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.
22 ff. These lines imitate clearly the pealing of church bells.
36. SCHAUERND IN, thrilled with.
60. Notice the dainty effect of the tone coloring, heightened by the skilful use of impure rhymes.
61. The charm of this poem, as of many of Heine's, lies in its suggestive power. The course of events is only dimly sketched, the tragic end hardly more than alluded to. While the first two stanzas are composed of two equal parts each, the last is composed of four.
62.—2, 4. WOHL, translate: They do, etc.