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Updated: June 18, 2025
"Dream-wings" is a graceful fantasy that fittingly presents the delicate sentiment of Coleridge' lyrics. The setting of Heine's "Fir-tree" is entirely worthy to stand high among the numerous settings of this lyric. Smith gets the air of desolation of the bleak home of the fir-tree by a cold scale of harmony, and a bold simplicity of accompaniment.
An Undine of Heinrich Heine's, with hair like the Virgin Mary's, innocent blue eyes, and a skin like strawberries and cream. "Suddenly, however, my Undine got up, and her face convulsed with fury and pride. Then, she rushed behind some hangings, where she began to give vent to a flood of German words, which I did not understand, while I remained standing, dumbfounded.
Some trace Heine's ballad direct to Brentano, some direct to Loeben. Which of these two points of view has the more argument in its favor and can there be still a third? In the first place, Heine never knew Brentano personally, and never mentions him in his letters previous to 1824, nor in his letters that have thus far been published after 1824.
On their way they always passed the statue of Count Platen, the dull poet whom Heine's hate would have delivered so cruelly over to an immortality of contempt, but who stands there near the Schloss in a grass-plot prettily planted with flowers, and ignores his brilliant enemy in the comfortable durability of bronze; and there always awaited them in the old pleasaunce the pathos of Kaspar Hauser's fate; which his murder affixes to it with a red stain.
Well, all that was clear to him amounted to this, that the whole scheme had burst up, like an iridescent soap-bubble, under the touch of a reasoned inquiry. He looked back at himself along the vista of his past years, and his thought was akin to Heine's: Above the youth's inspired and flashing eyes I see the motley mocking fool's-cap rise!
I have not space to go into the millionth catalogue of Booth's intrigues, even if this journal permitted further elucidation of so banned a subject. Most of his adherents of this class were, like Heine's Polish virgins, and he was very popular with those dramatic ladies few, I hope and know, in their profession to whom divorce courts are superfluous.
The very language discourages love-making. Since Heine's exile a century ago, the increasing might of the armored Hohenzollerns had finally almost killed all this. Gard was thrown out of gear in another way. Fräulein's lack not only of amatory complaisance but of social polish or even facility kept him dubious and disconcerted.
The second piece, a song, "I' the Wondrous Month o' May," has such a springtide fire and frenzy in the turbulent accompaniment, and such a fervent reiterance, that it becomes, in my opinion, the best of all the settings of this poem of Heine's, not excluding even Schumann's or that of Franz. The "Love Song," though a piano solo, is in reality a duet between two lovers.
No lack of eloquence and sentiment there." "I am rather tired of eloquence and sentiment," said Enguerrand. "Your editor, Gustave Rameau, sickens me of them with his 'Starlit Meditations in the Streets of Paris, morbid imitations of Heine's enigmatical 'Evening Songs. Your journal would be perfect if you could suppress the editor."
But as a rule the poet does his own sinning and suffering, and catches for himself that haunting sense of the glory and futility of life which is the undertone of the modern poet's song, and which finds such magical expression in Heine's verses: I have loved, oh, many a maiden kind, And many a right good fellow, Where are they all? So pipes the wind, So foams and wanders the billow.
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