie einjige fuljlenbe Sruft, 

9lflein in ber grdftlid)en (Sinfamfeit, 

Stief unter bem ©d&all ber menf$licf}en 9tebe 125 

33et ben Unge^euern ber traurigen £>be. 

Unb fdjaubemb bad&f t$'8; ba frocfj'S Ijeran, 

9tegte Ijunbert ©elenfe 3uglei<$, 

SBitt fdjjnappen nad() mir; in be§ ©cf>reden3 SBaljn 

fiaff id) Io§ ber $oraHe umflammerten 3»cifl; !3° 

©leidf) fafet midf) ber ©trubel mit rafenbem Stoben, 

2)ocf) e§ mar mir gum £>eil, er rife mid) nad() oben." 



128 



LYRICS AND BALLADS 



Unb atmctc lang unb atmctc tief 
80 Unb begriifcte ba§ Ijimmlifdje Sidjt. 

9Kit groljlotfen c§ einer bcm anbcrn ricf : 
„@r lebt! er ift ba! e§ beljielt tljn ntc^t ! 
9lu§ bcm ©rab, au§ ber ftrubelnben SBafferljoljle 
£at ber Srabe gerettet bie lebenbe ©eele!" 

85 Unb cr fommt, c§ umringt il)n btc jubelnbe ©d)ar; 

3u bc§ ifimigS giiften er finft, 

S)cn Se^er reidjt er tljm fnieenb bar, 

Unb ber ffflnig ber lieblidjen Stouter toxttf t ; 

2)ie filflt tljn mit funfelnbem SOBeit* bis gum SRcmbe, 
90 Unb ber ^tingling fi<# alfo gum Sonig toanbte : 

„2ang lebe ber $ ontg ! @3 freue fid), 
SOBer ba atmet tm rofidjten Sid^t ! 
S)a unten aber iff§ ftirdjterlid), 
Unb ber 9Kenfdj oerfitd^e btc ©fitter uid)t 
95 Unb begeljre nimmer unb nimmer gu fd)auen, 
28a§ fie gnabig bebetfen mit 9tad)t unb ©raucn. 

©8 rip mid) ^inunter blifce§fd)nefl, 
S)a ftiirgf mir au§ felfidjtem ©djadjt 
SBilbflutenb entgegen ein reifcenber Quell ; 
100 Wlid) padte be3 SDoppelftromS toiitenbe 9Jtad)t, 
Unb ttrie einen ftreifel, mit fdjttrinbelnbem SDreljen, 
SEricb mid)^ urn, id) fonnte nidjt ttriberfteljen. 

2)a geigte mir ©ott, gu bem id) rief, 
3n ber $3d)ften fd)recflid)en Mot, 
105 2lu§ ber SEiefc ragenb ein Qfelfenriff; 



LYRICS AND BALLADS 



129 



2) a3 erfaftt' id) beljenb unb cntrann bcm SEob. 
Unb ba I^ing audj ber 23ed)er an fpifcen $oraHen, 
©onft toax 9 er in§ Sobenlofe gcfaHen. 

3) enn untcr mir lag's nodj bergetief 

3n Jmrpurner ginfternis ba, no 

Unb ob'§ Ijier bem Oljre gleid) ettrig fdjlief, 

2)a§ Sluge mit ©djaubern l)inunter fal), 

2Bie'§ don ©alamanbern unb 3Mtf)en unb SDradjen 

©id) regf in bcm furdjtbaren ©ollenradjen, 

©djtoarj ttrimmelten ba, in graufcm ©emifd), 115 

3u fd)euftlid)en ^lumpen gebaUt, 

®er ftad)Hd)te $Rod)e, ber fllippenflfa, 

2)e3 jammers greulidje Ungefiatt, 

Unb brauenb toie§ mir bie grimmigen Qityxit 

SDer entfe^Iid^e £mi, be§ 3Jleere3 £t)(ine. 120 

Unb ba Ijing idj unb roar's mir mit ©raufeu benmftt, 

35on ber menfd)lid)en £rilfe fo toeit, 

Unter Sarben bie einjige fiiljlenbe 23ruft, 

9lHein in ber graplid)en ©infamfeit, 

Stief unter bem ©c^aU ber menf<$lidjen 9lebe 125 

23ei ben Ungeljeuern ber traurigen 6be. 

Unb fdjaubernb bac^f idj'3; ba frodj'S Ijeran, 

3tegte ^unbert ©elente gugleid), 

SBill fdjnappen nad) mir; in be§ ©djredenS 2Bal)n 

Saff id) lo3 ber ^oraKe umflammerten 3ttW8; 13° 

©leid) fafet mid) ber ©trubel mit rafenbem SEoben, 

2)od) e§ tt)ar'mir gum £eil, er rife mid) nad) oben." 



130 LYRICS AND BALLADS 

2)cr $onig bctrob fi$ berttmnbert fdjier 
Unb fpric^t: „3)er Sedjer ift bein, 
135 Unb biefen SRing nod) beftimm' itf) bir, 
©efdjmiidt mit bem foftlid^ften ©belgeftcin, 
33erfud)ft bu'3 nod) cinmal unb bringft mir Sunbe, 
2Ba3 bu fa^ft auf be§ 3Keer§ tiefunterftem ©runbe." 

S)a§ Ijtfrte bie Softer tnit toeidjem ©efiiljl, 
140 Unb mit fdjmeicfyelnbem 3Kunbc fie fleljt: 

„2af$t, Stater, genug fein ba§ graufame ©Jriel! 
@r Ijat @ud) beftanben, toa3 feiner befte^t, 
Unb !6nnt 3$r be3 &ergen3 ©eliiften nidit gfiljmen, 
©0 mijgen bte SRitter ben ^nappen befd)amen." 

us S)rauf ber Sonig greift natf) bem 33ed)er f^neK, 
3n ben ©trubel iljn fd)Ieubert Ijinein: 
„Unb fdjaffft bu ben 33ed)er mir ttrieber gur ©tell', 
©0 fotift bu ber treffftd)fte Slitter mir fein 
Unb f otfft fie al§ (Slj'gemal)! Ijeut nod) umarmen, 

150 3)ie jefct fur bid) bittet mit gartem (Srbarmen." 

S)a ergreift'3 iljm bie ©eele mit £>immetegett)alt, 
Unb e§ blifct au§ ben Slugen iljm fitljn, 
Unb er fietyet erritten bie fdjflne ©eftalt 
Unb fieljt fie erbleic^en unb finten Ijin — 
155 S)a treibt'3 il)n, ben foftlidjen 5J3rct§ gu erroerben, 
Unb ftiirgt Ijinunter auf Seben unb ©terben. 

2Bol)l Ijort man bie Sranbung, tooI)l feljrt fie guriicf, 

@ie berfimbigt ber bonnernbe ©d)all; 

S)a btitft fi$'3 Ijinunter mit liebenbem Slid, 



LYRICS AND BALLADS 



@§ fommett, e§ tommen bic SBaffer alT, 
©ie raufdjen Ijerauf, fie raufdjen nieber — 
2)en 3fiingling bringt femes toieber. 

Seville 



90. Heine Sinefurc 

Wxty qudlt ein fonberbar SSerlangen 
9lad) ©org' unb ^Jlu^, ©efaljr unb ©treit, 
6§ ift mir ftet§ ju gut gegangen 
3[n biefer feibnen griebenSjeit. 

(£§ Ijat fein @$merj mid) iiberflutet, 
@3 ^at fein ©turm mein §aupt umtobt, 
@§ Ijat mein £>erg nocf) nie geblutet, 
@§ tyat fein ©treit mein ©cfymert erprobt. 

9tocf) ttmrb fein 3ocf) mir gum 3^6re$en, 
$ein Snoten, urn iljn gu burd^aun, 
9to$ feine ©d)ma$, urn fie gu rad)en, 
$cin Stob, urn iljm in§ Slug' gu fdjaun. 

9Dtir toarb fein banner, e§ gu fdjirmen, 
®ein ihang — bietueil idj nidjte getljan; 
9Jtir tt)arb fein ©ipfel gum Srftiirmen 
Unb gum 2)urd)rennen feine 23aljn. 

3n ber ©Ijartybbe ©trubelnMen 

2) a tau^f id) freubig lange fdjon; 

3) od) feiner Idfct ben Seeder fallen, 
Unb feine iion'gin ift ber Soljn. 



132 LYRICS AND BALLADS 

3$ tooHf, id) Ijorte ©djtoerter fingen 
Unb Ijorte, tt)ic cin @d)lad)trofc fdjnauft; 
SBtc tooflt' id) in ben ©attel fpringen, 
Sa, too bie 3ctt mit Slute tauft ! 

25 3n $ugeltoetter, ©peereSbornen, 

SBo S£ob, bcr ©knitter, pit btc 2Jfal)b, 
S)a tooKf id) mcincn SRenner fpornen, 
SBic in cin fiiljlenb SRofcnbab. 

©cbt mir em ©d)toert unb lafet mice's jieljen 
30 Unb gflnnt mir eincn ein^'gen ©d)lag, 
Unb feljt il)r mid) bom gelbe flie^en, 
©0 fei'3 rnein letter SebenStag. 

©cbt mir ben fttirib, bafe id) if)n fd)lage, 
©ebt mir ben Sob mit feiner $ein, 
35 ©cbt ©ieg mir ober 9tieberlage, 
Slur (apt e§ balb geftritten fcin! 

Stradjm 



91. Uidtt &epacf 

3d) bin ein freier 3Kann unb finge 
2Jlid) too^l in feine gurftengruft, 
Unb aflc§, toa§ itf) mir erringe, 
3ft ©otteS liebe £immel§luf t ; 
5 3$ fabe ftol^c fjeftc / 

SBon ber man Sdnber iiberjteljt, 
3d) toolju' ein SSogel nur im 9tefte, 
2Jlein ganjer 9leitf)tum ift mein 2ieb. 



LYRICS AND BALLADS 



133 



3$ burfte nur, ttrie anbre, tooHen, 

Unb toftr* nid^t leer babongeeilt, 10 

SBenn jaljrliclj man im ©taat bie JRoHen 

SDen treuen $ned)ten auSgeteilt; 

Mein itf) f)<xV me gugegriffen, 

©o oft man mi<$ Ijerbei befd)ieb, 

3$ Ijabe fort unb fort gepftffen, 15 

3Jlein ganger 3teid)tum ift mein Sieb. 

S)er Sorb gapft ©olb ausf feiner Sonne, 

Unb iti) au8 meiner ljod)ften§ SBein; 

9Dtein eingig ©olb bte 2Jlorgenfonne, 

9Kein ©ilber all ber 9Konbenf$ein ! 20 

$tirbt fidj mein Seben Ijerbftlid) gelber, 

Sein (Srbe, ber gum SEob mir riet; 

2) enn meine SDtungen pragf id) felber; 
9Jlein ganger SReidjtum ift mein Sieb. 

©em jing' id) abenbs gu bem SReigen, 25 
SSor kronen fpief id) niemalS auf; 
3d) lemte Serge too^l erfteigen, 
^Paldfte fontm' idj nidjt Ijinauf; 
3nbe§ au§ SJlober, ©turg unb SBettern 
©ein golben So§ fid) manner gieljt, 30 
©pieF idj mit leidjten SRofenbldttern ; 
SJlein ganger 3teidjtum ift mein Sieb. 

9iadj bir, nadj bir fte^t mein Serlangen, 
O fdjflneS $inb, toarft bu mein ! 

3) od) bu ttriflft 33(inber, bu ttriflft ©pangen, 35 
Unb id) foil bienen geljen? 9lein! 



LYRICS AND BALLADS 



3$ tDttl bte greitycit nt^t berfaufen, 
Unb tute id) bte ^paldfte mieb, 
2aff id) getroft bte Siebe laufen; 
3Jlctn ganger SReidjtum ift mem 2ieb. 



92. Hie fcrei 3^d^^ner 

3)rei Stgeuner fanb id) etnntal 
2icgen an einer 2Beibe, 
911s tnein ^uljrroert mit miiber Dual 
@d)lid) burd) fanbige £eibe. 

£ielt ber eine fiir fidj aflein 
3n ben £anben bie giebel, 
©pielte, umgliil)t bom Slbenbfdjein, 
©id) cin feurigeS 2iebel. 

£>ielt ber gtoeite bie $feif im 9Kunb, 
Slicfte nadj feinem 3taud)e, 
grot), al§ ob er bom @rbenrunb 
9tid)t§ gum ©Iticfe meljr braudje. 

Unb ber britte beljaglid) fd^Iicf, 
Unb fein 3^^1 am 33aum Ijing, 
tiber bie ©aiten ber 2Binbl)aud) lief, 
it ber fein ©erg ein S£raum ging. 

9ln ben $leibem trugen bie brei 
2od)er unb bunte glitfcn, 



LYRICS AND BALLADS 



5lbet fie boten trofcig fret 
©pott ben Stbengefdjtdfen. 

Sretfad) Ijaben fie mir gejeigt, 
SBenn ba§ fieben uu3 nad)tct, 
SBie man's t>erraud)t, t>erfd)l(ift, Dergetgt 
Unb e3 breimal beradjtet. 

9tad) ben 3wunern lang nocf) fdjaun 
SJtujsf id) im SOBeiterfaljren, 
9ta<$ ben ©extern bunfelbtaun, 
S)en fdjtuarjlocfigen £aaren. 

tenau, 



93. Est Est! 

ftomanje. 

£)art an bem Solfener ©ee, 
3luf be§ Sflafd^enberged W 
©tetyt ein fleiner Seidjenftein 
W\t ber furjen ^nfdjrift brein: 

Propter nimium Est Est 
Dominus meus mortuus est. 

Unter bicfem Stffomtment, 
2Beld)e§ feinen 9lamen nennt, 
9tul)t ein £>err Don beutfdjem Slut, 
2)eutfd)etn ©d)lunb unb beutfd)em 2Jlut, 
S)er Ijier ftarb ben fdjtinften Job — 
Seine ©djulb t>ergeb' iljm ©ott ! 



LYRICS AND BALLADS 

9ll§ er reiff im toelfd)en 2anb, 
SStelen fc^ledjten SOBcin cr fanb, 
2M$er leid^t tote SOBaffer tt)og 
Unb bic Sippen fcf)ief ifjm jog; 
Unb cr rief: ,,3$ Ijalt'S nidjt au§! 
Sieber nappe, reit borau3; 

©prid) in jcbcm 2Birt§l)au3 em 
Unb probiere jeben SBein. 
2Bo er bir am beften fdjmecft, 
©ei fur midj ber Sifcjj gebetft; 
Unb bamit i$ fiub' ba3 9ieft, 
©d)reib an3 %1)ox mix an em Est." 

Unb ber ^nappe ritt boran, 
£>ielt dor jebem ©d)enffjau§ an, 
SEranf em ©la§ Don jebem SBein; 
2Bar ber gut, fo fcJjrt' er etn, 
2Bar ber fcf)led)t, fo fprengf er fort, 
23i3 er fanb ben redjten Drt. 

5lIfo fam er na<$ ber ©tabt, 
©ic ben SKusfateHer Ijat, 
S)er im gangen tuelfdjen Sanb 
§iir ben beften ttrirb genannt; 
2113 don biefem tranf ber ®ncd)t, 
SMinff etn Est iljm gar gu fd^ted^t. 

Unb mit feuerrotem ©tift 
Unb mit riefengrofcer ©d)rift 



LYRICS AND BALLADS 



9Mt cr nad) beg 2Bein3 ©ebuljr 
Est Est an bcr ©djenfe SE^ttr ; 
3fa, nad) anberem 39ericf)t 
$el)lt bie brittc ©ilbe nidjt. 

SDer £err Slitter fam, falj, tranf, 
39i§ cr tot ju Sobett fanf. 
©d)ente, ©djenfin, Sellner, 8napp' 
©ruben iljm cin f$5ne3 ©rab 
§art an bcm 23oIfener ©ee, 
2luf be3 glaf^cnbcrges £ol)\ 

Unb fcin ftnapp', ber Softetoein, 
©efcf ifjm cinen fieidjenftein 
Oljne SBappen, ©tern unb £mt, 
9Jlit ber 3nfd)rtft !urj unb gut : 

Propter nimium Est Est 
Dominus meus mortuus est. 

iti) nati) bent Serge tarn, 
(Sine SfoW W vxix nal)m, 
Unb bie jtoeite trug i$ fort 
9la<$ bem toeltberiiljtnten Ort, 
2Bo ber beutfd)c Slitter liegt, 
®er t)om Est Est toarb befiegt. 

©elig preif* id) bcine Slul)', 
9llter guter ftreiljerr, bu, 
S)er bu Ijier gefaflen bift 
S3on bem Stranf, ber boppelt i ft I 



138 

65 



LYRICS AND BALLADS 



Soppeft ifl in Shaft unb ©lut, 
©olbneS SJiuSfatellerblut. 



3al)r fiir %af)x an jenem Stag, 
2Bo bein Seib bem ©eift erlag, 
3tel)t, mas trinft in ©of unb £au§, 
70 $eierli$ gu bir l)inau3 

Unb begiefct tnit beinem SBein 
3)ir ben £>iigel unb ben ©tern. 



Slber jeber beutfdje SJtann, 
3BeId)er Est Est trinten fann, 
75 S)enfe bem bet jebem 3ug, 

Unb fobalb er Ijat genug, 
Opfr' er fromm bem ebeln £errn, 
SBaS er felbft nod) tranfe gem. 



2lIfo f)aV i$'§ audt) gemadjt 
80 Unb baju bie§ Sieb erbad)t. 

Sieber fingen ein§ beim 2Bein, 
2113 im ©rab befungen fein! 

Propter nimium Est Est 

Siegt man<$ ciner fd)on im 9teft. 

IDtlljelm mailer. 



LYRICS AND BALLADS 



94. Ubfdjiefc 

3m SBalbe bet fiubotmfc. 

O Sadler toett, o £>ol)en, 
D fdjoner, gtiiner SBalb, 
S)u meincr fiuft unb SOBeljen 
Slnbad&t'ger Hufentyatt ! 
S)a braufjen, ftete betrogen, 
©auft bte gcfcpft'ge 2Beit; 
©d)Iag nod) etntnal bte 23ogen 
Urn mid), bu griincS 3elt ! 

2Benn c§ begtnnt ju tagen, 
3)ic Srbc bampft unb bltntt, 
2)te 35ogcl luftig fdjlagen, 
2)a& btr bcin £>erj erflingt: 
S)a mag bergel)n, bertoeJjen 
2)a§ triibe Srbenleib, 
S)a foil ft bu auferfteljen 
3[n jungcr ©errlidjfeit ! 

• 

S)a fteljt tm 2Balb gefdjrteben 
(Sin jttHeS, ernfteS Sffiort 
SSon redjtem S£ljun unb Cteben, 
Unb toaS be§ 9Jlenfdjen £ott. 
3$ Ijabe treu gelefen 
ffiie SBorte fdjltc^t unb toatjx, 
Unb burdj tnein ganje§ SBefen 
2Barb'§ unauSfpredjlid) tlar. 



LYRICS AND BALLADS 



Sctlb ttjetb' id) bid) derlaffcn, 
gtemb in bcr Qfrembc geljn, 
3luf buntbetoegten ©ajjen 
3)e§ 2eben§ @$aufj)iel feljn; 
Unb mitten in bent Seben 
Sffiirb beineS Srnft* ©emalt 
9Mid) (Sinfamen etljeben, 
©o tpitb ntcin £erg nidjt alt. 

(£ id?cnborf f. 



95. £rftftlin£*£lau(>e 

2)ic linben Suftc finb ertoadjt, 

©ie fdufeln unb toeben Stag unb 9tad)t, 

©ie fd)affen an alien (£nben. 

O frifd^er SDuft, o ncuer Slang ! 

9lun, arme§ £>erje, fci nid)t bang ! 

5iun mufe *\\(f) atleS, afleS toenben. 

SDie SBcIt nritb fd>5ner mit jcbem Sag, 
SJlan toeifc nid)t, toad nod) toerben mag, 
©ad Sliiljen tt)itt nidjt enben. 
68 Mityt ba§ f ernfte, tieffte %$al : 
9htn, arme§ £erj, betgifc bcr Dual ! 
9lun mufc fidj alleS, aHc§ toenben. 



Utjlanb, 



LYRICS AND BALLADS 



96. Un fcen TWonb 

grflHejt tmeber Sufd& unb 
©till mit 9tebelglanj, 
fiofeft enblidf) audf) einmal 
9Jleine ©eele ganj ; 

Steiteft iiber mem ©cfilb 
Sinbetnb bcincn Slid, 
2Btc be3 greunbeS 9luge milb 
iiber mcin ©cfd^idf. 

3[cben 9lad()flang fiiljlt mcin £erj 
grolj* unb triiber $t\t, 
SBanble grotf^en Qfreub' unb ©d&merj 
3tt bcr (Sinfamfeit. 

gliefce, fliefee, licber glufe ! 
dimmer totxV id) frofj; 
©o berraufdjte ©dfjerj unb $ufc, 
Unb bic Streue fo. 

3^ befafc c§ bod() einmal, 

28a3 fo ttftlty ift ! 

SDafe man bo<$ ju feiner Oual 

Slimmer e§ bergijjt ! 

3taufd(je, fjlufk bag S§al entlang, 
Oljne »aft unb 9tu$', 
SRaufd&e, fliiftre meinem ©ang 
3KeIobiccn ju, 



142 



LYRICS AND BALLADS 



25 SBenn bu in ber 2Bintemad)t 

SBiitenb itberfdjtmttft, 
Ober um bie gritfjlingSpradjt 
hunger ifnofpcn quillft. 

©dig, toer jt<$ t>or bcr SBelt 
30 Oljne £afe berfd)Iieftt, 

(Sinen gteunb cm SBufen Ijatt 
Unb nut bcm geniefct, 

2Ba§, t)on 9Jtenfdjen nidjt genmftt 
Cber nidjt bebad)t, 
35 3)ur$ ba§ Sabtyrintlj ber 33ruft 

SBanbeit in bcr 3lati)t. 

© e t tj e. 



97. Ufcelatee 

©infant toanbelt bein gfreunb im t?riil)ling§garten, 
9Kilb born liebttdjen 3(*uberlid)t umfloffen, 
2)a3 burd) tocmfenbe Sliitenjtoeige gittert, 
Slbelaibe! 

5 3>n bcr fpiegelnben ftlut, im ©$nee bcr Slfyen, 
3n be§ finfcnben S£age3 ©olbgentflfen, 
3[m ©efilbe ber ©terne ftraljlt bein SMlbniS, 
Slbelaibe ! 

9lbenbliiftdjen im jarten Saube fliiftern, 
10 ©ilberglMdjen be§ 9Jlai3 im ©rafe fattfeln, 
SBettcn raufd)en, unb 9tad)tigallen floten: 
«belaibc ! 



LYRICS AND BALLADS 



6inft, o SBunber! entbliiljt auf meinem ©rabe 
(Sine 33lume ber 2lf$e meine3 £>er-$en§; 
2)eutli$ fd)immert auf jebem ^urjmrblatt^en : 
Slbeiaibe ! 

mattl)iffon. 

08. igin Sidttcnbanm fief^t einfam 

(Sin gi^tenbaum ftefyt einfam 
3[m 9lorben auf fabler £>ofj\ 
3l)n fdpfert; tnit metier 2)e<fe * 
Umljuflen tyn @i§ unb ©djnee. 

@r trciumt Don einer spalme, 
2)ie fern im SJtorgenlanb 
(Sinfam unb f^meigenb trauert 
2luf brennenber ^elfenmanb. 

B) c i n c. 



99. Du meine Seeie, 5u tnein $er? 

S)u meine ©eele, bu mein ^erg, 
S)u meine SBon^, o bu mein ©djmerj, 
2)u meine SBelt, in ber i<$ lebe, 
SKein #immel bu, barein itf) f^mebe, 
D bu mein ©rab, in ba§ Ijinab 
3$ emig meinen Summer gab! 
S)u bift bie SRu^, bu bift ber grieben, 
S)u bift ber £>immel mir befdjieben. 
2)afe bu midj liebft, mad)t mi<$ mir mert, 
2)ein Slicf l)at miti) dor mir berfldrt, 
2)u ljebft midj liebenb fiber mi<$, 
2Ketn guter ©eift, mein beffreS 3$ ! 

Hurfert. 



LYRICS AND BALLADS 



100. Un Me fcntfernte 

©o f)aV ity ttritfltd) bi<$ berloren? 
99ift bu, o ©<$one, mir entfloljn? 
Wort) Hingt in ben gemoljnten Dljren 
@in jebeS SBort, cin jeber Ston. 

©o tote beS SQBanbrerS 33li<f am 2Jlorgen 
*33ergeben3 in btc fiufte brtngt, 
SBenn, in bem blauen 9taum berborgen, 
$oty ilber iljm bic fierce fittgt: 

©o bringet ftngftlid) Ijtn unb nneber 
®urd) ftelb unb SBufd) unb SBalb mein Slid ; 

rufen allc meinc Steber ; 
O, lomm, ©eliebte, mir juriid ! 

<£ o e t tj e. 



101. Sdtffer* lUageliefc 

2)a broben auf jenem Serge, 
S)a fte^ i$ taufenbmal, 
Sin meinem ©tabe gebogen, 
Unb f$aue Ijinab in ba§ SE^aL 

2)ann folg' idj ber toeibenben £erbe, 
9)lein £>iinb$en bemaljret mir fie; 
3$ bin Ijerunter gefommen 
Unb toeife bo<$ felber nid^t nrie. 



LYRICS AND BALLADS 



2)ct ftefyet don f gotten ©lumen 
2)ie ganje SQBiefe fo boll. 

bredje fie, oljne ju nriffen, 
SBem id) fie geben foil. 

Unb 9tegen, ©turm unb ©emitter 
93erJ)aff idj unter bem 33autn. 
5)ie StJjtire bort bleibet berfdjloffen ; 
2)odj alleS ift leiber em SEraum. 

63 fteljet ein SRegenbogen 
SBoljl iiber jenem £mu3! 
©ie aber ift toeggejogen 
Unb meit in ba3 Sanb ljinau3. 

#inau3 in ba3 Sanb unb metier, 
2$ieflei$t gar iiber bie ©ee. 
33oriiber, iljr ©<$afe, borttber! 
2)em ©djafer ift gar fo toel). 



102. Had* altfceutf<*er tPeife 

63 ift beftimmt in ©otte3 Slat, 
2)aft man, tt>a3 man am liebften I)at, 
UJlufc meiben; 

SBiemoI)! nidjt3 in bem Sauf ber SBelt 
5)em ©erjen, adj! fo fauer fftflt, 
9113 ©d)eiben! ja ©<$etben! 



LYRICS AND BALLADS 



©o bir gef^enft ein $nofj)Iem tt>a§, 
©o tlju e§ in cin 28affergla§, — 
2)o<§ ttriffe: 

33luj)t morgen bir ein 9to3letn auf, 
(B melft tooljl no<$ bie 9tad)t barauf; 
2)a§ ttriffe! ja tniffe ! 

Unb l)at bir ©ott cin 2ieb befdjert, 
Unb Ijiiltft bu fie re<$t innig toert, 
2)ie Seine — 

@3 toerben mol)l adjt Sretter fein, 
2)a legft bu fie, mie balb! Ijtnein; 
2)ann roeine! ja meine! 

Slur muBt bu midj aud) re$t t>erftel)tt, 
3a, re^t derftefyn! 
SBenn 9Jlenf$en auSeinanbergeljn, 
©o fagen fie: auf SBieberfeljn ! 
3a, SBieberfe^n! 

5cad?tersleben. 



103. Has ift im Cefcen l^afflic^ ctngcrid?tct 

S)a§ ift im Seben Ijdfclid) eingeri<$tet, 
2)aft bei ben 9tofen gleidj bie 2)ornen fteljn, 
Unb toaS ba3 arme £>erj audj feljnt unb btdjfet, 
3um ©$luffe lommt ba3 SSoneinanberge^n. 
3fn beinen 3lugen ^ab* id) einft gelefen, 
63 blifetc brin don Sieb' unb ©lucf ein ©<$etn : 
SBeljuet bid) ©ott ! e§ tear' gu f$on gemefen, 
Sepet bid) ©ott, e§ Ijat ni$t f oflen fein ! — 



LYRICS AND BALLADS 



147 



fieib, 9teib unb fwft, auti) ify fyaV fie empfunben, 
6 in fturmgepriifter, timber SBanber£mann. 10 
3$ traumt' don grieben bann unb ftitlen ©tunben, 
2)a fii^rtc midf) ber 2Beg gu bir Ijinan. 
3n beinen 2lrmen motif idf) gang genefen, 
3um 2)anfe bir mein junge§ Seben meiljn: 
33epet btdf) ©ott ! e§ roar' gu fdf)5n gemefen, 15 
Se^iiet bi<$ ©ott, e§ l)at nid^t follen fein! — 

2)ie SBolfen flieljn, ber SBinb fauft bur$ bie flatter, 
Sin 9fegenf($auer gieljt bur$ SBalb unb gelb, 
3um Slbfdljiebneljmen juft ba3 red&te SBetter, 
©rau nrie ber £>immel fteljt Dor mir bie SBelt. 20 
2)o$ menb' e§ fidf) gum guten ober btffen, 
S)u fc^Iaufe 2Jiaib, in Jreuen benf id) bein. 
Seljiiet bid^ ©ott ! e§ fear' gu fd&on gemefen, 
33el)uet bi<$ ©ott, e§ l)at ni<$t follen fein ! 

Sdjeffel. 



104. 9et (Blaufre bet ^reuufcfdiaft 

SBenn eine§ 9Kenfd^en ©eele bu gemonnen 

Unb iu fein £>erg l)aft tief Ijineingefd&aut 

Unb tljn befunben einen Haren SSronnen, 

3n beffen reiner glut ber #immel blaut : — 

Safe beine 3ut)erfid^t bann nid&ts bir rauben 5 

Unb trage lieber ber (Snttctufd&ung ©<$merg, 

2113 bafe bu grunblo3 iljm entgieljft ben ©lauben : — 

ffein grower ©liidf alS ein bertrauenb £>erg ! 



LYRICS AND BALLADS 



Safc ablermuttg betne Siebe f^roeifen 

SM§ bi$t an bie Unmogli^feit Ijinan : 

itannft bu bc§ greunbeS %f)\xn md)t meljr begretfen, 

©o fangt bcr 3reunbf<$aft frommer ©laube an! 

D a ti n. 



105. Uus alien Jtt ardjen toinft e* 

9lu§ alten 9Mrd)en tmnft eS 
£)erbor mit toeifeer ^anb, 
2)a fittflt e3 unb ba flingt e3 
S8on eincm 3auberlanb, 

2Bo grofce Slumen f^ma^tcn 
3fm golbnen 9lbenbli4t, 
Unb jtfrtlid) ft$ betrad)ten 
Wit brciutlt^em (Beftyt ; — 

2Bo aHe Sftume tyre<$en 
Unb fingen, trie em (Sljor, 
Unb laute QueKen brectyen 
SQBic Stanjmuftf Ijerbor; — 

Unb £iebe§tt)ei|en tonen, 
2Bte bu fie nie geljort, 
33t§ ttmnberfufeeS ©eljnen 
2)td) ttmnberfujs betljort ! 

21$ fonnf id) bortljtn fomtnen, 
Unb bort tnein ^erg erfreun, 
Unb alter Dual entnotnmen, 
Unb fret unb feltg fetn! 



LYRICS AND BALLADS 



21$ ! jeneS £anb ber SBonne, 
2)a§ fefy' i$ oft im Sraum; 
2)0$, fommt bie 2Jiorgenfonne, 
3erfliejjf 3 tote citel ©$aum. 

6 e i n e. 



106. Has Sdjloft Soucourt 

3$ trdunf ate $inb mi$ guriide 
Unb f$tittle mein greife§ f>auj)t; 
2Bie fu$t ifyr mi$ Ijeim, ifyr Silber, 
2)ie lang i$ bergeffen geglaubt? 

$o$ ragt au3 f$atfgen ©eljegen 
(Sin f$immernbe§ ©$loft tyerbor, 
3$ lenne bic Stiirme, bic 3^nen, 
2)ie ftcinernc 33rucfe, ba§ £l)or. 

6§ flatten bom 2Bappenf$iIbe 
2)ie Somen fo traulid) mid) an, 
3$ Qrii^e bie alien Sefannten 
Unb eile ben Surgljof Ijtnan. 

S)ort liegt bie ©J)l)tn£ am Srunnen, 
2)ort griint ber geigenbaum, 
2)ort, Winter biefen genftern, 
a3ertraumf tdj ben erften Straum. 

3$ tret' in bie Surgfapelle 
Unb fu$e be§ 2ll)nl)errn ©rab; 
ffiort iff S, bott Ij&ngt bom ^fetter 
5)a§ alte ©emaffen Ijerab. 



150 LYRICS AND BALLADS 

9tod) lefen umflort bie Slugen 
2)ie 3iige bcr ^nfdjrift ni$t, 
2Bie IjeH burc^ bie bunten ©<$etben 
2)ct§ 8i$t bariibcr aud) bri$t. 

25 ©o fteljft bu, o ©djlofc mcincr SSatcr, 

9Jiir treu unb feft in bem ©inn 
Unb bift don ber (Srbe derf^munben, 
S)cr $flug ge^t iiber bid) Ijin. 

©ei fru^tbar, o tcurer Soben, 
30 fegne bid) milb unb gcrii^rt 

Unb fegn' iljn gnriefad), roer immcr 
2)cn $flug nun iiber bid) fiiljrt. 

3d) aber ttritl auf mid) raffen, 
9)tein ©aitcnfjriel in ber #anb, 
35 S)ie SQBeitcn ber (Srbe burdjf^metfen 

Unb fingen bon Sanb ju Sanb. 

fctjamiff o. 



107. Deutfdje <5efpenfter 

9Jltd) trug ein Straum jurilcf jum 9tedartljale, 
3fm 9tebel lag bie alterSgraue ©tabt, 
SBo jieber ©tein mir jum ©cba$tni§male, 
3ur Summer marb auf meinem 3iff^61att. 

5 S)er gefte bunfle 3innen falj id) ragen, 
2)a§ ©tordjenneft auf fyoljem 9tatl}au§ba<$, 
2)a§ aSo^Iein tmeljert, ba§ mid) oft getragen, 
Unb ruft bie ©eifter meiner $ugenb toatf). 



LYRICS AND BALLADS 



151 



gern grufct cm 33erg, em $irdjlem front ben ©tyfel, 
Unb iiberm ©trombett bebt ber fcfymcmfe ©teg, 10 
2)ie Sinben Ijeben bie befd)neiten SBtyfel, 
Unb f^einloS jieljt ber SJlonb ben SBoftenmeg. 

9Jiufil ertont, toeld) ^aftig bunted 9tegen ! 
2)ie glatte gladje f^imtnert fait unb toeifs, 
Sefannte 5lugen toinfen tnir entgegen, 15 
Unb untertn blanfen ©tal}lf<$ulj Inirf^t ba§ 6i3. 

SSorbet! SBorbei! 3fd) town bic £>anb ni<$t faffen, 
(Sin 9tebelfdjleier f^iebt fid) toaflenb dor, 
(Sin bunfler ©teg, ein Sreujtoeg ob, dcrlaffen, 
Unb einfam fte^ td) bor bem $ricbI)oftljor. 20 

3$ tnufc bie ©tint an3 (Sifengitter leljnen, 
2)ie $niee finfen auf ben fatten ©tein, 
Unb iibermadjtig queflen tneine Jljrdnen — 
®a toedte mitf) ttalifd;er ©onncnfdjein. 

3foIbe "Kux$. 



108. ntignon 

$ennft bu ba§ Sanb, too bie (Sitronen bliiljn, 
3fm bunfeln Saub bie ©olb=Orangen gliiljn, 
6in fanfter SSinb bom blauen £>immel meljt, 
S)ie 9Jtyrte [till unb Ijod) ber Sorbeer fteljt, 
ffennft bu e§ too$l? 

ffia^in! 2)aljin 5 
SJlodjf idj tnit bir, mein ©eliebter, gieljn. 



152 



LYRICS AND BALLADS 



Sennft bu bag £au3? 9Iuf ©aulen ru^t fcin 2)a<f), 
@8 glanjt bcr ©aal, e3 f^itnmert ba§ ©ema<$, 
Unb 2Jiarmorbilber ftc^n unb feljn mid) an: 
io „2Ba§ fyat man bit, bu arme3 ®inb, getfyan?" 
Sennft bu e$ toofjl? 

2)al)tn! 2)aljm 
2Jio$f tdj mit bir, o tncin 33ef<$ufcer, jteljn. 

ifennft bu ben S3erg unb feinen SBolfenfteg? 
2)a3 faultier fudjt im 9lebel feinen 2Beg; 
15 3n £>ol)len ttjo^nt ber 2)radjen alte 33rut ; 
6§ ftiirgt ber $el§ unb iiber ifyn bie fjlut, 
Sennft bu U)n mo^I? 

2)aljin! 2)al)in 
©eljt unfer 2Beg! o SSater, lafc un$ giefjn! 

<5 o c t tj e. 



109. 3n fcer Siftina 

3fn ber ©iftine bcimmerljoljem 9taum, 
S)a§ 33ibelbu$ in feiner ner&'gen £>anb, 
©ijjt 9Jti$elangelo in madjem £raum, 
Um^ellt don einer fleinen 9tmpel Sranb. 

5 Saut fpridjt l)inein er in bie 9Ritternad)t, 
9113 laufdjt' ein ©a[t iljm gegeniiber l)ier, 
Salb rote mit einer aflgeroalfgen SJiadjt, 
Salb toieber toie tnit feine§gleid)en fdjier: 

„Umfaf$t, umgrenjt {jab* idj bid), emig ©ein, 
io 9Jiit tneinen grofcen Sinien fiinfmal bort ! 



LYRICS AND BALLADS 



153 



' 3$ tyittte bid) in lid)te SJtantel ein 
Unb gab bir Setb, tine biefeS SMbelroort. 

9Jiit tneljnben £>aaren fturmft bu feurignrilb 
SSon ©onnen tmmer neuen ©onnen ju, 
$iir beinen SKenfdjen bift in tneinem 33ilb 15 
(Sntgegenf^roebenb unb barm^erjig bu! 

©0 fd^uf t$ bid) mit tnciner nidjfgen $raft: 
®amit id) ni$t ber grofere Mnftlcr fei, 
©djaff mi<$ — t<$ bin ein finest ber Setbenfd^aft — 
9ta$ beinem Silbe fdjaff mid) rein unb frci! 20 

SDen erften SKenfdjen formteft bu auS Stljon, 
3$ toerbe f(^on don Ijarterm ©toffe fcin, 
2)a, SJteifier, 6rau$ft bu beinen jammer f$on, 
Siibljauer ©ott, ftyag ju ! bin ber Stein/ 

€, 5. IHcYer. 



110. <D &u, t>or fcem Me St&vme fcfttpeigen 

D bu, dor bcm bie ©tiirme fdjmeigen, 

35 or bem ba§ 9Jtecr berjtnft in atu^, 

2)ie3 nrilbe £erg nimm Ijin gu eigen 

Unb fu^r' e§ beinem fyrieben ju: 

2)ie§ £>erj, ba§ emig umgetrieben 5 

(Sntlobert, afljurafd) entfadjt, 

Unb, ad), mit feinem irren Sieben 

©idj felbft unb anbre elenb ma$t. 



LYRICS AND BALLADS 

(Sntreifc e§, £>err, bem ©turm bcr ©inne, 
2>er aCBUnfd^e treuloS fdjtoanfem ©piel; 
2)cm bunfeln ©range feiner 2Rinue, 
©ieb tljtn em unbergftnglid) $kl; 
9luf bap e§, lo§ bom Slugenblide, 
33 on S^if^l/ 2lngft unb 8teue fret, 
©td) cinmal ganj unb bott erquide, 
Unb enbli<$, enolid) ftitlc fet. 

©eibeL 



111. l. ZOanbvtvs ZiadttlUb 

2)er bu don bcm ^immel bi[t, 
2llle§ Seib unb ©d>merjen ftiHeft, 
2)en, ber boppelt elcnb i[t, 
2)oj)pelt mit (Srquicfung fufle[t, 
91$, tdj bin be3 £reiben3 tniibc! 
2BaS foil all bcr ©c^mcrj unb Suft? 
©iifcer griebe, 

$omm, atf), fomm in tneine 33ruft ! 

2. <2in gMeicfje* 

ttbcr aflen ©ipfeln 

3ft *uy, 

3n alien SBtyfein 

©jnireft bu 

$aum einen £>audj; 

2)ie 23ogelein fdjroeigen im SBalbe. 

SBarte nur, balbe 

9tuljeft bu audj. 



LYRICS AND BALLADS 



155 



112. Qarfenfpieter 

SBer me fein 33rot mit StJjriinen afc, 

SBer nie bie lumtnerbotlen 

2luf feinem 33ette meinenb fafc, 

®er fennt eud) nidjt, tyx Ijimtnlifdjen 2Rad)te. 

3tjr fiiljrt ins Seben un3 Ijinein, 5 
$ljr lafct ben Slrmen fdjulbig merben, 
2)ann uberlaftt tljr tljn ber $ein: 
®enn aHe ©djulb rctd^t fid) auf ©rben. 

<S o e t f) e. 



113. Sieftft fcu fcas meet? 

©ie^ft bu ba3 SJieer? @3 glanjt auf fetner glut 
2)er ©onne $ra$t ; 
2)od) in ber £iefe, too bte spetle ruljt, 
3ft finftre Ka$t. 

2)a3 2Reer bin tdj. $n ftoljen SBogen rollt- 5 
9Jiein tmlber ©inn, 

Unb meine Sieber jieljn tote ©onnengolb 
2)aruber Ijin. 

©ie flimmern oft Don gauberljafter Suft, 
SSon Sieb' unb ©<$erj ; 10 
2)o$ fdjmeigenb blutet in berborgner 33ruft 
SKein bunfleS £erj. 

<S e i b e I. 



156 



LYRICS AND BALLADS 



114. poefte 

$Poe[ie ift tiefe§ ©(tymerjen, 
Unb e§ fommt ba§ ed^te Sieb 
(Sinjig au§ bcm SKcnf^en^crjen, 
2)a§ cin ttefeS Seib burdjgliil)t. 

5 2)odj bie ^od^ften ^oefieen 

©<$meigen, nrie ber pdjfte ©djmerj; 
Slur tote ©eifterf^atten giefyen 
©tumm fie burd)§ gebrodjne §erg. 

K e r n e r. 



115, Ungefprodine tPorte 

Ungefprodjne SBorte giebt e3 ol)nc $lang unb ol)ne Saut, 
6ingef$rieben tief im #erjen, tno fein Sfteufdjenaug' fie 

fdjaut; 

ttber iljrem bumpfen ©<$tt)eigen liegt e3 ttrie ein 3auber= 

bann, 

2)en nu$t 9Jtenf (^cntpct^^ett lofen, 9Jtenfd>enfraft nid)t 

bre<$en Icmn. 

5 2)ie fie in ber ©eele tragen, finb ttrie eine SBetternadjt, 
2Bie ein ferne§, [titles Seudjten, fjxit am 9tbenb ange= 

fa$t, 

SautloS iiberm £>orijonte fteigt e3 auf unb flammt 

. em por, 

Unb c3 roeifc bie nadjfte griilje nidjt, rooljin e§ fid) ber* 

lor. 



LYRICS AND BALLADS 157 

Unb tote ratfelljafte ©lumen, trie am 9Jieere3grunbe 

jM&n, 

Uber benen ©turm unb ©title immer fommen, immer 10 

geljn, 

Saufdjen bie derborgnen SBorte nadj bcm Ijeflen Stag 

Ijinauf — 

©turm unb ©tille jie^n doriiber, toecfen nimmermeljr fie 

auf. 

SQBie ein IcfcteS, toilbeS ^offen, Stob ba3 Seben 

pacft, 

2Bie ein lefcteS, bangeS ©luljen, elj bie rote (Slut ber* 

fd&ladt, 

fatten fie bie f^lummcrmube ©eele mad) don ©tunb' 15 

ju ©tunb', 

Unb bie ungefprodjnen 2Borte foremen bort mit lautem 

2Kunb. 

Unb e§ juctt bie franle ©eele trauernb in fidj felbft 

jurucf, 

Unb ba§ £>erj beginnt gu bredjen langfam, langfam, 

©tticf urn ©tu<f, 
$urje Qtxt nod) mag e3 podjen tonlo£, toie jertyrungnes 

33i§ bie ungefpro^nen SBorte ftitle merben unb ba§ 20 

©erj. 

<Ebn>arb. 



LYRICS AND BALLADS 



116. 3arattjuftras Hunbgefang 

O 2Renf<f) ! ©teb ad)t ! 

2Ba§ fprid&t bie tiefe 2Jlittertiad)t ? 

„3$ f^lief, ffllief, - 

2lu§ tiefem Sraum bin idj ertt>ad)t : — 

SHe SBelt ift tief, 

Unb tiefer al§ ber Sag gebadjt. 

S ief ift i$r 3Be$, — 

Suft — tiefer nod} al§ £>erjeleib: 

2Be&. foridjt: 'SSerge^!' 

®oc&. aHe Suft mifl groigfeit, — 

— SBitt tiefe, tiefe (Swigfeit !" 

ZTteijf dje. 



117, tPic rafft' id? mid? auf 

SQBic rafff i<$ mid) auf in ber 9tacf)t, in ber 9tad(jt, 

Unb finite mid) furber gejogen, 

S)te ©affen fcerliefc i<$, bom SBac^tcr bemadfjt, 

2)urd(jtt>anbelte fa$t 

3n ber »a$t, in ber »a$i, 

2)a§ Sfjor mit bem gotifdljen Sogen. 

2)er 2Jliifjr6ad) raufc^te burdlj felfigen ©dljadljt, 

3d) leljnte mid) iiber bie 33riide, 

2ief unter tnir naJjm id(j ber SBogen in adljt, 

S)ie tuallten \o fadljt 

3n ber Sttad&t, in ber Mad&t, 

2)od) wallte nid)t eine gurttcfe. 



LYRICS AND BALLADS 



@§ breJjte fid) oben, unjcifjlig entfadjt, 

2Jlelobif<Jjer SBanbel bcr ©terne, 

90tit iljnen ber 2Ronb in berufjigter tyxatyt, 

©ie funfelten fadljt 

3n ber »a<$t, in ber »a$t, 

2)ur<Jj taufdljenb entlegene Qf^tne. 

3<Jj blicfte fjinauf in ber 9tad)t, in ber 9tadjt, 

3fd) blidte Jjinunter auf§ neue: 

O toelje, tt>ie Jjaft bu bie Stage berbradljt ! 

9tun jtifle bu fatty 

3n ber »a$t, in ber Kad&t, 

3>nt podljenben £>erjen bie SReue! 

platen. 



us. mm 

O $erj, lag ab ju jagen, 
Unb Don bir toirf ba§ 3odj! 
S)u ^aft fo biel getragen, 
2)u tragft audj biefeS nodj. 

Sritt auf in blanfen SBaffen, 
5Wein ©eift, unb toerbe frei! 
@§ gilt noty tnefjr ju fc^affen 
3lt§ einen SiebeStnai. 

Unb ob bie Sruft aud) blutet, 
3lur bormftrta in bie 33al)n! 
S)u toeifjt, am t)oHften flutet 
©efang bent to unb en @$hxm. 



LYRICS AND BALLADS 



119, ftfrer ein StUnMein 

©ulbe, gebulbe bidlj f ein ! 

tiber ein ©tiinblein 

3fft beinc hammer Doll ©onne. 

ttbcr ben Qfirft, too bie ©locfen Ijangen, 

3ft fdljon lange ber ©djein gegangen, 

(Sing in Stiirmer3 genftcr ein. 

SBer am nadtften bem ©turm ber ©locfen, 

©infant tooljnt er, oft erfdljrocfen ; 

2)o<Jj am fruljften tr5ftet t^n ©onnenfdjein. 

SBer in tiefen ©affen gebaut, 
fctttf an pttlein leljnt fidj traut, 
©locfen Ijaben ityx nie erfdfjiittert, 
SBetterftrafjl ifjn nie umjittert, 
9lber fpctt fein SKorgen graut. 

$oy unb Sicfc Ijat Suft unb Seib. 
©ag' ifjm ab, bem tf)5rigen 9teib: 
Slnbrer ©ram birgt anbre SQBonne. 

S)utbe, gebulbe bid) fein! 

tiber ein ©tiinblein 

3ft beine hammer Doll ©onne. 



LYRICS AND BALLADS 



161 



120. Senbung 

SBie, tmllft bu fdjon bic 2Baffen ftrecfen 

Unb meg bid) fteljten bom ©efedjt, 

SBeil SBunben brennen, ^feile nccfcn? 

— 3>efct jeig', ob bcine ©enbung edjt ! 

2)ein 33anner, gieb e3 nic Derloren 5 

Unb frage ni$t, tt)te raul) ber ©teg, 

£u ttmfeteft ja, toaS bu erforen, 

3ft ©d^ritt fiir ©djritt ein SeibenStoeg. 

33ti<f auf bie Srtfger Ijeil'ger gafjnen, 

2) ie nie genxmft mit iljrer Saft; 10 

©erjblut jeidjnet iljre 33al)nen, 

3) odj bor bem ©teg gait feme 9taft. 
©ie blicften nid)t na<f) irbifdjem ©ute, 
Serfolgung liejj fie ungebeugt, 

©ie fargten nie mit iljrem 33lute, 15 
SQBo fie fiir iljren ©ott gejeugt. 

2) er ©djtDadjling meidje, unterljanble, 
33erleugne, menn ber ®amj)f entbrennt, 

3) odj nad) ben fteitften $fytn mcmble 

(Sin ^erj, ba3 feinen ©djttrinbel fennt ! 20 
SDBirf afle§ toeg, urn frei ju &iel)en, 
5Kag audj fein ®el$ boriibergeljn, 
2)enn ber bie ©enbung Ijat oerlie^en, 
©iebt Shaft, bie barter ju befteljn. 

3foIbe Kur3, 



162 



LYRICS AND BALLADS 



121. Qcffnung 

6§ reben unb trciumen bie 2Jienfdjen biel 
3Son beffern fiinftigen Stagen; 
9la<t) eincm gliicfli<f)en, golbenen 3^1 
©iefjt tnan fie rennen unb jagen; 

2) ie SBcIt ttrirb alt unb toirb nrieber jung, 

3) odj bet 2Renfdj §offt immer SSerbefferung. 

2) ie $>offnung fiiljrt tljn tn§ Seben ein, 
©ie umflattert ben froljlidjen $naben, 
S)en 3fiingttng begeiftert iljr'Sfluberfdjein, 
©ie tt)irb tnit bem ©rei§ nid)t begrabcn; 

3) enn befdjliefjt er im ©rabe ben miiben Sauf, 
yiotf) am ©rabe pflanst er — bie £>offnung auf. 

@§ tft !ein leerer, fdjmeicf)elnber SBaljn, 
©rjeugt im ©eljirne be3 Sljoren. 
3fm £>erjen fiinbet e3 laut fid) an: 
3u toa§ Sefferm finb tt)ir geboren; 
Unb nxt§ bie innere ©timme tyridjt, 
3)a§ tauf^t bie Ijoffenbe ©eele nidjt. 



NOTES 



NOTES 



Among many comprehensive collections of German poems the 
following have especial value : 

X^cobor (Sdjtermetyer, Sfastualjl 2)eurfdjer ©ebidjte fiir Ijbljere 
©djulen. 32. Sluflage, l)erau«gegeben toon gerbtnanb 93ed)er. Jpatte 
a. @., 1897. 950 pp. One of the most popular German antholo- 
gies, first issued in 1836. It contains 621 selections; its pedagogic 
purpose has led to a somewhat pedantic exclusion of love-poems. 

ityeobor ©torm, #cmsbud| cms beutfdjen 2)tdjtem fcit GttoubtuS. 
4. Sluffoge. SBraunfcf)tt>etg, 1877. 

gerbinanb SfoenartnS, 2)eutfdje Styrtf bcr ©egemtmrt fcit 1850. 
2. toflage. 2)re«ben, 1884. 

Hermann tfage, 2luStt>al)( 2)eutfdjer ©ebtdjte. 7. Sluflagc. Sttten* 
Burg, 1899. About 700 poems. 

©eorg ©cfyerer, 2)eurfcf)er 2)icf)tertt)alb. 15. Sluflagc. (Stuttgart unb 

Setyfltg. 546 pp. Illustrated. Lyric selections. 

©. ©mil SBartljel, 9?euer ^octifdjcr #ausfdjafc. $odjbeutfdje ©e* 
btdjte au« ber 3*tt oom SBegtnne ber SRomantif Ms auf unfcrc Stage in 
f^ftcmatifd^ georbneter 2lu«tt>a!)I aus ben Ouetfen. #atte. 1355 
selections. 

Subwig (Srf unb granj Tt. 93o^me, SDeutfdjer Steberfjort Setygig, 
1893-94. 3 vols., 656, 800 and 919 pp. 2175 selections. The 
encyclopedic collection of $o(f$Ueber, published with the assist- 
ance of the Prussian government. The history of each selection is 
fully traced from the earliest sources, and with the songs are also 
given the original melodies and their later variants (but without 
instrumental accompaniment). 

No small part of the effect of a genuine SBotfSlteb is due to its 
melody: many of the best-known songs in the present collection 
are too closely wedded to their tunes to be separated. A good 

165 



166 



LYRICS AND BALLADS 



collection of popular melodies should be in the possession of every 
student of German songs. The following are recommended : 

Stuguji Cartel, 2)eutfdjeS ?ieber(ericon. 8. Sluftage. Seipjig, SReclam. 
One compact volume, containing 976 popular songs, with simple 
piano-accompaniment. 

2. SBenba, 33u<f> ber Sieber, 33raunfd)tt>eig, Collection Litolff, 
No. 846. 253 popular melodies, with good (though not difficult) 
accompaniment. An excellent collection in a single volume. 

Subrotg (Srf, 2)eutfd)er 2ieberfd)afe. Setyjig, peters. Three parts 
(sold separately), each containing about 200 popular songs with 
piano-accompaniment. 

Subroig (Srf unb grcmj 2R. $3o^me, 2)eutfdjer Sicber^ort (See 
notice above.) 



/ 



FIRST PART 



1. $er (Sloefettguft 511 8re£(att 

This ballad, very popular on account of its simple style and 
lively movement (published 1817), is a poetic version of a legend 
contained in Deutsche Sagen by the Grimm brothers (18 16). The 
language and metrical form closely follow popular models contained 
in Des Knaben Wunderhom (see Introduction, p. xx). 

Translated by C. T. Brooks in Longfellow's Poems of Places^ 
i. 65, and by the present editor in Germania (Manchester, N. H.), 
July, 1893. 

I. 25. fommett, arch, for gefommen (roar). 

II. 35-36. The time spent in drinking will be just sufficient to « 
allow for the complete melting of the metal. 

I. 38. mit, ethical dat. 

II. 39-40. mffr T e$ urn bein fiefcen . . . getljatt, your life would 

be forfeited. 

1. 40. fjfftrtmfciger, arch, for 33orrotfetger. 

1. 52. tfy'tit (for tfyat), a popular survival of the old reduplicating 
pret. indie, often found in the Wunderhorn; it should more 
properly be spelled tfjet, as it is not a subjunctive. 

I. 103. His eyes run down with tears. 

II. 101-112. This episode was invented by Miiller. 

1. 112. 2tbtU f refers to the bell- founder's life on earth, with its 
sinful deed. 

2. $a£ ©djuiert 

Written in 1809, this vigorous ballad has the sturdy tone of 
ancient German heroic poetry, which so strongly appealed to 
Uhland; some influence of the story of Siegfried is noticeable. 

1. 8. foil, impers. 

3. $e£ ftttaben Sergtteb 

One of Uhland's early poems, written in 1806. The poet's strong 

167 



* 



168 LYRICS AND BALLADS [Sel.4-6 

affection for the beautiful and romantic surroundings of his 
Tubingen home, among the Swabian hills, appears frequently in 
his verse. 

1. 6. 3Jhirterl)au£, i.e., source. 

Lai. (3tltrmg (otfe, the alarm-bell, telling of invasion; the call 
to arms was also made by the signal-fires mentioned in 1. 22. The 
mountaineers of South Germany, Austria, and Switzerland have 
always manifested a brave patriotism. 

4. $er Heme $tjbriot 

Published early in 1822. The brave revolt of the Greeks against 
the oppression of the Turks in 1821 found an enthusiastic advocate 
in Wilhelm Miiller of Dessau. The inhabitants of Hydra, a large 
island east of the Peloponnesus, showed daring courage in sea-figl\ts 
during this war. 

1. 11. gittg'd, impers., we went. 

1. 17. bogen . . . hit Stiirme, conditional. 

1. 20. $orbe, the "crow's nest" at the top of the mast. 

5. $er tnetfie $trfd) 

Written 181 1. 

1. 1. tool)!, in popular usage, has often a very slight effect of 
emphasis or concession, and at times hardly adds any meaning to 
the sentence in which it stands. 

Written between 1814 and 181 7. Ruckert, an ardent patriot 
sorely grieved at the disunion and subjection of Germany in his 
day, expresses here — by the use of the figure of the sleeping 
emperor — an earnest longing for a re-awakening of the ancient 
glory and power of a united fatherland. "Frederick Red-beard," 
the most powerful and chivalrous of the medieval Hohenstaufen 
emperors, was accidentally drowned in Asia Minor while upon a 
crusade, in 1 190. The news of his death awakened universal sorrow 
in Germany, and the common people refused to believe it. Accord- 
ing to the popular legend, he remained concealed in a cavern of the 
Kyffhauserberg, in the central part of Germany, waiting for the 



Sel. 7-9] 



NOTES 



169 



hour when he should come forth to lead the nation back to its 
former glory. This mountain is now crowned by a colossal monu- 
ment to the emperor William I, the restorer of German unity. 

7. $etfaaer 

Published in 182 1. A dramatic version of the fifth chapter of 
Daniel. Although Heine formally renounced Judaism, his heart 
remained warmly attached to the history and traditions of his 
people. 

1. 2. fhttttttter. Some editors adopt the reading flitter. 
1. 19. gftlben, for gulbeneS (golbeneS), an archaism often preserved 
in poetry and familiar speech. 

1. 21. fretoler, for freoefljafter, wanton. 

1. 29. ^ntnal, at once; the word generally means "especially." 
1. 32. The impersonal construction adds sensibly to the effect 
of vagueness and horror. 

1. 35 • (tier etl $ttf&, adverbial gen. 

8. $er $anbfrf)ttfj 

Written 1797. The ballad is based upon an anecdote related in 
the Essais Historiques sur Paris by M. de Saintf ois. English poems 
on the same subject are Leigh Hunt's The Glove and the Lions and 
Browning's The Glove. The short, unequal lines lend movement. 

1. 8. &uf tfyut. Note the emphatic position of the prefix. 

1. 60. gelaffen, calmly. 

1. 65. In the first edition of the poem this line reads, rather 
more tamely: Unb bcr fitter, ftdj ticf toerbeugenb, fyrtdjt 

9. $er in £l)u(e 

Written in 1773 or l 774> an< i incorporated into Faust as one of 
Margaret's songs. The language and style have the (apparently) 
artless simplicity of the Volkslied, although, as in most cases where 
artless simplicity is apparent, it is the simplicity of the most perfect 
art. The poet gave this poem much careful revision. The musical 
setting by Zelter (181 2) is very popular. 



170 



LYRICS AND BALLADS 



[Sel. 10-12 



1. i. $l)Ufe, an island described by Tacitus as lying north of 
the Orkneys, perhaps one of the Shetland group, here used roman- 
tically for a place vaguely remote. 

1. 3. fterbenb, qualifies SBufjle. 

1. 5. Nothing was so dear to him. 
1. 7. Cf. No. 1, 1. 103, n. 

1. ia. SUgteid), at the same time, i.e., along with his other 
possessions. 

1. 23. tlj&ten, cf. No. 1, 1. 52, n. 

10. $er retdjfte ??iirft 

The story of this ballad is related by Luther in his Table Talk, 
and falls in the year 1495. A colossal marble group in the royal 
park at Stuttgart represents the old bearded count sleeping with 
his head resting in the lap of a shepherd. 

1. 15. ©djaffen, cause. 

1. 24. in Sdjoft = tn'n ©djojj, for in ben ©djojj. 

1. 27. ©raf ittt Start, a medieval epithet, = "bearded count." 
1. 28. (Sbelfteitt, used collectively in the sing., as in Luther's 
Bible, Ezekiel) xxvii, 22. 

11. $te SaptUt 

Written 1805. Inspired by the Wurmlinger Kapelle, a lonely 
and conspicuous chapel standing on a bare hill which rises from 
meadows in the valley of the Neckar near Tubingen. About this 
little chapel is a graveyard, up to which the dead are brought for 
burial from the neighboring village of Wurmlingen. 

1. 6. Setdjendjor, the procession to the grave, chanting the 
funeral dirge (Hewett). 

1. 12. Qix, dat. of person concerned, for thee. 

12. Sifj&fer$ eomttagSlieb 

Written 1805. Also a motive from the vicinity of Tubingen. 
The wide, level meadows of the Neckar-valley, upon which stand 
various picturesque villages, each with its church-tower, impress 
one who wanders over them at early morning with their breadth, 



Sel. 13-14] 



NOTES 



171 



freedom, and silence. The musical composition of this song by 
C. Kreutzer is a favorite work for male choruses. 

1. i. embodies the entire impression which the solitude, the 
peal of the single bell, and the silence produce (Hewett). 

13. $te gSMfaljrt uaifj ftertaar 

Published in 1822. Heine added this note to the first edition: 
"The subject-matter of this poem is not altogether my own prop- 
erty. . . . When I was a small boy and was getting my first train- 
ing in the Franciscan monastery in Dusseldorf, ... I often sat next 
to another boy who was forever telling me how his mother once 
took him to Kevlaar; . . . how she offered a wax foot there on his 
account, and how his own lame foot had then gotten well. I fell in 
with the same boy again in the head class at the Gymnasium, 
and ... he reminded me laughingly of his miraculous tale, but 
added rather seriously : * Now I must offer a wax heart to the Vir- 
gin.' I afterwards learned that he was suffering at the time from 
an unhappy love-experience ; soon after he dropped altogether from 
my notice. In 181 9, while I was a student at Bonn and was taking 
a walk one day near Godesberg on the Rhine, I heard from a dis- 
tance the well-known Kevlaar songs, the best of which has the pro- 
longed refrain, ' ©etobt fetft bit, 2Jtoria ! ' As the procession came 
near, I saw among the pilgrims my school-companion with his aged 
mother. She was leading him. He seemed very pale and sick." 
At the small hamlet of Kevlaar, thirty-one miles northwest of Dus- 
seldorf, is an image of the Virgin Mary which has the reputation of 
working miracles of healing, and which is still visited yearly by 
thousands of pilgrims. Heine's early life and schooling in Diissel- 
dorf gave him an insight into the beautiful symbolism of the cere- 
monies of the Roman Catholic church, and they never ceased to 
appeal to him. 

1. 14. eS ftttgt, impers. 

1. 45. $0d)gef>ettebette, highly-blessed one ; cf. Luke, i, 28. 

1. 54. ie^nnb, arch, for iefct. 

14* (Sittfeljr 

Written 181 1. The eighth in a cycle of nine Wanderlieder. Uh- 



172 



LYRICS AND BALLADS 



[Sel. 15-18 



land's genial sympathy with nature is well shown in this popular 
poem. 

Title. (Sittfeljr, the specific term for " putting up " at an inn. 
1. 3- SdjHb, the sign of the inn. 

15. mtnblitb 

Written 1837. Often sung to an attractive musical composition 
by J. A. P. Schulz. 

1. 3. gmteK (nom.), more often griebe. 

16. mtnbiitb 

Published 1782. Modelled after Paul Gerhardt's beautiful 
Evening Hymn beginning ^utt ruljen attc SBatber" (1653). It was 
included by Herder in his Volkslieder with the remark, "The hymn- 
book is the people's Bible, its comfort and best refreshment. . . . 
Let Germany never forget this sturdy poet, in whom, as in few 
others, a blameless, genuine, natural feeling spoke!" 

1. 17. get toft, confidently \ with assurance. 

1. ao. eitel, " nothing but." 

1. 35. in $immel = tn'n #immel, for In ben §immet. Cf. No. 10, 
1. 24, n. 

17. aRoraettUeb 

Published 1825. Miiller stands among the best interpreters of 
nature in German poetry. 

I. 12. hit ©djeibett. Notice the effect of the acc. 

II. 13-15. In these lines one can almost see the play of the 
sunlight. 

18. O Samteficmm! 

A universal favorite in Germany. Written by A. Zarnack, and 
first published by him in his Volkslieder, Berlin, 1820. (Cf. Erk- 
Bohme, Deutscher Liederhort t i, 548.) It was based upon a very 
popular Volkslied, as old as the sixteenth century, beginning 

D Sannenbaum, Xannenbaum, 
$>u bijl ctn ebler Sm\Q ! 
5Du griinejl un§ ben ©inter, 
£)ie Uebe Sommerjeit. 



Sel. 19-22] 



NOTES 



173 



Translated by Longfellow: 

O hemlock tree ! O hemlock tree ! how faithful are thy branches 1 

1. 1. Xanncbaum, popular form for £annenbaum. 

1. ii. fte ftdj DOtt bamtett ttUtdjt, takes her leave. 

19. $eriftgefiUj( 

Written i860. 

I. 3. berffattgtter, from oerfUltgeil, to die away (of music). 

II. 5-8. Notice the lingering effect produced by alliteration. 

20. $offmmg 

Written 1841. 

1. 1. bfOUt, poetic for broljt. nod) fo feljr, about our colloquial 
phrase, "ever so much." 
1. 4. bod), "for all that." 
1. 7. XOt&ttf present for future. 

1. 14. £8cif? f the subject understood is fte, referring to Me (Srbe. 

1. 20. ^reubenaafjrett, poetical for greubentljronen. 

1. 25. Sc. e8, impers. 

1 21. $riU}(ut0$eutpg 

Written 1824. R. Opitz calls this song "a storm of spring jubi- 
lation " ; G. Schwab considered Miiller's " spring songs " the most 
charming and vigorous of all his poems. 

Title. ($itt$Ug means a ceremonious entering into a city. The 
personification is very vivid : Spring is represented as a triumphant 
young hero, attended by his retainers. 

1. 5. His heart writhes for fear. 

1. 6. itamtf gathers together; used in reference to "old things," 
as in Hermann und Dorothea, ii, 13: 

2Rutter, 3f)r frotntet fo lange, bie alten Stilcfe 311 fiufcen. 

1. 13. 5Jrt f dat., obj. of nadj. 

1. 19. ttia$ tt fatttt, his very best. 

1. 32. baufcbaeftg, chubby-cheeked ; more often JmilSbacftg. 

22. ftud bet 3ugcnb5cit 

Written in Italy in 181 7 or 181 8. The swallow and the stork, 



174 



LYRICS AND BALLADS 



[Sel. 23-26 



with their regular return as messengers of spring, are favorite 
" household birds " in Germany. 

11. Q-I2. In a children's song published in Des Knaben Wunder- 
horn in 1808 occurs the following stanza: 

Sc^ id a I be. 

Sdjtuafcertein, tote f(f)tt>afcfl fo tod unb plauberft tyin unb Ijer ! 
ffrriity fjaft $u iften unb ^aften Doll ; WbenbS ift Me3 le le leer. 
3u. tnorflen, el) bte Sonn aufflcrjt, erafifjlf! $>u $>etnen Sraum, 
Unb 2lbenb§, tuenn fie nteber(jef)t, ^aft $>u geenbet faum. 

23. ©djumftetttteb 

1. 22. UltllCrttianbt, steadily. 

24. aBattberfdjaft 

The first of a cycle of 23 poems, Die schdne Mullerin, set to 
music in a notable way by Schubert. A miller's apprentice (as often 
in the medieval Volkslied) is introduced as having bidden farewell 
to his former employer, and taking to the road in search of work. 
The cycle as a whole was published in 1821. 

1. 4. ftc( . ♦ . Cht f occurred. f 

1. 14. jneiit %a$ f acc. = metn'n %a$ (or meine £age): lit., "during 
my life-time," i.e., for a long period, continually. 
1. 16. Steitte, the mill-stones. 

25. 3tf> ttieij? ttirfjt, toad foil ed bcbeutcn 

Published 1824 as the first number of a "wanderer's cycle," in 
which the disappointed lover makes a roving journey in order to 
divert his attention from his own wretchedness. The cycle reflects 
Heine's bitterness at failing to win the hand of his cousin Amalie 
Heine. This poem has become a true Volkslied, assisted by Sil- 
cher's attractive melody. 

The legend of the Lorelei-siren was invented by Clemens Bren- 
tano in 1802. The Lorelei is a prominent cliff on the Rhine near 
St. Goarshausen. 

1. 16. 3Re(obci, popular form for SERelobte. 

26. $er Slug ber fiiebe 

First printed in Herder's Vo/kslieder, 1778, page 67. A very ap- 



Sel. 27-31] 



NOTES 



175 



propriate melody, simple and plaintive, is always associated with 
this song. Heine says : " An abundance of moonshine, a moon- 
shine which floods the entire soul, is found in the song * SBetttt id) 
ein 255glein toarV " Goethe called it " unique for truth and beauty," 
and in Faust (1. 3318) represents Margaret as singing it. 

1. 7. ©d)((tf is popularly changed to Xxanm, and gcbcnft (1. 13) 
to benft. 

1. 9. tlju', popular auxiliary, not to be translated. 

27. $u toft tone cine Slume 

Published 1825. This lovely little poem has probably been set 
to music more often than any other song. White (1890) speaks of 
167 settings. 

28. geftenrodlem 

First printed, in less finished form, in Herder's Von deutscher Art 
und Kunst, 1773, and included by him in his collection of Volks- 
lieder. It is generally held that the earlier poem was the work of 
Goethe, though critics are not fully agreed. The present poem, 
printed 1 789, is a conspicuous example of his masterly artistic use 
of motives suggested by popular poetry. 

1. 2. §eibett, arch, declined dat. sing., = §eibe. 

1. 18. iljttt, refers to SftbSlein. 

29. $ad SeUdjett 

From the operetta Erwin und Elmire, published 1775. 
1. 2. gctoitft ill fid), drooping, bending over. 

1. 12. matt gebtftfft, "factitive predicate," pressed me until faded. 
1. 16. in (td)t ♦ ♦ ♦ tUtljm, noticed. 

30. $a$ aerbrodjene £Rutg(em 

Written 1810. A universally popular song, in the naive spirit 
of the older Volkslied. Sung everywhere to a popular melody. 

31* $er mxtxn Stfdjterfem 

Written 1809. The poem is very closely related to the Volks- 
lied, many elements in it (including the metrical form) being taken 
literally from rude ballads. 



176 



LYRICS AND BALLADS 



[Sel. 32-35 



1. i. S3utfdfC or 83urf(f)ett, in the Middle Ages particularly ap- 
plied to wandering students. tiJOfjl (redundant), see No. 5, 1. 1, n. 

1. 3. <3te f the third pers. sing., used in address for the second, 
as often in the eighteenth century. gut, undeclined, by poetical 
license. 

1. 17. Ijttfe, arch, for l)ob. 

32. Gin ttffdjeit $rewbe 

Meyer's nature, always vigorous and sturdy, is well expressed in 
this wholesome poem. 

1. 1. toerlaffen, arch, for toerlaffeneS. 

1. 3. 83ed)er=$KuttbgeJaute, the noises of the cups when the round 
is being drunk. 

1. 4. freulem, cf. No. 7, 1. 21, n. 

1. 5. eiu biffdjen, uninfected, like ein toenig. 

1. 9. bllttten, gen., in agreement with SBanbS. 

1. 11. bie bcrjfi^rtC <Bd)Ulb, a legal term: a debt outlawed on 
account of its long standing ; here, a wrong which is too old to be 
set right. 

33. flwriofe ©efdjidjte 

Published 1834. 

1. 5- <«« SBege Md)t, hard by the road. 
1. 12. 28a(be£ljatt0e, wooded steep. 

34. flftfertteb 

Published 1832. 

I. 1. ^afcrfnabClt f "beetle-chaps." 

II. 2-3. tijfiten . . . hmfcn = tunften; taudjten. See No. 1, 

1. 52, n. 

1. 9. t>Cr(iebte Sdjfifer, enamored swains. 
1. 25. A little parody on No. 28, 1. 18. 

35. $ie attttftf ^mmt 

From Gedichte, Berlin, 1895. Baron von Liliencron, an officer 
in the Prussian army, gives here, in epic-humorous description, a 
realistic picture from daily life in Berlin. 



Sel. 36-38] 



NOTES 



177 



1. i . The imitative sound-words in this and other lines need no 
definition. 

1. 5. <3djetfentrager, player upon the "crescent," an instrument 
fixed upon a pole and hung with small metal bells. 

1. 6. gtombarbott (pronounce bong=bar=b6ng), a very deep brass 
bass-horn. 

1. 7. 83etfettfd)la0, clash of cymbals. $eltfott, helicon, a large 
spiral tube carried over the shoulder ; see Century Dictionary. 

1. 8. piccolo, a small flute of very high pitch, gittfettift, 
player upon the QKvXt, a harsh, old-fashioned instrument of the 
oboe-class. 

1. 9. £urfentrommel, bass-drum. 

1. 10. £erre, for §err, with serio-comic emphasis of impor- 
tance. 

1. 16. £ieut(e)tt(tttt£, in two syllables. 
1. 19. $e? f demonstrative. 

1. 29. gStttyetotine, ^atijerine, (Sljriftute : housemaids, no doubt. 

36. $er gnte $amerab 

Written 1809. In form and spirit closely related to popular 
songs in the Wunderhom. 

1. 2. nit = nidjt. 

1. 7. gUt T £ mitf is it meant for me ? 
1. 11. Sc. Cr as subj. 

1. 12. btxmxt = ttmfjrenb. 
1. 13. Sc. id) as subj. 

37. ©olbarenliebe 

Sung everywhere to a simple popular melody of the eighteenth 
century. 

1. 5. When I was compelled to follow the flag away. 

1. 12. gebadjt, sc. t)at. 

1. 18. umrungett, for umringt, surrounded. 

1. 20. Sotbatettbhlt, a hearty young soldier. 

1. 24. tneitt, gen., obj. of benf. 

38. 9Weitt 5tinb f toxv mar en £inber 

Written for the poet's sister Charlotte, and published 1826. The 



178 



LYRICS AND BALLADS 



[Sel. 39-42 



scene is from Heine's childhood home in Diisseldorf. "The father 
used to punish the lively boy by locking him up in a hen-house, 
upon which the latter invited his sister to join him there, and 
crowed so naturally like a cock that all the fowls in the neighbor- 
hood followed suit " (Buchheim). 

1. 20. 9Jiand)er alien &a$e, with Heine's characteristic double 
entendre, is to be taken in a personal sense. 

1. 25. Q&taubtn (nom.), less common than ©laube. 

' 39. $a$ matt im Surfje 

From Gedichte, 183/. 

1. 7. What can it be that so affects the aged woman ? 

40. S3ei bcm ®rabe meineS $ater£ 

Published 1775. 

1. I. UHt ♦ ♦ ♦ f)tX r round about. 

1. 11. 9U}ttbett, by older usage for Sfljnen or Hljnung, presenti- 
ment, intimation. 

41. $a£ ©rfcnncn 

Written before 1842. In style closely allied to the Volkslied. 
1. 6. <3d)fagoaum, the barrier across the city gateway, where 
toll was collected. 

1. 13. Sdjajjel, sweetheart; popular diminutive of €>d)afe. 

1. 23. 333ie ♦ ♦ . and), however. 

1. 24. gleidj = jogleict), immediately. 

SECOND PART 
42. (grlf&nig 

Probably written 1781. Goethe's power of transmuting the crude 
ore of popular songs into the refined gold of artistic poetry is no- 
where more successfully manifested than in this dramatic work, 
which is based on a rude Danish ballad in which a young noble- 
man falls in with the elves and thereby receives his doom to death. 
Goethe's treatment is far more imaginative and subjective than 



Sel. 43] 



NOTES 



179 



that of the original. Buchheim calls this " the most popular of all 
ballads " ; the magnificent romantic musical compositions by Schu- 
bert and Loewe are worthy settings of this work. 

Title. (£rlfimig, king of the elves. Goethe got this term from 
Herder's translation of the Danish ballad mentioned. 

1. 3. tt)Ol)(, snugly clasped (Harris). 

1. 5. toM$, colloquial for roorum. 

I. 7. €>d)tteif, train (of his robe). 

II. 9-12. The words of the Erlkonig heard by the child. 

1. 19. SReifjn, for SReUjen = £ang. 

1. 20. eitt f with the preceding verbs has the force of to sleep. 

1. 28. eiu 8eib(e)3, harm. 

1. 30. in 9fottett, for in ben 2(nncn. 

Written 1798. A characteristic example of Schiller's elaborate 
and artistic ballads, all of which deserve most earnest study. Their 
length forbids that many should be included in this book (cf. 
Nos. 84, 89). For a sumptuous edition of his poems, the publica- 
tion of which was prevented by his death, Schiller corrected the 
title into „2)amon unb $t)tl)ia8," and substituted „3)amon" for 
„2ftoro8" in 1. 2. These alterations have not been generally 
adopted. The subject-matter of the ballad is taken almost literally 
from the Latin writer Hyginus. 

1. 2. bCU $old), acc absolute. 

1. 12. gefteit, given in marriage; usuany, " married " or " wooed." 
1. 20. erblaffett, for fterben, by Greek euphemy. 

1. 22. gebeut, arch, for gcbietct 

1. 30. ait$, adverbial prefix with Uefert. 

1. 43. ait ttferS diaub, poetic for on be$ Ufer« 9tonb. 

1. 44. tOte • ♦ ♦ llltdj, however. 

1. 56. erMeidjen, cf. note to erbfoffen, 1. 20. 

1. 68. ttltb fdfttattbet 2Rorb, a Biblical phrase, from Acts, ix, 1. 
1. 71. t)OX. Editions published in Schiller's lifetime had the 
archaic fiir. 

1. 82. (ttt$ Ijeilige Sanb f the land is called blessed because so 
intensely desired by the swimmer struggling in the torrent. 



180 



LYRICS AND BALLADS 



[Bel. 44-46 



11. 85-89. Notice the ingenious use of descriptive sounds, as in 
Tennyson's The Brook. 

1. 95. bie 6rrafte &ieljtt, faring along the road. 
1. 105. Qttf demonstrative. 

1. 118. $tt>eie, acc. pi. In the older language the numerals were 
often declined. 

1. 124. Gtljor, poetic for £aufen, throng. 
1. 128. ftdj, dat., modifying 2lrmen. 

44. Senopljott 

The text was considerably changed by the author after its first 
publication. In the Greek life of Xenophon (author of the Anabasis) 
by Diogenes Laertius is the following passage: "It is said that 
Xenophon was at this time [i.e., the time of the battle of Mantinea, 
362 B.C.] engaged in sacrificing, crowned with a garland, and that 
when he learned that his son had been slain he laid by the garland ; 
but when he heard that his son had fallen fighting valiantly, he 
placed the garland upon his head again. Some relate that he did 
not even weep, but merely said : ' I knew that my son was only a 
mortal.'" 

1. 4. Sc. tt)or. 

1. 5. ^ftttbe, acc. absolute. 

45. $etru£ 

The legend here related, which is also commemorated by the 
church " Domine Quo Vadis" near Rome, is told in a letter of 
Saint Ambrose (340-397) to the emperor Valentinian (Migne's 
Patrologia Latina, xvi, 1010 ff.): "Because Peter preached the 
commandments of God to the people [in Rome] and enjoined a 
life of abstinence, he inflamed the minds of the heathen, and while 
these were endeavoring to take him prisoner, the Christians im- 
plored him to go away for a short time. Now, although he was 
very eager for martyrdom, he was nevertheless moved at the sight 
of the band of Christians who were remonstrating with him, for 
they besought him to save himself in order that he might establish 
and confirm the flock. To be brief: at night he set about leaving 



Sel. 46] 



NOTES 



181 



the city walls, and having met the Saviour at the gate, about to 
enter the city, he said, 'Lord, whither goest thou?' Christ replied, 
' I am going to be crucified afresh.' Peter then understood that the 
Lord's answer had reference to his own cross. . . . Therefore Peter 
understood that it was necessary for Christ to be crucified again in 
the person of his unworthy servant. And so he went back of his 
own free will, and when the Christians asked him, he told them all, 
and straightway, having been apprehended, glorified the Lord Jesus 
by his own death upon the cross." 

1. 3- litter $Reiff)e fflmtg, King over all dominions. 

1. 8. John, xxi, 18-19. 

1. 12. tylfid)t ♦ ♦ ♦ Ijfllitt, bids defiance. 

1. 15. Cf. Acts, xii, 5-7. 

1. 16. attf eigtte $attb f upon their own responsibility. 
1. 18. (£ljio£, an island off Asia Minor. 
1. 22. fiie& T . ♦ . &ird)e, datives after gejdjenft. 
1. 24. ^uteoU, a sea-port near Naples. 

1. 25. Stinger, disciple. 

1. 33. (Srff&erfitrajfe, "Street of Tombs" \ the Appian Way. 

1.34. Mtt08 goflmeS §lttt& The "Golden House" of Nero 
extended from the Palatine over the Coelian and Esquiline to the 
Viminal Hill, and was decorated in a style of fabulous magnificence. 

1. 39. bet, demonstrative. 

1. 40. t>erf)Olt, retards. 

1. 44. Cf. Luke, xxii, 61. 

1. 54* <ut bet Sage (extern = an bem lefeten ber £age* 

1. 59* $etta#, Greece. 

46. Saittefer 

Written 181 2. R. M. Meyer calls this „bie ftirrcnbc unb Mifcenbe 
$5mgtn ber Uljfonbfdjen Sattaben." Uhland's attention may have 
been directed to the theme by Arnim's allusion (in the preface to 
the Wunderhorn) to Taillefer's song, which gained England for 
William the Conqueror. The source of the story is the Norman- 
French poem by Wace (who lived about 1 124 to 1 174), the Romance 
of Rollo, which Uhland had studied in Paris. Uhland was the 
first to trace old Romance and German poetry to common sources. 



182 



LYRICS AND BALLADS 



[Sel. 47 



The firm, heroic tone of the entire ballad has a genuine old-Ger- 
manic flavor. Noticeable are the rattling metrical movement, the 
trumpet-tone of the masculine rhymes, and the popular stylistic 
features of repetition, alliteration, and assonance, as well as many 
archaisms in language (particularly in the sixth stanza). 

Title. Saittefer, pronounce £a-je-fer. 
1. 6. Sromten, arch, for 23rimnen. 

1. 12. b(t$ Ijoljet mit bett 9Wut, that rouses my spirits, a phrase 
often found in popular old German epics. 

1. 20. The heroines of the older day were by no means over- 
fastidious in expression. 

1. 25. tt)Ol)(, cf. No. 5, 1. 1, n. 

1. 28. Qtif a courageous interjection often found in the Nibe- 
lungenlied. 

1. 30. too? ben ^ClftOg* Notice the force of the acc. after nor, 
and cf. 1. 37. 

1. 33. (Sttdj ♦ ♦ ♦ gtt $(tttt, acceptably, to your satisfaction. 

I.34. \xaxd t free; a poetic word from Romance sources. Notice 
the archaic post-position of the adj. 

1. 40. frOtttmett, in the older sense of valiant, as in the 
Nibelungenlied. 

1. 41. The Song of Roland, a heroic Norman ballad, is extant. 
1. 43- 9Wamteit, feudal vassals. 

1. 52. §ara(b, Harold, leader of the Anglo-Saxons at the battle 
of Hastings, 1066. 

1. 54- ®eaelt r for 3eft. 

47, $e$ $eittfdjritter$ 2foe 

This spirited poem shows the influence of Uhland and of English 
ballads (cf. No. 86). 

From 1230 on, the "Knights of the Teutonic Order" were en- 
gaged in conquering and colonizing heathen Slavonic territory, and 
adding it to Germany. Beginning with the neighborhood of the 
Vistula, they gradually extended the borders of Prussia to the 
north-east. The knights were pledged to absolute obedience to the 
master of the order. Freytag's two novels in the A /men-series, 

r 



Sel. 48] 



NOTES 



183 



Die Briider vom deutschen Hause and Marcus Konig, are largely 
concerned with the fortunes of this organization. 

1. i. tUNtt 23iU)l, a proper name, lit., of the hill. 

1. 7- belt IjeUigett $eWj f the communion cup. 

1. 25. The chief badge of the Teutonic Order was a long white 
mantle bearing a black cross. 

1. 28. fiitauer, the Lithuanians, Slavonic inhabitants of the 
East-Prussian region and the adjacent part of Russia. 

1. 65. bic ftemter, their chargers, 

1. 70. 9faf, after. 

48. #nbre<*3 gofer 

Written 1831. 

In 1809 the sturdy, free-spirited peasants of the Tyrol, the 
" Austrian Switzerland," set up a homely, popular revolution, in 
order to free themselves from allegiance to Bavaria, to which 
country they had been arbitrarily annexed by Napoleon Bonaparte. 
Their chief leader was Andreas Hofer, an honest inn-keeper. After 
some successes, the movement was thoroughly crushed. Hofer was 
captured and taken to Mantua, where he was shot under sentence 
of a court-martial, Feb. 20, 1810. 

1. 13. 3felf»Crg f a mountain near Innsbruck. In a battle here 
the patriots had severely defeated the Bavarians and their French 
allies in April 1809. 

1. 16. feffctt, strongly fortified. Mantua was an impregnable 
military center at this time. 

1. 20. betttfdjett 9ftei(fj* The pretentious " Holy Roman Empire 
of the German Nation " dated from the coronation of Charlemagne 
by Pope Leo III. in St. Peter's church in Rome, on Christmas day, 
800. It was continued in practically unbroken succession for more 
than a thousand years. In theory, the "Roman emperor" had 
universal temporal jurisdiction, parallel to that of the pope in spir- 
itual affairs. He did not succeed to the office by birth, but was 
chosen by important spiritual and temporal princes, the "electors." 
Beginning with 1273, the imperial office was almost exclusively 
in the possession of the Austrian house of Hapsburg. Napoleon 
Bonaparte abolished it in 1806, after it had long become effete. 
See James Bryce's excellent book, The Holy Roman Empire* 



184 



LYRICS AND BALLADS 



[Sel. 49-60 



11. 22-23. The drummer can make no headway in beating the 
death-march. %atnbf)UT f dat. of reference. 
1. 30. nit, South-German for ttidjt. 

49. $an$ (Julcr 

This poem, remarkably effective in its treatment of the motive 
of the patriotism of the Austrian mountaineers, belongs to the 
same historical epoch as the preceding one. Hans Euler is a Tyro- 
lese patriot, his stern visitor is a Bavarian. The scene opens 
dramatically (with all the abruptness of the Volkslied) in the home 
of the mountaineer, who is speaking to his wife. 

1. 2. ttlitb . ♦ ♦ feitt, is probably, 

1. 4. (Offer, lit., " porous," trans., light 

L 7. t>0t SJlOttbett, months ago, 

1. 14. should be preceded by Jonbern, understood, beffett, ttofftr 
id) \tv\ttf that for which I fought, i.e., my fatherland. 

1. 15. $Ctt <3abel f (hand me) my saber I Cf. Hermann und 
Dorothea^ ix, 313-314: 

Unb broken bteStnal bie fjeinbe, 
Dbcr fiinftig, fo rflfte mi(§ felbft unb rci^e bie SBaffen. 

1. 19. Notice that the manly foe refuses to take the unfair 
advantage over Hans which his position would allow. 

1. 23. $etgett, i.e., through their rifts. So in Wilhelm Tell, 
11. 31-36: 

Unb unter ben fSrufjen ein nebti(§te3 9fleer, 
(Srfennt er bie ©tabte ber 2Jienfdjen ni#t me§r ; 

$>urdj ben JRijj nur ber SBolfen 

Grbticft er bie 2Bett, 
unter ben SBaffern 

2)a3 grunenbe fjrelb. 

1. 28. bCt altCtt Xttnt ©eift, the spirit of the old-time loyalty. 
1. 33. $(tttfett, dat. of reference. 

50. ©ebet ttmljrenb bet ©rfjlaeft 

Written in the early summer of 181 3, in a pocket diary which 
the heroic young author, who was a member of Liitzow's celebrated 



Sel. 51-53] 



NOTES 



185 



volunteer cavalry corps, always carried on his person during the 
Campaign of Liberation. On August 26 he was killed in a skirm- 
ish near Rosenberg in Mecklenburg-Schwerin. The little book, 
stained with the poet's blood, was found upon his body, and is 
sacredly preserved in Dresden. The original page which contains 
the first part of this poem is exactly reproduced by photography 
in E. Peschel's Tkeodor Komer's Tagebuch, Freiburg, 1893. The 
poem was admirably set to music by Korner's personal friend Carl 
Maria von Weber; another setting by Himmel (181 3) is very 
popular. 

51. betters SKRorgengefang 

A part of this favorite song appeared in Hauff's novel, Lichten- 
stein, published in 1826. 

1. 14. mit in this line is often popularly changed to tt)ie. ^Utpltr 
regularly means in German the color of fresh blood, "cardinal red." 

1. 17. 3rftg T id) tttidj, I submit, "accommodate myself." 

52. ffleitertieb 

Written 1841. Cf. Stedman's Cavalry Song in Alice of Mon- 
mouth, 

1. 10. Sd)fatf, i.e., of the wine brought by the SBirttlt, 1. 5. att£ 
< Bd)tOttt bie ^ftttb, the old German way of taking an oath. 

1. 13. ben stteiten, sc. ©djlucf. 
1. 15. twin Ijerben (2$ein)» 

1. 16. bring' td| T £, shall I drink the toast. 

1. 17. romifdj IReid), cf. No. 48, 1. 20, n. 

53. $ie ©rcnabtcrc 

Written in 1819. This celebrated ballad is a poetic expression 
of the unbounded devotion inspired in his followers by a great 
military leader. Heine had much admiration for this remarkable 
phase of Napoleon's genius. Schumann's musical setting, which 
leads into the air of the Marseillaise in the next to the last stanza, 
is very well-known (op. 49, no. 1). 

1. 3- Ottartier f quarters. 

1. 7. ba$ groj?* #eer f the Grand Army. 



186 



LYRICS AND BALLADS 



[Sel. 54-65 



1. io. tiJOfjl, redundant. Cf. No. 5, 1. 1, n. 

I. 13. £ieb ift UttS, all is over. 

II. 17-19. Borrowed by Heine from the old Scotch ballad 
Edward^ as translated by Herder: 

Unb ttm§ foil ttjcrbcn bein SBetb unb tftnb, 

SQBann bu aeftf abet SReer ? — O ! 
5Dic SBelt ift (jrofi, lajj ftc bcttlen brin, . . . 

3$ fcV fie mmtnermeljr — D ! 

1. 17. 2Ba$ f^ert Ittidj, do I care for. 

1. 25. ($l)rettfrett$ f fWf Legion of Honor. 

1. 28. nttt r prefix with giirt'. 

54. $cr Wlai ift gefommeu 

In the style of the Volkslied, with many motives (spring, wan- 
dering, farewell, the sweetheart, the linden, the lark, the inn, etc.) 
from the same source. Sung everywhere to a popular melody. 

1. I. fffjlagett ait£ f blossom out. 

1. 4- fttfyt ♦ ♦ ♦ ber ©urn, sc. gu roanbern. 

1. 13- feljr T . ♦ ♦ eitt r cf. No. 14, Title, n. 

1. 14. &atUte, pitcher or jug. 

.1. 16. fiiebel, popular diminutive of £ieb. 

1. 19. tttttfdjt tttidj eitt, lulls me to sleep with its murmur. Cf. No. 

42, 1. 20, n. 

1. 20. fiiffct . ♦ . mid) toad), wakes me with a kiss. 

1. 22. Note the force of the acc. 

55. SBanberlieb 

Cf. the preceding poem. 

I. 1. 2Bof)lauf, an interjection of encouragement: Come! 

II. 1-2. nod) ♦ ♦ ♦ £8eitt, 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 e8 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. 



Sel. 66-59] 



NOTES 



187 



1. 9. $ie <3omte, fie f the repetition of the siifej. by a personal 
pronoun is quite characteristic of popular style ; cf. 11. 1 5, 33, and 
37, and Psalms j xxiii, 4 : " thy rod and thy staff they comfort me." 

1. 31. ©ie, obj. • 

1. 36. $er Stebe, dat. of reference. 

56. Senjfaljrt 

1. 2. $faf qutttt ber ©ee. For emphatic position of the prefix, 
cf. No. 8, 1. 8. 

1. 4. tote <3egelbrattg, like the tension of a sail. 

1. 6. uerfoumt, sc. Ijat. 

1. 10. eitter etQ t gett ©eljttfttdjt §Ott, a source (lit. " treasure ") 
endless yearning. 

1. 12. itt einem fort, continually. 

57* $er frolje SBanberSmann 

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. 3. SShtnber, marvels, miracles. 

1. g. = 3)ie SBadjletn foringen toon ben SSergen. 
1. 11. 2Ba$ = roarum. 

1. 13. I leave the government of the universe to God. 
1. 16. Has also provided for my welfare in the best way. 

58. 2fa ben ©onnenfdjein 

In Reinick's Lieder, 1844. Set to music by Schumann (op. 36, 
no. 4). 

1. 14. baft ♦ ♦ . fdjitft, that would never do in my case. 

59. ^arsenminb 

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, — half tramp, 
half poet, — or by the roving hunter and mountaineer. 



188 



LYRICS AND BALLADS 



[Sel. 60-65 



1. 2. SButb, for bcr SBinb. 

1. 14. fteig r tyutterbreut, <wr a/ter */. 

.60. 6c^ott ftofjtrant 

Written 1837. This breezy ballad shows the influence of the 
Wunderhom. 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. Ujf 3>ftgCf r her hunting-attendant. 

1. 19. fo ttmtttttgUdj, (medieval) in such a blissful ("smitten") 
way. 

1. 22. ttergmutt, arch, for ttergotutt 

61. 293er ift bcr <£rfte? 

Published in the same collection with No. 59. 
1. 13. tt)a£ ftd) ♦ ♦ . riUjrt, whatever has motion. 
1. 20. Jttltt ©CtCtr fdjtffett, " send to the deuce." 
1. 29. ber, relative pron. 

62. 9Reute §timat 

1. 3. Hat, bleak. 

63. 2$etf?t bit nod} ? 

Roquette is not a very powerful or stimulating poet, but has 
written various pleasant and melodious songs. This poem has 
been set to music by R. Franz (op. 16, no. 5). 

64. 3m tomnberfcfyoncn Wlonat Wlax 

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. 1). 

1. 4. aufgegangen r sprung up. 

65. ficifc 3tef)t bttrdj meat ©cmiit 

Published 1831. This graceful and melodious spring-song was 



Sel. 66-68] 



NOTES 



189 



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 lan- 
guage." 

1. 8. td) foff T fte grftgett, I send her greeting, 

66. Unb token's bie $titmen, bte flctttctt 

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. feu 

1. 9. fle, anticipates the true subj., ©terneletn* 
67. Wit cittern gcmaltett $attb 

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." 

1. 4. attf, connects ©treuen directly with 33attb. 

1. 12. gettttttg, for getutg. 

1. 13. 5W e f imperative. 

68. O tie*', fo lang bn Uebett lamtft! 

Written 1831. 

1. 7. ettt anber $er$, poetical archaic omission of =e8 in neut. 
adj. 



190 



LYRICS AND BALLADS 



[Sel. 69-72 



1. 26. tticittt, in third pers., because the personal pron. is not in- * 
serted after the relative ber. 

69. fflffljret tiidji bar an! 

Written 1842 or 1843 

70, ®ic ijabett mid) gcquftlct 

Written 1822, and included in the Lyrisches IntermetMO (cfc»i 
No. 64, n.). The indifference of Amalie Heine to the young poetV; 
love furnishes the point to the epigrammatic turn in the thln| 
stanza. 

1. 1. Sie, they, people in general. £ 

I. 2. Matt ttttb blaff (in the predicate) ; lit., " they have tormentftw 
me to lividness and pallor/' a humorous extension of the famlUaf 
expression braun unb blau fcfyfogett, to beat black and blue. 

71. $a$ Sdjlof? am Wlttxt 

Written 1805. This dramatic poem, cast in the form of a din-* 
logue between two travellers, has the abrupt beginning so common ; 
in the Volkslied, and shows the influence of Uhland's study oC, 
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? 

II. 3-4. me^ett ♦ ♦ . briibcr f)tt, come floating across above it 

11. 5-6. // would fain stoop down into the waters^ clear as a mh^a 
ror. The picture is that of the lengthened reflection in water. 
1. 26. bar, for bdljer, along. 

72. $ttteta 

Written 1825. In the popular legend, the proud city of Vineta' 
lies sunken in the Baltic sea, between the island of Riigen and the 
mainland, and many a fisherman has caught glimpses of its re-" 
fleeted 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 



Bel. 13-75] 



NOTES 



191 



,e reader to draw the comparison: the first three stanzas 
e, the last three the play of fancy. Professor 
r, the distinguished son of the poet, calls Vineta "the 
t reached by his poetry." It is quoted in Heine's 
Ider (Die Nerdiet, 1826). Translated by J. A. Froude (Cot- 
pelts, iv, 631) and by the present editor in the Metkoditt Review, 
ly, 1895. Set to music by Brahms for a six-voiced Choracapella 
\. 42, no. 1). 

. ©make, depths. 

73. Stnnn 

n 1825, on the island of Norderney. Heine brought the 
~f the North Sea, into German poetry. The "dithy- 
ical form had been earlier developed by Goethe and 
n imitation of the rhapsodic odes of Pindar. It is used by 
Heine very effectively in reproducing the motion and color of a 

II. 11-ia. Venus, the mother of Cupid, was born from the 

. Possibly an allusion to the mother in the pathetic 
d Edward (see Percy's Reliques). Cf. No. 53, 11. 17- 



n national character and civilization which is still potent in 
p strong prejudices in Germany. It would be hard to 
a which better portrays the invigorating, refreshing play 

3, and sunshine. 
( . . . BUdj, however much. 

V, t">y- 

tb, rainbow-streamer. 

75. Stoft 

n about 1852, and addressed to the poet's wife, 
iS ha, whatever. 



192 



LYRICS AND BALLADS 



[Sel. 76-80 



76. &uf bcr iibcrfa^rt 

Written 1823. The reminiscences which underlie this reflective 
poem came to Uhland while being ferried across the Neckar near 
Tubingen. The translation by C. T. Brooks is familiar. 

1. 1. Uor 3>aljrCtt, years ago. 

1. 6. 5ttteett, old inflected masculine form of the numeral. 
1. 7. The reference is to the poet's favorite uncle, a venerable 
rural pastor. 

1. 8. Uhland's valiant young friend Friedrich von Harpprecht, 
who was killed in battle, 181 3. 

77. £>ie Stttbt 

One of Storm's earlier poems, an affectionate reminiscence of 
the little town of Husum in Schleswig, near the North Sea, where 
he was born, and where he passed much of his life. 

1. 13. fft* ttltb ffir, continually. 

78. %n meine Wlntttx $eitte 

These two sonnets were published 1821. Whatever moral 
blemishes Heine's life exhibited, he was always most affectionate 
and considerate to his excellent mother. 

79. giir mcittc Sjtyite 

Written about 1851. 

1. 1. Ijeljte . . . mtt, conceal. 

1. 4. Matth. t vii, 6. 

1. 6. $U$ettett, at times. 

1. 8. ($ofbttC, worth their weight in gold. 

1. 11* fictttfcltgfctten, dat. of reference with Segett. 

1. 20. (£arricre=2flad)en, pushing ahead in the world. 

1. 22. Cf. Exodus y xxxii, 1-19. 

80. 3Jtettter Sodjte* 

For an interesting account of the life of Johanna Ambrosius, 
with all -its hard limitations, see Professor Kuno Francke's 
Glimpses of Modern German Culture, New York, 1898, pp. 57-68. 

1. I. taUttX ®dfce, nothing but silks. 



Sel. 81-82] 



NOTES 



193 



81. (Bprttdje itttb (Shmgebidjie 

The Germans have always been fond of proverbial rimes, mak- 
ing large use of them even in the decoration of buildings and 
domestic objects. German literature offers an unusual amount of 
good didactic verse: the most typical epigrammatic poet is Fried- 
rich von Logau (1604-1655), who published more than 3000 short 
sententious poems. 

1. 6. This epigram, as well as the following, is very familiar in 
Longfellow's translation. 

I. 7. 0&, for obttJOfyt, although. 

II. xo-xx. Cf. C. F. Weisse's Der Aufschub (1772): 

2Ber ni#t fortgebt, gef)t jurfidfe, 

and Goethe's Hermann und Dorothea, III, 65-66: 

Ginmal ffir aflemal gilt ba8 toatyre ©prli^Ietn bcr Wtett: 
*2Ber ni^t- bortofirtS gebt, ber fommt surfitfe!' @o btetbteS. 

11. 20-21. Sometimes attributed to Schiller; it appeared for the 
first time in a group headed „(§iner," and signed „©. unb €>.," in 
the Musenalmanach for 1797, to which the poet-friends contributed 
many epigrams which they had worked out together. 

1. 22. Stfige = id) triige. 

1. 33. $OftO?Ctt, scholars, holders of learned degrees. 
1. 34. Cf. Luther's remark, " A great scholar must always remain 
a pupil," and I Cor., viii, 2. 
1. 54. bett %lttU f the ancients. 
1. 56. ^ofttif, the science of government. 

1. 77« Uttberedjeitbare ^onfeqncn^en, incalculable consequences. 

THIRD PART 
82. $>er Silage* 

Written as early as 1783. The underlying idea of this ballad 
(which introduces the favorite medieval motive of the minstrel who 
wanders from court to court, enjoying, even in a ruder society, a 
certain sacredness of person as a representative of the fine arts) is 
the ideal character of the reward for which the artist strives. It is 



194 



LYRICS AND BALLADS 



[Sel. 83 



not unlike that set forth by Kenyon Cox in The Gospel of Art 
{The Century Magazine y xlix, 533): 

Work thou for pleasure : paint or sing or carve 
The thing thou lovest, though the body starve. 

Who works for glory misses oft the goal ; 
Who works for money coins his very soul. 

Work for the work's sake, then, and it may be 
That these things shall be added unto thee. 

For the general situation cf. Scott's Lay of the Last Minstrel, 
11. 8-14. The words of the minstrel. 

1. 17. fdjfttttett mtlttg bmtt, looked on with high spirit; the effect 
of the minstrel's epic passages was to awaken courage in the 
knights who heard him. 

1. 18. A nd the fair ones gazed into their laps, i.e., overcome with 
modest embarrassment at the praise of beauty in the lyric pas- 
sages. 

1. 21. fyofett* Some editors read reicfjen, following the edition 
of 1827. 

1. 28. 511 anbcrtt fiaftClt, in addition to his other heavy burdens 
(of responsibility for the state). 

83. $e$ SSngerS ftfadj 

Written 181 4. Cf. the situation in the preceding ballad. The 
style and language have many reminiscences of medieval German 
sources. The metrical form, here first introduced into modern 
poetry, was derived by Uhland from a martial ballad-measure 
popular in the middle ages, and closely related to the meter of the 
Nibelungenlied. Since the publication of this poem it has been 
considerably used for vigorous ballad-narration. Cf. No. 49, and 
the measure of Macaulay's Lays of Ancient Rome, 

1. 2. fiattbc, a more stately form than Member. 

1. 8. As often as he speaks, some one is scourged; he never 
writes his name without signing some one's death-warrant. 

I. 14. tiefftett, coming from the very depths of the heart. Xfltt, 
in the medieval sense of song. 

II. 25-28. Much admired is this epitome of the scope of min- 



Sel.84] 



NOTES 



195 



strelsy: the last two lines refer to the lyric and epic elements, as 
mentioned in the preceding ballad, 11. 17-18. 

1. 38. DercBdjeft, breathed his last gasp. 

1. 42. utter ^arfctt %XV&, the most excellent of all harps. 

1. 46. t&dittf the sound of stringed instruments. 

1. 47. Note the alliteration. 

1. 60. fiber 9?ad)t, in a night. 

1. 64. Cf. the end of the Nibelungenlied : 

£ier $at bie 3flfir etn (Snbe : baS ift ba§ ^ibelungenlteb. (Simrock.) 
84. $>er ©raf boa $abSbitrg 

Written 1803. One of the most typical of Schiller's dignified 
and elaborate artistic ballads. The story is taken from the Swiss 
chronicler Tschudi, and the ballad shows some influence of 
Goethe's Der Sanger, No. 82. Beautifully set to music by Karl 
Loewe. 

Stanza 1. Concerning the "Holy Roman Empire of the Ger- 
man Nation," see No. 48, 1. 20, n. The Hapsburg family (still 
upon the throne of Austria) had almost a prescriptive hold upon 
the imperial crown from the days of Rudolph of Hapsburg (reigned 
1273-1291) till 1806. It originated in Switzerland. 

1. 1. 2(adjen, the seat of Charlemagne's government, and place 
where the emperors were often crowned. 

1. 3. tyeiftAe 2flad)t, say, sacred person. 

U. 5-6. The prince Palatinate, one of the electors (933fify(er), held 
the hereditary office of lord high-steward of the empire, and served 
the emperor at the coronation banquet. $er SBftljttte, the king of 
Bohemia, another of the seven electors. Schiller does not profess 
to observe rigid historical accuracy in the setting of this ballad. 

$e$ perlenben 2$eut$, partitive gen., object of fdjenfte. 

1. 15. toerberbfid)en» The weak form of the second adj. (often 
with an idea of its being more closely connected with the noun in 
meaning) is quite common in modern German in the dat. sing, 
and gen. pi. 

1. 16. The so-called Interregnum (1 254-1 273) followed the fall 
of the house of Hohenstaufen. 



196 



LYRICS AND BALLADS 



[Sel. 86-86 



1. 23. ftol)(, concessive. 

1. 36- be* 3JlHttte @Olb, the rewards of love. 

45-50. Nowhere is the prime function of the poet expressed 
more pregnantly than in this brief compass, by one of the pro- 
foundest students of aesthetics. Cf. Goethe in Wilhelm Meisters 
Lehrjahre, Book I, ch. 14: 

5Du futyljt nidjt, ba& in ben SJtenfdjen ctn beffcrcr ftunfe tebt, ber, toenn er 
feine 9hI>runQ erl>fitt, toenn er nidjt fleregt totrb, Don ber 9lf<fre tftflli^er Sfcbttrf* 
ntffe unb ®lei(&QfitttQfeit ticfer bebecft unb bo# fo fofit unb faft nie erfHtft »irb. 

1. 50. fcfyltcfett, had lain dormant. 

1. 53- SBeibtoerf = btc 3agb. 

1. 59. &eitt ficib be$ §tXXn t the host, corpus Christi. 

1. 63. gfattbtgem, more often glaubtgem. 
1. 83. fettt, gen., direct obj. of begeljrt. 
!• 99* -8* fi^^Ctt tragc, hold in fee. 

85. $a$ ®xah tm $ttfettii> 

Written 1820. Alaric (born about 370), the first king of the 
Visigoths, had conquered Rome in 410. Intending to extend his 
conquests to Sicily and Africa, he was overtaken by death at Co- 
senza, in Calabria. In order to protect his grave from desecration 
or robbery, the Goths buried their king in the bed of the river Bu- 
sento, having diverted the stream long enough to carry out this 
purpose. 

1. 7. ttltt bie SSktte, in emulation. 

1. 12. 6fo>mgett)&d)fe, aquatic plants. 

1. 14. liBette. Notice the force of the acc. 

86. Slrdjtbafo SoitgtaS 

The imitation of Scotch ballads has been a very favorite literary 
exercise in Germany for more than a century. Alfred Biese 
(Lyrische Dichtung, p. 48) relates that Fontane had long " carried 
about" the plan for this ballad, and that he was one evening sud- 
denly seized with a creative impulse while striding up and down the 
lobby of a theatre, waiting for his wife. He put his note-book 
against the wall and wrote the entire piece at one time. It is de- 



Sel.87] 



NOTES 



197 



rived from a fine emotional ballad, Archie o 1 Kilspindie> in Finlay's 
Scottish Historical and Romantic Ballads y Edinburgh, 1808, vol. ii, 
pp. 117 f f ., beginning : 

Wae worth the heart that can be glad, 
Wae worth the tear that winna fa', 
For justice is fleemyt frae the land, 
An' the faith o' auld times is clean awa. 

Cf. Scott's note to 1. 630 of canto V of The Lady of the Lake. 
The King James of the poem was the nephew of Henry VIII. of 
England. Fontane's ballad is sung to a fine composition by Loewe. 

U. 21-22. Notice the free word-order, characteristic of the 
ballad-style. 

1. 42. SBogetytfb, fowling-floor ; a square place out of doors, 
where birds are caught with a net. 

1. 67. fd)ict, well-nigh. A different word in origin from the 
adj. fdjter, pure. (See Kluge's Etymologise he s Wb'rterbuck.) 

87. $>er fttfdjer 

Published 1779. The theme of this ballad is the alluring charm 
of a body of cool water in the summer-time. The effect is inge- 
niously heightened by an abundance of soft, liquid sounds, and by 
repetition. Cf . the fisher-boy's song at the beginning of Wilhelm Tell. 

1. 4. Enjoying a sense of coolness which penetrated to the very 
center of his soul. 

1. 13. gftfdjlettt, dat., depending upon tt)oty(ig. 

I. 14. fittf bCttt (&ntUb, in the depths. 

U. 17-18. The old idea that the sun and moon set and rise in 
the ocean. 

II. 19-20. Do not their faces return doubly beautiful, breathing 
forth the moisture of the waves? Cf. C. Whitehead's Night, 
stanza 2 * 

* And now the Moon, bursting her watery prison, 
Heaves her full orb into the azure clear, 
Pale witness, from the slumbering sea new-risen, 
To glorify the landscape far and near. 

1. 22. bad feitdjt&erHftrte gttatl, a blue which is made more 
glorious by being reflected in a moist medium. 



I 



198 



LYRICS AND BALLADS 



[Sel. 88-89 



1. 24. itt r for in ben. %atl t moisture. 

1. 30. His fate was settled; it was all over with him. 

88. $<t3 ®W& nott (gbenfjatt 

Written 1834, and accordingly one of the latest of Uhland's 
ballads. Longfellow's admirable translation preserves the thrice- 
repeated identical rime through all the stanzas. 

Eden Hall is an old English castle in county Cumberland. A 
glass goblet is treasured there as an heirloom by the Musgrave 
family, bearing this inscription : 

If this cup shall break or fall, 
Farewell the Luck of EdenhalL 

The original legend is treated very freely by the German poet. 

1. 2. £rommetettfd)att, poetical for £rompetenfdjaIL 
1. 5. Sc. fommt. 

1. 11. $eitt ©fo8 Jtttlt %Xti8 t in honor of the glass. 

1. 12. SRotett, sc. Sein. Cf. No. 52, 1. 15. 

1. 14. p1ttpttro(e§), ruddy. 

I. 25. Stojjt att, clink the glasses together. 

II. 31-32. These lines are spoken ironically. 
1- 3i- 3 tt ttt $0rtC, as its preserver. 

1. 41. Note the heightened dramatic force secured by placing 
the prefix at the beginning of the line. Cf. No. 8, 1. 8. 

89. $er Sanger 

Written 1797. Schiller's first ballad after his literary alliance 
with Goethe, who perhaps furnished him with the legend. The 
(medieval) scene is laid at the top of a tall cliff in Sicily, at the base 
of which lies the whirlpool Charybdis. This maelstrom has a 
double motion, first rushing downward in a whirling funnel, after 
which the same waters are discharged upward as though from a 
boiling caldron. Schiller derived this idea of the motion of the 
Charybdis from the passage in the Odyssey, xii, 234 ff . : 

Sadly we sailed into the strait, where stood 
On one hand Scylla, and the dreaded rock 
Charybdis on the other, drawing down 
Into her' horrid gulf the briny flood; 



Sel. 89] 



NOTES 



199 



And as she threw it forth again, it tossed 
And murmured as upon a glowing fire 
The water in a caldron, while the spray, 
Thrown upward, fell on both the summit rocks ; 
And when once more she swallowed the salt sea, 
It whirled within the abyss, while far below 
The bottom of blue sand was seen. 

(Bryant.) 

1. i. Shtdpptf squire a noble youth undergoing apprenticeship 
for knighthood. 

1. ii. §Bel)e?3te, valiant one. 

1. 21. Gljor, cf. No. 43, 1. 124, n. 

1. 27. bic Staffer, ace, obj. of tutebergab. fdjlattg, had swallowed 

(in the preceding funnel-like motion). 

U. 28-36 are famous for their descriptive sounds. 

1. 43. SBrattbtlttQ refers to the recurring upward motion. 

I. 48. trimmer, in the South German sense = nid)t mefyr. 

II. 55-64. Remarks of the bystanders, who, like the chorus in 
the Greek drama, comment upon acts and motives. 

1. 58. Sc. e8, impersonal. 

1. 62. gal), headlong; more often jal). 

1. 64. atteS, obj. of Derfdjlingenben. 

1. 74. Notice the vague and poetic use of the impers. e$, imply- 
ing something not yet clearly distinguishable ; the employment of 
this construction throughout the ballad shows conscious artistic 
purpose, and should be noted in every case. 

I. in. lit., "and although (06 . . . gleicfj) it slumbered here 
eternally to the ear " ; trans., although an eternal stillness reigned here, 

II. 117-118. 9fr)d)e, thomback; &ttypettftfdj, a fish of fantastic 
form and coloring, which frequents reefs; ^Nltttmef, hammerhead- 
shark. For pictures of the three fishes mentioned, see the Centory 
Dictionary under the titles, "thornback," " Chaetodontidae," and 
"hammerhead." 

1. 121. e£, acc. (historically a gen.), object after bettJujjt. 
1. 123. fiarHCtt, monsters, specters. 

1. 130. 3metg, acc, obj. of faff id) fos. 

1. 133. fdjier, exceedingly, from the adj. fd)ier, 'pure? 'mere 1 ; 
cf. No. 86, 1. 67, n. 



200 



LYRICS AND BALLADS 



[Sel. 90-93 



1* 143* @elftftett, infinitive, used as verbal noun. 
1. 156. ttttf fiefceit Utlb StCrbCtt, for life or death. 

I. 162. Notice the artistic shortening of the line, to express the 
hopelessness of watching for the diver's return. 

90* fleitte Stature 

Contained in the Lieder eines Erwachenden, 1854. 

II. 17-20. A reference to the preceding ballad, Schiller's £>er 
Taucher. 

91. Seidjt ©e^fiif 

Written 1840. Herwegh was one of the most revolutionary and 
democratic of German poets. 

1. 2. The allusion is to Goethe and Schiller, who were patronized 
by Duke Karl August of Weimar, and accorded burial in his 
princely mausoleum. 

1. 35. SBftttber . ♦ ♦ Spattgett, orders and decorations. 

1. 39» fattfett r go its way. 

92. $te brci 3tge«tter 

Published 1838. Lenau's pictures of Hungarian life are full of 
rich local color, and may be compared with Liszt's corresponding 
musical compositions. 

1. 14. 3ittt!>et = ^pacfebrett, dulcimer, a four-sided stringed in- 
strument, now only used by Hungarian musicians. The strings are 
beaten with two wooden hammers. Illustration in. Standard 
Dictionary, under "Dulcimer." 

1. 23. Note the force of Der*, away. 

93. Est Est! 

Published 1824. The "Mountain of Bottles" (Montefia scone) 
stands near the border of the Lake of Bolsena, about sixty miles 
northwest of Rome. The town of Montefiascone, about 1000 feet 
above the lake, contains in the subterranean chapel of the church 
of San Flaviano the tomb of the German canon Johannes Fugger 
of Augsburg, with the inscription: 

Est, Est, Est. Propter nimium est, 
Johannes de Fug., D. meus, mortuus est. 



Sel. 94] 



NOTES 



201 



The explanation of this inscription is given in our " romance." 
Longfellow describes his visit to the place in Outre Mer (Prose 
Works, I, 309) : 

I passed a night at Montefiascone, renowned for a delicate Muscat wine, 
which bears the name of Est, and made a midnight pilgrimage to the tomb 
of the Bishop John Defoucris, who died a martyr to his love of this wine of 
Montefiascone. ... A marble slab in the pavement, worn by the footsteps of 
pilgrims like myself, covers the dominie's ashes. There is a rude figure 
carved upon it, at whose feet I traced out the cabalistic words * Est, Est, Est.' 
The remainder of the inscription was illegible by the flickering light of the 
sexton's lantern. 

U. 5-6. On account of too much "Est Est" my master came to 
his death. 

1. 10. Sdjfttttb, gullet 
1. 13. fcelfdjett r Italian. 

1. 23. 92eft, often used contemptuously of a small or insignificant 
place. 

1. 43. A humorous paraphrase of Caesar's " Veni, vidi, vici." 

1. 49. ^oftettCitt, sampler of wines. 

1. 51. Insignia of nobility. 

1. 61. I extol your repose as blessed. 

1. 68. ©eift, particularly the " invisible spirit of wine," but also 
humorously in contrast with 2eif). 

1. 69. The collective expression, tt>a8 trinft, gives a humorous 
touch : " the whole crowd of drinkers." 

1. 81. ftttgeu eut$ r to sing a (song), cognate acc. Similar expres- 
sions are: eht« auffpielen, etne blafen, ein8 gecfyen, ein8. ftiffen 
(Goethe's Christel), etc. 

I.84. tot Weft = im ®rabe, 

94. &*fd)ieb 

Written 1810. Lubowitz, the birthplace of Eichendorff, is in 
the southeast corner of Germany, by the river Oder. Mendels- 
sohn's harmonious setting of this poem as a quartet is one of his 
most perfect compositions. 

1. 5. braufjett, i.e. outside the sacred shelter of the forest. 

.1. 20. Sc. ift. 



202 



LYRICS AND BALLADS 



[Sel. 96-97 



95. grityUnggglattfte 

Written 1812, and published as part of a longer cycle of spring- 
songs. Set to music by many of the greatest composers, including 
Schubert and Mendelssohn. 

1. I. ftttbett, mild. 

1. 3« Hit ttttetl (Uttbett, everywhere. 

1. 6. tttettbcn, change, take a turn (for the better). 

1. 10. Many of the side-valleys leading to the Neckar near 
Tubingen are almost filled with masses of fruit-blossoms in the 
spring-time. 

1. 11. dual, gen., obj. of Dergifj, by older usage. 

96. %n best 3Koub 

Written 1778, and entirely rewritten in 1788, in such a way as 
to detract from the unity and clearness of the poem. Recent 
critics hold it to be an expression of Goethe's sorrow at the loss of 
Frau von Stein's affection (Biichner in Preussische Jahrbiicher, 
lxxxiii, 1 81 -1 92). The poet must be thought of as walking alone 
in the silent night on the meadows by the river Ilm, near Weimar. 
The gentle elegiac melody of this poem is universally admired. 
Heinemann calls these verses "the crown of Goethe's poetry, and 
therefore of all Qerman poetry." {Goethe, 1, 360.) 

1. 1. Sc. bu before fiilleft. 

1. 10. gfwlj* ttttb txftbtx = grower unb triiber. 

97. Kbelatbe 

Written between 1787 and 1793. Metrically, an adaptation of 
the Sapphic stanza of Horace. As used here, the form is : 
— w — >-/>-/ — w — w — > -'(3 times) 

>»✓ 

The poem is best known from the masterly and deeply passionate 
song-setting by Beethoven (op. 46). 

Title. 5(be(<ribc, to be pronounced in five syllables, with the 
chief accent on the penult: A-de-la-i-de. 

1. 1. gremtb, (as often), lover. 

1. 10. eilbcrgloif^Ctt be8 9Rai3, lilies of the valley. 
1. 14. 2(frfje, dat. of separation after entbliiljt. 



Sel. 98-102] 



NOTES 



203 



98. din gfiffttettftanm ffeljt ctnfam 

Published 1823, in the Lyrisches Intermezzo. The symbolism 
(of hopeless separation) is left entirely to the reader's interpretation. 
Cf. No. 72. Professor White says that the poem has had at least 
77 different musical settings. Heine, in general, far outranks all 
other German poets in musical popularity; in this quality he 
resembles Robert Burns. 

1. 3> 3fl)tt fdjlftfettf becomes drowsy (impers.). 

99* $u meine ©eele, bit ttteitt £erj 

Written 1821. From a cycle of poems, The Springtide of 
Love> addressed to Luise Fischer, whom Riickert married in 1821, 
and with whom he lived in ideal happiness until her death in 1857. 

1. 10. Your glance has transfigured me in my own eyes. 

1. 12. 3d}, as neuter noun, = self t personality. Thus in 
Goethe's Wilhelm Meisters Lehrjdhre: „ba8 beffcrc 3d) in UltS" 
(Book ii, ch. 11). 

100. 2ttt bte (Sntferitte 

Written before 1789. Von Loeper believes that it was addressed 
to Frau von Stein. 

101. ©infers fllagelieb 

Written about 1802. In the simple, artless tone of the Volks- 
lied y an unsurpassed phrasing of the half-dazed melancholy of one 
who remembers fondly the vanished happiness of love. 

1. 15. £f)ii?e, of the home of his beloved one. 

1. 17. Even the rainbow has no encouraging suggestions for 
him. 

1. 23. Sc. ©el)t! 

102. 9?a<4 altbetttfdjer SBeife 

From Gedichte, 1836. Quite archaic in style. For the well- 
known musical setting by Mendelssohn (op. 47, no. 4) the text is 
somewhat modernized. 

Title. {Verses set) to an old German melody. 

1. 5. fatter, say, bitter. 



204 



LYRICS AND BALLADS 



[Sel. 103-106 



1. 7. If (@o) a bud has been given thee, ttHJ#, medieval form for 
roar. 

1. 11. bte SRadjt baraitf, during the following night 
1. 16. ad)t Stettet, i.e., the coffin. Similarly, in Burger's 
Lenore : 

„<5au' an, too ift betn fldmmetletn? 

2Bo ? tote bcin ^odjgeitbettc&en ?* — 

^SSJett, toett Don $iet ! . . . <StiH, ful)l unb Hein ! . . . 

©e#§ SBretter unb atoei SBrettifcen!" 

I.21. an£eittattbergel)tt, part. 

103. $a$ tft im fiebett Wpd) cmgcridjtct 

This best-known of Scheffel's songs was written during his 
student days (about 1846), with reference to his pretty cousin, 
Emma Heim, who married a young business man with more prom- 
ising worldly prospects. Included in Der Trompeter von Sak&in- 
gen f published 1853. It is sung everywhere to Nessler's senti- 
mental musical setting. 

1. 7. Seljiiet, South German for 33el)ute. 

1. 8. e$ I)at tttd)t fottett fettl, it was not destined to be. 

1. 22. Xreitett, arch, for £reue (dat. sing.). 

104. $er QHanfce ber gfrennbf^aft 

Written about 1850; has relation to the poet's youthful friend- 
ships in Munich. The chief idea is that faith only begins where 
absolute certainty ends. 

1. 3. Sronnen = 23rimtieti. Cf. No. 46, 1. 6, n. 

105. 2tu3 alien 2Ran$ett toittft e$ 

Published 1823. Possibly there has never been a deeper poeti- 
cal expression of the disparity between the romantic, ideal realm 
of the imagination, and the everyday world of hard facts. The 
poem is especially a " confession " of Heine's inmost soul, for his 
whole life was rent by his inability to reconcile the dreams of his 
heart with his clearly perceived fate. Schumann's musical setting 
(op. 48, no. 15) is truly interpretative. 



Sel. 106-108] 



NOTES 



205 



1. i. From out of old tales something beckons. The impersonal 
construction is highly poetic. Cf. No. 89, 1. 74, n. 

106. $a3 Sd)tofc ©oncourt 

Chamisso was born in Champagne of a noble French family, but 
the troubles of the French revolution destroyed his home and exiled 
his family while he was still very young. The present poem is a 
touching reminiscence of the home from which he had been driven 
(Whitney). 

1. z. I dream myself back into childhood. 

1. 12. belt Sttrgljof Ijhtan, up the courtyard of the castle. 

I. 21. ttlttftort, veiled (with emotion); adj. with 5lugetU 

II. 23-24. toie ♦ ♦ ♦ attdj, however, qualifying Ijefl. 
1. 30. tttilbf softened. 

1. 33. Notice unusual and emphatic position of the prefix aitf* 

107. $entfrfje ©etyenfter 

In Gedichte, 1888. The author, who lives in Florence, gives 
here, with photographic accuracy of detail, reminiscences of her 
early home in Tubingen. Cf. note to No. 3. 

1. 19. ^rett^ttieg, a path containing "stations of the cross," at 
which devotions are performed by religious pilgrims. 

108. SRigtton 

Written about 1783, and published in Wilhelm Meisters Lehr- 
jahre, 1795. The child Mignon had been stolen from her native 
land, Italy, by a band of rope dancers, and brought across the Alps 
to Germany, where Wilhelm Meister rescued her. In this yearning 
song, addressed to her protector, are reminiscences of the scenery 
of Italy, of a country house in that land, and of the intervening 
Alps. The general situation is like that mentioned by Lowell in 
The Function of the Poet {The Clntury Magazine, xlvii, 434): 

Everybody remembers the story of the little Montague who was stolen 
and sold to the chimneysweep: how he could dimly remember lying in a 
beautiful chamber ; how he carried with him in all his drudgery the vision of 
a fair, sad mother's face that sought him everywhere in vain. 



206 



LYRICS AND BALDADS 



[Bel. 109-110 



The poem also expresses Goethe's own yearning for Italy, so 
early implanted in his heart, and which grew to an irrepressible 
passion. Heine says of this song : „©att$ 3talten t ft barin gefdjU* 
bert, aber mit ben feufjenben garben bcr @el)tvfud)k" (Reisebilder, 
iii, i, ch. 26.) The first lines of Byron's Bride of Abydos were sug- 
gested by this poem. It has been translated into many languages, 
and set to music by Reichardt, Romberg, Beethoven, Liszt, and 
Thomas. In Wilhelm Meisters Lehrjahre (Book iii, ch. 1) Goethe 
gives an account of the way in which the song was rendered : 

She began each verse in a stately and dignified way, as though she 
would call attention to something unusual, as though she wished to express 
something important. At each third line her voice became more veiled 
and melancholy. The words ^ennjl bu cS n>of)t V she expressed myste- 
riously and doubtfully. In „2)al)in! 2)af)in \" there was an irresistible 
yearning, and her ff fiaj$ un§ jiefyn!" was repeated with such variety that 
it was at one time beseeching and urgent, at another time impelling and 
alluring. 

1. 4. fttfl, because too low to be swayed by the breeze. 

I. 5. &eitltfit bit e£ tHO^t ? Thou knowest it, perchance? 

II. 9-10. Macaulay said, " I know no two lines in the world 
which I would sooner have written than those" (Trevelyan, Life 
of Macaulay, ii, 26). 

1. 16. e£ fttttjt ber $tl$, i.e., the rock has a precipitous descent 

109. 3tt ber ©ifrtim 

The Sistine chapel in the Vatican (Cappella Sistina), erected 
under Pope Sixtus IV., was decorated with grandiose Biblical fres- 
coes by Michael Angelo, beginning in 1 508. They have been called 
"the culminating effort of all modern art." The rugged, heroic 
personality of Michael Angelo was very sympathetic to Meyer. 

1. 1. Stftflte, German form for @iftina. 

1. 8. frfjier, almost; cf. No. 86, 1. 67, n. 

1. 9. ©eitt, Being. 

1. 10. Five frescoes of the creation contain the figure of God. 

110. D bu, por betn bie Stiirtne fdjtteigen 

In Neue Gedichte, 1856. 



Sel. 111-112] 



NOTES 



207 



1. 3. $11 eigett, for thine own. 

1. 6. eittfddft, enkindled; a favorite word with modern poets 
since Platen, who probably invented it as a two-syllabled substitute 
for the usual angefacf)t. 

1. 11. 3Rtttlte, the medieval poetic word for romantic love. 

111. SBaitbrerS Waetylieb 

Written 1776. The sigh of a weary soul for peace, in preference 
to all the keener joys and sorrows of restless life. Of the many 
translations, perhaps none is better than Longfellow's; he also 
translated (Sin <$(eid)e$, which follows. 

1. 1. $er bit = D bu, ber bu. 2)u refers to grtebe, 1. 7. 

(Sin Sletyeft 

Written 1780 in pencil upon the wall of a lonely summer house 
in a hemlock forest at the top of a hill near Ilmenau. A poetical 
•voicing of the peace which settles down upon mountain and forest 
at nightfall. Less than a year before his death Goethe revisited 
the summer house, re-read the lines which he had written there 
more than forty-seven years before, and said with tears : „3a, toaxtt 
mtr, balbe ruljeft bu aucf) !" Schubert and Schumann have written 
notable settings to this perfect poem. 

1. I. ©tyfeltt, hill-tops. 

1. 3. SBtyfefa, tree-tops. 

1. 7. balbe, arch, for baft). 

112. £arfettftne(er 

Published 1795. The song of the aged harper in Wilhelm Meis- 
ters Lehrjahre, a complaint coming from a heart in the depths of 
bitterest human wretchedness. Von Klenze calls attention to a re- 
markable similarity between this poem and the following passage 
in Racine's Thibaide : « Voila de ces grands dieux la supreme justice. 
Jusques au bord du crime Us conduisent nos pas. lis nous le font 
commettre et ne Vexcusent pas. » 

Goethe was gratified to learn that Queen Luise of Prussia had 



208 



LYRICS AND BALLADS 



[Sel. 113-711 



gained melancholy consolation from these sad and significant lines 
at the time of Prussia's deepest humiliation, when she was com- 
pelled to flee to Konigsberg. 

113. eiefift bit H9 aWccr ? 

Written 1836 or 1837. Set to music by Oscar Meyer. 

114. $oefie 

Not in the Poems of 1834; probably written later. . 

1. 4* eta tiefed £eib, subject. 

115. ttttgetyro^tte SBorte 

First published, in less complete form, in Blatter filr die JCunst, 
Berlin, January, 1894. 

1. 5. eilte SSetterttadjt, i.e., a summer night, aglow with heat- 
lightning. 

1. 8. $riUje, early morning, 

1. 16. bort, i.e., in the heart. 

116. 3aratl)ttfitra£ ftuttbgefattg 

Published 1891, in the fourth part of Thus Spake Zarathustra, a 
work full of deep thoughts, veiled under fantastic symbolism, and 
expressed in rhapsodic prose, interspersed with lyrical passages. 
The discourse is placed in the mouth of the hermit-philosopher 
Zarathustra (Zoroaster). In the deep hush of midnight, under the 
light of the full moon, which has looked down upon the woes and 
struggles of so many generations of mortals, the hermit ruminates 
upon the problems of human life. The theme of the poem is the 
inexorable thirst of the soul for a full expression of its powers * 
(£ufi, 1. 8). This desire far outweighs the demand of the suffering 
to be released from their sorrows (1. 9). 

1. 5. tifcf, unfathomable^ mysterious, 

1. 6. gebadjt, sc. Ijat. 

117. Wit rafff id) mid) anf 

Written 1820. Longfellow's translation, under the title Re- 



Sel. 118-121] 



NOTES 



209 



morse, hardly does full justice to the pensive music of the original. 
The poem doubtless furnished suggestions for The Bridge by 
Longfellow. 

1. 6. b(t£ £ljor, the gate of the city. 

1. 9. ttal)m ... in ad)t, noticed. 

1. 13^ eittfadjt, cf. No. no, 1. 6, n. 

1. 14. An allusion to the ancient belief in the "music of the 
spheres." 

1. 18. tftttfdjettb eittfegette, deceptively remote. 
1. 21. t>tvbtad\t, misused, squandered. 

118. mm 

Written 1842 or 1843. 

119. Ubcr ein ©tfotbleitt 

This poem exists in several variant forms ; the present text 
represents the author's final revision. 
1. 1. feitt, suitably, full well. 
1. 2. ftfcer eitt SttiltMetn, after one little hour. 

1. 16. tljflrigen, usually tfyoridjten. 

120. ©eitbmtg 

From Gedichte, 1888. The defiantly courageous note in this 
poem is not unfamiliar in modern poetry: cf. Louise Imogene 
Guiney's The Kings, and W. E. Henley's To R. T. H. B. Also 
Heine's Fortuna, and the tone of Horace, Odes, iii, 3, 1-8. 

1. 4. @ettbttltg f one's "mission" or especial vocation in life. 

1. 22. An allusion to Matthew, xxvi, 39. 

1. 23. ber, He who. 

121. $offnung 

Written 1797. 

1. 9. fiegeiftert. Contemporary editions read begetftert ; for the 
proposed sumptuous edition of his poems Schiller indicated his 
preference for locfet, which reading has been adopted by some 
modern editors. Cf. the introductory note to No. 43. 



210 LYRICS AND BALLADS [Sel. 121 

I. x6. Cf. the words of „$offnung" in Goethe's Faust, 11. 
5439-40 : 

§i#er ltd), e8 mufc bad SBefle 
Srgenbtoo ju finben fcin. 

II. 17-18. Cf. No. 1, 11. 111-112. 



BIOGRAPHICAL NOTICES OF AUTHORS 



PAGE 

Ambrosius, Johanna (Voigt). Born at Lengwethen, East 
Prussia, August 3, 1854. Attended a village school up to her 
eleventh year, after which she carried on her education by 
private reading. Married a peasant named Voigt in 1874. 
Composed her first poems at the age of thirty, and in 1884 
began to publish in a periodical $on §CM8 £aU8. Her 
first volume of poems has reached the thirty-seventh edition. 
She lives at Gross-Wersmeninken in East Prussia. 

2Mtier £od)ter 100 

Angelus Silesius (pseudonym for Johannes Scheffler). Born 
at Breslau, Silesia, 1624; died at Breslau, July 9, 1677. A 
Roman Catholic mystic poet, best known for his collection 
of religious epigrams: (£f)erubinifd)er SBanberSmann ober 
©eifiretcf)e ©inn* unb ©cfytufcreime gur gbttlidjen 23efd)anUd)fett 
anlettenbe. 

@teljn ift juriicfc gefjn 101 

Baumbach, Rudolf. Born at Kranichfeld, in Thuringia, 
September 28, 1840. Studied natural science at Leipsic, 
Wiirzburg, and Heidelberg, taught in various Austrian 
schools, resigned this calling, and is now living as author in 
Meiningen. 

9«orjcntt)inb 80 

Scr ift bcr (Srfte? 82 

Bodenstedt, Friedrich. Born at Peine, near Hanover, 
April 22, 1819; died at Wiesbaden, April 18, 1892. Originally 
destined for a business calling, he devoted his free time to 

211 



212 LYRICS AND BALLADS 

PAGE 

study, attended several universities, was tutor in the royal 
family at Moscow, travelled through the Caucasus, and in 
1854 was appointed professor of oriental literature in Munich. 
1867 became manager of the court theater in Meiningen. 

©prud) ♦ 104 

Chamisso, Adelbert von (the name is pronounced as French, 
with the accent on the first syllable). Born at the castle of 
Boncourt in Champagne, France, on January 27 (?), 1781 ; died 
at Berlin, August 21, 1838. 1815-1818 took part in a 
scientific voyage around the world. 181 9 was made custodian 
of the botanical collections in Berlin. 

2>a8 (Sdjtofc SBoncourt 149 

Claudius, Matthias. Born August 15, 1740, at Rheinfeld, in 
Holstein; died at Hamburg, January 21, 181 5. From 1771 
he contributed to the periodical 2)er SBanbSbetfer 33ote. 
1776 was land-commissioner in Darmstadt; after a few years 
he returned to Wandsbeck, near Hamburg. 

Slbenbtieb 23 

SBci bcm ©rabe meitieS Waters 47 

2Bof)ttf)un 101 

Dahn, Felix. Born at Hamburg, February 9, 1834; educated 
at Munich, 1863 professor of German law at Wurzburg, 
1872 called to Konigsberg, and since 1888 professor at the 
university of Breslau. 

2>er ©laube bcr grennbfdjaft 147 

Edward, Georg (pseudonym for Georg Geilfus). Born at 
Giessen, December 13, 1869. Published SBattabetl Unb Sicber 
1897. Since 1893 has been residing in Chicago. 

Ungefprodjne SSorte 156 

Eichendorff, Joseph (Baron). Born at the castle of Lubowitz, 
in Silesia, March 10, 1788; died November 26, 1857, at 
Neisse. In 181 3-1 81 5 he served in the War of Liberation. 
After the war he was government counselor at Dantzic and 
Konigsberg. In 1831 he went to Berlin as government 



• BIOGRAPHICAL NOTICES OF* AUTHORS 213 

( PAGE 

counselor in the Ministry of Religion. In 1845 ne gave up 
public life and retired to his native Lubowitz. 

2tbfd)ieb 139 

2)u8 gerbrodjene SRtnglein 37 

2>er frolje 2Bcmber8matm 78 

Feuchtersleben, Ernst (Baron). Born at Vienna, April 29, 1806; 
died at Vienna, September 3, 1849. Studied medicine at the 
university of Vienna, became docent, and later assistant 
director of medicinal and surgical studies there. Was 
assistant secretary of state at the time of his death. 

9todj altbeutfdjer SBetfe 145 

Fontane, Theodor (pronounced as a French name, in two 
syllables). Born at Neu-Ruppin, December 30, 1819; died 
at Berlin, September 20, 1898. Attended the School of 
Trades in Berlin with the intention of devoting himself to 
pharmacy. 1841-1843 he lived in Leipsic and Dresden, then 
in Berlin, London (1855-1859), and again in Berlin. 

Slrdjibatb 2)ougla8 117 

Freiligrath, Ferdinand. Born at Detmold, June 17, 1810; died 
at Cannstadt, March 18, 1876. Engaged in business at 
Amsterdam, Brussels, Zurich, and London; from 1 851 he 
lived in London, after 1868 in Stuttgart, where he enjoyed 
the full use of his leisure, thanks to the generosity of his 
many admirers. 

O Ueb', fo fang bu lieben fannft ! 87 

Fulda, Ludwig. Born at Frankfort, July 15, 1862. Studied 
literature, linguistics, and philosophy at Heidelberg, Leipsic, 
and Berlin. 1884 resided in Munich; 1887 in Frankfort, and 
since 1888 has lived at Berlin. 

@prud) 105 

Geibel, Emanuel. Born at Liibeck, October 18, 181 5; died 
there, April 6, 1884. Studied at the universities of Bonn 
and Berlin, resided in Athens from 1838 to 1840. In 1852 he 
was made honorary professor of German literature at the 



214 LYRICS AND BALLADS 



PAGE 

university of Munich. He withdrew in 1868 and spent his 
remaining years in his native city. 

2)er 3Jtoi ifl gefommen 75 

2)e« 2)eurfd)ritter8 2foe 64 

#offnung 27 

Tint 159 

O bu, Dor bem bic ©tiirme fdjtoeigen 153 

SRiifjret nidjt baran ! 89 

©iefjft bu ba8 Wlttx? 155 



Gerok, Karl von. Born at Vaihingen, in Wiirtemberg, Jan. 30, 
181 5; died in Stuttgart, January 14, 1890. Studied theology 
at Tubingen, and was a Lutheran pastor from 1849. Later 
he was made a court-preacher. 

£erbftgefitl)l 27 

Goethe, Johann Wolfgang von. Born at Frankfort, August 28, 
1749; died at Weimar, March 22, 1832. Student at Leipsic 
and Strasburg. 1772 attended the imperial courts of law at 
Wetzlar, in 1775 was invited by Duke Carl August to 
Weimar, where he resided until his death. 



Sin ben 2ttonb 141 

2ln bic (Sntfernte 144 

2)a8 $eild)en 36 

2)er gifdjer 121 

2>er tfomg in £l)ute 15 

S)cr ©anger 107 

(Sin ©letd)e8 154 

(Srtnnerung 102 

(Srlfonig 49 

£arfenfp icier 155 

£eibenro«lein 36 

2Rtgnon 151 

Wlit einem gemalten 23anb 86 

@djafer« $lagelieb ' . . 144 

©priidje 101, 102 

SBanbrerS 9tod)tUeb 154 



BIOGRAPHICAL NOTICES OF AUTHORS 215 

PAGE 



Greif , Martin (pseudonym for Friedrich Hermann Frey). Born 
at Speyer, June 18, 1839. Educated in Munich, and entered 
upon a military career, which he abandoned in 1867. 
Travelled over a large part of Europe, and now resides at 
Munich. 

£enopl)ou 55 

Griin, Anastasius (pseudonym for Anton Alexander, Count of 
Auersperg). Born April 11, 1806, at Laibach, in Austria; 
died at Graz, September 12, 1876. Occupied various honor- 
able offices under the Austrian government, and took part in 
the political activities of his times. 

2)a8 SBfott im ©udje . . ♦ . 46 

Hauff, Wilhelm. Born at Stuttgart, November 29, 1802; died 
there, November 18, 1827. Besides being active as poet and 
novelist, he edited the 2ftorgenbfatt in Stuttgart. 

SReiterS 2ttorgengefang 71 

©olbatenliebe 44 

Heine, Heinrich. Born at Diisseldorf, probably on Decem- 
ber 13, 1797; died at Paris, February 17, 1856. Studied at 
Bonn, Berlin, and Gottingen. Lived at Hamburg, Berlin, 
and Munich, and after 1831 in Paris, where he died after 
prolonged sufferings. 

2ln meine Gutter SB. #eine 97 

3ud alten 2ttard)en roinft e8 148 

©elfager 11 

$ie ©renabtere 73 

$ie SBattfafjrt nad) $eblaar 18 

2)u bift ttrie cine ©tame 35 

(Sin gtdjtenbaum ftef)t einfam 143 

3d) roetfj nid)t, roa« foU c« bebcuten 34 

3m rounberfdjonen 9Jtonat 9Jtoi 85 

?cifc gteljt burd) mcin ©emiit 85 

2Rein $inb, roir roaren $inber 45 

©ic fyaben mid) geqntilet 90 

@turm 93 

Unb roujjten'3 bie ©lumen, bic ftetnen 85 



216 



LYRICS AND BALLADS 



PAGE 

Herwegh, Georg. Born at Stuttgart, May 31, 1817; died at 
Lichtenthal, in Baden, April 7, 1875. Studied in Tubingen, 
and after many vicissitudes settled in Switzerland, and finally 
in Baden-Baden. He was one of the leaders of the unsuc- 
cessful revolution in Baden in 1848. 

2eidjt©epo(f 132 

ffleiterUeb 72 

Heyse, Paul. Born at Berlin, March 15, 1830. Studied 
classical and romance philology at Berlin and Bonn. 1852 
began an extended residence in Italy. 1854 was called by 
King Maximilian II. to Munich, where he now lives. 

fiber em ©tiinbletn 160 

Hoffmann von Fallersleben, August Heinrich. Born at Fallers- 
leben in Hanover, April 2, 1798; died at Korvei, Prussia, 
January 19, 1874. 1830 was made professor of the German 
language and literature at the university of Breslau, but was 
deprived of his position on account of his having published 
poems of radical political tendency. After i860 he lived at 
Korvei as librarian to the Duke of Ratibor. 

2tbenbticb . . 22 

Kerner, Justinus. Born at Ludwigsburg, September 18, 1786; 
died at Weinsberg, February 21, 1862. Studied natural 
history at Tubingen, where he was intimately associated 
with Uhland, Gustav Schwab, and other young Swabian 
poets. After 181 9 he was district physician at Weinsberg. 

2)er reidjfte gitrft 16 

^oefte 156 

Sanberlieb 76 

Kinkel, Johann Gottfried. Born at Obercassel, near Bonn, 
August 11, 181 5; died at Zurich, November 13, 1882. 
1837 docent, and 1846 professor at the university of Bonn. 
1849 captured for participating in the revolution in Baden, 
and condemned to imprisonment for life, but in 1850 escaped 
to England. After 1866 professor in the university of Zurich. 

^etrus 56 



BIOGRAPHICAL NOTICES OF AUTHORS 217 

PAGE 

Komer, Theodor. Born at Dresden, September 23, 1791; 
killed near Rosenberg, in Mecklenburg, August 26, 181 3. 
He took very active part in the War of Liberation, as a 
member of Liitzow's Volunteer Corps. 

©ebet tuoljrenb ber @d)lacf)t 70 

Kurz, Isolde. Born at Stuttgart, December 21, 1853, tne 
daughter of Hermann Kurz, a well-known author of Wiirtem- 
berg, who was librarian of the university of Tubingen. 
Since 1877 she has lived in Florence. 

®eutfd)e ©efpenfter 150 

©enbung 161 

Lenau, Nikolaus (pseudonym for Nikolaus Franz Niembsch von 
Strehlenau). Born at Csatad, Hungary, August 13, 1802; 
died near Vienna, August 22, 1850. His life was restless 
and unhappy; in 1832 he emigrated to America, but 
returned the next year to Germany. In 1844 he became 
deranged, and spent his last years in an asylum. 

2)ic brci 3i0 tuner 134 

©eemorgeti 94 

Liliencron, Detlev von (Baron). Born at Kiel, June 3, 1844. 
Entered Prussian army, and took part in the campaigns of 
1866 and 1870, being wounded in each. Is now a retired 
captain, and lives at Altona, near Hamburg. 

2)ie aJhtftf fommt 42 

Logau, Friedrich von. Born at Brockut, in Silesia, 1604; died 
at Liegnitz, 1655. One of the most celebrated German 
epigrammatists. 

2)ic befte ^Crgcnci 101 

©5tttlrf)e 9tod>e 101 

Matthisson, Friedrich von. Born at Hohendodeleben, near 
Magdeburg, January 23, 1761 ; died at Worlitz, March 12, 
1 83 1. Studied in Halle; 1794 court reader to Princess Louise 
of Dessau. Later, director of the theater, and librarian at 
Stuttgart, until 1828. 

Slbclaibc 142 



218 LYRICS AND BALLADS 

PAGE 

Meyer, Conrad Ferdinand. Born at Zurich, October n, 1825; 
died there, November 28, 1898. Studied law, but did not 
enter practice. 1 857-1 858 in France and Italy. Most of 
his life was spent in his native city. 

Sin bigdjen greube 39 

3nber@ifHna 152 

tfenafaljrt 77 

Mdrike, Eduard. Born at Ludwigsburg, September 8, 1804; 
died in Stuttgart, June 4, 1875. ^34 became pastor at Clever- 
sulzbach, near Heilbronn, then instructor in German liter- 
ature at the Katherinenstift in Stuttgart. 1866 retired from 
active duties. 

©d)5n=9toI)traut 80 

Mosen, Julius. Born at Marieney, Saxony, July 8, 1803; died 
in Oldenburg, October 10, 1867. 1838 practised law in 
Dresden, 1844 court counselor and dramatic writer in Olden- 
burg. 

2lnbrea8 §ofer 67 

Miiller, Wilhelm. Born at Dessau, October 7, 1794; died there, 
September 30, 1 827. Studied classical and Germanic philology 
at the university of Berlin, and took part in the War of 
Liberation. Teacher and librarian in Dessau until his death. 

SUjnentoert 103 

2)cr ©locfengug gu 33re«lau 1 

2)cr Heine #t)briot 7 

2)er red)te Se^rmeifter 103 

Est Est! 135 

grii^IingSeingug 28 

9Jiorgen(ieb 25 

9fed)t unb Siebe 103 

SSineta 92 

29anberfd)aft 33 

2Bem gebiifyrt bie $rone? 103 



Nietzsche, Friedrich Wilhelm. Born at Rocken, near Liitzen, 
October 15, 1844. Studied classical philology in Bonn and 



BIOGRAPHICAL NOTICES OF AUTHORS 219 

PAGE 

Leipsic, 1869 assistant professor of classical philology in 
Basel, 1870 professor, 1879 resigned his chair. 1889 his 
mental powers became hopelessly impaired. Is now living 
in Weimar. 

@jmtd) 105 

jjaratljujh'as SRunbgefang 158 

Platen, August (Count of Platen-Hallermiinde). Born at Ans- 
* bach, October 24, 1796; died at Syracuse, Sicily, December 

5, 1835. Was trained for court service in Munich, but spent 

his life after 1826 chiefly in Italy. 

lite unb fteuere 104 

2)a8 ©rab im 8ufento 116 

SBie rafff id) mid) auf 158 

Reinick, Robert. Born at Dantzic, February 22, 1805; died 
in Dresden, February^, 1852. Trained as a painter in the 
studio of Karl Begas in Berlin, lived in Dusseldorf until 
1 83 1, in Rome until 1838, and as painter and poet in Dres- 
den until his death. 

2ln ben ©onnenfcfyetn 79 

flaferlieb 41 

toiofe ©efrf)id)te 40 

Roquette, Otto. Born at Krotoschin, in Posen, April 19, 1824; 
died at Darmstadt, March 18, 1896. Studied in Heidelberg 
and Halle, was teacher in Dresden and Berlin, after 1869 
professor of history and the German language and literature 
at the Polytechnikum in Darmstadt. 

©prud) 105 

SBeigt bu nod)? 84 

Riickert, Friedrich. Born at Schweinfurt, May 16, 1788; died 
at Neuses, near Coburg, January 31, 1866. 1817-1818 in Italy ; 
1826 professor of oriental languages at Erlangen; 1841 pro- 
fessor in Berlin; 1849 retired to his country estate at Neuses. 

2lu8 bcr 3ugcnbgcit 30 

8arbaroffa 9 

2)u tneine ©eele, bu mein £er$ 143 

©prttdje 103, 104 



220 LYRICS AND BALLADS 

PAGB 

Scheffel, Joseph Victor von. Born at Carlsruhe, February 16, 
1826; died there, April 9, 1886. Studied law, but devoted 
himself chiefly to literature. Travelled in Switzerland, France, 
and Italy. At the age of fifty, he was given a title of nobility 
by the Grand Duke of Baden. His late years after 1872 
were spent at Radolfzell, on Lake Constance. 

2>a« ift im Sebcn Ijaglidj eingertrf)tet 146 

Scherenberg, Christian Friedrich. Born at Stettin, May 5, 
1798; died near Berlin, September 9, 1881. First engaged in 
trade, then an actor, later librarian of the Ministry of War at 
Berlin. 

2Reine #eimat 83 

Schiller, Johann Christoph Friedrich von. Born at Marbach, 
in Wiirtemberg, November 10, 1759 ; died at Weimar, May 9, 
1805. Educated for the medical profession in the Carls- 
schule at Stuttgart; 1782 doctor of medicine; in the same 
year he fled from Wiirtemberg. Lived at Mannheim, Leip- 
sic, Dresden, and Weimar. 1789 professor of history in 
Jena. 1799 took up permanent residence in Weimar. 



2)a« Siftidjou 102 

2)cr ©raf Don §ab8burg 112 

2)cr #anbfd)iil) , . , . . 13 

2)cr £aud)er 125 

2)ic 8urgfdjaft 50 

greunb wtb geinb . . 102 

£offmmg 162 



Seidl, Johann Gabriel. Born at Vienna, June 21, 1804; died 
there, July 18, 1875. After 1829 professor in the gymnasium 
at Cilli; 1840 custodian of the cabinet of antiquities at 
Vienna, after 1856 imperial counselor and treasurer. 

§an8 (Sulcr 68 

Storm, Theodor. Born at Husum, in Schleswig, September 14, 
181 7; died there, July 4, 1888. 1853 entered the Prussian 
judicial service, and held various judicial positions. Most of 
his life was spent in his native town. 



BIOGRAPHICAL NOTICES OF AUTHORS 221 

PAGE 

Stte @tabt 97 

giir meitte ©oljne 99 

3m ©arten 105 

Srofl 95 



Strachwitz, Moritz (Count of). Born at Peterwitz, in Silesia, 
March 13, 1822 ; died at Vienna, December 11, 1847. Studied ' 



in Breslau and Berlin, travelled in Sweden, and died while 
Returning to Germany from an Italian journey. 

tcinc (Sinefure 131 

Sturm, Julius. Born at Kostritz, July 21, 1816; died at Leip- 
sic, May 2, 1896. 1850 pastor in Goschitz; after 1857, pas- 
tor in Kostritz. Retired from active duties in 1885. 

©djtoalbenUeb 32 



Uhland, Ludwig. Born at Tubingen, April 26, 1787 ; died there, 
November 13, 1862. Studied law at the university of Tubin- 
gen, and obtained degree of Doctor of Laws in 1810. After an 
extended period of linguistic and literary studies in Paris, 
he became an advocate in Wurtemberg; 1 829-1 833 profes- 
sor of German literature in Tubingen, but resigned his posi- 
tion because of his political convictions. In 1848 and 1849 
he was member of the German Diet. His later years were 
passed in retirement in Tubingen. 



2fof bcr Uberfaljrt 96 

2)a8 ©liicf t>on (Sbenfjatt 122 

2)a« (grfjfojj am 2fleere 90 

2)a8 ©d^tvert 6 

2)cr gute $amerab 43 

2)er roeifee £irfd) 8 

2)cr Sirtin Sodjterlein 38 

2)e8 tnaben SBergUeb 6 

2)eS ©angers glud) 108 

$ie$apelle 17 

(Smfeljr 22 

grttbUngSglaube 140 

©d^afer« ©omttagStteb 18 

Satflefer 61 



222 



LYRICS AND BALLADS 



PAGE 



Vogl, Johann Nepomuk. Born at Vienna, February 7 (?), 1802 ; 
died there, November 16, 1866. He held a position in the 
chancery of the Lower Austrian Estates until his retirement 
in 1859. 



Zarnack, August. Born at Mehmke, near Salzwedel, September 
21, 1777; died at Potsdam, June 11, 1827. Educated in divin- 
ity, he was for some time a successful pastor; became peda- * 
gogical director of the military orphan asylum at Potsdam, 
which he conducted with great success, being much beloved 
for his pure and noble character. He was an authority on 
pedagogics, and a meritorious poet. His collection, Deutsche 
Volkslieder mit Volksweisen fur Volksschulen, was published 
in Berlin in 181 8 and 1820. 



2)ct« (Srfermen 



47 



£) Xannebaum! 



26 



INDEX OF FIRST LINES 





PAGB 


PAGB 






rei o^yeuner fano 119 etnmat . 


liH: 


Vlgnen jinb fur ben nur ytuuen 


103 


A/lUUCu QIC diU^vUe • . • 


17 
1 1 


vlUe§ tn ber SBelt Idpt ftcp . . 


. 101 


fit ft Ynic oino 9%fitm» 
Ab'U Uljl lUlv vllXC <OlUUlv • • • • 


OO 


9lm %benb nnrb man f tug 


. 104 


jl/uiuv/ yvuuiuv uiiy jciii . • • . 


1 RA 


vim grenfter ftanb bte aJcutter . 


. 18 


«/U lllvlllv wvvlv; UU lllvlll eytlj . 


1*0 


$tm grauen Stranb, am grauen 


. 97 


vsiii iiv it u uu u it 1 |ivyi viii|uiii • 




%m #immel tt)&d)ft ber Sonne 


mm mm 

. 77 


V>lIl|Ulll IUUIIUCII Uvlll ^JltrUUU . 


14.9 


vlus a I ten yjcarqen nnnft e§ . 


. 148 


ffin 9lf>tfiftpn Aitf her 9fttpfo 

V&iU 'OCllU^trll UU| UCl «Vlv|C • • 


OO 


»uS ber .jugenbjett, au§ ber . 


. 30 


VMIi «VUIlUvl VUl\Uf/ lllll Uvlll • • 


4.7 


vHu9 bes aJteeres ttefem, ttefem 


. 92 


V/w yiuycii uivi ouyct lUUi^l uu| • 


Q 
O 


$lu§ fernem fianb .... 


. 32 


\2>S7 l|i Ut|lllllllll in vyuiictJ «AU I . 


14A 


2tu3 ifjren 9lefiern toax bte . . 


. 83 


CPS TpVu>n nnV\ trnitmpn V\if» 




Set etnem SBtrte nmnbermtlb . 


. 22 


CPS ftnnh ftt nftpn Qpifott pin 

|1UIIU ill UUtll .QVlltrll trill • • 




©a broben auf jenem Serge . . 


. 144 


Cf8 tnnr pin Jffftnin in jJ'fnifp 




©as vsttpgorn fprtajt: Jm bes 


> 82 


CPS hid rp n pinm/it V\rpt 

V/ v lUUllrll vlIllllUl UIC I . • . . 


41 


©as tft ber Sag be3 #errn! . . 


18 


CPS mfttpf her l^fiirm 

V/ w lUUltl Uvl wlUllll . . . . 




©a§ tft bte toaljre Stebe, bte . 


. 102 


CPS inrt pn hrpf ^AnrfAp tnrtfif 

Xi>s7 gUyvIl Ulvl <</Ul|U/C lUUltl > • 


00 


©as tft tm veben gapliu) . . . 


146 


^nfrt' rtfS ^iinfipr ntrftf V\pm 

\jviy£ uiw lOUH^vi iiiu^l Uvlll * • 




©as iKed)t }agt : ^eocm ba§ . . 


103 




101 


©as zitanbern tft bes aJtuuers 


33 


SSrriebc fet urn biefen ©rabjtetn . 


47 


©a§ 2Baffer raufd)t', ba§ . . . 


121 


^liaejt mieber Sufd) unb Sfcat . 


141 


©afc jte bie $erlc tragt, baS . . 


104 


©ottcS ^fi^len marten tangfam 


101 


©er alte Sarbaroffa 


9 


^att* bid) rein 


100 


©er bu toon bem #tmmet btji . . 


154 


£art an bem Solfcner 6ee . . 


135 


©er 2Rai tft gefommen, bte . . 


75 


j&aft bu ba§ 6d)lo^ gefe^en . . 


90 


©er SOtonb tjt aufgegangen . . 


23 


£et)te nimmer mit ber ... . 


99 


©er SWorgen frifd), bie SBinbe 


94 


J&err Dtt bom Su^t, nun brfingt 


64 


©er SBelt metyr geben, al3 jte . . 


104 


$ox$\ yjlaxtty, brau^en podjt . 


68 


©te bange 9frid)t tft nun . . . 


72 


^ttte, rjute ben fjfujj unb bie . . 


105 


©te Srenjler auf ! bie^ergen . . 


28 


3d) bin ein freier 3Kann unb . . 


132 


©te grd&ten SQBuiten jtnb teta^ter . 


103 


3d) bin einmat ettoa3 .... 


40 


©te linben Cufte ftnb ertoadjt . . 


140 


3d) bin'3 gch>of)nt, ben ^opf . . 


97 


©ie SRitternad)t m n&^er fa^on . 


11 


3d) bin bom Serg ber ... . 


6 



223 



224 



INDEX OF FIRST LINES 



PAGE 

34 f)ab' eine alte 3Ru&me ... 46 
34 fab' e§ getragen ficbcn 3afcr 117 
34 fcatt' eincn ftameraben . . 43 
34 m54te fleiben bt4 in tauter . 100 
34 trfium' at3 fltnb mt4 . . . 149 
34 roar etn fleiner ftnabe ... 7 
34 toeifs nid)t, toaS foil e3 . . . 34 
3m £ejameter fleigt be3 ... 102 

3m ftletnen grofc 105 

3m toUcn 2Baf)n f>att' id) bi4 • 98 
3m tounberf45nen 3Jionat 2Rai . 85 
3n ber <Stftine bfimmerf)ol>em . 152 
3n einem fu^Ien ©runbe ... 37 
Reiner a$nt, toaS aQe§ i&m . . 105 
ftennfi bu ba§ 8anb, mo bie . . 151 
ftleine Stutnen, Heine Slfitter . 86 
. ft ling ting, bumbum unb ... 42 
ftft&l loar bte Sftaraenluft ... 80 
fieife ate^t bur4 mein ©etnitt . . 85 
SWcin ftinb, toir toaren ftinber . 45 
2JH4 qufilt cin fonbcrbar ... 131 
9Ri4 trug etn Sraum jurucf . . 150 

SJtorgeurot 71 

Sftuber ©tana ber (Sonne! . . 27 
9ia4 fjrranfrei4 3ogen atoei . . 73 
9tfi4tU4 am Sufento lifoeln . . 116 
9lt4t ber ift in ber 2Belt oertoatjt 104 
9lormannenf)erjog 2Bilf)elm . . 61 
O bu, t)or bem bte 6tiirme . . 153 
C £erj, lajj ab ju jagen . . .159 
O lieb', fo lang bu Iteben fannji ! 87 
O «menf4 ©tcb a4t ! . . . . 158 

O ©onnenf4etn ! 79 

O Sannebaum, o Xannebaum . 26 
O Sadler rocit, o £dl)cn ... 139 
$oefte tft ttcfcS ©4mcraen . . .156 
^retfenb mit Diel f48nen 9teben . 16 
<Saf) etn ftnab' etn 9t5§lein . . 36 
©ie baben mt4 gequfilet ... 90 
©ief)ft bu ba§ Sttecr? (53 glanst 155 
©o f)ab' i4 »oirfli4 bi4 berloren? 144 



PAGR 

So fomme, toad ba tommen . . 95 
<&pre4t bon ben bitten mit meljr 104 
6teV t4 in finfrrer 3»itterna4t . 44: 
Xeuer ift mir ber frreunb ... 102 
Xruge gem no4 (finger be§ . .102 

liber alien ©ipfetn 154 

ttber biefen ©trom, oor 3a$ren . 96 
Unb brfiut ber SBinter no4 . . 27 
Unb toftfcten'S bie SBlumen, bie . 85 
Ungeforo4ne SBorte giebt eS . 156 

Skter, i4 rufe bi4 ! 70 

33 on (SbenljaH ber junge Sorb . 122 
SSor feinem fiStoengarten ... 13 
2Bar einft ein ©lotfengiefcer . . 1 
2Ba8 f)5r' t4 braufcen oor . . . 107 
2Beit Derftorft ber 3ube Simon . 56 
SBeijjt bu no4, tote i4 am Selfen 84 
SBeijjt, too e§ teinen #errn unb . 103 
SBem ©ott toill re4te ©unfl . . 78 
SBenn etneS 9Renf4en ©eele bu . 147 
SBenn i4 ein 2J5glein toaV . . 35 
2Ber in ben SBegen ©ottS ... 101 
2Ber tft ein unbrau4barer SRann? 101 
2Ber nie fein SBrot mit S^rftnen . 155 
2Ber reitet f o fpfit bur4 9ta4t . . 49 
2Ber f4lfigt fo raf4 an bie ... 25 
2Ber mel einft ju oertunben $at . 105 
2Ber toagt e£, ^RttterSmann ober. 125 
SBie f)eilt Tt4 ein oerlaffen $er| . 39 
SBie ^et^t ftdnig ftingangS . . 80 
2Bie rafft' t4 mi4 auf in ber . . 158 
2Bie, totUfi bu f4on bie SBaffen . 161 
SBtUft bu immer toeiter .... 102 
2Bof)tauf ! no4 getrunten ... 76 
SBo^It^aten, jtitt unb rein . . . 101 
SBo fiiU ein ^era oott fitcbe gtu^t 89 

3u 9la4en in feiner 112 

3u ^toni)§, bem S^rannen . . 50 

3u 6U§ am «ttare 55 

3u SWantua in 93anben ... 67 
3ur ©4miebe gtng ein junger . 6 



9 



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Spanhoofd. 25 cts. 

Zschokke's Das Wirtshaus zu Cransac. With introduction, notes and 
English exercises by Prof. E. S. Joynes, So. Carolina College, 
30 cts. 



To avoid fine, this book should be returned on 
or before the date last stamped below 

BOM — 0.40