Next in real feeling to the poems of desire come those that express the relinquishment, the cessation of the passion. The finest example is poem No. 59 in the _Intermezzo_, which in its first verse describes the falling of a star, the star of love, from heaven; in its second, the falling of the apple-blossoms from the tree; in its third, the sinking of a swan to its watery grave; then sums all up in the concluding verse: "Es ist so still und dunkel! Verweht ist Blatt und Blüth', Der Stern ist knisternd zerstoben, Verklungen das Schwanenlied."[7] [7] The silence and the night fall, The blossoms all have fled, In sparks the star has vanished, The swan and his song are dead. (H. F.) It is very characteristic of Heine that, as the poem stands, it does not produce the impression that he has really witnessed any one of the three natural scenes depicted; they are simply symbols, arbitrarily selected and combined. Amongst this passionate verse he has interspersed poems of a totally different description, treating of far more trivial amours. Some of the most exceptionable of these he did not include in the _Buch der Lieder_, not even, for example, the very harmless:-- "Du sollst mich liebend umschliessen, Geliebtes, schönes Weib! Umschling mich mit Armen und Füssen Und mit dem geschmeidigen Leib!"[8] [8] Come, twine in wild rapture round me, Fair woman, beloved and warm, Till thy feet and hands have bound me, And I'm wreathed with thy supple form! (LELAND.) But we have, among others, _Die Welt ist dumm, die Welt ist blind_ ("The world is stupid, the world is blind"), with its description of burning kisses. There are also other epigrammatic verses of a serious, passionate character, such as the well-known _Ich hab' dich geliebet und liebe dich noch_ ("I have loved thee long, and I love thee now"); and, finally, in the very famous _Ein Jüngling liebt ein Mädchen, die hat einen Andern erwählt_ ("A young man loves a maiden, who another to him prefers"), with intentional triviality of diction, and with an impersonality which is unusual with him, Heine generalises the human fate which has made of him an erotic poet. To the collection of poems which form the second part of the _Lyric Intermezzo_, the title _Heimkehr_ ("The Home-Coming") is given. They were written in 1823-1824 in Hamburg and Cuxhaven, and the "home-coming" is the poet's return to Hamburg, the scene of his love romance, where the sight of all the familiar surroundings causes his heart's wounds to bleed afresh. With this main theme is associated another, new in German poetry--the sea, which Heine now saw for the first time.