Among those who declare their independence, the most interesting figure is Freiligrath, born in Detmold in 1810. Fair, blue-eyed, massively built, and shaggy-maned, he is the true son of Westphalia. His father, a schoolmaster, educated him against his will as a merchant, and to his commercial education and pursuits are to be ascribed his freedom from classical reminiscences, his exclusively modern literary culture, his understanding of the foreign climes and countries with which commerce brings us into communication, and his distinctly modern turn of thought. Freiligrath is not, like Hoffmann von Fallersleben, his predecessor in the field of political poetry, only a prolific song writer; he is a genuine, inspired poet. Hoffmann, who had made a study of the old German songs and ballads, and was himself a man of simple, popular tastes, poured forth an inexhaustible stream of polemical verse, directed against the squirearchy and bureaucracy, but he repeated himself with the monotony of the popular poet. Freiligrath wrote comparatively little, but every one of his poems has its distinct individuality. He is influenced by that modern French and English poetry of which he has given us so many admirable translations, and makes his debut as a descriptive poet of the Victor Hugo school, but soon develops a distinct literary individuality. He possesses in a very high degree two qualities which are seldom found united, the faculty of picturesque description and intensity of feeling. The former leads him to depict themes from foreign lands, full of glowing colour, the latter displays itself when he sings of home and fatherland. In his revolutionary period his warm feeling became powerful pathos, and his gift of graphic delineation was exclusively devoted to the service of hostility and ire. In his youth, in Amsterdam (1831), the sea and the shipping made a deep impression on him. In his dreams he followed all the vessels that glided out of the harbour bound for Africa, for India, for Turkey, for America. He was seized by the desire to describe these foreign climes as they appeared in his imagination, and Hugo's _Les Orientales_ not only suggested the colours to be employed in the treatment of such themes, but also the metrical form. Freiligrath alone among German poets tried to master the alexandrines beloved of Frenchmen, despised in Germany, and to vindicate their beauty. Strangely enough, in spite of his usually correct ear, he so entirely misapprehended the peculiarity of this metre that he always writes it in pure iambics, a practice which Germans have continued.