35. Besides its love of nature and its religious note, both apparent in the previous poems, notice especially the touch of symbolism; the poet stands in _Waldesschatten wie an des Lebens Rand_. 5, 6. SCHLAGEN HEREIN, _the tones of the bells come pealing into the shadow of the forest._ 10. VON. _down from, on._ 36. This poem describes, as the title indicates, the dawn of spring: how spring in a moonlight night imparts a mysterious stirring of new life to all nature. With its variously interwoven rhymes, both end and internal, its use of assonance and alliteration, to mention only the more obvious effects, the poem is a musical symphony. 8. WOLKENFRAU'N, clouds personified. 11. FRÜHLINGSGESELLEN, i.e. _Waldquellen_ as helpers of spring. 37. Might well be compared to the elfin dances of Moritz von Schwind, the romantic painter. 38.--2. EIN SCHUß FÄLLT, _a shot (of a gun) is heard_. 40.--5. ENTBRENNTE for _entbrannte_. 42. Compare with 38, as to the use of the human element. 1. DER NEBEL FÄLLT, i.e., sinks away. 2. WIE BALD SICH'S RÜHRET, _how soon life will stir_. 43.--4. Note the onomatopoetic effect of the rhythm. 44. This poem is the quintessence of Eichendorff's lyric verse. Note the construction of the stanzas. The first stanza is composed of two syntactic units: 1 and 2, 3 and 4; the second of four units; notice the effect of the two heavy syllables _sternklar_; the third stanza reverts in structure to the first. Notice the effect of the inversion in 10: _Weit ihre Flügel aus_, -- XX -- X --. RÜCKERT Friedrich Rückert, born May 16, 1788, died January 31, 1866, represents the combination of poet and scholar in a more striking degree than even Uhland, but he lacks the latter's rare critical ability regarding his own verse. Oriental languages were his special field, and a most astounding technical skill enabled him to reproduce in German the complex Oriental verse forms with their intricate rhyme schemes. Something of this technical skill is apparent in 45, the one well-nigh perfect poem of Rückert. The third stanza is an adaptation from a children's rhyme. This the poet uses as the main motif at regular intervals, slightly varying it in the sixth to express his own feelings directly, and closing the poem with it in the ninth. A similar parallelism is apparent in the odd lines of each stanza. The last line of each stanza must be read with three accents: _Was mein einst war_, X -- -- --. 45.--7. OB, I _wonder whether_. 14. UNBEWUßTER WEISHEIT FROH, _joyous in unconscious wisdom_, i.e., full of wisdom and not aware of it. 16. SALOMO, _Solomon_, the wise king of the Hebrews. Oriental legends attributed to him magic and supernatural knowledge. 25. WOHL, concessive, _it is true_. HEINE