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Und sie zu Gott bekehren. So danken, Gott, und loben dich. Und alle Welt, die freue sich. Dass du auf Erden Richter bist. Dein Wort die Hut und Weide ist,. Die alles Volk erhalten. In rechter Bahn zu wallen. Es danke, Gott. Das Volk in guten Taten;. Das Land bringt Frucht und bessert sich,. Dein Wort ist wohl geraten. Uns segne Vater und der Sohn,.

Nun sprecht von Herzen: Amen! The composer is unknown. It is the first missionary hymn of Protestantism. THE 67th Psalm furnished the inspiration for this hymn by Dr. Martin Luther. The same year it was also published in Eyn Enchiridion; from this it passed into all the German hymnals. Two months later the people of Magdeburg put through the Reformation in their city. The hymn was sung by the army of Gustavus Adolphus on the morning of the battle of Lutzen, November 6, The service was conducted by C.

Massie died March 11, Johann J. Rambach published this hymn in his Poetische Festgedanken, It has long been a popular melody. Cummings in , and has gradually taken the place of all melodies formerly used. It is said that Mendelssohn himself wished to use this melody for words other than those for which it was originally written, and that he also considered it unsuitable for a religious text.

Cummings, organist at Waltham Abbey, adapted the tune for this hymn, In some books the tune is called St. Vincent; in others, Bethlehem. Songs of Praise Discussed, adds this interesting comment on the tune:. I think there ought to be other words to No. If the right ones are hit at, I am sure that piece will be liked very much by the singers and hearers, but it will never do to sacred words. There must be a national and merry subject found out, something to which the soldierlike and buxom motion of the piece has some relation, and the words must express something gay and popular, as the music tries to do it.

The melody Merrial was written by Joseph Barnby, The melody Missionary Hymn , written by the well known American church musician, Dr. Lowell Mason b. The melody in The Lutheran Hymnary has been associated with this hymn since the earliest German version. The melody Dayspring is first found in J. Later he took up his residence there. He died in Gawler, organist to the asylum, was the editor. It was part of an anthem composed by James P.

Harding, in , for use at Gifford Hall Mission in London. The melody Munich was first published in Meiningisches Gesangbuch, ; later in J. Mendelssohn made use of this melody in the oratorio Elijah. Es ist vollbracht! Gott Lob, es ist vollbracht! Mein Jesus nimmt mich auf! Fahr hin, o Welt! Ihr Freunde, gute Nacht! Ich ende meinen Lauf. Bei Jesu Kreuz mit tausend Freuden,. Ich sehne mich, von hier zu scheiden. Es ist volltracht! Mein Jesus hat auf sich.

Genommen meine Schuld;. O ungemeine Huld! Hier bin ich ausser Not. Angst und Gefahr gesetzt:. Hier speiset mich der Herr mit Himmelsbrot,. Mein Jesus nimmt mich auf;. Ich schliesse meinen Lauf. Und allen Jammer, der mich troffen. This hymn was written immediately after the author had graduated from college, and had accepted a teaching position in New York. I recollect that I wrote with very tender emotions, and ended the last line in tears.

Lowell Mason for a work then to be compiled by him and Dr. In that work was published as Spiritual Songs for Social Worship, etc. The Latin translation, by H. The original has six stanzas. Our edition has made use of stanzas 1, 2, and 4. The hymn is found in the abbreviated form in most hymnals, but it is used very extensively and has been translated into many languages. It has been rendered into Latin by Bingham. There has been much doubt as to the authorship of this hymn.

Hence, Edw. On the Sabbath following, I met brother King, as I came out of the Lisle Street meeting—who informed me that his wife was very ill, and asked me to call and see her. I had an early tea, and called afterward. He said that it was his usual custom to sing a hymn, read a portion, and engage in prayer before he went to meeting. He looked for his hymn-book, but could find it nowhere. We did, and his wife enjoyed them so much, that after service he asked me, as a favor, to leave a copy of them for his wife.

I went home, and by the fireside composed the last two verses, wrote the whole off, and took them to sister King. I sent one to The Spiritual Magazine, without my initials, which appeared some time after this. Brother Rees, of Crown Street, Soho, brought out an edition of hymns , and this hymn was in it. Aus meines Herzens Grunde. In dieser Morgenstunde,. Dazu mein Leben lang,. O Gott, in deinem Thron,. Dir zu Preis, Lob und Ehren. Durch Christum, unsern Herren,.

Dass du mich hast aus Gnaden. In der vergangnen Nacht. Womit in diesem Leben. Vor Armut und vor Schanden,. Vor Ketten und vor Banden,. Und weichen nicht von mir,. Den Satan zu vertreiben,. In diesem Jammertal. Gott will ich lassen raten,. Er segne meine Taten,. Denn ich ihm heimgestellt. Und was er mir sonst geben. Und zweifle nicht daran,. Sich wohlgefallen lan;. Dazu mich Gott bescheiden.

This hymn is by Georg Nigidius Niege. According to Prof. Althaus it was first published in Creutzbuechlein, —, at Herford, Germany. A Low German version is found in the Bremer Gesangbuch of Then in it appeared in four different publications with text variations. The hymn has long been a favorite in many circles. Gustavus Adolphus loved it, and it was often sung at matins by his soldiers. See: For me to live is Jesus. Sei meines Lebens Licht! Dein Auge leite mich,. Bis mir mein Auge bricht! Vor dir zum Opfer nieder;. Du willst, dass ich der Deine sei:.

Mein Heiland, wasche mich. Durch dein so teures Blut,. Das alle Flecken tilgt. Und lauter Wunder tut! Schliess die verirrte Seele. Hier wahre Freiheit finde! Ich bin verloren ohne dich:. Mein Heiland, wasche mich! Wenn sich Versuchung zeigt! Regiere meinen Geist,.

Wenn er zur Welt sich neigt! Lehr mich den Sohn erkennen,. Ihn meinen Herrn auch nennen,. Sein Gnadenwort verstehen,. Auf seinen Wegen gehen! Du bist, der alles Gute schafft:. Gott Vater, Sohn und Geist,. Dir bin ich, was ich bin. Recht tief in meinen Sinn!

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Dein gnadenreich Erbarmen! Wohl mir, wenn du der Meine heisst:. Gott Vater, Sohn und Geist! The translation is by the Rev. Taylor of Melbourne, Australia, somewhat altered. It was prepared for the Australian Lutheran Hymn-Book, The translation was prepared for The Lutheran Hymnal in My soul, now bless thy Maker! Was in mir ist, den Namen sein! Vergiss es nicht, o Herze mein! Nimmt dich in seinen Schoss,. Er hat uns wissen lassen. Sein herrlich Recht und sein Gericht,. Es mangelt an Erbarmung nicht. Straft nicht nach unsrer Schuld,. So fern der Ost vom Abend.

Wie sich ein Mann erbarmet. So tut der Herr uns Armen,. Und weiss, wir sind nur Staub,. Gleichwie das Gras von Rechte,. So ist es nimmer da:. Also der Mensch vergehet,. Bleibt stet und fest in Ewigkeit. Die steht in seiner Furcht bereit. Die seinen Bund behalten. Er herrscht im Himmelreich. Ihr starken Engel, waltet. Seins Lobs und dient zugleich. Dem grossen Herrn zu Ehren. Sein Lob an allem Ort. Martin Chemnitz, the great Lutheran theologian and one of the authors of the Formula of Concord, is given as authority for the statement that Johann Gramann Graumann; Poliander wrote this hymn in , based on Ps.

It is without question one of our most majestic and most fervent hymns of praise, one that should be in the reportory of every Lutheran congregation. A fifth stanza, evidently not by Gramann, appeared in and was added to the hymn in a number of German hymnals. It reads:. Sei Lob und Preis mit Ehren. Der woll in uns vermehren,. Dass wir ihm fest vertrauen,. Von Herzen auf ihn bauen,. Ihm festiglich anhangen. Drauf singen wir zur Stund:. Martin Chemnitz relates that Graumann was requested to write this hymn in by the elector Albrecht, whose favorite Psalm was the rd.

At all devotional meetings he requested that this hymn be sung last. How he joined in the singing of the beautiful text and was cheered with the many pious thoughts which he thus gathered! On this account the hymn is especially cherished also by me. This hymn was sung at the Lutheran service conducted in the Church of St.

Anna by Gustavus Adolphus after he had entered the city of Augsburg and restored the Augsburg Confession. Another translation was later made by Landstad. The first English translation was rendered by I. Jacobi in The version which appears in our Lutheran Hymnary is by Miss C. Winkworth and dates from the year Lindeman and appeared in in his Koralbog for den Norska Kirke, set to H.

It belongs, possibly, to the 13th century. It was not written for liturgical use, but it soon became very widely known. It was used by the Flagellants during the middle of the 14th century. Not before was it incorporated into the Missale Romanum. It was commonly used in redactions containing ten stanzas, but more stanzas have been found.

Our cento in The Lutheran Hymnary is made up of several revised and combined strophes. There are many such free renderings of the original poem. It is not definitely known who wrote this stirring poem, picturing to us the mother of Christ standing beneath the cross—this poem with its deep sincerity of feeling, its beautiful rhythm, and its melodious feminine rime.

Jacopone di Benedetti from Todi , who died in , has commonly been mentioned as the probable author of this hymn. Pope Innocent III and others have also been mentioned. It is not known that this form of verse was used earlier than The hymnologist Mone is of the opinion that the original poem was written by Pope Innocent III and later revised and enlarged by Jacopone.

In it was revised into current Danish by B. The melody Nicea by J. Dykes was composed for the first edition of Hymns Ancient and Modern, Dykes and appeared in Hymns Ancient and Modern, Isaac Watts published this hymn in the enlarged edition of his Hymns and Spirztual Songs, The text is slightly altered, chiefly in Stanza 4, Line 4, where Watts had. And hopes her guilt was there. This change was made, with others not so happy, in the Wesleyan Hymn Book, A special edition of this hymn was published in The English translation of this hymn was made by Miss Winkworth and was included among the hymns in her Chorale Book for England, This hymn appeared first in Hymns of Faith and Hope, second series, It contained 12 four-lined stanzas.

As a rule it appears in an abbreviated form. It is used very extensively in these various versions. Und hat das arme Fleisch. Der Menschen angenommen. Hier ist der Mann, der Herr,. Der Furcht und Strafe stillt,. Des Weibes Same kommt:. Der Stern aus Jakob funkelt,. Die alle Welt verdunkelt. Hier ist es, Israel,.

Was du erwarten willt;. Worauf das alte Bild. Es hat sich Rat, Kraft, Held. Und wird ein schwaches Kind:. Die Kindschaft ist erworben. Was unter dem Gesetz. Und dessen Fluch verdorben,. Gott ruft den Frieden aus;. We have been unable to trace the authorship of this hymn. It is not found in many hymnals. The Rochlitzer Gesangbuch of is one of the few that have it. The translation is an altered form of that by Frederick W. Herzberger published in the Selah Song-Book. Now Christ is risen!

Der Tag, der ist so freudenreich. Aller Kreature,. Denn Gottes Sohn vom Himmelrelch. Von einer Jumgfrau ist geborn. Was geschah so wumderlich? Gottes Sohn vom Himmelreich,. Der ist Mensch geboren.

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For the second verse, see: To us is born a little Child. James Mearns thinks it is of German origin. He further states that Luther spoke of this hymn as a work of the Holy Spirit. It is found in Latin and German versions, but the author and the original text cannot be determined. The German version is given by Wackernagel as a fifteenth-century translation from the Latin. Some of the various German versions have as rnany as thirteen stanzas. Our translation is an altered form of what was prepared for The Lutheran Hymnal in It is found in M.

It had previously appeared in the hymnbook of the Bohemian Brethren by Michael Weisse, Ich habe num den Grund gefunden,. Wo anders als in Jesu Wunden? Da lag er vor der Zeit der Welt,. Der Grund, der unbeweglich steht,. Es ist das ewige Erbarmen,. Es sind die offnen Liebesarme. Dem allemal das Herze bricht,. Wir kommen oder kommen nicht. Wir sollen nicht verloren werden. Gott will, uns soll geholfen sein;. Deswegen kam der Sohn auf Erden. Und nahm hernach den Himmel ein;. Durch Christi Tod verschlungen hat! Das heisst die Wunde recht verbinden,.

Da findet kein Verdammen statt,. Dem will ich mich gekost vertraun. Nur bald nach Gottes Herzen schaun;. Da findet sich zu aller Zeit. Unendliche Barmherzigkeit. Wird alles andre weggerissen,. Darf ich von keinem Troste wissen. Ist die Errettung noch so weit;. Mir bleibet doch Barmherzigkeit. Muss ich an meinen besten Werken,. Darinnen ich gewandelt bin,. Viel Unvollkommenheit bemerken,. Doch ist auch dieser Trost bereit:.

Ich hoffe auf Barmherzigkeit. Es gehe mir nach dessen Willen,. Bei dem so viel Erbarmer, ist;. Er wolle selbst mein Herze stillen,. Damit es das nur nicht vergisst;. In, durch und auf Barmherzigkeit. Bei diesem Grunde will ich bleiben,. Das will ich denken, tun und treiben,. Solange sich ein Glied bewegt. O Abgrund der Barmherzigkeit!

Johann A. Rothe is the author of this fine hymn. The following paragraph from Julian shows that there is uncertainty as to its exact date:. This is probably a misprint for , and the hymn, as will be seen above, was in print in It was suggested by Heb. The translation is composite. THIS beautiful poem is one of the German hymns which is most popular, not only in Germany, but also in Norway, Sweden, and Denmark, and in the English-speaking countries as well. It was later taken up in the hymn books of the Moravian Brethren. The original contains 10 stanzas.

It was rendered into Danish by H. Brorson and appeared first in Nogle Psalmer om Troens Grund, This version with a few alterations entered into Landstads Salmebog. There are at least five other English renderings of this hymn. Words from this hymn were heard from the lips of the pastors Edward Bickersteth and J. Fletcher as they lay upon their deathbeds. Skaar says that if Rothe had not written any hymns other than this one, it alone would have entitled him to rank among the best hymn-writers of the Church.

See: From east to west. Ihr aber, meine Sinnen,. Auf, auf, ihr sollt beginnen,. Wo bist du, Sonne, blieben? Die Nacht hat dich vertrieben,. Die Nacht, des Tages Feind. Fahr hin! Mein Jesus, meine Wonne,. Gar heil in meinem Herzen scheint. Der Tag ist nun vergangen,. Am blauen Himmelasaal;.

Wenn mich wird heissen gehen. Mein Gott aus diesem Jammertal. Der Leib eilt nun zur Ruhe,. Legt ab das Kleid und Schuhe,. Das Bild der Sterblichkeit;. Wird Christus mir anlegen. O Jesu, meine Freude,. Will Satan mich verschlingen,. So lass die Englein singen:. Dies Kind soll unverletzet sein! Auch euch, ihr meine Lieben,. Kein Unfall noch Gefahr. Ums Bett und seiner Helden Schar. The hymn has long been popular in the German-speaking church because of its truly childlike popular spirit, its naive simplicity of expression, its loftiness of thought, and its depth of Christian experience.

During the period of Rationalism in Germany it became the object of much shallow wit, especially Stanza 1, of which it was said, How can the dead woods rest, which never are awake, and how can the world lie in slumber? We know that when one half of the world retires to sleep the other half awakes from it! However, Richter, in his Biogr.

It has often been the last prayer uttered on earth and in many districts of Germany is used at the close of the baptismal service to commend the dear little ones to the protection of their Lord Jesus. The omitted Stanzas 5, 6, and 7 read:. Head, hands, and feet reposing. Are glad the day is closing,. That work came to an end;. Cheer up, my heart, with gladness! Ye weary limbs, now rest you,. For toil hath sore oppressed you,.

And quiet sleep ye crave;. From which no man can wake you,. In your last narrow bed—the grave. My heavy eyes are closing;. When I lie deep reposing,. Soul, body, where are ye? To helpless sleep I yield Them,. Oh, let Thy mercy shield them,. Thou sleepless Eye, their Guardian be! It is one of the most beautiful and beloved of all the German hymns. In a masterful manner the bodily and the spiritual, the temporal and the eternal, the terrestrial and the celestial are set over against each other in every stanza of the hymn.

This union of lofty sentiment and childlike piety, simplicity, and homelike tone gives it a unique charm. Mearns, after Bunsen. According to an old legend, Gerhardt wrote this hymn one evening upon hearing this melody resound from the church tower. One thing is certain, that in this hymn the poet has been exceptionally fortunate in striking proper chords in the popular religious consciousness. In homes where the closing hours of the day have been hallowed by prayer and devotion, this hymn has resounded from generation to generation, and in the case of many, it has become part of the never-to-be-forgotten heritage of childhood memories.

Thus, in the case of the great German poet, Friedrich von Schiller, whose pious mother often sang him to sleep with this hymn. The truly naive poetry of this hymn has not always been understood. On the other hand, it has even been ridiculed by those who were not familiar with the childlike piety of spirit out of which it has sprung.

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But with the faithful Christian this hymn will always retain its undying favor. It possesses something of the mild glow of the evening star, which gently breaks through the twilight of the day of life. Especially has the eighth stanza of the hymn the fourth stanza of our version been of great comfort and encouragement to thousands of souls.

It has often been the last prayer uttered on earth. Among the 16 or more English centos and translations, there are three in common use. Of these, the one by Miss Winkworth, , has been, with a few changes, adopted by The Lutheran Hymnary. Our version contains stanzas 1, 4, 6, 8, and 9 of the original. Our present version employed in The Lutheran Hymnary is based upon Bible passages as follows: No passage for stanza 1; stanza 2: Isaiah ; stanza 3: Isaiah ; stanza 4: Matthew ; stanza 5: Psalm and following verses. In dulci iubilo,.

Nu singet und seyt fro! Unsers herzens wonne. Leyt in praesepio. Und leuchtet als die sonne. Matris in gremio. Alpha es et O! O Iesu, parvule,. Nach dir ist mir so we;. O puer optime,. O princeps gloriae. Trahe me post te! O Patris caritas! O Nati lenitas! Wir weren all verloren. Per nostra crimina;. So hat er uns erworben. Coelorum gaudia. Ubi sunt gaudia? Nirgend mer denn da,. Da die engel singen. Nova cantica. Und die schellen klingen. In Regis curia. The macaronic was rather, as Nelle says, the result of the delight which many people took in this type.

Luther is credited, by Albert F. Fischer, with having changed the third stanza of the macaronic to its present form. Prior to that time this stanza overemphasized the place of the Virgin in the plan of salvation. In dulci jubilo Nun singet und seid froh! Vnsers hertzen wonne leit in praesepio Vnd leuchtet als die sonne matris in gremio. Alpha es et o, Alpha es et o. Hymns of this type were common in Germany towards the close of the Middle Ages.

These hymns were generally of a happy and joyous vein, and they were used chiefly on occasions like Christmas and Candlemas. Eight versions of it have been gathered by the hymnologist Wackernagel. Peter of Dresden Peter Faulfisch , a school teacher and a follower of the Husites, has been mentioned as the author.

He died in , as rector in Zwickau. But strong evidence points to a more remote date. The story shows that even as early as the close of the fourteenth century this hymn was cherished very highly, hence the conception of its heavenly origin. This hymn has brought heavenly comfort to others besides Suso. Especially has the longing for heaven, so beautifully expressed in this hymn, struck home to many hearts.

Ewig in dulci iubilo. Danish form:. Nun danket alle Gott. Der grosse Dinge tut. An uns und allen Enden,. Der uns von Mutterleib. Und Kindesbeinen an. Und noch jetzund getan! Der ewig reiche Gott. Woll uns bei unserm Leben. Und edlen Frieden geben. Erhalten fort und fort. Und uns aus aller Not. Dem Vater und dem Sohne. Und dem, der beiden gleich. Dem dreieinigen Gott,.

Als es im Anfang war. Und ist und bleiben wird. Jetzund und immerdar! The first two stanzas of the hymn are evidently based on Ecclus. He grant us joyfulness of heart and that peace may be in our days in Israel forever; that He would confirm His mercy with us and deliver us at His time. The translation is by Catherine Winkworth, Lyra Germanica, second series, Very likely it appeared also in the first edition of this book, Leipzig, , but of this no copies are extant. It is one of the most favored hymns of the Protestant churches.

It was sung after the battle of Leuthen, , while the army of Friedrich II was yet upon the battlefield. A soldier began the hymn, and the whole army, even the mortally wounded, joined in the singing. It was sung during the festivities in connection with the opening of the Cathedral of Cologne, August 14, It was likewise used at the laying of the cornerstone for the new parliament building in Berlin, June 9, It was sung at the thanksgiving services in England at the close of the Boer War.

There are at least 12 English translations. He giveth us the joy of our heart, that we may find peace in Israel as in the days of yore, thus He lets His loving kindness remain with us, and He will redeem us in our day. The third stanza contains the ancient doxology, the Gloria Patri. Frances R. Havergal wrote this evensong on October 17, , at Leamington. It appeared in Songs for Little Singers, The melody for the above-mentioned hymn is supposed to have been composed by Hartnack Otto Konrad Zinck This volume contained the melodies for The Evangelical Christian Hymnary.

Luther adopted this Pentecost stanza and added the three following. It has found a place in all Lutheran hymn books. Luther, who himself ordered it for use after communion, later included it among his funeral hymns. It has commonly been sung on Pentecost Day, but in many places it is used as a fixed hymn to be sung before the sermon every Sunday. This version was made use of in the first Danish-Norwegain hymn book by Guldberg. The first stanza here is as follows:.

The accepted Norwegian version is by Landstad. The first stanza is always used in our Church at the ordination of ministers. The melody is possibly as old as the first stanza of the hymn. The oldest source is a Hussite cantionale from the 15th century. The melody Eng. The hymn was sung to this tune to celebrate the Peace of Westphalia, December 10, , and has since been widely used for all celebrations of praise and tbanksgiving. The melody is one of the oldest of Lutheran origin. The melody was first published in Etlich Christlich Lieder, the so-called Achtliederbuch, It is very extensively used in Germany and in the Northern countries.

It is said to have been written down by Luther from hearing it sung by a traveling artisan. It has not been definitely established that the melody for this hymn dates from the fourth century. It was printed together with this hymn in the Geystliche Gesangk-Buchleyn and in the Erfurt Enchiridion, The original tune used with this hymn in was possibly written by Hans Kugelmann. This is found in The Lutheran Hymnary as the setting for Nos. Gramann or by Johann Kugelmann, in whose Concentus Novi, etc.

Isaac Watts first published this hymn in his Psalms of David Imitated, , as a metrical paraphrase of Ps. Felix dies, quam proprio. Iesus cruore consecrat:. Felix dies, qua gestiit. Opus salutis aggredi. Vix natus, ecce lacteum. Profundit infans sanguinem:. Libamen es hoc funeris,. Amoris hoc praeludium. Intrans in orbem, iam Patris. Mandata promptus exequi,. Statum praeoccupat diem;. Ex qua potest fit victima. Amore se facit reum,.

Poenasque solvit innocens;. Sub lege factus legifer,. A lege nos ut eximat. Tu, Christe, quod non est tuum. Nostro recide pectore:. Inscribe nomen, intimis. Inseribe legem cordibus. Qui natus es de virgine,. Iesu, tibi sit gloria. Cum Patre cumque Spiritu. In sempiterna saecula.

Maurice at Sens. It was published in the Sens Breviary, , in seven stanzas. The omitted Stanza 5 reads:. The wound He through the Law endures. Our freedom from that Law secures;. Henceforth a holier law prevails,. That law of love, which never fails. The translation is an altered form of the version by John Chandler, first published in his Hymns of the Primitive Church, O heilige Dreifaltigkeit,. WlIein, on the other hand, expresses a decided negation of what might be inferred from the antecedent, [as in this case a negation of the possibility of deciphering the contents of the letter, which might be inferred from the preceding sentence.

T6 ihdtt aUl, nothing but. The inversion of this sen tence would in English only be possible by making the verb passive: the green wood is gladdened by my countenance.

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Cein S'aub bat er Sifcter gebaut, L fteMet bidtt an2 ben t3efen; 3n ber bhtuen tfutt ficfd' befdcaut, 2ttf fpriac' ee3: wer fann midc faften? Wem: to him the world is as lit. The general belief was, that it had been undermined by carps and trout. Unb Reben wifnfen Ierein 93on griinen, fcdirmetnben fugetn, Zite afen en en Torb nicdt einm Zie umfaucdt nutr ber eft mit ben Utigetn. Unb eiter eeben ift autbl; Zer Sifdcer mit frotem nZelagen, tr tritt in ba ftattidcte sauct,! I Not even the smallest. Mm tage'3 brotet ber tDb, Zie? By its position before the subject, the predicate is made emphatic.

In the following line eS fcklintt we may either supply bet ee after the verb, and thus make the eS expletive also, or the eO may be regarded as the representative of the subject which is intentionally left in. Zer Jetit teunb Der obenfct. It is but very seldom that it is entirely frozen over.

The incident which forms the subject of this ballad is said to have occurred in The verb is usually applied to the roaring or blustering of the wind. Unb SDunbe beften empor am [3ferb, Unb e6'5 winft im Dorf ibm ber rtarme! Unb becft' iOtn7 bie Tinbe ton Cit nicdt ju, Sct fprt'id, aun bernm acten ftiegeft bu. TYict fradct' Iinunter bie Jinbe bic t20? Unb bu iarbft nidct tie Eeife ber ftummen Zrut Zer [ungrigen ec et'2 r in ber fatten gfut4? S3erein 3um Cfen, gum bampfenben tifdc,24 5ridc mit unO uom 3rob unb i uoom Wtif! Za feufgt' er, ba finft er om Jof berab, Za warb itam28 am Ufer ein troden Orab.

Zer St ungting. Stlo fitlft bu nod ntidtg ion bem lfenb9, TSie trasien facdt bn 2eben bitr0. Zein, Su3ngitng, bie tume terbibt"ll! May is here personified: the young man, or the representative of youth gen. A8 nd awoke with the rising of Hesperus, i. This separation of the genitive from its governing word icten is very unusual and harsh.

It is entirely inadmissible in prose, and can only be excused in the boldest poetical diction of the ode. The works of Klopstock abound in daring inversions and in the most unusual constructions, and in these respects he has no doubt tested the power of the language to its utmost. Mmonia, in Asia Minor, was one of the countries which claimed the honour of having given birth to Homer. The object of the verb is bi4 in the third line. O 7mhou wast no more. Fber fie[tt bu baW weitere, lInb feine Srotn' alC?

Zodt roig' nod einmaf, e 38u gefaibrto bitr Zer S erefb t6net. Qar ed nict t ictl4 tie fd on 91it ert an Ztbermoppt bie Zabn mag? Unb mit ter obelt ter fieten t figet?. Zer ernfle, ridttenbe 9fugenbLicf garm mit tem rSerltb naier. Zann mag'6, o bann an meine teidcte tiegenbe? These, are again circumlocutions for the Grecian and the Roman muses. Zer 2t te fprac um itrn ngen:,,9Run fei bereit, mein eotn! On this use of the e, see Gr. O There stops tait the gray. Umfonfl fei aCI bein Ringen nIac granllett blttt'gelt?

R oman 8 e. Cr fctiffte golbbetaben Sett ton tarent'3 eftcaben, 3tum fcd5ten Sett ae teimygeranbt. Zie Slunft, bie mir eint O3tt gegeben,. After having sojourned for a Ling time at the court of Periander, tyrant of Corinth, his warm friend and patron, he felt desirous of visiting Italy and Sicily.

He accordingly went to these countries, contrary to the advice of his friend, and, after amassing great wealth, he embarked again at Tarentum for home in a Corinthian ship. The mariners, allured by his riches, determined his destruction, giving him the alternative either of killing himself on board and then enjoying the benefit of a burial on shore, or of plunging into the sea immediately. He chose the latter, arrayed himself in his richest attire, and, after performing the so-called Orthian strain, he took the fatal leap.

Herodotus says, that Periander put the mariners to death. The poet deems banishment among barbarians, where "naught beautiful would ever charne their souls," the severest punishment that could be inflicted on tnem. G10 oteiben S. SIenn icb mein? Zocd foldten Eanger 3U uernebmen, Z3a3 rei3et itren roitben Einn. Somm, foige mir il. Pltfiumt S3eroen26, Zem bunfetn Etrom entfloben! S3r jriettiCen, fdon Sgriu' id euc! Zodt finnt ibr mitn beW gramW entbinben? Zen iaRf, 3u eCdu gebettet, S3tr 9Rereiben32, rettet! ZSbn becen affobalb bie Sogen, Zie fidcern ecifffer fegetn fort.

There is here an allusion to Orpheus who, by the sweet notes of his lyre, lulled even Cerberus to sleep. This and the rest of the stanza is addressed to Orpheus. Sett, ba ficd jebeW trennte38 3u feifnent Gtemente, Orfiit ion triotn'6 vteo-'erq:,,Eeb' Wetbt, unb f6nnt' ij 39 bid betrotnen, Z:3 treuer, freunbticder Zetpbin! Zidc mwirb4 atuf feud ten Epiegetn lodt Oalatea 5iigefn, Zu wrirft fie ftolf ttb teitig42 iietn. S3 From na tieten: dol. A brazen statue, representing the poet on the dolphin's back, was subsequently consecrated in the temple of Neptune at Ttenarus.

Galateea is one of the Nereides or sea-nymphs 42 Among the ancients, dolphins were regarded as sacred to the sea-divini ties: thou, her consecrated servant, wilt convey her proudly f4tll. Zie Auwft, bie mitr en ott qegeben46, eie Murbe Die[er tlaufenb luft. Zie etater au entbeden,' Xunt bu bidc bier verilecen, eo nabd'n fie obI ftid unbeforgt If they did I would have borrowed i. Cypselus, the father of Periander, had obtained the government of Corinth hy usurpation, hence. Dt fctlng' ung nur bie Crb' binein"5P! Zie fterbenbe Z3ime'.

It here implies a suppo. Ziefeg cebeng armen q? In the following lines the auxiliary is likewise to be supplied with gefcwetbt, erfrif4ct and erfreut. The verb Dergitmmen is properly applied to the gradual going out or extinction of a flame. Belt: my faded one is sinking here. Cinen go[benen 3ecder rterf ic titnab; Berfcdfitngen fdcon tat it n her fdcwaqre MYuntb3.! Tieck in his,,2affermenfcd," Kircher in his,,Untcrirbtifce V. This diving feat is said to have occurred on some great festival.

The king is Frederick of Naples and Sicily, about A. The historical diver, in every other respect quite an ordinary man, is remarkable only for his extraordinary skill, which was natural to him; he dives, moreover, from purely selfish motives, for the gold that is offered him, and perishes without our sympathy.

Schiller's hero, on the other hand, is one of the retinue of the king, adorned with all the ornaments of youth, of beauty, of a generous ambition, and undaunted courage, in a word, he is an ideal, a poetical character, and as such addresses our warmest sympathies and admiration. The king's daughter, as the prize of the second plunge, is also purely an addition of the poet. Thus we see, that in producing this admirable poem, the author has exercised that unquestionable prerogative of every true artist, in handling materials derived from history or tradition, namely, to add or reject wherever and whatever his design may require him to add or reject; thus making the event merely the basis on which he rears an ideal structure, perfect as a whole and harmonious in all its parts.

Bulwer is the author of a very spirited English version of this poem, from which several passages distinguished by quotation marks are given in the notes. Unb ber 96nig 3um britten M als wtieber fraget::,'3ft Reiler, ber fictf intunter waget? It reminds us of Homer's spirited delineation of Charybdis Odyssey, book xii. So vivid and truthful is this conception, that Goethe, on observing the Falls of the Rhine, called them a verification of the words:,,un e tunallet tnb ftebet unb braufct unb tifcjt, and it bubbles and seethes, and it hisses and roars.

O2 CCTlieit gftc bcr lRaden, the giant-mouth gorge closes; nimmer is here no more. Unb fieb! The e B in this line has reference to the spectators above; in the preceding lines it is again that mysterious e I referred to before, representing here the unknown cause of the frightful commotion below.

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This is the language of one of the spectators, whom the poet introduces, to fill up the mute interval between the plunge and the re-appearance of the diver. Zen 3ecder reicdt er ibm ftieenb bar, lUn ber SOnig ber tiebfidcen toCdter wintt. Zie filft itvn mit futMfernbem ei. Za -unten aber32 ift' fifirdterlic, lUn ber Menfct oerfitcfe33 bie i6tter nid t, Unb be3etbre nimmer ultt tnimmer jU fcdauen,:3ag fie gnibig bebeeelt mit 9Sact tnb O rauen! The verb is in the imperative. Unb fdiauternt bacdt' idc', ba frod 'g Weran45, 9?

We have here again the frightful, indefinite el spoken of above, by which the poet gives a vague outline of the ill-shaped and terrific monster, the polypus of the ancients 6 Mloved a hundred limbs at once, would snap at me twil fd nappen nna mir. The e here stands for the maiden, the king's daughter. Schiller has, on the whole, made but little alteration in the historical narrative, except that, no doubt for the sake of preserving the unity of the scene, he makes the interval between the punishment and the pardon but momentary, whereas really the knight was degraded from his order and sentenced to imprisonment, and pardoned sub.

The evident aim of the poet is to give us a picture of the spirit and character of the earlier Christian chivalry, in which heroic valour was blended with, nay made subordinate to, humility and a childlike, unconditional obedience to law. That this is the leading idea of the piece, may be seen from the fact, that the description of the fight is introduced only by way of episode, and that the relation of grand master, as head and representative of the order, to an individual and culpable member of the same, moreover, the humiliating degradation of the latter and his final pardon, form, as it were, the foreground of the picture.

After his death, the words " Draconis Extinctor " were inscribed on his tomb, and the head of the monster was placed over the city gate, where it could be seen for ages afterwards. The Knights of the Orderof St. John the Baptist, also called. Unb taufenbt timmen oerben faut:,,ag ift ber Vinoltirm, fommt unb fc0aut, Zer Sirt unb teerteln unt verflfungens!

Uttb ie:ter himmt baN O rtll tn fprid t: the Knights of the Hospital see the concluding sentence of stanza 2d , were in possession of Rhodes from till , when the island was recovered by the Saracens. Their subsequent seat was Malta. And all look biilt verwunbert an with astonishment now batn at the knight, now balb at the dragon. Zer Zracde, ter ta3 Vant teritet, Er liegt toon meiner tanu get6btet. John were obliged to make. I'ag fdcmiudt ben 3iingIing, etrt ben eann, SBag leifteten bie tapfern efbenU22, Ton benen ung bie fieber meben? Zite au ber ietter Bana unb 9? The songs alluded to are the heroic odes and epopees of the Greeks.

Their most prominent heroes, who fought with and subdued wild beasts and monsters, are Theseus and Hercules. Zefriegt er26 nur bie faiffden 03itter efnttbt ift er ber elft jum 9etter27! Zu, -. Ifeel an impulse inward necessity to return. Unb id befcfdieoe rafd bie c ttat, Nur ton tem Serjen netm' id ' at,. Zac ftirdltein fettnft bu,. Zen geTfen tieg idf jest binan58, Gb' id ben fdeteren etrauf begann; 4.

Stephen, a few sJses from the city of Rhodes. The dangerous road, from the foot of the mountain to the chape. Z5eroebre mit bem Epie bie? Unb floridt:! Zie ecdlange, bie baW. Zid cat ber eitte! Zir ift ter tart're Stampf gellungen Wimm biefeg Sreu t! C ift ter! Zer roifbe 3siger. Take this cross; it is the guerdon of self-subdued humility. The legend of the wild huntsman and of the "raging host " bee triitlenben JeereW is of a very ancient date, and GRIMM in his,,Zcutfcde Th tlologie" German Mythology page 95, and pages , , , and , has shown, that it originated long before the introduction of Christianity.

Oocdamt rufte tumpf unb ftar Zer tlorten ernfter 3eierffang. Zee Jedten MoL war either 5[infens, Oin reuerfarbner trug ben 2infen. Scd arnb' eg vbbf, bock weitO idtt' ntidt, nis chief divinity. After the introduction of Christianity, the ancient deities were converted into evil beings, and thus eobttan'8 eer Wodan's hosts became wiittenbeO 5ieer raging, mad host , consisting of goblins and malignant demons.

The story afterwards received its moral aspect by a very natural attempt to account for the cause of this wonderful alleged phenomenon, so that the wild huntsman finally came to be regarded as a man doomed by heaven to the perpetual hardships of the chase until the day of judgment, to atone for his heavy offenoes against the laws of God and man. The poet has closely followed the general account; only the appellation "Wild and Rhinegrave " and of course the general arrangement of the plot are his own.

In speaking of Burger, it is here in place to remark, that he is the father of the German ballad, and that he has been so successful in this species of poetry, that none of his followers or imitators have approximated so closely to the spirit and popular tone of the ancient English ballad, as he has. Percy's " Reliques" were his model from which he reproduced many pieces, and by which he tested his own. Dut 0ocd in bie fiifte. LCriagft bitr eut nidc tO 3utg. Zie Sagbfuft mag euCd ba1'5 erfreun!

It seems here to have a comparative force: more, better: the chase may afford ioubetterpleasure, more delight. In other parts of this poem its signification is very, very much. Zu bit ein Selb nad mneinem Einn. Wuf fprang ein reiber Sirfcb tvLn ferne, lit fedejetunaacigem ebbirne. Unb tauter ftieg ber Braf ing. Zag barf nidt2l iuirRfentuft termuPrien. Zd ba betet ibn ber linte M3ann 3u fcd abenfrebem treetelmltt.

Zer i3itbgraf fcImang Etid iiber'ut Tom nalen idrm emuoorgefceeucdt28, Wetb ein unb aiu, Zerg ab nmb an19 Oefirengt, oerfofgt, body unerreidtt, freift ba6 Sit[b be f[nger Slfanu; lUnb miftdt fidc, bt29 ierfdvont 3ut werben, icdtau mitten jtifdcen acbtme 4'eerben. Zodt in unb ber30, burdc ghur unub at b, lInb ber unb bin, burd natb unb Wfur, Terfotgen unb erwittern batb Zie rafcden ultnbe feine epur. T3ebenfet, [ieber S3err, bier graf't Eo mancter armen 3ittwre u4b. Cntgegen tritt mit fanfter Zitte Z er fromme Stlauner! Yntweite Ootteg greiftatt nidit! Zod ba i bett itn ber linte 9Jann 31, ftadenfrotetm trecedmutl.

Unb roete! Za," rtuft er,,,mact mir wenig rau Unb oenn'e im britten Sirmmee mar', Eo adt' if 'e teine 5[ebermauj I fr fcbmingt die 9eitfte, fto"it in'6 Svrn:,,aftIob , Oefeten, brauf unb btran!! Crfd rocfen bticft ber raf umbter; er ftiit ifn! I wouldn't mind it a bat SIebermau! Zumpf raupc t eO oie ein fernes leer. S0ocdt fber feinem'saupt terab?

S3ac fabren taufenb siDttentunbe50, 2aut angebeltt, empor torm edCtunbe. Sm 9iacen bteibt fein Wtnti fttretn, Eo rafcd bie lfucdt itun uorwoirtg reint Zag ift beg witfben Seereg S. Site ceinee feitnen Z teim traun emntfanft tnb betobIt. There are several German translations of it, among which Goethe's in hexameters and Soltau's in doggrel are prominent.

The extract here given is from book ii. The substance of the first book is as follows: One Whitsuntide, King Noble, the lion, was sitting in solemn court, surrounded by the chief vassals of his crown from all parts of the land. Charges, numerous and heavy, were forthwith preferred against Reynard, the arch-knave, who cunningly had stayed away. Hinze the cat, Lampe the hare, Isegrim the wolf, and Chanticleer the cock, each with his peculiar eloquence presented his complaints to the king-one seeking redress for violence done to his person, another claiming satisfaction for an outrage on his honour, and a third demanding revenge on the villain for wilfully murdering his relatives and children "with intent to eat.

His arrival at Malepartus and the success of his mission are found in the fragment. Za trat er baoor unb befann fid? Ceib Su jegticter etunbe, mein. Deitm, wiftfommen! Snbeffen1' Zleibt ber Zabel ffir ben, ber eucd bie? FXber fo foft' eO wobt fein 3u meinem 3Zortteit22; id bitte,!

Zienen werb' id eud roieber Zenn it fenne niemanb ion aofen meinen Ogermanbten, Zen iC ierelrte, wie eudc! Zodc foommt! Reinefe lief ibm sutor4l unb blinbtingb fofgte ber ranune. Soffnung betriugen. Tiur ratt' icd, rebmt nidct gierig uwiel, e midcbt' euc ifibef betommen,,":,,9eint ibr,,, fagte ber Zair,,tidt fei ein 3ieffrao? Reinefe macdte ficd b'ran50, mit Diefem 3ieten unb 3erren Zractt' er bie Seite beratu. Kber mit atte ber'Pein war nicdte gewonnen55; er glaubte iraimmer omn bannen lu fommen56; fo meint' auc Rjeinefefreubif.

Unter taufenb froten Etunben, xo' im Meben ict gefunben, 5Lieb nutr eine mir getreu2, - i i n e, wo in taufenub ecmetren Sc3d erfutr3 in meinem Seraen, 3er ffir ung geftorben fei. Y eine Sett war mir;ertbrocen, Vie ion einem t3urm geftoden4 and bold as he was. Sen ic5 fat unb men an feiner! Zer Senfd. Qiebenb rufen ibm bie literne,? The tub. The dative, to. Oott ift ba.

T9id t bein. Satre rvfie. Zer cdtLaf. SZeitiger Eld faf! Eei mitr gefegnet, big bein traumrfoer truber femmt, ber nod xied fcdbner uttb t[iner befainftigt. Which, though itself never seen. The article before Siirften and enie'd serves simply to point out the case dat. Seber trettnb itll be anbern tonne unb -ottenblume augteid ; er aiett utti er fofgt. Zert afferfarl mint bemnt egenbtogen. AD mie frcgebet auf tem grimmigen Safferfturm ber Zogen bei griebenu fo feft!

Zie lIumett auf bemn arge beer Sungfra a. S3tr bradctet ja fonft itr ttnlmen5 bei ben 3iegenfeften. Sett feiert fie ifr grioteB6; benn tie 3atre ift be Siege eb S5immelf. C 9innerung. Sinter ben Eonnen rutben eonnen im featen tlat, itr frems ter etrat t fieqt feit 3abrtatfenbens alif bem Sege lur fleinen Erbe, aber er fommt nicdt an. Ser bie abrleit verratt , ierratl fic fe bft. C6 gibt nur einen tempef in bcr Seft, unb ba6 iRt ber menlfd, [icte Airper.

Zie 3enfcteit ift ber tyIobere einn unferee 93taneten, ter Etern, ber biefeg Ntieb mit ber cberen Oelt tertfuiipft, bag f uge, bag er15 gen S'immet tebt. Zie Sett ift fo feer, rwenn man nur Zerge, Wfiifue unt etabte barin bentt; aber tier unb bta Semanben iu wiffen, ber mit uni uiberetintimmt, mit Dem mir andu ftiffdOcteigenb fortfeben, baG mad ctl6 nng biefe ftrbenrunb u1'6 einem benotl nten Oarten. Sugenb uertifdcent u finnen! Ton Oieeren. UInfterTid er Smer!. A character, in many respects most extraordinary, on which Schiller dwells with minuteness and evident admiration, both in his classical history of tl-at war and in a dramatical trilogy: "Wallenstein's Camp," "The Piccolomini," and "Wallenstein's Death.

Cine f d e eetten3 gegele eitlen f o el t e 2erbreder 3u offttrecden, fctiet nicd t uiet eneniger tinflt 3u foften, atl eC gefo' ftet batte, fie bem icdtter Sa entreiten5. Ton ber 3ufhnft erwnartete er Benungtutung, llnu in biefer eoffmnlng beftirften itn bie roMpbeeitungen eitne itatienifdcen 9Afroeogen, ber biefen untgebatibigten Geift, gteidt einem ntnaben, anm aiingetbanbe fitrte.

Man braucdte bie eterne niceit 31 bemfiben, um mit 3airfcteintic feit ioerter 3I fagen, baci eitO einb8 mite lt3au 2tfetlpeitnen 05eneraIt wie iaftenftein nicft range entbetrs lidt laien Wirtbe. Zie 2btgevrtueten entliei et fiirfticfd befctenft, unt bellt aifer erfucdte er in eitem temiittigen Ed reiben, ittn reiner mifnlt nitdt iu beraltben lInb bei ten erwors benen "3iirben 3u fcdriiten.

Cein T ala maWr nidCt We. Eeine gew6ibntid e Tafel4 rwar nie unter b1iunert O3angen, fein. Die q3racdt ber 2iuereien, ber t3ana ber Lquipage unn ber dycmttff ber 3irmer war em fibrigen tiuff would not long suffer a general like WTTallenstein to'e dispensed with. Oiuen ird c gqan3 llropa autgebreiteten Zrief.

Cr war ton goeer Ctatut:nb tb ager, vont getbticer Oefic tfarbe, rSttlfi et furden Saaren. Zie nieiern b egeni en ber e uft rtaren feit einigent Tagen mit Zaminfetn angefdcriangert. Sir faen erft in ber Raccft iom 4ten jum ir5te. Za Uie beiben green Eterne, welfte bie tpitee lnb ben 5ll beg Srelaeg beeitdnetn,. Ziefen tmftanb fennenl afte 3iftfer, tetfce jerfeit beg 3entbefreife eober in ber ffilticfen S5emtifriare roebnen. Zie teitige aicitfia, oemitlbe,on lRaptaeI, in Q3ologaa. When the indefinite pronoun un a n has a verb in the active, it is generally best rendered by an impersonal passive.

Cne geleimlittiulfe tiefe nltlt xlilnr erfitie bicfer magifcen S itnfi aneuteuit2 tbier entfaltet. Zer tie tlfftini in fiC t erftjfeCte tadl a3, mit bem gemrattigen mctwert 3Wr Vinfeit, erinnert unu att jene atte traft ter Midoetvis en, iueiclCe Zbiere teqatinetn tnitt fetn bemegen fonntte, aber ben nelifcteltfxi. Zie barmontifcbc tbeit ter gegenliibervfebcnben qlagalena, bei reit uiae. DZer flare Tcrgrinttb litt bte uerfc eienent, 3erftrelt nttmerliegelten ftrrunmentte3 feten ltna hi. Paul profoundly wrapt up in himself. In this and in the followinlg sentences marked 3, the pupil will find an application of tll principle of syntax explained on page Gr.

Vaterie erte;s ben, 3u erffilten. Sit aften iunn ihbrig ge bliebenette itberni be Zater6 ber istter, elCtde hie innft t'er. Apollo, the son of Jupiter and Latona. Zie 13racdt te bUimrnetan fic toitlbenten tort4 btat eine majes ftatifcde Oilufatt, tie te 3orfteflng fibertrifft. Sn ulngebeurer adnge. If the image was too high to admit of coronation, the wreath was laid at its feet. Ranltam terfintlicbezt, fe tfigt gteictntcbf it.

Tier itt. I2t3 ben it bberitenl. Wtt enienfer, nac Sonien Derfeft, genma,xvten unter beMn fcdtlien. Zie erotifcten Oefaine, tie mifefifcrten Sao befit tie Torbitter uinferer Nouetffet unb Tomane erfennen 3o; nien fitr ibr Z3aterltiib Der oeoraq ber riecben, SUcaOil, tie gfiibeube eappbo,' tnafreolt ter eatger, Wtfrafia bie getre, rin, tpefetle bter Mater toaren attn eotient; utnafreon fogar ein geboter Zejer4.

Z;efer tente modcte etwoa ein 3fitglting ton 7. This is the title of a satirical romance by Wieland. Abdera was a city of Thrace, which, thoughn the birth place of Democritus,Protagoras and other distinguished men, had become proverbially notorious for the stupid ity of its inhabitants.

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W nfter'lbffnitt. Zie Eeepferte lcnmb zetfii tte fottetl eine 2eqnge IBaffer6 ait itrer Y9afe bervrfprien. Ziefeg Ungtfif beffet bie Wtbberitent nitdt unqgearnt. L in weifer Mann, ber fid unter ibnen befanb, fagte ititen range t3uuor, bafl eg enbtid fo fommen wiirbe. Gvrifopt Martin Sietaub. This is a comical imitation of the croaking of frogs, and is borrowed from Aristophanes.

Zer Zergmann1. Cfr begnigt fid9 iu wiffen, wo tie metaftifdgen iC te gefiunten rerten, unb fie 03t Zage 3u firbet2; aber ibr btentenber 03tan8 rermag nidbtg iuber3 fein tautreg Oera. Unentpiinbet eoon gefitrtficem 3atnftnn, freut er fid metn r itber iOre trunterficften Oitlungen un btie Eettfamfeiten itrer S ers futnft unb itrer Bo3ttnungen, atI iiber ibren atteg uerIeitjenen Qefit.

Rufe in tie Velt fotlen unb auf ber Zberflicgfe be obetenO burd taitu fd eiibe, binterliftige finufte nacd ibnen tracdten foate. This is an extract from Heinrich von Ofterdingen, an unfinished novel by Novalis, which is supposed to have been intended as an apotheosis of Poetry.

A company of travellers on foot, among whom was young Henry, the hero of the piece, had been attentively listening to an aged miner, one of the party, who not without much warmth and emotion, had been giving tflem an account of his past life, and now goes on to conclude his story by an equally enthusiastic encomium of his occupation.

Cr gebeutt in feiner OiufamFeit mit inniger Seeratidfeit feiner e3enfen utnb feiner'amitie, nub fiuT t immer erutenert bie gegenfeitige Uuentbedrticdtfeit iunb lhtutert ranbtffdaft ber Meens frcen. StraeIt ibm ein ewo'ge Qict. Zen 3erEen feiner 5anb. Za ainbf mit b em t, elt.

Zer 3li'tnging aber, bem Untl tier entgegen, jog bie t 3iftole un fct0o, aft er ficd navte genug g[aubs te; Leiber jeboc Wuar gefetft, ber Tiger fprang feitiartt, bai 9. The young princess, escorted by Honorio, her equery and page, is just returning from an horseback excursion to the ruins of an ancient family castle. Her prince-uncle, whc had been one of the small party, had just left them and hastened back to the city to aid in the extinction of a fire, which had broken out right in the midst of the market-place where just then a fair was holding , and which threatened ruin to the entire city.

The first part of the Novelle consists of a description of the preparations for a chase which the prince, attended by a numerous hunting-train, was about to undertake-ot the departure of the party-of the occupations of the princess at home, and of the motives which induced her to visit the ruins. The ruins themselves are also described at length, both as sketched by the painter and as actually sesn by the princess and her escort.

A most masterly translation of the entil e piece may be fourin in Fraser's Magazine, Vol. On their way to the ruins of the castle they had passed through the city, right over the crowded market-place, where among other curiosities, the frightful pictures of wild beasts then exhibited, bad attracted their attention. Zie fprelgte, Wag bag 93fertb ermocdte, tie lleite, fteinige etrecfe tiuanu6, faum fiirt. Zeftreben fraftlfo Su 23oben. Zeibe Yenner erreidften iugteidc ben Crt, mo bie fiirftinn am l3ferbe ftlab, ber Titter beugte fic beratb, fcdoE unb traf mitr ber;reiten Siftote bag Uns gebeuer butrc ben Ropf, tba eg fgteicd nieberftfiirte, nutb auges ftrect in feiner ainge9 errt rect tie V0adct unb nurcttbarfeit fes ben liee, iont ber nutr nod ba itrpertite fibrig gebiieben ba lag.

A -,,ireett nicft! ZBer baM Blifd bat an eurer tafet Sai fitoen, men ibr beetrt, cure efeflfdtaft unterbatten nit biirfen, ber miuf bie iert gefeten tabett. Vie lange begfeiteten nirt bidt auf beinen Sabrten, rnie fange war beine efelfdfcaft ung wtcdttiq unib frudctbar! Cv mtir eg nift metr rein! Bebe, rebe! Uleber bie fleinige Ztife einberfprengenb32 tutten unb ftarrten fie, nun bie utnerwartete iruppe gemdabr ners bent, bie fid acuf ber leeren Slftade merfmiurbig auc3eicdnete. Unb nutn ga35 bie Samiie;us fammen ed mer unub Ueberrafcdung au erfelnen Wr beiter beauffid tigte.

Wergerltic aber fcfto ber Vann:,,Iarum tabe id gefternt commanded the prince, the party must draw to this the eft side. He was engaged in taking sketches of the ruins ot the ancient castle, and for this purpose had fixed his residence there. Z3efet;e ben fclmaten Seg, battet eure Z5ii fen bereit, aber fPcieft nidct eber, at6 bi6 ibr bag Oefdc pf nidtt f. Vhich Prince Frederick's spirit and talent u intending to make of it, i. ZSac tinb ierfofgte feine? Wber and? T9idjt riterftebenb, nidtt toierfrenifig, efitg, nein, gtatt ttb abgeruntet getinnen fie fdtnefler ibren Seg unb getangen ion Wite 3u 1 t1 l, entblid um.

On the compound Wvinfelf unb wagqeredt, see note 1, p. ToMd ber V3enfdc nteif ibn au 5sb men, ntt bat graufamfte ter BefcSopfe bat CFrfurndt eor bem Cbelbitbe otteg, wornadc audy bie Cnget gemacet finl, bie bem Serrn bienen unu feinen Zienern. Senn in ber ingruenrub e fdteute fid Zaniet nidct; er blieb feft unt getroft, unb ba mwitbe Zriifuen unterbractd nidt feinen frommen' efang. Zn ben Jruben, in benm raben tire ba bern ginbe bang? Iffae mwar mie befdcwidctigt; jeber in feiner 2trt geri'rt.

Sfber btie Seranfommenben fd ien er faum au bemerfen, er fac roie in tiefen 0ebainfen ierfunren, er fabt umber woie Serv ftreut W ber juerlf iiberwinbe bicd felblt. Cr 3eigte bie unb ba 2uft fidc nieberpufegen, bocd ber Rnabe ffibrte ibn im tSalbbfreife burd bie wenig entb[atterten, buntbealubten altume88, bie er fiCd enblidt in ben [eIten Etratben ber Eonne, bie fie burd eine utintentiitce bereinfanbte, rie ter.

Zac Stinb fitete uttt fang fo roeiter, nacd feiner WXrt bie 3eiten nerfd rdnfenb unt neue titnulfiigenb,,lnb fo get mit fluten oSinbern Getifer Cnfget gern ju gRats97, 8iifeo SioUen u vereinbern, Su befirtbern fciite XZat. Unb fiet, ein praCt tige4 tEctaufpiet bedann. Zurdc ben Zampf am Zerge boben fitd bie Iulnfen empor3 wie euttffugeln, tie in tober e uft uercfdtwatben oter gltifeenu mieber nieberftiegen. ZOIn 3eit Su.

Wans tel, aul. Sie mwir nun rutig btcin glitten in ben freunbtidten Etratbten, Za Itabeten rir tieber mit reitcen ectadten,,nb roit neugeboren ging idt burd ba betbatlte 3ebfifdc inb tbie fcttums mernben s iitten. The extracts fom Kant are perhaps the only passages in all his works that approximate at all to eloquence. Always cool, deliberate, slbtle, logical even to rigour, and clear, too, except where obscurity arises from a natural imbecility in the use of language-hle calmly pursues his analysis of the intellectual and moral constitution of man, incapable ol being moved by aught around him or within him, save by the contemplation ef the "': starry heavens above us and the moral law within us.

The extract is charac,. Zae woeite fingt oon meinem nnficdt; baren eetbft, meiner q3erfintidcfeit an, unb fteft mid in einer 3eft bar, bie wabreU nenblicdteit bat, aber nur bem TBerftanbe fpUirbar ift, unb mit metider baburdf aber auCd ugleid mit alen jenen ficdtbaren Velten icd micd, nidct wie bort in b[ol uf. SmmanueI S ant. The clause is parenthetical. In the ethical system of Kant, iTernunft is equivalent. Befeten, bite erfon aTfo, act atr Einnentoett getbirig, itrev eigs nen q3erfin. Oir erbticten augier utnu eine erbinbiung, in weocder Seiner fiir fic fetbft arbeiten fant, btue fiir a e 2tnbere t11 arbeiten, ober ffir ben Wtnberen arbeiten, oitne stgleid ftr fitc fetbft du arbeiten, intem ber gaicfltice Sortgang eine3 9i2itgliebeB gliufticder'orts gang fiir age ift; ein tnbticf, ber fdVtn burd bie Sxarmonie, bie wir in bem Wqermannigfattigften erblicfet, innig motlttbut, unb unfern 0 eift maicbtift ertebt.

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  7. Z3ac 3nterefe fteigt, wenn man einen 3ticd auf ficd fetbft tbut umb fidt at, 92? Zag, woa man tob nennt, fann mein S3erf nicdt abbreden; benn mein Sierf feo to ieletet werben, mittin ift mefinem Zafein eifne 3eit beftimmt -un b Ct bi etig. STredtt atle terab auf micd; unb bu Frbe unb bu Oimmel, uermifdct eund im roiten Tumulte! The syllables and letters 0e, , en, n, designate the genitive singular, and e, en, er, n, tht!

    Alcecus a Greek poet. Alexander the 1 f e i t i, adv. See page , note 3. FI erIiebft, adv. Aglaia, one of the Gra- 2 I l b a n n, adv. WlIte, the old woman. W n f a tgti:t, v. I fishing-hook, angls. Oak gebeit, to set about or begin. Anacreon a Greek meadow, pasture. Apelles, a painter. Terberben -, to work destruction..

    Arabian, Arabic.! B1 r g, adj. Cinderella; cin- 2 u f g e e:t, v. Aspasia, the wife of in store, stored up. B breath; aufier -, o:t 2 u f I a g e, f. It assessment of of breath. Itu 4,, conj. See Gr. Itufbren nen, v. Page I Bavaria. B approbation, ap e bepat6 ftct, it happened. I protector, guare r g, m. I, pl. B purse. I in b, adj. Z3i i, m.

    C flash, lightning. O b e, adj. IIa tn, adj. Z1 iit te, f. I8tiitenltautm, m. British, Britannic hu tful; adv. Z rittinn, f. Ur ac, adj. Burgundy q3r ennenCt, brannte, gebrannt, v. Ce, pl. Ztriefwed fe[, m. E Sefan m , choral song m, mam f, m. Qlrifttm, see Gr. Ctinem - fatnt, to thank, return o m mn e n t a to r, m. Dante an Italian poet. O a r it da O, see baniad,. Dauphin, eldest son ec fp o t, m. Zefen, v.. Zicdtgebratngt, part.

    Delos, an island sacred to T i e n e it, v. Zit enft, m. I double stream, grance. B fictitious name u in itt, adj. Ne wire. Zi r d it en briun , see broten. Ce likeness, image. B impression. E m f i it b e tt, empfanb, emfunitbett, I n t f e r it t, part. CRnttpruntqen, part. V r g i e f e it, crcfl, ergoffen, v. Irt e en, etrob, crojben, v. Q rt n et e n or erneuern, v. Cr, eit, v. Wenn, not until. F '4c e, f. Eumaeus, the steward catch, seize, capture. Euphrosyne, one complexion. C or en Europe. Eurydice, wife of af au f g, f. U flag, colours. C, pl. Cifl enbt aum, m. C agriculture, husi a t i t, adj.

    I sea or large mass the fields. I fever; bai - iabctn, t c b ft c i It, m. Slei ig, adj cliligent, industrious e t t, n. I itn L, adj. S l lIu, m. S rt, f. ItS, pl. I obedience, alle- enm einbe, f. Qtu etWa or Wtlin adv. O e i n g e n, gelana, gelungen, v. I t e n, gait, gegoolten, v. Ins o b able, propitio:s, friendly. I I imn n e n, gtonim, egltonmenlt, v. Snigiinin ber -en, the queen of 1 o d e, f. B horror, awe, dis- 3riinen, v. Vt it, griff, gegriffen, v. T rut, m, c0, pl. Hades, the lower wor! Hellas, Greece.

    B, pl. Se i m, adv. C greediness, down; to throw off. Hercynian; bie sway. Sieroen hero. I must go down, p. I household of a. Ne scorn, derision, cono c a m t, n. Ne wood. B honey. Hora, a goddess presiding 43ut, f. Horace, a Latin poet. I, see Gr. Ct horizon. Iphigenia; bat Cpfer 3 a r e e t t, f.

    It higher, p. July; in ter 9actt Dom e b e m a nit n, pron. Se boco, conj. Justin, a Roman his. S e t, adv. Wit -, hitherto. John; t. Sanitt -, AI at t, adj. Baptist, p. Asia Minor. Ionia, Ionian. Ionian, Ionic. I ait g. Si e f ernab eI, f. Stir4e,, f. Ai p f ce en, dim. I coral. A'ne c t, m. AoD c4n, v. Rt raft, f. A fit, n. Cologne, a town in Ger- A r af t o oI l, adj. East in Scripture. Atrantfaft, adj. At6niqreihC, n. S r i e cd e n, ftrCe, getfrd en, v. St riege r, m. It manger, crib.

    Q copper. C" cow. In coast, shore. J5 ii t n, adj. God save the king p. Ne spring. C8, pl. Lima, a town in Peru. B Lewis. Luna, moon. Ut ft, f. Lycian, belonging to V i b I i cA, adj. Wlarmo r b i b, n. W aunut rf6 an, m. WZc e r, n. Wt e i ft, sup. W e f e n, mai, gemeffen, v. Wt ilb e , adj. Menelaus, king of adv. I i n b eft e, ber, bie, bag, adj. M91ittel, n. I sive: blIei' - bei un, do but stai a. Ib c r ft, adj. ItCd , time; at present; teon - an, hence- I b F u t, f. F fi, n. W0M; rith imperatiues it is inten- dc f e, m. I breath. Ulysses, king of ner; spot, point.

    Ithaca, one of Homer's heroes. Sult - ulib Sitieden, for opening and shutting, p. Lft, adv. Paris the city. Z et, n. C p each ble, fall awkwardly. Praxiteles, a Greognomy. C petard. Pygmalion, an the bow, p. Ierfatmmelt Woerben, have been; asu ait en, v.