´ ` ´` ´` ´ ` ´ ` ´ ` Auf ihrem Grab da steht eine Linde ¯ ˘ ¯ ˘ ¯ ˘ ¯ ˘ ¯ ˘ ´ ` ´ ` ´ ` ´` ´ ` ´ ` Drin pfeifen die Voegel im Abendwinde; ¯ ˘ ˘ ¯ ˘ ˘ ¯ ˘ ¯ ˘ ´ ` ´ ` ´ ` ´` ´` ´ ` ´` ´ ` Die Winde die wehen so lind und so schaurig, ¯ ˘ ˘ ¯ ˘ ˘ ¯ ˘ ˘ ¯ ˘ ´ ` ´ ` ´ ` ´` ´ ` ´ ` ´` ´ ` Die Voegel die singen so suess und so traurig. ¯ ˘ ˘ ¯ ˘ ˘ ¯ ˘ ˘ ¯ ˘ HEINE. The beginning of every line in this verse might remain unmarked as not belonging to the rhythmic expression proper, and being expressive mainly of an inspiration preceding the expiration which it foreshadows. The beauty of Heine's verse is largely due to the fact that he does not anxiously count time, but lets his voice rise and fall where it is most effective. It will be noticed that there is a greater movement, as expressed by the signs of the rhythm, in Heine's verse than there is in Lenau's, hence the inexpressible charm of his diction. Here is another great poet, or poetess rather, the greatest Germany has produced, also fearless of prescribed forms, but full of charm and power: ´ ` ´` ´ ` ´` ´` ´` O schaurig ists uebers Moor zu gehn, ¯ ˘ ˘ ¯ ˘ ¯ ˘ ¯ ´ ` ´` ´ ` ´ ` Wenn es wimmelt vom Haiderauche, ¯ ˘ ˘ ¯ ˘ ¯ ˘ ´` ´` ´` ´` ´ ` ´ ` Sich wie Phantome die Duenste drehn ¯ ˘ ¯ ˘ ˘ ¯ ˘ ¯ ´ ` ´ ` ´` ´ ` Und die Ranke haekelt am Strauche. ¯ ˘ ¯ ˘ ˘ ¯ ˘ DROSTE-HUELSHOFF. In these last two citations, the dactylus (¯ ˘ ˘) is the prevailing measure, which but strengthens my assertion that in German diction there is a fall after a rise; the former being here more distinctly expressed than in the simple trochaic measure. The fall, the relaxation, being greater, the rise, the vigor in the expression, thereby gains additional strength. What is the consequence of this falling off or gliding down in German diction so well expressed in Lenau's ´ ` ´ ` ´ ` ´ ` "Auf der duftverlornen Grenze"? It is not a positive line of demarcation, but one which is lost, as it were, "in the soft ether of the evening sky."