It is not difficult to understand the strong and permanent attraction that drew the poet, who had so many intellectual and aristocratic women among his friends, to this pretty, laughter-loving grisette. It lay in her bright and wild humour, her childlike impulsiveness, not least in her charming ignorance. It was delightful to Heine that Mathilde had never read a line of his books, did not even know what a poet was, and loved him only for himself. He found in her a continual source of refreshment. He had need of every source of refreshment. In the years that followed his formal marriage in 1841, the dark shadows, within and without, began to close round him. Although he was then producing his most mature work, chiefly in poetry--“Atta Troll,” “Romancero,” “Deutschland”--his income from literary sources remained small. Mathilde was not a good housekeeper; and even with the aid of a considerable allowance from his uncle Solomon, Heine was frequently in pecuniary difficulties, and was consequently induced to accept a small pension from the French Government, which has sometimes been a matter of concern to those who care for his fame. As years passed, the enmities that he suffered from or cherished increased rather than diminished, and his bitterness found expression in his work. Even Mathilde was not an unalloyed source of joy; the charming child was becoming a middle-aged woman, and was still like a child. She could not enter into Heine’s interests; she delighted in theatres and circuses, to which he could not always accompany her: and he experienced the pangs of an unreasonable jealousy more keenly than he cared to admit. Then uncle Solomon died, and his son refused, until considerable pressure was brought to bear on him, to continue the allowance which his father had intended Heine to receive. This was a severe blow, and the excitement it produced developed the latent seeds of his disease. It came on with symptoms of paralysis, which even in a few months gave him, he says, the appearance of a dying man. During the next two years, although his brain remained clear, the long pathological tragedy was unfolded. He went out for the last time in May, 1848. Half blind and half lame, he slowly made his way out of the streets, filled with the noise of revolution, into the silent Louvre, to the shrine dedicated to “the goddess of beauty, our dear lady of Milo.” There he sat long at her feet; he was bidding farewell to his old gods; he had become reconciled to the religion of sorrow; tears streamed from his eyes, and she looked down at him, compassionate but helpless: “Dost thou not see, then, that I have no arms, and cannot help thee?”