Allusions to difficulties of digestion and the like, play a less important part in Heine's writings than in those of Aristophanes, who, however, we must remember, himself declared that he despised this kind of comicality. According to him its only recommendation was that it provoked the laughter of the least cultured part of the public. But such things are frequently referred to by Heine too, at times in the plainest of terms (notably in his attack on Platen), and with him, almost as often as with Aristophanes, we have to be on our guard against certain noisome insects. Heine of course cannot allow himself the same freedom of speech in sexual matters as the old Greek did, but to make up for this, he never hesitates to make an allusion that will atone for any want of outspokenness. And now and then there is almost no circumlocution; what as a general rule is indicated by a smile or a grimace is shouted to all and sundry with a loud guffaw, as, for instance, at the conclusion of _Deutschland_, and in such poems as _Der Ungläubige_ ("The Unbeliever"). And yet again, as with Aristophanes, so with Heine; from this constant insistence upon that in man which reminds us of his dwelling-place during the earliest stages of his development, he rises to the purest, most delicate lyric utterance. He, who so thoroughly comprehends the material origin of all living things, in one of his poems derives them all from the song of the nightingale: "Im Anfang war die Nachtigall Und sang ihr Lied: Zükükt! Zukükt!"[1] [1] In the beginning was the nightingale, Who sang her song: Zükükt! Zükükt! (CARY) We cannot but be reminded of the beautiful lines in _The Birds_: "Gentlest and dearest, thou dost sing Consorting still with mine thy lay, Lov'd partner of my wild-wood way, Thou'rt come, thou'rt come; all hail! all hail! I see thee now, sweet nightingale." (CARY)