For two years he practiced in the
ministry
of justice at Stutt-
gart.
gart.
Warner - World's Best Literature - v26 - Tur to Wat
Even as early as Homer, laments for the dead
were sung by professional mourners; and with the growth of the
poetic art, dirges became an important form of artistic song. Simon-.
ides and Pindar were both distinguished in this field; and in the lyri-
cal part of tragedy the dirge is a prominent element.
The hymenaus, or joyous wedding song, is also known to Homer.
In one of the cities represented on the shield of Achilles were de-
picted bridal feasts, “and with blazing torches they were leading
brides from their chambers through the city, and the hymenæus
swelled high. And youths were whirling in the dance, while among
them flutes and harps resounded; and the women, standing at their
several doors, marveled thereat. ” (Iliad, xviii. 491. ) The songs sung
in chorus before the bridal chamber were called epithalamia, and were
deemed worthy of the attention of the greatest lyric artists. Sappho
was particularly famous for her epithalamia; but only fragments
have survived, and we must form our conception of a Sapphic epi-
thalamium from Catullus's beautiful imitation
((
Vesper adest, iuvenes, consurgite.
Greek drinking-songs belong to the borderland between personal
and popular verse. Some of the so-called scolia or catches were
patriotic songs; an interesting specimen of which is the ode by Cal-
listratus in honor of those idols of the Athenian people, Harmodius
and Aristogeiton, who slew the tyrant Hipparchus:-
With leaves of myrtle I'll wreathe iny sword,
Like Harmodius of yore and his comrade brave,
What time they slew the tyrant lord
And equal laws to Athens gave.
Beloved Harmodius, thou hast not died!
The isles of bliss hold thee, 'tis said;
There Achilles the fleet is by thy side,
And Tydeus's son, famed: Diomed.
With leaves of myrtle I'll wreathe my sword,
Like Harmodius of yore and his comrade brave,
What time at Athene's festal board
Through tyrant Hipparchus the sword they drave.
## p. 15178 (#118) ##########################################
15178
TYRTÆUS, ARCHILOCHUS, ETC.
For aye will men sing with one accord
Of thee, loved Harmodius and thy comrade brave;
For ye did slay the tyrant lord
And equal laws to Athens gave.
Another of these songs, written by Hybrias, a Cretan, was doubt-
less popular with those proud young cavaliers who adopted arms as
a profession, and served in various lands and under various leaders.
The sentiment recalls to our minds Archilochus. Here is a spirited
translation by the poet Thomas Campbell:-
MY WEALTH's a burly spear and brand,
And a right good shield of hides untanned
Which on my arm I buckle:
With these I plow, I reap, I sow,
With these I make the sweet vintage flow,
And all around me truckle.
But your wights that take no pride to wield
A massy spear and well-made shield,
Nor joy to draw the sword –
Oh, I bring those heartless, hapless drones
Down in a trice on their marrow-bones,
To call me king and lord.
Most pleasing of the forms of popular poetry are the songs of
children. The so-called flower song ran thus: “Where are my roses?
Where are my violets? Where are my beautiful parsley-leaves ? ”
«Here are your roses; here are your violets; here are your beautiful
parsley-leaves. ” The children of Rhodes had a pretty custom. On
a day in early spring they would go round the town seeking presents
from door to door, and singing the advent of the swallow:
>
She is here, she is here, the swallow!
Fair seasons bringing, fair years to follow!
Her belly is white,
Her back black as night!
From your rich house
Roll forth to us
Tarts, wine, and cheese:
Or if not these,
Oatmeal and barley-cake
The swallow deigns to take.
## p. 15179 (#119) ##########################################
TYRTÆUS, ARCHILOCHUS, ETC.
15179
What shall we have? Or must we hence away ?
Thanks, if you give; if not, we'll make you pay!
The house-door hence we'll carry;
Nor shall the lintel tarry.
From hearth and home your wife we'll rob;
She is so small
To take her off will be an easy job!
Whate'er you give, give largess free!
Up! open, open to the swallow's call!
No grave old men, but merry children we!
Translation of J. A. Symonds.
1
Choral poetry of a definite artistic type seems to have been first
cultivated in Sparta by Alcman about the middle of the seventh cen-
tury B. C. Alcman composed hymns to the gods, marching-songs and
choral songs for men and boys; but his best-known compositions
were choruses for girls, which were largely dramatic in character
(see special article). A pupil of Alcman's was Arion the Lesbian,
who in Corinth first gave a literary form to the dithyramb. Well
known is the pretty story of Arion and the dolphin. The poet had
traveled through Magna Græcia, and having made a large fortune by
his songs, again took ship at Tarentum for Corinth. But the sailors,
who coveted his wealth, forced him to jump overboard; whereupon to
their amazement a dolphin bore him safely to land.
In Stesichorus (630–550 B. C. ) we meet for the first time a Sicilian
poet, and one of great power. His original name was Tisias, which
he resigned for another that indicated his profession as a trainer of
choruses. His native city Himera was a Dorian settlement, but had
a large Ionic element in the population. Catana was the scene of his
death.
According to Quintilian, Stesichorus sustained in lyric form the
weight of epic verse. By this is meant that the poet made use of
epic material; taking such subjects as the exploits of Hercules, the
tale of Orestes, or the story of Helen. But recitation was supplanted
by song; and the verse of Stesichorus was such that it could be
sung by choruses. It was he who permanently established the triple
division of choral odes into strophes, antistrophes, and epodes. In the
performance of hymns to the gods, the choristers would first dance
to the right, chanting a metrical period called a strophe; then to the
left through an antistrophe which corresponded in metrical detail to
the strophe; while through the after-song, the dissimilar epode, they
remained in their original position near the altar. The triad of
strophe, antistrophe, and epode formed one artistic whole. Corre-
spondence of strophe and antistrophe seems to have been known to
1
## p. 15180 (#120) ##########################################
15180
TYRTÆUS, ARCHILOCHUS, ETC.
Alcman; but to Stesichorus must be given the credit for first reveal-
ing the capabilities of the choral ode, through the addition of the
epode and the elaboration of artistic details. Herein he is the fore-
runner not only of Pindar, but also of the great dramatists.
In addition to being an originator in the structure of choral verse,
Stesichorus seems to have been the first to give literary standing to
two important spheres of poetry. A single surviving line, -
When in springtime twitters the swallow,-
and his references to Cydonian apples, myrtle leaves, roses, and vio-
lets, are an indication of his affinity to Theocritus and Bion. His
pastoral on Daphnis was probably based on a form of Sicilian pop-
ular poetry; and his love idyls — which were utterly unlike the erotic
poems of the Lesbian school, and which also, we may well believe,
have a popular origin — are the beginning of Greek romantic poetry.
One of these, called Rhadina,' told the sad story of a brother and sis-
ter who were put to death by a tyrant; and another, Calyce,' set
forth the unhappy end of “love's sweet dream. ”
>
When thus her lover passed away,
From her too passed the light of day.
A peculiarly interesting figure in the history of lyric poetry is
Ibycus, who hails from the Italian Rhegium, another half-Dorian, half-
Ionian city. He belongs to the middle of the sixth century; and in
his art shows the influence both of Alcman and Stesichorus on the one
hand, and on the other of the Æolian school of Lesbos. In form his
verse belongs wholly to the Dorian lyric; but in giving free scope to
the personal element' he resembles Alcman, and when indulging his
passionate erotic sentiment he is evidently under the spell of Sappho
and his contemporary Anacreon. His career was divided between
Sicily and distant Samos. In Sicily he followed in the steps of his
master Stesichorus; producing odes of elaborate structure, based
largely on epic and mythological material. But at the invitation of
Polycrates, Ibycus left western Greece, and crossed the seas to adorn
the court of the great tyrant of Samos.
The rule of the tyrants was a transitional period in the develop-
ment of democratic life in Greece. It came after the overthrow of
oligarchic power, when the people were still unprepared to assume
the responsibility of government. But it was a period of great com-
mercial progress, industrial activity, and national ambition.
The seva
eral tyrants, vying with one another in their display of wealth,
adorned their cities and courts with all the embellishments and lux-
uries that riches and art could provide. It was thus that the poets
found a home with princes. Henceforth the courts of tyrants, whether
## p. 15181 (#121) ##########################################
TYRTÆUS, ARCHILOCHUS, ETC.
15181
1
at Syracuse, Athens, or Samos, are thronged with sculptors, musicians,
painters, and poets; and art, which had heretofore been largely local
in sphere, comes to have more and more of a panhellenic character.
By Ibycus the forms of Dorian lyric are planted in Ionian Samos, even
as through Arion's career at Corinth they take up their home at
Ionian Athens.
The love poetry of Ibycus, though clearly expressive of personal
emotion, exhibits a choral structure, and was apparently sung on pub.
lic occasions. Its tone may be inferred from the following frag-
ment:
IN SPRING Cydonian apple-trees,
Watered by fountains ever flowing
Through crofts unmown of maiden goddesses,
And young vines, 'neath the shade
Of shooting tendrils, tranquilly are growing.
Meanwhile for me, Love, never laid
In slumber, like a north wind glowing
With Thracian lightnings, still doth dart
Blood-parching madness on my heart,
From Kupris hurtling, stormful, wild,
Lording the man as erst the child.
Translation of John Addington Symonds.
>
Here as in other fragments of Ibycus we can detect an almost
romantic sentiment for external nature, as evidenced by fruits and
flowers, nightingales, running brooks, and starry nights. For the con-
ception of love in the above passage, we may compare another
where love looks upon the poet “from under deep-dark brows,” and
Ibycus “trembles at his onset like a valiant chariot-horse which in
old age must once more enter the race. ” The love of Ibycus, as of
Sappho, was a mighty, terrible creature, not the mischievous baby
Cupid cf later times.
The panhellenic range of choral lyric, first seen in the career of
Ibycus, is manifested most clearly by the two greatest masters in this
sphere of art, Simonides and Pindar. Both of these poets enjoyed a
national reputation, and both lived through the most glorious period
in Hellenic existence, the period when Greece was engaged in her
life-or-death struggle with her Persian foe.
Simonides, born in the Ionian island of Ceos, became like Ibycus a
court poet, and enjoyed the friendship and hospitality of the Athenian
Pisistratidæ, of the powerful Aleuadæ and Scopadæ of Thessaly, and
of Hiero the lordly tyrant of Syracuse. So too Pindar, born a The-
ban aristocrat, became famous and popular throughout the length
and breadth of the whole Greek world. He was intimate with the
## p. 15182 (#122) ##########################################
15182
TYRTÆUS, ARCHILOCHUS, ETC.
kings of Macedon, and with the tyrants of Thessaly, Syracuse, and
African Cyrene. He sings of Ægina, Corinth, Argos, and the vari-
ous cities of Sicily. His heroes hail from all parts of the Hellenic
domains, and win their laurels in those great centres of national
unity, the sacred seats of Pythian Apollo, Isthmian Poseidon, Nemean
and Olympian Zeus. At Lindos, in the island of Rhodes, the seventh
Olympian was set up on the walls of Athene's temple in letters of
gold. Especially at Athens was Pindar held in high esteem. Not
only did he receive a gift of money, but his statue was erected
near the temple of Ares, and he was made Athenian proxenus, or
State representative at Thebes. A century after his death, when
Alexander the Great destroyed Thebes, the only private house left
standing was that of Pindar, and among the few citizens who were
spared a life of slavery were the descendants of Pindar. Pindar, like
Euripides, was more than a mere citizen of a single State: his Muse
and his fame were panhellenic.
On Simonides and Pindar, however, we have no right to dwell, as
they will be found treated in separate articles; but a word may be
spared for Bacchylides, the nephew and disciple of Simonides, who
was numbered by the Greeks among their nine great lyric writers.
He too was intimate with Hiero, and most of his poetry was writ-
ten to grace the refined and luxurious life of a court. Bacchylides
followed closely in the steps of his uncle, and was an elegant and
finished writer; but his personality and fame are almost lost in those
of his more distinguished relative. * He appears to have given a
choral character to banqueting-songs and songs of love, though the
following ode shows how closely he is allied in thought to Anacre-
on's school: -
When the wine-cup freely flows,
Soothing is the mellow force,
Vanquishing the drinker's heart,
Rousing hope on Love's sweet course.
Love with bounteous Bacchus joined
All with proudest thoughts can dower;
Wallèd towns the drinker scales,
Dreams of universal power.
Ivory and gold enrich his home:
Corn-ships o'er the dazzling sea
Bear him Egypt's untold wealth:
Thus he soars in fancy free.
* A. number of complete poems by Bacchylides have recently been discov-
ered, but at the time of writing have not yet been published. Some account
of them is given in the London Athenæum for December 26th, 1896, page 907.
## p. 15183 (#123) ##########################################
TYRTÆUS, ARCHILOCHUS, ETC.
15183
No
But Bacchylides was no optimist. «'Tis best for mortals,” he cries,
«not to have been born, or to look upon the light of the sun.
mortal is happy all his days. ” In one of the pæans of Bacchylides
we have a foretaste of Aristophanes, who in the lyric songs of his
Peace) dwells upon the same theme.
TO MORTAL men Peace giveth these good things:
Wealth, and the flowers of honey-throated song;
The flame that springs
On carven altars from fat sheep and kine,
Slain to the gods in heaven; and all day long,
Games for glad youths, and flutes, and wreaths, and circling
wine.
Then in the steely shield swart spiders weave
Their web and dusky woof;
Rust to the pointed spear and sword doth cleave;
The brazen trump sounds no alarms;
Nor is sleep harried from our eyes aloof,
But with sweet rest my bosom warms:
The streets are thronged with lovely men and young,
And hymns in praise of boys like flames to heaven are flung.
Translation of J. A. Symonds.
Pindar is the last of the great writers whose poetry was exclus-
ively lyric. With the rise of the drama, lyric poetry came to be
regarded mainly as the handmaid of tragedy and comedy; and though
a few forms, such as the dithyramb, continued to enjoy an independ-
ent existence, still these either failed to attract real genius, and so
fell into decline, or they suffered from the tendency to magnify the
accompaniments of music and dance, and thus lost the virtue of a
high poetical tone.
It is however a peculiarity of Greek poetry that none of the earlier
forms are completely lost, but are absorbed in the later. When
we reach the drama, we find that this splendid creation of Hellenic
genius gathers up in one beautiful and harmonious web the various
threads of the poetic art.
The drama, as is well known, originated in the songs which were
sung in the festivals of Bacchus. Tragedy is literally the goat-ode;
that is, the choral song chanted by satyrs, the goat-footed attendants
of Bacchus. At first, then, tragedy was of a purely lyric character, --
a story in song with expressive dance and musical accompaniment.
The further history of tragedy and comedy is, in brief, the develop-
ment of dialogue and the harmonizing of the lyric and dramatic
elements. The greatest impetus was given to dialogue in Attica
## p. 15184 (#124) ##########################################
15184
TYRTÆUS, ARCHILOCHUS, ETC.
through the recitations of Homeric poetry by professional bards.
Epic metre, however, was unsuited to dramatic dialogue, which, after
essaying the lighter trochaic line, finally adopted the more conver-
sational iambic verse which Archilochus had used so effectively for
satire.
Already at the end of the sixth century B. C. , the drama presents
the twofold character which in Greece it never lost, the chorus and
the dialogue, the former due to Dorian lyric poetry, the latter to the
Ionic verse-forms of Archilochus. With the full development of dra-
matic form the lyric was reduced from its supreme position to an
inferior station, in which it should no longer be the controlling ele-
ment, but merely the efficient and beautiful handmaid of dramatic
dialogue. In Æschylus the lyric still assumes undue proportions; in
Sophocles the lyric and dramatic are blended in perfect harmony;
but. in Euripides the work of disintegration has set in, and the lyric
tends to become a mere artistic appendage.
All works on Greek literature treat this subject more
or less
fully. Flach's "Geschichte der Griechischen Lyrik (Tübingen: 1883)
is the most complete work on the whole field. Symonds's Greek
Poets) and Jebb's Classical Greek Poetry) are both excellent. The
Greek student finds Bergk's Poetæ Lyrici Græci' (Leipzig: 1882)
indispensable. An attractive and convenient edition of the Poeta
Lyrici Græci Minores) is that by Pomtow (Leipzig: 1885). Farnell's
(Greek Lyric Poetry (Longmans: 1891) is confined to the “melic
writers. The most popular treatment of Greek music will be found
in Naumann's History of Music,' edited by Sir F. Gore Ouseley
(Cassell & Co. ). Chappell's History of Music' (London: 1874) is a
standard work. Monro's (The Modes of Ancient Greek Music) (Clar-
endon Press : 1894) is intended for the specialist.
(
(
tRushton
Faurelough
## p. 15184 (#125) ##########################################
1
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.
## p. 15184 (#126) ##########################################
LUDWIG UHLAND
## p. 15184 (#127) ##########################################
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## p. 15184 (#128) ##########################################
ET
## p. 15185 (#129) ##########################################
15185
JOHANN LUDWIG UHLAND
(1787-1862)
BY CHARLES HARVEY GENUNG
OHANN LUDWIG UHLAND was born on April 26th, 1787, at Tü-
bingen, where now his statue stands. Although the place
itself is a dull little university town, the region round about
is filled with romantic associations. Near by are the ancestral castles
of the Hohenstaufens and Hohenzollerns, of the family that domi-
nated the brilliant period of Walther von der Vogelweide and of that
under which the German empire regained her ancient lustre. Through
the valley runs the highway along which swept the armies of the
Suabian emperors to their new dominions in Italy. It was amid
these romantic memories that Uhland's genius grew to maturity. In
Tübingen he was educated, and there in 1810 he took his degree in
law.
For two years he practiced in the ministry of justice at Stutt-
gart. When in 1815 the question of a constitution was precipitated
by the King of Würtemberg, Uhland burst into patriotic verse, and
in that year he published his first collection of poems. He sprang at
once into unbounded popularity. Goethe, who recognized that such
popular enthusiasm implied merit somewhere, found it in the ballads;
and when Uhland went into politics oethe remonstrated: there
vere many men in Suabia, he said, capable of serving the State, but
there was only one such poet as Uhland. Nevertheless the political
career which the poet began in 1819, when he was elected to the
assembly, was continued at intervals throughout his life. He received
in 1829 the coveted professorship of German language and literature
at the University of Tübingen; but since he was not permitted to
take his seat in the Assembly at the same time, he resigned from his
congenial post in 1833. He was one of the most prominent of the
opponents to the royal Constitution. In 1839 he refused re-election;
and lived in retirement until in 1848 he was elected to the National
Assembly at Frankfort.
Aside from politics and poetry, Uhland was, like Rückert, a distin-
guished scholar. Schérer regarded him as one of the founders of the
science of Romance philology; and his contributions to Germanistic
studies are of permanent value. One exquisite monograph, in which
the qualities of poet and of scholar are equally manifest, is still a
XXVI–950
## p. 15186 (#130) ##########################################
15186
JOHANN LUDWIG UHLAND
T
standard classic: the essay on Walther von der Vogelweide, published
in 1821, and dealing with the most fascinating theme in the whole
range of German studies, — the greatest of the minnesingers, from
whom descended the fairest traditions of that golden age to the
wooden age of the mastersingers, to be at last rejuvenated and once
more made fruitful by the Romantic poets, and chief among them
by Uhland himself. If the politician, as Goethe feared, threatened to
consume the poet, these scholarly pursuits served only to sustain and
stimulate the genius of the singer. All these publications relating
to old German and Romance philology have since appeared in eight
volumes, under the collective title of (Schriften zur Geschichte der
Dichtung und Sage' (Contributions to the History of Poetry and
Legend).
But it is the poet Uhland that the world knows and loves. He
wrote some three hundred and fifty poems, fully half of them master-
pieces, which have become an essential part of German culture. It
is inconceivable,” wrote Herman Grimm, “that they should ever grow
old. The first collection of poems, of 1815, was gradually enlarged
in the subsequent editions. In 1875 they had reached their sixtieth
edition,, and this average of one edition annually has since been in-
creased. His two plays, Ernst, Herzog von Schwaben? (Ernest, Duke
of Suabia) and (Ludwig der Bayer' (Louis the Bavarian), although
spirited examples of the historical drama, could not retain their foot-
hold on the stage. Uhland is probably the most popular German
poet after Schiller. In him Professor Francke sees united the fine
spirit of Walther von der Vogelweide and the epic impressiveness
of the Nibelungenlied. He revealed to Germany her better self mir-
rored in her shining past.
As a lyric poet, Uhland stands in the foremost rank among the
many singers of his tuneful race. After Goethe, he is with Eichen-
dorff and Heine the favorite of the composers; and this is one of the
surest tests of a poet's lyric quality. The constant temptation which
he offers to translators, only to lure them on to half-successes, is
another test. No lyrics except Heine's, and not excepting Goethe's,
have ever been so often attempted in English as Uhland's. Through
these innumerable versions, as well as through the universal medium
of music, his poetry has become a part of the world's lyric reper-
toire. Among the Romantic poets he occupies a peculiar place;
he is as far removed from the intellectual kite-flying of Novalis and
Brentano as he is from the massive might of Kleist and the austerity
of Platen: but like Kleist he brought order into the lawlessness of
Romanticism, and turned it from caprice to poetry”; like Platen
he insisted upon finished form and faultless measures. He rescued
stately figures for us from the knightly past, and summoned spirits
## p. 15187 (#131) ##########################################
10
1
1
JOHANN LUDWIG UHLAND
15187
from the dreamland of ancient legend. Solemn haunting echoes
of the past are borne to us in his verse across the centuries, and
all these quaint and shadowy recollections of the age of wonders he
has made a permanent part of our modern culture. His idea of the
romantic may be inferred from his saying, "A region is romantic
when spirits walk there. " But it is as if he saw the spirits and
their legendary train pass over from afar, as one watches the play
of changing color on the floating clouds of sunset; his feet the while
are firmly planted on the earth. He never loses his foothold in
reality. Nor does he glorify the past to the point of despising the
present. He is genuine and sane. In him the romantic elements
as we find them in Goethe are more perfectly manifest than in any
other poet of the Romantic group. With fewest exceptions, his bal-
lads and lyrics are little masterpieces of dramatic narrative and inusi-
cal form. Uhland's position in the history of German poetry is best
defined in the apt paradox of David Strauss, who called him the
classic of Romanticism. "
lawa-bawang
Grun
THE SHEPHERD'S SONG ON THE LORD'S DAY
TH
HE Lord's own day is here!
Alone I kneel on this broad plain:
A matin-bell just sounds; again
'Tis silence, far and near.
Here kneel I on the sod:
Oh, deep amazement, strangely felt!
As though, unseen, vast numbers knelt
And prayed with me to God.
Yon heaven, afar and near,
So bright, so glorious seems its cope
As though e'en now its gates would ope;-
The Lord's own day is here!
Translation of W. W. Skeat.
## p. 15188 (#132) ##########################################
15188
JOHANN LUDWIG UHLAND
THE LUCK OF EDENHALL
0
F EDENHALL the youthful lord
Bids sound the festal trumpet's call;
He rises at the banquet board,
And cries, 'inid the drunken revelers all,
“Now bring me the Luck of Edenhall! »
The butler hears the words with pain, -
The house's oldest seneschal,-
Takes slow from its silken cloth again
The drinking-glass of crystal tall:
They call it The Luck of Edenhall.
Then said the lord, “This glass to praise,
Fill with red wine from Portugal! ”
The graybeard with trembling hand obeys:
A purple light shines over all;
It beams from the Luck of Edenhail.
Then speaks the lord, and waves it light:-
« This glass of fashing crystal tall
Gave to my sires the Fountain-Sprite;
She wrote in it, If this glass doth fall,
Farewell then, 0 Luck of Edenhall!
« 'Twas right a goblet the fate should be
Of the joyous race of Edenhall!
We drink deep draughts right willingly;
And willingly ring, with merry call.
Kling! klang! to the Luck of Edenhall! »
First rings it deep, and full, and mild,
Like to the song of a nightingale,
Then like the roar of a torrent wild;
Then mutters at last, like the thunder's fall,
The glorious Luck of Edenhall.
“For its keeper, takes a race of might
The fragile goblet of crystal tall:
It has lasted longer than is right:-
Kling! klang! with a harder blow than all
Will I try the Luck of Edenhall! ”
As the goblet, ringing, flies apart,
Suddenly cracks the vaulted hall;
1
## p. 15189 (#133) ##########################################
JOHANN LUDWIG UHLAND
15189
And through the rift the flames upstart:
The guests in dust are scattered all
With the breaking Luck of Edenhall!
In storms the foe, with fire and sword !
He in the night had scaled the wall;
Slain by the sword lies the youthful lord,
But holds in his hand the crystal tall,
The shattered Luck of Edenhall.
On the morrow the butler gropes alone,
The graybeard, -- in the desert hall
He seeks his lord's burnt skeleton;
He seeks in the dismal ruin's fall
The shards of the Luck of Edenhall.
“The stone wall,” saith he, doth fall aside;
Down must the stately columns fall:
Glass is this earth's Luck and Pride;
In atoms shall fall this earthly ball,
One day, like the Luck of Edenhall. ”
Translation of H. W. Longfellov.
THE MINSTREL'S CURSE
HERE stood in former ages a castle high and large;
Above the slope it glistened far down to ocean's marge;
Around it like a garland bloomed gardens of delight,
Where sparkled cooling fountains, with sun-bow glories dight.
THE
There sat a haughty monarch, who lands in war had won;
With aspect pale and gloomy he sat upon the throne:
His thoughts are fraught with terrors, his glance of fury blights;
His words are galling scourges, with victims' blood he writes.
Once moved towards this castle a noble minstrel pair,
The one with locks all golden, snow-white the other's hair:
With harp in hand, the graybeard a stately courser rode;
In flower of youth, beside him his tall companion strode.
Then spake the gray-haired father: Be well prepared, my son:
Think o'er our loftiest ballads, breathe out thy fullest tone;
Thine utmost skill now summon, - joy's zest and sorrow's smart;-
'Twere well move with music the monarch's stony heart. ”
## p. 15190 (#134) ##########################################
15190
JOHANN LUDWIG UHLAND
Now in the spacious chamber the minstrels twain are seen;
High on the throne in splendor are seated king and queen:
The king with terrors gleaming, a ruddy Northern Light;
The queen all grace and sweetness, a full moon soft and bright.
The graybeard swept the harp-strings, — they sounded wondrous
clear;
The notes with growing fullness thrilled through the listening ear:
Pure as the tones of angels the young man's accents flow;
The old man's gently murmur, like spirit-voices low.
They sing of love and springtime, of happy golden days,
Of manly worth and freedom, of truth and holy ways;
They sing of all things lovely, that human hearts delight,
They sing of all things lofty, that human souls excite.
The courtier train around them forget their jeerings now;
The king's defiant soldiers in adoration bow;
The queen to tears now melted, with rapture now possessed,
Throws down to them in guerdon a rosebud from her breast.
“Have ye misled my people, and now my wife suborn ? »
Shouts out the ruthless monarch, and shakes with wrath and
scorn;
He whirls his sword — like lightning the young man's breast it
smote,
That 'stead of golden legends, bright life-blood filled his throat.
Dispersed, as by a tempest, was all the listening swarm;
The youth sighs out his spirit upon his master's arm,
Who round him wraps his mantle, and sets him on the steed,
There tightly binds him upright, and from the court doth speed.
Before the olden gateway, there halts the minstrel old;
His golden harp he seizes, above all harps extolled :
Against a marble pillar he snaps its tuneful strings;
Through castle and through garden his voice of menace rings:-
“Woe, woe to thee, proud castle! ne'er let sweet tones resound
Henceforward through thy chambers, nor harp's nor voice's sound:
Let sighs and tramp of captives and groans dwell here for aye,
Till retribution sink thee in ruin and decay.
“Woe, woe to you, fair gardens, in summer light that glow:
To you this pallid visage, deformed by death, I show,
That every leaf may wither, and every fount run dry,-
That ye in future ages a desert heap may lie.
## p. 15191 (#135) ##########################################
JOHANN LUDWIG UHLAND
15191
“Woe, woe to thee, curst tyrant! that art the minstrel's bane:
Be all thy savage strivings for glory's wreath in vain!
Be soon thy name forgotten, sunk deep in endless night,
Or, like a last death murmur, exhaled in vapor light! ”
The graybeard's curse was uttered; heaven heard his bitter cry:
The walls are strewn in fragments, the halls in ruins lie;
Still stands one lofty column to witness olden might -
E'en this, already shivered, may crumble down to-night.
Where once were pleasant gardens, is now a wasted land;
No tree there lends its shadow, nor fount bedews the sand:
The monarch's name recordeth no song, nor lofty verse;
'Tis wholly sunk — forgotten! Such is the Minstrel's Curse!
Translation of W. W. Skeat.
ENTERTAINMENT
I
STOPPED at an inn one day to dine:
The host was a generous fellow;
A golden apple, for a sign,
Hung out on a branch, so mellow.
It was the good old apple-tree
Himself so nobly dined me;
Sweet fare and sparkling juices he
Was pleased and proud to find me.
To his green-house came many a guest,
Light-winged and light-hearted;
They sang their best, they ate his best,
Then up they sprang and departed.
I found a bed to rest my head
A bed of soft green clover;
The host a great cool shadow spread
For a quilt, and covered me over.
I asked him what I had to pay:
I saw his head shake slightly;
Oh, blest be he, for ever and aye,
Who treated me so politely.
Translation of Charles T. Brooks.
## p. 15192 (#136) ##########################################
15192
JOHANN LUDWIG UHLAND
THE MOUNTAIN BOY
T".
HE shepherd of the Alps am I;
The castles far beneath me lie;
Here first the ruddy sunlight gleams,
Here linger last the parting beams.
The mountain boy am I!
Here is the river's fountain-head, -
I drink it from its stony bed;
As forth it leaps with joyous shout,
I seize it ere it gushes out.
The mountain boy am I!
The mountain is my own domain :
It calls its storms from sea and plain;
From north to south they howl afar;
My voice is heard amid their war.
The mountain boy am I!
The lightnings far beneath me lie;
High stand I here in clear blue sky;
I know them, and to them I call,
“In quiet leave my father's hall. ”
The mountain boy am I!
And when the tocsin sounds alarms,
And mountain bale-fires call to arms,
Then I descend, - I join my king,
My sword I wave, my lay I sing.
The mountain boy am I!
Anonymous Translation in Longfellow's (Poets and Poetry of Europe.
THE CASTLE BY THE SEA
*H*
AST thou seen that lordly castle,
That castle by the sea ?
Golden and red above it
The clouds float gorgeously.
And fain it would stoop downward
To the mirrored wave below;
And fain it would soar upward
In the evening's crimson glow. ”.
## p. 15193 (#137) ##########################################
JOHANN LUDWIG UHLAND
15193
“Well have I seen that castle,
That castle by the sea,
And the moon above it standing,
And the mist rise solemnly. ”
« The winds and the waves of ocean,
Had they a merry chime?
Didst thou hear, from those lofty chambers,
The harp and the minstrel's rhyme ? ” –
« The winds and the waves of ocean,
They rested quietly;
But I heard on the gale a sound of wail,
And tears came to mine eye. ” –
And sawest thou on the turrets
The king and his royal bride,
And the wave of their crimson mantles,
And the golden crown of pride ?
«Led they not forth, in rapture,
A beauteous maiden there,
Resplendent as the morning sun,
Beaming with golden hair? ”–
« Well saw I the ancient parents,
Without the crown of pride:
They were moving slow, in weeds of woe;
No maiden was by their side! ”
Translation of H. W. Longfellow.
THE PASSAGE
ANY a year is in its grave,
Since I crossed this restless wave;
And the evening, fair as ever,
Shines on ruin, rock, and river.
M
.
Then in this same boat beside
Sat two comrades old and tried, -
One with all a father's truth,
One with all the fire of youth.
One on earth in silence wrought,
And his grave in silence sought;
## p. 15194 (#138) ##########################################
15194
JOHANN LUDWIG VHLAND
But the younger, brighter form
Passed in battle and in storm.
So, whene'er I turn my eye
Back upon the days gone by,
Saddening thoughts of friends come o'er me,-
Friends that closed their course before me.
But what binds us, friend to friend,
But that soul with soul can blend ?
Soul-like were those hours of yore:
Let us walk in soul once more.
Take, O boatman, thrice thy fee,-
Take,- I give it willingly;
For, invisible to thee,
Spirits twain have crossed with me.
Translation of Sarah Taylor Austin.
THE NUN
IN
N THE silent cloister garden,
Beneath the pale moonshine,
There walked a lovely maiden,
And tears were in her eyne.
“Now, God be praised! my loved one
Is with the blest above:
Now man is changed to angel,
And angels I may love. ”
She stood before the altar
Of Mary, mother mild,
And on the holy maiden
The Holy Virgin smiled.
Upon her knees she worshiped
And prayed before the shrine,
And heavenward looked -- till Death came
And closed her weary eyne.
From the Foreign Quarterly Review.
## p. 15195 (#139) ##########################################
JOHANN LUDWIG UHLAND
15195
THE SERENADE
W*41
HAT sounds so sweet awake me ?
What fills me with delight?
O mother, look! who sings thus
So sweetly through the night ? »
“I hear not, child, I see not;
Oh, sleep thou softly on!
Comes now to serenade thee,
Thou poor sick maiden, none! )
“It is not earthly music
That fills me with delight;
I hear the angels call me:
O mother dear, good night! ”
From the Foreign Quarterly Review.
TO
U'ON
PON a mountain's summit
There might I with thee stand,
And o'er the tufted forest,
Look down upon the land;
There might my finger show thee
The world in vernal shine,
And say, if all mine own were,
That all were mine and thine.
Into my bosom's deepness,
Oh, could thine eye but see,
Where all the songs are sleeping
That God e'er gave to me!
There would thine eye perceive it,
If aught of good be mine, -
Although I may not name thee,-
That aught of good is thine.
From the Foreign Quarterly Review.
## p. 15196 (#140) ##########################################
15196
JOHANN LUDWIG UHLAND
THE SUNKEN CROWN
A
OFT on yonder hillside
A little cot doth stand;
You look from off its threshold
Far out upon the land.
There sits a free-born peasant
l'pon the bank at even,
And whets his scythe, and singeth
His grateful song to Heaven.
Below on the lake are falling
The silent shadows down;
Beneath the wave lies hidden,
All rich and rare, a crown.
In the darksome night it sparkles
With rubies and sapphires gay;
But no man recks where it lieth
From the times so old and gray.
Translation of H. W. Dulcken.
A MOTHER'S GRAVE
A.
GRAVE, O mother, has been dug for thee
Within a still — to thee a well-known - place.
A shadow all its own above shall be,
And flowers its threshold too shall ever grace.
And even as thou died'st, so in thy urn
Thou'lt lie unconscious of both joy and smart:
And daily to my thought shalt thou return;
I dig for thee this grave within my heart.
Translation of Frederick W. Ricord.
THE CHAPEL
T*
HERE aloft the chapel standeth,
Peering down the valley still;
There beneath, by fount and meadow,
Rings the shepherd's carol shrill.
Sadly booms the bell's slow knelling,
Solemn sounds the last lament;
## p. 15197 (#141) ##########################################
1
1
1
JOHANN LUDWIG UHLAND
15197
Hushed are all the boy's loud carols,
Still he stands with ears attent.
There aloft are borne to burial
They who filled the vale with glee;
There aloft, O youthful shepherd,
Men shall chant the dirge for thee!
Translation of W. W. Skeat.
THE SMITHYING OF SIGFRID'S SWORD
S"
IGFRID was young, and haughty, and proud,
When his father's home he disavowed.
in his father's house he would not abide:
He would wander over the world so wide.
He met many a knight in wood and field
With shining sword and glittering shield.
But Sigfrid had only a staff of oak:
He held him shamed in sight of the folk.
And as he went through a darksome wood,
He came where a lowly smithy stood.
There was iron and steel in right good store;
And a fire that did bicker, and flame, and roar.
"O smithying-carle, good master of mine,
Teach me this forging craft of thine.
«Teach me the lore of shield and blade,
And how the right good swords are made! ”
He struck with the hammer a mighty blow,
And the anvil deep in the ground did go.
He struck: through the wood the echoes rang,
And all the iron in Ainders sprang.
And out of the last left iron bar
He fashioned a sword that shone as a star.
C
«Now have I smithied a right good sword,
And no man shall be my master and lord;
## p. 15198 (#142) ##########################################
15198
JOHANN LUDWIG UHLAND
"And giants and dragons of wood and field,
I shall meet like a hero, under shield. ”
Translation of Elizabeth Craigmyle.
I
ICHABOD: THE GLORY HAS DEPARTED
RIDE through a dark, dark Land by night,
Where moon is none and no stars lend light,
And rueful winds are blowing:
Yet oft have I trodden this way ere now,
With summer zephyrs a-fanning my brow,
And the gold of the sunshine glowing.
I roam by a gloomy Garden-wall;
The death-stricken leaves around me fall,
And the night blast wails its dolors:
How oft with my love I have hitherward strayed
When the roses flowered, and all I surveyed
Was radiant with Hope's own colors!
But the gold of the sunshine is shed and gone,
And the once bright roses are dead and wan,
And my love in her low grave molders;
And I ride through a dark, dark Land by night,
With never a star to bless me with light,
And the Mantle of Age on my shoulders.
Translation of James C.
were sung by professional mourners; and with the growth of the
poetic art, dirges became an important form of artistic song. Simon-.
ides and Pindar were both distinguished in this field; and in the lyri-
cal part of tragedy the dirge is a prominent element.
The hymenaus, or joyous wedding song, is also known to Homer.
In one of the cities represented on the shield of Achilles were de-
picted bridal feasts, “and with blazing torches they were leading
brides from their chambers through the city, and the hymenæus
swelled high. And youths were whirling in the dance, while among
them flutes and harps resounded; and the women, standing at their
several doors, marveled thereat. ” (Iliad, xviii. 491. ) The songs sung
in chorus before the bridal chamber were called epithalamia, and were
deemed worthy of the attention of the greatest lyric artists. Sappho
was particularly famous for her epithalamia; but only fragments
have survived, and we must form our conception of a Sapphic epi-
thalamium from Catullus's beautiful imitation
((
Vesper adest, iuvenes, consurgite.
Greek drinking-songs belong to the borderland between personal
and popular verse. Some of the so-called scolia or catches were
patriotic songs; an interesting specimen of which is the ode by Cal-
listratus in honor of those idols of the Athenian people, Harmodius
and Aristogeiton, who slew the tyrant Hipparchus:-
With leaves of myrtle I'll wreathe iny sword,
Like Harmodius of yore and his comrade brave,
What time they slew the tyrant lord
And equal laws to Athens gave.
Beloved Harmodius, thou hast not died!
The isles of bliss hold thee, 'tis said;
There Achilles the fleet is by thy side,
And Tydeus's son, famed: Diomed.
With leaves of myrtle I'll wreathe my sword,
Like Harmodius of yore and his comrade brave,
What time at Athene's festal board
Through tyrant Hipparchus the sword they drave.
## p. 15178 (#118) ##########################################
15178
TYRTÆUS, ARCHILOCHUS, ETC.
For aye will men sing with one accord
Of thee, loved Harmodius and thy comrade brave;
For ye did slay the tyrant lord
And equal laws to Athens gave.
Another of these songs, written by Hybrias, a Cretan, was doubt-
less popular with those proud young cavaliers who adopted arms as
a profession, and served in various lands and under various leaders.
The sentiment recalls to our minds Archilochus. Here is a spirited
translation by the poet Thomas Campbell:-
MY WEALTH's a burly spear and brand,
And a right good shield of hides untanned
Which on my arm I buckle:
With these I plow, I reap, I sow,
With these I make the sweet vintage flow,
And all around me truckle.
But your wights that take no pride to wield
A massy spear and well-made shield,
Nor joy to draw the sword –
Oh, I bring those heartless, hapless drones
Down in a trice on their marrow-bones,
To call me king and lord.
Most pleasing of the forms of popular poetry are the songs of
children. The so-called flower song ran thus: “Where are my roses?
Where are my violets? Where are my beautiful parsley-leaves ? ”
«Here are your roses; here are your violets; here are your beautiful
parsley-leaves. ” The children of Rhodes had a pretty custom. On
a day in early spring they would go round the town seeking presents
from door to door, and singing the advent of the swallow:
>
She is here, she is here, the swallow!
Fair seasons bringing, fair years to follow!
Her belly is white,
Her back black as night!
From your rich house
Roll forth to us
Tarts, wine, and cheese:
Or if not these,
Oatmeal and barley-cake
The swallow deigns to take.
## p. 15179 (#119) ##########################################
TYRTÆUS, ARCHILOCHUS, ETC.
15179
What shall we have? Or must we hence away ?
Thanks, if you give; if not, we'll make you pay!
The house-door hence we'll carry;
Nor shall the lintel tarry.
From hearth and home your wife we'll rob;
She is so small
To take her off will be an easy job!
Whate'er you give, give largess free!
Up! open, open to the swallow's call!
No grave old men, but merry children we!
Translation of J. A. Symonds.
1
Choral poetry of a definite artistic type seems to have been first
cultivated in Sparta by Alcman about the middle of the seventh cen-
tury B. C. Alcman composed hymns to the gods, marching-songs and
choral songs for men and boys; but his best-known compositions
were choruses for girls, which were largely dramatic in character
(see special article). A pupil of Alcman's was Arion the Lesbian,
who in Corinth first gave a literary form to the dithyramb. Well
known is the pretty story of Arion and the dolphin. The poet had
traveled through Magna Græcia, and having made a large fortune by
his songs, again took ship at Tarentum for Corinth. But the sailors,
who coveted his wealth, forced him to jump overboard; whereupon to
their amazement a dolphin bore him safely to land.
In Stesichorus (630–550 B. C. ) we meet for the first time a Sicilian
poet, and one of great power. His original name was Tisias, which
he resigned for another that indicated his profession as a trainer of
choruses. His native city Himera was a Dorian settlement, but had
a large Ionic element in the population. Catana was the scene of his
death.
According to Quintilian, Stesichorus sustained in lyric form the
weight of epic verse. By this is meant that the poet made use of
epic material; taking such subjects as the exploits of Hercules, the
tale of Orestes, or the story of Helen. But recitation was supplanted
by song; and the verse of Stesichorus was such that it could be
sung by choruses. It was he who permanently established the triple
division of choral odes into strophes, antistrophes, and epodes. In the
performance of hymns to the gods, the choristers would first dance
to the right, chanting a metrical period called a strophe; then to the
left through an antistrophe which corresponded in metrical detail to
the strophe; while through the after-song, the dissimilar epode, they
remained in their original position near the altar. The triad of
strophe, antistrophe, and epode formed one artistic whole. Corre-
spondence of strophe and antistrophe seems to have been known to
1
## p. 15180 (#120) ##########################################
15180
TYRTÆUS, ARCHILOCHUS, ETC.
Alcman; but to Stesichorus must be given the credit for first reveal-
ing the capabilities of the choral ode, through the addition of the
epode and the elaboration of artistic details. Herein he is the fore-
runner not only of Pindar, but also of the great dramatists.
In addition to being an originator in the structure of choral verse,
Stesichorus seems to have been the first to give literary standing to
two important spheres of poetry. A single surviving line, -
When in springtime twitters the swallow,-
and his references to Cydonian apples, myrtle leaves, roses, and vio-
lets, are an indication of his affinity to Theocritus and Bion. His
pastoral on Daphnis was probably based on a form of Sicilian pop-
ular poetry; and his love idyls — which were utterly unlike the erotic
poems of the Lesbian school, and which also, we may well believe,
have a popular origin — are the beginning of Greek romantic poetry.
One of these, called Rhadina,' told the sad story of a brother and sis-
ter who were put to death by a tyrant; and another, Calyce,' set
forth the unhappy end of “love's sweet dream. ”
>
When thus her lover passed away,
From her too passed the light of day.
A peculiarly interesting figure in the history of lyric poetry is
Ibycus, who hails from the Italian Rhegium, another half-Dorian, half-
Ionian city. He belongs to the middle of the sixth century; and in
his art shows the influence both of Alcman and Stesichorus on the one
hand, and on the other of the Æolian school of Lesbos. In form his
verse belongs wholly to the Dorian lyric; but in giving free scope to
the personal element' he resembles Alcman, and when indulging his
passionate erotic sentiment he is evidently under the spell of Sappho
and his contemporary Anacreon. His career was divided between
Sicily and distant Samos. In Sicily he followed in the steps of his
master Stesichorus; producing odes of elaborate structure, based
largely on epic and mythological material. But at the invitation of
Polycrates, Ibycus left western Greece, and crossed the seas to adorn
the court of the great tyrant of Samos.
The rule of the tyrants was a transitional period in the develop-
ment of democratic life in Greece. It came after the overthrow of
oligarchic power, when the people were still unprepared to assume
the responsibility of government. But it was a period of great com-
mercial progress, industrial activity, and national ambition.
The seva
eral tyrants, vying with one another in their display of wealth,
adorned their cities and courts with all the embellishments and lux-
uries that riches and art could provide. It was thus that the poets
found a home with princes. Henceforth the courts of tyrants, whether
## p. 15181 (#121) ##########################################
TYRTÆUS, ARCHILOCHUS, ETC.
15181
1
at Syracuse, Athens, or Samos, are thronged with sculptors, musicians,
painters, and poets; and art, which had heretofore been largely local
in sphere, comes to have more and more of a panhellenic character.
By Ibycus the forms of Dorian lyric are planted in Ionian Samos, even
as through Arion's career at Corinth they take up their home at
Ionian Athens.
The love poetry of Ibycus, though clearly expressive of personal
emotion, exhibits a choral structure, and was apparently sung on pub.
lic occasions. Its tone may be inferred from the following frag-
ment:
IN SPRING Cydonian apple-trees,
Watered by fountains ever flowing
Through crofts unmown of maiden goddesses,
And young vines, 'neath the shade
Of shooting tendrils, tranquilly are growing.
Meanwhile for me, Love, never laid
In slumber, like a north wind glowing
With Thracian lightnings, still doth dart
Blood-parching madness on my heart,
From Kupris hurtling, stormful, wild,
Lording the man as erst the child.
Translation of John Addington Symonds.
>
Here as in other fragments of Ibycus we can detect an almost
romantic sentiment for external nature, as evidenced by fruits and
flowers, nightingales, running brooks, and starry nights. For the con-
ception of love in the above passage, we may compare another
where love looks upon the poet “from under deep-dark brows,” and
Ibycus “trembles at his onset like a valiant chariot-horse which in
old age must once more enter the race. ” The love of Ibycus, as of
Sappho, was a mighty, terrible creature, not the mischievous baby
Cupid cf later times.
The panhellenic range of choral lyric, first seen in the career of
Ibycus, is manifested most clearly by the two greatest masters in this
sphere of art, Simonides and Pindar. Both of these poets enjoyed a
national reputation, and both lived through the most glorious period
in Hellenic existence, the period when Greece was engaged in her
life-or-death struggle with her Persian foe.
Simonides, born in the Ionian island of Ceos, became like Ibycus a
court poet, and enjoyed the friendship and hospitality of the Athenian
Pisistratidæ, of the powerful Aleuadæ and Scopadæ of Thessaly, and
of Hiero the lordly tyrant of Syracuse. So too Pindar, born a The-
ban aristocrat, became famous and popular throughout the length
and breadth of the whole Greek world. He was intimate with the
## p. 15182 (#122) ##########################################
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TYRTÆUS, ARCHILOCHUS, ETC.
kings of Macedon, and with the tyrants of Thessaly, Syracuse, and
African Cyrene. He sings of Ægina, Corinth, Argos, and the vari-
ous cities of Sicily. His heroes hail from all parts of the Hellenic
domains, and win their laurels in those great centres of national
unity, the sacred seats of Pythian Apollo, Isthmian Poseidon, Nemean
and Olympian Zeus. At Lindos, in the island of Rhodes, the seventh
Olympian was set up on the walls of Athene's temple in letters of
gold. Especially at Athens was Pindar held in high esteem. Not
only did he receive a gift of money, but his statue was erected
near the temple of Ares, and he was made Athenian proxenus, or
State representative at Thebes. A century after his death, when
Alexander the Great destroyed Thebes, the only private house left
standing was that of Pindar, and among the few citizens who were
spared a life of slavery were the descendants of Pindar. Pindar, like
Euripides, was more than a mere citizen of a single State: his Muse
and his fame were panhellenic.
On Simonides and Pindar, however, we have no right to dwell, as
they will be found treated in separate articles; but a word may be
spared for Bacchylides, the nephew and disciple of Simonides, who
was numbered by the Greeks among their nine great lyric writers.
He too was intimate with Hiero, and most of his poetry was writ-
ten to grace the refined and luxurious life of a court. Bacchylides
followed closely in the steps of his uncle, and was an elegant and
finished writer; but his personality and fame are almost lost in those
of his more distinguished relative. * He appears to have given a
choral character to banqueting-songs and songs of love, though the
following ode shows how closely he is allied in thought to Anacre-
on's school: -
When the wine-cup freely flows,
Soothing is the mellow force,
Vanquishing the drinker's heart,
Rousing hope on Love's sweet course.
Love with bounteous Bacchus joined
All with proudest thoughts can dower;
Wallèd towns the drinker scales,
Dreams of universal power.
Ivory and gold enrich his home:
Corn-ships o'er the dazzling sea
Bear him Egypt's untold wealth:
Thus he soars in fancy free.
* A. number of complete poems by Bacchylides have recently been discov-
ered, but at the time of writing have not yet been published. Some account
of them is given in the London Athenæum for December 26th, 1896, page 907.
## p. 15183 (#123) ##########################################
TYRTÆUS, ARCHILOCHUS, ETC.
15183
No
But Bacchylides was no optimist. «'Tis best for mortals,” he cries,
«not to have been born, or to look upon the light of the sun.
mortal is happy all his days. ” In one of the pæans of Bacchylides
we have a foretaste of Aristophanes, who in the lyric songs of his
Peace) dwells upon the same theme.
TO MORTAL men Peace giveth these good things:
Wealth, and the flowers of honey-throated song;
The flame that springs
On carven altars from fat sheep and kine,
Slain to the gods in heaven; and all day long,
Games for glad youths, and flutes, and wreaths, and circling
wine.
Then in the steely shield swart spiders weave
Their web and dusky woof;
Rust to the pointed spear and sword doth cleave;
The brazen trump sounds no alarms;
Nor is sleep harried from our eyes aloof,
But with sweet rest my bosom warms:
The streets are thronged with lovely men and young,
And hymns in praise of boys like flames to heaven are flung.
Translation of J. A. Symonds.
Pindar is the last of the great writers whose poetry was exclus-
ively lyric. With the rise of the drama, lyric poetry came to be
regarded mainly as the handmaid of tragedy and comedy; and though
a few forms, such as the dithyramb, continued to enjoy an independ-
ent existence, still these either failed to attract real genius, and so
fell into decline, or they suffered from the tendency to magnify the
accompaniments of music and dance, and thus lost the virtue of a
high poetical tone.
It is however a peculiarity of Greek poetry that none of the earlier
forms are completely lost, but are absorbed in the later. When
we reach the drama, we find that this splendid creation of Hellenic
genius gathers up in one beautiful and harmonious web the various
threads of the poetic art.
The drama, as is well known, originated in the songs which were
sung in the festivals of Bacchus. Tragedy is literally the goat-ode;
that is, the choral song chanted by satyrs, the goat-footed attendants
of Bacchus. At first, then, tragedy was of a purely lyric character, --
a story in song with expressive dance and musical accompaniment.
The further history of tragedy and comedy is, in brief, the develop-
ment of dialogue and the harmonizing of the lyric and dramatic
elements. The greatest impetus was given to dialogue in Attica
## p. 15184 (#124) ##########################################
15184
TYRTÆUS, ARCHILOCHUS, ETC.
through the recitations of Homeric poetry by professional bards.
Epic metre, however, was unsuited to dramatic dialogue, which, after
essaying the lighter trochaic line, finally adopted the more conver-
sational iambic verse which Archilochus had used so effectively for
satire.
Already at the end of the sixth century B. C. , the drama presents
the twofold character which in Greece it never lost, the chorus and
the dialogue, the former due to Dorian lyric poetry, the latter to the
Ionic verse-forms of Archilochus. With the full development of dra-
matic form the lyric was reduced from its supreme position to an
inferior station, in which it should no longer be the controlling ele-
ment, but merely the efficient and beautiful handmaid of dramatic
dialogue. In Æschylus the lyric still assumes undue proportions; in
Sophocles the lyric and dramatic are blended in perfect harmony;
but. in Euripides the work of disintegration has set in, and the lyric
tends to become a mere artistic appendage.
All works on Greek literature treat this subject more
or less
fully. Flach's "Geschichte der Griechischen Lyrik (Tübingen: 1883)
is the most complete work on the whole field. Symonds's Greek
Poets) and Jebb's Classical Greek Poetry) are both excellent. The
Greek student finds Bergk's Poetæ Lyrici Græci' (Leipzig: 1882)
indispensable. An attractive and convenient edition of the Poeta
Lyrici Græci Minores) is that by Pomtow (Leipzig: 1885). Farnell's
(Greek Lyric Poetry (Longmans: 1891) is confined to the “melic
writers. The most popular treatment of Greek music will be found
in Naumann's History of Music,' edited by Sir F. Gore Ouseley
(Cassell & Co. ). Chappell's History of Music' (London: 1874) is a
standard work. Monro's (The Modes of Ancient Greek Music) (Clar-
endon Press : 1894) is intended for the specialist.
(
(
tRushton
Faurelough
## p. 15184 (#125) ##########################################
1
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.
## p. 15184 (#126) ##########################################
LUDWIG UHLAND
## p. 15184 (#127) ##########################################
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## p. 15184 (#128) ##########################################
ET
## p. 15185 (#129) ##########################################
15185
JOHANN LUDWIG UHLAND
(1787-1862)
BY CHARLES HARVEY GENUNG
OHANN LUDWIG UHLAND was born on April 26th, 1787, at Tü-
bingen, where now his statue stands. Although the place
itself is a dull little university town, the region round about
is filled with romantic associations. Near by are the ancestral castles
of the Hohenstaufens and Hohenzollerns, of the family that domi-
nated the brilliant period of Walther von der Vogelweide and of that
under which the German empire regained her ancient lustre. Through
the valley runs the highway along which swept the armies of the
Suabian emperors to their new dominions in Italy. It was amid
these romantic memories that Uhland's genius grew to maturity. In
Tübingen he was educated, and there in 1810 he took his degree in
law.
For two years he practiced in the ministry of justice at Stutt-
gart. When in 1815 the question of a constitution was precipitated
by the King of Würtemberg, Uhland burst into patriotic verse, and
in that year he published his first collection of poems. He sprang at
once into unbounded popularity. Goethe, who recognized that such
popular enthusiasm implied merit somewhere, found it in the ballads;
and when Uhland went into politics oethe remonstrated: there
vere many men in Suabia, he said, capable of serving the State, but
there was only one such poet as Uhland. Nevertheless the political
career which the poet began in 1819, when he was elected to the
assembly, was continued at intervals throughout his life. He received
in 1829 the coveted professorship of German language and literature
at the University of Tübingen; but since he was not permitted to
take his seat in the Assembly at the same time, he resigned from his
congenial post in 1833. He was one of the most prominent of the
opponents to the royal Constitution. In 1839 he refused re-election;
and lived in retirement until in 1848 he was elected to the National
Assembly at Frankfort.
Aside from politics and poetry, Uhland was, like Rückert, a distin-
guished scholar. Schérer regarded him as one of the founders of the
science of Romance philology; and his contributions to Germanistic
studies are of permanent value. One exquisite monograph, in which
the qualities of poet and of scholar are equally manifest, is still a
XXVI–950
## p. 15186 (#130) ##########################################
15186
JOHANN LUDWIG UHLAND
T
standard classic: the essay on Walther von der Vogelweide, published
in 1821, and dealing with the most fascinating theme in the whole
range of German studies, — the greatest of the minnesingers, from
whom descended the fairest traditions of that golden age to the
wooden age of the mastersingers, to be at last rejuvenated and once
more made fruitful by the Romantic poets, and chief among them
by Uhland himself. If the politician, as Goethe feared, threatened to
consume the poet, these scholarly pursuits served only to sustain and
stimulate the genius of the singer. All these publications relating
to old German and Romance philology have since appeared in eight
volumes, under the collective title of (Schriften zur Geschichte der
Dichtung und Sage' (Contributions to the History of Poetry and
Legend).
But it is the poet Uhland that the world knows and loves. He
wrote some three hundred and fifty poems, fully half of them master-
pieces, which have become an essential part of German culture. It
is inconceivable,” wrote Herman Grimm, “that they should ever grow
old. The first collection of poems, of 1815, was gradually enlarged
in the subsequent editions. In 1875 they had reached their sixtieth
edition,, and this average of one edition annually has since been in-
creased. His two plays, Ernst, Herzog von Schwaben? (Ernest, Duke
of Suabia) and (Ludwig der Bayer' (Louis the Bavarian), although
spirited examples of the historical drama, could not retain their foot-
hold on the stage. Uhland is probably the most popular German
poet after Schiller. In him Professor Francke sees united the fine
spirit of Walther von der Vogelweide and the epic impressiveness
of the Nibelungenlied. He revealed to Germany her better self mir-
rored in her shining past.
As a lyric poet, Uhland stands in the foremost rank among the
many singers of his tuneful race. After Goethe, he is with Eichen-
dorff and Heine the favorite of the composers; and this is one of the
surest tests of a poet's lyric quality. The constant temptation which
he offers to translators, only to lure them on to half-successes, is
another test. No lyrics except Heine's, and not excepting Goethe's,
have ever been so often attempted in English as Uhland's. Through
these innumerable versions, as well as through the universal medium
of music, his poetry has become a part of the world's lyric reper-
toire. Among the Romantic poets he occupies a peculiar place;
he is as far removed from the intellectual kite-flying of Novalis and
Brentano as he is from the massive might of Kleist and the austerity
of Platen: but like Kleist he brought order into the lawlessness of
Romanticism, and turned it from caprice to poetry”; like Platen
he insisted upon finished form and faultless measures. He rescued
stately figures for us from the knightly past, and summoned spirits
## p. 15187 (#131) ##########################################
10
1
1
JOHANN LUDWIG UHLAND
15187
from the dreamland of ancient legend. Solemn haunting echoes
of the past are borne to us in his verse across the centuries, and
all these quaint and shadowy recollections of the age of wonders he
has made a permanent part of our modern culture. His idea of the
romantic may be inferred from his saying, "A region is romantic
when spirits walk there. " But it is as if he saw the spirits and
their legendary train pass over from afar, as one watches the play
of changing color on the floating clouds of sunset; his feet the while
are firmly planted on the earth. He never loses his foothold in
reality. Nor does he glorify the past to the point of despising the
present. He is genuine and sane. In him the romantic elements
as we find them in Goethe are more perfectly manifest than in any
other poet of the Romantic group. With fewest exceptions, his bal-
lads and lyrics are little masterpieces of dramatic narrative and inusi-
cal form. Uhland's position in the history of German poetry is best
defined in the apt paradox of David Strauss, who called him the
classic of Romanticism. "
lawa-bawang
Grun
THE SHEPHERD'S SONG ON THE LORD'S DAY
TH
HE Lord's own day is here!
Alone I kneel on this broad plain:
A matin-bell just sounds; again
'Tis silence, far and near.
Here kneel I on the sod:
Oh, deep amazement, strangely felt!
As though, unseen, vast numbers knelt
And prayed with me to God.
Yon heaven, afar and near,
So bright, so glorious seems its cope
As though e'en now its gates would ope;-
The Lord's own day is here!
Translation of W. W. Skeat.
## p. 15188 (#132) ##########################################
15188
JOHANN LUDWIG UHLAND
THE LUCK OF EDENHALL
0
F EDENHALL the youthful lord
Bids sound the festal trumpet's call;
He rises at the banquet board,
And cries, 'inid the drunken revelers all,
“Now bring me the Luck of Edenhall! »
The butler hears the words with pain, -
The house's oldest seneschal,-
Takes slow from its silken cloth again
The drinking-glass of crystal tall:
They call it The Luck of Edenhall.
Then said the lord, “This glass to praise,
Fill with red wine from Portugal! ”
The graybeard with trembling hand obeys:
A purple light shines over all;
It beams from the Luck of Edenhail.
Then speaks the lord, and waves it light:-
« This glass of fashing crystal tall
Gave to my sires the Fountain-Sprite;
She wrote in it, If this glass doth fall,
Farewell then, 0 Luck of Edenhall!
« 'Twas right a goblet the fate should be
Of the joyous race of Edenhall!
We drink deep draughts right willingly;
And willingly ring, with merry call.
Kling! klang! to the Luck of Edenhall! »
First rings it deep, and full, and mild,
Like to the song of a nightingale,
Then like the roar of a torrent wild;
Then mutters at last, like the thunder's fall,
The glorious Luck of Edenhall.
“For its keeper, takes a race of might
The fragile goblet of crystal tall:
It has lasted longer than is right:-
Kling! klang! with a harder blow than all
Will I try the Luck of Edenhall! ”
As the goblet, ringing, flies apart,
Suddenly cracks the vaulted hall;
1
## p. 15189 (#133) ##########################################
JOHANN LUDWIG UHLAND
15189
And through the rift the flames upstart:
The guests in dust are scattered all
With the breaking Luck of Edenhall!
In storms the foe, with fire and sword !
He in the night had scaled the wall;
Slain by the sword lies the youthful lord,
But holds in his hand the crystal tall,
The shattered Luck of Edenhall.
On the morrow the butler gropes alone,
The graybeard, -- in the desert hall
He seeks his lord's burnt skeleton;
He seeks in the dismal ruin's fall
The shards of the Luck of Edenhall.
“The stone wall,” saith he, doth fall aside;
Down must the stately columns fall:
Glass is this earth's Luck and Pride;
In atoms shall fall this earthly ball,
One day, like the Luck of Edenhall. ”
Translation of H. W. Longfellov.
THE MINSTREL'S CURSE
HERE stood in former ages a castle high and large;
Above the slope it glistened far down to ocean's marge;
Around it like a garland bloomed gardens of delight,
Where sparkled cooling fountains, with sun-bow glories dight.
THE
There sat a haughty monarch, who lands in war had won;
With aspect pale and gloomy he sat upon the throne:
His thoughts are fraught with terrors, his glance of fury blights;
His words are galling scourges, with victims' blood he writes.
Once moved towards this castle a noble minstrel pair,
The one with locks all golden, snow-white the other's hair:
With harp in hand, the graybeard a stately courser rode;
In flower of youth, beside him his tall companion strode.
Then spake the gray-haired father: Be well prepared, my son:
Think o'er our loftiest ballads, breathe out thy fullest tone;
Thine utmost skill now summon, - joy's zest and sorrow's smart;-
'Twere well move with music the monarch's stony heart. ”
## p. 15190 (#134) ##########################################
15190
JOHANN LUDWIG UHLAND
Now in the spacious chamber the minstrels twain are seen;
High on the throne in splendor are seated king and queen:
The king with terrors gleaming, a ruddy Northern Light;
The queen all grace and sweetness, a full moon soft and bright.
The graybeard swept the harp-strings, — they sounded wondrous
clear;
The notes with growing fullness thrilled through the listening ear:
Pure as the tones of angels the young man's accents flow;
The old man's gently murmur, like spirit-voices low.
They sing of love and springtime, of happy golden days,
Of manly worth and freedom, of truth and holy ways;
They sing of all things lovely, that human hearts delight,
They sing of all things lofty, that human souls excite.
The courtier train around them forget their jeerings now;
The king's defiant soldiers in adoration bow;
The queen to tears now melted, with rapture now possessed,
Throws down to them in guerdon a rosebud from her breast.
“Have ye misled my people, and now my wife suborn ? »
Shouts out the ruthless monarch, and shakes with wrath and
scorn;
He whirls his sword — like lightning the young man's breast it
smote,
That 'stead of golden legends, bright life-blood filled his throat.
Dispersed, as by a tempest, was all the listening swarm;
The youth sighs out his spirit upon his master's arm,
Who round him wraps his mantle, and sets him on the steed,
There tightly binds him upright, and from the court doth speed.
Before the olden gateway, there halts the minstrel old;
His golden harp he seizes, above all harps extolled :
Against a marble pillar he snaps its tuneful strings;
Through castle and through garden his voice of menace rings:-
“Woe, woe to thee, proud castle! ne'er let sweet tones resound
Henceforward through thy chambers, nor harp's nor voice's sound:
Let sighs and tramp of captives and groans dwell here for aye,
Till retribution sink thee in ruin and decay.
“Woe, woe to you, fair gardens, in summer light that glow:
To you this pallid visage, deformed by death, I show,
That every leaf may wither, and every fount run dry,-
That ye in future ages a desert heap may lie.
## p. 15191 (#135) ##########################################
JOHANN LUDWIG UHLAND
15191
“Woe, woe to thee, curst tyrant! that art the minstrel's bane:
Be all thy savage strivings for glory's wreath in vain!
Be soon thy name forgotten, sunk deep in endless night,
Or, like a last death murmur, exhaled in vapor light! ”
The graybeard's curse was uttered; heaven heard his bitter cry:
The walls are strewn in fragments, the halls in ruins lie;
Still stands one lofty column to witness olden might -
E'en this, already shivered, may crumble down to-night.
Where once were pleasant gardens, is now a wasted land;
No tree there lends its shadow, nor fount bedews the sand:
The monarch's name recordeth no song, nor lofty verse;
'Tis wholly sunk — forgotten! Such is the Minstrel's Curse!
Translation of W. W. Skeat.
ENTERTAINMENT
I
STOPPED at an inn one day to dine:
The host was a generous fellow;
A golden apple, for a sign,
Hung out on a branch, so mellow.
It was the good old apple-tree
Himself so nobly dined me;
Sweet fare and sparkling juices he
Was pleased and proud to find me.
To his green-house came many a guest,
Light-winged and light-hearted;
They sang their best, they ate his best,
Then up they sprang and departed.
I found a bed to rest my head
A bed of soft green clover;
The host a great cool shadow spread
For a quilt, and covered me over.
I asked him what I had to pay:
I saw his head shake slightly;
Oh, blest be he, for ever and aye,
Who treated me so politely.
Translation of Charles T. Brooks.
## p. 15192 (#136) ##########################################
15192
JOHANN LUDWIG UHLAND
THE MOUNTAIN BOY
T".
HE shepherd of the Alps am I;
The castles far beneath me lie;
Here first the ruddy sunlight gleams,
Here linger last the parting beams.
The mountain boy am I!
Here is the river's fountain-head, -
I drink it from its stony bed;
As forth it leaps with joyous shout,
I seize it ere it gushes out.
The mountain boy am I!
The mountain is my own domain :
It calls its storms from sea and plain;
From north to south they howl afar;
My voice is heard amid their war.
The mountain boy am I!
The lightnings far beneath me lie;
High stand I here in clear blue sky;
I know them, and to them I call,
“In quiet leave my father's hall. ”
The mountain boy am I!
And when the tocsin sounds alarms,
And mountain bale-fires call to arms,
Then I descend, - I join my king,
My sword I wave, my lay I sing.
The mountain boy am I!
Anonymous Translation in Longfellow's (Poets and Poetry of Europe.
THE CASTLE BY THE SEA
*H*
AST thou seen that lordly castle,
That castle by the sea ?
Golden and red above it
The clouds float gorgeously.
And fain it would stoop downward
To the mirrored wave below;
And fain it would soar upward
In the evening's crimson glow. ”.
## p. 15193 (#137) ##########################################
JOHANN LUDWIG UHLAND
15193
“Well have I seen that castle,
That castle by the sea,
And the moon above it standing,
And the mist rise solemnly. ”
« The winds and the waves of ocean,
Had they a merry chime?
Didst thou hear, from those lofty chambers,
The harp and the minstrel's rhyme ? ” –
« The winds and the waves of ocean,
They rested quietly;
But I heard on the gale a sound of wail,
And tears came to mine eye. ” –
And sawest thou on the turrets
The king and his royal bride,
And the wave of their crimson mantles,
And the golden crown of pride ?
«Led they not forth, in rapture,
A beauteous maiden there,
Resplendent as the morning sun,
Beaming with golden hair? ”–
« Well saw I the ancient parents,
Without the crown of pride:
They were moving slow, in weeds of woe;
No maiden was by their side! ”
Translation of H. W. Longfellow.
THE PASSAGE
ANY a year is in its grave,
Since I crossed this restless wave;
And the evening, fair as ever,
Shines on ruin, rock, and river.
M
.
Then in this same boat beside
Sat two comrades old and tried, -
One with all a father's truth,
One with all the fire of youth.
One on earth in silence wrought,
And his grave in silence sought;
## p. 15194 (#138) ##########################################
15194
JOHANN LUDWIG VHLAND
But the younger, brighter form
Passed in battle and in storm.
So, whene'er I turn my eye
Back upon the days gone by,
Saddening thoughts of friends come o'er me,-
Friends that closed their course before me.
But what binds us, friend to friend,
But that soul with soul can blend ?
Soul-like were those hours of yore:
Let us walk in soul once more.
Take, O boatman, thrice thy fee,-
Take,- I give it willingly;
For, invisible to thee,
Spirits twain have crossed with me.
Translation of Sarah Taylor Austin.
THE NUN
IN
N THE silent cloister garden,
Beneath the pale moonshine,
There walked a lovely maiden,
And tears were in her eyne.
“Now, God be praised! my loved one
Is with the blest above:
Now man is changed to angel,
And angels I may love. ”
She stood before the altar
Of Mary, mother mild,
And on the holy maiden
The Holy Virgin smiled.
Upon her knees she worshiped
And prayed before the shrine,
And heavenward looked -- till Death came
And closed her weary eyne.
From the Foreign Quarterly Review.
## p. 15195 (#139) ##########################################
JOHANN LUDWIG UHLAND
15195
THE SERENADE
W*41
HAT sounds so sweet awake me ?
What fills me with delight?
O mother, look! who sings thus
So sweetly through the night ? »
“I hear not, child, I see not;
Oh, sleep thou softly on!
Comes now to serenade thee,
Thou poor sick maiden, none! )
“It is not earthly music
That fills me with delight;
I hear the angels call me:
O mother dear, good night! ”
From the Foreign Quarterly Review.
TO
U'ON
PON a mountain's summit
There might I with thee stand,
And o'er the tufted forest,
Look down upon the land;
There might my finger show thee
The world in vernal shine,
And say, if all mine own were,
That all were mine and thine.
Into my bosom's deepness,
Oh, could thine eye but see,
Where all the songs are sleeping
That God e'er gave to me!
There would thine eye perceive it,
If aught of good be mine, -
Although I may not name thee,-
That aught of good is thine.
From the Foreign Quarterly Review.
## p. 15196 (#140) ##########################################
15196
JOHANN LUDWIG UHLAND
THE SUNKEN CROWN
A
OFT on yonder hillside
A little cot doth stand;
You look from off its threshold
Far out upon the land.
There sits a free-born peasant
l'pon the bank at even,
And whets his scythe, and singeth
His grateful song to Heaven.
Below on the lake are falling
The silent shadows down;
Beneath the wave lies hidden,
All rich and rare, a crown.
In the darksome night it sparkles
With rubies and sapphires gay;
But no man recks where it lieth
From the times so old and gray.
Translation of H. W. Dulcken.
A MOTHER'S GRAVE
A.
GRAVE, O mother, has been dug for thee
Within a still — to thee a well-known - place.
A shadow all its own above shall be,
And flowers its threshold too shall ever grace.
And even as thou died'st, so in thy urn
Thou'lt lie unconscious of both joy and smart:
And daily to my thought shalt thou return;
I dig for thee this grave within my heart.
Translation of Frederick W. Ricord.
THE CHAPEL
T*
HERE aloft the chapel standeth,
Peering down the valley still;
There beneath, by fount and meadow,
Rings the shepherd's carol shrill.
Sadly booms the bell's slow knelling,
Solemn sounds the last lament;
## p. 15197 (#141) ##########################################
1
1
1
JOHANN LUDWIG UHLAND
15197
Hushed are all the boy's loud carols,
Still he stands with ears attent.
There aloft are borne to burial
They who filled the vale with glee;
There aloft, O youthful shepherd,
Men shall chant the dirge for thee!
Translation of W. W. Skeat.
THE SMITHYING OF SIGFRID'S SWORD
S"
IGFRID was young, and haughty, and proud,
When his father's home he disavowed.
in his father's house he would not abide:
He would wander over the world so wide.
He met many a knight in wood and field
With shining sword and glittering shield.
But Sigfrid had only a staff of oak:
He held him shamed in sight of the folk.
And as he went through a darksome wood,
He came where a lowly smithy stood.
There was iron and steel in right good store;
And a fire that did bicker, and flame, and roar.
"O smithying-carle, good master of mine,
Teach me this forging craft of thine.
«Teach me the lore of shield and blade,
And how the right good swords are made! ”
He struck with the hammer a mighty blow,
And the anvil deep in the ground did go.
He struck: through the wood the echoes rang,
And all the iron in Ainders sprang.
And out of the last left iron bar
He fashioned a sword that shone as a star.
C
«Now have I smithied a right good sword,
And no man shall be my master and lord;
## p. 15198 (#142) ##########################################
15198
JOHANN LUDWIG UHLAND
"And giants and dragons of wood and field,
I shall meet like a hero, under shield. ”
Translation of Elizabeth Craigmyle.
I
ICHABOD: THE GLORY HAS DEPARTED
RIDE through a dark, dark Land by night,
Where moon is none and no stars lend light,
And rueful winds are blowing:
Yet oft have I trodden this way ere now,
With summer zephyrs a-fanning my brow,
And the gold of the sunshine glowing.
I roam by a gloomy Garden-wall;
The death-stricken leaves around me fall,
And the night blast wails its dolors:
How oft with my love I have hitherward strayed
When the roses flowered, and all I surveyed
Was radiant with Hope's own colors!
But the gold of the sunshine is shed and gone,
And the once bright roses are dead and wan,
And my love in her low grave molders;
And I ride through a dark, dark Land by night,
With never a star to bless me with light,
And the Mantle of Age on my shoulders.
Translation of James C.
