In the year 1848, after a premonitory attack in 1847 that passed away, that terrible disease which eventually destroyed Heine’s life, first assailed him in an aggravated form. Commencing with a paralysis of the left eyelid, it extended presently to both eyes and finally terminated in paralysis and atrophy of the legs. The last time he ever left his house was in May, 1848. For eight long years he was confined to his couch, to use his own expression, in a state of “death without its repose, and without the privileges of the dead, who have no need to spend money, and no letters or books to write.” But despite his bodily sufferings, his good spirits never seemed to leave him, his love of raillery did but increase, and little did that public whose interest he continued to excite by the wonderful products of his genius know of his distressing state. In the years 1850 and 1851, in the midst of his fearful malady, Heine composed his last great poetical work entitled “Romancero.” This singular volume is divided into three Books, called respectively “Histories,” “Lamentations,” and “Hebrew Melodies.” The first of these contains a large number of romantic ballads and poems of the most dissimilar character, but all bearing the stamp of the author’s peculiar genius; the second opens with several miscellaneous pieces, including some literary satires, and concludes with twenty pieces bearing the lively title of “Lazarus,” and comprising, as some one has observed, the journal of his impressions as a sick man. The “Hebrew Melodies” are subdivided into three, entitled by Heine “Princess Sabbath,” “Jehuda ben Halevy,” a poem itself in three parts, and “Disputation.” The Jewish descent and Jewish sympathies of the poet are plainly discernible in these Melodies, the most interesting of which, and probably the best of the whole collection contained in the “Romancero,” is that which sets forth the life of Jehuda ben Halevy, the great Hebrew poet of the middle ages. Some critics rank this poem amongst Heine’s very best productions. The concluding piece, “Disputation,” is in Heine’s wildest style, and seems written for the express purpose of destroying the pleasure excited by the one that precedes it. In none of his works is his mocking spirit more plainly discernible. “It is the most Voltairian scene ever imagined by the sceptical demon of his mind.” No one can read this polemical poem without seeing how little Heine himself cared for any received form of religion,--for the Christian faith as professed by him, or the Jewish faith into which he was born. The piece terminates in Heine’s favourite manner, namely, with an unexpected joke in the last line.