52.—6. MORGENLAND, see Vocabulary.
53.—8. NEBELTANZ, the dance of the mists.
54. Notice the realism of tone, not a word that rises above the plane of everyday prose. A whole tragedy compressed into three stanzas.
6, 7. The first man that happened to come her way.
8. IST ÜBEL DRAN, is in a sad fix.
55. Compare 42, where the Stimmung, the mood, of a bit of nature is expressed without any reference to any human element. In this poem of Heine the charm of the evening is embodied in the fair nymph. Compare 37. The same tendency is apparent in many of the paintings of Schwind and Böcklin.
56. Stanzas 1-3 are each divided into two equal parts. In the third stanza, however, the line of division is less marked; notice also the effect of the inversion in 12: Taucht er ins Flutengrab, — XX — X —. In the fourth stanza each line stands by itself.
57. Notice the effect of the rhyme combining the first and fourth lines of each stanza. The first two lines of each stanza have four accents, the last two, three. Notice how the metrical structure of the line is made subservient to the mood expressed; this is especially true of 3: Es dunkelt schon, mich schläfert, X — X — || X — X.
59. An apotheosis of Christ, who is represented as the spirit of universal love permeating all things.
17. SONNENHERZ, sun heart, since the sun is his heart.