It was at this time that Hauff began his remarkable literary career with the publication in November, 1825, of his "Fairy Tale Annual for 1826." The years 1826 and 1827 saw the appearance of two succeeding annuals of fairy stories, which were everywhere received with the most enthusiastic admiration. Hauff's productivity was truly amazing; in four years he wrote, besides the fairy-tales, poems, short stories, fantasies satirical and humourous, and the classic novel "Lichtenstein," all of which have gained an enduring place in German literature. Returning from a journey through France, Holland and North Germany, Hauff was appointed to the literary editorship of the "Morgenblatt," a position which enabled him to marry, the wedding taking place in Nördlingen, on the 13th February, 1827. Hauff's journalistic duties did not interfere with his activity in other spheres of literary work. In this last year of his short life he continued to produce short stories and fantasies, his experiences while on his travels furnishing him with plenty of material. Indeed, it was while on a journey that he wrote the second "Fairy-tale Annual." Shortly after his marriage he set himself to the composition of his third a final "Annual"--the connecting story of which is entitled "The Inn in Spessart," and in which occurs the story of "The Cold Heart," a new translation of which is published in the present volume. Hauff's brilliant career was now drawing to a close. The last work to proceed from his pen was the playful fantasy, "Phantasien im Bremer Ratskeller." Early in November, 1827, a daughter was born to him; but he was already suffering from an attack of typhoid fever, to which he succumbed on the 18th day of the same month. Notwithstanding the genius displayed in his other works, the "Fairytales" will always be regarded as the most precious legacy which the great author has bequeathed to posterity; and of these "The Cold Heart" holds undoubtedly the first place in popular esteem. Unlike the majority of his fairy-tales, it owes something of its origin to folk-lore, as it is based on an old Black Forest Legend. But the human figures in the story are Hauff's very own; those conversant with the master's works will recognise in Charcoal Peter and Fat Ezekiel characters which only Hauff could have created. As in all his fairy-tales the human element is supreme, even Dutch Michael and the Glassmanikin evince more human characteristics than supernatural, and though they came from a mythological source they never appear to us pale and colourless as the supernatural beings in the fairy-tales of the brothers Grimm. Having chosen the groundwork of his story, Hauff developed it with all the force of his vivid imagination, fantastic humour and rare talent for narration. H. ROBERTSON MURRAY. THE COLD HEART PART I.