Heine does not view the legend in a more religious light than Goethe, but he settles his features into a more serious expression, speaks more concisely, draws with a sharper outline, obtains a totally different effect. Goethe rouses and cheers his readers by his broad and merry artlessness; Heine's words bore their way into men's minds and leave their sting there. He seems to aim at producing the same effect as that of an old Florentine painting:
"Die heil'gen drei König' aus Morgenland,
Sie frugen in jedem Städtchen:
Wo geht der Weg nach Bethlehem,
Ihr lieben Buben und Mädchen?
Die Jungen und Alten, sie wussten es nicht,
Die Könige zogen weiter,
Sie folgten einem goldenen Stern,
Der leuchtete lieblich und heiter.
Der Stern blieb steh'n über Josephs Haus,
Da sind sie hineingegangen,
Das Oechslein brüllte, das Kindlein schrie,
Die heil'gen drei Könige sangen."[31]
[31] The three holy kings from the Eastern land
Inquired in every city:
Where is the road to Bethlehem,
Ye boys and maidens pretty?
The young and the old, they could not tell,
The kings went onward discreetly;
They followed the track of a golden star,
That sparkled brightly and sweetly.
The star stood still over Joseph's house
And they entered the dwelling lowly,
The oxen bellowed, the infant cried,
While sang the three kings holy.
(BOWRING.)
There is a certain amount of waggery in this. What a concert! But also, what painting! The fewest words possible—not a stroke, not a touch too much, and the most telling, prompt effect.
Let us now, in conclusion, think of one of those abstract figures which occur in all lyric poetry—more or less carefully wrought-out personifications of an idea such as peace, happiness, unhappiness—and in this domain also compare Heine with Goethe. Here again it will be observed that Goethe has the fuller note, Heine the firmer outline.
Goethe wrote these lines to peace:
"Der du von dem Himmel bist,
Alles Leid und Schmerzen stillest,
Den, der doppelt elend ist,
Doppelt mit Erquickung füllest,
Ach, ich bin des Treibens müde!
Was soll all der Schmerz, die Lust?
Süsser Friede!
Komm, ach komm in meine Brust!"[32]
[32] Child of heaven, that soothing calm
On every pain and sorrow pourest,
And a doubly healing balm
Find'st for him whose need is sorest,
Oh, I am of life aweary!
What availeth its unrest—
Pain that findeth no release,
Joy that at the best is dreary?
Gentle peace,
Come, oh come unto my breast!
(Sir THEODORE MARTIN.)
There is no picture here, no real personification. There is a crescendo movement through the first six lines, which culminates in the outburst: "Süsser Friede!"—though we could not feel quite certain that this outburst was coming.
Now take Heine's personifications of fortune and misfortune, as contained in the following verses: