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246                  MODERN   GERMAN  LITERATURE

Bin Regenbogen, veilchenschwill,

schmil^t durch weihrauchblaue Abenchvolktn.

Im laudunkel lacht
eine heisse Nachtigall.

This 'pointillierender Kokrismus\ which is influenced by the paint-
ings of the Munich Secession as well as by the bright blue of sky
and sea by the Swedish skjaers, continues, though more discreetly
toned, in the verse otReliqwen (1899); and here to the play with
colour is added an intimate note of personal love experience.
Very sweet (as a lady might say) is :

Am sussen lila Kleefeld vorbei,

%u den Tannen, den ^wei,

mit der Bank inmitten,

dort %ieht me ein weicher Flotenlaut

der sanfte Fjord,

blau im Schilfgriin ausgeschnitten.

Gib mir die Hand.

Die beiden Tannen stehen so still,

ich mil dir sagen,

was die Stille rings verschweigen will.

Gib mir die Hand . . .

Gib mir in deiner Hand dein

Ausgewahlte Gedichte aus neun'&uchern contains the best of Dauthen-
dey's lyric work (Gesammelte Gedichte, 1931); the separate volume
Die gefiugelte Erde (1910), a description of his voyage round the
world, has metrical interest by reason of its Whitmanesque bulge
and billow of line, while Bankelsang vom 'Balder auf der Bafy (1905)
gives us quite a different Dauthendey, a humorist in the black
woodcut manner of Hans Sachs and Wilhelm Busch. His verse
myths fail for lack of hardness and are readable only for their
pictorial qualities; the moors of the Isefjord in Iceland form the
background of Die schwar^e Sonne (1897); Phallus (1897) fantastic-
ally symbolizes the erotic relations of man and woman - the last
daughters of men adorn themselves behind a glacier wall which
reveals barbarous sexual urges in the bogged deeps of modern