X -- X -- X -- -- XX -- X -- XX -- XX -- X -- XX -- X Y -- X -- X -- X -- X -- X -- X -- X -- X X -- X -- X Y -- X -- X -- -- XX -- X -- X -- XX -- X -- XX -- X X -- X -- -- X -- X -- X -- X -- X -- X X -- X -- X 86. Mörike found the name _Rohtraut_ by chance in an old German lexicon. The full vowel coloring appealed to him and called forth this ballad. 5. TUT etc., dialectic periphrastic conjugation = _fischt und jagt_. 19. WUNNIGLICH (_wonniglich_). 22. VERGUNNT (_vergönnt_)--these archaic forms are in keeping with the tone of the ballad and the patriarchal life at King Ringang's court. 87. Appropriately written in the stately Greek trimeter (iambic verse of six feet). Compare with this poem the closing lines of Keats' _Ode to a Grecian Urn_: Beauty is truth, truth beauty, that is all Ye know on earth and all ye need to know. _Was aber schön ist, selig scheint es in ihm selbst._ _But beauty seems a thing all blessed within itself._ 6. SCHLINGT DEN RINGELREIHN, circle about in a round dance. 10. IHM, old reflexive instead of _sich_. 88. The confession of Mörike's ideal. 1. WILLT = _willst_. 2. _A thing of joy or a thing of sorrow._ 5-7. WOLLEST NICHT ÜBERSCHÜTTEN, _pray do not overwhelm with a flood of_. 89. Lines of three and of two accents alternate, so that the poem is really written in blank verse; its character is, however, entirely changed, since the last word of each line stands out because of the necessary rhythmical pause. Notice the change in the last two lines. HEBBEL