50. Notice that this poem has the same tripartite structure as the preceding. (Heine's decided preference for this structure is evinced by the great number of poems of three stanzas.) 3. GANGES, river in India. 9. This bit of nature description, although unconventional, does not lack truth. Goethe offers a similar example, when he speaks of _schalkhafte_ (roguish, waggish) _Veilchen_. 51. One of the finest of Heine's nature poems. 52.--6. MORGENLAND, see Vocabulary. 53.--8. NEBELTANZ, _the dance of the mists_. 54. Notice the realism of tone, not a word that rises above the plane of everyday prose. A whole tragedy compressed into three stanzas. 6, 7. _The first man that happened to come her way_. 8. IST ÜBEL DRAN, _is in a sad fix_. 55. Compare 42, where the _Stimmung_, the mood, of a bit of nature is expressed without any reference to any human element. In this poem of Heine the charm of the evening is embodied in the fair nymph. Compare 37. The same tendency is apparent in many of the paintings of Schwind and Böcklin. 56. Stanzas 1-3 are each divided into two equal parts. In the third stanza, however, the line of division is less marked; notice also the effect of the inversion in 12: _Taucht er ins Flutengrab_, -- XX -- X --. In the fourth stanza each line stands by itself. 57. Notice the effect of the rhyme combining the first and fourth lines of each stanza. The first two lines of each stanza have four accents, the last two, three. Notice how the metrical structure of the line is made subservient to the mood expressed; this is especially true of 3: _Es dunkelt schon, mich schläfert_, X -- X -- || X -- X. 59. An apotheosis of Christ, who is represented as the spirit of universal love permeating all things. 17. SONNENHERZ, _sun heart_, since the sun is his heart. 22 ff. These lines imitate clearly the pealing of church bells. 36. SCHAUERND IN, _thrilled with_. 60. Notice the dainty effect of the tone coloring, heightened by the skilful use of impure rhymes. 61. The charm of this poem, as of many of Heine's, lies in its suggestive power. The course of events is only dimly sketched, the tragic end hardly more than alluded to. While the first two stanzas are composed of two equal parts each, the last is composed of four. 62.--2, 4. WOHL, translate: _They do_, etc. 63. Of Heine's poems this was the favorite of Lenau. Absolute unity of form and content: ceaseless change in ceaseless monotony. 7. WO SIND SIE HIN? _Whither are they gone?_ 64.--5. DAS, without any definite antecedent. 65. The inscription on Heine's grave in Paris. Compare with it Robert Louis Stevenson's Requiem. 5. WO = _irgendwo_, _somewhere_. 11. TOTENLAMPEN, lamps burned in the vaults in honor of the dead. PLATEN