THE
HE last of the grand old genera-

tion of German poets is dead. Within ten years Eichendorff, Heine, Uhland, have passed away; and now the death of Friedrich Rückert, the sole survivor of the minor gods who inhabited the higher slopes of the Weimar Olympus, closes the list of their names. Yet, although with these poets in time, Rückert was not of them in the structure of his mind or the character of his poetical development. No author ever stood so lonely among his contemporaries. Looking over the long catalogue, not only of German, but of European poets, we find no one with whom he can be compared. His birthplace is supposed to be Schweinfurt, but it is to be sought, in reality, somewhere on the banks of the Euphrates. His true contemporaries were Saadi and Hariri of Bosrah. Rückert's biography may be given in a few words, his life having been singularly devoid of incident. He seems even to have been spared the usual alternations of fortune in a material, as well as a literary sense. With the exception of a somewhat acridly hostile criticism, which the Jahrbücher of Halle dealt out to him for several years in succession, his reputation has enjoyed a gradual and steady growth since his first appearance as a poet. His place is now so well defined that death-which sometimes changes, while it fixes, the impression an author makes upon his generationcannot seriously elevate or depress it. In life he stood so far aloof from the fashions of the day, that all his successes were permanent achievements.

He was born on the 16th of May, 1788, in Schweinfurt, a pleasant old town in Bavaria, near the baths of Kissingen. As a student he visited Jena, where he distinguished himself by his devotion to philological and literary studies. For some years a private tutor, in 1815 he became connected with the Morgenblatt, published by Cotta, in Stuttgart. The year 1818 he NO. 105. 3

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spent in Italy. Soon after his return, he married, and established himself in Coburg, of which place, I believe, his wife was a native. Here he occupied himself ostensibly as a teacher, but in reality with an enthusiastic and untiring study of the Oriental languages and literature. Twice he was called away by appointments which were the result of his growing fame as poet and scholar, the first time in 1826, when he was made Professor of the Oriental Languages at the University of Erlangen; and again in 1840, when he was appointed to a similar place in the University of Berlin, with the title of Privy Councillor. Both these posts were uncongenial to his nature. Though so competent to fill them, he discharged his duties reluctantly and with a certain impatience; and probably there were few more joyous moments of his life than when, in 1849, he was allowed to retire permanently to the pastoral seclusion of his little property at Neuses, a suburb of Coburg.

One of his German critics remarks that the poem in which he celebrates his release embodies a nearer approach to passion than all his Oriental songs of love, sorrow, or wine. It is a joyous dithyrambic, which, despite its artful and semi-impossible metre, must have been the swiftly-worded expression of a genuine feeling. Let me attempt to translate the first stanza :

The quaint old residence at Neuses thus early became, and for nearly half a century continued to be, the poet's home.

No desire to visit the Orientthe native land of his brain—seems to have disturbed him. Possibly the Italian journey was in some respects disenchanting. The few poems which date from it are picturesque and descriptive, but do not indicate that his imagination was warmed by what he saw. He was never so happy as when alone with his books and manuscripts, studying or writing, according to the dominant mood. This secluded habit engendered a shyness of manner, which frequently repelled the strangers who came to see him, especially those who failed to detect the simple, tender, genial nature of the man, under his wonderful load of learning. But there was nothing morbid or misanthropical in his composition; his shyness was rather the result of an intense devotion to his studies. These gradually became a necessity of his daily life; his health, his mental peace, depended upon them; and whatever disturbed their regular recurrence took from him more than the mere time lost.

When I first visited Coburg, in October, 1852, I was very anxious to make Rückert's acquaintance. My interest in Oriental literature had been refreshed, at that time, by nearly ten months of travel in Eastern lands, and some knowledge of modern colloquial Arabic. I had read his wonderful translation of the Makamåt of Hariri, and felt sure that he would share in my enthusiasm for the people to whose treasures of song he had given so many years of his life. I found, however, that very few families in the town were familiarly acquainted with the poet,—that many persons, even, who had been residents

of the place for years, had never seen him. He was presumed to be inaccessible to strangers.

It fortunately happened that one of my friends knew a student of the Oriental languages, then residing in Coburg. The latter, who was in the habit of consulting Rückert in regard to his Sanskrit studies, offered at once to conduct me to Neuses. A walk of twenty minutes across the meadows of the Itz, along the base of the wooded hills which terminate, just beyond, in the castled Kallenberg (the summer residence of Duke Ernest II.), brought us to the little village, which lies so snugly hidden in its own orchards that one might almost pass without discovering it. The afternoon was warm and sunny, and a hazy, idyllic atmosphere veiled and threw into remoteness the bolder features of the landscape. Near at hand, a few quaint old tileroofed houses rose above the trees.

My guide left the highway, crossed a clear little brook on the left, and entered the bottom of a garden behind the largest of these houses. As we were making our way between the plum-trees and gooseberry-bushes, I perceived a tall figure standing in the midst of a great bed of late-blossoming roses, over which he was bending as if to inhale their fragrance. The sound of our steps startled him; and as he straightened himself and faced us, I saw that it could be none other than Rückert. I believe his first impulse was to fly; but we were already so near that his moment of indecision settled the matter. The student presented me to him as an American traveller, whereat I thought he seemed to experience a little relief. Nevertheless, he looked uneasily at his coat, a sort of loose, commodious blouse, - at his hands, full of seeds, and muttered some incoherent words about flowers. Suddenly, lifting his head and looking steadily at us, he said, "Come into the house!"

The student, who was familiar with his habits, led me to a pleasant room on the second floor. The windows looked towards the sun, and were filled with

hot-house plants. We were scarcely seated before Rückert made his appearance, having laid aside his blouse, and put on a coat. After a moment of hesitation, he asked me, "Where have you been travelling?" "I come from the Orient," I answered. He looked up with a keen light in his eyes. “From the Orient!" he exclaimed. "Where? let me know where you have been, and what you have seen!" From that moment he was self-possessed, full of life, enthusiasm, fancy, and humor.

He was then in his sixty-fifth year, but still enjoyed the ripe maturity of his powers. A man of more striking personal appearance I have seldom seen. Over six feet in height, and somewhat gaunt of body, the first impression of an absence of physical grace vanished as soon as one looked upon his countenance. His face was long, and every feature strongly marked, the brow high and massive, the nose strong and slightly aquiline, the mouth wide and firm, and the jaw broad, square, and projecting. His thick silver hair, parted in the middle of his forehead, fell in wavy masses upon his shoulders. His eyes were deep-set, bluish-gray, and burned with a deep, lustrous fire as he became animated in conversation. At times they had a mystic, rapt expression, as if the far East, of which he spoke, were actually visible to his brain. I thought of an Arab sheikh, looking towards Mecca, at the hour of prayer.

I regret that I made no notes of the conversation, in which, as may be guessed, I took but little part. It was rather a monologue on the subject of Arabic poetry, full of the clearest and richest knowledge, and sparkling with those evanescent felicities of diction which can so rarely be recalled. I was charmed out of all sense of time, and was astonished to find, when tea appeared, that more than two hours had elapsed. The student had magnanimously left me to the poet, devoting himself to the good Frau Rückert, the "Luise" of her husband's Liebesfrühling (Spring-time of Love). She still, although now a grand

mother, retained some traces of the fresh, rosy beauty of her younger days; and it was pleasant to see the watchful, tender interest upon her face, whenever she turned towards the poet. Before I left, she whispered to me, "I am always very glad when my husband has an opportunity to talk about the Orient: nothing refreshes him so much."

But we must not lose sight of Rückert's poetical biography. His first volume, entitled "German Poems, by Freimund Raimar," was published at Heidelberg in the year 1814. It contained, among other things, his famous Geharnischte Sonette (Sonnets in Armor), which are still read and admired as masterpieces of that form of verse. Preserving the Petrarchan model, even to the feminine rhymes of the Italian tongue, he has nevertheless succeeded in concealing the extraordinary art by which the difficult task was accomplished. Thus early the German language acquired its unsuspected power of flexibility in his hands. It is very evident to me that his peculiar characteristics as a poet sprang not so much from his Oriental studies as from a rare native faculty of mind.

These "Sonnets in Armor," although they may sound but gravely beside the Tyrtæan strains of Arndt and Körner, are nevertheless full of stately and inspiring music. They remind one of Wordsworth's phrase,—

"In Milton's hand, The thing became a trumpet," and must have had their share in stimulating that national sentiment which overturned the Napoleonic rule, and for three or four years flourished so greenly upon its ruins.

Shortly afterwards, Rückert published "Napoleon, a Political Comedy," which

did not increase his fame. His next

important contribution to general literature was the "Oriental Roses," which appeared in 1822. Three years before, Goethe had published his Westöstlicher Divan, and the younger poet dedicated his first venture in the same field to his venerable predecessor, in stanzas which express the most delicate, and at the

same time the most generous homage. I scarcely know where to look for a more graceful dedication in verse. It is said that Goethe never acknowledged the compliment, an omission which some German authors attribute to the latter's distaste at being surpassed on his latest and (at that time) favorite field. No one familiar with Goethe's life and works will accept this conjecture.

It is quite impossible to translate this poem literally, in the original metre: the rhymes are exclusively feminine. I am aware that I shall shock ears familiar with the original by substituting masculine rhymes in the two stanzas which I present; but there is really no alternative.

Makes him lord of all the morning-land!
Where the two, together turning,
Meet, the rounded heaven is burning
Rosy-bright in one celestial brand!"

I have not the original edition of the "Oriental Roses," but I believe the volume contained the greater portion of Rückert's marvellous "Ghazels." Count Platen, it is true, had preceded him by one year, but his adaptation of the Persian metre to German poetry -light and graceful and melodious as he succeeded in making it falls

far short of Rückert's infinite richness and skill. One of the latter's "Ghazels" contains twenty-six variations of the same rhyme, yet so subtly managed, so colored with the finest reflected tints of Eastern rhetoric and fancy, that the immense art implied in its construction is nowhere unpleasantly apparent. In fact, one dare not say that these poems are all art. In the Oriental measures the poet found the garment which best fitted his own

mind.

We are not to infer that he did not move joyously, and, after a time, easily, within the limitations which, to most authors, would have been intolerable fetters.

In 1826 appeared his translation of the Makamåt of Hariri. The old silkmerchant of Bosrah never could have anticipated such an immortality. The word Makamat means 66 sessions," (probably the Italian conversazione best translates it,) but is applied to a series of short narratives, or rather anecdotes, told alternately in verse and rhymed prose, with all the brilliance of rhetoric, the richness of alliteration, antithesis, and imitative sound, and the endless grammatical subtilties of which the Arabic language is capable. The work of Hariri is considered the unapproachable model of this style of narrative Rückert throughout all the East. called his translation "The Metamorphoses of Abou-Seyd of Serudj," — the name of the hero of the story. In this work he has shown the capacity of one language to reproduce the very spirit of another with which it has the least affinity. Like the original, the translation can never be surpassed: it is unique in literature.

As the acrobat who has mastered every branch of his art, from the spidery contortions of the India-rubber man to the double somersault and the flying trapeze, is to the well-developed individual of ordinary muscular habits, so is the language of Rückert in this work to the language of all other German authors. It is one perpetual gymnastic show of grammar, rhythm, and fancy. Moods, tenses, antecedents, appositions, whirl and flash around you, to the sound of some strange, barbaric music. Closer and more rapidly they link, chassez, and "cross hands," until, when you anticipate a hopeless tangle, some bold, bright word leaps unexpectedly into the throng, and resolves it to instant harmony. One's breath is taken away, and his brain made dizzy, by any half-dozen of the "Metamorphoses." In this respect the translation has become a representative work. The Ara