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incessantness of his barking cannot get listened to, even when he barks at a real thief. Therefore the distinguished thieves who plunder England do not think it necessary to throw the growling Cobbett a bone to stop his mouth. This makes the dog furiously savage, and he shows all his hungry teeth. Poor old Cobbett! England's dog! I have no love for thee, for every vulgar nature my soul abhors; but thou touchest me to the inmost soul with pity, as I see how thou strainest in vain to break loose and to get at those thieves, who make off with their booty before thy very eyes, and mock at thy fruitless springs and thine impotent howling.”

But, in 1830, Heine very soon found that the fire-engines of the German governments were too much for his direct efforts at incendiarism. “What demon drove me," he cries, “to write my Reisebilder, to edit a newspaper, to plague myself with our time and its interests, to try and shake the poor German Hodge out of his thousand years' sleep in his hole? What good did I get by it? Hodge opened his eyes, only to shut them again immediately; he yawned, only to begin snoring again the next minute louder than ever; he stretched his stiff ungainly limbs, only to sink down again directly afterwards, and lie like a dead man in the old bed of his accustomed habits. I must have rest; but where am I to find a resting-place? In Germany I can no longer stay."

This is Heine's jesting account of his own efforts to rouse Germany: now for his pathetic account of them; it is because he unites so much wit with so much pathos that he is so effective a writer:

“The Emperor Charles the Fifth sate in sore straits, in the Tyrol, encompassed by his enemies. All his knights and courtiers had forsaken him; not one came to his help. I know not if he had at that time the cheese face with which Holbein has painted him for us. But I am sure that under lip of his with its contempt for mankind, stuck out even more than it does in his portraits. How could he but contemn the tribe which in the sunshine of his prosperity had fawned on him so devotedly, and now, in his dark distress, left him all alone? Then suddenly his door opened, and there came in a man in disguise, and, as he threw back his cloak, the Kaiser recognized in him his faithful

Conrad von der Rosen, the court jester. This man brought him comfort and counsel, and he was the court jester!

“0 German fatherland! dear German people! I am thy Conrad von der Rosen. The man whose proper business was to amuse thee, and who in good times should have catered only for thy mirth, makes his way into thy prison in time of need; here, under my cloak, I bring thee thy scepter and crown; dost thou not recognize me, my Kaiser? If I cannot free thee, I will at least comfort thee, and thou shalt at least have one with thee who will prattle with thee about thy sorest affliction, and whisper courage to thee, and love thee, and whose best joke and best blood shall be at thy service. For thou, my people, art the true Kaiser, the true lord of the land ! thy will is sovereign, and more legitimate far than that purple Tel est notre plaisir, which invokes a divine right with no better warrant than the anointings of shaven and shorn jugglers; thy will, my people, is the sole rightful source of power. Though now thou liest down in thy bonds, yet in the end will thy rightful cause prevail; the day of deliverance is at hand, a new time is beginning. My Kaiser, the night is over, and out there glows the ruddy dawn.'

"Conrad von der Rosen, my fool, thou art mistaken; perhaps thou takest a headsman's gleaming ax for the sun, and the red of dawn is only blood.'

“No, my Kaiser, it is the sun, though it is rising in the west; these six thousand years it has always risen in the east; it is high time there should come a change.'

“Conrad von der Rosen, my fool, thou hast lost the bells out of thy red cap, and it has now such an odd look, that red cap of thine!

"Ah, my Kaiser, thy distress has made me shake my head so hard and fierce, that the fool's bells have dropped off my cap; the

cap is none the worse for that.' “Conrad von der Rosen, my fool, what is that noise of breaking and cracking outside there?'

“Hush! that is the saw and the carpenter's ax, and soon the doors of thy prison will be burst open, and thou wilt be free, my Kaiser !'

“Am I then really Kaiser? Ah, I forgot, it is the fool who tells me so !'

“Oh, sigh not, my dear master, the air of thy prison makes thee so desponding! when once thou hast got thy rights again, thou wilt feel once more the bold imperial blood in thy veins, and thou wilt be proud like a Kaiser, and violent, and gracious, and unjust, and smiling, and ungrateful, as princes are.'

“Conrad von der Rosen, my fool, when I am free, what wilt thou do then?'

"I will then sew new balls on to my cap.'
“* And how shall I recompense thy fidelity?'
“Ah, dear master, by not leaving me to die in a ditch !””

I wish to mark Heine's place in modern European literature, the scope of his activity, and his value. I cannot attempt to give here a detailed account of his life, or a description of his separate works. In May, 1831, he went over his Jordan, the Rhine, and fixed himself in his new Jerusalem, Paris. There, henceforward, he lived, going in general to some French watering-place in the summer, but making only one or two short visits to Germany during the rest of his life. His works, in verse and prose, succeeded each other without stopping; a collected edition of them, filling seven closely printed octavo volumes, has been published in America; in the collected editions of few people's works is there so little to skip. Those who wish for a single good specimen of him should read his first important work, the work which made his reputation, the Reisebilder, or “Traveling Sketches”: prose and verse, wit and seriousness, are mingled in it, and the mingling of these is characteristic of Heine, and is nowhere to be seen practised more naturally and happily than in his Reisebilder. In 1847 his health, which till then had always been perfectly good, gave way. He had a kind of paralytic stroke. His malady proved to be a softening of the spinal marrow: it was incurable; it made rapid progress. In May, 1848, not a year after his first attack, he went out of doors for the last time; but his disease took more than eight years to kill him. For nearly eight years he lay helpless on a couch, with the use of his limbs gone, wasted almost to the proportions of a child, wasted so that a woman could carry him about; the sight of one eye lost, that of the other greatly dimmed, and requiring, that it might be exercised, to have the

palsied eyelid lifted, and held up by the finger; all this, and suffering, besides this, at short intervals, paroxysms of nervous agony. I have said he was not preëminently brave; but in the astonishing force of spirit with which he retained his activity of mind, even his gaiety, amid all his suffering, and went on composing with undiminished fire to the last, he was truly brave. Nothing could clog that aërial lightness. “Pouvez-vous siffler ?" his doctor asked him one day, when he was almost at his last gasp; — "siffler," as every one knows, has the double meaning of to whistle and to hiss: - "Hélas ! non," was his whispered answer; “pas même une comédie de M. Scribe!” M. Scribe is, or was, the favorite dramatist of the French Philistine. “My nerves,” he said to some one who asked him about them in 1855, the year of the great Exhibition in Paris, “my nerves are of that quite singularly remarkable miserableness of nature, that I am convinced they would get at the exhibition the grand medal for pain and misery.” He read all the medical books which treated of his complaint. “But,” said he to some one who found him thus engaged, "what good this reading is to do me I don't know, except that it will qualify me to give lectures in heaven on the ignorance of doctors on earth about diseases of the spinal marrow.” What a matter of grim seriousness are our own ailments to most of us ! yet with this gaiety Heine treated his to the end. That end, so long in coming, came at last. Heine died on the 17th of February, 1856, at the age of fifty-eight. By his will he forbade that his remains should be transported to Germany. He lies buried in the cemetery of Montmartre, at Paris.

His direct political action was null, and this is neither to be wondered at nor regretted; direct political action is not the true function of literature, and Heine was a born man of letters. Even in his favorite France the turn taken by public affairs was not at all what he wished, though he read French politics by no means as we in England, most of us, read them. He thought things were tending there to the triumph of communism; and to a champion of the idea like Heine, what there is gross and narrow in communism was very repulsive. “It is all of no use," he cried on his death-bed, “the future belongs to our enemies, the Communists, and Louis Napoleon is their John the Baptist.”

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“And yet,” — he added with all his old love for that remarkable entity, so full of attraction for him, so profoundly unknown in England, the French people, — "do not believe that God lets all this go forward merely as a grand comedy. Even though the Communists deny him to-day, he knows better than they do, that a time will come when they will learn to believe in him." After 1831, his hopes of soon upsetting the German governments had died away, and his propagandism took another, a more truly literary, character. It took the character of an intrepid application of the modern spirit to literature. To the ideas with which the burning questions of modern life filled him, he made all his subject-matter minister. He touched all the great points in the career of the human race, and here he but followed the tendency of the wide culture of Germany; but he touched them with a wand which brought them all under a light where the modern eye cares most to see them, and here he gave a lesson to the culture of Germany, — so wide, so impartial, that it is apt to become slack and powerless, and to lose itself in its materials for want of a strong central idea round which to group all its ideas. So the mystic and romantic school of Germany lost itself in the Middle Ages, was overpowered by their influence, came to ruin by its vain dreams of renewing them. Heine, with a far profounder sense of the mystic and romantic charm of the Middle Age than Görres, or Brentano, or Arnim, Heine the chief romantic poet of Germany, is yet also much more than a romantic poet; he is a great modern poet, he is not conquered by the Middle Age, he has a talisman by which he can feel, along with but above the power of the fascinating Middle Age itself, -- the power of modern ideas.

A French critic of Heine thinks he has said enough in saying that Heine proclaimed in German countries, with beat of drum, the ideas of 1789, and that at the cheerful noise of his drum the ghosts of the Middle Age took to flight. But this is rather too French an account of the matter. Germany, that vast mine of ideas, had no need to import ideas, as such, from any foreign country; and if Heine had carried ideas, as such, from France into Germany, he would but have been carrying coals to Newcastle. But that for which France, far less meditative than Germany, is eminent, is the prompt, ardent, and practical ap

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