A new contribution to an obscure but most interesting part of European history is _Deutschland in der Revolutions periode von_ 1522-26, (Germany, in the Revolutionary Period from 1522 to 26,) by JOSEPH EDMUND JÖRG. The author has had access to a great mass of original and hitherto unused materials, especially diplomatic correspondence and other documents in the Bavarian archives. His view of the subject is very different from that taken by ZIMMERMANN, in his _Peasants’ War_, or by any other writer. He mocks at the idea that this revolution grew out of the evils and oppressions suffered by the people, and finds its most powerful impulse in the passion for innovation that sprung up along with the revival of classical studies in the middle ages. The antique fashion of presenting poetic works to the public, is revived in Germany with great success. Professor GRIEPENKERL of Brunswick, whose tragedy of Robespierre made a great sensation a year or more since, is now reading his new play of the Girondists to large audiences in the principal cities. He has already been heard at Brunswick, Leipzig, Dresden, and Bremen, and proposes to visit other places on the same errand. The play, which is a tragedy of course, is much admired, though it is not thought to be adapted to the stage. The Girondists were not men of action, but orators and thinkers. The final scene in the play is the famous banquet before they were taken to execution. Charlotte Corday is among the characters; the women are said not to be drawn as truly and powerfully as the men. CARLYLE’S Life of Stirling is criticised in the _Grenzboten_, which calls Carlyle the strangest of all philosophers. This book is said, however, to be, on the whole, clearer and more intelligible than most of his former productions. Still, like most works of the new romantic school in England, of which Carlyle is the chief, it aims rather to give expression to the ideas and abilities of the author, than to do justice to its subject. But it is in Warren’s _Lily and the Bee_, that the school appears in full bloom. This is said to consist mostly of exclamation points, and is written in a sort of lapidary style, that deals in riddles, pathos without object, sentimentality with irony, world-pain, and allusions to all the kingdoms of heaven and earth, without any explanation as to what relation these allusions bear to each other, and with a Titanic pessimism as its predominating tone, which first rouses itself up to take all by storm, and finishes by being soothed into happy intoxication by the odors of a lily. This is better treatment than _The Lily and the Bee_ gets at home.