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Full text of "German lyrics and ballads, with a few epigrammatic poems"

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JilL.. 



jLiPuCö AND B/ 




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Darvarö Coüeae XiDrari; 

FROM 



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GERMAN LYRICS AND BALLADS 



®cMd^c ftnb gemalte fjfcnfterfd&cibcn! 
©icT^t man öom 3)laxft in ble Äird&e l^inctn, 
S)a ift alles bunfel unb büfter; 
Unb fo fte^t^S au(^ ber ^err ^T^iliftcr: 
S)er mog benn tool^I bcrbriefeliti^ fein 
Unb lebenslang öerbrieftlid^ bleiben» 

Äommt aber nur einmol l^erein! 
SBegrü^t bie l^ilige ^aptUt; 
S)a tft'S auf einmal forbig l^IIe, 
©efd^id^t' unb Sxtttai glänzt in ©d^elle, 
S3ebeutenb toirft ein eblcr ©^in; 
a)ieS toirb tud) Äinbem ©ottcS taugen, 
©rbaut tnd) unb ergöjt bie Singen l 

@oet]^e 



1>eatb'0 fl>o&ern Xanauaae Seriee 



GERMAN LYRICS AND BALLADS 



WITH A FEW EPIGRAMMATIC POEMS 



SELECTED AND ARRANGED BY 



JAMES TAFT HATFIELD 

Professor of thb Gbrman Languagb and Litbraturb 

IN NORTHWBSTBRN UnIVBRSITY 




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

1903 



EAlcT 17 eh ^s- ^-//^ 




(?yi4. UjUioAfyL StvUm 0-£^a2ii, 



COPyRIGHT, 1900 

Br D. C Hkath & Qx 



^rau Zltarianne von Salpius 



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- 



Vlll 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 bürden, to those who study 
them. 



CONTENTS 



PAGB 

Introdüction • xiii 

FIRST PART 

!• 2)er ©lodenguß ju 8re«Iatt . . SB. WlüXkt 1 

2. S)a0 @(3^»ert U^tanb ....♦• 6 

3. 2)e« ^abcn ©erglleb . . * . Urlaub 6 

4. S)er Heine ©^brlot SB. SWütter 7 

6. ®er toelße ^Irfd^ U^tanb 8 

6. ©arbaroffa SRüdert ^ y/ 

7. «elfajer ©eine 11-^ 

8. S)er C>anbfd^u^ ©(i^ltter 13 

9. ^er ^5ntg in ^^ule . • . • ©oet^e .:.... 15 
10» S)er re^fie gürjl Äerner 16 

11. ®le ^aptUe U^lanb 17 

12. ©d^öfer« @onnta0«tteb . . * . U^tonb 18 

13. S)le Sattfa^rt nad^ Äeötaor • . $elne 18 -^ 

14. einlegt U^tanb 22 

16. «Benbtteb ©offmann i).gaaer«teben 22 

16. mbenblleb (Jtaublu« 23 

17. SJ^rgenlleb SB. SWütter 26 

18. OXarmthauml 3qi^a^ ...... 26 

19. ©erbflgefül^I ®ero! 27 

20. ©offnnng ©elbel 27 

21. grü^UngSetnjng ©. TlüUtv 28 

22. 3ln8 ber augcnbgclt ^Rudert 30 

23. ©d^ttjalbenlleb '. . @turm 32 

24. Sanberfd^aft SB. TlUtx 33 / 

26. 3(J^njcl6nl(^t,ttja8folIe8b€bettten ©eine 34X 

26. 2)cr ging ber Jlebc S5ott«tieb 36 



X CONTENTS 

PAGK y 

27. S)u bip tt)lc eine «lume , . , ^clne 35 ^ 

28. $cibcnrö«Iein ©oet^c 36 

29. %^% «eUd^en ©oct^e 36 

30. 2)a8 jerbrod^cne ^Rlngletn . . . ©id^cuborff 37 

31. 2)er SBirtln 2:ö(f)tcrlein . . . U^Ianb 38 

32. ein bißd^cn grcubc (5. g. SWc^cr .... 39 

33. Äuriofe ©cfd^id^tc 3ieinl(f 40 

34. ÄQferttcb 9icini(f .41 

35. S)ic aJJufit fommt SiUencron 42 

36. S)cr gntc Äamcrab U^Ianb 43 . 

37. ©olbatcnlicbe ^auff 44 / 

; 38. 9)lcin Äinb, njirnjarcn tinber . ^cine 45-^ 

39. S)a« «latt im 53ud^e .... ®rün ...... 46 

40. ^ei bcm @rabe meines SSater« . (Jtaubiu« 47 

41. S)a« erfennen ^ogt 47 

SECOND PART 

42. (Srüönig ©oet^e 49 

43. 2)ie Sürgfd^aft @(i^itter 60 

44. leno^^on ©reif 55 

46. ^etrn« Äinfcl 66 

46. SaiUcfcr U^Ianb 61 

47. 2)e8 2)cutfd^ritter« 2löe . . . . ©eibel 64 

48. Slnbrea« ^ofer aJJofcn ...... 67 

49. ^^xi% @uter @eibl 68 

60. ®ebct ttJä^renb ber ©d^ted^t . . Äörner 70 

61. 3ieiter« SWorgengefang .... $auff 71 

62. ^Reitcrlieb ^erttjegl^ 72 

63. S)ic ©renabicre ...... $eine 73 / 

64. 2)cr SWai i|l gefommen .... ©eibel 75 

66. SBanberlieb ferner 76 

66. Jenjfa^rt (J. g. aJie^er .... 77 

67. S)er fro^e 2Banber«mann . *. . ^id^enborff 78 

68. an ben ©onncnfd^ein .... Sleinid ...... 79 

69. SD^ärjcnttJinb ©aumbad^ 80 

60. @d^ön=§Ro^traut SWörife 80 

61. SBerijlbererjie? ©aumbad^ 82 



CONTENTS xi 

PAGB 

62. Tteine Heimat ©d^erenberg «... 83 

63. Sclßt bumd^? mqvitite 84 

64. 3tn ttjunbcrft^öncn 3Ronat SWal . ^clnc 8ör^ 

65. Seife gle^t burt^ mein ©ernüt . . $elne 85-^ 

66. Unb loüßten'« bie ©lumen, bie 

Keinen ©eine 86 -^ 

67. ÜJ^lt einem gemalten iSanb . . ©oet^e 86 

68. O Heb', fofongbuUebcnfannjl! grelllgrat^ 87 

69. 3iü^rct nld^t barani ©clbel ^^ y 

70. @le ^abcn mlci^ gcqnolet . . . ^Ine 90 -^ 

71. 2)a« @(3^to6 am aJlecre .... Uftlanb 90 

72. SJlneta SS. SWülIer 92 

73. @tnrm ^elne 93 '^ 

74. (Seemorgen genau 94 

75. Xxo^ @torm 96 

76. auf ber Überfahrt] Urlaub 96 

77. S)le @tabt @torm 97 

78. m meine aJhittcr ©. $elne . . ^Ine 97 ^ 

79. gür meine @ö^ne @torm 99 

80. 3Relner Xod^ttv 3. Umbrofm« .... 100 

81. ©prüd^e unb ©Inngebld^te 100 

THIRD PART 

82. 2)er @Snger ©oet^e . . . . , .107 

83. 2)ed @ängerd ^u(^ Urlaub ....... 108 

84. S)er @raf öon $ab«burg . . . (Bd^iUtt 112 

86. 2)a8 ®rab Im «ufento .... ?(aten 116 

86. ^tij^lbalb S)ougIa9 .... * Fontane 117 

87. S)erglfd^er ©oet^e ...... 121 

88. 2)ad ©lücf üon (Sbenl^all . . . Urlaub 122 

89. 2)er Sandtet ©d^lUer 125 

90. Äelne ©Inefure ©trad^wlfe 131 

91. Seld^t ®tpäd ^ertocg^ 132 

92. ®le brel 3^9««»«'^ . . ♦ . . Senau 134 

93. EstEstl SS. SWüllcr 135 

94. f(bf(^leb @^enborff 139 

95. grfl^Ungdgfoube Urlaub 140 



Xll CONTENTS 

PAGB 

96. Wo. bcn Tlonh \ ©oet^c 141 

97. melalbc aWatt^iffott 142 

98. @in gid^tenbaum fie^t clnfant . ©eine 143 

99. S)u meine @eele, bu mein ^rj . Slücfert 143 

100. Wx blc entfernte ©oct^e 144 

101. ©d^öferö tlageltcb ©oet^e 144 

102. 9?ad^ altbeutfd^cr Sßclfc .... geud^tcrSlcben .... 145 

103. S)a« Ijl Im ?eben ^äßUci^ ein* 

geratet ©d^effcl 146 

104. S)er ©taube ber greunbfd^aft . . 2)a^tt 147 

105. Slu« alten SWärd^en lölnft e« . . ^etne 148 

106. 2)a« ©(i^Ioß 53oncourt .... C^amlffo 149 

107. ©eutfd^e ©efpenjier . . ♦ * . 3. Äurj 150 

108. awignon ©oet^e 151 

109. 3n ber ©Ijllna (J. g. SWeijer . . . ♦ 152 

110. O bu, öor bem ble ©türme 

fd^toelgen ©elbel 153 

111. SöanbrerS^Jad^ttteb. @ltt©Ie^e« ©oet^e ..•••. 154 

112. $arfenfpleler ©oet^e ...... 155 

113. @le^fl bu ba« aWcer? .... ©elbel 155 

114. «ßoejie Äcmer 156 

115. Ungefprod^ne Sßorte ^btoarb 156 

116. Sarat^ufhra« 9lunbgefattg . . . SfJlefefd^e 158 

117. 2ßle rajff Id^ ml(i^ auf . ♦ . . ^toten 158 

118. aWut ©elbel 159 

119. Über ein ©tünblelu $eijfe , 160' 

120. ©enbung 3. ^rj ...... 161 

121. ©Öffnung ©dritter 162 

Notes 165 

blographical notices of aüthors 211 

Index of First Lines 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 iniluential 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, f anaticism, and t3rr- 
anny: it vindicated man's right to a füll 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, 
natura itself, with all its appärent irregularities and irration- 
alities, was well-nigh ignored. 

The strengest 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 



XIV INTRODUCTION 

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

®a8 ©d^aubern Iji her ÜÄcnfd^^clt bc jle« Xt\L^ 

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 modeis, 
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. i6, 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 inüuence against superficial, cautious, 
mediocre rationalism was Kanfs "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 (i 712-1778), who proclaimed with captivating eloquence 
the sovereign rights of " Nature," protested that mankind had 
become enslaved and degraded by civilization, and called for a 
retum to the simple instincts and habits of more primitive life. 
Herder, und er whose powerful and regenerating influence 
Goethe came while a young Student in Strasburg (i 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 Fausif 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 comer-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 eamest simplicity, 
in the works of Shakespeare, with their romantic heartiness, 
in "Ossian's" pathetic outpourings of soul, in the naive, popu- 
lär songs of various nations ( Volkslieder) genuine elements of 
poetry.^ 

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 earliestpub- 
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 füll, warm, 
overmastering feeling, often lying close to the well-spring of 
tears (Nos. 67, 96, 100, in, 108, 112, 10 1, 42); above all, 
Goethe is l)rric: 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, loi). The most exquisite artistic efiFects 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,^ "gave me happiness or tormented me, 

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

2 Werket Weimar ed., xxvii, 109. 



XVI INTRODUCTION 

or in any way occupied my thoughts, I transmuted into a pio 
ture, a poem, and in this way made a final reckoning with it, 
both in Order to give clear outlines to my ideas of extemal ob- 
jects as well as to quiet my mind. Nobody needed this gilt 
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 inevi table 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."^ 

"My way as poet," said Goethe,^ "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, in (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 ofiE 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. ^ Eckennann, iii, 117. 



INTRODUCTION XVll 

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 
govemment of the State of Saxe -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 sympäthy with the 
spirit of Greek art and thereby into cleamess, 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 naXve, 
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 j together they 
labor untiringly to define more and more clearly the etemal 
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 ; f reedom, nobility, simplicity, and 



XViii INTRODUCnON 

calmness; an enthusiasra for the heroic, a reverent awe in the 
presence of etemal mysteries. 

Schiller reveals a more sentimental nature than Goethe: his 
work has conscious ethical purpose; it is füll of eamest 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 eamestness of the German inner 
life is nowhere more clearly shown. His ballads often depict 
a conflict between the higher and Iower 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 Bürgschaft (No. 43), are taken by pref- 
erence from classical life. 

IL ROMANTICISM 

At the end of the eighteenth Century the so-calied " Ro- 
man tic 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 "inbom 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 f ancy was lawful, every 
feeling or enjoyment had a right to füll 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 singl" 

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 SL 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 belief s, its yeaming devotion and intense fervor. It 
reclaimed from this period much ricbly-colored poetic material 
which had been ignored by the age of rationalism in its con- 
tempt for every thing "barbarous" and medieval. 

Of immense influence in the history of modern German po- 
etry was the general enthusiasm which was developed for old 
populär German songs. The publication in England of Bishop 
Percy's Reliques of Ancünt English Poetry (1765) stirred up 
great interest in the whole subject in Germany. This interest 
caused Bürger (i 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 greatly 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 voIume 
of Arnim and Brentano's collection of old German populär 
songs linder the title Des Knaben Wunderhorn (dated 1806);^ 
the book was at once reviewed by Goethe, who commented 
upon each of its songs (about 200 in all) and said: ** 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 infiuence of the 
Wunderhorn in efEecting 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 externa! 
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 
EichendorfiF, 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 Tübin- 
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 füll utterance to the poetic 
f eelings of the German people that his songs became veritable 
Volkslieder^ dear to every heart. As his monument in Tübin- 
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 cleamess o£ 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, füll of 
fresh air, and dignified by unswerving moral eamestness. In 
Mörike, the last representative of the Swabian group (No. 60), 
we find a marvellous artistic sense and lyric grace. 

The heroic days of 181 3, when Prussia made its final exer- 
tion to throw ofiE French tyranny, called forth the fiery lays of 
the poets of the War of Liberation. The most populär of these 
was the young hero Theodor Kömer, 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, f uU 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. 

Rückert, whose intense patriotism was expressed in vehement 
war-songs, was a poet of wide ränge 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 populär sources, — and he was 
especially an Interpreter of romantic love between the sexes 
(No. 99). 

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



XXll INTRODUCTION 

The political tendency of his Songs of the Greeks gave him 
his Chief fame while living (cf. No. 4). Müller was a highly 
sympathetic Interpreter of the various moods of nature (Nos. 
21, 17, 72). As to his employment of the populär material of 
the Wunderhorn (cf. No. i), 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'^ how 
out of the old existing Volks lied-iorms are to be constructed 
new forms, which shall themselves be populär, without any 
necessary Imitation of the awkwardness and crudeness of the 
older language." An example of Müller'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 feit by poets like Reinick (Nos. 58, 
33, 34) and Baumbach (Nos. 59, 61). 

Hau£E 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 Clements: his 
populär 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 iniiuenced 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 f ate, it was his own keen blade which 
was to give it a finishing thrust His earlier work was firmly 



INTRODUCTION XXlll 

rooted in its soll (No. 13); he exploited the materials of the 
Volkslied more fuUy than any other German poet had done. 
With a heart passionately hungry for the world of dreams, his 
lif e was rent by his hopeless failure to reconcile this yeaming 
with the prosaic facts of his environment (No. 105). He 
tumed 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 füll 
poetic value of some simple Situation. There is often a fine 
and pure sentiment which rings true (Nos. 'j^^ 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 
retumed continually to his native land, and yet he was hardly 
a true German: he had too little downright eamestness and 
sincerity. He failed to round out his own life into a symmet- 
rica! whole. Even his wit is often forced, and his apparently 
childlike naive td 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 
govemment 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 f ellow-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 
"joumalism set to music" he sounded a stirring battle-cry of 
freedom, asserting an unbending independence and a deathless 
scom of slaves and cowards (No. 91). In keen and defiant 
tones (No. 52) he proclaims the breaking of all bonds .with the 
pasty 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{ci, No. 90). 
Above all things, he loathed mediocrity. He gave clear and 
vigorous expression to the primitive (f ar 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- 
predated the old-German spirit, as witness his homely and 
sito^Iq Abendlied i^o, 15). 

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 populär 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 Historie 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 off er 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, HO, 69). A Citizen of the free republic of Lübeck, 
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 Volks- 
lied^ from the old English ballads, and, particularly, from 
Uhland, whose spirit he has caught, although being himself 
of aless rugged nature; he shares Uhland*s conscientiousness 
in matters of verse-technique. Like Uhland he loves nature, 
and makes efiFective use of its imagery (Nos. 20, 113, 54); like 
him, also, he is füll of German fresh-heartedness and love of 
life, of hope, courage, and cheer (Nos. 20, 118, 54). 

The pietistic and sentimental poet Karl Gerok, though pos- 
sessing but a limited ränge of expression, has true delicacy, 
sweetness, and melody. His Herbstgefühl {^o, 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 füll (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 
f atherland, 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 Modem life looks at hard facts, and occupies itself most 
seriously in achieving practical, extemal results. Socialism 
talks some very piain prose about ugly truths underlying our 
present order, and is too much concemed 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 fuUy 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 southem 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 XXVU 

touched by the mysterious charm of romanticism which invests 
the ancient or remote with a dignity of its own; his poems 
are " memories," bom of deep personal experiences. With his 
fine humor is associated prevailing eamestness 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 
S3rmbolism in nature (No. 56). With the füllest epic power, he 
is also deeply contemplative. His work is not naive and 
populär, but calls for eamest 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 pöet, he is at his best in the ballad : his springing 
tone, his bold strokes and vivid pictures are fuU of natural 
freshness and strength (No. 86). 

Of the many gif ted 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 eamest 
and deep Student of life, herself possessing broad culture. 
Her loyal enthusiasm for her southem 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 



XXVlll 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 fiourish of 
trumpets, the advent of an out-and-out "modern" and revolu- 
tionary school of l)rric 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 f alse 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 füll 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 vulgär 
life and of morbid types. Many of the younger poets who 
were associated with the rise of this movement are ab-eady 
forgotten. They showed a juvenile immaturity and a lack of 
finish in technique, and they had the cnidest notions as to that 
supremely valuable source of poetle inspiration, the heart of 
a noble woman. Many of them are nervously wom out, 
efPeminate, 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 Blätter für 
die Kunst (cf. No. 115). Many believe that its devoted 
eamestness 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 

1« Her (BUdcn^nfi ?tt ^te^latt 

2Bar etnji ein ©lodengiefeer 
3u aSrc^Iau in bcr ©tabt, 
6in el^rcnmertcr aWciftcr, 
©cmanbt in Sftat unb Stl^at. 

6r l^atte \ä)on flegoffen s 

SSiel ®lodtn, gelb unb mx% 
gfür Sixxä)tn unb ßapeUcn, 
3u (SottcS Sob unb ^ßreiö. 

Unb feine ©loden Hangen 

©0 DoU, fo l^ett, fo rein; lo 

6r go^ au(ä^ Sieb' unb ©tauben 

aRit in bie tJorm l^inein. 

2)0^ allet ©loden ffirone, 

3)ie er gegoffen l^at, 

3)aS ift bie ©ünberglodEe is 

3u SreSlau in ber ©tabt; 

3m SRagbalenenturme 
Sa l^öngt ba§ 2Keifterftücf, 
1 



Z LYRICS AND BALLADS 

aiief f(j^on manä) ftarres ©erje • 
20 3u feinem ®ott jurüd. 

2Bie l^at ber gute Sßetfter 
©0 treu ba§ SBerl beba(j^t! 
2Bie f)at er feine ^änbc 
©erül^rt bei Stag unb 5Ra(j^tI 

25 Unb als bie ©tunbe fommen, 

S)afe alles fertig toar, 
2)ie gfotnt ift eingemauert, 
2)ie ©peife gut unb gar, 

2)a ruft er feinen fßiibm 
30 3ur 3feuerit)a(j^t l^erein: 

,M latT auf lurje Söeile 
Seim ßef[el bid^ aUein, 

SBiü mxä) mit einem Strunle 
3loä) ftär!en gu bem ®\x% 
35 2)aS giebt ber gälten ©peife 

6rft einen boUen Slufe; 

3)o(ä^ ^üte bi(ä^ unb rül^re 
S)en ©al^n mir nimmer an, 
©onft mär' eö um bein Seben, 
40 Sürmi^iger, getl^an !" 

S)er aSube fte^t am Äeffel, 
©d^aut in bie @Iut I)inein; 
2)aS mögt unb maüt unb mirbelt, 
Unb mitt entfeffelt fein, 



LYRICS AND BALLADS 6 

Unb gtf(^t il^m in btc Diäten 4S 

Unb gucft tl^m burd^ ben Sinn 

Unb jtel^t Ott aUctt gitiflcm 

Sl^tt naä) bettt ^ol^tte l^in» 

et füp tl^tt itt bm ^önben, 

6r \)at ifftt utngebrel^t; 50 

2)0 lüirb tl^ttt ottflft uttb battgc, 

6r totx^ nid^t, H)o§ er i^t, 

Uttb läuft l^tttouS guttt aKeijlcr, 

®ie ©d^ulb il^m ju gcftel^tt, 

2BtlI fcittc Ättte' umfoffett ss 

Uttb il^n utn ®nabe flel^ti. 

^oö) toxt bet ttur t^tmommtn 

a)e§ ßttokti crftcS SBort, 

®o reifet bie Iluge Siedete 

S)er jäl^e 3ottt il^tit fort. 60 

6r ftöfet fein fd^orfcS aRejfer 
3)etn Subett iti bte ©ruft. 
®atttt flürgt er ttad^ betn ffieffel, 
©etti felber tttd^t beiDufet. 

SStellctd^t, bofe er ttod^ rettett, 65 

S)ett ©trotn ttod^ l^ettttttett fottn — 
2)o(^ fiel^, ber ®ufe ifl fertig, 
ßö fel^It feitt SEropfett brott. 

2)0 eilt er, obpröutttett, 

Uttb fielet, unb loill'^ nid^t fel^n, 70 



4 LYRICS AND BALLADS 

®ang ol^nc ^kd unb 9Kafcl 
S)ic ©lodc t)ot fi(ä^ fielen. 

S)et ßnak liegt am Sobcn, 
gr fd^aut fein SBerl nit^t mel^r: 
75 ^ä), mtx^zt, tDilbcr aWeiftet, 

S)u ftie^eft göt ju fel^r! 

6t fteßt \\ä) bem ©erit^te, 
6t Ilagt ^lä) felber an. 
g§ tl^ut ben SRid^tetn »el^c 
8o SBol^I um ben toadetn 3Ram; 

^oä) lann i^n feiner retten, 
Unb »tut tüiD mieber Slut. 
6r l^ört fein XobeSurtel 
ajiit ungebeugtem SKut. 

85 Unb ate ber Xag gelommen, 

S)a^ man il^n fül^rt l^inauS, 
®a tt)irb il^m angeboten 
S)er le^te (Snabenfd^mau§* 

„^6) banf eu(^/' fpric^t ber 3Mctfter, 

3)od^ eine anbre ®nabe 
SKein ^ni t)on eud^ begel^rt: 

Safet mi(ä^ nur einmal l^ören 
2)er neuen ©lotfe ff lang! 
95 3(^ l^ab' fie ja bereitet, 

aWöt^f tDijfen, ob's gelang." 



LYRICS AND BALLADS Ö 

S)ie aSitte tparb gcmäl^tct, 

©ic festen bcn ©ctrn gering; 

S)tc ©locfc toaxh geläutet, 

9ltö er jum äobc ging. loo 

S)er SKeijier l^ört fic Hingen, 
©0 boH, fo l^eH, fo rein! 
2)ie 3lugen gel^n il^m über, 
6ö mufe üor greube fein; 

.Unb feine Slitfe leutä^ten, 105 

m^ iDären fie berüärt; 
@r l^atf in i^rem ßlange 
SBol^I mel^r al§ Älang gel^ört. 

^at oud^ geneigt ben 3ladm 

Sunt ©trei(ä^ t)ott Si^^^^P^t; iio 

Unb it)a§ ber Sob t)erfpro(|en, 

2)aö bri(j^t ba§ Seben nitä^t. 

S)a3 ift ber ©locfen ffrone, 

3)ie er gegoffen l^at, 

S)ie aWagbalenenglode "s 

3u aSreSlau in ber ©tobt. 

2)ie toarb gur ©ünberglocfe 

©eit jenem Stag gemeil^t. 

2Bei^ nid^t, ob's anberS toorben 

3n biefer neuen 3cit^ "© 

n>ill}elm mailer. 



LYRICS AND BALLADS 



2. Ha» Sättoctt 



3ut ©(j^inicbe ging ein junget ^t% 
6r l^atf ein gutes ©d^mert befteDt; 
2)od^ als er'§ toog in freiet ©anb, 
2)aö ©(ä^ttett et biel gu fd^toet etfanb. 

5 S)et olte ©d^mieb ben Satt fid^ ftteit^t : 

„S)a§ ©(ä^mett iji nitä^t gu fc^tüer no(ä^ leitet, 
3u fd^maiä^ ift 6uet Sltm, i(ä^ mein'; 
S)o(^ motgen fott gel^olfen fein." 

„?Rein, ^eut, bei aflet SRittetfd^af t ! 
10 2)utd^ meine, nid^t butd^ tJeuetö Ätaft." 

Set Süngling fptid^f §, i^n Sraft burd^btingt, 
®oö ©d^ttett et l^od^ in Süften fd^toingt. 

UI)Ianb. 



3. He» Unah^n ^^v^lUb 

3d^ bin t)om SÖetg bet ©ittenfnab', 
©el^' auf bie ©d^löffet aß' l^etab; 
2)ie ©onne fttal^It am etften l^iet, 
9lm löngften meilet fie bei mit; 
5 ^ö) bin bet ftnab' bom SÖetge! 

©iet ift beS ©ttomeä 2Kuttetl^uS, 
3d^ ttinP il^n ftifd^ t)om ©tein l^etauS; 
@t btauft bom gete in toilbem Sauf, 
3d^ fang' il^n mit ben 9ltmen auf; 
lo 3d^ bin bet ffnab' bom Setge! 



LYRICS AND BALLADS 7 

2)cr Scrg. bct tft mein ©tgcntutn, 

S)a gicl^tt bic ©türme rittflä l^erum; 

Unb l^culen fie ton 5Rorb unb ©üb, 

©0 überfiä^aßt fie boc^ mein Sieb: 

^ä) bin ber ftnab' bom Serge! 15 

©tnb 33Ii^ unb 2)onner unter mir, 

©0 ftel^' xä) i)oä) im Slauen l^ier; 

^ä) lenne fie unb rufe ju: 

„2a^t meinet SSaterS ^an^ in SRul^' !" 

3^^ bin ber ßnab' t)om Serge! 20 

Unb toann bie ©turmglotf' einft erfd^aßt, 

^anä) tJeuer auf ben Sergen toaUt, 

3)antt fleig' x6) nieber, tref in§ ©lieb 

Unb fd^ming' mein ©d^mert unb fing' mein Sieb : 

^ä) bin ber ßnab' Dom Serge! 25 

Ulilanb, 



4. Her tUinc Vtybtioi 

^ä) tt)ar ein fleiner ftnabe, ftanb feft laum auf bem Sein, 
3)a nal^m mxä) f(J^on mein Sater mit in ba§ SKeer l^inein 
Unb leierte leidet mic^ fd^mimmen an feiner filtern ^anb 
Unb in bie fluten taud^en bi§ niebcr auf ben ©anb. 
gin ©ilberftüdd^en toarf er breimal in§ ^eer l^inab, 
Unb breimal mufef id^'§ Idolen, tf) er'^ jum 2oipx mir gab» 
®ann reid^f er mir ein 9iuber, l^ie^ in ein Soot mid^ gel^n, 
6r felber blieb jur ©eite mir unberbroffen fielen, 
SQßie§ mir, toie man bie SBoge mit fd^arfem ©c^lage brid^t, 
SSic man bie SBirbel meibet unb mit ber Sranbung fid^t. i 



8 LYRICS AND BALLADS 

Unb bott bem Ilctncn Saline ging'S PugS ins gro^ ©^iff/ 
6§ trieben un§ bie ©türme um man(j^e§ gelfenrijf ; 
^ä) fafe auf l^ol^em SKafte, \ä)a\iV über 2Weer unb Sanb, 
@§ [(ä^mebten SBerg' unb Stürme Dorüber mit bem ©tranb. 

15 S)er ajater l^iefe mitä^ merfen auf jebeS SSogelS glug, 
3luf aHer SBinbe SBel^en, auf aller SBolfen 3ug ; 
Unb bogen bann bie ©türme ben DJtaft bi§ in bie glut, 
Unb fpri^ten bann bie SBogen ^oi) über meinen ^ut, 
2)a fal^ ber SSater prüfenb mir in ba§ 9lngefid^t — 

20 3c^ fa^ in meinem fforbe unb rüttelte mid^ ni(j^t; — 
2)a fprat^ er, unb bie SBange marb il^m toie SÖIut fo rot : 
„®Iücf ju auf beinem SKafte, bu Keiner ^^briot !" 
Unb l^eute gab ber SSater ein ©(ä^ert mir in bie ©anb 
Unb tt)eil^te mxä) jum ßämpfcr für ®ott unb SSaterlanb. 

25 6r ma^ mi(^ mit ben Süden Dom Sopf bis ju ben 3e^n, 
aWir mar'S, als tl^ät' fein 9luge l^inab ins ^erj mir fel^n ; 
^ä) l^ielt mein ©(^mert gen ^immel unb f(j^aut' il^n fidler an 
Unb beud^te m\ä) jur ©tunbe nid^t fd^lcd^ter als ein 9Rann. 
2)a fprac^ er, unb bie SBange marb il^m toie SBIut f rot : 

30 „®IM ju mit beinem ©d^merte, bu Heiner ©^briot !" 

U)iII}eIm mailer. 



5. Her tt^ei^e Qirfd^ 

6S gingen brei 3äger tool^I auf bie Sirfd^, 
©ie toollten erjagen ben meinen ^irfd^. 

©ie legten fid^ unter ben Tannenbaum, 
S)a l^atten bie brei einen feltfamen Straum. 



LYRICS AND BALLADS 9 

3)cr crftc. 
„mx l^at gcttöumt, iä) llop^' ouf ben f8\x\^, 5 
®a raufd^tc bcr C^irfd^ l^crauö, l^ufd^ l^ufiä^I'' 

S)cr jtDCttc. 
,;Unb ate er fprang mit bcr ©unbe ©cllaff, 
Sa btannf id^ il^n auf boS gfcD, t)tff pa^l" 

3)er britle. 
,,llnb atö xä) bcn ©trft^ an bcr 6rbc fal^, 
2)a flic^ id^ luftig ins ^orn, trara!" 10 

©0 lagen fic ba unb fprai^cn, bie brei, 
3)a rannte bcr totx^t Ö^^f^ borbci« 

Unb tf) bie brei Säger il^n red^t gcfcl^, 
©0 toax er baDon über liefen unb ^'ö^n. 

^ufd^ l^ufij^! piff pa^l trara! 15 



6. ^avl^arpffa 

S)cr alte Sarbaroffa, 
S)cr ffaifer grieberiiä^, 
3m untcrirb'f(3^n ©d^Ioffe 
^ält er Dcrgaubcrt ficj^i. 

6r ift niemals ^cftorben, 
6r lebt barin no(ä^ jc^t; 
@r l^at im ©(ä^Iofe t)crborgett 
3um ©(j^Iaf fid^ l^ingcfe^t. 



10 LYRICS AND BALLADS 

gr f)at l^inabgenommctt 

Unb toirb einft toicberfommen, 
aRit il^r, gu feiner Seit. 

®et ©tul^I tfi elfenbeinern, 
®arauf ber Äaifer ^^; 
15 2)er %x\ä) ift marmelfteinern, 

SBorauf fein ^attpt er ftü^t^ 

©ein Sort ift niii^t ton 8fla(^fe, 
6r ift t)on geuer^glut, 
Sft bur(ä^ ben Sifiä^ gemad^fen, 
20 SBorauf fein ßinn auörul^t* 

6r nicft al^ toie im SEraume, 
©ein Slug* l^alb offen jtoinit; 
Unb Je nad^ langem SRaume 
6r einem ftnaben toinit* 

25 6r fprit^t int ©(^laf gum Knaben: 

„®t^ ^in borl ©d^Iofe, Qmxi, 
Unb fiel^, ob nod^ bie ^abm 
Verfliegen um ben Serg. 

Uni^ toenn bie alten Stäben 
30 9io(^ fliegen tmmerbar, 

©0 mu^ xä) anä) nod^ f(j^lafen 
aSerjaubert l^nnbert Sal^r." 



Hacfett 



/ 



LYRICS AND BALLADS 11 

2)ie 9Kittcrna(i^t gog nöl^cr ftä^on; 
3n ftummer 9lu^' lag ißab^lon. 

3tm oben in be§ Königs ©tä^Iofe 

2)a pa(fcrt'§, ba lätmt beö ßömg§ 2ro^. 

S)ort oben in bcm ßöntgSfaal s 

Sclfagcr l^iclt fein ßönigSma^L 

2)ie ßneiä^te fafeen in ft^immembcn Sieil^n 
Unb Icettctt bie Setzet mit funlelnbcm SBcin. 

©ö flirrten bie a9e(j^er, e§ jaut^gten bie ßnc(ä^f ; 
©0 Hang eö bem ftörrigen Könige xtä)i. lo 

S)eS Königs Bangen leuii^ten @Iut; 
3m SQßein ertt)ud^S il^m fetfer SRut. 

Unb MinblingS rci^t ber 9Kut il^n fort; 

Unb er töftert bie ©ottl^eit mit fünbigem SBort. 

Unb er brüftet fi(^ fred^, unb läftert toilb; 15 
3)ie ffneiä^tenfd^ar il^m SBeifaH briiUt. 

S)er ßönig rief mit ftolgem 35Ii(f ; 
®er 2)iener eilt unb lel^rt gurüd. 

@r trug Diel gülben (Serät ouf bem ^anpt; 

SaS toar au§ bem Stempel ^zt)o\)a^ geraubt. 20 

Unb ber ffönig ergriff mit fredler ^anb 
©inen l^eiligen Sedier, gefüllt bi§ am Slanb. 



12 LYRICS AND BALLADS 

Unb er leert il^n l^afttg WS auf ben ©runb, 
Unb rufet laut mit fd^äumenbem 3Kunb: 

25 /^Sel^odal^ I bir fünb' iä) auf eioig €>ö^^/ — 
^ä) bin ber Röntg bon Sab^lonl" 

^oä) faum baS graufe SBort öerflang, 
®em Rönig toarb'S l^eimlidö im Sufen bang. 

®a§ geHenbe Sad^en berftummte jumal; 
30 6§ iDurbe leid^enftifl im ©aaL 

Unb fiel^I unb ftel^I an toeifeer SBanb 
®a fam'S l^eröor, toie 2Renf(^en]^anb ; 

Unb f(^rieb, unb f(^rieb an toei^er SBanb 
Sud^ftaben bon Qfeuer, unb fd^rieb unb fd^ioanb» 

35 ®er ftönig ftieren SUdS ba fa^, 

2Rit fd^Iotternben ftnien unb totenblaß* 

®ie ftned^tenfd^ar fafe falt burd^graut 
Unb fa^ gar ftiH, gab leinen Saut* 

®ie aWagier famen, bod^ leiner berftanb 
40 Sn beuten bie Sflammenfd^rift an ber SBanb. 

Selfager toarb aber in felbiger 5Rad^t 
SBon feinen ftned^ten umgebrad^t. 

Qeine. 



LYRICS AND BALLADS 13 

8. Der f[ant>fd^ttli 

SBor feinem Sömengarten, 

®a§ ffampffpiel ju etmarten, 

©afe ßönig granj, 

Unb um t^n bie ©rofeen ber Ärone 

Unb rings auf ^ol^em »aüone s 

®te S)amen in fd^önem ftranj. 

Unb tDie er minft mit bem gitiget, 

2luf t^ut fid^ ber toeite 3tt)i"9et, 

Unb l^inein mit bebäd^tigem ©(i^ritt 

gin Sötoe tritt ^o 

Unb fie^t [\ä) ftumm 

giingS um 

2Bit langem (Salinen 

Unb fpttelt bie SRö^nen 

Unb ftredt bie ©lieber »S 

Unb legt ^\ä) nieber. 

Unb ber ftönig minft toicber, 

S)a öffnet fid^ bel^enb 

ein jmeiteS %f)ox, 

®arau§ rennt 20 

3Kit tDilbem ©prunge 

ein 3:iger l^erdor. 

SBie ber ben Sömen erfd^aut, 

»rüüt er laut, 

©dalägt mit bem ©d^toeif 25 

einen furd^tbaren SReif 

Unb redet bie 3unge, 

Unb im ßreife fd^eu 



14 LYRICS AND BALLADS 

Umgcl^t er bcn Scu, 
30 ©rimmig fd^nurrcnb; 

S)rauf ftrcdt er fid^ nturrenb 
3ur ©eite nieber* 

Unb ber ßönig tt)tn!t loieber, 

S)a fpeit baö boppelt geöffnete $au§ 
35 3^^i Seoparben auf einmal ou§; 

S)te ftürjen mit mutiger Äamt>fbegier 

Sluf ba§ SEtgertier; 

5)a| padt fie mit feinen grimmigen Stauen, 

Unb ber 2eu mit ©ebrüB 
40 3ti(3^tet fid^ auf — ba toirb'S ftiü, 

Unb l^erum im Ärei§, 

aSon aWorbfud^t l^ei^, 

Sagern \\(S) bie greulid^en fto^en* 

®a faßt don beg SlltanS SRanb 
45 6in C^ö^i^f^u^ öon fd^öner ©anb 

3tt)if(3^en ben SEiger unb ben Seun 
2Ritten l^inein. 

Unb ju aiitter S)eIorge§ ft}ottenbertt)etr 
SBenbet fid^ tJräulein ftunigunb': 
50 „^err SRitter, ift 6ure Sieb' fo l^ei^, 

SBie 3^r mir'S fd^tüört ju Jeber ©tunb', 
6t, fo l^ebt mir ben ^anbf^ul^ auf!" 

Unb ber 3ittter in fd^neflem Sauf 
©teigt l^inab in ben furd^tbarn 3tt>tager 
55 3Kit feftem ©d^ritte, 



LYRICS AND BALLADS 15 

Unb ouS bcr Ungcl^euer 3Ktttc 

9ltmmt er bcn ^anbftä^ul^ mit federn Qfmget* 

Unb mit ©rftaunen unb mit ©rauen 

©el^en'^ bie Stitter unb ©belfrauen, 

Unb gelaff en bringt er ben ^anbfd^ul^ jurütf ; 60 

®a fd^aßt il^m fein Sob aus febcm 2Runbe, 

Slber mit järtlid^em 2iebe§bli(f — 

@r öerl^eifet il^m fein nal^eS ®Iü(f — 

@m))fängt il^n gtöulein Runigunbe. 

Unb er wirft i^r ben ©anbfd^ul^ tnS ©eftd^t: 65 

„®en ®anf, S)ame, begel^f xä) nid^t!" 

Unb berlä^t fie gur felben ©tunbe. 

Schiller. 



9. Her Kdnid in tZl^tile 

6§ toar ein Äönig in Stl^ulc, 
@ar treu bis an baS ©rab, 
®em fterbenb feine Sul^Ic 
ßinen golbnen Sedier gab. 

6§ ging il^m nid^ts borüber, $ 

6r leerf il^n jeben ©d^maug; 
S)ie 3lugen gingen il^m über, 
©0 oft er trani barauö. 

Unb als er fam ju fterben, 

SüW er feine ©täbf im 9leid^, 10 

©önnf alles feinem 6rben, 

S)en Sedier nid^t gugleid^- 



16 LYRICS AND BALLADS 

®r fafe Beim fiöntgSmal^Ie, 
S)te aiitter um il^n f)tx, 
IS Sluf ^ol^cm aSätcrfaalc, 

S)ort auf bem ©d^Io^ am Tim. 

S)ort ftanb bcr alte 3^et, 
SEran! le^te Seben§glut, 
Unb matf ben l^eirgen Sedier 
20 hinunter in bie 9^Iut* 

et fal^ il^n ftürjen, ttinlen 
Unb finfen tief in§ aWeer. 
S)ie Singen tl^äten t^m finlen; 
Stranf nie einen tropfen mel^r. 

<5oetI}e. 

10. Der vcidtüc gürft 

5ßreifenb mit Diel fd^önen SReben 
ä^rer Sänbet SHJert unb 3a^I, 
©a^en diele beutfd^e g^ürften 
einft ju SBormg im ÄaifetfaaL 

5 n^nxliä)/' ^pxaä) ber fjürft t)on ©a(^fen, 

,,3ft mein Sanb unb feine aWad^t, 
©ilber liegen feine Serge 
SBo^l in mand^em tiefen ©d^ad&t." 

,,©e]^t mein Sanb in üpp'ger gfüfle/' 
10 ©t)ra(j^ ber ßurfürft don bem S^ein, 

,,®oIbne ©aaten in ben Stl^ölern, 
Sluf ben Sergen eblen SBein!" 



LYRICS AND BALLADS 17 

,,®rofee ©tobte, te^e fflöjter/' 

SubtDtg, ^ctr ju ffla^rn, ^pxaS), 

„©(^offen, ba^ mein Sanb bem @uren 15 

SBo^I ni(i^t fte^t an ©d^äfeen nad^/' 

ßberl^arb, ber mit bem Sarte, 
SBütttembetgS geliebter ^ett, 
©prad^: ,,2Kein Sanb l^at fleine ©tobte, 
SSrögt nid^t Serge filberfd^mer ; ao 

®o(ä^ ein ßleinob l^älfs verborgen: — 
S)a^ in SBälbern, nod^ fo grofe, 
^ä) mein ^aupt fann fül^nlid^ legen 
3ebem Untertl^an in ©d^o^." 

Unb e§ rief ber ^err bon ©ad^fen, 25 

S)er t)on Sägern, ber bom Stl^ein: 
,,®raf im Sßart! 3^r feib ber 3leid^|ie, 
euer' Sanb trägt gbelftein !" 

Kernet. 



11. Die Hapcüc 

Proben [teilet bie Sfapeße, 
©d^auet ftiH in§ SEl^al l^inab, 
S)runten fingt bei SBief unb Duelle 
g^rol^ unb l^eü ber |)irtenfnab\ 

Straurig tönt ba§ ©lödflein nieber, 
©d^auerlid^ ber Seid^end^or; 
©tiHe finb bie frol^en Sieber, 
Unb ber ffnabe laufd^t empor. 



18 LYRICS AND BALLADS 

S)roben Bringt tnon fic ju ®xaie, 
lo S)tc \xä) freuten in bem %f)al; 

^irtenfnabe, ^irtenfnabel 
®ir oud& fingt man bort einmal. 

12. SdtäfcvB Bonnia^slicb 

S)a§ ijt ber Sag beS ^errn ! 
^ä) bin aßein auf meiter g^Iur; 
3to6) eine aWorgenglode nur, 
9lun ©tille na^ unb fern. 

5 Slnbetenb fnte' id^ l^ier. 

O füfeeS ©raun! gel^eimeS SBel^nl 
Site Inieten biele ungefel^n 
Unb beteten mit mir. 

S)er C)tmmel nal^ unb fern, 
10 gr ift fo !Iar unb feierlid^, 

©0 gans, ate ttJoHf er öffnen fid^. 
S)a§ ift ber 2ag beS ^mn ! 

UI}Ianb. 



13. Die tVaUfa^vi nadt 'Ucvlaav 

1. 

2lm g^enfter ftanb bie SKutter, 
3m 39ette lag ber ©o^n. 
,3inft bu nid^t auffte^n, SBil^elm, 
3u fd^aun bie ^roseffion?" — 



LYRICS AND BALLADS 19 

,,3^ bin [o ftan!, o 3Ruttcr, 5 

S)a^ xä) ni(^t l^ör' unb fcl^'; 
3(^ benF an ba§ tote ©retc^en, 
S)a t^ut bog ^crj mir toel^." — 

,,©te]^ auf, totr tootten nod^ Äeöloat, 
5Rtntm Sud^ unb Slofcnlrana; 10 

»ie 9Muttcr=®ottcä l^ctlt bir 
©ein IranleS ^n^ ganj.'' 

e§ flattern bte ftird^cnfal^nen, 

eg fingt im Äird^nton: 

S)a§ ift gu Äöln am »l^etne, 15 

S)a ge^t bie ^rojefjion* 

2)ie aRutter folgt ber aRenge, 

®en ©ol^n, ben filieret fie, 

©ic fingen beibe im ©l&ore: 

„©elobt feiji bu, 3HorieI'' 20 

Sie 2Rutter=®otte§ ju ßedlaar 
SErägt ^eut i^r befteS fileib; 
$eut l^at fie diel gu fd^affen, 
6§ lommen biei hanle Seuf* 

S)ie franlen Seute bringen 25 

^f)x bar al§ Dpferftienb' 
mu§ SBad^g gebilbete ©lieber, 
aSiel tüä^iferne güfe' unb ^ünV. 



20 LYRICS AND BALLADS 

Unb IDCT eine SBad^Sl^anb opfert, 
30 2)etn l^eilt an bet ^anb bte SBunb'; 

Unb mx einen 2Bad^§fu^ opfert, 
S)em tt)irb ber gufe gefunb. 

3laä) ffedlaar ging mand^er auf ßrüden^ 
®er je^o tanjt auf bem ©eil, 
35 ®ot mand^et fpielt je^t bie Sratfd^e, 

®em bort fein tJinger mar l^eiL 

®ie SRutter na^m ein SSad^Slid^t 
Unb bilbete brau§ ein ^erj. 
„Sring' ba§ ber a»utter=®otte3, 
40 ®ann l^eilt fie beinen ©d^merj*" 

®er ©ol^n nal^m feufjenb ba§ fl2aS)Sf)txi, 
®ing feufjenb jum ^eiligenbilb ; 
®ie %^xänt quillt au§ bem Sluge, 
®a§ SBort aus bem ^txitn quillt: 

AS „3)u $o(i^gebenebeite, 

S)u reine ©otteSmagb, 
S)u Königin be§ ^immefö, 
3)ir fei mein Seib geüagt! 

^ä) tool^nte mit meiner SKutter 
50 S^ Äöflen in ber ©tabt, 

®er ©tabt, bie biele l^unbert 
Rapellen unb ftiriä^en l^at* 

Unb neben uns mol^nte ©retd^en, 
%)oä) bie ift tot je^unb — 



LYRICS AND BALLADS 21 

SJiarie, bir Bring' \ä) ein SBat^öl^erj, ss 

©cir bu meine |)erjengtt)unb\ 

$eir bu mein fran!e§ ^er^e — 

3d^ tt)in au(^ fpät unb frü^ 

Snbtünftiglid^ beten unb fingen: 

©elobt feift bu, TOatie!" 60 

3)er franle ©ol^n unb bie 2Kutter, 
®ie fd^Iiefen im ßömmerlein; 
S)a fam bie 2Rutter=®otte§ 
®anj leife gefd^ritten l^erein. 

©ie beugte \xä) über ben ßranfen 65 

Unb legte il^te ^anb 
@ang leife auf fein ^erje 
Unb Vi6)tlte milb unb fd^manb. 

33ie 3Butter fd^aut afleS im SEtaume, 
Unb ^at uoä) mel^r gefc^aut; 70 

©ie ertoad^te au§ bem ©d^Iummer, 
S)ie |)unbe beuten fo laut. 

S)a lag bal^ingeftredet 

3]^r ©ol&n, unb ber mar tot; 

6^ fpielf auf ben bleid^en SBangen 75 

®a§ lid^te SKorgenrot. 

S)ie 5Kutter faltef bie C)änbe, 

^f)x ttjar, fie ttju^te nid^t tt)ie; 

Slnbäd^tig fang fie leife: 

,,®eIo6t feift bu, 5marie!'' 80 

Qeine. 



22 LYRICS AND BALLADS 



{^ ^inUf^tf^ '' 



Sei einem SBirte lounbermilb, 
S)a toax iä) iüngft ju ©afte; 
©in flolbner 5lpfel toor fein ©d^ilb 
2ln einem langen 5lfte. 

S @§ toat ber gnte ^felbaum, 

Sei bem iä) eingelel^ret ; 
SRit füfeer Soft unb frifd^em ^(|aum 
^at er midö mol^I genäl^ret. 

6§ famen in fein grünet ©auS 
10 Siel leiiä^tbefiä^toingte ©äfie; 

©ie fprangen frei unb l^ielten ©d^mouS 
Unb fangen auf ba§ befte. 

^S) fanb ein Seit au füper SRu^* 
2luf toeiiä^en, grünen hatten ; 
IS S)er SBirt, er bedte felbft mid^ ju 

2Rit feinem lül^Ien ©Ratten. 

9lun fragf id^ nad^ ber ©d^ulbigfeit, 
®a fd^üttelf er ben SBipfeL 
©efegnet fei er aUegeit 
20 Son ber SBurgel bi§ jum ®it)feU 

Uf)Ionb. 

16. Uhcnblicb 

Slbenb tüirb e§ lieber : 
Über SBalb unb gelb 
©äufelt ^rieben nieber 
Unb e§ rul^t bie SBelt. 



LYRICS AND BALLADS 23 

9lur ber 39ad^ ergießet s 

®xä) am titlitn bort, 
Unb er brauft unb flieget 
3mmcr, immer fort. 

Unb fein Slbenb bringet 

Qfrieben il^m unb ^nif, lo 

ßetne ©lodfe Hinget 

3^m ein »aftlieb ju. 

©0 in beinem ©treben 

Sift, mein $erj, anä) bu: 

©Ott nur fann bir g/iUn 15 

SBa^re Slbenbru^'. 

Qoffmann von ^allerslebeiu 



16. Ub^nHUb 

S)er SKonb ift aufgegongen, 

3)ie ftolbnen ©temlein prangen 

5Km ^immel l&ell unb flar; 

®er äBalb ftel^t fc^marj unb fci^ioeiget, 

Unb aug ben SBiefen fteiget s 

®er toeifee 5Rebel munberbar. 

aOBic ift bie 2BeIt fo ftiKe, 

Unb in ber S)ämmrung ^üUe 

©0 traulid^ unb fo l^olb! 

91I§ eine ftiHe ftammer, 10 

SBo il^r be§ StageS Jammer 

aSerfd^Iafen unb bergef[en foili. 



24 LYRICS AND BALLADS 

©cl^t tl&r bcn 3Konb bort [teilen? — 
@r ift nur l^alb ju feigen 
15 Unb ift bod^ runb unb fd&ön! 

©0 fmb loo^I manäjt ©ad^cn, 
S)ic toir gctroft belaiä^cn, 
SBeil unfrc 5lugen fie nid^t fcl^n. 

SBtr [iolje SRenfd^cnünbcr 
20 ©inb eitel arme ©ünber 

Unb tt)ijfen ^ax nid&t biel; 
SBir Irinnen Suftgefpinfte, 
Unb fud^en biele ßünfte 
Unb fontmen toeiter t)on bem 2xtL 

25 ©Ott, lafe un§ bein ©eil fd^auen, 

2luf nid^tS aSergängIid^'§ trauen, 
Slid^t ©iteöeit un§ freun! 
Sa^ uns einfältig merben, 
Unb t)or bir l^ier auf @rben 

30 SBie ßinber fromm unb fröl^Ud^ fein! 

* * 

* 

SBoUft enblid^ fonber ©rämen 
9lu3 biefer SBelt un§ nel^men 
®urd^ einen fanften SobI 
Unb, wenn bu un§ genommen, 
35 Öa^ uns in |)immel lommen, 

S)u unfer ©err unb unfer @ottI 

©0 legt eud^ benn, il^r Srüber, 
^n ©otteS Flamen nieber; 
Salt ift ber 5lbenb^aud^. 



LYRICS AND BALLADS 25 

Sßcrfd^on' uns, ®oü, mit ©trafen, 40 

Unb la^ uns rul^ig fd^Iafcn 

Unb unfern franfen 3taä)bax aud^I 

Clanbius. 



17. 2noirdenlie6 

SBer f(^Iägt fo rafiä^ on bie gfenfter mir 
5D?it fiä^toanfen grünen 3^^{9^^? 
S)er junge SKorgenminb ift l^ier 
Unb tüifl [\ä) luftig jeigen. 

,,©erau§, l^erauS, bu SJienf^nfol^n !" — s 

©0 ruft ber !edfe (Sefeße — 
,,6§ fd^märmt don grül^IingSmonnen fd^on 
aSor beiner ^ammerfc^meHe. 

f)örft bu bie ßäfer fummen nid^t? 
©örft bu ba§ @Ia§ nic^t Ilirren, 10 

SBenn fie, betöubt bon ®uft unb Sid^t, 
f)art an bie ©d^eiben fd^mirren? 

3)ie ©onnenftral^Ien ftel^Ien fid^ 

Sel^enbe burd^ Slätter unb älanfen 

Unb nedfen auf beinem Sager bid^ 15 

aWit blenbenbem ©darneben unb ©^manlen. 

®ie 9lad^tigan ift l^eifer faft, 
©0 lang ^at fie gefungen, 
Unb meil bu fie gel^ört nid^t l^aft, 
' 3ft fie t)om S9aum gefprungen* 20 



26 LYRICS AND BALLADS 

S)a fd^Iug iä) mit bcm Iceten Smi^ 
3ln bcine genjtcrfii^etbcn : 
^crauS, l^etauS in ba§ fJrül^IingStcitä^ ! 
@t mirb nid^t longe mcl^t bleiben/' 



O Sannebaum, o Sannebaum, toxt treu pnb beine Slätter I 

3)u grünft nid^t nur gut ©ommergeit, 

9lein, au^ im SBinter, toenn e§ fi^neit* 

O Sonnebaum, o Sonnebaum, tt)ie treu finb beinc Slätier ! 

5 O SKägbelein, o SKägbelein, tote f alfd^ i[t bein ©emüte I 
®u fd^murft mir Sreu' in meinem ©lud, 
%un orm iä) bin, gel^ft bu jurtid • 
O SKögbelein, o SJlögbelein, mie folfd^ iji bein ©emüte ! 

®ie 5la(^tigall, bie 5lad^tigaII nol^mft bu bir jum Qxtmpü : 
io@ie bleibt fo long ber ©ommer lad^t, 
3m ^txh\i [ie fid^ bon bannen mod^t* 
S)ie ^ad^tigoll, bie Slad^tigall nal^mft bu bir jum ® jempel. 

S)er ^aä) im Sl^ol, ber ^aä) im Sl^al iji beiner g^olfd^l^eit 

Spiegel : 

6r ftrömt allein menn Siegen fliegt, 
IS Sei S)ürr' er bolb ben Oueü berjd^Iie^t, 

3)er Sadö im Sl^al, ber S3ad^ im Sl^al ift beiner iSal^ä)f)tit 

©piegel. 



LYRICS AND BALLADS 27 

9Hübet ©lang bet ©onnc! 
SlQffeS himmelblau! 
aSon betllungner SBonnc 
Sträumet ftitt bic 9lu. 

Sin bcr legten SRofe s 

Söfct Icbcn§fatt 
®xä) bag le^te, bfe, 
SBIc^c »lumcnblatt, 

©olbeneä Kntfätbcn 

©d^Ictd^t \\ä) hnxä) ben ©t^in; — lo 

^nä) Sergel^n unb ©terben 

^mäji mir füp ju fein. 

®erof. 



20. Qoffntttt^ 

Unb brftut ber SBinter no^ fo fcl^r 
9)iit ttofctgen ©ebftrben, 
Unb ftreut er 6t3 unb ©(i^nee uml^er, 
@g mufe boci^ Srü^Iing toerben. 

Unb brttngen bte 3iebel nod^ fo bici^t 5 

©id^ bor ben Slidt ber ©onne, 
©ie toecfet bod^ mit tl^rem 2i(3^t 
ginmal bie SQBelt jur SQBonne, 

SSIaft nur, i^r ©türme, blaft mit 9Rad^t, 
9Hir foß barob nid^t bangen, 10 

Sluf leifen ©ol^Ien über Sflad^t 
Ä0mmt bocf) ber Senj gegangen. 



28 LYRICS AND BALLADS 

S)a tt)a(3^t bte (Srbe ßtüncnb auf; 
SBeip ttid^t, tüte tl^r flcfiä^e^en, 
15 Unb lad^t in ben fonnigcn ©tmmel l^tnauf 

Unb möci^tc t)or Suji bcrgel^en- 

©ic fltd^t \i6) blül^cnbc Ätönje in§ ©aar 
Unb f(^mü(ft ftci^ mit SRofcn unb t^ten 
Unb iöfet bic Srünnicm riefeln Mar, 
20 91I§ tüären e§ greubenjöl^ren. 

®rum ftiß! Unb tote e§ frieren mag, 
O ©erj, gieb bici^ guf rieben; 
@§ ift ein grofeer 5ölaientag 
35er ganjen SBelt Befd^ieben. 

25 Unb tt)enn bir oft aud^ bangt unb graut, 

m^ fei bie ^'6T auf grben, 
giur unberjagt auf @ott bertraut! 
@3 mu^ hoi) gfrül^Iing »erben. 



21. 5rü({tind&einfttd 

S)ie Sanfter auf ! bie ^txitn auf ! 

©efci^tüinbe, gef(3^tt)inbe ! 
S)cr alte SBinter tt)iß l^erauö, 
er tri|)^)clt öngftliiä^ bur(3^ ba§ $au§, 
6r toinbet bang fi(^ in ber Sruft 
Unb framt jufammen feinen SBuft. 

@ef(i^tt)inbe, gef(3^tDinbe ! 



LYRICS AND BALLADS 29 

S)ic gfcnftcr auf! btc ©crjen auf! 

©cfci^ioinbe, gcfd^iüinbc! 
@r fpürt bctt gräl^üng bot bcm %^ox, lo 

35cr totü il^n gu|)fen bei bcm O^r, 
3]^n gaufcn an bcm »ei^cn SBart 
SRad^ fold^er loUben Subcn %xt 

®cf(^tDtnbe, 9ef($tDmbe! 

S)tc Sanfter auf! bte C>«rjen auf! 15 

©cfd^iotnbe, gcfd^iotnbc! 
S)cr 3ftül^Iing pod^t unb Ilopft ja fd^on — 
t)ord^t, ^oriä^t, e3 tft fein lieber Ston! 
@t poä)t unb Ilo^)fet, wag er !ann, 
aWit Weinen SSIumenlnofpen an. 20 

®ef(^tt)inbe, gefd^minbe! 

S)ie Sanfter auf! bie ©erjen auf! 

®ef(i^tDinbe, gef(3^tt)inbe ! 
Unb tt)enn il^r nod^ niiä^t öffnen tooßt, 
(Sr ^at t)iel 2)ienerf(^aft im ©olb, 25 

Die ruft er fid^ gur ©ilfe l^er 
Unb pod^t unb flopfet immer mel^r. 

©efci^iDinbe, gcfii^iDinbe ! 

S)ie Sfenfter auf! bie ^erjen auf! 

©efd^tüinbe, gefd^toinbe! 30 

63 !ommt ber 3unfer SKorgentoinb, 
@in baufebadfig roteg Äinb, 
Unb blöft, ba^ aM Hingt unb «irrt, 
S3i0 feinem ©erm geöffnet toirb. 

©efd^tüinbe, gefd^toinbe! 35 



30 LYRICS AND BALLADS 

S)tc gcnfter auf! bie ©erjcrt auf! 

@ef(^iDinbe, gefd^iotnbc! 
@§ fomtnt bet SRittet ©onncnfiä^ein, 
®cr ixxi)t mtt golbnen Sanjcn ein, 
40 ®er fanftc ©(^meid^Icr Slütcnl^aud^ 

©d^Ietd^t burd^ bic cngftcn Sli^cn au(ä^* 
©efd^iotnbc, gefi^tüinbc! 

®ic gcnftct auf! bic ©crgen auf! 

@ef(^iDinbc, gcf(i^tt)inbc ! 
45 3uni angriff fd^lägt bic Slad^tigaD, 

Unb ^oxi)\ unb l^otd^', ein SBicbcrl^att, 
@in äöicbcrl^all au§ meiner .Stuft ! 
herein, l^erein, bu fjrül^lingsluft, 

©efc^minbe, gefc^winbe! 

22. Utt» 5er 3ttden5feii 

SluS bet Sugenbjeit, au§ bet Sugenbgeit 
ßlingt ein 'Sieb mit immetbat ; 
D tt)ie liegt fo toelt, toie liegt fo meit, 
SBa§ mein einft loat! 

5 aSa§ bie ©d^walbe fang, tt)a^ bie ©d^walbe fang, 
®ie bcn C)^tbft unb ?frü]^ling btingt; 
Ob bag 3)otf entlang, ob baS 2)otf entlang 
2)a§ je^t no(^ Hingt? 

„SllS iä) 9lbfd^icb nal^m, als \6) Slbfd^ieb na^m, 
10 SGBaten Äiften unb Äaften fd^mer; 

Site xä) tt)iebet lam, als xä) miebet fam, 
SSat atteS leet/' 



LYRICS AND BALLADS 31 

D bu ßinbermunb, o bu ftinbetmunb, 
Unbeioufetcr SBeiSl^cit \xo% 
aSogclfprad^Iunb, öogclfprad^efunb, is 

SBie ©alomo! 

D bu ©cimatflur, o bu ©cimatflur, 

Safe gu bcincm l^eiFgcn Äaum 

9Ki(i^ noci^ einmal nur, m^ nod^ eintnal nur 

gntpicl^n im Straum! 20 

91I§ i(^ abfd^ieb nal^m, ate id^ 3lbf(^{cb nal&m, 
SBar bie SBelt mir bott fo fc^r; 
9ll§ id^ micbcr !am, als x^ toicbcr fam, 
SQßar alle§ leer. 

SQßo^I bie ©d^toalbe feiert, mo^l bie ©d^malbe feiert, 25 
Unb ber leere Äajien fd^tooH; 
3ft ba§ ©erg geleert, iji baö ©erj geleert, 
SQßirb'g nie mel^r öoß. 

Äeine ©(ä^ioalbe bringt, leine ©d^toalbe bringt 
®ir gurüdE, tt)onad& bu »einft; 30 

2)o(f| bie ©(ä^malbe fingt, bo(3^ bie ©d^malbe [ingt 
3m 2)orf tt)ie einfi : 

,,91I§ i(3^ 9lbf(3^ieb nal^m, al§ id^ 9Ibf(i^ieb na^m, 
SBaren ßijien unb ßaften fd^toer; 
3lte id^ mieber !am, al§ i(3^ lieber !am, 3s 

aSBar aM leer." 

aacfert. 



32 LYRICS AND BALLADS 

23. BdtwaibcniUb 

3lu§ fernem Sanb, 
aSom SKeereöftranb, 
5luf l^ol^en, luftigen SBeflen 
gliegft, ©d^malbe, bu 
5 O^ne SRajt unb SRu^' 

®er lieben ©eimat entgegen. 

D fprid^, tt)o^er 
Über Sanb unb 9Keer 
$a|i bu bie ßunbe bemoninten, 
10 aja^ im ©eimatlanb 

35er SBtnter fd^toanb, 
Unb ber grül^Iing, ber grül^Iing gelommen? 

S)ein Siebd^en fprid^t: 
,,SBet6 felber nid^t, 
15 SBol^er mir gefommen bie ajlal^nung; 

S)o(^ fort unb fort 
aSon Ort ju Ort 
SodEt mid^ bie grül^lingSal^nung. 

©0 o^ne SRaft, 
20 3n freubiger ©aft, 

9luf l^ol^en, luftigen SQSegen 

gflieg' id^ undertoanbt 

2)em ©eimatlanb, 

S)em lenjgefci^müdEten, entgegen." 

Sturm. 



LYRICS AND BALLADS 33 

24. iran5erfcl{afi 

S)a§ SBonbcrn ift be§ 9Küßcr3 Suft, 

S)Q§ SBanbcrn! 
2)a§ mufe ein f(3^Ie(^tcr DJIüßer fein, 
S)em niemals fiel ba§ SOßonbetn ein, 

2)a3 SBanbetn. 5 

aSom SBaffet l^abcn tt)tr'3 gelernt, 

33om SBQJfer! 
2)a§ ^at nid^t fftaft bei Stog unb 5Ra(i^t, 
3ft ftet§ auf 2Banberf(3^aft bebad^t, 

S)a§ SBaffer. lo 

2)a§ fel^n wir aud^ ben JRöbetn ab, 

®en fRöbetn! 
S)ie gar nid^t gerne ftiße fielen, 
Die fid^ mein Sag nid^t mübe brel^n, 

S)ie fRäber. 15 

®ie ©teine felbft, fo fd^toer fie finb, 

®ie ©teine ! 
©ie tanjen mit ben muntern fReil^n 
Unb tDoßen gar no(^ fd^neßer fein, 

2)ie ©teine. 20 

D SBanbern, SBanbern, meine Suft, 

O SBanbern! 
^err SKeifter unb 3^rau TOeifterin, 
Sa^t mxS) in Q^rieben loeiter jiel^n 

Unb iDanbern. 25 

IDiltielm mailer. 



34 



LYRICS AND BALLADS 




10 



15 



^ä) mx^ nt(3^t, toa^ foü cö bcbeutcn, 

®a^ t(^ fo ttQUtig bin; 

@in 9Kär(3^cn au§ alten Seiten, 

2)aS fommt mit nici^t au§ bem ©inn* 

®ie Suft ift fü^l unb eö bunfelt, 
Unb tul^ig fliegt ber Sil^ein; 
®et ©ipfel be§ SergeS funfeit 
3m 9lbenb[onnenf(^ein. 

S)ie f(3^önfte Jungfrau fi^et 
®ott oben tounberbar, 
3[l^t golbneä ©efd^meibe bli^et, 
©ie fämmt il^r golbenes ^aax. 

©ie fämmt e§ mit golbenem i?amme 
Unb fingt ein Sieb babei; 
®a§ l^at eine »unberfame, 
©emaltige aKelobei. 

®en ©(j^iffer im fleinen ©(ä^iffe 
ßrgrcift e§ mit toilbem SBc^; 
6r fi^aut nid^t bie gelfenriffe, 
6r fc^aut nur l^inouf in bie ^of)\ 

3[c^ glaube, bie SBeßen betfc^Iingen 
5lm 6nbe ©d^iffer unb Äal^n; 
Unb ba§ l^at mit il^rem ©ingen 
S)ie Sorelei getl^an. 

^ e i n e. 



LYRICS AND BALLADS 35 

26. Her glu^ bcv tUhc 

SBcnn iä) ein SBöglein toär', 

Unb auci^ gtoet Slügkin l^ätt', 

dW ^ ju bir ; 

SBcU e§ aber nid^t lattu fein^ 

SIeib' i^ aaltet. s 

Sin i^ glei(| nieit t)on bir, 

99in i4 bDd^ int @d^Iaf bei bir, 

Unb reb' mit bir; 

SBenn ici^ ertDO(^n tl^', 

Sin xä) aüein* lo 

6ö bergei^t leine ©tunV in ber Siad^t 

ffia mein ^rje ni(i^t ermod^t, 

Unb an bid^ gebentt, 

S)a^ bu mir biet taufenbmal 

Sein ^erg gefd^enft. 15 

VolfslUlL 



Cai^: 



*9tt f?ifi wie eine Blume \ 

®u Bift tt)ie eine Slume 
©0 l^olb unb fd^ön unb rein; 
3f(^ f(3^Qu' bid^ an, unb SIBe^mut 
©(^leid^t mir ins ©erg l^inein. 

9Kir ift, als ob id^ bie ^'dnht 
5luf§ ©aupt bir legen foDf , 
»etenb, ba^ (Sott bid^ erl^alte 
©0 rein unb fd^ön unb l^olb. 

^eine. 



••is 



86 LYRIC3 ANI> BALLADS 

&aff ein ßnab* ein SHööIetn ftc|n, 
giöölem öuf ber ©etben, 
SBar fo jung unb morgcnfd^ön, 
Stef er f^nell, e^ nal^ ju fel^n, 
5 ©q]^'§ mit t)ielen gteuben. 

JRöälein, 9lö§Iein, Umün rot, 
SttöSlein auf ber Reiben/ 

ftnabe \pxaä): „^ä) bred^e bid^, 
3lö§Iein auf ber Reiben!" 
lo JRööIein fprad^: „3(^ peci^e bid^, 

®a| bu etüig benlft an mid^, 
Unb id^ tüiß'g nid^t leiben." 
mütin, 3tmnn, giöSlein rot, 
Slöölein auf ber Reiben. 

IS Unb ber toilbe Snak Brad^ 

'§ m^ltxn auf ber Reiben; 
SttöSlein toe^rfe ftd^ unb ftad^, 
^alf il^m bod^ fein SBel^ unb 2ld^, 
SKufet' e§ eben leiben. 

2o 3iö§Iein, fRööIein, 3iö§Iein rot, 

9lö§Iein auf ber Reiben. 




89^5a» Peitcl{en 

6tn Sßeild^en auf ber SBiefe jianb, 
©ebüdft in fid^ ^unb unbelannt j ^ - 
e§ toax ein J^rjfg^l^üeitt^itn. 
35a lam eine junge ©d^öferin 



LYRICS AND BALLADS 37 

aWtt leidstem ©ci^ritt unb muntcrm ©tun s 

3)a]^er, ballet, 

®ic SBicfe f)tt, unb fanß. 

,,2l(^ I" bcnft baS SSeilci^en, „loär' t(| nur 

3)tc fd^önftc Slumc bct 3latur,i ^*^ 

2ld^, nur ein fIcineS SGBctId^n,AAJXtii- H^*''w 

St§ mic^ baS^ 2tcb(3^en abgcppücft, 

Unb an beut S3u[cn matt gcbrücftl 

%ä) nur, aä) nur 

6in aStcrtelftünbd^en lang!" 

21(^1 aber ad^! baS 9Käb(^en lam 15 

Unb ntci^t in aci^t baS SSeilci^cn nal^m, 

grtrat baS arme SSeild^en. 

6S fani unb ftarb unb freuf fid^ nod^: 

,,Unb fterb' ici^ benn, fo fterb' id^ bod^ 

®urd^ fie, burd^ fte, 20 

3u i^ren gfü^en bod^." 

3n einem füllen ©runbe V'-^^.^-^^:;' ''^ r / > ^ 
S)a ge^t ein 2Rü^Ienrab; '^ ^'' "^ '"' '' '' T ' 
?Diein' Siebfte ift berfd^munben, 
®ie bort getüol^net l^at. 

@ie l^at mir Sreu' berfprod^en, 5 

©ab mir ein'n SRing babei, 
@ie l^at bie Sreu' gebrod^en, 
9Jfein fRinglein fprang "entjiDei. 



38 LYRICS AND BALLADS 

^ä) m'6ä)t' aU ^piümam reifen 
lo SBett in bie SBelt fjxmn^ 

Unb fingen meine SBeifen 
Unb gel^n bon ^an^ gu ^auö. 

^ä) m6ä)V atö fReiter fliegen 
SBol^I in bie Blutige ^i)laä)t, 
IS Um ftiHe geuer liegen 

3m gelb bei bunüet 3la(i)t 

$ör' xä) ba§ SKül^ItQb gelten, 
^ä) meife nic^t, tt)a§ id^ miß — 
^ä) mö(3^f am liebften fterben; 
20 S)a mör'g auf einmal ftiü ! 

€i<^enborff. 

31. Det? tVlvtin ZöOti^vUln 

(5S gogen brei Sutfcfie mol^l über ben Sll^ein, 
SBci einer grau SBirtin, ba leierten fie ein: 

,,8frau SBirtin, l^at ©ie gut Sier unb Sfflein? 
SBo l^at ©ie 3^r f(^öne§ Stöd^terlein?" 

5 „aWein aSier unb SSSein ift frifc^ unb Ilar- 
aBein Stöd^terlein liegt auf ber Slotenbal^r*/' 

Unb als fie traten jur Kammer hinein, 
S)a lag fie in einem fci^marjen ©darein. 

S)er erfte, ber fd^lug ben ©d^leier gurüd 
10 Unb fci^aute fie an mit traurigem ^lid: 

M^ lebteft bu no(^, bu fi^öne SKaibl 
^ä) mürbe ixä) lieben bon biefer Süt" 



LYRICS AND BALLADS 6v 

35er jiocitc bcdftc ben ©d^lcier ju 
Unb Icl^ttc ^iä) ab unb iDeintc baju: 

„^ä), ba^ bu licgft auf ber Sotcnbal^r' ! 15 
3(| ^ab' bic^ gelicbct fo man(^eä ^af)x.'* 

S)cr brüte ffVib if)n totcber fogletd^ 
Unb lüfete fie an ben 9Runb fo bletd^: 

„^x6) Itebf tc^ immer, tx6) IkV xä) nod^ l^eut 
Unb »erbe bic^ lieben in gtoigfeit." 20 

Uf}Ianb. 

32. (Ein biffdicn Svtnbc 

SDßie l^eilt fid^ ein berlaffen $erj, 

ffier bunleln ©d^mermut Seute? 

9Kit aSed^er-aiunbgeläute? 

2Kit bitterm ©pott? 2Kit freblem ©ci^erg? 

giein, mit ein bifed^en greube! 5 

SBie flid^t fid^ ein gerrijfner Äranj, 

S)en laä) ber ©türm gerftreute? 

SGBie fnüpft fid^ ber erneute? 

ajlit meli^em gnbd^en bunten SanbS? 

9Kit nur ein bifed^en gfreube ! 10 

SDßie fül^nt fid^ bie berjöl^rte ©d^ulb, 

S)ie bitter lid^ bereute? 

5!Kit einem ftrengen ©eute? 

aWit ȟfeer^aft unb Ungebulb? 

giein. aJlit ein bipd^en greubel 15 

• £. 5. nie Ter. 



40 LYRICS AND BALLADS 

33. Kuriofe (Sefd^id^te 

3(3^ bin einmal etiDQS ]^inQU§f^)ajictt 
2)a i[t mir ein nörrifc^ ®ing paffiert: 
^ä) fQ]^ einen Säger am SBalbeSl^ang, 
SRitt auf unb nieber ben ©ee entlang; 
5 SSiel $irf(3^e f^)rangcn am SBege bid^t; 

aBa§ t^at bcr Säger?— 6r f^ofe fie niii^t, 
@r blies ein Sieb in ben SBalb l^inein — 
5Run [agt mir, il^r Seuf, toaS foü baö fein? 

Unb atö xä) weiter bin fortf^)ajiert, 
10 Sft iDieber ein närrifd^ ®ing mir paffiert: 

3m Keinen ftal^n eine gifc^erin 

gu^r ftet§ am SBalbeS^ange bal^in; 

aiingS fprangen bie 9fif(i^lein im 9lbcnblid^t; 

SBaS tl^at ba§ SKäbd^en? — ©ie fing fie nid^t, 
15 ©ie fang ein Sieb in ben SBalb l^inein — 

Slun fagt mir, il^r Seuf, tt)a§ foß ba§ fein? 

Unb atö xä) toieber gurüdffpajiert, 
®a ift mir ba§ närrif(3^fte ®ing paffiert: 
@in leeres ^ferb mir entgegenfam, 
20 3m ©ee ein leerer 9lad^en f(3^iDamm; 

Unb al§ xi) ging an ben Krien borbei, 
aBa§ l^ört* x6) brinnen?— ®a pfterten gmei, 
Unb'§ toar f(^on fpät unb aJionbenfci^ein — 
9lun fagt mir, il^r Seut*, tt)a§ fott ba§ fein? 

Heinitf. 



LYRICS AND BALLADS 41 

34. TiäUrtUb 

6§ toatctt emraal brci ÄöfcrfnaBcn, 

SDic tpten mit ©ebtumih Brumm 6rumm 

3n Stau il^r ©(i^nitbleitt tuttfen^ 

Unb tDurbcn fo bctrunfen, 

m^ iDör'S ein ga^ mit »um- s 

S)a l^aben (ic flttroffen an 

6ine tounbcrfd^öne Slum' Slum* Slum', 

S)a tüutbcn bic jungen ftäfet 

«tte btei öerlicbte ©d^äfet 

Unb flogen um fie l^etum. lo 

SDie Slume, bie fte fommen ]af), 

SBat gerabe au(!^ nid^t bumm bumm bumm^ 

©ie toax t)on fd^Iauem ©inne 

Unb tief bie Safe ©pinne: 

,,©^)inn mir ein 9le^Iein um*/ 15 

SDie aSafe ©pinne !rod^ l^eran 

Unb mad^f bie Seine !rumm frumm frumm; 

©ie fpann ein 5le^ ]d feine 

Unb fe^te fid^ bareine 

Unb fa& ba mäuSd^enftumm. 20 

Unb ate bie ßöfer lommen an 

9Rit järtlid^em ©efumm fumm fumm, 

©inb fie hineingeflogen, 

Unb tourben au§gefogen, 

^alf il^nen !ein (Sebrumm. 25 



42 LYRICS AND BALLADS 

^a^ äälttmlem ober lad^enb fprad^^ 
Uttb fümmctt ft(| ni(j^t brum brum brum: 
i,@o flcl^t'S,. il^t lieben fiäfer^ 
©0 öe]^t% i^r lieben ©d^öfer^ 
30 Stro^ allem ©umm unb Stumm!" 

35. Jlie ranfif fcmtmf 

ftlinflUng, bumbum unb tfij^ingbaba, 
Stellt im a:tiump]^ bet ^erferfii^a^? 
Unb um bie ©de braufenb ixxä)t'^ 
JBie Stubatott beö SBeltgeri(J^t§, 
5 SSotan bet ©d^eflenträger» 

Srumbrum, ba^ ixo^t Sombatbon, 
®er Secttnfddlag, baS ©eUIon^ 
®ie ^iccoto, bei Sin'E^^ift 
®ie iürfenhommet, ber Slötift, 
10 Unb bann ber ^erre Hauptmann. 

®et $ou|)imann nal^t mit Poljem ©inn, 
®ie ©(i^uppenfetten unterm Äinn, 
®ie ©(i^ött)e \iftiixxt ben fij^lanlen Setb, 
»eim Seuäl ®aS ift lein Seitoertreib, 
15 Unb barni bie.^rren Sieutenantö» , 

SttJet fiieutenant§, rofenrot unb braun, 
©ie Saline fd^ii^en fie als S^un; 
®ie Saline lommt, ben ^ut nimm ab, 
S)er finb »ir treu bi§ an ba§ @rab, 
20 Unb bann bie (Srcnabiere. 



LYRICS AND BALLADS 43 

2)er ©renobicr im ftrammen 2:rttt, 
3n ©d^rttt unb 2:rttt unb SErttt unb ©d^ritt, 
3)a§ ftampft unb bröl^nt unb llappt unb flirrt, 
SaternenglaS unb gfcnftcr flirrt, 

Unb bann bie Meinen 9Käb(i^en. 25 

2)ie aWäbd^en alle, ßopf an ßopf, 
2)a§ 9luge blau unb btonb ber 3öpf ; 
9lu§ %^üx unb %f)ox unb $of unb ^auS 
©(^aut 2Kine, 2:rine, ©tine au§, 

SSorbei ift bie 2Ru[i!e. 30 

fttingling, tfd^ingtfc^ing unb ^aulenlrad^, 
3toä) aus ber gferne tont e§ fd^maij^, 
@ang leife bumbumbumbum tf(i^ing, 
3ofl ba ein bunter ©(ä^metterling, 

3:f(^ingtfd^ing, bum, um bie 6(te? 3s 




36. 21er ^nU Tiamcvab 

3d^ l^atf einen ftameraben, 

ßinen beffem finb'ft bu nit- 

®ie Strommel fd^lug gum ©treite, 

@r ging an meiner ©eite 

3n gleid^em ©c^ritt unb 2:ritt. 5 

6ine ftugel lam geflogen; 

®ilfg mir ober gilt e§ bir? 

3]^n l^at es »eggeriffen, 

6r liegt mir öor ben tJfüfeen, 

9113 loör'S ein ©tücf öon mir. 10 



44 LYRICS AND BALLADS 

SBiH mir bie ^anb noi^ rciij^en, 
S)ertr)cil iä) eben lab': 
„ftann bit bie $anb ni(j^t geben; 
SIeib bu im em'gen Seben 
15 2Kein guter ßamerab!" 

Uf}IanD. 




37.- SolbaUniicU 



'i> 



@te]&' id^ in finftrer aWitternad^t 
©0 einfam auf ber fernen SBac^t, 
©0 benf ii) an mein feme§ Sieb, 
Ob mir'S anä^ treu unb l^olb Derblieb. 

5 3ÜS xi) gur gfal^ne fortgemußt, 

^at [ie fo l^erjlid^i mid^ geüißt, 
SRit Sönbern meinen ^ut gefij^müctt 
Unb »einenb mid^ anö $erg gebrücttl 

©ie liebt mid^ nod^, fie ift mir gut, 
10 ®rum bin xä) frol^ unb lool^Igemut; 

3Kein ^erj fd^Iägt »arm in lalter SRad^t, 
SBenn e§ an§ treue Sieb gebadet. 

!3efet bei ber Sampe milbem ©d^ein 
©el^ft bu lool^l in bein Kämmerlein 
15 Unb fd^idEft bein Slad^tgebet gum ^errn 

9lud^ für ben Siebften in ber gfem' ! 

S)od^, loenn bu traurig bift unb »einft, 
JKid^i ton ©efal^r umrungen meinfl, 
©ei rul^ig, bin in ©otteS $ut, 
20 gr liebt ein treu ©olbatenblut. 



LYRICS AND BALLADS 45 

3)ic (Slmfe fd^Iögt, balb na^t bie SRutib' 
Utib löft miiä^ ab gu bicfer ©tutib'; 
©(ä^Iaf tDol^I im fttöen ßätnmcrictn 
Unb bctif in beineti Sräumcn mein. 

^anff. 



38. mein 1Kin^, wir waren 'Hinbct 

3Kein ßitib, loir loarcti ßinber, 
3lt)ei ßinbcr, Hein unb frol^; 
aOßir Irod^cn ins ^ül&nerl^äuSi^en, 
SBerftcctten un§ unter ba§ ©ttol^. 

2Btr Iräl^ten loie bie C^ö^ne, s 

Unb famen 2eute öorbei — 
„Äilerefül^ !" fie glaubten, 
6s loöre ^al^nengefij^rei. 

3)ie ffiften auf unferem $ofe 

3)ie tapezierten toir au§, lo 

Unb tDol^nten brin beifammen 

Unb maij^ten ein Dornel^meS $auS. 

S)e§ 3taäßax^ alte ffafee 

ßam öfters guttt Sefud^; 

SBir mad^ten il^r SücfUng' unb Änicffe 15 

Unb Komplimente flenug. 



r 



SBir l^aben nad^ il^rem Sefinben 
Seforgliiä^ unb freunbliiä^ Ö^ftagt; 
I SBir l^aben feitbem baSfelbe 
\ \ i SRand^er alten Äa^e gejagt. ^ 20 



46 LYRICS AND BALLADS 

SBtr fafecn anä) oft unb fprad^cn 
SBcrnütiftig, loie alte Seuf , 
Unb flacjten, tote a(Ic§ beffct 
©ciocfen ju unfercr 3^it; 

25 2Bie Sieb' unb Sreu' unb ©lauben 
95erf(^n)unben au§ ber SQßelt, 
Unb rote fo teuer ber ßaffee, 
Unb rote fo rar baS ©elb ! . 

SBorbei finb bie • ßinberfpiele, ^y^'^' 
30 Unb aUeö roHt öorbei, — ^ 

®a§ ®elb unb bie SQßelt unb bie Seiten, 
Unb ©lauben unb Sieb' unb 2:reu\ 



39. Ha» rnaii im 3tici{e 

3d^ l^ab' eine alte 3Ku]^me, 
S)ie ein alte§ Süd^Iein ^at, 
6§ liegt in beut alten Sud^e 
ein alte§, bürre§ Slatt. 

©0 bürr finb lool^I a\xä) bie ^önbe, 
S)ie einft im Senj iS)x'^ gepflüctt» 
SQBa§ ntag hoä) bie SHIte l^aben? 
©ie toeint, fo oft fie'S erbtidt. 

Gran. 



LYRICS AND BALLADS 47 

40. öei 5em (Rvaffc meine» Dater» 

S^rtcbe fei um biefcn ©tabjiein l^et! 
©anfter griebc @ottc§! 3iä), fte f)dbtn 
6incn guten SRanti begraben, 
Unb mir toar er mel&r. 

Sräufte mir t)on ©egen, biefer SWann, 5 

SBie ein milbcr ©tem ou§ beffem SSSelten! 
Unb iä) fann'S il^m ni^t vergelten, 
SBaS er mir getl&an. 

6r entfi^Iief ; jie gruben il^n l^ier ein. 
Seifer, füfeer Stroft, t)on @ott gegeben, 10 

Unb ein Sll^nben don bem cto'gen Seben 
®üff um fein (Sebeinl 

SiS il^n 3[efu^ 6§riftu§, grofe unb ^e^r, 
g^reunbUd^ wirb erwedcn ! — ^ä), fte l^aben 
@inen guten 3Rann begraben, is 

Unb mir mar er mel^r. 

« Clanbins. 



/ 41. :t>a» iErfennen 

6in aßanberbutfd^, mit bem ©tab in ber $anb, 
ftommt toieber l^eim au§ bem fremben 2anb, 

©ein $aar ift beftäubt, fein Slntü^ verbrannt, 
aSon loem mirb ber f8\xx\ä) lool^I guerft erlannt? 

©0 tritt er in§ ©täbtd^en, burd^S alte %f)ox, 
9lm ©d^Iagbaum lel^nt juft ber SöHuer baDor. 



48 LYRICS AND BALLADS 

S)er 3öDtier, ber toax xS)m ein licBer Srcunb, 
Oft l^attc ber Seij^er bte Beiben vereint, 

2)o(J^ fte)^ — gteunb Soßntann erlennt il^n nid^t, 
lo 3u fel^r l^at bie ©onn' tl^m verbrannt boS @efi(3^t. 

Unb loeiter loanbert naä) furjem ®ru^ 

S)et Surfd^e unb fij^üttelt ben ©taub öom S^ufe* 

2)a fd^aut au§ bem S^enfter fein ©d^ö^el fromm : 
„S)u Mül^enbe Jungfrau, Diel fd^önen SQBilllomm!" 

IS S)od^ fiel^ — anä) ba§ SKögblein erlennt il^n nid^t, 
®ie ©onn' ^at gu fel^r il^m Derbrannt baS ©eftd^t. 

Unb loeiter gel^t er bte ©tra^' entlang, 

6in 2:]^rönlein l^öngt il^m an ber braunen SBang\ 

2)a loanit Don bem Sird^fteig fein 3Kütter(3^en l^er: 
20 „®ott grü|' 6u(j^/' fo f})ri(3^t er unb fonft ni(^t§ mel^r. 

2)0(3^ fiel^, — ba§ aWütterd^en fa^Iud^aet^DoH Suft: 
„2Kein ©o^n!" unb finit an be§ Surfd^en Sruft. 

SBie fel^r anä) bie ©onne fein Slntlife Derbrannt, 
2)aS JKutteraug' l^at tl^n \>oä) gleid^ erfannt. 

PogL 



SECOND PART 

42. ^vitöni^ 

2Ber reitet fo fpät burd^ 3laä)t unb aOSinb? 
6S ift ber 33ater mit feinem ßinb; 
@t l^at ben ffnaben too^ in bem 9lrm, 
@r fafet il^n \xä)tx, er l^ält il^n töorm* 

,,3Rein ©ol^n, toa^ birgft bu f o bang bein @t\\ä)t ?" — 5 
,,©te]^ft, 33ater, bu ben grlfönig nid^t? 
S)en erlenlönig mit ßron' unb ©d^ioeif ?" — 
„2Kein ©ol^n, e§ ift ein 9iebelftreif ." — 

„S)u lieber ftinb, fomm, fle)^ mit mir! 
@ar fd^öne ©piele. fpier iä) mit bir ; 10 

2Kand[i bunte S3Iumen finb an bem ©tranb; 
aWeine 9Kutter l^at mand^ gülben ©etoanb," 

„9Kein Sßater, mein Sßater, unb l^öreft bu nid^t, 
SQBaS ©rienfönig mir leife öerfprid^t?" — 
,;©ei rul&ig, bleibe rul^ig, mein ßinb; 15 

3ftt bürren SWttern fäufelt ber SOßinb." — 

,,S93iIIft, feiner ßnabe, bu mit mir gel^n? 
SJleine Stöd^ter foHen bid^ toarten fd^ön; 
3Keine Stöd^ter führen ben näd^tlid^en Steilen 
Unb loiegen unb tanjen unb fingen bid^ ein," 20 

49 



50 LYRICS AND BALLADS 

,^aKein SSater, mein SSatcr, unb fiel^ft bu nid^t bort 
grßönigö SEöd^ter am büftcrn Ort?" — 
„aRctn ©ol^n, mein ©ol^n, ii) fel^' e§ genau: 
6§ fc^einen bie alten SBeiben fo grau." — 

25 f,3^ liebe hxä), mid^ reigt beine fd^öne ©eftalt; 
Unb bift bu nid^t toiHig, fo hxaixäf iä) ©emalt." 
„9Kein 33ater, mein 33ater, j[e^t fafet er mxä) an! 
grttönig l^at mir ein SeibS getl^an !" — 

2)em 33ater graufefs, er reitet gefij^ioinb, 
30 6r l^ält in ^rmen ba§ äd^jenbe ftinb, 
ßrreid^t ben $of mit 3Mü^e unb 9iot; 
3n feinen 9lrmen ba§ ftinb loar tot. 

Gott^e. 



43. Hie 3ürdfdjaft 

3u S)ion^§, bem 2:^rannen, fd^üd^ 
SRöroS, ben 2)oId^ im ©etoanbe; 
!3l^n fd^Iugen bie $äfd^er in Sanbe. 
„aOÖaS looHteft bu mit bem 2)0%? ^pxxä)V' 
Entgegnet i^m finfter ber SBütertd^. 
,,S)ie ©tabt t)om 2:^rannen befreien!" 
„S)a§ foöft bu am ßreuje bereuen." 

„^i) bin/' fprid^t jener, „gu fterben bereit 
Unb bitte nid^t um mein Seben; 
S)od^ loiUft bu ©nabe mir geben, 
3[d^ flel^e bid^ um brei 2:age 3^**/ 
33i§ id^ bie ©d^toefter bem ©atten gefreit; 
^ä) laffe ben fjreunb bir als Sürgen, 
3]^n magft bu, entrinn' id^, erioürgen." 



LYRICS AND BALLADS 51 

2)a löci^elt bcr Äönig mit arger Stjl is 

Unb fpriiä^t naci^ iurjcm Sebcnicn: 

„SDrci %a^t toitt ic^ btr fd^nlcn; 

^oä) to\\\t, tücnn [ic öcrftriij^cn, bie 3frtjl, 

61^ bu gurücf mir itqtUn i\% 

©0 mu| er ftatt beiuer erblajfen; 20 

^oä) bir i[t bie ©träfe erlaffen." 

Unb er f ommt gum gteunbe : ^S)et Äönig gebeut, 

2)afe id^ om Jtreuj init bem Seien 

Sejal^Ie baS freöcinbe ©treben; 

2)od^ iDifl er mir gönnen brei 5tage 3^it# ^S 

S3i§ id^ bie ©(j^toejier bem ©atten gefreit; 

©0 bleib bu bem Sönig jura ^fanbe, 

Si0 iä) lomme, gu löfen bie Sanbe." 

Unb fd^tDeigenb umarmt il^n ber treue Q^reunb 

Unb liefert fid^ au§ bem 2:^rauncn; 30 

3)er anbere jieljct öon bannen« 

Unb el^e ba§ britte SKorgcnrot fd^int, 

^at er fd^neH mit bem ©atten bie ©(i^ttjefter öereint, 

@ilt l^eim mit forgenber ©eele, 

®amit er bie grift nidjit öerfe^Ie, 35 

S)a gie^t unenblid^r Siegen l^erab, 

S8on ben Sergen pürgen bie DueHen, 

Unb bie fßüäft, bie ©trömc ((ä^toeHen. 

Unb er lommt an§ Ufer mit toanbernbem ©tab^ 

S)a reibet bie 25rücte ber ©trubel l^inab, 40 

Unb bonnernb fprcngen bie SBogen 

®c§ ©emölbeä frad^nben Sogen. 



52 LYRICS AND BALLADS 

Unb troftloS irrt er an Ufcr§ 9tanb; 
aOßic mxi er anä) \päf)tt unb blicfet 
45 Unb bie ©timme, bic rufenbe, fc{)icfet, 

S)a ftöfeet fein 5ßa(^en bom filtern ©tranb^ 
S)er il^n fe^e an baS gemünfd^te 2anb, 
ßein ©d^iffer lenfet bie gäl^re, 
Unb ber toilbe ©trom toirb gum 9Keere. 

50 2)a finlt er an§ Ufer unb loeint unb flel^t^ 
®ie ^önbe jum 3^w§ erlauben : 
„£) l^emme be§ ©trome§ Soben! 
6§ eilen hie ©tunben, im SKittag ftel^t 
®ie ©onne, unb »enn [ie niebergel^t, 

SS Unb ii) lann bie ©tabt ni(j^t erreid^en, 
©0 mu^ ber Sreunb mir erbleid^en»" 

%oä) loaij^fenb erneut \xä^ be§ ©trome^ 2But, 
Unb SQBelle auf SBeöe gerrinnet, 
Unb ©tunbe an ©tunbe entrinnet. 
60 S)a treibt tl^n bie Slngft, ba fa^t er fnä^ aWut 
Unb wirft fici^ l^inein in bie braufenbe gflut 
Unb teilt mit g^ttjaltigen 9Irmen 
Sen ©trom, unb ein ®ott l^at ©rbarmen* 

Unb geioinnt ba§ Ufer unb eilet fort 
65 Unb banlet bem rettenben (Sötte; 
®a ftürjet bie raubenbe Sötte 
^rt)or au^ beä SOSalbeS nöiä^tlid^em Ort, 
©en ^fab il^m f<3errenb, unb fd^naubet 3Äorb 
Unb l^emmet be§ S93anberer§ 6ile 
70 aWit brol^enb gefdö^uttgener fteule* 



LYRICS AND BALLADS 53 

,,SBa§ tDoHt il^r?" ruft er, bor ©d^redfen Utx(^, 

w3f^ ^öbe nid^t§ al§ mein Seben, 

S)a§ mufe xi) bem ßönige geben !" 

Unb entreißt bie Äeule bem 9lä(3^ften iUxä) : 

„Um be§ t?teunbe§ toiöen erbarmet eu(j^!" 75 

Unb bret mit gewaltigen ©treiij^en 

©riegt er, bie anbern enttoeiij^en. 

Unb bie ©onne berfenbet glül^enben Sranb, 

Unb öon ber unenbli(j^en JKül^e 

Ermattet, ftnfen bie ßniee. 80 

„D l^aft bu mxä) gnäbig au§ 9läuber§]^anb, 

3lu§ bem ©trom mic?^ gerettet an§ l^eifige ßanb, 

Unb foll l^ier berfc^^maiä^tenb öerberben, 

Unb ber S^teunb mir, ber liebenbe, fterben!" 

Unb l^oriJ^M ba fprubelt e§ filber^eü, 85 

@anj nal^e, toxt rtefelnbe§ 9lauf(j^en, 

Unb ftille l^ölt er, ju laufd^en; 

Unb ftel^, au§ bem gelfen, gefd^ioöfeig, fd^neH, 

©<3ringt murmelnb l^erbor ein lebenbiger DueH, 

Unb freubig bücft er \xä) nieber 90 

Unb erfrif(j^et bie brennenben ©lieber. 

Unb bie ©onne bücft h\xx(f) ber S^^ifl^ ©'^^n 

Unb malt auf ben glönjenben 9Jlatten 

2)er Säume gigantifd^e ©d^atten; 

Unb jtüei SQBanberer fielet er bie ©trafee jiel^n, 9s 

SBiH eilenben Saufet Vorüber fliel^n, 

®a l^ört er bie SQßorte fie fagen: 

„3e^t tüirb er an§ ßreug gefij^lagert." 



54 LYRICS AND BALLADS 

Utib bie 3lngft bepfüßelt ben cticnbcn gufe, 

loo 3i]^n jagen bcr ©orgc Oualen; 

®a fd^immern in 9lbcnbrot§ ©tral^Ien 
aSon ferne bie 3ttinen bon ©^rafuS, 
Unb entgegen fommt il^m ^l^ilofttatnS, 
®e§ ^aufeö tebliij^er C^üter, 

105 2)et erlennet entfegt ben ©ebieter: 

„3urücf ! bn retteft ben g^reunb nii^t mel^r, 
©0 rette ba§ eigene ßeben ! 
S)en Stob erleibet er eben. 
aSon ©tunbe gn ©tunbe getoartef er 
iio 2Kit l^offenber ©eele ber SBieberfel^r, 
!3]^m lonnte ben mutigen ©lauten 
®er ^of)n beS S^rannen nicä^t rauben/' — 

,,Unb ift eS gu fpät, unb !ann iä) il^m nid^t 
6in SRetter tDilllommen erfd^einen, 
IIS ©0 foll mid^ ber SEob il^m bereinen. 

®e§ rül^me ber bluf ge SE^rann ftd^ nid^t, 

S)afe ber Sfreunb bem t^reunbe gebrod^en bie ^flid^t; 

6r fd^Iad^te ber Opfer gmeie 

Unb glaube an Siebe unb Streue!" 

120 Unb bie ©onne gel^t unter, ba ftel^t er am %ffox 

Unb fielet ba§ ftrenj fd^on erl^ö^et, 

®aS bie 9Kenge gaffenb umftel^et; 

9ln bem ©eile \6)on jiel^t man ben fjreunb empor, 

®a jertrennt er getoalttg ben bid^ten ßl^or: 
125 „3Kid^, genier!" ruft er, „ertoürget! 

S)a bin id^, für ben er gebürget I" 



LYRICS AND BALLADS 55 

Unb ©rftaunen ergreifet ba§ SSoI! uml^er, 

3fn ben 2lrmen liegen \\ä) beibe 

Unb meinen üor ©(j^merjen unb fjreube. 

®a fielet man fein 9luge tl^ränenleer, 130 

Unb sunt Könige bringt man bie SBunbermär; 

®er fül^It ein men|(äöli(|e§ Siül^ren, 

£ä$t ]ä)mVi bor ben Sljron [ie filieren. 

Unb blirfet fie lange öermunbert an; 

®rauf |<3rid^t er: „6§ i[t tnä) gelungen, 13s 

Sl^r l^abt ba§ ^erj mir Bejtoungen; 

Unb bie 2:reue, fie ift boci^ lein leerer SSal^n; 

©0 nel^met aud^ mici^ jum ©enoffen an! 

^ä) fei, gemalert mir bie Sitte, 

3n eurem Sunbe ber britte/' 140 

Schiller. 



44. Xcnopfion 

3u 6li§ am 9«tare 
©tanb opfernb Xenopl^on, 
S)en ^riefterfranj im ^aare, 
®aS i^m t)erbli(i^en fij^on. 

©efaltet feine ^önbe 
gleist er jum ®ott empor, 
®a^ ©ieg er nieberfenbc, 
®txcä)i loie ftetö juüor. 

®0(j^ ba ber S3ranb nun lol^te 
3um ^immel loollenleer, 
3laf)t ftürmif(| il^m ein Sote 
8Son SRantinea ^er : 



56 LYRICS AND BALLADS 

„Safe bir in fflagctöncn 
SScrIünben ©(ä^ictfalSmad^t, 
'S @§ fiel bon bcinen ©öl^ncn 

3)er öltre in ber ©(^lad^t/' 

6r ruft unb ruft e^ miebcr, 
^oä) jener fpriiä^t !ein 2öort, 
S)en Sranj nur legt er nieber 
20 Unb opfert betenb fort. 

S)er il^m entbot bie Sunbe, 
gä^rt fort naä) einer 3^it: 
,,6r fani mit mancher 2öunbe 
3laä) tapfernt SBiberftreit." 

25 . ®er SSater f)at bernommen' 

®a§ aSort tiefinnerlid^, 
Unb mit ber ^anb, ber frommen, 
Seirängt er toieber \\ä). 

Unb bringt in gleiiä^er 6tiIIc 
30 3um ^anl ba§ D|)fer bar, 

©0 beugte fid^ fein 2öiIIe 
3u eii§ am mitar. 

©reif. 

45. petru» 

Domine, quo vadis? 
Venio itemm crudfigi. 

„Sßeil berftodt ber 3fube Simon SRoma^ ©ötter l^at 

gefd^mäl^et, 

Sßeil Derbotnen Sunb er ftiftet, Smietraii^t in bie ©eifter 

föet, 



LYRICS AND BALLADS 57 

SBetI er einen Snijfetl^ätet allet 3tnä)t ftönig glaubt, 
@tV iä) morgen preis bem SSoHe an bem ftreuj fein 

fredelnb $au|)t." 

ßaifer 5Rero l^afs gef|)rod^en. ^etruö fniet au 3laä)t 5 

im fterfer; 
Setenb tDdä)\t be§ ©reifes ©laube, ^immelsfel^nfud^t regt 

\\ä) ftärfer; 
SRorgen tt)irb baS SBort erfüflet, baS ber ^err propl^etifd^ 

\pxaä) : 
„tJrembe '^anb mirb ein[t bid^ gürten; ©imon, folge 

bann mir mä)V' 

S)a — ml^ leip öorfid^tig ßIo|)fen ? S)ur(i^ bie Sliegel 

ää)it bie geile, 
Unb bie alte Pforte meid^et öor bem eingellemmten 10 

©eile — 
SSirb'S ju lange bem S^rannen? fenbet er bie ®ä)l&ä)kx 

fd^on? 
3iein, eS fprid^t ein fül^neS SBagftücf feinem toDen SBüten 

l^ol^n. 

fjreunbe fmb'S ! ®ie ßl^riften lagen im ©ebet an l^eiFger 

©tötte, 
S)afe ben alten, treuen S)iener nod^ einmal ber ^err 

errette. 
®0(j^ umfonft ©ebet unb S^^^e! S)ie§mal, aä), fein 15 

@ngel nal^t — 
2)a befd^liegen brei ber ßül^nften frifd^ auf eigne ^anb 

bie St^at. 



58 LYRICS AND BALLADS 

dtatt tDo\)l finb bic Slönicrlricflct, SBaiä^e l^altcnb öot 

ben %f)\xxtn, 
©tötfer bod^ bet SBcin öon 6l^io§, ben bic breie mit [xäf 

füllten. 
aHöd^tig [inb be§ Äerferö Slicßel, boii^ bcm ßifcr aDau*» 

f(^tt)a(^, — 
2o(Bä)avi\ mit ftoIjDcrflärtcn ©liefen ftcl^n bie btci \ä)on 

im ®tmaä). 

,,?Rcttun9, Scttung, alter aSater ! ©tärfet atö ber Stob 

i[t Streue. • 

Unfrer Sieb' unb 6^ri[ti ßlrd^e t[t bein C^öupt flefd^enft 

auf 3 neuel 

^ier nur brol^t ber Stob bir; auf benn, gürte beinc 

Senben, fliel^I 

©d^iffe, [tet§ bereit jur 3lbfa$rt, triffft bu in ^uteoli." 

253llter Sünger, fannft bu toanfen, ben ber ^err ben greifen 

nannte, 
5Der foeben in ber ©el^nfud^t l^eiFgen Siebesflammen 

brannte ? — 
3a, er giebt \xä) l^in ben gfreunben, überrafd^t unb l^alb 

im SEraum; 
fjrei f(|on auf bem fjorum ftel^t er, unb er felber glaubt 

e§ !aum, 

ßilenbS ju ber Sßforte lenfen nun bte bier bic Icifen 

©d^ritte — 
30 Unterm SEI^orc furjer 9lbfd^ieb, Srubertufe nad[) ßl^riftcn* 

ptte; 



LYRICS AND BALLADS 59 

3ene feilten gu ben Sitten, Qfrol^cö fünbcnb, ft^neD im 

Sauf, 
®icfcn nimmt bic 3ta^t befd^irmcnb in ben mcitcn 2KantcI 

auf. 

9luf bet ©röbctfttaBc jicl^t et: tocfletücifcnb fielen bie 

©ternc ; 
5lero§ golbncö ©auö Dcrbämmert fd^on in nät^tlid^ blauer 

gerne — 
3lber l^at bie tiefe aWittnad^t fold^er leifen SBanbreras 

mel^r? 
^f)m entgegen fommt ein anbrer auf bem fd^malen SBeg 

bal^er. 

Unb e§ grauft bem 3llten; feittt)ört3 biegt er au§ mit 

fd^manlem gfufee, 
©(j^nefl Vorüber an bem fjfremben f(|miegt er fid^ mit 

flü(^t'gem ©rufee; 
©rüfeenb fd^aut i^m ber ins Slntli^, bafe ber ©ternglanj 

auf il^n fäHt — 
^etruö, tt)ie hoä) ftarrft bu feltfam? ^pxxä), maö beine4o 

Slud^t bereit? 

3luf be§ 3Kanne§ l^ol^er ©tirne glänjen blut'gen ©d^meifeeS 

SrDpfen, 

Sffiü^I nid^t öon be§ SBegeö 3Hül^e mag fo bang ba§ ^erj 

il^m Hopfen; 

SIei(^ 3um Job baö fd^öne ^ntlij. — ^etruö, tennft bu 

bie ©eftalt? 

©d^on einmal öor beinen ^ugen ift fie alfo l^ingemaDt. 



60 LYRICS AND BALLADS 

45®tüfeenb neigt er \\ä) jutn Sünget, feinet Stugen l^eHc 

©onnen 

©inb don eineä ftiHen (Stameö SRegenmoIIen milb um« 

tonnen ; 

gfeft nun tul^n fie auf beut Slüd^tling* — ^ettuö, !ennft 

ben md bu nid^t? 

©(ä^on einmal tief et bid^ ©d^mad^en toiebet ju öetgefenet 

30/ baS ift bet ^ett ! ©o ftanb et bot beut ungeteilten 

Reiben, 
50 ©0 blieb ftiH unb flat fein 3lntli^ mitten in ben toilben 

Seiben. 
Unb bet Sänget finit jut 6tbe, bod^ ba§ $etj lä^t il^m 

nid^t ^Vii)\ 
Unb et tuft: ,,2Kein ^ett unb ^eilanb! 3iebe, tool^in 

ge^t bu?" 

Unb bet ^eWanb fptid^t, ba§ Sluge unDettoanbt auf il^n 

getid^tet, 

3Hit bem SSIirf, bet an bet 3:age festem gfolfd^ unb 

SBal^t^eit fid^tet: 
55 ,r9Keine ßitd^e fielet öetöbet, meine Steuen finb öetittt — 

3u bet ©tabt ift meine ©tta^e, tt)o man neu mid^ 

Iteuj'gen tt)itbl" 

Unb bet ^txx betfd^toanb ; bod^ eiPget, afö et etft ben 

3:0b geflol^en, 

gfliel^t bet 3ünget je^t ba§ Seben, bem be§ 3Keiftetg Slidfe 

btol^en* 



LYRICS AND BALLADS 61 

©d^neU bcn Sauf jurücf gcmcnbct ! Über ^eHaS fltaut eS 

fd^on; 
9lcro§ flolbneö ^'au3 ctglänact balb als golbncr ©onncn« 60 

tl^ton. 

Hub bie ©onnc, bie ieftt gfrcuben auöfltefet über aDen 

Sanben, 

trifft bie ßl^rtften laut unb jubelnb, bcn 2l|)ofteI toä) 

in Sanben* 

Sauter meinenb fal^ fic iene, ate fie micber fattl ju %f)al, 

®od^ ein feliö«fterbenb 3lntli^ traf am ffreuj i^r le^ter 

©tral^L 

Kinfel« 



46. «aiHefer 

gtormannenl^erjofl SBtll^elm \pxaä) einmal: 
„S3ßer finget in meinem ^of unb in meinem ©aal? 
SBer finget Dom SKorgen bi§ in bie fpäte 5lad^t 
©0 lieblid^, bafe mir baS ^erj im Seibe lad^t?" 

„S)a3 ift ber Staillefer, ber fo gerne ftngt s 

3m $ofe, mann er baS 9lab am Sronnen f(^tt)ingt, 
3m ©aale, mann er ba§ gfeuer fd^üret unb fad^t, 
Bann er abenbs fid^ legt, unb mann er morgens er« 

tt)a(^t/' 

S)er ^erjog fprad^: „^ä) f)aV einen guten ftned^t, 
®ett StaiHefer; ber bienet mir fromm unb red^t, 10 
6r treibt mein SRab unb fd^üret mein Steuer gut 
Unb finget fo ^eü; ba§ ^ö^et mir ben 3Kut/' 



62 LYRICS AND BALLADS 

3)a \pxaä) ber 2;atDcfer: ,,Uub tüär' \ä) frei, 
SStcI beffer moüf iä) biencn unb fingen babei. 
isSQßie moHf \^ bienen bem ^crjog ^d(^ ju ^ferbl 
SBie moUf id^ fingen unb Hingen mit ©d^ilb unb mit 

<Bä)mxt l" 

^xä)t lange, fo ritt ber StaiHefer in§ ©efilb 
9luf einem l^ol^en ^ferbe, mit ©d^mert unb mit ©d^ilb. 
S)e§ C^^^JOfl^ ©d^tt)eftet fd^aute öDm Sturm in§ fjelb; 
20 ©ie fprad^: „®ort reitet, bei @ott I ein ftattlid^er ^elb." 

Unb ate er ritt öorüber an Sfräuleinö SEurm, 
®a fang er balb mie ein Süftlein, balb tt)ie ein ©türm, 
©ie fprad^ : ,,®er finget, baö ift eine l^errlid^e Suft ! 
6§ gittert ber 2:urm unb e§ gittert mein ^erg in ber 

»ruft." 

25 S)er ^ergog SBill^elm .f u^r tool&I über ba§ 3Keer, 
6r ful^r nad^ ©ngellanb mit getüaltigem $eer. 
6r fprang dorn ©d^iffe, ba fiel er auf bie ^anb: 
„$ei!" rief er, „id^ faff unb ergreife bid^, ©ngeßanbl" 

Site nun baS 9lormannen^eer gum ©türme fd^ritt, 
3o2)er eble Saillefer t)or ben ©ergog ritt: 
„aWand^ Säl^rlein l^ab' id^ gefungen unb geuer gefd^ürt, 
3Hand^ Säl^rlein gefungen unb ©d^mert unb Sänge ge« 

rü^rt. 

Unb l^ab' id^ @ud^ gebient unb gefungen gu ®an!, 
3uerft als ein ffned^t unb bann al§ ein Slitter fran!, 
35 ©0 lafet mid^ baö entgelten am l^eutigen Sag: 
Vergönnet mir auf bie gfeinbe ben erften ©d^lag !" 



LYRICS AND BALLADS ^ 63 

S)ct SEaiDcfcr titt öor aflem ^lörmannenl^cct 

9luf einem ^ofjen ^ferbe mit ©d^tüert unb mit ©})cet; 

6r fang fo l^crrlic^, baö flang über C)aftin8§felb, 

S5on fRolanb fang et unb mand^em frommen ^elb. 40 

Unb afö ba§ SloIanbsUeb tt)ie ein ©türm etfd^oH, 
®a toaUete mand^ panier, mand^ ^erje fd^moD, 
S)a brannten Slittcr unb 5Jlannen Don l^o^em 9JJut; 
®er SaiHefer fang unb fd^ürte ba§ Steuer gut* 

®ann fprengf er l^inein unb filierte ben erften ©to^, 45 

®at)on ein englifd^er fRitter jur 6rbe fd^o^; 

®ann fd^mang er ba§ ©d^mert unb fül^rte ben erjlen 

©d^lag, 
S)at)on ein englifd^er 3Ktter am Soben lag. 

9lormannen fal^en'S, bie l^arrten nid^t alljulang/ 

©ie brad^en l^erein mit ©efd^rei unb mit ©d^ilberllang, 50 

$ei ! faufenbe Pfeile, f Urrenber ©d^merterfd^Iag ! 

Sßi§ ^aralb fiel unb fein troJigeS ^eer erlag* 

^err SBill^elm ftedfte fein SJanner auf§ blutige gelb; 
inmitten ber Soten f|)annf er fein ©ejelt; 
®a fa^ er am SKal^Ie, ben golbnen ^olal in ber ^anb, 55 
3luf bem Raupte bie ftönigölrone öon ©ngeßanb: 

„TOein tapfrer 3:aiIIefer, lomm, trini mir Sefd^eib! 
®u l^aft mir Diel gefungen in Sieb' unb in Seib; 
®od^ l^eut im ^afting^felbe bein ©ang unb bein fftang, 
®er tönet mir in ben Clären mein Seben lang." 60 

Ut}Ianb. 



64 LYRICS AND BALLADS 

47. Des Deutfdjtittets Uve 

„^txx Ott Dom Sül^I, nun brängt btc 3lot: 
3lnn geigt, lüic treu S^t'ö meint 1 
S)Q§ gelb t[t rot unb bie Srüber fmb tot 
Unb hinter un§ raffelt ber gfeinb. 

S SBol^I flag' xä) maniä^ gebrod^nen ©peer, 
TOand^ SBap|)enf(!^tIb jerfpolten; 
®o(3^ fd^merjf § um ben l^eiligen fteld^ mi(ä^ nod^ mel^r 
3tt meines SRantetö galten. 

3m Sd^Iad^tfelb tranlen ton alle barauS, 
10 !^n fül^nen uns mit @ott; 

©oD nun beim toüften ©iege§fd^mau§ 
®er $eib' il^n fd^mtngen Jum ©pott? 

^ttx Ott unb fül^It 3]^r (Snä) [tar! unb jung, 
3lo(i) einmal menbet ba§ ^o% 
1$ aSerfud^t mit fd^arfem ©d^merteSfd^ung 
3toä) einmal ju l^emmen ben SEro^. 

Unb l^altet ^l^r nur fo lang il^n auf, 
2Ǥ 3^r ein Slde fagt, 
©0 rettet meines C^^^öft^^ S^uf 
20 ®en ffeld^, um ben ^l^r'S toagt/' 

^erm Otts Sefinnen toax ntd^t grofe, 
©prad^: „^a/' unb tt)etter nid^tö; 
5DeS SKeifterS Slofe Don bannen fd^ofe 
3m ©tral^I beS SKonbenlid^tS. 



LYRICS AND BALLADS 65 

Unb ate ba§ ffrcuj auf beut SKantcI tüeife 25 

5Ri(3^t mel^t ju Icnncn tt)ar, 

S)a fauftc fd^jott ouf ©äulen l^cife 

C)eran ber Sitaucr ©d^ar; 

Unb als ber 3Kantel fern im ©d^ttmng 

5Rur f(!^ien mic ein fliegcnber ©(^man, 30 

3)0 fielen fie ben IRitter jung 

3Kit grimmigen ©treid^en an. 

2)ie frummcn ©d^merter blinftcn frei,- 

6§ raffelten bumpf bie fteulen, 

S)ajtt)if(3^en ging tl^r ffampfgefd^ret 3s 

S3ßtc l^ungriger SBöIfe beulen* 

€)err Ott Dom Sü^I ^ptaä): ,9ft)e 3Karte" 
Unb fül^rf einen ^ki, ber traf: 
S)er Hauptmann flog Dom ©attel auf3 ftnic 
2)iit burd^gefpaltnem ©d^laf. 40 

S)aö jmeite SBort ber ^tlh bann fprad^ 
Unb ^ieb no(^ fröftiger fd^ier; 
S)er Bannerträger }ufammenbr(\(3^, 
Unb über tl^n fiel ba§ panier. 

Unb SSort um SBort, unb ©treid^ um ©treid^, 4S 
S)a§ mar ein tapfer ©ebet: 
Sei jebem ©prud^ lag alfogleid^ 
6in ©eibe bal^ingemäl^t. 

Unb e§ flaffte bem SRitter baö ©tal^ll^emb meit 
Unb e§ färbten bie Slinge fid^ rot, so 



66 LYRICS AND BALLADS 

6r aber tüarb nic^t lafe im ©ttett, 
Unb jcbcr ©d^Iag toat %tA. 

Unb c§ barjl fein ®ä)\Vt>, unb e3 fanf fein ^ferb, 
S)a fämpff et fort su gu^; 
55 2Kit bciben C)cinbett fd^mong et ba§ ©d^mert 
Unb betete weiter ben ©rufe. 

Unb ate ju 6nbe ba§ Sldc fling, 
6r fül^rte no(§ einen ©treid^, 
Unb in getürmter Seid^en SRing 
60 ^in fanf er blutenb unb Wx^. 

©ein 5Jlunb warb ftumm, fein 3lrm toaxh fd^met, 
3m Sobe ftanb fein ^exi; 
^xä)t ,,3lmen!" !onnt* er fpred^en mel^r, 
®a§ mar fein fester ©d^merj. 

65 ®od^ bie Sitauer marfen bie Slenner l^erum, 
Sein ©treit mel^r lüftete fie. 
©erettct mar ba§ Heiligtum 
S)urd^ bc§ giitterS ,,3Iöe aWarie.'' 

(Sott gcb' il^m broben feiige ©tatt 
70 3luf§ tofenbe ©d^Iad^tgetümmel 1 
SBer fo auf ßrben gebetet l^at, 
aHag ,,9lmen" fagen im ^xmmtL 

«eibeL 



LYRICS AND BALLADS 67 

4:8. Unbvca» Qofer 

3u ÜMantua tu Sanben 

^ct treue ^ofer toax, 

3n SKantua jutn SEobe 

gfül^tf il^n bet S^einbe ©d^ar; 

@ö blutete ber Srüber i^erj, s 

@ang 2)eutf(3^Ianb aä) l in ®äjmaö) unb ©(!^merj! 

3Hit il^m ba^ Sanb SEiroI. 

S)ie ©änbe auf bem aHütfen 

9lttbtea§ ^ofer ging 

3Htt rul&ig feften ©d^ritten, lo 

^^m fd^ten tet Stob gering ; 

®er Stob, ben er fo mand^eS tWal 

aSom Sfelberg gefd^irft inö %f)al 

3m l^eirgen Sanb Sirol. 

®od^ ate au§ ßerfergittern 15 

3m feften SKantua 

5Die treuen SBaffenbrüber 

®ie $änV er ftredfen ^äf), 

5Da rief er au§ : „(Sctt fei mit eud^, 

3Hit bem öerratnen beutfd^en Sleid^, 20 

Unb mit bem Sanb Sirol!" 

S)em 3:ambour toiD ber SBirbel 

9lid^t unterm ©d^Iegel Dor, 

Site nun 9lnbrea§ ^ofer 

©d^ritt burd^ ba§ finftre SEI^or; — 25 

2tnbrea§, nod^ in Sanben frei, 

5Dort ftanb er feft auf ber SSaftei, 

®er aWann Dom Sanb SiroL 



68 LYRICS AND BALLADS 

2)ort foß er nicberfniecn ; 

30 6r fpta(| : ^®a^ il^u' \^ nit ! 

2Btü ftetben, ö)ic \ä) fte^e, 
2BiQ fterben, wie iä) ftritt, 
©0 tüie Wt> ftey auf biefcr ©(i^atQ'5 
6§ W mm guter ^aifex Sranj^ 

3S 5IHtt i^ fein Sanb %ixoV^ 

Unb tum bcr ^nb bic Sinbe 
Stimmt il^tn ber Äiw^aral; 
5lnbtca5 ^i^^tx betet 
Midier pm le^temnal; 
40 S)ann ruft et : ^9inn, fo trefft mt($ re^i ! 

@ebt gfeuerr — %ä)! tote fd^iefet il^r fd^Iec^t! 
«be, mein 2anb Sirol l'* 



49. Qan» O^uler 

^^ord^', 2Rartl^e^ brau|eti pD(S)^ e§ ; gel^, la^ ben ÜBanu 

l^eretu; 
60 wirb ein armer flilger, ber jtc^ t)ertTrte, fein ! — 
®rüji' (Sott, bu f^utfer Ärieger^ nimm ^laji an 

unfrem Sifc^i, 
S)a§ S5rot tp toeife unb loder, ber Sranf ift l^ett unb 

ftifc^l'' 

5 »6§ tjl ntd^t StranI, ni(ä^t ©pcife, toonoiä^ e§ not mir 

t^ut, 
©od^, fo 3]^r feib ^an^ 6uler, fo toiU id^ (£uer »lut ! 



LYRICS AND BALLADS 69 

SSJifet 3f]^t, öor 2Kottbctt l^ab' i^ (gud^ no(3^ alö gfcinb 

bebrol^t: 

5Dorl l^atf td^ ehtcn S3rubct, bcn Sruber f^Iuflt Sl^t 

tot. 

Unb ate et ratifl am Stoben, ba fd^mor id^ eS tl^m 

S)afe id^ il^n tüoHc täiä^en, frül^ ober fpät, an ^uä) !" lo 
,,llnb l^ab' td^ il^n etfd^loaen, fo tüar'S int regten 

©tteit, 
Unb !ommt ^^x, ittn ju räd^n, — tüol^Ian, id^ bin 

bereit ! 

S)od^ ttid^t int ^aufe t&xtipf xä), nid^t jtoifd^en Stl^ür 

unb SBßanb; 
3m Slngeftd^te beffen, tt)ofür id^ jiritt unb ftanbl — 
S)en ©öbel, SKartl^e, toet^t bu, tt)omit id^ il^n erfd^lug: 15 
Unb foDf id^ nimmer lommen: — Sirol ijl qxo^ fle« 

nu9 \" 

©ie gelten miteinanber ben naiven t^tU l^inan ; — 
©ein gülben %^ox l^al eben ber SKorgen aufgetl^an ; — 
®er ^an^ boran, ber g^rembe red^t rüfiig l^interbrein 
Unb l^öl^er ftetä mit beiben ber liebe ©onnenfd^ein. 20 

5Run fielen fie on ber ©pifte, — ba liegt bie Sllpentoelt, 
S)ie tt)unberbare, grofee, öor il^nen aufgcl^ellt: 
©efunfne 5lcbel jeigen ber Stl^äler reid^e Suft, 
2Kit ^ütten in ben Slrmen, mit ©erben an ber 8ruft* 

©ajmifd^en giiefenbäd^e, barunter ffluft an ftluft, 25 
©aneben SBälberfronen, barüber freie 8uft; 



70 LYRICS AND BALLADS 

Unb fid^tbar nid^t, hoä) fühlbar, Don ©ottcS Slul^' um» 

3n Rillten unb in ^ctjcn bcr alten Streue ©etji. 

®a3 fcl^n bie beiben btoben, — bem Q^t^mben finit bte 

©anb, 
3oC)anS aber jeigt l^tnunter aufS liebe SSaterlanb: 
„tS^x baS l^ab' iä) gef ödsten, bein Sruber f)aVQ bebrol^t, 
5ür baS ^ab' xä) fleftritten, für ba§ fd^Iufl i(i) t^n tot/' 

®er ^rembe fielet l^inunter, fielet Raufen ins ©efid^t, 

6r tt)iD ben 9lrm erl^eben, ben 3lrm erl^ebt er nid^t: 

35 „Unb l^aft bu il^n erfd^Iagen, fo toar'S im redeten 

©treit, 
Unb mißft bu mir berjeil^en, !omm, ^an^, iä) bin 

bereit !" 

Seibl. 



50. (Bebet wäfttcnb ^cr Sd^lad^t 

SSater, id^ rufe bid^! 
SrüHenb umiüölft mid^ ber ®ampf ber ©efd^ü^e, 
©prül^enb umjurfen mid^ raffeinbe Süfee. 
Senfer ber ©d^Iad^ten, id^ rufe bi(|! 
5 SSater bu, fül^re mid^l 

SBater bu, fül^re mid^l 
Qfül^r' mid^ jum ©iege, fül^r' mid^ jum iobe: 
^err, id^ erfenne beine ©ebote; 

^err, toie bu toißft, fo fül^re mid^. 
lo ©Ott, id^ erfenne bid^I 



LYRICS AND BALLADS 71 

©Ott, x(i) erlennc bid^I 
©0 im l^crbftlid^cn SRaufd^en bcr ©lütter, 
SBie im ©d^Iad^tenbonnermetter, 

Urquell ber ©nabe, erlenn' iä) hiä). 

aSater bu, fegne m\ä)\ 15 

SSater bu, fegne mid^! 
3n beinc ^anb befel^P xä) mein Seben, 
®u fannjt eS nel^men, bu l^aft e§ gegeben; 
3um Seben, jum Sterben fegne mid^! 

SSater, x^ greife bid^! 20 

SSater, x^ pxtx^t ixä) l 
'S tjl ia fein ßampf für bie ©üter ber erbe; 
®a§ ^eiligfte fd^ü^en toir mit bem ©d^merte; 
®rum fallenb unb fiegenb |)reif id^ bid^* 

®Dtt, bir crgeb' id^ mid^ ! 25 

©Ott, bir ergeb' xäf mid^ ! . 
SBenn mid^ bie ®onner be§ 3:obe§ begrüben, 
SBenn meine Slbern geöffnet fliegen, 
®ir, mein ©ott, bir ergeb' id^ mid^! 

SSater, id^ rufe bid^! 30 

Körner. 



51. Heiters nXor^en^efand 

(nad^ einem fd^toä^ifd^en tBoIfSlieb) 

SKorgenrot, 

Seud^teft mir gum frül^en Stob? 
ffialb tt)irb bie SErompcte blafen, 
®ann mufe id^ mein Seben laffen, 
3d^ unb mand^er ßametob! * 



72 LYRICS AND BALLADS 

Raum gebadet, 

2öar bcr 2u[t ein 6nb' Qtmaä)t 
@e[tctn nod^ auf ftolgen JRoffen, 
^eute inxä) bie Stuft gcfc^ofjcn, 
lo aKorgcn in ba§ fül^Ie ®rab! 

%ä), tote balb 

©(^minbet ©(i)ön]&cit unb ©cftalt! 
Sl^uft bu ftolg mit beincn SQßangcn, 
®ic mit 5IRiIc^ unb ^utpur prangen ? 
IS Sld^! bie giofen tüelfen aWl 

S)arum ftiH 

güg' id^ mid^, toie ©otteö toiD. 
5Run, fo min \i) wacfer ftreiten, 
Unb foßf iä) ben Stob etleiben, 
20 ©tirbt ein braber SleiterSmann* 

^Ottff. 



52. Hciterlieb 

35ie bange 5lad^t ift nun l^erum, 
SBir reiten ftifl, tt)ir reiten ftumm 
Unb reiten in§ SSerberben. 
aSie toel^t fo fc^arf ber SKorgenminb ! 
grau SBirtin, nod^ ein ®Ia§ gefc^minb 
aSorm Sterben, Dorm Sterben. 

35u junges ®ra§, tt)a§ fte^ft fo grün? 
9Kufet balb toie lauter StöSlein blü^n, 
allein Slut ja foH bid^ färben. 



LYRICS AND BALLADS 73 

5)en erpen ©d^Iudf, ans ©d^rt bie ^(ai%, lo 
®cn trinf i(]^, für böö aSoterlonb 
3u jierben, ju fterbenl 

Uttb fd^ttcH bcn jtocttcn l^mtcrbretiv 

Unb ber fott für bfe gfteü^eü fein, 

3)cr jtocite ©^lud öom ^tfenl 15 

3)ieg JReftileÄ — nun^ toem 6rinfl' iäf^ flldd^? 

3)ie§ tRcftdiien bix, e rötnifdl Slti(J, 

3nm ©IcrÄeii^ jum ©tcrben. 

3)em ixtiäjm — bo^ bö8 ®IqS t|l lecr^ 

3)ie ßugel füuft, tS bü^t ber ©peer; 30 

Sringt meinem Sinb bit ©<ä^rben! 

?luf ! in ben gdnb tüte SBetterfd^ag! 

O 9tetterlu[t, ü» frü^n Sag 

3u fterben, ju fterben! 



SS. flle <9renabiere 

9ia^ granlretd^ jogen jiüei ©renabter', 
®te lüaren in Slufelanb gefangen, 
Unb aU fie famen tn§ beutfd^ Ouartier^ 
©ie lie^tt bie fiöpfe IJangen- 

%a Rotten fte betbe bte Itöutige ÜKör, 
S)a^ granteid^ berloren gegangen, 
SBefiegt unb jcTfd(|Iagen ba§ grofee ^eer, — 
Unb ber Äaifer^ ber ßaifer gefangen* 



74 LYRICS AND BALLADS 

S)a tDcittten gufammen bic ©renabier' 
xo 3ü6f)l ob ber Ilägli^n Runbe. 

S)er eine fprad^: ,,3Bte tod^ toirb mir^ 
SQBie brennt meine alte SBunbe l" 



®er anbre fpradd : „®a§ Sieb i[t auS^. 
9lud^ id^ möd^f mit bir ftetben, 
IS ®o^ l^ab' xäf ffieib unb ftinb gu ^n^, 

S)ie ol^ne mid^- öerberben.^* 

,,5!Ba§ fd^ert mid^ SQßeib. toaS fd^ext mid^ Jlinb, 
3d^ trage lüeit beffreö SSerlangen; 
£a^ [ie betteln gel^n, toenn fie l^ungrig finb, — 
20 gjlein Raifer, mein Slaifer gefangen! 

©emäl^r' mir, »ruber, eine S3itt': 
SBenn icfy je^t gerben toerbe, 
©0 nimm meine Seid^e naä) 8^ran!reid^ mit, 
SSegrab* mid^ in granfreid^S @rbe. 

25 3)a§ g^renlreuj am roten Sanb 
©oDjt bu auf§ ©er} mir legen; 
S)ie glinte gieb mir in bie ©anb 
Unb gürf mir um ben S)egen, 

©0 miK i(| liegen untv l^ord^en ftiH, 
30 SBie eine ©d^ilb-toad^*, im (Srabe, 
S3ig einft id^ l^öre Äanonengebrütt 
Unb loielö^rnber Stoffe ©etrobe. 



LYRICS AND BALLADS 75 

2)attn reitet mein ßaifer tool^I übtx mein ®rab, 
SSiel ©d^toerter flirren unb bli^en; 
S)ann fteig' \äf getoaffnet l^erpor au§ bem ®rab, — 35 
®en ftoifer, ben Äoifer gu fd^üjen V 

Q e i n e. 



64. Her mai ifi ^cfommcn 

2)er aJlai.ift gefommen, bie Säume fd^Iagen aus, 
®a bleibe, mer Suft f)at, mit ©orgen gu ©auS; 
SBic bie SBoIfen »anbem am l^immlifd^en 3^^, 
©0 ftel^t ^^^ tttir ber ©inn in bie toeite, »eite SBelt. 

$err SSaier, grau 3Kutter, bafe (Sott eud^ belauf! s 
SBer mx% tt)o in ber gerne mein ©lud mir nod^ blül^t? 
6§ giebt fo mand^ ©trape, ba nimmer id^ marfd^iert, 
6S giebt fo raand^en SBein, ben id^ nimmer nod^ probiert. 

grifd^ auf brum, frifd^ auf im l^eHen ©onnenftral^I, 
SBol^I über bie Serge, mol^I burd^ ba§ tiefe SEl^al! lo 
2)ie OueHen erflingen, bie Säume raufd^en aU\ 
aOlein ©erg tft »te 'ne Serd^e, unb ftimmet ein mit ©d^all, 

Unb abenbö im ©täbtiein, ba lel^r* id^ bur^ig ein: 
„Qnx ?Sirt, ©err SBirt, eine Äanne blanfen SQBein! 
Ergreife bie giebel, bu luff ger ©})ielmann bu ! is 

Son meinem ©d^a^ ba§ Siebel, baS fing' id^ bagu/' 

Unb finb* id^ leine ©erberg', fo Heg' id^ ju ^aä)t 
SBol&I unter blauem ^immel, bie ©terne l^alten SBad^t : 



76 LYRICS AND BALLADS 

3m SBtnbe bie Stnbc, bte raufet mxä) ein ^tmaä), 
20 6§ füffct in bei ti^üff baS SWorgenrot mx(S) toaä). 

D SÖJanbcrn, o 5IBonbcrn, bu freie Surf^enlufk! 
®a tDel^et ®otte§ Obern fo frif(^ in bie Stuft ; 
®a finget unb jaui^gct bo§ ©erg gunt ^immetegelt : 
SBie bift bu bo^ fo fd^ön, o bu toeite, toette SBelt! 

Deibel. 



öö. tJOanbcvlUb 

SBol^Iouf! no^ getrunfen 
S)en funfeinben SBein! 
Slbe nun, il^r Sieben ! 
©efd^ieben mu^ fein. 
S Slbe nun, il^r Serge, 

®u öäterlid^ $au§! 
6§ treibt in bie Seme 
Tliä) mäd^tig l^inaud. 

S)ie ©onne, fie bleibet 
10 3lm ^immel nid^t ftel^n, 

6§ treibt fie, burd^ Sänber 
Unb aWeere ju gel^n. 
®ie SBoge nid^t l^aftet 
3lm einfomen ©tranb, 
IS ®ie ©türme, fie broufen 

3Äit maäft burd^ ba§ Sanb, 

3Kit eilenben SBoHen 
©er SSogel bort giel^t 



LYRICS AND BALLADS 77 

Unb fingt in bcr gerne 

6in l^eintatlid^ Sieb. 20 

©0 treibt e§ ben Surfd^en 

®urd^ SBöIber unb Selb, 

3u gleid^n ber 9Kutter, 

Ser toanbernben SBelt. 

3)0 grüben il^n SSögel 25 

Se!annt überm SJfeer, 

©ie flogen bon ^luren 

S)er ©eimat l^iel^er; 

S)a buften bie Slunten 

aSertraulid^ um il^n, 30 

©ie trieben Dom Sanbe 

Sie Süfte bal^in* 

Sie Sßögel, bie fennen 

©ein t)äterli(^ ^ou§. 

©ie Slumen einft pflanjf er 35 

S)er Siebe jum ©trau^; 

Unb Siebe, bie folgt ii^m, 

©ie gel^t i!^m jur $anb: 

©0 wirb i^m jur ^eimat 

®o§ fernefte Sanb. 40 

Kernet. 

9lm ^immel toöd^fi ber ©onne (Slut, 
9luf quißt ber ©ee, ba§ 6i§ jerfprang, 
S)aS erfte ©egel teilt bie g^Iut, 
SMir fd^wiÜt baö ^txi ton ©egelbrang. 



78 LYRICS AND BALLADS 

s 3u toanbcm t[t ba§ ^erj bcrbommt, 

S)o§ feinen ^ugenbtag t)erfäumt, 
©obalb bte 2enge§fonne flammt, 
©obolb bie SBeDe n)tebex fd^äumt. 

SSerfd^ergte Sugenb ift ein ©d^merj 
lo Unb einet eto'gen ©el^nfud^t ^ort, 

Slad^ feinem Senje fud^t ba§ ^etj 
3n einem f oxt, in einem fort ! 

Unb ob bie Sode bir ergraut 
Unb balb ba§ ^erj wirb ftiKe ftel^n, 
IS 3loä) mufe t§, toann bie SBeÜe blaut, 

3laä) feinem Senge manbern gel^n. 



57. Her frotje Wanbcv^mann 

SBem ©Ott tt)iK redete ®unft ertoeifen, 
35en fd^idt er in bie toeite SBelt; 
S)em toiH er feine SBunber weifen 
3n Serfl unb SBalb unb ©trom unb gelb* 

Sie SErögen, bie gu $aufe liegen, 
ßrquidfet nid^t ba§ 9Korgenrot, 
©ie wiffen nur Don ftinberwiegen, 
SSon ©orgen, Saft unb 5Rot um Srot. 

S)ie Söd^Iein Don ben Sergen fpringen, 
S)ie Ser(^en fd^wirren l^od^ öor Siift, 



LYRICS AND BALLADS 79 

SBaS fottf iä) ni^t mit il^ncn fingen 
3luS öoHer ße^r unb frifd^cr Sruft? 

S)en lieben ®ott laff' i^ nur toolten; 

S)er Säd^lein, Serben, SBalb unb gelb 

Unb 6rb' unb ^intmel toxU erl^alten, 15 

€)at a\xä) mein' <Baä)' aufs beff befteOt! 

Cidjen^orff. 

58. Un ^en 5onnenfd{ein 

D ©onnenf(3^in ! ©onnenf^ein! 
SBie j(3^tnft bu mir in§ ^erg l^inein, 
SBedp brinnen lauter Siebe§Iu[t, 
Safe mir f enge wirb bic Sruft ! 

Unb enge mirb mir ©tub' unb ^auS, s 

Unb mie xä) lauf gum %i)ox l^inauS, 
35a locfft bu gar in§ frifd^e ®rün 
S)ie aßerfd^önften 9Wäb(^en l^in ! 

D ©onnenfd^ein ! S)u glaubeft tt)ol^I, 

®a§ \ä) wie bu e§ mad^en foD, 10 

®er jebe fd^mude Slume füpt, 

®ie eben nur [id^ bir erfd^Iie|t? 

.$aft bod^ fo lang bie SBelt erblidft, 
Unb meifet, bafe fid^'S für mid^ nid^t fd^idEt ; 
SÖJaS mad^ft bu mir benn folc^e ^ein? 15 

D ©onnenfd^ein ! ©onnenfd^ein ! 

Heinicf. 



80 LYRICS AND BALLADS 

69. TXläv^cnwinb 

Rül^I tDor bie 3KäräenIuft, l^cip toax mein Slut* 
SBinb fara geflogen unb nal^m mir ben ©ut* 

Über ben (Sartengaun toarb er gemelkt. 
®ort ^at gefangen il^n 9lo(J^bar§ SKargret, 

5 ^at il^m bie 6rbe geblafen Dom 9lanb 
Unb i!^m ein SSeilc^en geftedt untere Sanb, 

2Barf il^n l^erüber mir ol^ne ein SBort. 
31I§ xä) \f)x banfen woKf , war fie \ä)on fort, 

9lun mu^ i^ tägli(| am (Sartenjaun [tel^n, 
10 SBarf auf ben SBinb, "boä) ber SBinb will nid^t wel^n. 

®xüä)m auä) fd^au' xä) burc^S @arten[ta!et, 
Slber nid^t einmal ben SlonbIot)f fie brel^t. 

^ilft mir ber SBinb nic^t, fo werf xä) l^inein 
©eiber ben ^ut il^r unb fteig' l^interbrein. 

Baumhadf, 

60. Sdiön-Hot^iraut 

SBie l^ei^t Äönig 9iingang§ Stöd^terlein? • 

gio^traut, @d^ön:=9lo^traut. 
2Ba§ tl^ut fie benn ben ganjen SEag, 
®a fie tool^l nid^t fpinnen unb nä^en mag? 
5 SEl^ut fifd^en unb jagen. 



LYRICS AND BALLADS 81 

D ba§ id^ bo^ il^r Säget toäxM 
gifd^cn unb jagen freute mi(^ fel^x, 

— ©d^iüetg ftilte, mein ^erje! 

Unb über eine fleine 2BeU\ 

Siol^traut, @(!^ön»9io]ötraut, lo 

©0 bient ber Rnab' auf 9iingang§ ©^lofe 
3n 3iägertrad^t unb l^at ein ^o% 

3Kit JRol^traut gu jagen. 
D bafe id^ bo(!^ ein RönigSfol^n mär' ! 
giol^traut, ©(^ön=9io]^traut lieb' iä) fo fel^r. 15 

— ©d^meig ftiHe, mein ^txitl 

ßinSmatö fie mieten am ßid^baum, 

S)a lad^t ©(^ön^gio^traut : 
,,SßJa§ fiel^ft mi(i^ an fo lounniglid^? 
5IBenn bu baö ^crj l^aft, füffe mi(^ !" 20 

^ä) ! erfd^ra! ber ftnabe ! 
S)od^ benfet er : mir ift'S öergunnt, 
Unb lüjfet ©d^ön^Äol^traut auf ben 9Kunb. 

— ©d^toeig ftifle, mein ^erge! 

3)arauf fie ritten fd^toeigenb l^eim, 25 

giol^traut, @diiön»9lo^traut; 
®§ jaud^it ber Rnab' in feinem @tnn: 
„Unb mürb'ft bu l^eute ßaiferin, 

9Rid^ foHf § nidf)t hänfen : 
^^x taufenb Slötter im SBalbe toi^t, 30 

3d^ ^ab' ©d^ön=9lo^traut§ 2Kunb gefügt !" 

— ©d^toeig ftifle, mein ©erje! 

mdrife. 



82 LYRICS AND BALLADS 

61. tVcv ift ^er €rfie ? 

3)o§ eid^l^orn fprid^t : „3n beS ^öd^ften ©tammS 
©Citocige toarb \(jf geboren, 
S)tum trag' id^ anä) ein roteS SBom§ 
Unb Süfd^el an beiben Clären. 
5 S)er Sud^enlern, ber Stannenjapf, 
®ie ßid^el famt bem gid^elnapf, 
Sebwebe 5lu^ im SBalb t[t mein, 
2)rum mu^ ici^ im SBalb ber ©r^e fein." 

®a fprid^t ber (Seier : „C)o^ö (Sefell ! 

10 ®ucf' nieber im bid^ten ©eäfte, 

@on[t päd' id^ \>\ä) bei bem roten QfeH 
Unb fd^Ieppe hxä) fort pm 9lefte, 
SBa§ fid^ im gorfte rü^rt unb regt, 
SBa§ Sebern unb tt)a§ ^aare trägt, 

15 3^ toürge aDe, gro^ unb flein, 

®rum mup i^ im SBalb ber 6rfte fein/' 

®er 3äger l^ört ben pral^Ienben SBeil^ 
Unb ruft: „SSerftumme, bu ©d^reier, 
©onft fliegt au§ bem Slol^r mein l^ei^eS SIet 
20 Unb fd^icft ben ®eier gum ©eier. 
®en Sären ^ä)k^' xä) in ber Äluft, 
S)en 3lbler f)oY iä) au§ ber Suft, 
^ä) hxx\ä)t 3tt^ unb ^irfd^ unb Bäfmxn, 
®rum mu§ xä) im SBalb ber 6rfte fein." 

25 gfö^Sl^aarigeS 2KäbeI beS SBege§ !am 
2Kit rotem, lad^enbem 2KünbIein, — 
^0, »über Säger, warum fo ga^m 



LYRICS AND BALLADS 83 

(Skia) einem fti^metiä^elnben ©ünblein? 

SSor ber bu gtel^ft ben grünett ^ut, 

3)ie in bit ©tim bir ireifct ba3 Slut, 30 

®ie, 3Beibmann^ liebet SBeibmonn mdxtf 

3Hu^ iDol&I im SBalb bie grfte fein. 



62. meine Qefmat 

?lu§ il^ren Sleftexn mar bie ^ä)at 

©er ©önqet trauetnb fortgejogen; 

Sie aaßelt lag öbe, falt unb Hat 

Unb ftumm unb tot ber ^immeI§6og«u 

^oä) l^ut bud^fd^iüirren neu bie Äuft s 

S)er l^eimgtfel^tten SSögcl Siebet, 

Unb jebeö Sieb, ba§ j[au(|ät ^ttl> ^• 

3un 1^6* «1 meine ^imai imebetJ'' 

SBie lange fang aud^ iä) nid^i mel^rl 

SQBelt ol^ne ©d^iu, |>erg i^l^ne Sieben, 10 

©0 jog iä) trauttnb l^in unb l^er, 

Slu§ meiner ^eimot fortgetrieben* 

S)od^ l^eute fd^idi gum |)immelögett 

SKein ^rg öon neuem Subdlicber; 

Unb mutig fd^it' id^ burd^ Me SBeli^ 15 

S)enn eine ^eimat l^ab' id& mieberl 

,,t!Bo aber liegt betn ^etnuttlanb?' 

©0 fel^' id^ beine Sippen fragen- — 

O aWöbd^en, reid^' mir beine ©anb! 

3id^ toitt bir mein ©e^eimniä fagen* 20 



84 LYRICS AND BALLADS 

@o ted^t ! — 5Run ftcl^ tnid^ f reunblid^ an ! 
©cb betner Slugen fanfte Siber! 
3[n il^re SEiefen fd^au' xä) bann : — 
Unb meine ^cimat l^ab' x^ toieberl 

63. tPciftt ^tt nodi? 

SBßet^t bu nod^, tok \ä) am greifen 
Sei ben SSeild^en bid^ belauf d^te? 
5IBei^t bu no(^ ben Slieberftraud^, 
SQBo ber ©trom öorüber raufd^te? 
5 SBei^t bu nod^ ben SergeSpfab, 

SQBo id^ um ben ©traufe bid^ bat, 
SBeifet bu nod&? 

9ld^, es ft)ar ein fü^eS S3ilb, 
9llö bu ba errötenb ftanbeft, 
lo Unb gur @tbe aH bie Slumen 

fielen, bie jum ©trau^ bu manbeji! 
S)eine liebe Reine ^anb 
©pielte mit bem blauen Sanb, 
aaßei^t bu nod^? 

15 Unb es folgen fjels unb ©trom 

®ein ©rröten unb bein Seben, 
©al^cn aud^ ben erjien ftuft, 
^alb genommen, l^alb gegeben I 
Unb be§ ©immels golbner ©tral^I 

20 überflog (Sebirg unb %^al, 

aSJeifet bu no(^? 

Hoauette. 



LYRICS AND BALLADS 85 

64. 3in wnnbcv^dtdncn VXonai VXai 

Snt tDunbcrf^öncn SKonat 2Kai, 
9ltö alle flnoft)en fprangcn, 
S)a ift in meinem ©ergen 
Sie Siebe aufgegangen. 

3m tDunberfd^önen SJlonat SJlai, s 

3lte aUe aSögel fangen, 
Sa l^ab* xä) xf)x geftanben 
SJlein ©eignen unb SSetlangen* 

Qeine. 



€S5. Ceife fielet burä^ mein iSemüt 

Seife giel^t burd^ mein ®emüt 
Sieblid^eS ©eläute: 
Älinge, fleineS grül^lingSlieb, 
Äling l^inauS in§ SBeite. 

ftling l^inauS bis an ba§ ©aus, 
SBo bie Slumen fpxiepen; 
SBenn bu eine SRofe fd^auft, 
©ag', x^ lafl' fie grüben. 



66« nnb wüf^icn^B Me ^lutnen^ Me fleinen 

Unb tDüfeten'S bie Slumen, bie Keinen, 
SBie tief t)ertt)unbet mein ©erg, 
©ie mürben mit mir meinen, 
3u l^eilen meinen ©d^merj. 



X;^^ 

% 



86 LYRICS AND BALLADS 

S Unb tDüfeten'S bic ^Rad^ttgaKcn, 

2Bte id) fo traurig unb !ranf, 
©ic liefen fröl^Uc^ crfd^aHcn 
grquicfenben ©cfong. 

Unö wüßten ftc ntcin 5IBe^e, 
10 S)ic golbnen ©tcmclein, 

©tc fömcn aus i^rer ^ö^e, 
Unb fprä^en Sroft mir ein- 

S)ic alle fönnen'S nid^t tox^tn, 
3lnx eine fennt meinen ©d^merg: 
15 ©ie l^at Ja felbft jerriffen, 

3errif[en mir baS ©erj. 

67. mit einem gemalten l^anb 

ftleinc Slumen, Heine Slätter 
©treuen mir mit leidster ^anb 
©Ute iunge grül^IinflSgötter 
SEönbelnb auf ein luftig »anb. 

5 S^PW^ nimm'S auf beine fjlügel, 

©(i^Iing'S um meiner Siebften RIeib; 
Unb fo tritt fie öor ben ©piegel 
M in tl^rer SKunterfeit. 

©iel^t mit 9iofen fid^ umgeben, 
10 ©elbft tDie eine Slofe jung, 

ginen SSIid, geliebtes Seben! 
Unb id^ bin belol^nt genung. 



LYRICS AND BALLADS 87 

gül^Ie, toaS bies ©erj cmpfinbet, 

fRcid^e frei mir bctnc ©anb, 

Unb baS Sanb, baS uns bcrbinbct, 15 

@ei lein fd^mad^eS älofenbanbl 

<Soetl}e. 



68. liel>% fo latid ^u Helfen fannfi! 

O lieb*, fo lang bu lieben lannft! 
D lieb*, fo lang bu lieben magfl! 
S)ie ©tunbe fommt, bie ©tunbe fommt, 
SDBo bu an ©röbern ftel^ft unb Ilagfl! 

Unb forge, bafe bein ^erje glül^t s 

Unb Siebe l^egt unb ßiebe trägt, 
©0 lang il^m no6) ein anber ^tti 
3n Siebe toarm entgegenfd^lägt ! 

Unb toer blr feine Srufl erfd^Iiefet, 

O tl^u il^m, tt)aS bu fannft, gulieb! 10 

Unb maif x^m jebe ©tunbe frol^ 

Unb niai^' il^m feine ©tunbe trüb! 

Unb pte beine 3unge ttjol^l, 

»alb ift ein böfeS SBort gefagtl 

O ©Ott, e§ toar nii^t bö§ gemeint, — 15 

S)er anbre aber gel^t unb Ilagt. 

D lieb', fo lang bu lieben lannft! 
D lieb', fo lang bu lieben magft! 



öö LYRICS AND BALLADS 

®ie ©tunbe fommt, bie ©tunbc lommt, 
20 SBo bu an ©räbcrn ftcl^ft unb Ilagft! 

S)ann Inieft bu ntcbcr an ber ©ruft 
Unb birgft bie Slugcn, trüb* unb m% 
— ©tc fel^n ben anbcrn nimmermel^r — 
3nS lange, feud^tc ftird^l^ofögrag. 

25 Unb fprid^ft: „O fd^au' auf mid^ l^erab, 

S)er l^ier an beinern ©rabe toeint! 
aSergieb, bafe x6) gefränft hxä) ^aV l 
D ©Ott, e§ toax nid^t böS gemeint!" 

6r aber fielet unb l^ört bid^ nid^t, 
30 ftommt ntd^t, bafe bu il^n frol^ umfängft; 

S)er 9Kunb, ber oft bid^ fußte, fprid^t 
5Rte tt)tebcr: „^ä) bergab bir längftl" 

6r tl^at'S, bergab btt lange fd^on, 
S)od^ mand^e l^et^e SEI^räne fiel 
35 Um bid^ unb um bein l^erbeS SBort — 

S)od^ ftill — er rul^t, er ift am Siel! 

D lieb', fo lang bu lieben lannft! 
D lieb*, fo lang bu lieben magft! 
S)te ©tunbe lommt, bie ©tunbe fommt, 
40 SDBo bu an ©räbern ftel^ft unb Ilagft. 

.^reiligratl}. 



LYRICS AND BALLADS 89 

eo. Hültret nidti bavanl 

aOBo [tiB ein ^exi DoO Siebe glüH 
D tül^ret, rül^ret nid^t baran! 
3)en ©ottegfunfen u\ä)t nid^t ouSi 
tS^ttDaf)x, e^ ift nid^t tDol^Igetl^an. 

2Benn'§ irgenb auf bem ßrbenrunb s 

@in unenttoeil^tcS ^lä^d^en giebt, 
©0 iff § ein junget SQÜetifd^enl^erj, 
5)aS fromm gum erftenmale liebt 

O gönnet il^m ben gfrül^IingSttoum, 

3n bem*§ bott rorget »lüten fte^t! lo 

3^r tüifet nid^t, tt)el(^ ein ^arabieä 

Wxi biefem Straum berloren g^l^t. 

@S brad^ fd^on mand^ ein ftarfeS 4>erj, 

S)a man fein Sieben il^m entriß, 

Unb mand^eS bulbenb »anbte fid^ 15 

Unb »arb boH ^afe unb gfinftemiS; 

Unb mand^eS, baS fid^ blutenb fd^Iofe, 

©d^rie laut nad^ 8uft in feiner 9lot 

Unb tt)arf fid^ in ben ©taub ber SBelt : 

®er fd^öne @ott in il^m toar tot. 20 

3)ann ttjeint il^r mol^I unb Ilagt eud^ an ; 
S)od^ leine SEI^räne l^ei^er 3leu* 
aßad^t eine melfe 3lofe blül^n, 
6rtt)edEt ein totes 4>erj aufS neu'. 



90 LYRICS AND BALLADS 

70, Sie ftalren midt ^cqnätct 

©ie fyibtn mt(ä^ ßequölet, 
©cötgert blou unb bla|, 
S)ie einen mit tl^ret Siebe, 
S)ie anbcttt mit iJ^xcm $>?&- 

5 ©ie l^aben ba$ Srot mir öergiftet^ 

©ie soffen mir ®ift in§ @M, 
S)ie einen mit il&rer Siebe, 
S)ie anbern mit il^rem ^a^. 

S)o4 fte, bie mid^ am meiften 
lo ©equält, ftedrftert, betrübt, 

S)ie l^at mi(| nie gel^ffet, 
Unb i)at mx6) nie ßeliebt. 



71. Va» Säilofi am nteere 

^©afi btt bog ©d^Ioff gefeiten, 
Das l^ol^ ©d^Iofe am aWeer? 
®oIben unb roftg mlfen 
S)ie SBoIfen brüber l^er. 

6S möd^te [xä) nieberneigen 
3n bie fpiegelllare fjlut; 
@d möd^e ftreben unb fteigen 
3n ber 9lbenbtt)oIIen @Iut." 

wSBol^I l^ab' iä) eö gefeiten, 
S)aö l^ol^e ©d^Iofe am aWeer 



LYRICS AND BALLADS 91 

Unb ben SKonb barübcr [tc^cn 
Unb 5RcbcI tocit uml^cr." 

„S)cr SQBmb unb beg 3»cerc§ SBaUcn, 
@abcn fic frifd^en Slang? 
SScrnal^mft bu au§ l^ol^en C>öHen 15 

%aitcn unb Scftgcjang?" 

,,S)tc SBtnbe, bic S3äoflen aUt 

Sagen in tiefer Slul^'; 

ginem Älageüeb aus ber ^aUt 

^M x6) mit SEI^rönen gu." 20 

,,@al^eft bu oben gelten 
S)en ffönig unb fein ©emal^l? 
a)er roten 3JlönteI SBe^en, 
®er golbnen ftronen ©tral^I? 

Silierten fie nid^f mit SBonne 25 

@ine fd^öne Jungfrau bar, 
^errli^ mie eine ©onne, 
©tra^Ienb im golbnen $aar?" 

„fl&offl fal^ xS) bie (Sltern beibe, 

Dl^ne ber fronen Sid^t, 30 

3m fc^margen SErauerüeibe ; — 

®ie Jungfrau fal^ xä) nid^t/' 

Uf)Ianb. 



92 LYRICS AND BALLADS 

72. Pineta 

9luö bcS aWccreS tiefem, tiefem ©runbe 
klingen Slbenbgloden bumpf unb mott, 
Uns gu geben tounberbarc ffunbc 
aSon ber fd^önen alten SBunberftabt* 

S 3tt ber fjluten ©d^ofe l^inabgefunlen 

SUeben unten il^re SErümmer ftel^n; 
3!^re Sinnen loffen golbne fjunfen 
SDBieberfd^einenb auf bem ©piegel fel^n* 

Unb ber ©d^iffer, ber ben S^uberfd^immet 
lo ginmal fal^ im l^eHen 3lbenbrot, 

3laä) berfelben ©teile fd^ifft er immer, 
Ob aud^ ringSuml^er bie ßli|)t)e brol^t. 

9luS beS ©ergenS tiefem, tiefem ©runbe 
ßlingt e§ mir toie ©lodEen, bumpf unb matt; 
IS %ä), fie geben »unberbare ftunbe 

aSon ber Siebe, bie geliebt e§ l^at. 

6ine fd^öne SBelt ift ba öerfunfen, 
3]^re Strümmer blieben unten ftel^n^ 
Saifen fid^ als golbne C>tntmel§funfen 
20 Oft im ©piegel meiner SEräumc fel^n. 

Unb bann möd^f id^ taud^en in bie SEiefen^ 
aWid^ öerfenlen in ben SQßieberfd^ein, 
Unb mir ift, als ob mid^ (Sngel tiefen 
3n bie alte SBunberpabt l^erein. 



LYRICS AND BALLADS 93 

73. Sturm 

6g tDütet ber ©turnt, 

Unb er peitfd^t bte SBcü^n, 

Unb bic SBcHn, toutfd^öumcnb unb bäumcnb. 

Stürmen \\ä) ouf, unb eö toogen lebenbig 

S)ie meinen SBafferberge, 5 

Unb ba§ ©^iffletn erllimmt [ie, 

^aftig mül^fam, 

Unb pU^lxä) ftürjt e§ ^tnab 

3n \ä)tDaxit, toeitgäl^nenbe fjlutabgrünbe. — 

O 2Reer! lo 

2Rutter ber ©d^önl^eit, ber ©^aumentftiegenen ! 

©ro^mutter ber Siebe! fd&onc meiner! 

©d^on flattert, leid^enioitternb, 

S)ie toei^e, gefpenftifd^e 3Jlött)c 

Unb toe^t an bem 9Jla[tbaum ben ©c^nabel 15 

Unb le^jt öoll fjrafebegier nad^ bem ^erjen, 

S)aS öom Slul^m beiner SEod^ter ertönt, 

Unb baS bein @nlel, ber Keine ©d^all, 

3um ©pielgeug ertüäl^It* 

SSergebenS mein Sitten tinb t^lt^nl 20 

2Kein Sftufen berl^allt Im tofenben ©türm, 

3m ©^lad^tlörm ber SBinbe. 

6§ brauft unb pfeift unb pxa^dt unb l^eult, 

SBie ein Stoßl^auS Don Stönen! 

Unb jmif^enburd^ l^ör' iS) öernel^mbar 25 

Sodenbe ^arfenlaute, 



94 LYRICS AND BALLADS 

©cJ^nfud^ttDilbcn ©cfong, 
©celcnf^mcljcnb unb feelcn}errci|enb, 
Unb id^ ericnnc' bic ©timmc, 

30 fjem cn fd^ottifd^cr gelfcnfüftc, 

aSo ba§ graue ©d^löplein J^inauSragt 
Über bie branbenbe ©ee, 
©ort, am l^od^etDöIbten Qfenfter, 
©tel^t eine fd^öne, Iranfe fjrau, 

35 S^^rtburd^ftd^tig unb tnarmorbIa|, 

Unb fie fpielt bie $arfe unb fingt, 
Unb ber Sßinb burd^tt)ü]^It il^re langen Soden 
Unb trägt i^r bunfleS Sieb 
Über baS toeite, ftürmenbe 5Keer. 



74. Sccmov^cn 

S)et SWorgen frifd^, bie SBinbe gut, 
S)ie ©onne glül^t fo l^eHe, 
Unb braufenb gel^t e§ burd^ bie glut; 
SBie toanbern mir fo fd^neüel 

S)ie SBogen ftürgen fid^ l^eran; 
S)od^ tüie [ie au^ fid^ bäumen, 
S)em ©d^iff fid^ toerfenb in bie Sal^n, 
3[n tofler SKül^e fd^öumen: 

a)a§ ©d^iff, t)ott frol^er SBanberluft, 
Sielet fort unauf jul^alten, 
Unb mäd^tig loirb öon feiner Sruft 
S)er SBogenbrang gefpalten. 



LYRICS AND BALLADS 95 

©ctüirft Don golbner ©tral^Icnl^anb 

9lu§ bem ©efprül^* ber SBogcn, 

ftommt il^m jur ©eif ein ^riSbanb 15 

^cHflattcrnb nad^geflogcn. 

©0 tocit na(^ 8anb tnctn Slugc fd^mcift, 

@tfji' iä) bic fjlut jtd^ bel^ncn, 

®le ufcriofc; mt(^ ergreift 

@in ungcbulbig ©eignen, 20 

S)a| i(^ fo (oTtg eud^ meiben mufe, 
Scrg, SBicfe, Saub unb Slütc! — 
S)a läd^elt feinen 3Jlorgengru^ 
@in ftinb auS ber ftajüte. 

SBo fremb bie Suft, ba§ ©immelslid^t, 25 

3m falten SBogenlärme, 

2Bie ttjol^l tl^ut aßenfd^enangefid^t 

aWit feiner Rillen SOBörme ! 



76. Zvoft 



©0 lomme, ttjaS ba fommen mag ! -t ' ^ -^ ' ^^^ (' / . ,. 
©0 lang bu lebefl, ift eS Stag. .../Lwm. - . ''^w^/^vo' 

Unb gel^t e§ in bie 2Q8eIt l^inauö, cüj^^^ -i ^^^u'^m? J Xfy(v^^, 
SBo bu mir bift, bin ic^ gu ©au§.Vi*w *^ y^^Vv.' L^ 

^6) \ti)' bein liebeS Slngefid^t, 5 

3f4 f^^^ We ©Ratten ber Sulunft nid^t. 

V 

Storm. 



96 LYRICS AND BALLADS 

76. Uttf ^er Ühcv^af^vi 

übet biefcn ©trom, öor Salären, 
Sin i^ einmal fd^on gefalzten; 
^ier bie Surg im Slbenbfd^immer, 
S)rüben roufc^t ba§ Sät^x, toit immer. 

S Unb bon biefem ftal^n umfd^Ioffen 

SBaren mit mit gmeen ©enoffen: 
^ä)l ein gf^^wnb, ein Datergleid^er, 
Unb ein junger, l^offnungSreid^er. 

3fner toirlte ftiQ l^ienieben, 
lo Unb fo ift er auä) gefd^ieben; 

S)iefer, braufenb t)or un§ oHen, 
3fft in üamp\ unb ©türm gefallen. 

©0, tt)enn xä) vergangner Stage, 
©lüdlid^er, ju beulen mage, 
15 3Ku| xä) ftetS ©enoffen miffen, 

SEeure, bie ber Stob entriffen. 

®od^, tt)a§ alle tjteunbfd^aft binbet, 
3ft, menn @ei[t ju Seift fid^ finbet; 
©eiftig »aren jene ©tunben, 
20 ©eiftern bin id^ nod^ Derbunben. — 

5Rimm nur, fjöl^rmann, nimm bie 2Miete, 
S)ie id^ gerne breifad^ biete! 
3»een, bie mit mir überful^ren, 
SBaren geiftige 5Raturen. 

Uf}Ianb. 



LYRICS AND BALLADS 97 

77. Hie Btabi 

Wax grauen ©tranb, am grauen 2Reer 

Unb feitab liegt bte ©tabt; 

®er 5RebeI brüdt bte ©äd^er fd^ioer 

Unb burd^ bte ©tiHe brauft ba§ 2Reer 

©intönig unt bte ©tabt. s 

g§ raufet lein SBalb, eS fd^lögt im SMai 

ff ein aSogel dfjxC Unterlaß; 

S)ie SBanbcrganö mit l^artem @^rei 

5Rur fliegt in $erbfte§nad^t öorbei, 

Slm ©tranbe mel^t baS @raS. lo 

S)o(^ l^ängt mein ganjeö ^erj an My, '\V "i^ '* " 

®u graue ©tabt am 9ßeer; Uvv^ oJ^y, ^ A^t^-^^^-^ 

S)er 3ugenb Sauber für unb für ^'^^^Jd/"^^^ 
giu^t löi^elnb boc^ auf bir, auf bil^vr^^V^^^ ^''^' 
®u graue ©tabt am 3Jleer. Of ^^-^ <^^"'xi\,t^ . U/a 



\^ 



A 



78, Un meine ntutter ö. Qeine 

1. 
3(^ bin'§ getDol^nt, ben ffopf red^t l^od^ ju tragen, 
SDlein ©inn ift aud^ ein bifed^en ftarr unb jäl^e; 
SBenn felbft ber ffönig mir in§ Slntli^ fö^e, 
^S) toürbe nid^t bie 9tugen nieberf4)Iagen* 

%oä), liebe 3Jlutter, offen voxU \ä)'§ fagen: s 

SSie mäd^tig aud^ mein flolger 9Jlut \\ä) U&^t, 
3n beiner feiig füfeen, trauten 5Rcil^e 
©rgreift mid^ ^ft ein bemutbofleö 3ögen. 



LYRICS AND BALLADS 

Sft e§ bcin ©eift, bcr l^eimlid^ m\ä) bcätDtngct, 
3)ein l^ol^cr @ctft, ber oßcö lül^n burd^bringct, 
Unb blt^cnb ^ä) jum ^xmmtMx^k fd^ioinaet? 

Ouält ntid^ ©rinnerung, bafe i^ üerübet 
©0 mand^c %i)ai, bie btr ba§ ©erj betrübet, 
S)ag fd^öne $erg, ba§ tnid^ fo fel^t geliebet? 



15 3tn toDen SBal^n l^otf xä) hxS) einji betlaffen, 
3^ tüollte gel^n bie gange Jffielt gu 6nbe, 
Unb tooHte fel^n, ob iä) bie Siebe fänbe, 
Um liebeDoH bie Siebe gu umfaffen. 

®ie Siebe fuc^^te iS) auf allen ©äffen, 
20 aSor jeber SEI^üre ftreif i^ au§ bie ^änbe, 
Unb bettelte um gtinge Siebefpenbe, — 
®o(3^ lad^enb gab man mir nur Ialte§ Raffen. 

Unb immer irrte iä) nad^ Siebe, immer 
3tad) Siebe, bod^ bie Siebe fanb ic^ nimmer, 
25 Unb feierte um nad^ ©aufe, Iranf unb tröbe. 

3)od^ ba bift bu entgegen mir gefommen, 

Unb ad)l toaS ba in beinem Slug' gefd^tüommen, 

S)aö mar bie fü^, langgefud^te Siebe. 

Qeine. 



LYRICS AND BALLADS 99 

79. ^üx meine Sdftne 

^cl^Ic mmtner init her SBal^cl^t! 
Srinflt fie ßrib, xi\ä)t Mnit fic Steue; 

SBirf fie mi^ iti^ tM)r ^ie Säue. 

Slüte ebelftcn ©emäteS 5 

©inb crfrifiJ^nb tofe ©cioitter 
©olbne «4i(ffi(3&tMt)itflfeitctu 

SBacfret ^tmotlt^ @robl^eil 

©c^c bcine ©tim entatflcn^ lo 

Slrtigcit ScutfcUflleiten 

@e]^e fci^toeigeub au§ bau 2Begen* 

9Bo juio SSktb bu x^t bie Süd^iec 
SBagen töürbcft gu begcl^rcii, 
^alte bid^ gu mert, um gaftUd^ 15 

3n bem ^aufe gu t^rfcl&rcn. 

SB3aS bu immer fannft, gu tücrbcn, 

Slrbcü fd^ue ntd^t unb SBod^cn; 

9lbet l^ütc bctnc ©eclc 

SSor bem ©arriere^SKad^en. 20 

SBenn ber ^öbcl aUcr ©orte 
a:anget um bie golbnen ffälber, 
©alte feft: bu l^aft Dom Seben 
^oä) am @ube nur bid^ felber. 

Storm. 



100 LYRICS AND BALLADS 

80. meiner ^odtict 

3d^ tnöd^tc Iletben ixä) In lauter ©cibe, 
3n§ ^aax btt flccä^tcn Bli^cnbe^ ©cft^mcibe, 
5!Kit ©fangen fd^müdfcn bcinen fd^Ianfen Slrm; 
S)o(^, liebet ffinb, DcrgicB, i^ bin ju orm, 

5 SBie gern Ircbengf td^ bir gn bcincm SMal^Ie 
S)en fd^önffen SBcin ou^ filbemcm ^ofafe, 
^üüf bi(^ ju 9?a(]^tgctt ein in ^urpur warm; 
S)DC§, liebes ffinb, öergiefr, id^ bin ju arm, 

^if f^aV bir nid^ts als meine Sieb' ju geben, 
lo S)rauS toiB i($ bir ein ttjarmeS 2:ü(ä^Iein »eben, 
5!Jlit ©lud unb ©egensmünfd^en taufenbfad^, 
S)afe ©Ott iiä) fd^ü^' Dor Seib nnb Üngemad^; 

S)a6 er bid^ fd^irme bor be0 ©d^merjeS 3:ofen, 
S)ie Sruft bir fd^müdfe mit ber Siebe Sftofen, 
IS S)id^ fpcif unb tränf mit feinem ©nabenlid^t; — 
S)aS i^ mein SBunfd^, mein Äinb, mel^r l^ab* id^ nid^L 

^otjanna 2Xmbrofins. 

81. Sprudle unb Binn^cbidtit 

V icbensrcgcl 
|)alf bid^ rein, 
^ä)V t>xä) «ein, 
©ei gern allein, 
9Kad^' bid^ nid^t gmein, 
S ©0 h)irb bir afljeit tüol^I fein. 

2Ius bem \6. ^at^vlfun^ttt 



LYRICS AND BALLADS 101 

2. (6öttltd?e Had?e 
@ottc§ SKül^Icn mol^Ien langfam, mal^lcn aber trefflii^ 

Hein ; 
Ob aus Sangmut et \\S) fäumet, bringt mit ©d^örf 

er alle§ ein. 

Cogatt. 

3. Die he^e 2lr3enet 
greube, SKä^igfeit unb ^nff 
©(abliefet bem 3lrgt bie Stpre gu. 

£ 9 a lt. 

^. SUlin t{l 3urücfe get^n 
SBer in ben SBegen ®ott§ geböt^te ftillguftel^n, lo 
S)er mürbe l^inter jid^ unb in§ SBerberben gel^n. 

iingelus Silefins. 

SBol^Itl^aten, ftifl unb rein gegeben, 

©inb SEote, bie im @rabe leben, 

©inb 33Iumen, bie im ©türm befielen, 

©inb ©ternlein, bie nid^t untergel^n. 15 

Clattbins. 
6. 

„SBer ift ein unbraud^barer 2Rann?" 

S)er nid^t befel^Ien unb aud^ nid^t gel^ord^en lann. 

<Soetl}e. 

7. 

SnieS in ber SBelt löfet [x6) ertragen, 
9lur nid^t eine Sfteil^e bon fd^önen Stagen. 

(9 e t f} e. 



102 LYRICS AND BALLADS 

& 

2o2)qS ift bie lüal^re Siebe, bie immer unb immer [id^ 

flleid^ bleibt, 
SBenn man il^r afleS geiüäl^rt, lüenn man il^r afleä 

berfagt* 

<B e 1 1} e. 



2:rüfle gern nod^ länger beö Sel^rer^ Sürben, 
SBenn ©d^üler nur nici^t gleid^ Seigrer »ürben. 

<5oetI}e. 

^0, (Erinnerung 

SBiflft bu immer »eiter fd^iocifen? 
25 ©iel^, baS ©Ute liegt fo nal^. 

Seme nur ba§ ©lud ergreifen, 
S)enn ba§ ©lud ift immer ba* 

<BoetI}e. 

\l Das Dx^xify>n 

3m €)^Jöttieter fteigt be§ ©pringquefl§ pffige ©äule, 
3m Pentameter brauf fällt fie melobifci^ l^erab. 

{2. ^rcunb unb ^etnb 

3o2:euer ift mir ber gfreunb; bod^ anä) ben geinb fann 

x^ nüfeen: 
3eigt mir ber Qfreunb, ttwö i^ fann, lel^rt mid^ ber 

geinb, tt)a§ id^ fofl. 

Sdjtller. 



LYRICS AND BALLADS 103 

^3. Der rechte Celjrmetfier 

tSfoIfl' als jünger nid^t bcm ScJ^rct, bcffcn ©aal ift 

immer Doli, 
SBcil im ©ptel et äße ©d^üler ju ©oftorcn mad^cn fofl ; 
S)er mit Ttixff bcm S)oftor leieret bafe er nur ein 

. ©d^üler ift, 
S)effen Heine Pforte f ud^e, tf) ju grofe bu morben bift* 3s 

Wili)tlm mailer. 

\^* Hec^t nnb £iebe 

®a§ SRed^t fagt: „3[ebem bo§ ©eine!" 
S)ie Siebe: „3ebem baS ©eine!" 

tDtlfjelm mailer. 

^5; 2tfinen»crt 

Sll^nen jinb für ben nur 9luflen, ber al§ 9lufl au il^nen 

tritt; 
©tel^ als 30I&I an il^rer ©pifee, unb bie 9luIIen jöl^Ien 

mit. 

tt>ilt)elm mailer. 

^6. VOem gebüljrt bie Krone? 

®ie größten SBüften finb leidster regiert, 40 

9lte Heine ©arten fultibiert. 

ZPHt)eIm mailer. 

SBei^t, IDO e§ feinen ^enn unb feinen S)iener giebt? 
SDBo eins bem anbern bient, meil eins baS anbre liebt. 

Kärfert. 



104 LYRICS AND BALLADS 

9lm Slbcnb loirb man flufl 
45 Süi l>^n berßangnen SEag, 

S)od^ niemals fing genug 
3für ben, bcr fommcn mag. 

Harfert. 

®afe fic btc ^etlc trägt, baS mad^t bic SKufd^cI frani; 
®cm ^immcl fag' für ©d^merj, bcr bid^ bercbclt, ®anl, 

HacFert. 
20. 

so 3liä)t bcr ift in bcr SBcIt bcrmatft, 

©cffcn 9Sater unb 9Kutter gcftorbcn, 
©onbcrn bcr für ^cxi unb ©ctft 
ßcinc Sieb' unb lein SBiffen ermorben. 

Hacfert 

2\* 2(Ite unb Heuere. 
©pre(i^t öon ben 9lltcn mit mel^r ©l^rfurd^t, il^r jünger 

ber ^d^ti)üt, 
SS SBeil i^r il^nen ja bo(^ oBcö in allem öerbanft: 
ßunft ^abt i^r öon ben ©ried^cn erlernt, ^olitil Don 

ben SRömern, 
^abt felbft SReligion blo^ bon ben 3uben gelernt. 

plattiu 
22. 

®er SBelt mel^r geben, aU jte un§ giebt, 
2)ie SBelt me^r lieben, als fie un§ liebt, 
6o 5Rie um ben ©eifoß ber SKenge werben, 

SKad^t rul^ig leben unb feiig fterben. 

9obenflebt 



I.YRICS AND BALLADS 105 

23. 3m (Ratten 

^ük, ^üte bcn gup unb bie ^üxü^, 

Q^ fie bcrül^ten baS ätmftc Ding ! 

S)cnn bu gcttttttft eine l^ö^Iid^ ^aupt 

Unb töteft ben fd^önften ©d^metterling« 65 

SioroL 

3m Rleincn ßto^ 
©iebt glMli^fct SoS, 
9lte mit %ot uttb ^ein 
3m Srofeen !kin. 

Ho<|uettcu 
25. 

SBct t)icl cittft gu t)erlüttben l^al, 70 

©d^mcigt bicl in fid^ l^incin. 

8Bcr einji ben Sli^ gu günbcn l^at 

3Hu^ lanfle — SBoIfe fein« 

ZZie|f4r«. 
26. 

Reiner ö^nt, loaS aßeS il^m auf @rben 
©unfle ©d^idfafömöci^te nod^ hebenden; 75 

Seiber l^at ja ba§ ®eborenmerbeu 
Unbere(i^enbare fionfequenjen. 



THIRD PART 

82. t^cv Sänger 

„SBaS Ijör' id^ brausen Dor bem %f)ox, 

SaSaS auf bct Srüdc fd^aüen? 

Safe ben ©cfang üor unfcrm O^x 

3im ©aale »icbcrl^allen !" 

S)er Äönig fprai!^'^, ber ^age tief; s 

S)cr ßnabc tarn, bcr Äöntg rief: 

„Safet mit leerem ben Sllten!" 

,,®cgrüfect feib mit, eblc ^txxn, 

©egrüfet il^t, ^ä)öm ®amen! 

S3ßel(^ tetd^ct ©tmmel ! ©tern bei ©tcrn ! lo 

SBcr fennct il^rc Planten? 

Snt ©aal öott ^tad^t unb C)eTrad^Ieit 

©erliefet, Sugen, cu(^; l^ier i[t nid^t 3^it, 

©i(!^ ftauncnb gu ergoßen." 

S)er ©änger brüdt* bie Slugen ein 15 

Unb f(i^Iug in boßen SEönen; 

2)ie atitter fd^outen mutig btein 

Unb in ben ©d^ofe bie ©d^önen. 

S)er ßönig, bem ba§ Sieb gefiel, 

Siefe, il^n gu elften für fein ©piel, 20 

©ine golbne Seite Idolen* 

107 



108 LYRICS AND BALLADS 

„®ie golbne SJettc gieb mir tiid^t, 
2)ic ßette gteb bcn Slittcrn, 
aSor beten lü^nem 9lnge[id^t 
25 S)er geinbe Sanjen fpUttern; 

@teb fie bem Äonglet, ben bu l^aft, 
Unb tafe il^n nod^ bie golbne Saft 
3u anbern Saften tragen. 

3d^ finge, loie ber SSogel fingt, 
30 S)er in ben S^^eigen lool^net; 

S)a§ Sieb, baö au§ ber ßel^Ie bringt, 
3ft Sol^n, ber reiiä^Iid^ tol^net. 
Sod^ barf xä) bitten, bitf id^ einö: 
Safe mir ben beften SeiJ^er 2Bein§ 
35 3« purem ©olbe reid^em" 

6r fefef il^n an, er trani il^n auS: 
„D arani üoH füfeer Sabe! 
D lool^I bem l^od^beglüdten ^au3, 
SQBo baS ift Heine ©abe! 
40 ßrgel^f S eud^ »ol^I, fo benit an mid^, 

Unb banlet ®ott fo »arm, als id^ 
gär biefen SErunI eud^ banfe." 



83. He» Sanier» S^^^ 

6ä ftanb in alten Seiten ein ©d^Iofe, fo l^od^ unb l&el^r, 
SBeit glönjf e§ über bie Sanbe biö an baS blaue SKeer, 
Unb ring§ bon buft'gen ©arten ein blütenreid^er ftranj, 
S)rin fprangen frifd^e Srunnen in SHegenbogenglanj» 



LYRICS AND BALLADS 109 

®ort fafe ein ftoljcr ßönig, an Sanb unb ©iegcn xtx^, s 
6r fa^ auf feinem SE^rone f o finfter unb fo bleid^ ; 
S)enn m^ er finnt, ift ©d^recfen, unb tt)a§ et hlxdt, ifl 

saäut, 

Unb tt)aö er fprid^t, ift ©eifeel, unb »aö er fd^reibt, ift Slut. 

ßinft jofl nad^ biefem ©d^Ioffe ein eble§ ©ängerpaar, 
®er ein' in golbnen SodEen, bet anbre grau bon ^aat ; lo 
S)er 9nte mit ber ^arfe, ber fafe auf fd^mucfem Slofe, 
@§ fci^ritt il^m frifcä^ gur ©eite ber blül^enbe ©enofe. 

©er 9Wte \pxa^ ium jungen: „3lun fei bereit, mein 

©o^n! 
®enf unfrer tiefften Sieber, ftimm' an ben öoßften Ston I 
Stimm afle ftraft jufammen, bie Suft unb aud^ ben 15 

©d^meri ! 
6S gilt uns l^eut, gu rül^ren beS ftönig§ fteinem ^erj." 

©d^on fielen bie beiben ©änger im l^ol^en ©äulenfaal, 
Unb auf bem SEl^rone fijen ber ßönig unb fein ©emal^I ; 
S)er ftönig furd^tbar pröd^tig, tt)ie bluf ger Slorblid^tfd^ein, 
S)ie Königin füfe unb milbe, alö blidfte SSoHmonb brein. 20 

S)a fd^Iug ber @rei§ bie ©aiten, er f^Iug fie lounberöoH, 
®a^ reid^er, immer reid^er ber ßlang gum D^re fd^wofl ; 
S)ann ftrömte l^immlifd^ l^eHe beö 3üngling3 ©timme bor, 
S)e§ 9llten ©ang bajwif^en, tt)ie bumpfer ©eifterd^or. 

©ie fingen Don Seng unb Siebe, Don fel'ger golbner 3^W, 25 
aSon Steilheit, SDIännerwürbe, öon Streu' unb C^^Wiß^^i*; 



110 LYRICS AND BALLADS 

©ic fingen Don allem ©üfeen, luaö SRenfd^enbruji burd^« 

bebt, 
©ie fingen üon allem ^6f)m, toa^ SHenfö^enl^era etl^ebt* 

®ie ^öflinggfd^ar im ffreife verlernet jeben ©pott, 
3o®e§ Königs tro^'ge ßrieger, fie beugen fid^ öor ®ott; 
2)ie Königin, gerfloffen in SBe^mut unb in Suft, 
©ie tt)irft ben ©ängern nieber bie Slofe Don il^rer Stuft. 

„^^x f)aU mein SBoII öetfül^ret; berlodt il^r nun mein 

SBeib?" 
©et Äönig fi^teit eS iDütenb, er bebt am ganjen Seib ; 
35 6t mirf t fein ©d^mert, baö bli^enb beS 3}üngling§ Stuft 

but(3^btingt, 
®tau§, ftatt ber golbnen Siebet, ein ©lutfttal^I ]^o(^auf 

fptingt. 

Unb toie Dom ©tutm getftoben tft aH bet ©ötet 

©d^matm* 
®et Jüngling l^at bertöd^It in feineö 9KeifterS ?ltm; 
S)et fd^Iägt um i^n ben 3Rantel unb fejt il^n auf ba§ 



40 6t binb't il^n aufted^t fefte, öetlä^t mit il^m ba§ ©d^Iofe. 

®od^ bot bem l^ol^en Sll^ote, ba l^ält bet ©ängetgtei§, 
S)a fafet et feine C^^tfe, fie, oKet ©atfen ^tei§, 
Sin einet SRatmotfäuIe, ba l^at er fte jetfd^eüt; 
S)ann tuft et, bafe eö fd^autig butdd ©d^loß unb ©ütten 

gent: 

4SfMtf) eud^, il^t ftoljen fallen! nie töne filmet ff lang 
S)utc^ eute Säume toiebet, nie ©aite nod^ ©efang. 



LYRICS AND BALLADS 111 

31cm ! ©eufjct nur unb ©töl^nen unb fd^cucr ©Haben* 
S3t§ cud^ ju ©d^utt unb 9Kobet bet Slad^eflcift gertritt I 

SBel^ eud^, il^r buff gen ©arten im l^olben SKaienlici^t ! 
6ud^ geig' id^ btefeS SEoten entflettteö Slngefid^t, 50 

®afe il^r barob berborret, bafe jeber Ouell berpeflt, 
S)Q^ tl^r* in fünft'gen Stagen t)erfteint, beröbet liegt» 

SBel^ bir, berrui^ter SJlörber! bu glud^ be§ ©öngertumS! 
Umfonft fei all bein SRingen nat^ drängen blufgen 

®ein 5Rame fei bergeffen, in eiü'gc 3la^t getaud^t, ss 
©ei, tt)ie ein le^teS 3löd^eln, in leere Suft berl^aud^t !" 

®er 9Kte l^at'S gerufen, ber ^imntel l^af 3 gel^ört, 
S)ie SKauem liegen nieber, bie ^aflen finb gerftört; 
3lo^ eine l^ol^e ©äule geugt Don berfci^munbner ^rai^t; 
^Vi6) biefe, fd^on geborften, !ann ftürgen über 9?ad^t, 60 

Unb ring§, ftatt buffger ©arten, ein öbe§ ^eibelanb, 
Äein Saum berftreuet ©d^atten, lein DueH burd^bringt 

ben ©anb, 
®e§ ffönig§ Flamen melbet lein Sieb, fein ©elbenbud^; 
SJerfunfen unb bergeffenl baS ift beS ©änger§ S^Iud^, 



112 LYRICS AND BALLADS 



84. 5er (Rvaf von ^ai>&i>ut^ 

3u Slad^cn in feiner Äaifcrprad^t, 

3m altertüntlid^en ©aale, 
©afe ffönig 3luboIfS l^eilige 9Ka^t 

©eim feftlid^en ÄtönungSma^Ie* 
5 S)ie ©t)eifen trug ber ^faljgraf bc§ 3l]^ein§, 
6ö f(^enfte ber Söl^nte be§ perlenben SBein§, 

Unb äße bie SBä^Ier, bie fieben, 
SBie ber ©terne 6^or um bie ©onne fid^ fteßt, 
Umftanben gefd^äftig ben $errf(^er ber SBelt, 
lo 2)ie SBürbe beS 9lmteö ju üben. 

Unb ring§ erfüllte ben l^o^en Salfon 
S)aS SSoII in freub'gem ©ebrönge; 

Saut mifd^te \xä) in ber ^ofaunen äon 
S)a§ jauc^jenbe Stufen ber SKenge. 
15 S)enn geenbigt naci^ langem berberbli(^en ©treit 

SBar bie faiferlofe, bie fc^recfli(i^e 3^^t, 
Unb ein SRid^ter tt)ar tt)ieber auf ©rben. 

3l\ä)t blinb me^r tt)altet ber eiferne ©peer, 

3lxä)t fürd^tel ber ®ä)toaä)t, ber g^rieblid^e mel^r, 
20 Se§ SRäd^tigen Seute gu »erben. 

Unb ber Jfaifer ergreift ben golbnen ^ofal 
Unb fprid^t mit jufriebenen ©liefen: 

„f!ßo^ glänget baS geft, tt)o^I pranget baS 3Ra% 
SJlein löniglid^ ^txi ju entjücfen; 
25 S)od^ ben ©änger bermiff xä), ben Sringer ber Suft, 

®er mit füpem ßlang mir bemege bie Sruft 



LYRICS AND BALLADS 113 

Unb mit flöttlid^ erl^abcncn Seigren. 
©0 ^aV xä)'^ gcl^altcn bon Sugenb an, 
Unb maS i^ als SRittct ßepflcgt unb getl^an, 

3liä)t initt xä)'^ aU ftaifer cntBcl^rcn/' 30 

Unb ftcl^! in ber Surften umgeBenben ftrcis 

SErat bct ©änget im langen 2:alare; 
3]^m gfönjte bie Sode filbermetfe, 

©ebleid^t Don ber Süße ber 3a^re. 
,,©ü6cr SBo^IIaut fc^Iöft in ber ©aiten ®oIb, 3s 
®er ©änger fingt t)on ber SJlinne ©olb, 

6r greifet bo§ C^öd^fte, baS Sefte, 
SBaS baS ^^xi fic^ tt)ünf(^t, ma§ ber ©inn begel^rt ; 
2)o(ä^ foge, ma§ ift be§ ÄaiferS toert 

Sin feinem l^errlid^ften gefte?" — 40 

,/Slxä)t gebieten werb' xä) bem ©änger/' fprid^t 

®er ©crrfd^er mit läd^elnbem SRunbe, 
„@r fte^t in beö größeren ^txxtxx ^flic^t, 

6r geljord^t ber gebietenben ©tunbe : 
SQBie XXX ben Süften ber ©turmminb fauft, 45 

2Kan tt)ei^ nid^t, öon mannen er fommt unb Jrauft, 

Saäie ber Ouell au§ öerborgenen Stiefen, 
©0 beS ©öngerS Sieb au§ bem Innern fd^aHt 
Unb Witt ber bunfeln ©efül^Ie ©emalt, 

S)ie im ^txim tounberbar fd^Iiefen." 50 

Unb ber ©änger rafd^ in bie ©aiten fäHt 

Unb beginnt, fte mäd^tig ju fd^Iogen: 
„Sluf§ SBeibmerf l^inauö ritt ein ebler ©elb, 

S)en püd^tigen ©emöbod ju jagen. 



114 LYRICS AND BALLADS 

SS 31^nt folgte bet ffnapt)' mit bcm Sööergcfd^ofe, 
Unb aU et auf feinem ftattlid^en 9lofe 

3fn eine 2lu fommt ßeritten, 
6in ©lödlein l^ött et erflingen fern : 
©in ^rieftet toax'^ mit bem Seib beS C>^^^/ 

60 aSoran lam bet SKegnet gefti^ritten. 

Unb bet ®raf gut 6rbe \iä) neiget l^in, 
2)a§ C>öupt mit ®cmut entblößet, 

3u bcrel^Tcn mit glaubigem ©l^riftenfinn, 
SBa§ äße SKenfd^en erlöfet. 
65 6in ©äd^Iein aber taufd^te bur^S gfelb, 

SSon be§ ®iePa(^S teifeenben fluten gefti^iüeHt, 
®a§ ,l^emmte bet SBanbeter 2:Titte ; 

Unb beifeit legt jener baS ©altament, 

SJon ben gü^en jie^t er bie ©d^ul^e bel^enb, 
70 S)amit er baS Sä(^Iein bur(!^f(^ritte* 

*aBa§ f(^affft bu?' rcbet ber ®raf il^n an, 

®er il^n bermunbert betrad^tet. 
*^err, i^ toalle gu einem fterbenben ?!Kdnn, 

®er nad^ ber ©immelöfoft fd^mati^tet; 
75 Unb ba id^ mid^ nal^e beS Sac^eS ©teg, 
2)a l^at il^n ber ftrömenbe ©ie^bad^ l^intoeg 

3m Strubel ber SBeHen geriffen. 
®rum ba^ bem Sec^jenben »erbe fein $eil, 
©0 mifl id^ baS aBäjferlein je^t in 6ir 
80 ®urd^maten mit nadenben güfeen/ 

S)a fejt il^n ber ®raf auf fein ritterlid^ ^ferb 
Unb reid^t il^m bie pröd^tigen 3öume, 



LYRICS AND BALLADS 115 

5)a§ er lobe ben Sixankn, hex fein begcl^rt, 

Unb bte l^eilige ^flid^t nü^^t berfäume. 
Unb et felber auf feinet Sinapptn %\tt 85 

SSetflnüget nod^ toeiter be§ ^aitn^ SBegier; 

S)er anbre bte Steife öoflfül^ret, 
Unb am näi^ften SKotflen mit banlenbem tBIicf 
S)a bringt er bem ®raftn fein K^^ iUiM, 
Sefd^eiben am 3ü9^I gefül^ret. 90 

*9lid^t ttjolle baS ®ott/ rief mit S)emutftnn 

S)er ©raf, *ba^ gum ©treitcn unb 3agen 
S)aS 3lofe id^ bef(|ritte fürberl^in, 

®aS meinen ©(ä^öpfer getragen! 
Unb magjl bu'S nid^t l^aben ju eignem ©eiDtnft, 9s 
©0 bleib' e§ geicibmet bem flöttli(ä^en ®i£nft, 

S)enn x^ ^aV e§ bem ja gegeben, 
fßon bem iä) ßl^re unb irbifd&e§ @ut 
3u Selben trage unb Seib unb ^lut 

Unb ©eele unb ?ltem unb Seben/ — 100 

*©0 mög' &uä) ©ott bcr dlmck^iigc ^oxi, 

®er ba§ gleiten ber ©d^mad^en erl^öret, 
3u ©l^ren 6ud^ bringen l^ier unb bort 

©0 tt)ie S^t je^t il^n geel^ret 
Sl^r feib ein modriger <Sraf, belannt 105 

S)urd^ ritterlid^ SBalten im ©c^ioeiaerlanb, 

6ud^ blü^n fed^§ lieblid^e SEöd^ter- 
©0 mögen fie/ rief tx begeiftert aus, 
*©ec^§ ftronen 6ud^ bringen in @uer $au§, 

Unb fliänjen bie fpät'ften ©efd^Ied^teri*'' no 



116 LYRICS AND BALLADS 

Unb mit ftnncnbcm ^aupt fa^ bcr Äaifcr ia, 

9lte hä^t* et bergangcncr 3^Wen; 
3fctt, ba er bcm ©önger inS 5lugc \af), 
S)a ergreift xf)n bcr SBorte Sebeuten. 
"5 ®ie 3üge be§ ^riefterS crfennt er fd^nett 
Unb öerbirgt ber äl^rönen ftürjenben Duett 

3n beö 9JlanteI§ purpurnen galten. 
Unb alles blictte ben ßaifer an 
Unb erlannte ben ©rafen, ber baS getl^an, 
I20 Unb öerel^rte baS göttlid^e SBalten. 

Schiller. 



85. T^aB iBtah im Z^ufento 

3l&ä)Üxä^ am Sufento lifpeln bei Gofenja bumpfc ßieber ; 
SluS ben SBaffem fd^allt eö Antwort, unb in SBirbeln 

Hingt e§ lieber I 

Unb ben fjlufe l^inauf, l^inunter giel^n bie ©d^atten tapf« 

rer ®oten, 
S)ie ben 9Harid^ bemeinen, il^reö aSoßeS beften SEoten. 

5 3iniufrü]^ unb fem ber C^^imat mußten l^icr fie il^n be« 

graben, 
SBäl^renb no(]^ bie ^ugenblodEen feine ©d^ulter blonb 

umgaben. 

Unb am Ufer be§ Sufento reil^ten fie fid^ um bie SBette, 
Um bie ©trömung abiuleiten, gruben fie ein frif(i^S 

Seite. 



LYRICS AND BALLADS 117 

3fn bcr tDogcnIccrcn ^ö^Iung tDül^Iten fic empor bic 6rbc, 
©cnlten tief l^inein ben Seid^nam, mit ber 3iü[tung, auf lo 

bem ^ferbe. 

S)ecften bann mit @rbe toicber \f)n unb feine ftol^e ^ait, 
SE)a^ bie l^ol^en ©tromgetoäd^fe toüd^fen au§ bem gelben* 

grabe* 

Slbgelenft jum jtDeitenmale, toarb ber 3^Iu§ l^erbeige^ogen: 
SJläd^tig in il^r alte§ Seite fc^öumten bie Sufentotoogen. 

Unb e§ fang ein ßl^or öon 9Äännern: „©d^Iaf in beinems 

©elbene^ren ! 

Seines 9iömer§ f(ä^njöbe ©abfud^t foß bir je bein ®rab 

berfel^ren!" 

©angen'S, unb bie Sobgefänge tönten fort im ©oten* 

l^eere ; 
aOßälge fte, SufentoioeDe, toälje fie Don SHeer gu SReere l 

platen. 



86. nxdtibalb Scu^la» 

„^^ M^' e§ getragen fieben ^a^r 
Unb iä) lann e§ ni(ä^t tragen me^r; 
aSo immer bie SBelt am fd^önften toar, 
®a mar fte ob iinb leer. 

3(ä^ tt)iD i&intreten bor fein ©efid^t 
3n biefcr ftned^tSgeftalt ; 



118 LYRICS AND BALLADS 

6r lann meine Sitte öerfagen ntd^t, 
^ä) bin ja Sorben alt; 

Unb trüg' et nod^ ben alten ©roH, 
lo grifd^ tt)ic am erftcn Sag, 

©0 lomme^ loaS ba lommcn foB, 
Unb lomme, toaö ba mag/' 

®raf S)ougIa§ fpri(3&f §. 9Im SOBeg ein ©tein 
Sub il^n ju l^artcr Un^\ 
IS 6t fal^ in SBalb unb gelb l^inein, 

2)ie 9Iugen fielen il^m ju. 

6t ttug einen ^atnifd^, toftig unb fd^toet, 
SDatübet ein ^ilgetlleib, — 
S)a f)oxä)\ t)om SBalbtanb.fiJ&oK e§ l^et 
2o SBic t)on ^ötnetn unb 3agbgeleit. 

Unb ftie§ unb ©taub aufmitbelte bid^t, 
€)et jagte aWeuf unb SRann, 
Unb el^e bet ®taf \xä) aufgetid^f t, 
SSäaten 9lo§ unb Sleitet l^etan. 

25 itönig 3»aIob fa^ auf l^ol^em SRo^, 

®taf S)ougIa§ gtü^te tief, 
S)em ffönig ba§ Slut in bie SBange fd^o^, 
S)et ©ouglaS aUx tief: 

„Äönig 3aIob, fd^aue mid^ gnäbig an 
30 Unb'l^öte mid^ in ©ebulb, 

SBBag meine iBtübet bit angetl^an, 
@ö tt)at nid^t meine ©d^ulb. 



LYRICS AND BALLADS 119 

S)cnf nm an ben alten S)ougIa§s:5Rcib, 
SE)cr tro^ig Vxä) Mricgt; 
Senf lieber an beinc ßinberjeit, 35 

2Bo iä) iiä) auf ben ftnieen gemiegt. 

S)enf lieber jurüi an ©tirling^^Sd&Iofe, 

SBo i^ ©pieljeug bir gefc^nifet, 

^iä) qt^oUxt auf beineS SSaterS SRofe 

Unb Pfeile bir jugefpi^t. 40 

Senf lieber jurütf an fiinlitl^gom, 
5ln ben ©ee unb ben SSogell^erb, 
SBBo iä) hxä) fifd&en unb Jagen frol^ 
Unb fd^ioimmen unb fpringcn geleiert. 

D benF an alles, toaö einften ttjar, 45 

Unb fänf tige beinen ©inn ; 
3(^ ^aV e§ gebüfeet fieben ^al^r, 
S)afe xä) ein ®ougIaS bin." 

„3(^ fe^' bid^ nic^t, ®raf Slrd^ibalb, 
^ä) pr* beinc ©timme nid^t, 50 

ajlir i[t, aU ob ein ülaufd^en im SBalb 
aSon alten Seiten f|)rid^t. 

2Rir Hingt baS gtaufd^en füfe unb traut, 
^ä) la\x\äf i^m immer nod^; 
®ajtt)ifdiien aber Hingt e§ laut: 55 

*6r i[t ein S)ougIa§ toä)J 



120 LYRICS AND BALLADS 

^ä) \t^' i\ä) nic^t, xä) l^öre bi(^ nic^t, 
SE)a§ ift alles, toaS i^ lann; 
@m ©ouglaS bor meinem Slngefid^t 
60 saBär* ein öerlorenet aWann." 



Äönig 3afob gab feinem 3lo^ ben ©porn, 
Sergan ging je^t fein Stitt, . 
®raf S)ougla§ fafete ben Sügel bom 
Unb l^ielt mit bem Könige ©d^ritt. 

65 S)er SBeg toar fleil unb bie ©onne ftad^ 

Unb fein ^anjerl^emb war fd^toer; 
^oä) ob er fd^ier gufammenbrad^, 
@r lief bod^ nebenher. 

„ftönig 3afob, id^ toar bein ©enefd^aH, 
70 3»d^ toill e§ nid^t fürber fein, 

3d^ toill nur loarten bein Stop im ©taH 
Unb il^m fd^ütten bie Äörner ein. 

3d^ tt)ill il^m felber mad^en bie ©treu 
Unb e§ tränfen mit eigner ^anb, 
75 9lur lap mid^ atmen toieber aufS neu' 

S)ie Suft im 35aterlanb. 

Unb loißft bu nid^t, fo ^ab' einen aWut, 
Unb id^ tt)ill es banlen bir, 
Unb aiel^ bein ©d^toert unb triff mid^ gut 
80 Unb la^ mid^ fterben l^ier!" 



LYRICS AND BALLADS 121 

Äönig 3a!ob fprang f)txab Dom ^fcrb, 
^cll leuchtete fein ©cftc^t, 
2lu§ bcr ©d^cibe jog et fein Brettel ©djioert, 
Slber faßen lie^ er e§ ntd^t* 

3tmm'§ l^in, nimm'ö l^in unb trag eS neu 85 
Unb beioa^e mir meine 9lu]^'; 
2)er ift ^n tieffter ©eele treu, 
SHBer bie ^eimat liebt tote bu. 

3u ülo$, toir reiten naäf Sinlitl^goto, 

Unb bu reiteft an meiner ©eif ; 90 

%a tooßen toir fif(!^en unb jagen frol^, 

2U§ toie in alter 3^it-" 

Sontane, 



87. Vcv Si^Otcv 

®a§ SBaffer raufd&f , baS SBajfer fd^toott, 

©in gifd^er fa§ baran, 

©al^ naä) bem 9lngel rul^öoH, 

Äü^I bis ans ^erg l^inan. 

Unb toie er [i^t unb toie er laufd^t, 5 

Seilt \\ä) bie ö^Iut empor; 

2lu§ bem betoegten SBajfer rauf(ä^t 

©in feud^teS SBBeib l^eröor. 

©ie fang gu tl^m, fie fprad^ ju tl^m: 

„2BaS lodEft bu meine Srut 10 

aWit 5Wenf(!^entoi& unb aKenfd^enliji 

©inauf in 2:obeSgIut? 



122 LYRICS AND BALLADS 

%ä), tüüfetefi bu, toic'S gfif^Iein ift 
©0 tDol^Iig auf bem (Srunb, 
15 S)u fticgft l^etuntcr, tote bu U\i, 

Unb tDürbeft erji ßcfunb. 

Sabt \xä) bie liebe ©onne nxäji, 
S)er SKonb ft(^ ntd^t im SReer? 
ßel^rt tpeUenotmenb il^r ®t\\ä)t 
20 9fli(f)t boppelt fc^öner ^er? * 

Sodft iiä) ber tiefe ^immel nid^t 
S)aö feud^töerllärte Slau? 
Sodft bid^bein eigen Slngepd^t 
9lid^t l^et in eto'gen Sau?" 

25 ®a§ SBaffer taufd^f , baS 2Bajfer \^mU, 

Sle^f il^m ben tiQdften guß; 
©ein ©erj tt)ud^§ il^m fo fe^nfud^tSöoD, 
2Bte bei ber Siebften ©rufe, 
©ie fprad^ gu il^m, fie fang gu il^m; 

30 2)a tt)ar'§ um i^n gefd^el^n: 

^alb gofl fie il^n, l^alb fanf er l^in 
Unb toarb nid^t mel^r gefel^n. 



88. Da» iBlücf von ^bcnfiaU 

SSon ßbenl^aD ber junge ßorb 
Säfet fd^mettem 3^efttrommetcnfd^aD ; 
@r l^ebt fid^ an be§ SEifc^eS Sorb 
Unb ruft in trunlner ©äfte ©d&tt)aß: 
„9lun l^er mit bem ©lüdEe bon ßbenl^aß \" 



LYRICS AND BALLADS 123 

S)cr ©(i^cnl öcrnimtnt ungern bcn ©pru(^, 

®c§ ©aufeS ältcftcr f8a\aU, 

Stimmt jögcrnb auö bcm fcibnen 2:u^ 

S)aS l^ol^c Sriniglaö öon ftr^ftatt, 

©ic ncnncn'S: baS ©lud t)on ßbcnl^alL lo 

SDatauf ber Sorb: ,,3)em ®Ia§ jum $rct§ 

©(i^enf atoten ein au§ Portugal!" 

2Rit ^änbejittern giept ber ©reis, 

Unb purpurn 2x(i)t tt)irb überaü; 

@§ ftral^It aus bem ©lüde öon ßbenl^aD. 15 

S)a fprid^t ber Sorb unb fd^toingt'S babei: 
,,®ieS ©las bon leud^tenbem ßr^ftaH 
®ab meinem Sll^n am DueD bie gei; 
®rein f(3&rieb fie : *ßommt bieS ©las ju gall, 
Qfal^r tDol^I bann, ©lud öon ©benl^aD!' 20 

6in ffeld^glaS toarb gum 2oS mit Qfug 

SDem freub'gen ©tamm öon ßbenl^aD; 

SBBir fd^Iürfen gern in öoflem S^^S/ 

SQBir läuten gern mit lautem @(^aß; 

©tofet an mit bem ©lüde bon ©benl^aD !" 25 

@rft Hingt eS mitbe, tief unb t)oU, 

®ltxä) bem ©efang ber Slad^tigall, 

Sann tcie beS SBalbftromS laut ©eroD; 

3ule^t erbröl^nt tcie ©onnerl^aK 

35aS f)ml\iS)t ©lud bon gbenl^all. 30 



124 LYRICS AND BALLADS 

//3um ^orte nintmt ein lül^n ©efd^lcij^t 
®xä) ben jcrbre(^Itd^cn ßr^ftaB; 
6r baucrt länget f(i^on, al§ red^t; 
©tofet an I mit biefem Iröft'gen ^ratt 
35 aSerfud^' iä) ba§ ©lud t>on eben^afl." 

Unb atö ba§ SrinfglaS fleßenb fpringt, 
©pringt baS ©emölb' mit jä^cm ßnaß, 
Unb QUO bem fRife bie flamme bringt; 
S)ie (Sä[te finb jerftoben aW 
40 2Rit bem bre(ä^enben ©lüde t)on ßbenl^aD. 

6in [türmt ber geinb mit Sranb unb SHorb, 
®er in bcr yiad)i er[tieg ben SBaB; 
Sßom ©(i^merte fällt ber junge Sorb, 
©ält in ber ©anb nod^ ben Är^ftoB, 
45 ®ci§ jerfprungenc ©lüdE öon ßbenl^aO. 

9lm SRorgen irrt ber ©(^enl oflein, 
S)er ©reis, in ber gerftörten ^aW; 
6r fuc^t be§ ©errn öerbrannt ©ebein, 
@r fu(^t im graufen Srümmerfaß 
50 SDie ©d^erben be§ ©lücfs t)on (Jbenl^aB. 

„S)ie ©teinioanb/' fprid^t er, „fpringt ju ©tüd, 
SDie l^ol^e ©äule mu§ gu gaü, 
©Ia§ ift ber erbe ©tolg unb ©lüdE, 
3n ©plitter fäflt ber erbenbaß 
55 ein[t, gleii^ bem ©lüde t)on ©benl^aß." 

Ut}Ianb. 



LYRICS AND BALLADS 125 



89. t^ev Handlet 

„SBct toagt es, SltttcrSntann ober Änapp', 
3u tauchen in bicfcn ©d^Iunb? 
©inen golbnen fßtäjtx toerf iä) l^inaB, 
aSerfc^Iungen fd^on l^at il^n bcr fd^tDatge SRunb. 
SBBer mir bcn Se(ä^er fann toieber jeigen, 5 

@r mag il^n bel^alten, er t[t fein eigen." 

S)cr ff önig fpri(!^t eS unb wirft bon ber ©öl^' 

S)er ftlippe, bie fd^roff unb [teil 

^inauöl^ängt in bie unenbli(f)e ©ee, 

S)en Se(!^er in ber ©J^or^bbc ©el^eul. 10 

,,2Ber i[t ber Se^erjte, id^ frage lieber, 

3u taud^en in biefc Siefc nieber?" 

Unb bie Stitter, bie Knappen um il^n l^er 

SSernel^men'S unb fd^tDeigen ftiß, 

©el^en l^inab in ba§ toilbe SReer, 15 

Unb leiner ben Sedier gewinnen tt)iK* 

Unb ber ff önig gum brittenmal wieber fraget : 

„3ft leiner, bcr fid^ l^inunter toaget?" 

®od^ alles nod& ftumm bleibt toie juöor; 

Unb ein @bel!ned^t, fanft unb ledf, 20 

3:ritt aus ber ffnappen jagenbem ©l^or, 

Unb ben ©ürtel wirft er, ben SJlantel weg, 

Unb aKc bie 3Känner uml^er unb grauen 

Sluf ben l^crrlid^n Jüngling tjerwunbert [d^auen* 



126 LYRICS AND BALLADS 

25 Unb tt)ic er tritt an be§ Seifen §ang, 
Unb blidt in ben ©c^Iunb l^inab, 
S)ie SBaffer, bie fie l^inunter fc^Iang, 
S)ie 6]^art)bbc je^t brüHenb tpieberßab, 
Unb tt)ie mit beö fernen S)onnerö ©etofe 

30 ©ntftürjen fie f(i^äumenb bem finftern ©d^o^e. 

Unb e§ ttjaßet unb fiebet unb braufet unb jif(^t, 
SSäie toenn SBaf[er mit Qfeuer fi^ mengt; 
Siö gum ^immel fpri^et ber bampfenbe ®if(3&t, 
Unb 3flut auf glut fi(| o^n' 6nbe bröngt 
35 Unb tt)iK fi(^ nimmer erfd^öpfen unb leeren, 
9lte tooßte ba0 2Keer noä) ein 2Keer gebären. 

^oä) tnhlxi), ba legt [\ä) bie loilbe ©emalt, 
Unb f(^tt)arj au§ bem loei^en ©(i^aum 
ßlafft l^inunter ein gäl^nenber ©palt, 
40 @runbIo§, afö ging'S in ben ©öUenraum, 

Unb rei^enb fielet man bie branbenben SBogen 
^inab in ben ftrubeinben SErid^ter gejogen, 

3e^t fernen, el^ bie Sranbung toieberfel^rt, 
SE)er Süngling fi(^ @Dtt befiehlt, 
45 Unb — ein ©d^rei be§ gntfe^enö toirb ring§ geprt, 
Unb fd^on l^at il^n ber SBirbel ]^intt)eggef|)ült, 
Unb geJ^eimniSboD über bem fül^nen ©d^ioimmer 
©d^lie^t fid^ ber Stadien; er jeigt fid^ nimmer. 

Unb ftille tt)irb'§ über bem SBaf[erfd&Iunb, 
so 3n ber SEiefe nur braufet eö l^ol^I, 



LYRICS AND BALLADS 127 

Uttb Bebenb l&ött man Don SKunb gu SKunb: 

„^o6)f)nmtx Süngling, fa^rc tool^I!" 

Unb l^ol^Ier unb l^ol^ler l^ört man'S l^culcn, 

Unb c§ l^arrt no^ mit baitflcm, mit f(!^re(f li^cm SBeilen* 

„Uttb tiHlrfft bu bte Rtone felbcr l^incin, 55 

Unb \px'dd)\t: <2Bct mir bringet bic ffron', 

6r foD fic tragen unb itönig fein' — 

3Jl\ä) gelüftete nid^t nad^ bcm teuren Sol^n. 

SBaS bie l^eulcnbe Siefc ba unten öerl^el^Ie, 

S)aS erjäl^It feine lebenbe glüdliiä^ ©eele* 60 

SBol^I manches S^al^rgeug, bom ©trubel gefaxt, 
©d^o^ gäl^ in bie SEiefe l^inab; 
®0(^ jerf(^mettert nur rangen fid^ ftiel unb SRaft 
^eröor au§ bem aße§ berfd^Iingenben ®rab." — 
Unb l^eller unb l^eßer, mie ©türmet ©aufen, 65 
©ort man'§ näl^er unb immer näl^cr braufen. 

Unb e§ toaUet unb ftebet unb braufet unb jifd^t, 
SBBie tüenn Sffiajfer mit Qfeuer jtd^ mengt, 
SiS gum ©immel fpri^et ber bampfenbe ©ifd^t, 
Unb SBeff auf SBeU' \\ä) o^n' gnbe brängt, 70 

Unb tt)ie mit be§ fernen ®onner§ ©etofe 
gntftürgt e§ brüßenb bem finftern ©d^ofee. 

Unb fiel^ ! auö bem finfter ftutenben ©d^ofe, 

S)a liebet fid&'§ fd^manentDeiß, 

Unb ein 9lrm unb ein glänjenber 9ladfen loirb Uo% 75 

Unb e§ rubert mit ffraft unb mit emfigem pfeife, 

Unb er iff ö, unb l^oc^ in feiner ßin!en 

©d^loingt er ben Sedier mit freubigem ffiinlen. 



128 LYRICS AND BALLADS 

Unb atmete lang unb atmete tief 
So Unb begrüßte ba§ l^immUf(3&e £i(i^t. 

SJlit tJrol^Iodfen eS einet bem anbern tief: 
,,6t lebt ! et i[t ba ! e§ bel^ielt il^n ni(f)t ! 
9lu§ bem @tab, au§ bet [ttubeinben SBaffetl^öl^Ie 
^at bet Staöe getettet bie lebenbe ©eele!" 

85 Unb et fommt, e§ umtingt il^n bie jubeinbe ©d^at; 

3u bes ftönig§ güfeen et finft, 

2)en Sed^et teid^t et il^m fnieenb bat, 

Unb bet Äönig bet Iiebli(f)en Socktet toinlt; 

S)ie füllt il^n mit funleinbem SBBein bi§ jum Stanbe, 
90 Unb bet Süngling fic^ alfo jum ßönig tnanbte : 

,,£ang lebe bet Äönig! 6§ fteue fid^, 
SBet ba atmet im tofid^ten Sid^t! 
S)a unten abet i[t'§ fütd&tetlid^, 
Unb bet SJlenfd^ öetfud^e bie ©öttet nid^t 
95 Unb begel^te nimmet unb nimmet gu [djiauen, 
SBa§ fie gnöbig bebeden mit 9lad^t unb ©tauen. 

6§ ti$ mid^ l^inuntet bIi^e§fd^neD, 
S)a [tütgf mit au§ felfid^tem ©d^ad^t 
SBilbflutenb entgegen ein tei^enbet QueD; 
100 3Kid) padEte be§ S)oppeI[ttomö tDütenbe SWad^t, 
Unb tt)ie einen ffteifel, mit fd^minbelnbem Stellen, 
SEtieb mid^'§ um, id^ !onnte nid^ mibetftel^en. 

S)a jeigte mit ®ott, gu bem id& tief, 
3fn bet l^öd^ften fd^tedlid^en 9lot, 
105 9luS bet Siefe tagenb ein S^If^^^iff; 



LYRICS AND BALLADS 129 

S)a§ crfajsf xä) bcl^cnb unb entrann bcm SEob* 
Unb ba l^ing anä) bcr Sedier an fpi^cn ÄoraBen, 
©Dnft tt)äf et tn§ Sobenlofe gefallen. 

SDenn unter mir lag'S no^ bergetief 

3fn purpurner ginfternis ba, iio 

Unb ob's l^ier bem O^re o(ldä) etoig fd^Iief, 

Sag Sluge mit ©(Räubern l^inunter fal^, 

SQßic'S t)on ©alamanbern unb 3Rolä)tn unb SDrad^en 

©id^ regf in bem furchtbaren ©öKenrad^en. 

©d^tDarg tt)immelten ba, in graufem ©emifd^, ns 

3u fd^eu^lid^en Älumpen gebaut, 

S)er ftac^Iid&te Slod^e, ber fflippenfifd^, 

SE)e§ Jammers greulid^e Ungeftalt, 

Unb bräuenb tt)ie§ mir bie grimmigen 3äl^ne 

SE)er entfe^Iid^e ©ai, be§ SJieereS ©^äne. 120 

Unb ba l^ing iä) unb mar'S mir mit ©raufen bemüht, 

aSon ber menfd^Iic^en ^ilfe fo tüeit, 

Unter ßaröen bie eingige fül^Ienbe Sruft, 

9ÜIein in ber gräplid^en ©infamleit, 

Sief unter bem ©c^aD ber menfd^Iid^en ülebe 125 

Sei ben Ungel^euern ber traurigen Öbe. 

Unb fd^aubernb bad^f id^'S; ba Irod^'S l^eran, 

Siegte l^unbert ©elenfe gugleid^, 

SBiH fd^nappen nad^ mir; in beS ©d^redenS SBal^n 

ßaff' xä) loS ber ÄoraHe umllammerten 3tt>eig; 130 

©leid^ fa^t mid^ ber ©trubel mit rafenbem Stoben, 

S)od^ e§ mar mir jum ©eil, er rife mid^ nad^ oben/' 



130 LYRICS AND BALLADS 

S)cr ftönig barob \\ä) Dcriounbcrt fd^ier . 
Unb fpri(^t: „35er Sedier ift bein, 
135 Unb bicfcn Sling no(3^ bcftintm' iä) bir, 
©efd^müdt mit bem löftlic^ften ßbclflcftcin, 
aSerfu(3&[l bu'§ nod^ cinmd unb bringft mir Äunbc, 
2Ba§ bu [al^ft auf be§ aWccrö ticfunterftem ©runbc/ 

®aS l^örtc bic 3:od^tcr mit miS)tm ©cfül^I, 
140 Unb mit fd^meid^clnbcm SKunbc ftc fielet: 

,,Sa^t, Sßatcr, genug fein ba§ graufame ©picl! 
@r l^at (Suä) beftanben, toaS feiner befielet, 
Unb lönnt ^f)x be§ emergens (Selüften ni4t göl^men, 
©0 mögen bie Siilter ben knappen bef(^ämen." 

145 S)rauf ber ffönig greift naä) bem Sedier fd^neß, 
3n ben ©trubel il^n fd^Ieubert l^inein: 
„Unb fd^affft bu ben Sedier mir miebcr gur ©teß', 
©0 foKft bu ber trefflid^fte fRitter mir fein 
Unb foBft fte aU ©^'gemal^l l^eut nod^ umarmen, 

150 S)ie je^t für bid^ bittet mit gartem ©rbarmen." 

S)a ergreift' § i^m bie ©eele mit ^immetögemalt, 
Unb es bli^t aus ben 2lugen il^m lül^n, 
Unb er ftel^et erröten bie fd^öne ©eflalt 
Unb fielet jie erbleid^en unb finlen l^in — 
155 SDa treibt'S il^n, ben löftlid^en ^reis gu ermerben, 
Unb ftürgt l^inunter auf Seben ,unb Sterben. 

SBol^I prt man bie Sranbung, tool^I lel^rt fic gurüdf, 

©ie öcriünbigt ber bonncmbe ©d^att; 

®a büdft ftd^'S l^inunter mit liebenbem Slidf, 



LYRICS AND BALLADS 131 

©§ lommett, eS fomnten bie SBaffct all', i6o 
@ie raufd^ l^rouf , fk tau\ä^n nfeber — 
2)cn Sünfllinß bringt frineS toieber. 



90. IKeine Sinefnre 

ÜWid^ qu&tt ein fonberbot ^Bedangen 
9iad^ ©örg' unb müff\ ©cfa^t unb ©trcit. 
6^ ifl mir ftcte ju gut g^ange» 
3n bicfet fetbncn gfriebcnSgcit. 

6§ l^at lein ©d^metj mi^ überflulct, s 

€§ l^ot fein ©türm mein ^aupt nmlobl^ 

6g l^at mein ^erj nod^ nie geblutet, 

6§ l^Qt fein ©treit mein ©d^iüert erprobt. 

ytoä) ttwtb fein 3»o(^ mir jum 3^i^brei)^en, 
ftein Jtnoten, um il^n }u burd^aun, lo 

3lüäf feine ©d^mad^, um fie ju x'dd^m^ 
ftcin %oh, um il^m tn§ 3[ug' ju fd^oun. 

SWir marb fein Sanncr, e§ ju fc^irmen, 
ftein flranj — biemeil iä) nid^tö getl^an; 
SWir toarb fein ©ipfel gum ©rftürmen 15 

Unb jum ffiurd&rennen feine Sal^n. 

3n ber ©l^ar^bbe ©trubetoaDen 
S)a touc^f id^ freubig lange fd&on; 
' S)od^ feiner läfet ben Sedier fallen, 
Unb feine ftön'gin ift ber ßol^n. 20 



132 LYRICS AN^D BALLADS 

3(3^ tooHf , xä) f)Mt ©(j^mcttct fingen 
Unb f)öxkr tüic ein ©(ä^Iaiä^trofe. fd^nauft; 
SBie toollf id^ in ben ©attel fpringen, 
S)a, too We 3^it mit Slutc tauft l 

25 3n flugetoetter, ©pfereöbornen, 

SB0 Job, ber ©dritter, ^ölt bie 9»al^b, 
©a tooHf id^ meinen SRenner ftwrnen^ 
SBie in ein fül^Ienb ülofenbab^ 

@ebt mir ein @d^tt)ert unb la^t mid^'ö jiei^en 
30 llnb gönnt mir einen einjagen ©(^lag, 

llnb fel^ il^ mid^ t>om S^elbe flieJ^eUr 
©0 fei'S mein lejter fiebenStag. 

(Sebt mir ben geinb, bafe id^ i^n fd^Iage^ 
@ebt mir ben Stob mit feiner ^in, 
35 ®ebt ©ieg mir ober JlieberiagC;. 

IKur la%i eä balb fteftritten feinl 



91» tcidti e^päa 

Sd^ bin ein freier 3Kann unb finge 
2Rid^ lool^I in feine fjürftengruft 
Unb alles, h)a§ id^ mir erringe^ 
3ft ®otteS liebe ^immeteluft; 
3d^ l^abe leine ftolge g^efte, 
aSon ber man Sönber überfielet;. 
^ä) ttjo^n' ein SSogel nur im 9?ejie, 
SJlein ganger Meid^tum ift mein Sieb, 



LYRICS AND BALLADS 133 

3(3^ butftc nur, tote anbrc, tooUcn, 

Unb toät* ttid^t Icct baöongceilt, lo 

SBcnn jäl^rUd^ man im ©taat bie SloIIcn 

S)en treuen flnec^ten ausgeteilt; 

SlHein xä) f)aV nie gugegriffen, 

©0 oft man mic^ l^erbei befd^ieb, 

3d^ l^abe fort unb fort gepfiffen, 15 

SKein ganger Sleid^tum ift mein Sieb. 

S)er Sorb gapft ®oIb au§ feiner Stonne, 

Unb x^ au§ meiner l^öd^ftenS SBein; 

5Kein eingig ®oIb bie SKorgenfonne, 

5Kein ©über all ber 2Ronbenf(ä^ein I 20 

gärbt fid^ mein 2tUn l^erbftlid^ gelber, 

Jf ein ßrbe, ber gum 3:ob mir riet ; 

S)enn meine SRüngen prägf id^ felber; 

SWein ganger SReid^tum ift mein ßieb. 

@em fing' id^ abenbS gu bem Steigen, 25 

aSor %^xontn \pxtY id^ niemals auf; 
3d^ lernte Serge topl^I erfteigen, 
^alöfte lomm' id^ nid^t l^inauf ; 
3nbe§ aus SRober, ©turg unb SBettern 
©ein golben 2o§ fid^ mand^er giel^t, 30 

©<)ier id^ mit leidsten Slofenblättern ; 
SKein ganger Seid^tum ift mein Sieb. 

?Rad^ bir, nad^ bir ftel^t mein Verlangen, 

D fd^öneS flinb, toörft bu mein! 

®od^ bu toiUft Sönber, bu toiUft ©<)angen, 35 

Unb id^ foH bienen gelten? 9iein! 



134 LYRICS AND BALLADS 

^ä) lüill bic Steilheit nid^t beriaufen, 
Unb mic \ä)hk ^olöfte mieb, 
Saff' \ä) gctroft bie Siebe laufen; 
40 5Kein ganger Sleid^tum i[t mein Sieb. 

^ectoegi}. 



92. Hie bvci ^i^cnnev 

®rei S^flcuner fanb \ä) einmal 
Siegen an einer SBeibe, 
3lte mein gful^rmerf mit müber Oual 
©d^Iid^ bnxä) fanbige ^eibe. 

5 ^ielt ber eine für fid^ allein 

3n ben 4)ötiben bie giebel, 
©pielte, umglül^t öom Slbenbfd^ein, 
©i(ä^ ein feuriges Siebel. 

^ielt ber gleite bie ^feif* im SRunb, 
10 Slicfte naä) feinem ^a\xd)t, 

tixo^, ate ob er bom ßrbenrunb 
Siid^tö gum ©lücfe mel^r brauii^e. 

Unb ber brüte bel^aglid^ f^Iwf/ 
Unb fein 3itnbcl am Saum l^ing, 
15 Über bie ©aiten ber SBinbl^aud^ lief. 

Über fein ^txi ein Sraum ging. 

9ln ben Jlleibern trugen bie brei 
Söd^er unb bunte Surfen, 



LYRICS AND BALLADS 135 

W>tx jic boten trojtg frei 

©<)ott bcn @rbcnflef(]^tcfen. 20 

S)rcifa(i^ ]§abcn ftc mir flegcigt, 
SaSenn ba§ Scben utt§ nod^tet, 
SBic man'S öerrauci^t, ücrfd^läft, öcrgcigt 
Unb CS brcimal üerad^tet. 

9la(3^ ben 3^8^111^^^^ I<^"9 ^^ \ä)aun 25 
SRu^f ^ im aaßeiterfa^ren, 
3la(^ bcn ©cfid^tcrn bunfclbraun, 
S)en fd^marjlocfigcn 4>öarcn» 

Cenatt* 



93. Est Estl 

tRomanae. 

^art an bcm Solfencr @ce, 
auf bcS glafd^cnbetflcs ^'6^' 
©tel^t ein Keiner Seici^cnjtcin 
SKit ber furgen Snfd^rift brein: 
Propter nimium Est Est 
Dominus meus mortuus est. 

Unter biefem SKonument, 
SSBeld^eS leinen Flamen nennt, 
aiul^t ein ^txx bon beutfd^em Slut, 
S)eutf(|em ©d^Iunb unb beutfd^em 2Rut, 
S)er l^ier [tarb ben fd^önften Stob — 
©eine ©(i^ulb üergeb* il^m (Sott ! 



136 LYRICS AND BALLADS 

31I§ er reift' im »elfd^en ßanb, 
aSielen fd^Ied^ten SBein er fanb, 
15 SQßeld^er leidet lüie SBajfer lüog 

Unb bie ßi<)<)en fd^ief il^m gog; 
Unb er rief: „^ä) l^alfs nid^t au§! 
Sieber knappt, reit borauö; 

©<)rid^ in iebem 2Birt§l^auS eilt 
20 Unb <)robiere jeben SQßein, 

SBo er bir om beften fd^raecft, 
©ei für mid^ ber %\\ä) gebecft; 
Unb bamit x^ finb' ba§ 9ieft, 
©d^reib anö 3:i^or mir on ein Est." 

25 Unb ber knappt ritt öoran, 

^ielt t)or jebem ©ci^enfl^auS an, 
3:ranl ein ®Ia§ bon jebem SBein; 
SBar ber gut, fo feiert' er ein, 
2Bar ber fd^Ied^t, fo fprengf er fort, 

30 Si§ er fanb ben redeten Ort. 

3lIfo lam er nad^ ber ©tabt, 
®ie ben SKusIateHer \)ai, 
®er im gangen melfd^en Sanb 
gür ben beften toirb genannt; 
35 3ltö bon biefem trän! ber ßned^t, 

®ünff e i n Est il^m gar gu ft^Ied^t* 

Unb mit feuerrotem ©tift 
Unb mit riefengro^er ©d^rift 



LYRICS AND BALLADS 137 

gjlalt er na^ be§ SBcinS ©cbül^r 

Est Est an bcr ©d^cnfc %f)}Six; 40 

3a, nad^ anbercm Serid^t 

gel^It bie brüte ©ilbe nid^t* 

S)er ^rr tftitter fam, ^af), tranl, 

Si§ er tot 3U »oben fan!. 

©(i^enle, @(^nlin, fteüner, ünapp' 45 

©ruben il^m ein f(^ne§ ®rab 

C)art an bem »olfener ©ee, 

3luf be§ gflafci^enberfleS ^'6f)\ 

Unb fein ümpp\ bcr Roftemein, 

©ejf il^m einen Sei^ienftein 50 

Ol^ne 3Bapp^n, ©tern unb $ut, 

aWit ber S«f4tift !urj unb gut : 

Propter nimium Est Est 

Dominus meus mortuus est 

Site ii) mäf bem S3erge !am, 55 

eine ^la\ä)' vä) gu mir nal^m, 

Unb bie jioeite trug \ä) fort 

3laä) bem toeliberü^mten Ort, 

SSßo ber beutfd^e SRittcr liegt, 

®er bom Est Est nxirb bejtegt. 60 

©elig preif xS) betne ^\xi)\ 
Slltcr guter gfreil^rr, bu, 
®er bu l^ier gefallen bift 
SBon bem Stran!, ber boppelt ift! 



138 LYRICS AND BALLADS 

6s a)ot)|)ea ift in fttaft unb ©lut, 

©olbneä aRuSlatcttetblut 



3al^r fßt 3a^ an iemm Stag^ 
SSo bcin Seife km ®eift etlag, 
Sielet, toa§ ttmit m ^of unb ^anS^ 
70 Setcrli(| ju bir ^inau^ 

Hnb begieß mit beinern aBein 
S)it ben l^ügel unb ben ©tein. 

aber febex beutfc^e Tlam, 
SBeld^er Est Est ttinfen fann^ 
75 ®en!e bein bei jebem 3ufl, 

Unb fobalb tx l^at genug;. 
Cp\x' et fromm bem ebeln ^emif 
SBa§ er telbfk no(^ tränie gem. 

aifo ^aV iäf§ oud5 gemad^t 
80 Unb baju bieg Sieb etbcui^t. 

Sieber fingen eitt§ befm SBein, 
Stö im @xah befungen fein I 
Propter nimium Est Est 
Siegt mond^ einer fti^on tm 9?eji. 



Wilkelm m&Uei; 



LYRICS ANP BALLADS 139 

94. Uh^dtUb 

3m SBalbe bei Subomt^. 

D fd^öner, grüner SBalb, 

S)u metner Suft unb SBel^en 

«nbäd^fler 3lnfent^alt ! 

S)a brausen, jietö betrogen, s 

©auft bie gefd^äft'ge SBelt; 

©d^Iag nod^ einmal bie Sogen 

Um mid^, bu grünes 3elt ! 

SDßenn eS beginnt gu tagen, 

®ie ßrbe bam|)ft unb blinlt, xo 

S)ie SSögel luftig fd^Iagen, 

2)afe bir bein ^erg erllingt: 

®a mag bergcl^n, bertoel^en 

2)a§ trübe ©rbenleib, 

®a foUft bu auferftel^en 15 

3n junger |)errli(i^Ieit I 

®a fielet im SBalb gefd^rieben 

ein [titteö, ernfteS SBort 

SSon red^tem Sl^un unb Sieben, 

Unb toaS beä 2Renf<i^en ^ort. 20 

^ä) l^abe treu gelefen 

®ie SQBorte fd^Iid^t unb mal^r, 

Unb burci^ mein gangeS SBefcn 

SBarb'S unauöfpred^Iid^ Ilar. 



140 LYRICS AND BALLADS 

25 Salb tocrb' id^ bid^ bcriajfen, 

S^remb in ber gtcmbe gel^n, 
3luf buntbemcgtcn ©äffen 
S)c§ ScbenS ©d^aufpiel fel^n; 
Unb mitten in bem ßeben 

30 * SSBirb beineö 6mftS ©emalt 
SWid^ ©infamen erl^eben, 
©0 toirb mein ^et} ni(i^t alt. 

Cid^enborff. 



95. 5rüf{Und»dlati^e 

• 
2)ie linben Süfte pnb erttjad^t, 
@ie fäufeln unb meben Siag unb ^aä)i, 
©ie fd^affen an aDen 6nben. 
D frifd^er S)uft, neuer Slang ! 
5 9lun, armes ^nie, fei nid^t bang I 

9lun mu^ fid^ alles, aUeS menben. 

S)ie SBelt toirb fd^öner mit jebem Sag, 
ajlan meife nid^t, toaS nod^ toerben mag, 
®a§ Slü^en toiH nid^t enben. 
10 g§ blül^t ba§ fernfte, tiefpe %^al: 

3t\m, armes ^erg, bergig ber Dual ! 
5Run mu^ fid^ aUeS, aUeS »enben, 

Uf)Ianb. 



LYRICS AND BALLADS 141 

96. Un 5en IXionb 

güDcft toiebct S3uf(3^ unb %^al 
©ttn mit 5RcbclflIanj, 
Söfeft cnbUd^ aixä) einmal 
SKeine ©cclc gang; 

Srcitcft über mein ©cfilb 5 

Sinbcrnb bcincn Slicf, 

SBic beä Srcunbeä Sluge milb 

Über mein ©cfd^icf. 

Seben ^aä^tlariQ fül^It mein ©^tj 

grol^« unb hübet 3cit/ '^ 

SBanbte jmifd^en fjfreub' unb ©d^merj 

3n ber ginfamfeit* 

Sliefee, fliege, lieber Slufe ! 

Stimmer toerb' id) frol^; 

©0 üerraufd^te ©ci^erj unb Jlu|, 15 

Unb bie Streue fo. 

^ä) befafe e§ bod^ einmal, 

SSa§ fo föftlic^ ift I 

S)a^ man bod^ ju Jeiner Oual 

Stimmer e§ bergifet ! 20 

giaufd^e, glufe, ba§ %^al entlang, 
D^ne SRajl unb älu^', 
ataufd^e, flüftre meinem ©ang 
SKelobieen ju, 



142 LYRICS AND BALLADS 

25 SBenn bu in bcr SQßinternad^t 

SBütenb üfccrft^miaft 
Ober um btc gfrü]^Un8§i)rad&t 
junger ßnofpen quiUft. 

©elig, lücr jtd^ t)bx bet SBclt 
30 Dl^ne 4>öB berjc^Iicfet, 

ßinett gteunb am Sujcn l^ölt 
Unb mit bem geniefet, 

SBaä, t)on 5Utenf(i^n ni(i^t gemußt 
Ober nid^t bcbad^t, 
35 ^Vixä) ba§ Sab^rintl^ bcr ©ruft 

SBanbelt in bcr 3ta^t 

<Soett}e. 

97. Ub^laibc 

(Sinfam toanbelt bcin gfrcunb im Qfrül^IingSgartcn, 
SKilb bom liebli^cn S^ubcrlid^t umfloffcn, 
®aä bmä) ttjanfenbe Slütcngtoeigc jittcrt, 
3Ü)cIaibc! ,' 

5 3n ber fpicgelnben Qflut, im ©d^nec ber 3ß})en, 
3n bc§ finfenben SagcS ©olbgettJöIIcn, 
3m ©cfilbc bcr ©tcrnc ftra^lt bcin S?Ubni§, 
Slbclaibc ! 

3lbcnblüft(i^cn im jartcn Saubc piiftcrn, 
10 ©ilbcrglöcfd^cn bc§ SRaiS im ©rafc f auf ein, 
SBcHen rauf(ä^en, unb 9la(i^tigaIIen flöten: 
Slbclaibe! 



LYRICS AND BALLADS 143 

ßinft, SButtbcr! cntblül^t auf meinem ©rabc 
@ine Slumc bcr 9lfd^e meines i)erjen§; 
®eutlid^ [(ä^immcrt auf iebem ^ut<)urblättd^en : 15 
Slbelaibe! 

»tdttliiffon. 

98. Sin Sidticnbanm f^ef{t einfam 

@in gid^tenbaum fielet einfam 
3m 5Rotbett auf fallier ^ö1)\ 
3]^tt fd^läfert; mit meiner ©edte 
Umpllen il^n @i3 unb @ä)ntt. 

6r träumt bon einet ^alme, s 

S)ie fem im SKorgenlanb 
©infam unb fd^meigenb trauert 
Sluf brennenber gelfenmanb. 

feilte. 

99. Hu meine Seele^ bn mein Qerf 

S)u meine ©eelc, bu mein ©erg, 

S)u meine SBonn', bu mein ©d^merj^ 

S)u meine SBelt, in ber xä) Übt, 

SKein ^immel bu, barein xä) \^toibt, 

D bu mein ®rab, in ba§ l^inab s 

^d) etoig meinen ßummer gab ! 

S)u bift bie giul^', bu bift ber ^rieben, 

S)u bift ber ©tow^^I ^^^ befiä^ieben, 

S)a^ bu mid^ liebft, maiä^t mid^ mir mert, 

^in Slicf l^at mid^ bor mir berllärt, xo 

S)u l^ebft mid^ liebenb über mid^, 

SKein guter ©eift, mein beffreS 3d^! 

Hadert. 



144 LYRICS AND BALLADS 



100. Un bic Entfernte 

©0 f)aV id^ loirflic^ bid^ öetlorcn? 
Sijl bu, ©d^önc, mir cntflol^n? 
3loä) Hingt in ben gctool^ntcn Diäten 
@tn jcbeS SBort, ein jcber Xon. 

5 ©0 ttJtc beiS SBanbrcriS Slid am aKorgen 

aSergebenS in bic Süfte bringt, 
SBenn, in bcm blauen ülaum verborgen, 
^oä) über il^m bie Serti^e fingt: 

©0 bringet ängftlic^ l^in unb toieber 
lo ®urd^ gelb unb Sufd^ unb SQßalb mein Slicf ; 

®id^ rufen äße meine Sieber; 
O, fomm, ©eliebte, mir jurüd ! 



101. Bdtäfcv» Tila^Mcb 

S)a broben auf Jenem Serge, 
S)a ftey x^ taufenbraal, 
9ln meinem ©tabe gebogen, 
Unb fd^aue l^inab in baS %f)aL 

S)ann folg' iä) ber toeibenben ©erbe, 
3Rein ^ünbd^en bettjal^ret mir fie; 
^^ bin l^erunter gefommen 
Unb mei^ bod^ felber ni(ä^t toie. 



LYRICS AND BALLADS 145 

S)a flel^ct bon ftä^öncn Slumcn 

S)ic gange SBtefc fo boH, lo 

^ä) ixtä)t fie, ol^nc ju »iffcn, 

SBcm id^ [tc geben foH. 

Unb Siegen, ©türm unb ©ettJtttet 
SSerpaff' xä) unter bem Saum. 
Sie 2:i^üre bort bleibet berf d^Iojfen ; 15 

S)o(3^ aUeö ift leiber ein Straum, 

(5S ftel^et ein Slegenbogen 

SBol^I über jenem ^auä! 

©ie aber ift tneggejogen 

Unb ttjeit in baS Sanb l^inauS. 20 

4)inau5 in ba§ Sanb unb toeitcr, 
SSielleid^t gar über bie ©ee. 
SSorüber, il^r ©d^afe, borüberl 
S)em ©d^öfer ift gar fo »el^. 



102. Ztadt alt^eutfciter tPeife 

6S ift beftimmt in ©otteS 9lat, 
S)afe man, toa^ man am liebften l^at, 
aWu^ meiben; 

SBietool^I nid^t^ in bem Sauf ber SBelt 
S)em ^erjen, aä)l fo fauer fäHt, 
3ltö ©d^eiben! ja ©d^eiben! 



146 LYRICS AND BALLADS 

©0 bir flcfd^cnlt ein ßnöfplcin »aS, 
©0 tl^u CS in ein SBaffetfllaö, — ' 
S)od^ »iffe: 
lo Slü^t morgen bir ein ÄöSlein auf, 

6§ toellt tool^l no(i^ bie 3laä)t barauf; 
S)aS toiffel ja tDijfe! 

Unb l^at bir ®ott ein Sieb befd^rt, 
Unb l^öltji bu fie red^t innig loert, 
IS S)ic S)eine — 

(5§ toerben mol^I aäjt Sretter fein, 
S)a tegft bu fie, toxt balb! I^inein; 
S)ann meine! ja mml 

9iur muBt bu mid^ aud^ red^t öerftel^n, 
20 3fa, red^t berftel^n! 

SBenn SJienfd^en auSeinanbergel^n, 
©0 fagen fie: auf SQßiebcrfel^n ! 
3a, SHJieberfel^nl 

jeud^tecsleben. 

103. Ha» ift im Cef»en Mäf^lidt cin^cvidtUi 

S)a§ ift im Seben l^äfelid^ eingerid^tet, 
3)a^ bei ben SRofen gleid^ bie S)ornen fielen, 
Unb mag ba§ arme ^erj aud^ fe^nt unb bid^fet, 
3um ©(^luffe fommt baS SSoneinanbergel^n, 
5 3n beinen 3lugen \)aV id^ einft gelefen, 

6S bli^te brin t)on Sieb' unb ©lüdt ein ©d^ein : 
Sel^üet bid^ @ott ! e§ mär' gu fd^ön gemefen, 
S3epet bid^ ®ott, eö l^at nid^t foDen feinl — 



LYRICS AND BALLADS 147 

Sctb, 9?etb unb ^% anä) iä) ffai* fie empfunben, 
6tn [turmflcjjtüftet, tnübcr SBattbetötnmin. lo 

3(3^ ttäumf t)on gfrtcbcn bann unb ftiBcn ©tunben, 
3)a fül^ttc mt(^ bct Sßcg jti bir l^innn. 
3tt bcinctt 9ltmcn tDolIt' iä) Qaui flfticfcn, 
3um S)an!c bir mein junges Sebcn tocil^n: 
Scpet bid^ (Sott ! cS ttJär" ju fd^ön fietocfen, 15 
SBe^üet bid^ (Sott, e§ §at nid^t f ollen fetnl — 

3)te Bollen flte^n, t)er Brnb f au|t burd^ bte 39I2ttet, 
6tn SRegenfd^auet jiel^t burd^ SBalb unb 3^elb, 
3um abfd^tebnel^men j[uft ba§ redete SQBettcr, 
©tau töie bex ^immei ftti^t Dor mit bie SBeft* 20 
S)od^ toenb' e§ [id^ jum guten ober böfen, 
®u fd^Ianfe aWatb, in 2:r«uen benf id^ bein. 
Sepet bid^ @ott ! eS toär' ju f4>ön gemefen, 
SBe^üet bid& (Sott, e§ j^at ni(^t foOen fein! 

54effeL 



104. 5cr <5lau{)e bcr ^veunbfct^afi 

SDBenn cine§ ÜJlenfd&en ©eele bu ftettjonnen 
Hub in fein 0erg l^aji tief l^neinflefd^aut 
Unb il^n befunben einen flaren Sronnen, 
3n beffen reiner 3;iut ber C^iwtmel blaut: — 
Sa^ beine 3ut)erftd&t bann nid^S btt rauben 
Unb trage lieber ber @«ttäu|d|ung ©djimerg, 
91I§ bafe bu grunbloS i^m entjtel^ft beu ©lauben : — 
ff ein größer (Sliid aU ein bertrauenb ^erj i 



148 LYRICS AND BALLADS 

Sa^ ablcmtuttg beim ßiebc ft^tfcn 
lo aStS btd^t Ott btc Unmögltd^fctt l^inan : 

ftanttjl bu bc§ 3fteunbc§ Sl^un nt(^t mel^t begtetfett, 
©0 f ättgt bcr greuttbfd^af t frommet (Slaube on I 

D a I) n. 

;i:Ö5. Un» alten mävdtcn winft e» 

5lu§ alten WAtä^m toinit eS 
^etbor mit toeifeet ^attb, 
®a fittgt es uttb ba flittgt eS 
SSott einem Saubetlanb, 

5 SOßo gro^e a3Iumen fd^mad^ten 

3m golbnen Slbenblid^t, 
Unb järtlid^ fid^ betrad^ten 
3Rit bräutlid^em ©efid^t; — 

SBo oKe Säume fpted^n 
la Unb fingen, tok ein.ßl^or, 

Unb laute Duellen breiten 
SBie Sanamuftf l&etbot; — 

Unb Siebe^meifen tönen, 
SQBie bu fte nie gel^ött, 
15 S9i3 tounbetfüBeS ©eignen 

S)id^ tounberfü^ betl^ött ! 

5ld^ fönnf xä) bottl^in fommen, 
Unb bort mein ^erj erfreun, 
Unb aller Dual entnommen, 
20 Unb frei unb felig fein I 



LYRICS AND BALLADS 149 

%ä) I jenes Sanb ber SBonne, 
3)aS fel^' \ä) oft im Sraum; 
^oä), fommt bie aRorgenfonne, 
3etptefet'S tDte eitel ©(i^autn. 

ßeine, 

106. 21a» ^(ftlo^ 15onconvi 

3d^ träum' aU ftinb mid^ jurüde 
Unb fd^üttle mein greifet ^anpt; 
SQBie fud^t il^r mi(3^ l^eim, il^r Silber, 
3)ie lang \(i) bergefjen geglaubt? 

^od^ ragt au§ fd^att'gen ©el^egen s 

©in fd^immembeS @(^Io^ l^erbor, 
3fdö lenne bie Sürme, bie 3i«^^ti, 
Sie jieinerne Srüde, ba§ Stl^or* 

6§ fd^auen Dom SBapt)enfdöilbe 

Sic Sötoen fo traulid^ mid^ an, lo 

3fd^ grille bie alten Selannten 

Unb eile ben Surgl^of l^inan. 

®ort liegt bie ©pl^in^^ am Srunnen, 
3)ort grünt ber Feigenbaum, 
3)ort, l^inter biefen genftem, 15 

Serträumf id^ ben erften Straum» 

!3d^ tref in bie Surgfapelle 

Unb fud^e be§ Sll^nl^errn ®rab ; 

3)ort iff S, bort l^ängt Dom Pfeiler 

®a§ alte (Setoaffen l&erab. 20 



150 LYRICS AND BALLADS 

9lo^ Icfctt umflort bte Slugett 
3)tc Süge bcr 3[nf(^rtft ttid^t, 
S3Btc l^cll burd^ bic bunten ©d^ctben 
S)a5 Std^t barübet aud^ bttd^t. 

25 ©0 jiel^ft bu, ©d^Iofe metner SBäter, 

aWir treu unb fe[t in bem ©inn 
Unb bift bon ber @rbe berfd^munben, 
S)er ^pug ge^t über btd^ ^tn. 

©et frud^tbar, o teurer Soben, 
30 3d^ fegne bid^ milb unb gerül^rt 

Unb fegtf xffn ätotefad^, wer immer 
S)en ^flug nun über bid^ fü^rt. 

3d^ aber tt)itt auf mid^ raffen, 
aWein ©aitenfpiel in ber ^anb, 
35 3)ie SQßeitcn ber Srbe burd^fd^toeifen 

Unb fingen bon Sanb ju Sanb. 

Cf}amiffo. 

107. Ileutfct^e <5eT|>enfter 

aWid^ trug ein Sraum jurüdE jum 9ledEartl^aIe, 
3m Slebel lag bie altersgraue ©tabt, 
SBo jeber ©tcin mir gum @ebäd^tni§male, 
3ur Stummer ttKirb auf meinem 3iff^tblatt. 

5 ®er gefte bunfle Sinnen fal^ td^ ragen, 
3)a§ ©tord^enneft auf l^ol^em SRatl^auSbad^, 
3)a§ SRö^Iein tDicl^ert, ba§ mid^ oft getragen, 
Unb ruft bie (Seiftcr meiner 3ugenb toaä). 



LYRICS AND BALLADS 151 

gfcm gtüpt ein Scrg, ein ftird^lein frönt ben @\p\d, 
Unb überm ©trombett bebt ber fd^toanfe ©teg, lo 
3)ie Sinben l&eben bie befi^neiten SBipfel, 
Unb fd^einloS giel^t ber SKonb ben aBottentoeg. 

aRufi! ertönt, todä^ l^aftig buntes SRegen ! 
2)ie glatte g^Iäd^e fd^immert lalt unb mei^, 
SSelannte 9lugen tt)in!en mir entgegen, 15 

Unb unterm blonlen ©tal^Ifiä^ul^ Inirfd^t ba§ 6i§» 

SSorbei ! SSorbei ! ^ö) fann bie ^anb nid^t faffcn, 
6in 9lebelf(i^leier ^ä)\tbt \\ö) wottenb bor, 
6in bunüer ©teg, ein Äreugtoeg ob, berlajfen, 
Unb einfam ftel^' iä) bor bem griebl^oftl^or. * 20 

^ä) mufe bie ©tirn on§ ©ifengitter lel^nen, 
Sie flniee finfen auf ben talten ©tein, 
Unb übermäi^tig quellen meine Sl^rönen — 
S)a toedte mid^ italifd^er ©onnenfd^ein. 

3foIbe Kurj* 



108. TKti^ncn 

ftennft bu ba§ Sanb, 100 bie ßitronen blül^n, 
3im bunleln Saub bie ©olb^Orangen glül^n, 
©in fanfter SBinb bom blauen |)immel wel^t, 
Sie aS^rte ftiH unb l^od^ ber Sorbeer fte^t, 
ftennft bu e§ wol^I? 

Sal^in! S)a^in 
aSöd^f xä) mit bir, mein ©elicbter, giel^n. 



152 LYRICS AND BALLADS 

ftcnnft bu bas ^an^? 9luf ©äulcn rul^t fein ^ad), 
6S fliänjt bcr Baal, c§ fd^tmmcrt ba§ @tma^, 
Unb aHarmorbtlbcr ftel^n uitb fc^n mid^ an: 
10 „SBa§ f)at man bir, bu armcö ftinb, getl^an?" 
ftcnnft bu cS mo^I? 

©al^itt! 2)aöin 
SWöd^f id^ mit bit, o mein Scfd^ü^cr, jicl^n. 

ftcnnft bu bctt Scrg unb feinen SOßoIfenfteg ? 
®a5 aRaultier fu(||t im 5RebeI feinen SQßeg; 
»5 3n ^öl^Ien tool^nt ber 3)ra(i^ett alte Srut; 
e§ ftürgt ber gete unb über i^n bie glut, 
ftennft bu i^n mo^I? 

3)al^in! ^affxn 
®tf)t unfer SOßeg! o SSater, la^ unö jie^n! 



109. 3n 5cr Siftlna 

3n ber ©iftine bämmerl^ol^em SRaum, 
S)a§ Sibelbud^ in feiner nerb'gen ^anb, 
©i^t aSic^elangelo in roaäjtm SEraum, 
Uml^eHt t)ott einer Weinen 3tmpel Sronb. 

Sout fpri(j^t l^inein er in bie SWitternad^t, 
9ll§ laufd^f ein (Saft il^m gegenüber l^ier, 
SSalb lüie mit einer aflgewalt'gen aSad^t, 
SSalb tt)ieber toie mit feine^gleid^en fd^ier: 

„Umfaßt, umgrenzt l^ab' id^ bid^, emig ©ein, 
aWit meinen großen Sinien fünfmal bort I 



LYRICS ANI> BALLADS 153 

^^ pnte U^ in Itd^te 2KäntcI ein 
Unb gab bir 2txb, mie bicfeä Sibcitoort. 

aWit tt)cl^nbcn paaren ftürmft bu fcurigtoilb 
aSon ©onncn immer neuen ©onnen gu, 
tSnx beinen aJlenfd^en biji in meinem Silb 15 

entgegenfd^toebenb nnb barml^rjig bu ! 

©0 f(i^uf id^ bid^ mit meiner niti^fgen Äraft: 
2)amit xä) ni(||t ber gröfere ftünftler fei, 
©d^aff mxä) — iä) bin ein Äned^t ber Seibenfd^oft — 
9?adö beinern Silbe fd^aff miä) rein unb frei! 20 

3)en erften 2Benfd^en formteji bu au§ Stl^on, 
3dö tDerbe \d)on bon l^ärterm Stoffe fein, 
2)a, SReifter, braud^ft bu beinen Jammer fd^on, 
Silbl^auer @ott, fd^tog gu I 3dö bin ber ©tein/ 



HO. (D bn, t>or bem Me Siftrme fct^treiden 

D bu, bor bem bie ©türme fd^weigen, 
S3or bem ba§ 2Beer berfinft in 9luy, 
2)ie§ toilbe ^erj nimm l^in ju eigen 
Unb fül^r* e§ beinern ^rieben gu: 
S)ic§ ^erg, baS emig umgetrieben 
gntlobert, attgurafd^ entfad^t, 
Unb, aä), mit feinem irren Sieben 
©id^ felbft unb anbre elenb mac^t. 



154 LYRICS AND BALLADS 

©ntrei^ c§, ^nx, bem ©türm bcr ©inne^ 
lo S)ct SBünfiä^e treulos fd^tDQitlcm ©picl; 

S)cm bunleln ©ränge feiner 9Ktnne, 
@ieb xffm ein unbergänglid^ 3i^l; 
9luf ba| es, Io§ Uom Stugenblide, 
SSon Stoeifel, 5Kngft wnb SJeue frei, 
15 ©ic^ einmal gan} unb toü erquide, 

Unb enbliiä^, enblid^ ftiöe fei. 

111. L U>an5rerft ZladtilUb 

S)er bu t>on bem ^immel bifi, 
?llIeS Seib unb ©d^merjen ftillefi, 
®en, ber bop})eIt elenb iji, 
©oppelt mit grquidung füKeft, 
5 21^, iä) bin beS StretbenS mübe! 

SBaS fofl aU ber ©d^merj unb Sufl? 
©ü^er griebe, 
Äomm, aä), fomm in meine Sruji ! 

2. ein iRUidtc% 

über allen ©ipfeln 
3ft ^viff\ 
3n allen SBipfeln 
©püreft bu 
5 ftaum einen ^aud^; 

®ie SSögelein fd^meigen im SQBalbe. 
aBarte nur, balbe 
Stul^eft bu aud^. 

<Soetf}e. 



LYRICS AND BALLADS 155 



112. Qarfenf|>ieUr 

SBcr nie fein S9rot mit Sl^ränen a^, 

SBer nie bie fummerbotten Mä)tt 

Stuf feinem Seite tüeinenb fafe, 

S)er fennt eud& nid^t, il^r l^immlifd^en aHäd^te. 

31^1 fül^rt in§ 2tbtn un§ l&inein, 
3l^r la^t ben 3lrmen f(i^ulbig tDctben, 
3)ann überlast il^t il^n ber ^ein: 
®enn alle ©d^ulb x&ä)t fid^ auf ßrben. 

<Soetf}e. 



113. SUm ^u bM meer? 

©tel^ft bu ba§ 2Reer? es glänat auf feiner glut 
S)er ©onne ^rad^t ; 
2)odö in ber Stiefe, too bie ^erle rul^t, 
3ft finftre 3lad)L 

3)aS 2Beer bin iä). 3n ftolgen SQBogen rollt s 
2Bein toilber ©inn, 

Unb meine Sieber jiel^n loie ©onnengolb 
©arüber l^in. 

©ie flimmern oft bon gauberl^after ßuft, 
Son ßieb' unb ©d^erj; lo 

®od^ fi^toeigenb blutet in verborgner ©ruft 
2Bein bunües ^erj» 

(Beibel. 



156 LYRICS AND BALLADS 



114. pocflc 



^ocfte ift tiefet ©d^mcrgen, '^J'^ 
Unb es lomtnt bQ§ cd^tc Sieb Q 

gtngtg au§ bcra aRenf(i^en]^crjctt, 
S)a§ ein tiefes Seib burd^gW^t. 

^oä) bie l^öd^ften ^oefieeti 
©d^toeißen, loie bet l^öd^fte ©(i^metg; 
3l\xx toie ©eifterfd^atten jiel^en 
©tumm fie burd^S gebrod^ne ^erj* 

Kerner, 



h- 



115. Un^efi^roct^ne WovH 

UngeflJtod^ne SBorte giebt e§ ol^ne Älang unb ol^ne Saut, 
ßingefd^ricben tief im ^txitn, lüo lein aRenfd^enaug' fte 

fd^aut; 
übet il^rem bumpfen ©d^meigen liegt es tDie ein Sauber« 

bann, 
S)en nid^t aHenf4)entt)eiSl^eit löfen, aRenfd^enfraft nid^t 

biedren fann. 

5 Die fie in ber ©eele tragen, finb wie eine SQßettemad^t, 
2öie ein fernes, ftilleS Sendeten, fpöt am 3tbenb ange« 

fac^t, 
ßautloS überm C^o^^i^ute fteigt *eS auf unb flammt 

empor, 
Unb es toei^ bie näd^fte grül^e nid^t, tool^in eS fid^ Der« 

lor. 



LYRICS AND BALLADS 

Unb tDtc rätfcll^aftc Slumcn, bic am 2J 
Über bcncn ©türm unb ©tiöc immer !omn 

Saufi^en bte Verborgnen SQßorte naä) bem l^etlen Stag 

l^tnauf — 

©türm unb ©title jiel^n vorüber, meden nimmermel^r fte 

auf. 



aOßie ein Iefete§, lüilbeS ^o^tn, t^ ber Stob ba§ Seben 

pacft, 
aaSie ein Ie^te§, banges (Slül^en, el^ bie rote ®Iut ber« 

fc^Iacft, 
galten fte bie fd^lummermübe ©eele toai) bon ©tunb'is 

ju ©tunb', 
Unb bie ungefprod^nen SOßortc fprei^en bort mit lautem 

aSunb. 

Unb e§ gudt bie !ran!e ©eele trauemb in ftd^ felbft 

jurüd, 
Unb ba§ ^erg beginnt ju brechen langfam, langfam, 

©tüdt um ©tüd, 
fturje Seit nod^ mag e§ pod^en tonIo§, wie gerfprungneS 

6ri, 
33iS bie ungefprod^nen SQBorte ftifle werben unb ba§2o 

|)eri. 

(Ebiparb. 



158 LYRICS AND BALLADS 



116. ^ataitinftta» ttnnb^^^an^ 

O SRenfd^ I ®ieb aä)t ! 

2Bq§ \pxxä)t btc tiefe aRittetnad^t? 

„^ä) fehltet, id^ fcä^aef,- 

9lu§ tiefem Sraum bin xä) etmad^t : — 
5 Sie SBelt ift tief, 

Unb tiefer als ber %aQ gebadet/ 

äief ift i^r SQBe^,— 

Suft — tiefet nod^ als ^etjeleib: 

mti) fprid^t: 'SSerge^ r 
lo ®od^ aöe Suft toill gmigfeit,— 

— aaSia tiefe, tiefe etoigfeit!" 



117. Wie rafft' i* mld? auf 

SBie rafft' id^ mid^ auf in ber 9lad^t, in ber 9lad^t, 

Unb fül^Ite mid^ fürber geaogen, 

3)ie ©äffen berliefe id^, bom SBöd^ter betoad^t, 

2)urd^n)anbelte fad^t 

3n ber 5Rad^t, in ber 5Rad^t, 

®a§ %^ox mit bem gotifd^en Sogen. 

3)er JKül^lbad^ raufd^te burd^ felftgen ©d^ad^t, 

^i) lel^nte mid^ über bie Srüie, 

SEief unter mir nal^m id^ ber S3Bogen in ad^t, 

3)ie toatlten fo fad^t 

3n ber 9lad^t/ in ber 9lad^t, 

S)od^ matlte nid^t eine jurüdfe. 



LYRICS AND BALLADS 159 

(S§ btel^tc [xä) oitn, unjäl^Iig cntfad^t, 

aWelobifi^cr SBanbcI- bcr ©tcrnc, 

9KU il^nen ber 9Monb in bcrul^tgtcr ^xaä)t, 15 

©tc funfcltcn fad^t 

3n bcr ^aä)t, in ber 3laä)t, 

®ur(ä^ täuf(i^nb cnticßcne gerne* 

^ä) bitdtte l^tnauf in ber ^aä)i, in ber ^aä)t, 

^ä) blicfte l^inunter aufs neue: 20 

D ttjel^e, tt)te l^aft bu bie %aic öerbrad^tl 

giun fttHe bu fad^t 

3n ber 3laä)t, in ber Slad^t, 

3m pod^enben ^erjen bie Sleuel 

plattn» 



118. mm 

D ^erj, lafe ab ju jagen, 
Unb bon bir wirf ba§ So^i&I 
®u l^aft fo t)iel getragen, 
3)u trägft aud^ biefeS nod^* 

Stritt auf in Wanfen SSSaffen, s 

3Rein ©eift, unb »erbe frei! 
63 gilt no(^ mel^r ju fd^affen 
Site einen SiebeSmai. 

Unb ob bie »ruft aud^ blutet, 

5Rur t)ortt)ärt3 in bie Sal^n! 10 

S)u toei^t, am boöften flutet 

©efang bem iDunben ©d^toan. 



160 LYRICS AND BALLADS 

119. Übet ein SiünMcln 

3)ulbe, ßebulbe bid^ fein! 

Über ein ©tünblem 

3fft betne ftammet boH ©onne. 

übet ben Qfitji, too bie ©locfen l^angen, 
5 3ft fd^ott lange ber ©d^ein ßegangen, 

©tng in SürmerS S^enfter ein. 
SSäer am nöti^ften bem ©türm ber ©locfen, 
ßinfam tool^nt er, oft erfd^rocfen; 
2)o(]^ am frül^ften tröftet il^n ©onnenfd^ein. 

10 SQBer in tiefen ©ajfen gebaut, 

€)ütf an C^üttlein le^nt ftd^ traut, 
®Io(fen l^aben il^n nie erfcä^üttert, 
SQBetterftral^I il^n nie umjittert, 
aber fpät fein 2Borgen graut. 

IS ^W unb SCiefe l^at Suft unb Selb, 

©ag' il^m ai), bem tl^örigen Sleib: 
Slnbrer @ram birgt anbre SOßonne. 

®ulbe, gebulbe bid^ fein! 
über ein ©tünblein 
20 3ft beine ftammer Doli ©onne. 



LYRICS AND BALLADS 161 

120. Senbtttid 

SQBte, tDtUft bu f(^on bic SBaffcn fttedtcn 

Unb tDcg hxä) ftcl^Icn bom ©efed^t, 

SBcil SQßuttben brennen, Pfeile necfen? 

— 3e^t jeig', ob beinc ©enbung ed^t ! 

2)ein Sanner, Qxtb eS nie öerloren s 

Unb frage ntd^t, tote rau^ ber ©teg, 

2)u tou^teft ja, loaS bu erloren, 

3ft ©d^rttt für ©d^rttt ein SetbenStoeg. 

SSHcF auf bie Sträger l^eifger Salinen, 

S)te nie gewanft mit i^rer Saft; lo 

S^t ^erjblut geid^net i^re Salinen, 

SJod^ t)or bem ©ieg galt feine aHaft. 

©ie blidEten nid^t nad^ irbifd^em @ute, 

SSerfoIgung liefe fie ungebeugt, 

©ie fargten nie mit il^rem Slute, 15 

SBo fie für il^ren @ott gegeugt. 

S)er ©d^toäd^ling tnetd^e, unterl^anble, 
SSerleugne, wenn ber Sampf entbrennt, 
S)od^ nad^ ben fteilften ^öl^en wanble 
6in ^erj, ba§ feinen ©d^toinbel fennt ! 20 
SQBirf alle§ toeg, um frei ju jiel^en, 
aWag aud^ fein Äeld^ borübergel^n, 
3)enn ber bie ©enbung l^at berliel^en, 
®iebt ftraft, bie aSarter gu befte^n. 

3foIbe Kurj. 



162 LYRICS AND BALLADS 



121. Qoff nun^ 

@ö tebcn unb träumen bte aKenfd^en btel 
aSon beffctn fünftigcn 3:aöen; 
3taä) einem fllücflid^en, golbenen Siel 
©tel^t man fie rennen unb lagen; 
5 S)ie SBelt tt)itb alt unb »irb »teber jung, 

^oä) ber aJienfd^ l^offt immer aSerbefferung. 

SDte Hoffnung fül^rt il^n inö Seben ein, 
@ie umflattert ben fröl^üd^en ftnaben, 
SDen 3>üngling begeiftert il^r Sauberfd^ein, 
10 @ie tt)irb mit bem ®reiö nid^t begraben; 

SDenn befd^Iiefet er im ©rabe ben müben Sauf, 
3toä) am ©rabe pflanjt er — bie Hoffnung auf* 

6ö tft fein leerer, fd^meid^elnber SBal^n, 
grjeugt im ©el^irne be§ 3:i^oren* 
15 3m ^erjen fünbet e§ laut fid^ an : 

3u tt)a3 Sefferm finb toir geboren; 
Unb tDa§ bie innere ©timme fprid^t, 
©aö täufd^t bie l^offenbe ©eele nid^t. 

Sdiillex. 



NOTES 



NOTES 



Among many comprehensive collections of German poems the 
f oUowing have especial value : 

Zlitohox ©d^terme^cr, 2tu«tt)ol^t 2)eutfd^er ©ebid^tc für ^öl^ere 
©d^uleiu 32, Auflage, herausgegeben öon gerbinanb S3ed^er. ©olle 
a, @., 1897. 950 pp. One of the most populär German antholo- 
gies, first issued in 1836. It contains 621 selections; its pedagogic 
purpose has led to a somewhat pedantic exclusion of love-poems. 

^^eobor <^tonn, ©au@bud^ aud beutfd^en 2)id^tem feit Ö[Iaubiu9* 
4. 5luflage. ©raunfd^toetg, 1877. 

gerbinanb Slöenorlu«, ©eutfd^e ?^rif ber ©egcntoart feit 1850. 
2. 5luf[age. 2)re«ben, 1884. 

©ermann Äluge, 2lu«h)a^l 2)cutfd^er ©cbid^te. 7. 5luf[age. Eliten« 
bürg, 1899. About 700 poems. 

®eorg @d^erer, 2)eutfd^er 2)id^tern)atb. 15. Auflage. Stuttgart unb 
Seipgig. 546 pp. lllustrated. Lyric selections. 

@. (Srnil ©art^cl, Steuer poetifd^er ©auöfd^atj. ©od^beutfd^e ®e* 
bid^te aus ber 3^tt t)om beginne ber 9}omantiI bis auf unfere Sage in 
f^jlematifc^ georbneter Slu«toal^I auö ben Ouetten. ©atte. 1355 
selections. 

Submig @rl unb gran^ Wl. ^o^me, !S)eutfd^er Sieber^ort. Seipgig, 
1893-94. 3 vols., 656, 800 and 919 pp. 2175 selections. The 
encyclopedic collection of SJolfSUeber, published with the assist- 
ance of the Frussian govemment. The history of each selection is 
fully traced f rom 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 SSoIföUeb 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 populär melodies should be in the possession of every 
Student of German songs. The f ollowing are recommended : 

Stugujl ©artet, S)cutfd^c« Slcbcrtejicotu 8. Sluflagc. Scipglg, SRecknu 
One compact volume, containing 976 populär songs, with simple 
piano-accompaniment. 

?. ©cnba, ©ud^ ber Slebcr, ©raunfd^tüclg, Collection Litolff, 
No. 846. 253 populär melodies, with good (though not difl&cult) 
accompaniment. An excellent collection in a Single volume. 

SubttJig erf, ©eutfd^er Sicberfd^a^. 2ei|)3ig, $ctcr8. Three parts 
(sold separately), each containing about 200 populär songs with 
piano-accompaniment. 

Subtüig (grf unb grang Tl. S3öl^mc, 2>cutfd^er Slcberl^ort (See 
notice above.) 



FIRST PART 

This ballad, very populär 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 (181 6). The 
language and metrical form closely follow populär modeis 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. !0ittitten, arch. for gelomtneti (mar)* 

II. 35-36. The time spent in drinking will be just sufficient to 
allow for the complete melting of the metaL 

I. 38. tttir, ethical dat. 

II. 39-40. xM t» nm bcltt 2thtn ♦ ♦ ♦ ^ttf^an, your Hfe wotUd 

be forfeited, 

1. 40. gfürttii^iger, arch. for SBortül^igcr. 

1. 5a. t^ät (for tl^at), a populär survival of the old reduplicating 
pret. indic, often found in the Wunderhorn; it should more 
properly be spelled t^et, as it is not a subjunctive. 

I. 103. His eyes ruti down with tears, 

II. IOX-IX2. This episode was invented by Müller. 

L 112. ^tbVXf refers to the bell-founder's life on earth, with its 
sinful deed. 

W ritten 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. foU^ impers. 

3. ^ei$ ^naBeti IBerglieb 

One of Uhland*s early poems, written in 1806. The poet*s strong 
167 



j 



168 LYRICS AND BALLADS [Sei. 4-6 

affection for the beautiful and romantic surroundings of his 
Tübingen home, among the Swabian hills, appears frequently in 
his verse. 

1. 6. WlnitttfianS, i.e., source. 

1. 21. @tttrmg(0(fe, the alarm-belly 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» 2)cr ficittc $t|brii>t 

Published early in 1822. The brave revolt of the Greeks against 
the oppression of the Turks in 182 1 found an enthusiastic advocate 
in Wilhelm Müller of Dessau. The inhabitants of Hydra, a large 
island east of the Peloponnesus, showed daring courage in sea-fights 
during this war. 

1. IX. Qtng'i^, impers., we went 

1. 17. Öogetl ♦ ♦ . blc Stürme, conditional. 

1. 20. ^orde, the *'crow's nest" at the top of the mast. 

5. %zx ttieige ^iirffi^ 

Written 181 1. 

1. I. ttlOl^I, in populär 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. 

6. S^arüarofra 

Written between 1814 and 181 7. Rückert, 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 populär legend, he remained concealed in a cavern of the 
Kyffhäuserberg, in the central part of Germany, waiting for the 



Sei. 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 Ger man unity. 

7* SSelfaaer 

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. ftttmitter» Some editors adopt the reading {liKer. 

1. 19. giUben^ for gülbcne« (golbenc«), an archaism often preserved 
in poetry and familiär speech. 

1. 21. freüler, for freöcl^aftcr, wanton. 

1. 2g. Jtttnal, at once; the word generally means " especially." 

1. 32. The impersonal construction adds sensibly to the effect 
of vagueness and horror. 

1. 35. frtcrCtt S3(i(fi9, adverbial gen. 

Written 1797. The ballad is based upon an anecdote related in 
the Essais Historiques sur Paris by M. de Saintfois. 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. $(ttf t^ttt* Note the emphatic position of the preflx. 

1. 60. gelaffen, caimiy. 

1. 65. In the flrst edition of the poem this line reads, rather 
more tamely: Unb bcr 9litter, fid^ tief öcrbcugcnb, fprld^t 

9. ^er ^dttig \n %^vXt 

Written in 1773 or 1774, and incorporated into Faust as one of 
Margaretes 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 populär. 



170 LYRICS AND BALLADS [Sei. 10-12 

1. z. Xf^Vitf 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* ftevltettb, qualifies ^u^le* 

1, 5. Nothing was so dear to htm, 

1. 7. Cf. No. 1, 1. 103, n. 

1. 12. JttgleÜI^, at the same time, Le., along with bis other 
possessions. 

1. 23. t^Sietl, cf. No. I, L $2, n. 

The Story of this bailad is related by Luther in bis 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 
bis bead resting in the lap of a shepherd. 

1. Z5' ^fi^affeit, cause, 

1. 24. iit 8d^0fi = tn'n @d^og, for in ben ©d^og. 

1. 27. @raf im SJart, a medieval epithet, = ** bearded count" 

1. 28. (Sbelfteilt, used coUectively in the sing., as in Luther's 
Blble, Ezekielj xxvii, 22. 

11. ^ie ^imette 

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 Tübingen. About this 
little chapel is a graveyar'd, up to which the dead are brought for 
burial from the neighboring village of Wurmlingen. 

1. 6. Seifi^eitfi^pr^ the procession to the grave, chanting the 
funeral dirge (Hewett). 

1. Z2. %\x, dat. of person concemed,/<7r /Ä^^. 

12. Sd^ftferi^ Somttagi^aeb 

Written 1805. Also a motive from the vicinity of Tübingen. 
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, 



Sei. 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. ^OiS embodies the entire impression which the solitude, the 
peal of the single bell, and the silence produce (Hewett). 

13. ^ie iföaUfa^rt m^ ^tt^laat 

Published in 1822. Heine added this note to the first edition: 
" The subject-matter of this poem is not altogether my owu prop- 
erty. . . . When I was a small boy and was getting my first train- 
ing in the Franciscan monastery in Düsseldorf, ... 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 g[otten well. I feil 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 off er a wax heart to the Vir- 
gin.' . I afterwards leamed that he was suff ering at the time f rom 
an unhappy love-experience ; soon af ter he dropped altogether f rom 
my notice. In 1819, 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, '@eIobt {eifl bu, äJ^aria!' 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 north west of Düs- 
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 Düssel- 
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, t2 ßngt, impers. 

1. 45. ^9äifititntbtitt, highly-bUssed one ; cf . Luke^ i, 28. 

1. 54. \ti^WB^, arch, for je^t 

14. (Sfnfe^r 

W ritten 181 1. The eighth in a cycle of nine Wanderlieder, Uh- 



172 LYRICS AND BALLADS [Sei. 15-18 

land's genial sympathy with nature is well shown in this populär 
poem. 

Titie. CHnfel^r, the specific term for "putting up" at an inn. 

!• 3* Sd^ilb, the sign of the inn. 

15. mtnhlith 

Written 1837. Often sung to an attractive musical composition 
by J. A. P. Schulz. 

!• 3« iJHcbcil (nom.), more often grlebe. 

16. menblieb 

Published 1782. Modelled after Paul Gerhardt's beautiful 
EveningHymn beginning „Slun rul^cn aßc SBöIber" (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 f eeling spoke ! " 

1. 17. gettoft^ confidentiyy with assurance, 

1. 20. eitel, " nothing but." 

1. 35- ttt $tittitte( = In'n ©immel, for in bcn ^immet. Cf. No. lo, 
1. 24, n. 

17. a^orgeuHeb 

Published 1825. Müller Stands among the best Interpreters of 
nature in German poetry. 

I. 12. bie ©fi^eibeit. Notice the effect of the acc. 

II. 13-15. In these lines one can almost see the play of the 
sunlight. 

18. D Sannebattm! 

A universal favorite in Germany. Written by A. Zamack, and 
first published by him in his Volkslieder^ Berlin, 1820. (Cf. Erk- 
Böhme, Deutscher Liederhorty i, 548.) It was based upon a very 
populär Volkslied^ as old as the sixteenth Century, beginning 

O Tannenbaum, Slannenboum, 
S)u bifl ein eblcr 3»eifl ! 
35u flrüneji un§ ben aBBintet, 
3)le liebe ©ommerseit. 



Sei. 19-22] NOTES 173 

Translated by Longfellow: 

O hemlock tree 1 O hemlock tree I how faithful are thy branchesl 

1. 1. Xannthaum, populär form for Tannenbaum* 
1. iz. fte {id^ kion bannen matf^i, takes her Uave, 

19. $erBf^gefü4( 

Written i86o. 

I. 3. kierflnngner^ from öcrfllngcn, to die away (of music). 

II. 5-8. Notice the lingering eff ect produced (}y alliteration. 

20. ^offnnng 

Written 1841. 

1. I. br&ttt, poetic for brol^t. nofi^ fo fC^r, about our colloquial 
phrase, *^ever so much,** 
1. 4. boi^, "A^ «^^ ^>^fl^-" 
1. 7. metfet^ present for future. 

1. 14. SBei^, the subject understood is fte, ref erring to bie C^rbe. 
1. 20. gfrenbens&^ren^ poetical for greubentl^ränen. 
1. 25. Sc. e@; impers. 

21* gfrül^HngiSeinattg 

Written 1824. R. Opitz calls this song "a storm of spring jubi- 
lation"; G. Schwab considered Mülier's "spring songs" the most 
charming and vigorous of all his poems. 

Title. C^in^ttg 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. frantt, gathers iogeiher; used in reference to "old things," 
as in Hermann und Dorothea^ ii, 13: 

3)lutter, 3^r framtet fo lange, bie alten Stüde )u fud^en. 

1. 13- 3lrt, dat., obj. of nad^. 

1. 19. ttiai^ er fonn, his very best. 

1. 32. Ibanfedafftg, chubby-cheeked ; more often pauSböcfig. 

22. ^ttd ber ^ngenbaett 

Written in Italy in 181 7 or 181 8. The swallow and the stork, 



174 LYRICS AND BALLADS ISel. 5»-26 

with their regulär return as messengers of spring, are favorite 
"household birds" in Germany. 

11. g-Z2. In a children's song pubiished in Des Knaben Wunder- 
hörn in 1808 occurs the following stanza: 

Sd^tDät^erletn, »te fd^tDfittJt f toll unb plaubetfi l^tn unb l^er ! 
&Tü^ ^a^ ^u Jüjien unb J!ajien 000; ^benbd ijl ^HeS (e (e leer. 
3u morflen, e^ bic ©onn auffegt/ eraä^tji 3)u ©einen Stauni, 
Unb ^benbd, nenn fte nieberge^t, ^ajl 5Du geenbet taum. 

23. @fl4ttia(l6ett(ieb 
1. 22. ttttkierttiattbt, suadüy, 

24. SBattberfd^aft 

The first of a cycle of 23 poems, /?/> schöne Müllerin^ set to 
music in a notable way by Schubert. A miller's apprentice (as of ten 
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 pubiished in 1821. 

1. 4. fiel ♦ . ♦ ei«, occurred. 

1. 14. ttieitt %^% acc. = mcin'n 2^og (or meine S^oge): lit., "during 
my life-time," i.e., for a long period, continually. 

1. x6. ©teilte, the mill-stones. 

25. 3d^ ttieig vxiSs^^ ttiai^ fott t^ bebettten 

Pubiished 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 refiects 
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. z6. 3)lelobei, populär form for SO^elobte. 

26. ^er gflug betr Siebe 

First printed in Herder's Volkslieder^ 1778, page 67. A very ap- 



Sei. 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 ' SSentt id^ 
ein SSöglcln toär'/ " Goethe called it " unique f or truth and beauty," 
and in Faust (1. 3318) represents Margaret as singing it. 

1. 7. @(l^(af is popularly changed to Sraum, and gebend (1. 13) 
to betiCt. 

1. 9* tl^tt^, populär auxiliary, not to be translated. 

27. ^tt Wji tote eine S3(nme 

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. l^eibenrBdlein 

First printed, in less finished form, in Herder's Von deutscher Art 
und Kunsty 1773, and included by him in his coUection of Volks- 
lieder. It is generally held that the earlier poem was the work of 
Goethe, though critics are not fuUy agreed. The present poem, 
printed 1789, is a conspicuous example of his masterly artistic use 
of motives suggested by populär poetry. 

1. a. Reiben, arch. declined dat. sing., ^ ^etbe«. 

1. 18. i^m, refers to 9löd(ein. 

29. ^ai^ SBeUf^en 

From the operetta Erwin und Eltnire, published 1775. 

1. a. gelbücft ttt ^ÜB^f drooping, bending over, 

4. 1 2. VMM gebfüd^r " f actitive predicate," pressed me untilfaded. 

1. 16. in ateat • • • ita^nt, noticed, 

30* ^aiS aerirot^ene 9Hng(ein 

Written 1810. A universally populär song, in the naive spirit 
of the older Volkslied, Sung everywhere to a populär melody. 

31« Ibtt mixÜXL 2:i)(4ter(ein 

Written 1809. The poem is very closely related to the Volks- 
liedy many elements in it (including the metrical form) being taken 
literally from rüde ballads. 



176 LYRICS AND BALLADS [Sei. 32^36 

1. X. S3tttfd^e or IBttrffi^eit, in the Middle Ages particularly ap- 
plied to wandering students. Wotfi (redundant), see No. 5, 1. i, n. 

1. 3. @te, the third pers. sing., used in address for the second, 
as often in the eighteenth Century, gttt, undeclined, by poetical 
license. 

1. 17. f^nh, arch. for ^ob. 

32. mn atpett gfreube 

Meyer*s nature, always vigorous and sturdy, is well expressed in 
this wholesome poem. 

L I. t^ttla^tn, arch. for oerlaffened. 

1. 3. ^tä^tX'f^UnhqtlMtt, the noises of the cups when the round 
is being drunk, 

1. 4. frekilem, cf. No. 7, l. 21, n. 

1. 5. ein IBig^ett, uninflected, like ein tDenig. 

1. 9. fittttten, gen., in agreement with 8anbd. 

1. XX. bie kierjäl^rte St^ttlb, a legal term: a debt outlawed on 
account of its long standing; here, a wrong which is too old to be 
set right 

Published 1834. 

1. 5. am aSege bifj^t, hard by the road, 

1. Z2. iBalbeiSl^ange, wooded steep. 

34. ^ftferüeb 

Published 1832. 

I. I. ÄSferhiabetl, ''beetle-chapsr 

II. 2-3. i^^ivx . . ♦ tttttfett = tunftcn; toud^tcn. See No. i, 
1. 52, n. 

1. 9- bCrlicbtC @d^Sfer, enamored swains. 
1. 25. A little parody on No. 28, 1. 18. 

35. ^ie a^ttri! fommt 

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. 



Sei. 36-58] NOTES 177 

1. I. The imitative sound-words in this and other lines need no 
definition. 

1. 5. ©fi^etteittirägeir, player upon the "crescent," an instrument 
fixed upon a pole and hung with small metal bells. 

1. 6. ^omiairb'Ott (pronounce as in French), a very deep brass 
bass-horn. 

1. 7. ^ecfettffi^lag, clash of cymbals. ^eüfoit, helicon, a large 
Spiral tube carried over the Shoulder ; see Century Diciionary. 

1. 8. ^tCCOlO, a small flute of very high pitch. 3in!entfit, 
player upon the "^XvXtf a harsh, old-fashioned instrument. of the 
oboe-class. 

1. 9. XÜirfetttirommcI, bass-drum, 

1. 10. ^eirire, for ^err, with serio-comic emphasis of impor- 
tance. 

1. 16. £ient(e)nanti^, in two syllables. 

1. ig. ^eir, demonstrative. 

1. 29. äBU^elmine, ^at^erine, G^^riftine : housemaids, no doubt. 

36» ^er gute ^ametab 

W ritten 1809. In form and spirit closely related to populär 
songs in the Wunderhom. 
1.2. ttU=nl«t. 

1. 7. gUt'i^ VX\X^ is it meantfor me? 
1. iz. Sc. er as subj. 
1. 12. benoeU = loäl^rcnb. 
1. 13. Sc. ifj^ as subj. 

37. ©olbatenßebe 

Sung everywhere to a simple populär melody of the eighteenth 
Century. 

1. 5. When I was compelled'to follow theflag away, 

1. 12. gebaii^t^ sc. l^at. 

1. 18. umrungett^ for umringt, surrounded. 

1. 20. @o(batettb(ttt^ a hearty young saldier, 

1. 24. mein, gen., obj. of bcnf . 

38» ä^eitt ^ttb, mir oarett ^ttber 

Written for the poet's sister Charlotte, and published 1826. The 



178 LYRICS AND BALLADS [Sei. 39-42 

scene is f rom Heine*s childhood home in Düsseldorf. " 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. 2o. ä^attfi^eir alttn ^ai^t, with Heine's characteristic äouöie 
entendrey is to be taken in a personal sense. 

1. 25. ©lattüett (nom.), less common than ©laube. 

39. ^aiS mv^ im »ud^e 

From Gedichte y 183/» 

1. 7. What can it be that so affects the aged womani 

40. S3ei bem %x^z meineiS ^^tx^ 

Published 1775. 

1. I. ttUl . . ♦ ^er, round about, 

1. II. 9(nbeit, by older usage for 5l^ncn or "^XiVi^^ presenti- 
ment, intimation. 

41. ^a» C^rfettttett 

W ritten before 1842. In style closely allied to the Volkslied. 
1. 6. ©fi^lagbattm, the barrier across the city gateway, where 
toll was collected. 

1. 13. ©fi^ft^el, sweetheart; populär diminutive of @(^a^. 

1. 23. aSie . . . anitl, however, 

1. 24. gleid^ = fogle^, immediately, 

SECOND PART 

42. C^rdditig 

Probably written 1781. Goethe*s power of transmuting the crude 
ore of populär songs into the refined gold of artistic poetry is no- 
where more successfully manifested than in this dramatic work, 
which is based on a rüde Danish bailad 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 



Sei. 43] NOTES 179 

that of the original. Buchheim calls this ** the most populär of all 
ballads " ; the magnificent romantic musical compositions by Schu- 
bert and Loewe are worthy settings of this work. 

Title. (SxtfM{i, king of the elves, Goethe got this term from 
Herder's translation of the Danish bailad mentioned. 

1. 3. ttlO^l, snugly clasped (Harris). 

1. 5. ttaiS, coUoquial for Warum» 

I. 7. ©fi^ttietf, train (of his robe)l 

II. g-i2. The words of the Erlkönig heard by the child. 
1. 19. 9ieilitt, for 9lcil^cn = 3:0113. 

1. 20. eitt^ with the preceding verbs has the force of to sleep, 

1. 38. litt Seib(e)i^r härm, 

1. 30. itt ^rmett, for tn ben ^rmen. 

43. ^ie Sfirgfd^aft 

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)amotl unb ^^t^la«/' and substituted „SDamon" for 
„WiX^^" 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. bett ^Olfi^, acc. absolute. 

1. 12. geftreit, given in marriage; usuaiiy, " married " or " wooed." 

1. 20. etrl^taffett, for flcrbcn, by Greek euphemy. 

1. 22. ^^vxi^ arch. for gebietet. 

1. 30. Wi^, adverbial prefix with liefert. 

1. 43. att ttferö 9iattb, poetic for an be« Ufer« 9lanb. 

1. 44. ttlic ♦ ♦ ♦ auifi, however. 

1. 56. eriteifi^ett^ cf. note to erbloffen, 1. 20. 

1. 68. itttb ffl^ttauliet SVlorb, a Biblical phrase, from Acts, ix, i. 

1. 71. not« Editions published in Schiller's lifetime had the 
archaic für. 

1. 82. attiS l^eiUge Sattb, the land is called blessed because so 
intensely desired by the swimmer struggling in the torrent. 



180 LYRICS AND BALLADS [Sei. 44-45 

11. 85-89. Notice the ingenious use of descriptive sounds, as in 
Tennyson*s The Brook» 

1. 95. blc @tirage ^Xt^tl, faring along the road, 

1. 105. ^er, demonstrative. 

1. Z18. gttieie, acc. pl. In the older language the numerals were 
often declined. 

1. 124. 6^or, poetic for Raufen, throng, 

1. 128. pdl, dat., modifying armen. 

44. Xettopi^ott 

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)ar. 

1. 5- ^Sttbe, acc. absolute. 

45. $etnti9 

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, loio 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 



Sei. 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. ütitX Oieifi^e Zottig, ^^in^ over all dominions. 

1. 8. John^ xxi, 18-19. 

1. 12. f^rili^t ♦ ♦ ♦ l^Ol^tt^ bids defiance, 

1. 15. Cf. Acts, xii, 5-7. 

1. 16. auf eigne $anb, upon their own responsibility, 

1. 18. 6]]^ioi^^ an island off Asia Minor. 

1. 22. SieÜ^ ♦ ♦ ♦ ^irii^e^ datives after gcfd^enft 

1. 24. ^uteoU^ a sea-port near Naples. 

1. 25. ^iitt0eir, disciple, 

1. 33. ©trälÖCirftra^Cr " Street of Tombs''\ the Appian Way. 

1.34. Ittewi^ golbuei^ §atti?* 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. Heirl^ftlt^ retards, 

1. 44. Cf. Luke, xxii, 61. 

1. 54* <{» ber Xage (entern = an bem legten ber ^age. 

1. 59. $ettaig, Greece, 

46. %mz\tx 

Written 181 2. R. M. Meyer calls this „bic ftirrcnbc unb Ml^cnbc 
Königin bcr U^tanbjd^cn Saßabcn/' 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 1 24 to 11 74), 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 [8^.47 

The firm, heroic tone of the entire bailad has a genuine old-Ger- 
manic flavor. Noticeable are the rattling metrical movement, the 
trumpet-tone of the masculine rhymes, and the populär stylistic 
features of repetition, al] Iteration, and assonance, as well as many 
archaisms in language (particularly in the sixth stanza). 

Titte. Saittefer, pronounce Zi-iz-^tx. 

1. 6. S3totttteit^ arch. for SBrunnen. 

1. 12. ha2 l^P^et mit htn 9Wttt, t^at rouses my spirits, a phrase 
often found in populär old German epics. 

1. 20. The heroines of the older day were by no means over- 
fastidious in expression. 

1. 25. ttOl^l, cf. No. 5, 1. I, n. 

1. 28. ^ei^ a courageous interjection often found in the Nibe- 
lungenlied, 

1. 30. tior bett $ei:$Og« Notice the force of the acc. after t)Or, 
and cf. 1. 37. 

1. 33« @ttC^ ♦ ♦ ♦ P ^ait!, acceptably, to your satisfaction, 

1. 34. frattf, free; a. poetic word from Romance sources. Notice 
the archaic post-position of the adj. 

1. 40. frontntett, in the older sense of valiant^ as in the 
Nibelungenlied. 

1. 41. The Song of Roland^ a heroic Norman poem, is extant. 

1. 43. ä)lattnett^ feudal vassals. 

1. 52. 4^ata(b^ I/arold, leader of the Anglo-Saxons at the battle 
of Hastings, 1066. 

1. 54. ©esettr for 3cft. 

This spirited poem shows the infiuence of U bland and of English 
ballads (cf. No. 86). 

From 1 230 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 AAnensenes, 



Sei. 48J NOTES 183 

Die Brüder vom deutschen Hause and Marcus Könige are largely 
concerned with the fortunes of this Organization. 

1. I. tiom ^^^\f a proper name, lit., of the hilL 

1. 7. bettJ^eiUgeit Äcll^^ the communion cup. 

1. 25. The Chief badge of the Teutonic Order was a long white 
mantle bearing a black cross. 

1. 28. SÜatter^ the Lithuanians, Slavonic inhabitants of the 
East-Prussian region and the adjacent part of Russia. 

1. 65. bic ^tWXtXf their chargers, 

1. 70. Äilf, after. 

48. Sttbireai^ $iifer 

Written 1831. 

In 1809 the sturdy, free-spirited peasants of th Tyrol, the 
" Austrian Switzerland," set up a homely, populär revolution, in 
Order to free themselves from allegiance to Bayaria, to which 
country they had been arbitrarily annexed by Napoleon Bonaparte. 
Their chief leader was Andreas Höf er, 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* Sf^^'^^l^df ^ mountain near Innsbruck. In a battle here 
the patriots had severely defeated the Bavarians and their French 
allies in April 1809. 

1.16. feftett, strongly fortified, Mantua was an impregnable 
military center at this time. 

1. 20. beittffi^ett Oieifi^* 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 effeta 
See James Bryce*s excellent book, The Holy Roman Empire, 



184 LYRICS AND BALLADS [Sel.49-ß0 

11. 22-23. I^e drummer can make no headway in beating the 
death-march. Xamhont, dat. of reference. 
1. 30. Uli, South-German for nifl^t 

49. ^m» (Snltt 

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. ttliirb . ♦ ♦ fein, is probably, 

1. 4. (ocfet^ lit, "porous," trans., lighU 

L 7. tior 9!Ronbett^ months ago, 

1. 14. should be preceded by fonbem, understood. beffeit, ttofftr 
ifi^ fhritt, thatfor which Ifought^ i.e., my fatherland. 

1. 15. ^Ctt Sal^el^ {hand me) my saberl Cf. Hermann und 
Dorothea^ ix, 31 3-31 4 J 

Unb brolden biedmol bie ^inbe, 
Ober fünfttQ/ fo ruße mic^ felbfl unb reiche bie Söoffen. 

1. 19. Notice that the manly foe refuses to take the unfair 
advantage over Hans which his position would allow. 

1. 23. seigeit, i.e., through their rifts. So in Wilhelm Teil, 

11. 31-36; 

Unb unter ben Öfüfecn ein neblicfttcS 30lcer, 
(Srfeunt er bie @täbte ber SJienfc^en nic^t meljit ; 
5Dur(^ ben 9life nur ber SBolfen 
erblidt er bie Söelt, 
Sief unter ben aBajfern 
2)ad grünenbe ^Ib. 

1. 28. ber tiitVL XxtVLt (^t\% the spirit of the old-time loyalty, 
1. 33. $a»fctt, dat. of reference. 

50* @$ebet oftl^rettb ber Sfi^lail^t 

Written in the early summer of 1813, in a pocket diary which 
the heroic young author, who was a member of Lützow*s celebrated 



Sei. 51-63] 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. Peschers Theodor Körnet' s Tagebuch, Freiburg, 1893. The 
poem was admirably set to music by Körner's personal friend Carl 
Maria von Weber; another setting by Himmel (181 3) is very 
populär. 

51. 9{eUeri^ ^I^orgengefang 

A part of this favorite song appeared in Hauff's novel, Lichten- 
stein, published in 1826. 

1. 14. VXXi in this line is often popularly changed to XoXt. ^tnrpttt 
regularly means in German the color of fresh blood, "cardinal red." 

1. 17. ^üg^ ifj^ VXVSs^f I submit, "accommodate myself." 

52. gieUerUeb 

Written 1841. Cf. Stedman*s Cavalry Song in Alice of Mon' 
mouth, 

1. 10. ^BÜfnäf i.e., of the wine brought by the SBlrtin, 1. 5. WH& 
^(i)Wtxi bie $attb, the old German way of taking an oath. 

1. 13. bctt joeitett, sc. @d^Iud^ 
1. 15. tiom l^eirüeit (iBem). 

1. 16. Ürittg^ iJ^^ä^f shall I drink the toast 

1. 17. rümifii^ iSitv&i^ cf. No. 48, l. 20, n. 
53. ^ie ©ircticbietre 

Written in 181 9. This celebrated bailad 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. i). 

1. 3» Qttarticr, quarters, 

1. 7« bai^ grO^C $ecr, the Grand Army. 



186 LYRICS AND BALLADS LSel.54^«5 

I. lo. tonflll, redundant. Cf. No. 5, 1. i, n. 

1. 13. ^a& ßieb ift an», all is over. 

II. 17-19. Borrowed by Heine from the old Scotch ballad 
Edward, as translated by Herder : 

IXnb toaS foQ toerben betn SBetb nnb j^inb, 

aBann bu ßd^jl übet SRccr ? — D ! 
Sie SBcIt ijl grofe, lafe fie betticn brin, . . . 

34 fcV ii< nimmctrac^jr — D ! 

1. 17. ^^^ Wert miftl^ what do Icarefor. 

1. 25. ©l^rettfreit^, cross of the Legion of Honor. 

1. 28. ttm, prefix with gürt'. 

54. ^er ä^ai ift gefommeit 

In the style of the Volkslied, with many motives (spring, wan- 
deringy farewell, the sweetheart, the linden , the lark, the inn, etc.) 
from the same source. Sung every where to a populär melody. 

1. I. fftflageit mi5, blossom out, 

1. 4* fte^t « «. * ber @iitit, sc. gu manbem. 

1. 13. lt%X* ♦ ♦ . eitl, cf. No. 14, Title, n. 

1. 14. tarnte, pitcher or jug, 

1. 16. Stebel, populär diminutive of Sieb. 

1. 19. rouffltt mifi^ ein, lulU me to sleep with its tnurmur, Cf. No. 
42, 1. 20, n. 

1. 20. fiffet * « • tltifl^ toaii^, wakes me with a kiss, 

1. 22. Note the force of the acc. 

55. ^anberlieb 

Cf. the preceding poem. 

I. I. SBolfllllltf, an interjection of encouragement : Comel 

II. 1-2. ItQCl^ ♦ ♦ ♦ SBeitt, Drink once more the sparkling wine! 
The past participle used as a stronger imperative of ten takes a 
direct obj. in the acc. 

1. 4. Supply ed as impersonal subject. 

1. 7. The impersonal constrnction conveys the highly poetical 
idea of a vague, mysterious impelling force, which irresistibly 
drives its object to wandering. 



Sel.56-Ö9] NOTES 187 

1. 9. ^ie Sonne, pC, the repetition of the subj. by a personal 
pronoun is quite characteristic of populär style ; cf . 11. 1 5, 33, and 
37, and Psalms^ xxiii, 4 : " thy rod and thy sta£E they comfort me." 

1. 31. @fc, obj. 

1. 36. ^er iBieÜe, dat. of reference. 

56. Senjfa^rt 

1. 2. $(nf finittt ber @ee. For emphatic positlon of the prefix, 
cf. No. 8, 1. 8. 

1. 4. mie @ege(brang, Uke the tension of a sail. 

1. 6. nerfSnntt, sc. i^at 

1. 10. einer em^gen Sel^nfnii^t §ort, a source (lit. "treasure**) of 

endless yeaming, 

1. 12. VX einem fort, conünually. 

57* ^er frol^e SBanberiSntann 

Written 1823. Eichendorff put this song into the mouth of the 
" Taugenichts^^ a young lad leaving home in an irresponsible f ashion 
to seek his fortune in the great world. 

1. 3. S9$nnber, marveh, miracles, 

1. 9. = 3)ic ^öc^Icln f^jrlngcn öon ben S3crgcm 

1. II. SBaiS = ttjarum. 

1. 13. I leave the govemment of the universe to God, 
1. 16. Hos also provided for my welfare in the best way, 

58. ^n ben (Sonnenfil^ein 

In Reinick's Lieder ^ 1844. Set to music by Schumann (op. 36, 
no. 4). 

1. 14. bn^ * * ♦ fl^if^f ^^^ would never do in my case. 

59. ä^är^enminb 

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 [Sei. 60-66 

1. 2. SBi«b, for bcr Sßlnb, 

1. 14. fteig' timitthvtin, cHmb over afier it. 

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 ürst stanza is in the mouth of the lad mentioned in stanza 2. 

1. 6. il^r Sftger^ her hunting-atUndant. 

1. 19. fo ttlttnttignc^, (medieval) in such a blissful (**smitten") 
way, 

1. 22. nerguitttt, arch. for öcrgönnt. 

6L aSer ift ber ©rfle? 

Published in the same coUection with No. 59. 
1. 13. ttiai? flli^ ♦ ♦ . rül^rt, whatever has motion. 
1. 20. Jttm ®cicr fttficf en, " send to the deuce:' 
1. 29. ber, relative pron. 

62. ä^eitte Heimat 

1. 3. flar, bleak, 

63. ^t\\i btt nnfti? 
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. Sm ttmnbeffd^dnett 9Ronat ä^ai 

Published 1827 as a preface to the Lyrisches Intermezzo^ a cycle 
of poems describing the growth and wreck of a love-passion. 
Cf. No. 25, n. Set to music very effectively by Schumann (op. 48, 
no. i). 

1. 4. mtf gegattgeitr blossomed out, 

65. Seife ^\z\i btttd^ meitt @$emüt 

Published 1831. This graceful and melodious spring-song was 



Sei. 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. iii^ lafP jle grftf eil, I send kergreeting, 

66. Uitb mü^tett^S bie S3(ninett, bie Heinett 

Published 1822. Included in the Lyrisches Intermezzo cycle, 
mentioned under No. 64. Dramatic musical setting by Schumann 
(op. 48, no. 8). 

1. I. A conditional clause. 

1.2. Sc. fei. 

1. 9. fle, anticipates the true subj., ©terticlclu. 

67* Wi etttettt getttaltett ^aitb 

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 feil 
in love during his student-life in Strasburg. In his Autobiography 
(Book xi) he says : ** During the time that I had to be absent f rom 
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 f ew 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. auf, connects ©trcuctt directly with S3anb* 

1. 12. gettitttg^ for genug. 

1. 13. ^iil^Ie, imperative. 

68. £) aeb\ fo lang btt Uebett fattttft! 

Written 1831. 

1. 7. eilt attber ^eirj, poetical archaic Omission of *t% in neut. 
adj. 



190 LYRICS AND BALLADS [861.69-72 

1. 26. totitxtf in third pers., because the personal pron. is not in* 
serted after the relative ber. 

69. m^ttt niäit haxanl 

W ritten 1842 or 1843 

70. Sie tiaUn mid^ geqnälet 

Written 1822, and included in the Lyrisches Intermezzo (cf. 
No. 64, n.). The indifiference of Amalie Heine to the young poet's 
love fumishes the point to the epigrammatic tum in the third 
stanza. 

1. I. @tc, theyy people in general. 

I. 2. Iiloit Uttb Üla^ (in the predicate) ; lit., "they have tormented 
me to lividness and pallor/' a humorous extension of the familiär 
expression braun unb blau fd^Iagcn, to beat black and blue. 

71. %a» Sfi^lnf am ä^eete 

Written 1805. This dramatic poem, cast in the form of a dia- 
logue between two travellers, has the abrupt beginning so common 
in the Volkslied^ and shows the influenae 'of Uhland's study of 
Scandinavian literature. It is an excellent example of a musical 
expression of two moods by the aid of natural accessories. 
Translated by Longf ellow : 

Hast thou Seen that lordly Castle, 
That Castle by the Sea? 

II. 3-4. Oel^eu ♦ ♦ . brÜÜer ^er, comefloaüng across abave it, 

11. 5-6. // would fain stoop down into the water s, clear as a mir' 
ror. The picture is that of the lengthened reflection in water. 
1. 26. bar, for bal^er, aiong, 

72. S^iiteta 

Written 1825. In the populär legend, the proud city of Vineta 
lies sunken in the Baltic sea, between the Island of Rügen and the 
mainland, and many a fisherman has caught glimpses of its re- 
flected 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 



Sei. 73-75] NOTES 191 

is left to the reader to draw the comparison : the first three stanzas 
give the material scene, the last three the play of fancy. Professor 
Max Müller, the distinguished son of the poet, calls Vineta " the 
highest point reached by his poetry." It is quoted in Heiners 
Reisebilder {Die Nordsee^ 1826). Translated by J. A. Froude {Cos- 
mopolisy iv, 631) and by the present editor in the Methodist Review, 
July, 1895. Set to music by Brahms for a six-voiced Choracapella 
(op. 42, no. 2). 

I. X. d^mnbe, depths. 

73. Stttiritt 

Written 1825, on the Island of Nordemey. Heine brought the 
sea, especially the North Sea, into German poetry. The "dithy- 
rambic " metrical form had been earlier developed by Goethe and 
Tieck, in imitation of the rhapsodic ödes of Pindar. It is used by 
Heine very effectively in reproducing the motion and color of a 
marine scene. 

II. 11-12. Venus, the mother of Cupid, was bom from the 
waves of the sea. 

11. 30-39. Possibly an allusion to the mother in the patlietic 
Scotch ballad Edward (see Percy*s Reliques), Cf. No. 53, 11. 17- 
19, n. 

74. @eemorgeit 

Written 1832 or 1833, in connection with the author's joumey to 
America, the chief result of which was a distorted account of Amer- 
ican national character and civilization which is still potent in 
keeping up strong prejudices in Germany. It would be hard to 
find a poem which better portrays the invigorating, refreshing play. 
of sea, breeze, and sunshine. 

1. 6. toie ♦ . . aitfi^, however much. 

1. 14. ®cHlirü^% spray, 

1* 15* Sti^lillttb^ rainbow-streamer, 

75. Xwft 

Written about 1852, and addressed to the poet's wife. 
1. I. ttiaiS ba, whatever. 



192 LYRICS AND BALLADS [Sei. 76-80 

76^ «uf ber ÜBerfa^rt 

Written 1823. The reminiscences which underlie this reflective 
poem came to Uhland while being ferried across the Neckar near 
Tübingen. The translation by C. T. Brooks is familiär. 

1. 1. tiw Salären, years ago, 

1. 6. 5)lieett, 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. 

11. %\t @tabt 

One of Storm's earlier poems, an affectionate reminiscence ot 
the little town of Husum in Schleswig, near the North Sea, where 
he was bom, and where he passed much of his life. 

1. 13. für ttltb für, conHnually, 

78. 9n meine a^ittteir S3. $eine 

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. gfftr metite ^l\xt 

Written about 1851. 

1. I. l^el^le ♦ . . mit, conceaL 

1. 4. Maüh., vii, 6. 

1. 6. jttseiten, at times. 

1. 8. ©olbne, worth their weight in gold, 

-1. II. fieutfeligfeitett, dat. of reference with Söegetu 

1. 20, (£amere=9)'2afl^ett, pushing ahead in the world, 
1. 22. Cf. Exodus^ xxxii, 1-19. 

80. mtvxtx ^oc^iter 

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. $7-68. 

1.x. XtfXiXtt ^V^tf nothing but silks. 



Sei. 81-82] NOTES 193 

81* @))rüfl^e unb ^inttgeb^te 

The Germans have always been fond of proverbial rimes, mak- 
ing large use of them even in the decoration of buildings ^nd 
domestic objects. German literature offers an unusual amount of 
good didactic verse : the most typical epigram matic poet is Fried- 
rich von Logau (1604-165 5), who published more than 3000 short 
sententious poems. 

1. 6. This epigram, as well as the foUowing, is very familiär in 
Longfellow's translation. 

I. 7. 9h, for obttJOl^I, although, 

II. lo-ii. Cf. C. F. Weisse's DerAufschub (1772): 

2Ber ntc^t fortael^t, a^^t ^urüdfe, 

and Goethe*s Hermann und Dorothea^ III, 65-66: 

einmal für aUcmal fltit baS xoa^xt St)rü(i^tcin ber ^Iten: 
*SSBcr nit^t tiortoörtS öc^t, bcr fommt gurürfe!' ©0 bleibt eS. 

11. 20-21. Sometimes attributed to Schiller; it appeared for the 
first time in a group headed „^xntx," and signed „®, unb ©.,'' in 
the Musenalmanach for 1797, to which the poet-friends contributed 
many epigrams which they had worked out together, 

1. 22. Srüge = Id^ trüge. 

1. 33. ^Oftoren, scholars, holders of leamed degrees* 
1. 34. Cf. Luther's remark, " A great scholar must always remain 
a pupil,*' and I Cpr.^ viii, 2. 
1. 54» bClt %\iZXif the ancients, 
1. 56. ^oUtiff the science of govemment 
1. 77* Ü«5eirci^ett6are ^onfequen$en, incalculabU consequences. 

THIRD PART 

82» ^cr Sänger 

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 rüder 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 [Sei. 88 

not unlike that set forth by Kenyon Cox in The Gospel of Art 
(The Century Magazine, 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 

U. 8-Z4. The words of the minstrel. 

1. 17. fC^iatttCtt mutig brciu, 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. And the fair ones gazed into their laps, i.e., overcome with 
modest embarrassment at the praise of beauty in the lyric pas- 
sages. 

1. 2Z. l^oleit* Some editors read reid^ett, following the edition 
of 1827. 

1. 28. Jtt anbent fiaften, in addiüon to his other heavy burdens 
(of responsibility for the State). 

83. %t^ @ängeti$ %\vi^ 

Written 1814. Cf. the Situation in the preceding bailad. 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 
populär 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. Sanbe, a more stately form than l^ätlber. 

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. ^0», 
in the medieval sense of song. 

II. 25-28. Much admired is this epitome of the scope of min- 



Sei. 841 NOTES 195 

strelsy : the last two lines refer to the lyric and epic elements, as 
mentioned in the preceding bailad, 11. 17-18. 

1. 38. Hertdfl^elt, breathed his lastgasp, 

1. 42. attcr Warfen ^retö, the most excelUnt of all harps. 

1. 46. @aite, the sound of stringed instruments. 

1. 47. Note the alliteration. 

1. 60. Ü(er S^aii^i, in a night. 

1. 64. Cf. the end of the Nibelungenlied: 

ßier ^at bie ^Rftr ein (Snbe : ba9 i|l baS 9libelunaenUeb. (Simrodc) 

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 bailad shows some influence of 
Goethe's Der Sänger^ No. 82. BeautifuUy set to music by Karl 
Loewe. 

Stanza z. Conceming 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 aimost a prescriptive hold upon 
the imperial crown from the days of Rudolph of Hapsburg (reigned 
1 273-1 291) tili 1806. It originated in Switzerland. 

1. z. ^ail^ettf the seat of Charlemagne's govemment, and place 
where the emperors were often crowned. 

1. 3. l^eUige ^aüfif say, sacred person. 

U. 5-6. The prince Palatinate, one of the electors (Sßäl^Ier), held 
the hereditary office of lord high-steward of the empire, and served 
the emperor at the coronation banquet. ^tx ^'Üf^VXtf the king of 
Bohemia, another of the seven electors. Schiller does not profess 
to observe rigid historical accuracy in the setting of this bailad. 
^Ci5 (lerlenbett SBeiit)^, partitive gen., object of fd^cnftc. 

1. 15. tierber((ifitenv 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. pl. 

1. 16. The so-called Interregrmm (1254-1273) foUowed the fall 
of the house of Hohenstaufen, 



190 LYRICS AND BALLADS [Sei. 81^^ 

1. 23. IQOl^I, concessive. 

1. 36. ber a^inne @0Jb, the rewards cf love, 

U. 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 
Lehrjahrey Book I, eh. 14: 

Du fü^lfl ni(^t, ba| in ben aßenfc^en ein bejfercr gfunfe lebt, bct, ^x^Xi er 
feine 9la^rung erhält, menn er ni4>t oereat koirb, bon ber ^fd^ tOaHc^ aSebfirf» 
niffe unb (i^Ieic^a&Itiafeit tiefer bebedt unb bo(( fo ftiftt unb faß nie erßidt tt)irb. 

1. 50. fll^ncf Cn, had lain äormant 

1.53. 2öetb»er! = blc 3agb. 

1. 59- beut £ei( bei^ $emt, the host, corpus ChristL 

L 63. glauBigem, more often gläubigem* 

1. 83. fcitt^ gen., direct obj. of begehrt 

!• 99- 3» ßc^C« ^<^^f holdinfee. 

85. %vA @rab im Snfeitto 

Written 1820. Alaric (bom 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- llltt bie ^t\Xt^ in emulation. 

1. 12. ^tromgettläli^fe, aquatic plants. 

1. 14. Seite« Notice the force of the acc. 

86. ^rii^i^alb ^ouglai» 

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 bailad, 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- 



Sei. 87] NOTES 197 

rived from a fine emotional ballad, Archie o^ Kilspindie^ in Finlay's 
Scottish Historical and Romantic Balladsy Edinburgh, 1808, vol. ii, 
pp. 117 ff., 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 dean 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 bailad is sung to a fine composition by Loewe. 

U. ax-22. Notice the free word-order, characteristic of the 
ballad-style. 

1. 42. S^ogeQerb, fowHng^floor; a Square place out of doors, 
where birds are caught with a net. 

1, 67. ffi^ier, well-nigh, A different word in origin from the 
adj. fll^ier, pure. (See Kluge's Etymologisches Wörterbuch^ 

Published 1779. '^c theme of this bailad 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 Teil, 

1. 4. Enjoying a sense of coolness which penetrated to the very 
Center of his souL 

1- 13. 8fifc^|(eitt, dat., depending upon ttJOl^Itg. 

1. 14. auf beut @f1tnb, in the depths, 

U. 17-18. The old idea that the sun and moon set and rise in 
the ocean. 

U. Z9-20. Do not their faces retum doubly beautiful, breathing 
forth the moisture of the wavesf Cf. C. Whitehead*s Nighty 

And now the Moon, bursting her watery prison, 

Heaves her füll orb into the azure clear. 
Pale witness, from the slumbering sea new-risen, 

To glorify the landscape far and near. 

1. 22. baiS feuc^tberflävte ^(ait, a blue which is made more 
glorious by being reflected in a moist medium. 



198 LYRICS AND liALLADS [Sei. 88-» 

1. 24. in, for in bcn. %m, motsture, 

1. 30. HisfaU was setüed; it was all over with htm» 

88. ^aS %\M tiou (Sbenlian 

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 
fazuily, bearing this inscription: 

If this cup shall break or fall, 
Farewell the Luck of EdenhalL 

The original legend is treated very f reely by the German poet. 
1. 2. %x9mmtitn\a^a% poetical for ^^rompetenfd^aQ. 
L 5. Sc. tommt. 

1. II. ^ew ©Jos? awir ^ei^, in honor of the glass. 
1. 12. IRotCtt, sc. Söcin. Cf. No. 52, 1. 15. 
1. 14. <lttr<lttnt(cS), ruddy. 
1. 25. @togt an, clink theglasses together. 
U. 31-32. These lines are spoken contemptuously. 
1- 31« 3WW ^^XiZf as its pre Server. 

1. 41. Note the heightened dramatic force secured by placing 
the prefiz at the beginning of the line. Cf. No. 8, 1. 8. 

89. ^cr 2:ottil^cr 

Written 1797. Schiller*s first bailad 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 fif. : 

Sadly we saiied 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; 



Sei. 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, feil 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. ^üp^, squire, a noble youth undergoing apprenticeship 
for knighthood. 

1. IX. ^tl^tX^it, valiantone. 

1. ai. ß^or, cf. No. 43, 1. 124, n. 

I. 27. bie äBaffer, acc, obj. of lüicbcrgab, fd^Iaitg, had swallowed 
(in the preceding funnel-like motion). 

II. 28-36 are famous for their descriptive sounds. 

1. 43. S3vanbuttg refers to the recurring upward motion. 

I. 48. mimiter, in the South German sense = nid^t mcl^r, 

II. 55-64. Remarks of the bystanders, who, like the chonis in 
the Greek drama, comment upon acts and motives. 

1. 58. Sc. t^f impersonal. 

1. 62. gft]^, headlong; more often jäl^» 

1. 64. alleiS, obj. of t)etfd|(ingenbeiu 

1. 74. Notice the vague and poetic use of the impers. e8, imply- 
ing something not yet clearly distinguishable ; the employment of 
this constniction throughout the ballad shows conscious artistic 
purpose, and should be noted in every case. 

I. XIX. lit., "and although (ob . . * gleiä^) it slumbered here 
etemally to the ear " ; Xx2J\&,yalthough an etemal sUllness reignedhere, 

II. XX7-XX8. 9{o4e, thomback; ^(i^^ettftfc^, a fish of fantastic 
form and coloring, which f requents reef s ; ^amittet, hammerhead- 
shark, For pictures of the three fishes mentioned, see the Century 
Dictionary under the titles, "thomback," " Chaetodontidae," and 
"hammerhead." 

1. X2I. ei$, acc. (historically a gen.), object after bekougt 
1. 123. fiartoeit, monsters, specters, 
1- 130' 3*^*Ör 21CC., obj. of laff ic§ to8. 

1. I33» WiWf exceedingly\ from the adj. ftj^icr, ^pure^ *mere*; 
cf. No. 86, 1. 67, n. 



200 LYRICS AND BALLADS [Sei. 90-93 

1. X43. belüften, Infinitive, used as verbal noun. 
1. 156. Ottf Scbctt ttttt) Sterlett, for Hfe or death. 

I. 162. Notice the artistic shortening of the line, to express the 
hopelessness of watching for the diver 's return. 

90» Äeiite Sinefitre 

Contained in the Lieder eines Erwachenden^ 1854. 

II. 17-20. A reference to the preceding bailad, Schiiler's Der 
Taucher. 

91. SeiH^t %t)^U 

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* 93Snber , . . ^)^^V(,^t% ribbam and bracelets, 

1. 39. lattfett, go its way, 

92. ^ie brei ^igettneir 

Published 1838. Lenau's pictures of Hungarian life are füll of 
rieh local color, and may be compared with Liszt's corresponding 
musical compositions. 

1. 14. 3iin^^l = ©ßrfcbrctt, dulcimer, a four-sided stringed In- 
strument, now only used by Hungarian musicians. The strings ate 
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" (Monteßascone) 
Stands near the border of the Lake of Bolsena, about sixty miles 
north west 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 : 

Estj Esty Est. Propter nimium est, 
Johannes de Fug.^ D. meusj mortuus est. 



Sei. 94] NOTES 201 

The explanation of this inscription is given in our " romance." 
Longfellow describes his visit to the placie in Ouire 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 sjab Jn the pavement, worn by the footsteps of 
pilgrims like myself, Covers the dominie's ashes. There is a rüde 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. Oft account of too much *^ Est Est** my master came to 
his death, 

1. 10. Sd^Iunb, guiiet 

1. 13. WClfd^Cn, Italian, 

1. 23. 92eft, often used contemptuously of a small or insignificant 
place. 

L 43. A humorous paraphrase of Caesar's " Veni^ vidi, vici** 

1. 49* ÄoftCWCitt, samplet of wines. 

1. 51. Insignia of nobility. 

1. 61. I extol your repose as blessed, 

1. 68. %z\% particularly the "invisible spirit of wine," but also 
humorously in contrast with Selb. 

1. 69. The collective expression, ttjaö trinft, gives a humorous 
touch: "the whole crowd of drinkers." 

1. 81. ftttgen eitt)^, to sing a {song\ cognate acc. Similar expres- 
sions are: etn^ auffptelett, eind blafen, ein@ yt^tn, eind !üffett 
(Goethe's Christel), etc. 

1. 84. im 9lef5t = im ©rabc» 

94. »bff^ieb 

W ritten 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. bratt^en, i.e. outside the sacred shelter of the forest. 

1. 20. Sc. ifi. 



202 LYRICS AND BALLADS [Sel.dB-87 

95. gfrü^Uitgi^gtottbe 

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. 1. Unbeit, mild. 

1. 3- «tt attetl @nben, everywkere. 

1. 6. toenben, change^ take a tum (for the better). 

1. IG. Many of the side-valleys leading to the Neckar near 
Tübingen are almost filled with masses of fruit-blossoms in the 
spring-time. 

1. XI. CUtOl, gen., obj. of öcrglß, by older usage. 

96. ^n ben a^oitb 

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 äff ection (Büchner in Preussische Jahrbücher^ . 
Ixxxiii, 181-192). The poet must be thought of as Walking alone 
in the silent night on the meadows by the river Um, near' Weimar. 
The gentle elegiac melody of this poem is universally admired. 
Heinemann calis these yerses " the crown of Goethe's poetry, and 
therefore of all German poetry." {Goethcy i, 360.) 

1. I. Sc. bu before füUcfl. 

1. 10. 3froJj* uitb trüber = grol^cr unb trüber. 

97. melaibe 

Written between 1787 and 1793. Metrically, an adaptation of 
the Sapphic stanza of Horace. As used here, the form is : 
— w — >-'N-/ — N-' — w — ^(3 times) 

The poem is best known from the masterly and deeply passionate 
song-setting by Beethoven (op. 46). 

Title, ^belaibe, to be pronounced in five syllables, with the 
Chief accent on the penult : A-de-la-i-de. 

1. I. gfreunb, (as often), lover, 

1. zo. ^ilberglöcfd^ett bei^ ^atö, lUies of the valley. 

1. 14. 9fc6e, dat. of Separation after etttblü^t 



Sel.9&-102] NOTES 203 

98. (Sin ^^itnhanm ftett etttfam 

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 Bums. 

!• 3« 3^« fd^Iäfert, it becomes drowsy (impers.). 

99* ^n meine @ee(e, bu mein ^erj 

Written 1821. From a cycle of poems, 77te Springtide of 
Love^ addressed to Luise Fischer, whom Rückert married in 1821, 
aud with whom he lived in ideal happiness until her death in 1857. 

1. 10. Your glance has transfigured me in my own eyes. 

1. Z2. 3di, as neuter noun, = selfy Personality. Thus in 
Goethe's Wilhelm Meisters Lehrjahre: ,,ba8 beffcrc 3d^ in un8" 
(Book ii, eh. 1 1). 

100. «n bie ©ntfemte 

Written before 1789. Von Loeper believes that it was addressed 
to Frau von Stein. 

101. en^äferiS magelieb 

Written about 1802. In the simple, artless tone of the Volks- 
lied^ an unsurpassed phrasing of the half-dazed melancholy of one 
who remembers fondly the vanished happiness of love. 

1. 15. Sl^Üre, of the home of his beloved one. 

1. 17. Even the rainbow has no encouraging suggestions for 
him. 

1. 23. Sc. @cl|t! 

102. 92ail4 altbetttfd^er 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. fttWer, say, bitter. 



204 LYRICS AND BALLADS (Sei. 103-lOB 

1. 7. If (@o) a bud has beert given thee. ttiaiS^ medieval form f or 
koar* 

1. II. bie 92ail4t barauf, during the following night 

1. 16. ad^t Bretter, i.e., the coffin. Similarly, in Bürger's 

Lenore : 

gSaq* an, wo ijl bcin Äämmerlein ? 

2Bo ? ttic bein ^ocftgeitbettÄcn ?* — 

»SBeit, tDcit öon ^icr ! . . . ©tili, füftl unb flcin ! . . . 

@e((8 adretter unb gmei 9rett((en!' 

1. 21. ttttiSeiitanbergeltit, /^r^. 

103. ^aiS ift im £eben ^ä^l^ eingetid^tet 

This best-known of Scheffers 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 Säkkin- 
gen^ published 1853. It is sung everywhere to Nessler's senti- 
mental musical setting. 

1. 7. Sc^ÜCt, South German for ©c^ütc. 

1. 8. ei5 ^at ttidftt f Ottctl fein, it was not destined to be, 

1. 22. %ttntnf arch. for 2:reue (dat. smg.). 

104. ^er @(att(e ber gfreuttbfd^oft 

Written about 1850; has relation to the poet*s youthful friend- 
ships in Munich. The chief idea is that faith begins only where 
absolute certainty ends. 

1. 3- S3rottttCtt = ©runncn. Cf. No. 46, 1. 6, n. 

105. SttiS alten aRStd^en ttiittft t» 

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 ^* conf ession " of Heiners 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. 



Sei. 106-108] NOTES 205 

1. I. Front out of old tales something beckons, The impersonal 
constniction is highly poetic. Cf. No. 89, 1. 74, n. 

106. %ti^ ^^U\ S3ottcottrt 

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. 1. I dream my seif back into childhood, 

1. 12. bett ^Urgl^of l^iuatt, up the courtyard of the casüe, 

1. 21. umfloirt^ veiled {yi\\}a. emotion); adj. with SlugciU 

U. 23-24. tQie * * • aud^, however^ qualifying ^eU. 

1. 30. VXX% softencd, 

1. 33. Notice unusual and emphatic position of the prefiz auf* 

107. ^enifiiie @ef|>ciifiter 

In Gedichte^ 1888. The author, who lives in Florence, gives 
here, with Photographie accuracy of detail, reminiscences of her 
early home in Tübingen. Cf. note to No. 3. 

1. 19. ^en^toeg, a path containing *<stations of the cross/' at 
which devotions are performed by religious pilgrims. 

108. 3mgit4)it 

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 yeaming 
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 
TVie Function of the Poet (The Century 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 [Sei. 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 : „®ani Italien Ifl barin gcjc^il* 
hext, aber mit bcn fcufgcnbcn garbcn bcr ©cj^nfud^t." {Reisebilder^ 
iii, I, eh. 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, eh. i) Goethe 
gives an aecount of the way in whieh the song was rendered : 

She began each verse in a stately and dignified way, as though she 
would call attention to somethlng unusual, as though she wished to express 
something important. At each third line her voice became more veiled 
and melancholy. The words ^^Äcnnfl bu c§ rool^l?* she expressed myste- 
riously and doubtfuUy. In „^al^in! ^al^tn !' there was an irresistible 
yearning, and her „ßa§ un3 gicl^n!* was repeated with such variety that 
it was at one time beseeching and urgent, at another time impelling and 
alluring. 

I. 4. frttt, because too low to be swayed by the breeze. 
1.5. Äeaitftbttei^ttloJjJ? Thouknowestit,perchancei 

II. 9-10. Macaulay said, *' I know no two lines in the world 
which I would sooner have written than those" (Trevelyan, Life 
of MacaiUayy ii, 26). 

1. 16. t^ ftftr^t .1^ ^tö^ i*e., the rock has a precipitous descent 
(2lb|hxr3). 

109. 3it ber ^iftina 

The Sistine chapel in the Vatican {Cappella SisHnd)^ erected 
under Pope Sixtus IV., was decorated with grandiose Biblieal fres- 
coes by Michael Angelo, beginning in 1 508. They have been called 
"the culminating efiEort of all modern art." The rugged, heroic 
Personality of Michael Angelo was very sympathetic to Meyer. 

1. I. ^iftitte, German form for ©iftina. 

1. 8. fd^ier, almost; cf. No. 86, 1. 67, n. 

1. 9« @cin, Being, 

1. zo. Five frescoes of the creation contain the figure of God. 

110. D btt, bor bem bie stürme fd^toeigen 

In Neue GedichU, 1856. 



Sei. 111-112] NOTES 207 

1. 3. a« eigen, for tkine otun, 

1. 6. etttfUfltt, enkindled; a favorite word with modern poets 
since Platen, who probably invented it as a two-syllabled Substitute 
for the usual ongefod^t 

1. II. 3Rtitlte, the medieval poetic word for romantic love. 

111. ^aitbmiS 9^ail^meb 

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 Longf ellow's ; he also 
translated @in %\t\^t%f which foUows. 

1. 1. 2)etr bii = O bu, ber bii. 3)u refers to grlcbc, 1. 7. 

@iit ^(eiil^eiS 

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 half a Century before, and said with tears : ,,3a, toorte 
nur, iiolbe ru^efl bu aud^ V* Schubert and Schumann have written 
notable settings to this perfect poem. 

1. I. ©i^lfeltt, hill-tops, 

1. 3. SS^iWel«, tree-tops. 

1. 7. Iialbe, arch. for \i(sS^, 

112. $airfeitf))ie(ev 

Published 1795. The song of the aged harper in Wilhelm Meis- 
ters Lehrjahrey 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 Thebaide: « Voilä de ces grands dieux la supreme justice, 
Jusques au bord du crime ils conduisent nos pas. Ils nous le fönt 
commettre et ne Vexcusent pas.y> 

Goethe was gratified to learn that Queen Luise of Prussia had 



208 LYRICS AND BALLADS [Sei. 113-711 

gained melancholy consolation from these sad and significant lines 
at the time of Prussia's deepest humiliation, when sbe was com- 
pelled to flee to Königsberg. 

IIB. @ietft btt ha» mttt ? 

Written 1836 or 1837. Set to music by Oscar Meyer. 

114. $oefie 

Not in the Poems of 1834; probably written later. 

1. 4. ein tiefe« Seib, subject. 

115* Ungef)»roil^ite ^oirte 

First published, in less complete form, in Blätter für die Kunst^ 
Berlin, January, 1894. 

1. 5- eine S^etternadttr ie» a summer night, aglow with heat- 
lightning. 

1. 8. ^tü^e, early moming, 

1. z6. boirt, i.e., in the heart. 

116. ^^x^ViSjctVi^ 9htitbgefatt0 

Published 1891, in the fourth part of Thus Spake Zaraihusira^ a 
work füll 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 füll 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 füll expression of its powers 
(Sujl, 1. 8). This desire far outweighs the demand of the suffering 
to be released from their sorrows (1. 9). 

1. 5. tief, unfathomable^ mysterious, 

1. 6. gebadttf sc. ^at 

117. 9Bie rafft' idt midt auf 

Written 1820. Longfellow's translation, under the title Re- 



Seh 118-121] NOTES 209 

morse^ hardly does füll justice to the pensive music of the original. 
The poem doubtless furnished suggestions for The Bridge by 
Longfellow. x 

1. 6. btti^ S^Oir, the gate of the city. 

1. 9* na^m • « * in aii^t, noticed, 

1. 13. entfod^t, cf. No. HO, 1. 6, n. 

1. 14. An allusion to the ancient belief in the "music of the 
spheres." 

1. 18. tanfdtcit^ entlegene, decepHvely remoU. 

1. 21. kietbiraii^t, misused, squandered, 

118. WxA 

Written 1842 or 1843. 

119. Über ein etfinbletn 

This poem exists in several variant forms ; the present tezt 
represents the author's final revision. 
1. I. fein, suitably.full well, 
1. 2. Über ein 8tilnb(ein, öfter one litäe hour. 
1. z6. tätigen, usually tl^örid^teti. 

120. Senbnng 

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 If. B, Also 
Heine's Fortuna, and the tone of Horace, Ödes, iii, 3, 1-8. 

1. 4. Senbnng, one*s " mission,** or especial vocation in lif e. 

1. 22. An allusion to Matthew, xxvi, 39. 

1. 23. ber, He who, 

121. $offnnttg 

Written 1797. 

1. 9. begeiftert. Contemporary editions read bcgeiflert ; for the 
proposed sumptuous edition of his poems Schiller indicated his 
preference for lodCet, which reading has been adopted by some 
modern editors. Cf. the introductory note to No. 43. 



210 LYRICS AND BALLADS [Sei. 121 

1. i6. Cf. the words of „^offtlUtig'' in Goethe's Faust, 11. 

5439-40 : 

@i(l&eTlt4 ed muB ba§ 93efie 
Sraenbioo ju finben fein. 



BIOGRAPHICAL NÖTIGES OF AUTHORS 



Ambrosins, Johanna (Voigt). Born at Lengwethen, East 
Prussia, August 3, 1854. Attended a village school up to her 
eleventh year, af ter 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 ^Ud gu $QU8, Her 
first volume of poems has reached the thirty-seventh edition. 
She lives at Gross- Wersmeninken in East Prussia. 

iWelncr 2:oci^tcr 100 

Angelns Silesins (pseudonym for Johannes Schef&er). Born 
at Breslau, Silesia, 1624; died at Breslau, July 9, 1677. A 
Roman Catholic mystic poet, best known for his collection 
of religious epigrams: (J^crublnifd^er SBanbcr«mann ober 
@clflrcl(^c @ltm* unb ©d^Iußrcimc gur göttlichen SBefd^auIid^felt 
aiilcltcnbc. 

@tc^n ip gurüdfc gcl^n ........... 101 

Banmbach, Rudolf. Born at Kranichfeld, in Thuringia, 
September 28, 1840. Studied natural science at Leipsic, 
Würzburg, and Heidelberg, taught in various Austrian 
schools, resigned this calling, and is now living as author in 
Meiningen. 

SUJärgeniüinb ♦ 80 

2Ber ift bcr erjtc? 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 

PAGB 

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. 

®\ixnd) ■ 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. 181 5-1 81 8 took part in a 
scientific voyage around the world. 181 9 was made custodian 
of the botanical collectlons in Berlin. 

3)a« @c^Io6 SBoncourt • 149 

Clandins, Matthias. Born August 15, 1740^ at Rheinfeld, in 
Holstein; died at Hamburg, January 2i> 1815. From 1771 
he contributed to the periodical 2)er SBönb«bc(fcr ©Otc 
1776 was land-commissioner in Darmstadt; after a few years 
he returned to Wandsbeck, near Hamburg. 

abenblieb . . / 23 

Set bem @rab€ ntclnc» S5otcr« ......... 47 

mo\fiif)m 101 

Dahn, Felix. Born at Hamburg, February 9, 1834; educated 
at Munich, 1863 professor of German law at Würzburg, 
1872 called to Königsberg, and since 1888 professor at the 
university of Breslau. 

2)er ©taube ber greunbf<i(K»ft ♦ • 14^ 

Edward, Georg (pseudonym for Georg Geilfus). Born at 
Giessen, December 13, 1869. Published SBaüaben unb Sieber 
1897. Since 1893 ^^^ ^^^ residing in Chicago. 

Ungef^rod^ne Sorte 156 

Eichendorff, Joseph (Baron). Born at the Castle of Lubowitz, 
in Silesia, March 10, 1788; died November 26, 1857, at 
Neisse. In 1813-1815 he served in the War of Liberation. 
After the war he was govemment counselor at Dantzic and 
Königsberg. In 1831 he went to Berlin as govemment 



BIOGRAPHICAL NÖTIGES OF AUTHORS 213 

PAGB 

counselor in the Ministry of Religion. In 1845' ^^ S^^^ ^P 

public life and retired to his native Lubowitz. 

3lbfd^icb 139 

3)a8 gcrbrot^cnc 9?lnglcin 37 

3)cr fro^c 2öanbcr«mann .....,.•.. 78 

Feuchtersieben, Ernst (Baron). Born at Vienna, April 29, 1806; 
died at Vienna, September 3, 1849. Studied medicine at the 
universlty 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. 

9?ad^ a(tbcuttd)er Seife 146 

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. 1 841-1843 he lived in Leipsic and Dresden, then 
in Berlin, London (185 5-1 859), and again in Berlin. 

Slrd^lbalb 2)ougIa« 117 

Freiligrath, Ferdinand. Born at Detmold, June 17, 1810; died 
at Cannstadt, March 18, 1876. Engaged in business at 
Amsterdam, Brüssels, Zürich, and London; from 1851 he 
lived in London, after 1868 in Stuttgart, where he enjoyed 
the füll use of his leisure, thanks to the generosity of his 
many admirers. 

D lieb', fo lang bultebcnfamtpi • . * 87 

Fulda, Ludwig. Born at Frankfort, July 15, 1862. Studied 
literature, Unguistics, and philosophy at Heidelberg, Leipsic, 
and Berlin. 1884 resided in Munich; 1887 '^^ Frankfort, and 
since 1888 has lived at Berlin. 

^pxVLÖ^ 105 

Geibel, Emanuel. Born at Lübeck, 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 Uterature at the 



214 LYRICS AND BALLADS 

PAGE 

university of Munich. He withdrew in 1868 and spent bis 
remaining years in his native city. 

S)cr Wtai Ijl gefommcn 76 

3)e3 2)cutfd^ritter8 3loc 64 

Hoffnung 27 

3Rut 159 

O bu, öor bcm blc ©türme fd^toelgcn 153 

af^ül^rctnlc^tbaran! 89 

©icl^fi bu ba8 iWccr? 166 

Gerok, Karl von. Born at Vaihingen, in Würtemberg, Jan. 30, 
181 5; died in Stuttgart, January 14, 1890. Studied theology 
at Tübingen, and was a Lutheran pastor from 1849. La,ter 
he was made a court-preacher. 

©crbflgcfü^I 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. 

5ln bcn iWonb 141 

2ln bic (Sntfcmtc 144 

S)a3 55cild^en 36 

S)cr glfc^cr 121 

S)cr Äönlg In Xl^ulc 15 

S)cr @ängcr *. . . 107 

(Sin ©Icid^cg . '. . i 154 

(grinnerung 102 

(griföntg 49 

©arfcnf^tclcr 155 

^clbcnrööleln ♦ 36 

$Wlgnon 151 

$Wtt einem gemalten SBanb . ♦ 86 

©d^äfer« Älagellcb 144 

<Bpvü6)c . . • , 101, 102 

Sanbrer« gfJad^tlleb 154 



BIOGRAPHICAL NÖTIGES OF AUTHORS 215 

FAGB 

Greif, Martin (pseudonym for Friedrich Hermann Frey). Born 
at Speyer, June i8, 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. 

BEcnop^ou ♦ 66 

Grün, 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. 

S)a« 33latt im SBuc^c 46 

Hauff, Wilhelm. Born at Stuttgart, November 29, 1802; died 
there, November 18, 1827. Besides being active as poet and 
novelist, he edited the SWorgcnblatt in Stuttgart. 

9?cttcrö 9)iorgcngefang ........... 71 

©olbatcnltebc ♦ ♦ 44 

Heine, Heinrich. Born at Düsseldorf, probably on Decem- 
ber 13, 1797; died at Paris, February 17, 1856. Studied at 
Bonn, Berlin, and Göttingen. Lived at Hamburg, Berlin, 
and Munich, and after 1831 in Paris, where he died after 
prolonged sufferings. 

5ln meine Wlnttex 53. ©eine 97 

3lu8 alten iWärd^cn toinft e« 148 

SScIfager 11 

S)ic ©renabicre ♦...♦... 73 

S)ie Söattfal^rt nac^ Äcölaar 18 

S)u bifl rate eine 33(ume 36 

ein gld^tenbaum fielet einfain • . • 143 

30^ tüelß nid^t, xoa^ foü eö bcbeutcn 34 

3m tüunbcrfd^bnen aj^onat SOiai » ♦ 85 

?cifc 3icl)t burd^ mein ©cmüt 85 

aJiein ttnb, wir waren Äinber 46 

@lc l^aben midi gequölet ♦ 90 

©türm 93 

Unb wüßten'« ble S3(umcn, bie Keinen 86 



216 LYRICS AND BALLADS 

PAGB 

Herwegh, Georg. Born at Stuttgart, May 31, 181 7; died at 
Lichtenthai, in Baden, April 7, 1875. Studied in Tübingen, 
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. 

Mä^t ®tpad 132 

aicltcrKcb -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. 

Über etil <StünbIcin 160 

Hoffmänn von Fall6rslet>en, 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 
länguage and literature at the university of Breslau, but was 
dfeprived of his position on account of his having published 
poems of radical political tendency. After 1860 he lived at 
Korvei as librarian to the Duke of Ratibor. 

«betiMicb . • • • 22 

Kerner, Justinus. Born at Ludwigsburg, September 18, 1786; 
died at Weinsberg, February 21, 1862. Studied natural 
history at Tübingen, where he was intimately associated 
with Uhland, Gustav Schwab, and other young Swabian 
poets. After 1819 he was district physician at Weinsberg. 

S)cr rcic^flc Sürjl ..♦..•♦♦ 16 

^ocftc ' 156 

SöanberUeb • 76 

Kinkel, Johann Gottfried. Born at Obercassel, near Bonn, 
August II, 181 5; died at Zürich, 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 Zürich. 

«Pctru« 66 



BIOGRAPHICAL NÖTIGES OF AUTHORS 217 

PAGB 

Körner, Theodor. Born at Dresden, September 23, 1 791 ; 
killed near Rosenberg, in Mecklenburg, August 26, 1813. 
He took very active part in the War of Liberation, as a 
member of Lützow's Volunteer Corps. 

®cbet Wäl^rcnb \>ex ©(i^Iac^t 70 

KnrZy Isolde. Born at Stuttgart, December 21, 1853, t^® 
daughter of Hermann Kurz, a well-known author of Würtem- 
berg, who was librarian of the univ^raity of Tübingen. 
Since 1877 she has lived in Florence. 

S>cuttc^e ©cf^cnjlet 150 

®cnDung ♦ 161 

3Leiian, 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 
retumed the next year to Germany, In 1844 he became 
deranged, and spent fais last years in an asylum. 

2)i€ bwi äißcuncr ♦ . 134 

^ecmorgeu ♦ ... 94 

Xilienciioni Detlev von (Baron), Born at Kiel, June 3, 1844. 
Entered Prussian army, and took part in the campaigns of 
1866 and 1870, being wouikdied in each. Is now a retired 
captain, and lives at Altona, near Hamburg. 

2)ie SÄupe fommt 42 

Xogaa, Friedrich von. Born at Brockut, in Silesia, 1604; died 
at Liegnitz, 1655« One of the most celebrated German 
epigrammatists. 

2)ic b€fte Wc^tml 101 

mttii^e mä^t 101 

Hatthisson, Friedrich von. Born at Hohendodeleben, near 
Magdeburg, January 23, 1761; died ^t Wörlitz, March 12, 
1831. Studied in Halle; 1794 cour^ reader to Princess Louise 
of Dessau. Later, director of the theater, and librarian at 
Stuttgart, until 1828. 

2to€laib€ . . • , , 142 



218 LYRICS AND BALLADS 

PAGB 

Meyer, Conrad Ferdinand. Born at Zürich, October ii, 1825; 
died there, November 28, 1898. Studied law, but did not 
enter practice. 1 857-1 858 in France and Italy. Most of 
bis life was spent in bis native city. 

@ln blßt^cn grcubc 39 

3n bcr ©ijiina 152 

Jcngfa^rt 77 

Mörike, Eduard. Born at Ludwigsburg, September 8, 1804; 
died in Stuttgart, June 4, 1 875. 1 834 became pastor at Clever- 
sulzbach, near Heilbronn, then instructor in German liter- 
ature at the Katherinenstift in Stuttgart. 1866 retired from 
active duties. 

@c]^ön»9?o^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. 

3lnbrca3 $ofcr 67 

Müller, Wilhelm. Born at Dessau, October 7, 1 794 ; died there, 
September 30, 1 827. Studied classical and Germanic philoiogy 
at the university of Berlin, and took part in the War of 
Liberation. Teacher and librarian in Dessau until his death. 

5Qncnn)crt 103 

S)cr ©lotfcnguß gu ©rcöteu 1 

2)cr Heine $^briot 7 

2)er rechte Je^mtctpcr 103 

Est EstI 136 

grü^Iingöcinjug 28 

aKorgenlicb 25 

aicc^^t unb ?iebe 103 

^imta 92 

Söunberfc^aft 33 

2Bcm gebührt bic Äronc? 103 

Nietzsche, Friedrich Wilhelm. Born at Röcken, near Lützen, 
October 15, 1844. Studied classical philoiogy in Bonn and 



BIOGRAPHICAL NÖTIGES OF AUTHORS 219 

PAGB 

Leipsic, 1869 assistant professor of classical philology in 
Basel, 1870 Professor, 1879 resigned his chair. 1889 ^is 
mental powers became hopelessly impaired. Died at Weimar, 
August 25, 1900. 

@^rud) * ♦ 105 

3arat^uftra8 9Junbgefang 158 

Platen, August (Count of Platen-Hallermünde). Born at Ans- 
bach, October 24, 1796; died at Syracuse, Sicily, December 
5, 1835. Was trained for court Service in Munich, butspent 
his life after 1826 chiefly in Italy. 

mu unb ^tum 104 

S)a8 @rab Im 33ujcnto 116 

mt rafff ic^ mld) auf 158 

Heinick, Robert. Born at Dantzic, February 22, 1805; died 
in Dresden, February 7, 1852. Trained as a painter in the 
studio of Karl Begas in Berlin, lived iii Düsseldorf until 
1831, in Rome until 1838, and as painter and poet in Dres- 
den until his death. 

Wx bcn @onncnfd^eln 79 

Ääferlicb 41 

Äurlofc ©cfdild^tc 40 

Roqiiette, 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. 

@^ru4 105 

SSeißt bu nod^? . • 84 

Rückert, 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 i^etired to his country estate at Neuses. 

3[uö bcr Sugeubgcit 30 

SBarbaroffa 9 

S)u meine @eele, hn mein $crg 143 

©prüd^c 103,104 



LYRICS AND BALLADS 

PAGB 

Scheffel, Joseph Victor von. Born at Carlsruhe, Febniary i6, 
1826; died there, April 9, 1886. Studied law, but devoted 
himself chiefly to literature. Travelled in Switzerland, France, 
and Italy. At the age of fif ty, 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. 

S)aö ifl im geben ^ägttd^ etngerid^tet 146 

Scherenberg, Ernst. Born at Swmemünde, July 21, 1839. 1858 
entered the Academy of Arts in Berlin. Since 1877 secretary 
of the Chamber of commerce in Elberfeld. 

iWelne ©elmat 83 

From " Poems," 6th ed., Ernst Keils Nachfolger, G. m. b. H., 
Leipzig. 

Schiller, Johann Christoph Friedrich von. Born at Marbach, 
in Würtemberg, 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 Würtemberg. Lived at Mannheim, Leip- 
sie, Dresden, and Weimar. 1789 professor of history in 
Jena. 1799 ^^^^ ^P permanent residence in Weimar. 

2)a« 2)ifltd^on 102 

2)er @raf oon ^aböbiirg ♦ ♦ 112 

S>er ©anbfd^u^ ♦ . ♦ 13 

S)er Zanci^tx ••..•.•...♦...♦ 126 

S)le «ürgjd^aft 60 

greunb unb geinb ♦ 102 

Hoffnung 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 @u(er ♦ ♦ 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 NOTTICES OF AUTHORS 221 

PAGB 

SDte @tabt . • . 97 

ffür meine @5^ttc • \ • • . 99 

3m ©arten *♦•..♦. 106 

Stroft 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 
retuming to Germany from an Italian journey. 

Äeine ©inefure 131 

Sturm, Julius. Born at Köstrifz« July 21, 1816; died at Leip- 
sie, May 2, 1896. 1850 pastor in Göschitz; after 1857, pas- 
tor in Kösttitz. Retired from active duties in 1885. 

@d^tt)albenUeb •,.♦♦♦ 32 

Uhland, Ludwig. Born at Tübingen, April 26, 1 787 ; died there, 
November 13, 1862. Studied law at the university of Tübin- 
gen, and obtained degree of Doctor of Laws in 1 8 1 o. After an 
extended period of linguistic and literary studies in Paris, 
he became an advocate in Würtemberg; 1829-1833 profes- 
sor of German literature in Tübingen, 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 Tübingen. 

2luf ber Überfahrt ' 96 

S)a« @tü(f öon (gben^att 122 

2)a« ©d^toß am aif^eere 90 

S)o«@d^tt)ert 6 

S)er gute ^omerab ♦ 43 

S)er Weiße $lrfd^ 8 

S)er SSlrtln Stöddtertetn . • . 38 

S)e« Änoben ©ergUeb 6 

2)e8 ©ängerö glud^ 108 

^it^aptUt 17 

(gtufel^r 22 

grü^Ung«gIoube .•..•.. 140 

©d^öferö @onntog«fteb 18 

"Saittefer 61 



222 LYRICS AND BALLADS 

PAGB 

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. 

2:a8 (Srfenncn 47 

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 coUection, Deutsche 
Volkslieder mit Volksweisen für Volks schulen^ was published 
in Berlin in 181 8 and 1820. 

O ^nnebaum! « , • 26 



•INDEX OF FIRST LINES 



%benb totrb es toieber . . . . 
9l]^nen jlnb für ben nur ^lullen 
9iae8 in ber aBett lä^tn* • • • 
^m ^benb tt)trb man tlug . . 
?lm Sfenjler jlanb bic 2Jlutter . . 
^m grauen ©tronb, am grauen . 
^m $imme( tuäc^fi ber Sonne . 
^uS alten ^ärc^en n)tn!t ed 
9lu8 ber Suflenbjeit, au3 ber 
9lu8 beS aReere§ tiefem, tiefem 
9lu8 fernem ßanb . . . 
^u8 il^ren 9leüern tuar bie . 
Set einem SOSirtc »unbermilb . 
^a broben auf jenem Serge 
2)aS Sic^^orn ]pxW: 3n beS 
S)a8 i^ ber %aq be§ ^crrn! 
S)o8 i^ bie toal)rc Siebe, bie 
5S)aS ijl im Seben ^ä^Iid^ . 
5S)ad iRec^t fagt : 3ebem baS 
5&a8 2Banbern ifi be§ ^üUerS 
^aS 2Baffer rauftet', baS . 
®a^ fie bic ^crte trägt, baS 
3)er attc Sarbaroffa . . . 
2)cr bu öon bem ^immel bijl . 
2)er SWat i^ gcf ommcn, bic 
S)er SWonb ijl oufgcgongcn 
2)cr SWorgen friji, bie SBinbe 
®er aBclt mcl^r geben, ol§ fic . 
2)ie bange 9la(^t ifi nun . 
S)ic Sfcnjler ouf ! bie bergen 
®ic größten SBiljlcn Unb leichter 
%k linben Cfiftc finb crmac^t . 
5Dic ailittcrnac^t sog nä^cr fc^on 



AGB , PAOB 

22 ®rei 3ioeuner fanb i^ einmal . 184 

103 Proben ^cM bie ilapcne ... 17 

101 S)u bifl »ic eine Slume . ... 36 

104 ®ulbe, gebulbe bic^ fein ! . . .160 
18 ®u meine ©ecle, bu mein ^crj . 143 
97 (Sin ^it^tenbaum ^e^t einfam . 143 
77 (Sinfam toanbclt bein ^reunb . 142 

148 (Sin Seitc^cn auf ber SBicfe . . 36 

30 ein aaßanberburf(^, mit bem . . 47 

92 6d gingen brei 3äger »ol^l auf . 8 

32 (S§ iP bcjlimmt in ©ottcS »lat . 145 
83 68 reben unb träumen bie . . . 162 

22 68 ^anb in alten Reiten ein . . 108 
144 68 toar ein itönig in Sll^ule . . 15 

82 68 Maren einmal brei .... 41 

18 68 toütet ber ©türm .... 93 

102 68 sogen brei Surf(^e ttol^l . . 38 
146 ^olg' al8 3üngcr nitbt bem . . 103 

103 Sfreube, 2Jläfeigfcit unb iRub* . 101 

33 Sfriebc fei um biefcn ©rabjlcin . 47 
121 Srüße^ »icber »uf(^ unb S^al . 141 

104 ®ottc8 2Jlü^lcn mahlen langfam 101 
9 J&alt' bitft rein 100 

154 J&art an bem S3oI|cner ©ee . . 135 

75 ^aft bu ba8 ©cblofe gcfc^cn . . 90 

23 ^c^lc nimmer mit ber .... 99 
94 J&crr Ott dorn »ü^l, nun brängt 64 

104 koxäi\ SJ^art^e, brausen poc^t . 68 

72 J&ütc, ^üte ben 8fu^ unb bie . . 105 

28 3(ft bin ein freier ÜÄann unb . . 132 

103 3(ft bin einmal etmaS .... 40 

140 3(b bin'8 gemeint, ben Stop] . . 97 

11 3(^ bin t)om S3erg ber ... . 6 

223 



224 



INDEX OF FIRST LINES 



3(!& l^Qb* eine alte SKu^me . . . 46 
3(^ 'f)ah* c8 getragen jlcbcn 3a^r 117 
3(ft l^att* einen Äomeraben . . 43 
3(^ möchte fleiben bit^ in lauter . 100 
3(i träum' als ßinb mic^ . . .149 
3(^ toar ein fleiner Änabc ... 7 
34 »ei^ nic^t, »aS f oQ eS . . . 34 
3m ^esam^er #eigt bed . . . 102 

3ni kleinen gro| 105 

3nt toUen SS3a^n l^att' iäi hiäi . 98 
3in tounberft^önen SJlonat 3Jlai . 85 
3n ber Siftine bömmerltiol^em . 152 
3n einem tül^Ien ©runbe ... 37 
iteiner a||nt, tt)ad aUeS il^m . . 105 
itennji bu bad Sanb, tt)o bie . . 151 
Äteine SJtumen, fleine SBlätter . 86 
itlingling, bumbum unb ... 42 
St^l mar bie 9)läraen(uft ... 80 
Seife 3ie^t burt^ mein (§)em&t . . 85 
Stein itinb, »ir ttaren l^inber . 45 
9Ri(^ quält ein f onberbar . . .131 
9Ri(^ trug ein Sraum (urütf . . 150 

aßorgenrot 71 

SRüber ®Iana ber €onne.' . . 27 
9la(^ 9ran{rei(^ 5ogen jioei . . 73 
9lä(^ta(^ am SBufento lifpeln . . 116 
9lic^t ber ijl in ber SSBelt üer»ai|t 104 
9lormannen^eraog SBill^elm .. . 61 
O bu, öor bem bie Stürme . . 153 
O i^er3, la^ ah au jagen . . .159 
O lieb*, fo lang bu lieben fannjt ! 87 
O aRenf« ! ®ieb a^t ! . . . . 158 

O ©onnenfc^ein ! 79 

O Slannebaum, o Sannebaum . 26 
O Sl^äler »cit, o ^öl^cn . . .139 
Ißoefie ifi tiefet St^merjen ... 156 
^reifenb mit öiel fj^önen Sieben . 16 
@a^ ein Sinah* ein iRöSIein . . 36 
@ie baben mic^ gequälet ... 90 
€te^$ bu baS ^JUnl (SS glänjt 155 
©0 iab* i(^ toirf li(^ bi(^ öerloren? 144 



@o tomme, toaQ ba fommen . . 95 
©prc(^t öon ben eilten mit mel^r 104 
Ste^' i(^ in fin|irer SWittemac^t . 44 
Seuer ijt mir ber Srreunb ... 102 
Srüge gern nodb länger beS . .102 

über aüen gipfeln 154 

über biefen Strom, bor 3a]^ren . 96 
Unb braut ber Sßinter no(^ . . 27 
Unb ȟfetcn'S bie Slumen, bie . 85 
Ungefprct^ne 2Borte giebt eS . 156 

Sater, i(^ rufe bi(^ ! 70 

ißon (Sbenl^all ber junge fiorb . 122 
SJor feinem fiömengorten ... 13 
aBar einfi ein ©lorfcngie^er . . 1 
SBaS ^ör' i(ft brausen üor . . . 107 
SQßeil t)erfto(ft ber 3ube Simon . 56 
SBei^t bu no(^, »ie i^ am ^Ifen 84 
Söeifet, mo e§ feinen ^errn unb . 103 
Sem ©Ott mia rechte @unfi . . 78 
aOßenn eine§ aJlenfcben Seele bu . 147 
SBenn i(^ ein SJöglein toär' . . 35 
aaßer in ben Söegen ®ottS ... 101 
aaßer i|i ein unbrauchbarer aJlann? 101 
aaßer nie fein »rot mit S^ränen . 155 
äBer reitet fo f^ät burt^ 9ta(^t . . 49 
SBerft^läglforaft^anbie . . . 25 
aOßer üiel einfl au »erfünben l^at . 105 
aOÖer toagt eS, JRitterSmann ober. 125 
2Bie I)eilt ftt^ ein tierlaffen ^era . 39 
Sie l^ei^t i^öntg 9lingangS . . 80 
aOÖie rafft' i(^ mi(^ auf in ber . . 158 
Sie, toiUft bu f(^on bie Saffen . 161 
SiUft bu immer toeitcr .... 102 
So^lauf ! no(6 getrun!en ... 76 
So^lt^aten, fliO unb rein ... 101 
So ^iH ein ^era boU Siebe glül^t 89 

3u %a(^en in feiner 112 

3u 3)ion^S, bem S^rannen . . 50 

3u eii§ am «Itare 55 

3u anantua in SSanben ... 67 
Sur Sc^miebe ging ein junger . 6 



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