König," "Goldschmidts Töchterlein," "Junker Rechberger," ""Schwäbische Kunde," "Klein Roland," "Roland Schildträger," "König Karls Meerfahrt," "Taillefer,"" Das Nothhemd," "Der Schenk von Limburg," "Des Sängers Fluch," "Das Schifflein,” "Der Wirthinn Töchterlein;" and very beautiful also is his "Graf Eberhard der Rauschebart." Our author's dramatic works, although containing fine poetical passages —(we have more particularly in our eye his " 'Schauspiel," ," "Ludwig von Bayern," and his tragedy of "Ernst von Schwaben) — rank only secondarily among his compositions.

ANDREAS JUSTINUS KERNER

Was born on the 18th of February 1786, at Ludwigsburg in Wirtemberg, and is doctor of medicine since 1818, established at Weinsberg.

This author is an illustrious member of his school; his poetry is more intrinsically romantic than Uhland's ; he delights to depict to us not merely the wild, precipitous mountain-steeps and the solemn woods-(poems: "Waldleben," "Rath im Mai," "Sehnsucht,")—but is equally at home in a higher sphere of composition ; · for Kerner inducts us into the thrilling scene of death, so sad, and yet so plaintively-poetical in many of its associations. It is while illustrating such topics as these, that the peculiar character of Kerner's muse is set forth; being most apparent in parts where genuine human nature evaporates, or is sublimated into one predominant tone of feeling, viz., a tone of yearning after the ineffable delights of the unseen future state. Amongst his romances and ballads, the most beautiful are: “Die vier wahnsinnigen Brüder,” “Der reichste Fürst," "Anna Vögtly," "Der Stephansthurm," “Der Wassermann,” ""Kaiser Rudolff's Ritt zum Grabe," "Der Geiger zu Gmünd,” “ Zwei Särge." We may further adduce his happiest efforts in another and more cheerful kind of poetry, such as "Wanderlied," "Trinklied zum

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neuen Wein," Frühlingsmorgen," "Preis der Tanne," Sänger's Trost," "Das Alpenhorn," ""Der Wanderer in der Sägemühle." Kerner's "Reiseschatten" (published 1811), is one of the most striking creations of his poetical pen.

But this poet has raised a host of assailants, whose acrimony has been largely discharged upon him, on account of certain principles of belief concerning the invisible, yet neighbouring spirits,-laid down in his "Seherin von Prevorst;" a work that endeavours to prove the likelihood of our being surrounded by myriads of incorporeal shades, with whom, under certain conditions (as, for instance, in the state of "magnetized sleep") it is still permitted us to hold converse. It was in answer to the vigorous and envenomed assaults of his opponents, that Kerner put forth his “Blätter aus Prevorst," and other papers of a similar tendency.

GUSTAV SCHWAB,

Born 19th June 1792 at Stuttgart, where he is doctor of philosophy, and professor.

SCHWAB is one of the best and most talented of the present generation of lyric poets. An epic simplicity, combined with a great facility in depicting natural scenery, and in devising incidents of a sprightly nature, are the main features of these metrical romances for which the name of this writer stands so high. Schwab always throws out the feeling that encompasses his heart; he resigns himself to his harmonious impulses, and, by their agency, succeeds in holding all his readers in a pleasing thraldom. "" Der His " Legende von den heiligen drei Königen,” Appenzeller Krieg," and many other pieces, are worthy of his reputation.

Schwab, the imitator of Uhland, has secured himself a leading position in ballad-verse and romance; indeed he voluntarily styles himself the pupil and scholar of the beau

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tiful bard of Uhland. What a very characteristic observation is that of Laube, when he said: "Schwab ist Uhland's Mund in Romanzen, Balladen, und Liedern.” Amongst his best lyric efforts are: Schlittenlied," ""Lied des ausziehenden Burschen;" but the following romances and ballads are the most celebrated: "Der Hirte von Teinach," "Die Engelskirche auf Anatolicon,” "Elsbeth von Calw," "Der Reiter und der Bodensee," "Des Fischers Haus," "Das Gewitter," &c. &c.

Besides his poetical labours, Schwab is the author of several others, which are deserving of notice. We may particularize his "Wegweiser über die Schwäbische Alp," and his "Bodensee," "Die Schweiz in ihren Ritterburgen und Schlössern,”-useful manuals for tourists, written with historic fidelity, and in a vein of genuine poetry. Nor ought we to omit to draw particular attention to the tasteful selections which he has made from the wide domains of our literature; – the poetical portions of which he entitled "Fünf Bücher deutscher Lieder," whilst he styled the prose "Die deutsche Prosa,"- - unquestionably one of the most judicious compilations.

FRIEDRICH RUECKERT,*

Born at Schweinfurt, 1789; doctor and professor of oriental languages at the Berlin University.

The rise of this poet must be regarded as a rare phenomenon in the kingdom of letters: the multiplicity of his lyric inventions, the versatility of his descriptive powers, and the rapid action of his imagination, are wonderful. In outward form and expression, in the structure of his language and versification, he shews himself to be the ingenious poet of nature. Indeed, we cannot be charged with exaggeration, if we say that Rückert is one of the greatest, richest, and most original poets that ever arose in

* Pfizer (G.) Uhland und Rückert, 1837.

Germany. He proves that the powers of the German language are perfectly inexhaustible; that it is competent to every task, and perfect in every sound, form, and rhythm.

Rückert's lyric talents are of a masterly calibre, and his imagination is affluent enough to include every path and variety of nature, nay, to compass "the great globe itself, and all that it inherits;" whence it culls verdure and incense-breathing flowers;-yes, and roams mountain districts, and haunts the chrystal water-springs and peerless fountains; and, in short, groups together whatever is sweetest, most graceful, and picturesque.

In time of war, says Menzel, Rückert's muse donned the casque, and brandished the spear and shield like a Minerva, or broke out into the enlivening strains of freedom. The battle over, our poet forthwith hung up his buckler and falchion, and walked quietly into his garden, to mingle with the flowers. Every opening bud, every sweetly-scented blossom, shed their perfumes upon our poet, and began to fructify in his soul, and generated a new poem. The poet pursuing his wanderings along blossom-bordered paths, until he at last found himself in an unexplored and enchanted region, where the vegetation was of a nature altogether unknown; he next extends his migration into Persia, India, China, and they all throw over him the variegated veil of a thousand flowers, every flower blossoming into verse; and his pen, like that of the "Simurg," never tiring in throwing before us, again and again, many of these heart-born and beautiful little songs.

Among Rückert's "Bausteine" are several most exquisite poems; viz., "Frühling's Liebster," "Die sterbende Blume," Lüfteleben," ," "Das Paradis." Among his "Terzinen," ,” “Die treuen Blumen" and " Die drei Quellen" are very fanciful conceptions, and fresh pastoral pictures. His "Edelstein und Perle" illustrates an elegant piece of imagination. His "Liebesfrühling" is a love-tale, that, for versicular richness and moral nobility, has not its equal in

German poetical literature. In addition to these, we ought also to mention his "Jugendlieder" and "Volkssagen," which are also very fine.

Rückert is likewise the author of those charming poetical remodulations from the Sanscrit and Arabic, entitled "Die Makamen des Hariri," and of "Nal und Damajanti,” "Rostem und Surab;" and of a multitude of other charming pieces, as, for instance, "Die Weisheit des Brahmanen," ""Erbauliches und Beschauliches aus dem Morgenlande," "Oestliche Rosen," &c.

NIKOLAUS LENAU (Niembsch von Strehlenau),

Born 13th August 1802, at Csatad, in Hungary.

LENAU is a worthy contemporary of Uhland and Rückert ; his scenes and characters being sweetly intermingled with his poetry, and the whole managed with consummate art, a vein of melancholy being no uncommon accompaniment.

Lenau, being gifted with an extraordinary sensitiveness to whatever is lovely and peculiar in natural objects, is able to throw the force of his soul into the outward description; and hence that tincture, which, even if we consider as above reality, we must still allow to be beautiful. Lenau's dramatic poem, entitled "Faust,” which came out in the 'Frühlingsalmanach," is, in parts, exquisite; we may particularly instance that scene styled "Der Tanz,” and beginning:

"Der Spielmann dem Jäger die Fiedel reicht,

Der Jäger die Fiedel gewaltig streicht," &c.

which is a truly splendid passage. This piece is, however, written in rather a sensual and romantic spirit, whilst in all other respects it is worthy of a genuine and devoted disciple of the muses. Again, Lenau's poem of "Savonarola" is exceedingly affluent in epic and lyric beauties.

Many other pieces by this author are also well conceived