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No candid person, indeed, can deny, that the writings of "young Germany" were free, and licentious, — qualities of style naturally and deservedly reprobated by the more moral and sober-minded portion of the German community. The entire brotherhood were, however, rigidly dealt with by the constituted authorities,―inasmuch as all their past and future literary efforts were formally prohibited and suppressed.

These young writers were a circle of highly-gifted poets, of which Gutzkow, Laube, Heine, Mund, and Wienbarg, may be considered the chief; and the principal works, wherein this literary connexion might be traced, and against which such a violent outcry was raised, were: Gutzkow's "Wally," Laube's "Junges Europa," Heine's "Reisebilder," and Mundt's " Madonna." Their writings inculcated two extravagant doctrines, with a congenial extravagance of argument: one was, the freedom of woman; and the other, the emancipation of the grosser desires of man from the curb of human laws.

KARL GUTZKOW* (born 17th of March 1811, at Berlin), must be looked upon as a versatile genius, and as a writer endowed with considerable poetic ability. His first production was one that gave general satisfaction ;—we allude to his powerful fiction, known under the title of “Maha Guru Geschichte eines Gottes," a work that led Menzel to bestow on Gutzkow the laurels of successful authorship. After a variety of other novels and dramas, we at length arrive at the celebrated introduction to Schleiermacher's Briefe über die Lucinde," a composition that first aroused the envenomed opposition of the clergy.. The next labour of Gutzkow was "Wally die Zweiflerin," against which

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* Riedel, Dr. Polemische Erörterungen aus dem Gebiete der Kunst und Literatur, Menzel und Gutzkow.-Marbach, über moderne Literatur. 3te Sendung: Gutzkow, Wienbarg, Laube, Kühne, Lenau, etc.

Menzel inveighed in the strongest terms, and for the publication of which our author suffered an imprisonment of three months. In this novel, Gutzkow addressed himself, first and foremost, to social and religious conflicts, and aimed at a tale, which should embody the current amount of doubt, scepticism, and intellectual despair. The leading question and topic of this book seems to be, whether Christianity be not an obsolete institution no longer adapted to the present age, which is enforced by a series of psychological truths, that, from the cold spirit in which they are ranged together, impress us only as a series of artistic and laboured reflections.

When Gutzkow was once more at large, he resumed his controversial style, and very adroitly unmasked the tame and spiritless "Geist der Geschichte" of Menzel, in his "Zur Philosophie der Geschichte," a work abounding with the profoundest reflections, and armed with the most winning powers of persuasion. As an antagonistic effort to Menzel's "Deutsche Literatur," he next wrote "Beiträge zur Geschichte der neuesten Literatur," a work, which, for boldness and freedom of manner, may rank with any of the most outré productions in the department of criticism. The whole force of his genius is here animated by a fierce animosity against Menzel, as well as against the "Hausbacknen Ideen" of the ordinary herd of writers. He also com

bated, in a variety of critical articles, the much-disliked verdict, which Menzel had the audacity to deliver on the genius of Goethe. To this must be added, a variety of criticisms, exhibited in different literary journals. Gutzkow's novel of "Seraphine" is, in its way, a kind of "Dichtung und Wahrheit," and, in many points of view, a very clever effort. He has also lately turned his attention to "Jean Paul's" style of humorous novel; and in his "Blasedow und seine Söhne" reflects the spirit of the extraordinary writer alluded to: but " Blasedow" rather failed, by reason of the cold spirit in which it was written.

HEINRICH HEINE, born at Düsseldorf, 1797; is now living at Paris. He is a sterling lyric poet. His inventive powers are striking, and his pieces often possess wonderful interest, and occasionally develop much beautiful tenderness. His wit is brilliant, and his language graceful. But notwithstanding Heine's originality of idea, his great powers, and the heart-stirring influence of his style, we must protest against his propensity towards the supernatural, in its more revolting features. The secrets and horrors of the tomb are not the fittest subjects for the muse.

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"Das Buch der Lieder" is the title by which Heine's collective poems are known. This book includes, doubtless, some noble, as well as graceful, pieces; such are "Fichte und Palme," " Die beiden Grenadiere," "Belsatzar," "Wallfahrt nach Kevlaar," Sonnenuntergang,” "Lotosblume," Heimweh," ""Frieden," " Bergidylle," Seegespenst." But we are bound to add, that several of the poems are obnoxious to the charge of licentiousness. In his "Reisebilder" we meet with sterling and beautifully coloured sketches from nature, at once calm in tone and yet cheerful to vivacity ;-there is also infinite humour and satire in his descriptions of character. But there are ugly features also here, that prevail (more or less) throughout Heine's works; we allude to his bad creed, and the bad heart that unmasks itself in incessant and ungrounded satire. His poetry has hence been designated as "Eine Poesie der Lüge." The only approach, which our author ever made towards artistic perfection, we find embodied in his work entitled "Florentinische Nächte;" indeed we cannot but regret, that he should have left this commendable specimen in an unfinished and fragmentary state. Heine also tried his hand at dramatic composition, and produced "William Radcliff," a tragedy, including all the horrors that can possibly be imagined;-it reminds one forcibly of Werner's "24te Februar," Grillparzer's 66 Ahnfrau," " and other inventions characteristic of Müll

ner's school. The result of this curious blending of incongruous events, is a mis-shapen, poetical chimera. It is, nevertheless, interesting, from its powerfully-drawn characters and its strength of language. A remarkable truthfulness also breathes through some of the subordinate scenes of this tragedy; we may instance, in proof of this, the well-known scene of the "Diebesherberge." Another of Heine's tragedies bears the title of "Almansor," the characters in which are well sketched, but not highly finished, and the incidents are, in some sort, sacrificed—and this, in an increasing degree throughout—to the lyric pomp and gaudy splendour of the language. Besides these works, he has published "Beiträge zur Geschichte der neuren schönen Literatur," a not unskilful work, though its critical views are not to be implicitly relied on. We repeat, that the style of this author is undoubtedly beautiful, and stamps him, on all occasions, as an exquisite writer, whether of prose or of lyric poetry. His style is most noted for its nonchalance; and for this ease of manner he is so distinguished, as hardly to have an equal. It is a curious circumstance, that Heine has made known to us his own estimate of his prosaic powers: "Ein göttliche Prosa" is his verdict;-the term will be allowed to be not a little conceited, and peculiarly characteristic of our author.

HEINRICH LAUBE (born 1806).—Evinces an union of the respective mental endowments of Heine and Heinse. The former he rather imitated, while to the latter he acted as editor. Laube is happy in description and detail, yet this talent is based more on language and expression, than on depth of thought or finish of execution. Laube's style appears hardly in unity with itself, for at one moment it betrays a tendency to the classical vein of Varnhagen v. Ense, while again, it seeks to interpolate and to combine this with Heine's more flowery manner. Our author's "Junges Europa" is penned with tolerable spirit and skill, although it is not a general favourite: the "Tagebuch aus dem

Gefängniss," containing it, is written with simplicity, and is unquestionably one of the best specimens of this author; and universal consent pronounces it classical. Besides this, Laube published "Reisenovellen," ," "Moderne Characteristiken," "Gräfin Chateaubriand" (a novel), &c., in which will be found many political, social, and literary portraits, executed with considerable talent.

Laube concentrated his contributions to criticism in "Geschichte der deutschen Literatur," by which he has established his title to be considered an able and erudite writer. This " Literaturgeschichte" is an excellent textbook for the general reader.

THEODOR MUNDT, born 1807. Mundt aimed at metamorphosing the versification of poetry into harmonious prose, following, in this respect, the example of Heine; and in this attempt he has acquitted himself very fairly. Mundt has displayed a decided aptitude for romance and poetry, as applied to social life; and however much he may have already achieved, we confidently hope for works of a better and higher tendency, if he will but be faithful to his own abilities. Mundt's novels of " Madelon," "Das Duell," are not worked up with sufficient finish and éclat ; and his “Madonna," although containing many splendid passages, is yet stamped with all the peculiarities of the 'Junge Deutschland" school. His other tale, " Die Magie des Lebens" is conceived in the same spirit as the foregoing, both of them being works that justly called down public censure.

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In his criticisms and sketches of character, Mundt ranks exceedingly high; in his reviews and critiques he attains to the height of poetry, and indeed, in this walk of literature, approaches nearly to perfection.

The continuation, that he has lately accomplished of F. Schlegel's "Geschichte der alten und neuen Literatur," places Mundt, as respects criticism and style, in the most favourable light possible.

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