We are induced to translate for _The International_ the following crisply written critique from _Die Grenzboten_, not only from its giving for the benefit of certain of our _dilettanti_ German scholars a few judicious remarks on the true merit of their "new celebrity," JEANNE MARIE, but because the preceding account of the present state of lyrical poetry in Germany, is very nearly as applicable to lyrical poetry as it now exists among the rising bards of America and England as to that of the father-land: "It is now about a century since the beginning of our most brilliant German lyrical era, and we are at the conclusion of a series of developments, which individually display all of the peculiarities indicative of the decline of a great epoch in art. The incredible number of subjects which have been artistically treated, has inspired the minds of our cotemporaries with an almost superfluity of poetically adapted figures, forms, tones and materials, with which we are familiar from our first breath. Vast numbers of corresponding series of similes, and combinations of words and sentences have been naturalized in our language, and the spirit of the rising generation cannot be other than powerfully influenced by the incredible variety of forms and phrases, which it acquires during education. From all which a limitation of the creative power naturally results--since there is hardly a sentiment, hardly a perception of the present day, which has not been rendered applicable to poetic art; and the array of these imposing creations ring in the soul of the young poet wonderfully through each other. It is almost impossible to experience a new feeling which has not been sung, and yet the impulse still exists to win for the again and again experienced, a value, and a certain degree of originality. From which results the most desperate efforts, by means of bold, artificial, highly polished or tasteless images and comparisons, to form a style and acquire a peculiar literary physiognomy: efforts which should by no means be despised, even when the critic is compelled to blame its results; for it is natural and unavoidable. Such a superabundance of poetic forms of address, applications, words, and measures, are at present current in the world, that for every poetic feeling a prosaic or metrical reminiscence rings and echoes consciously or unconsciously, and more or less clearly, through the poetic soul. To avoid this wearisome beaten path, our poets are driven, on the one hand, into unheard of refinements of metre and words--or on the other, into an affected barbarism and roughness. And since the quantity of poetic metres, applications, and forms of speech, has become so incredibly large that they every where pass and are received as a sort of _spiritual small change_, it has become infinitely easier to express an idea in tolerably good poetic language, than it was fifty years ago. Gleim, Holty, and