enriched the world. Justice herself, too, must relax somewhat the rigour of her rules in the case of a nature so capable of being impassioned by love, so accessible to benevolence and compassion, so sensitive to joy and sorrow, so susceptible of pain and pleasure, and so tried as well by the visitations of Providence as by the injustice of man. The contemplation of his life places us face to face with the most inscrutable mysteries of human destiny, mysteries insoluble by human reason, and only to be patiently and hopefully regarded by the eyes of Faith. Let the Pharisees of the world place themselves in thought around that 'mattress-grave' which was the scene of an agony endured for many years with such resignation and fortitude, and as they look on those sorrow-laden and beautiful features, and on that outstretched attenuated form, let them think on the words 'He that is without sin among you, let him cast the first stone.' No more fitting way perhaps can be found of taking leave of this prince of song, and of this poet of passion, than by placing before the reader a poem which he himself composed on the Sphinx-like mystery of his life, and indeed of all human life, a song which he prefixed to his best work, his 'Book of Songs,' in 1839, when he still revelled in the fulness of intellect and health, and which possibly, even in a translation, may preserve something of its strange and fascinating beauty. Old forest of the fable world, Thy linden bloom smelt sweet As through thy depths in moonlight weird I bent my devious feet. I musing went, and as I went Of love and love's despair she sings, Of tears and rapture, too; Her glee's so sad, her sigh so sweet, I musing went, and as I went An open space, a castle tall, Whose turrets touched the sky. Before the gate there lay a Sphinx, A woman fair! her glowing look, The nightingale she sang so sweet And then I kissed the soft white cheek,- The marble form grew all alive, She drank my life-breath fairly out, O torture sweet! O heavenly pangs! Her mouth's kiss steeped me in delight, INDEX. in Paris, ii. 379 Andersen, Hans Christian, his personal Archer, Doctor Saul, story of his ap- Architecture in the middle ages, i. 373 Art, plastic, of the middle ages, essay French, ii. 18; deterioration of, 26 'Atta Troll,' origin of the poem, ii. BALLET, the, Heine's remarks on, ii. Barèges, description of the baths at, Bazard, Saint Amand, a leader of Saint Berg, establishment of a French Go- Berlin, meetings of literary men in, i. BYR 97; its Opera House, 99, 101; its - University of, i. 77, 80; motive for Academy, its foundation, i. 80; Berlioz, description of his genius, ii. 46 Bible, the, the means of converting Bohain, Victor, ii. 151 Bonapartists, their relations to the Re- Bonn University, description of, i. 61; 'Book of Songs,' extract from, ii. 426 quarrel with Heine, ii. 116; his Breza, Count Eugene von, a fellow- CAM IPE, JULIUS, publisher of EUR 1 most of Heine's works, i. 238; his DAILY NEWS,' on the life of Ger- CAMPE, mode of publication, 239; his diffi- Carlists, his aversion to the, ii. 85; their doings in France, ib.; their re- man students, i. 89 Daily Telegraph,' extract from, on the Delaroche's picture, Cromwell and 'Deutsche Revue,' ii. 179; Menzel tries Dieffenbach, i. 65 ‘Don Quixote,' Heine's perusal of, i. 20 ; Drachenfels, festival on the, i. 63 ASTERN QUESTION, the, state of Catholicism, its predominance in France, the public mind in France respect- ii. 289 Censorship, the trials of, ii. 144, 190; the miseries it inflicted on Heine, Cholera, ravages of the, in Paris, ii. Chopin, his talents, ii. 41 Christiani, Rudolf, makes Heine's ac- Clausthal, Heine's account of a visit 102 Communism, vague forebodings of the 'Confessions,' the, extracts from, i. 85, ing, ii. 265, 266 |