FROM BAHR TO DEHMEL dalene. The poem is a necessary part of the cycle, for it leads up to the interpretation of love as 'Ehrfurcht vor dem lubermdchtigerf. Dehmel was a wonderful translator. His verse renderings of poems by Villon and Verlaine are gathered in Aber die Liebe> as are also his adaptations of Chinese poems. In his renderings of three poems of Li-Tai-Pe he was helped by Hans Heilmann, who later published a volume of prose translations of Chinese lyrics. Imitations of Oriental poetry thereafter belonged to the order of the day: Hans Bethge's Die chinesische Flote (1907) and Japanischer Fmbling (1911) may be mentioned. But the only poet who could lay claim to some knowledge of Chinese was Bierbaum, who began as an orientalist. DehmePs l^ieder derltilitis were published in a separate volume; the original, Pierre Louys' Chansons de Bilitis (18 94)3 played with the theme of Lesbian love, which we find in odd corners of impressionist literature. Paula Dehmel was a gifted woman: she collaborated with her husband in writing the poems for children which form Vol. VI of the Collected Works (Der Kindergarten). But Dehmel, though he was devoted to his children, found domestic life with her hard to endure; she was a chronic sufferer from asthma, and aged rapidly. He seriously entertained the idea of adding Hedwig Lachmann to his household as second wife. But Hedwig was one of his wife's most helpful friends, and remained so. In 1893 Dehmel fled to Hamburg, without taking even a toothbrush; this time, however, Paula fetched him back to home - and duty at the insurance office; he was, however, granted leave of absence and spent a holiday in Italy. It is almost an ironical detail that Dehmel was at last, in 1894, able to resign his insurance post because Paula came into money. By this time Dehmel had met the third Jewish lady who swept him off his feet. An essay of his on the paramount perfor- mances in the art of the day had just appeared in the second num- ber of Pan, which he had helped to found; and he received a letter from a lady in which she expressed her surprise that the essay did not mention Stefan George; accompanying the letter were one of George's volumes of verse and one year's issue of Blatter fur die Kunst. The lady was Frau Konsul Auerbach of Berlin, and when Dehmel called on her he found she was twenty-five, recently mar- ried to a well-to-do Jewish merchant, and on the way to have a baby. Her maiden name was Ida Coblens (Idda* for short, but Dehmel called her Isi, and as Frau Isi she will live in literature).