"Lass dich nicht kirren, lass dich nicht wirren Durch goldne Aepfel in deinem Lauf. Die Schwerter klirren, die Pfeile schwirren, Doch halten sie nicht den Helden auf."[27] [27] Heed not the confusion, resist the illusion Of golden apples that lie in thy way! The swords are clashing, the arrows are flashing, But they cannot long the hero delay. (BOWRING.) From the picture and example of the hero, who will not be stopped in his career, we pass to that of Alexander. What is wanted is determination and boldness: "Ein kühnes Beginnen ist halbes Gewinnen, Ein Alexander erbeutet die Welt, Kein langes Besinnen! Die Königinnen Erwarten schon kniend den Sieger im Zelt. Wir wagen und werben! besteigen als Erben Des alten Darius' Bett und Thron. O süsses Verderben! o blühender Sterben! Berauschter Triumphtod zu Babylon!"[28] 28: A daring beginning is half way to winning, An Alexander once conquered the earth! Restrain each soft feeling! the queens are all kneeling In the tent, to reward thy victorious worth. Surmounting each burden, we win as our guerdon The bed of Darius of old, and his crown; O deadly seduction! O blissful destruction! To die drunk with triumph in Babylon town. (BOWRING.) Upon victory follows the homage of the queens, then sweet perdition, seductive ruin, death in the intoxication of triumph--what Sardanapalian sentiment in this appeal to youth, this exhortation to relentless determination! The fight here is for honour, and for women as the spoil of battle, not that struggle for the combatant's own individual freedom, of which Goethe writes so simply: "Nimmer sich beugen, Kräftig sich zeigen, Rufet die Arme Der Götter herbei."[29] 29: Nevermore yield thee! Show life has steeled thee! Thus call the arms of The Gods to thine aid. Goethe's feeling is purer and fuller, the music of his language is simpler; with Heine the melody is, as it were, gorgeously orchestrated. In Goethe's case there is nothing for the eye, not a single picture. It is characteristic that his idea is the grander, Heine's the more modern, more complex, just as Heine's metrical expression is more sensuously insinuating, produced by an art which devotes more attention to detail. Now take a picturesque, descriptive subject--the Three Kings of the East, as they are called to mind at the Feast of the Epiphany. It is treated in a broad, lively, popular, genuinely naïve manner in Goethe's _Epiphanias:_ "Die heil'gen drei König' mit ihrem Stern" (The Three Kings of the East with their Star). The three kings, the white, the brown, and the black, are described as they appeared when they went about, dressed up, from house to house in the country; and the poem ends: