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He saw a tall, slim girl, all in soft flowing white, he saw two hands stretched out in joyous welcome, he saw two brown eyes shining with eager gladness and surprise; and all at once the old picture vanished from his mind, and he knew that this was Madelon. Sehnsucht.
His first opus contains a setting of "Nur wer die Sehnsucht kennt," which I like better than the banal version Tschaïkowski made of the same words. The third opus contains three songs to Shelley's words. They show something of the intellectual emotion of the poet.
Sehnsucht the passion for what is ever beyond is livingly expressed in that white riband of possible travel that severs the uneven country; not a ploughman following his plough up the shining furrow, not the blue smoke of any cottage in a hollow, but is brought to us with a sense of nearness and attainability by this wavering line of junction.
The Egmont music, which appeared the following year, the Calm Sea and Prosperous Voyage, Bundeslied, the different settings of Erlkönig, the four settings of Sehnsucht are instances, although this does not by any means complete the list of his settings from the works of the authors just named.
It was a German song, Schumann's "Sehnsucht," that she was singing; it was the first that had come to her mind at Graham's bidding, and, still preoccupied, she began it almost without thought of the words and sentiment; but she had not sung two lines, when some hidden emotion made itself felt in her face with a quite irresistible enthusiasm and pathos. These were the words:
"Nur ein Wunder kann dich tragen In das schoene Wunderland." SCHILLER, Sehnsucht. This simile is nobly conceived, but expressed somewhat obscurely.
An echo of light-hearted incursions into German literature when I was a student at a Boche college suggested that the opening lines of Schiller's "Sehnsucht" were peculiarly apposite to the state of mind of the Huns who dwelt by the Somme. Wishing to share my discovery, I wrote the verse in large block capitals, ready to be dropped at a convenient spot.
In the most energetic and impetuous of Goethe's creations, his Prometheus, it is not Celtic self-will and passion, it is rather the Germanic sense of justice and reason, which revolts against the despotism of Zeus. The German Sehnsucht itself is a wistful, soft, tearful longing, rather than a struggling, fierce, passionate one.
Sehnsucht the passion for what is ever beyond is livingly expressed in that white riband of possible travel that severs the uneven country; not a ploughman following his plough up the shining furrow, not the blue smoke of any cottage in a hollow, but is brought to us with a sense of nearness and attainability by this wavering line of junction.
Anna placed a small lantern on the table and the light fell on the handsome bearded Jaeger's face as he leaned lovingly above his instrument. The incurable "Sehnsucht" of humanity found not its only expression in that great Symphony where "all the mightier strings assembling, fell a trembling."
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