■ '■..--''J'. ..dB;^^^ -^T^,C .■^•::;;^^£'p;^- ». , „•-■; . - I . - -^## 1 nw £iwf l^/"- pr CORNELL UNIVERSITY LIBRARY FROM F. '7. Field Cornell University Library PT 1160.E5D88 Book of German songs : 3 1924 026 152 524 All books are subject to recall after two weeks Olin/Kroch Library DATE DUE ^errKffWWd A PRINTED IN U.S.A Cornell University Library The original of tliis bool< is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924026152524 /rDiitisjiim.— Bilitnrti ml ^j^ntrintti; Initgs. %^t 00lt at §txmm ^mp : from %\t B\xtmt\ U t\t f iiutttnll] Ccnturjr, TRANSLATED AND EDITED BY H. W. DULCKEN. LONDON: WARD AND LOCK, 158, FLEET STREET. 185G. l\iiii']z. fUs EDITOR'S PREFACE. Compared with the bulky collections of " Alte und iNeue Lieder," which have appeared from time to time in Germany, this little volume must necessarily seem a crude and fragmentary representative of German Song Literature. It does not, indeed, aspire to completeness. The subject is far too ample to be exhausted within the compass of a few hundred pages ; for there is scarcely a department of German song writing, whether it be that of popular songs (VoUislieder) , sacred and moral songs (Greistliche Lieder), or students' songs (Shidenten-und Burschenlieder) , which would not present sufficient mate- rial for a book of goodly size ; — and however carefully a volume like the present one may be prepared, much that is essential must necessarily be omitted from mere lack of space. With this preliminary apology to all who honour these English versions of German songs with a perusal, A EDITOR S PREFACE. the translator has still a word of explanation for those of his readers who may be surprised at the omission of lyrics of first-rate merit, while manifestly inferior productions have been given. The purpose for which this book has been compiled is to give, in an English garb, songs characteristic of the nation and period from which they emanated, rather than to point out the individual excel- lencies of particular authors. A song, worthless in itself, may become important from the associations connected with it, or the circumstances to which it owed its origin, and may, as representative of a particular school of writing, possess a value to which, individually considered, it could lay no claim. Few readers, for instance, would be in- clined to attribute any high literary merit to the Jacobite song of " Johnnie Cope ;" and fewer still would consider "La Carmagnole" as anything but a sanguinary outbu^rst of revolutionary licentiousness. Yet no series of Scottish songs would be complete without the one, and no judi- cious collection of French lyrics would be justified in omitting the other. This is the reason why, in the course of the present volume, such songs as '■'■ Fredericus Rex," " adlant Schill," Gleim's " Song of Victory," and others of the same stamp, have usurped the places of the finished productions of more gifted authors. Their popu- EDITOR S PREFACE. Vll larity in Germany was considered in itself a sufficient warrant for their translation into English. It has been in every case the translator's endeavour to give a correct rendering of the meaning and spirit of the original songs, even to the sacrificing of the doubtful advantage of literal accuracy. The metre of the German song has, however, in almost every instance been retained, and the original, in many cases, appended to the English version, as the student may desire to compare the trans- lation offered to him, with the song as written by the German author. In conclusion, the translator begs to assure his readers that in one respect, at least, this collection is not open to censure. No song has been admitted if it contained a word or a sentiment which would render the book ineligible for admission into the drawing-room or the school. H. W. D. a2 CONTENTS. A Battle Prayer A Curious History After the Harvest A Lover's Song A Tragical Story A Wish . Ballad . Ballad . Barbarossa Before tlie Doors Beware of the Rhine Blucher . Christmas Carol for Children Comfort at Parting Consolation . Consolation, Song of Count Eberhard the Weeper, temberg . Cradle Song . Dame Nightingale . Drinking Song Drinking Song in May Drinking Song Emperor Klas . Entertainment Ergo Bibamus Eternity Evening in Spring Evening Song Th. Komer Reinick CJiamisso of Wur- K M. Amdt F. Riichert F. Ruchert Simrock '. M. M. Amdt M. Luther. Kotzebue . Eicliendorff Neumark . Schiller E. W. C. Starke Biilty G. A. V. Halem . L. Uhland F, Ruckert CONTENTS. Faith False Blue .... Farewell Song of a Journeyman Farewell to the Old Tear Fidueit Fredericus Kex Gallant SchiU . Gaudeamua .... German Drink and German Truth Grave Song .... Have-I and Had-I . . Hope How canst thou sleep in quiet ? Hunter's Song Hussar's Song . . Hymn If they knew it, little Flowerets It is all one .... Life still enjoy, Friends Lore-Ley Men and Knaves . Morning Song in Spring My True-love is pretty Nature and Man Nor Luck nor Star . Not only for this Nether World Old Bacchus Parting . Patriotic Song Patriotic Song Prophecy. Punch Song . Reinick WilUbald Alexis Amdt Mahlmann A.F.E. "Langlein Schiller . H. Heine . M. iMtlier E. Heine ' . Usteri H. Heine . F. Korner W. G. Becher G. A. Kinhel C. L. G. Meister Burger E. M. Amdt Hinchel Schiller CONTENTS. Sir Olof . Soldiers' Morning Song Song, Love, and Wine Song Song of Victory after the Battle of Leipzig Song of Victory after the Battle of Prague Song — "- A young man loves a maiden" Song — " A star is falling Song, Double . Spring . Tailors' Heroism Taking up Quarters The Artist and the Public The Battle of Prague The Brolien King . The Chapel . The Coming of Spring The Course of my Life The Daisy The Diver The Fishermaiden . The Fox- Ride. The German the Dearest The German Rhine The Grenadiers The Hammer-Stroke The Hostess's Daughter The Huntsman's Joj' The Hussites before Naumburg The Jolly Brother . TheKingofThuliJ. The Krahwinkel Guardsmen The Lad of the Mountain The Locksmith's Man . The Man in the Cellar . The March . The Months and the Men The Moon Dial The Nibelunger's Treasure Max V. Sckenkendorf Th. Kirmer Htrder's Volltslieder HerJdots Gleim H. Seine. Heine Reinich M. Sartmann A. Chamisso w F. Eiiciert J, V. Eichmdorff XJhland Mailer G. W. Fink Schiller H. Heine . Schreiber Becher H. Heine . Eberhard . L. Uhland Goethe L. Uhland Griibel A. Methfessel Reinick 8lmroch • CONTENTS. The Old Soldier to his Cloak The Old Love Songs The Peasant's Eule The Pilgrimage to Keevlar The Retreat . The Eichest Prince The Serenade . The Song ofWine . The Stages of Life . The Sunken Crown The Table-Song of Truth The Tailor's Fright. The Three Tailors . The Toper's Dilemma The Tree in the Odenwald The Two Coffins . The Water it Eushes The Watchman's Song . The White Hart . The Wooer . The World a Beer-Bottle Thou say'st my Songs are Poisoned To Him To Spring To the Winehouse . Trooper's Song Under the Dark Linden Trees Uriau's Voyage round the World Wanderer's Sorg . Wanderer's Song . Wanderer's Song . Wandering Song AVar-Song for the Chasseur Volunteers, 1813 .... What is the Best Thing? What is the German's Fatherland ? 90 X 9 X 99 Ambrosius Metzger Vhland Heine J. Kerner L, Vhland F. Rvchlitz A. F. E. Langhein Vhland . Goethe C. Eerlossohn J. Kerner Goethe Vhland 3. Heine . Mahlmann Schiller H. V. Fallersleben Schiller Reinich Matthias Claudius Goethe J. Kerner De la Matte Fouque , Kopisch . Arndt |A^ I0 Jfxrst yk^s. Allah gibt Licht in Nachten .... Mahlmann Als die Preussen marscWrteii vor Prag Am Fenster stand die Mutter . . . . H. Heine . A'n Sclilosser hot a'n G'sellen g'hot . . . Gruhel An den Rhein, an den Rhein, zieh nicht an den Ehein Simrock . Bei einetn Wirthe wuudermild . Bekranzet die Tonnen Biiider-hier steht Bier statt Wein Da droben auf dem Hiigel . Das Leben gleicht der Blume Das Lied vom Wein .... Das Volk stelit auf, der Sturm briclit los Das Wandern ist des MUllers Lust Der alte Barbarossa .... Der bleiche, lierbstliche Halbmond Der Gott, der Eieen wacbsen liess Der Jager gebt za Fest und Sclimauss Der Mai ist geliommen, die Baume schlagen Der Stumme sprach zum Blinden Der susse Scblaf der alle sonst erqaickt Die Hussiten zogen vor Nauraburg . Die Felder sind run alle leer Die Fenster auf! die Herzen auf! Die Welt gleicht einer Bierbouteille . Droben stehet die Kapelle . Du schones Fischermadchen Ein feste Burg iat unser Gott Ein Heller und ein Batzen . Uhland L. E. C. Edllz Uklund Von Halim F. EochUtz Korner W. Mailer F. Ruckert H. Beine Arndt Reinich RilcJcert W. Mailer Uhland B. Beine M. Luther, PAGB 277 57 . 145 . 106 . 170 , 242 , 238 210 161 180 205 68 . 140 164 121 , 72 . 143 . 121 , 817 128 , 296 . 250 , 247 , 295 , 284 , 144 260 , 100 INDEX. Ein Jungling liebt ein Madchen . Ein Schlosserhat'nen G'sellen g'habt . Erhebt euch von der Erde, ihr Sohlafer aus der KuU Es blinken drei freundliche Sterne E3 fallt ein Stern hernnter . Es fiel ein Reif in der Fruhlingsnacht . Es, es, es, und es Es giebt Nichts lustigers in der "Welt . Es giebt zwel Vogel sie sind belnannt . Es glngen drei Jager wohl auf die Birsch Es haben viel Dichter gesungen . Es haben viel Dichter die lange verblichen. Es batten drei Gesellen Es batten wilde Morder Es ist ein Scbuss gefallen . Es ist Nichts lustger in der Welt Es kamen drei Schneider wohl an der Bhein Es kann ja nicht imrner so bleiben Es lebe was auf Erden Es reden und traumen die Menschen viel Es rauschet das Wasser Es schwebt ein Geist ob der Friihlings pracht Es steht ein Baum im Odenwald . Es war ein Konig in Thuld . Es war einraal ein Konig Es waren einmal die Schneider . Es zog aus Berlin ein tapferer Held . Es zogen drei Buxsche wohl iiber den Rhein Frau Nachtigall mach' dich bereit FredericttS Bex, unser Konig und Derr Freut euch des Lebens .... E. Heine . Griibel Max V. Schenh. Korner H. Seine . •Tidorf. TJhlatid Eichendorff Langhein . Kinkel Goethe Kotzebue . Schiller Goethe Bartmann. Goethe SimrccTc . (Fliegendts Blatt) Arndt Vhland WillihoXd Alexis Usteri Grad' aus dem Wirtshaus nun komm' ich heraus Muhler Gaudeamus igitur Gieb blanker Bnider, gieb mir "Wein . . . . Herr Bacchus ist ein braver Mann Herr Olof reitet spat und weit Herz voU Muth Hinaus in die Feme, mit lantern Hornerklang Hort ihr Lente und lasst euch sagen . HOrt mal Liid' en Bitgen still Burger loh Wn einmal etwas hinaus spatzirt . Ich bin vom Berg der Hirtenknab' Icli hab' geklopft an des Eeichthums Haus Ich hab' in das blaue Meer geschaut . Ich hab mein Sach' auf Nichts gestellt Ich liebte dioh und du wusstest's nicht Ich stand auf Berges Halde Ich weiss nicht .was soil es bedeutea Ihr, ihr, dort draussen in der Welt Im FlieJerbusoh ein Voglein sass Im Januar fUhren die Maaner uns Im kiiblen Keller sitz ich hier . Im Weine wie das Sprichwort sagt Immejr langsam voran, immer langsam voran In einem kiihlen Grande .... In's Weinhaus trebt mich dies und das Leb' wohl, du liebes altes Jahr ... Lustig ihr Leute, Soldaten sind da Mein Lebenslanf ist Lieb und Lust Mein Schatzerl ist hiibsch, aber reich ist es nit Muss i' denn, muss i' denn, zum Stadele 'naus Nach Frankreich zogen zwei Grenadier' Nicht bios fUr diese TJnterwelt Ewigkeit, o Ewigkeit ! . Preisend mit viel schBnen Eeden Schlaf, Herzenssohnchen, mein Liebling bist du Schier dreissig Jahre bist du alt . Selig die Todtea ! sie ruhen und rasteu " Schou haben viel Dichter die Lange verbliohen ' S ist mir alles eins . Sie soUen ihn nicht haben . Spatzieren wollt' ich reiten . Such dir im Sommer einen Schatz S'war einer dem's zu Herzen ging Reinick Uhland Rilcktrt Reinick Goethe Reinick F. Ruchert H. Heine Schiller Reinich Elchendorff H. V. Fallersleben Osiander . H. Seine . C. Meister J. Kemer . C. V. Bolter Mahhnann A.. Nic. Becker Uhland Chamisso Triumph ! das Schwert in tapfrer Hand Max V. Schenkendorf 80 Und als die Schneider revoltirt' . Und die Sonne machte den weiten Eitt Und TvUssten's die Blumen die Kleinen Vater, ich rufe Dich . Vaterlandslied Vergiftet sind meine Leider . Victoria ! mit uns ist Gott' . Vier Elemente Von alien LSndem in der Welt Vom Himmel hoch da komm ich her Von dem Berge zu den Hiigeln . Wandem ! es ist des MUller's Lust Was blasen die Trompcten ? Husaren heraus Was hat das Ganseblllm' gethan? Was ist des Deutschen Vaterland ? Was ist doch auf dieser Welt Was kann schOner seyn ? Was kommt dort von der HBh' ? Was schweigen die Sanger, die sonst wohl gesungen Was weaken aus dem Schlummer mich Wenn Jemand eine Eeise thut Wenn wir beim Wein sind, was is da das beste t Wer so aus Russland -wandem muss . Wer nun den lieben Gott Ifest walten . Wer wagt es, Rittersmann oder Knapp Wie 1st doch die Erde so schBn? . Wie reizend, wie wonnig ist alles umher Wie kannst du ruhig schlafen . , Willkommen schoner JUngling . . Wir sind die KOnige der Welt Wohlauf ! Kameraden, auf's Pferd, auf's Pferd! Wohlauf ! noch getrunken den funkelnden Wein Wohlauf zum freudigen Jageu Zwei SSrge einsam stehen J. Kerner Chamisso . E. M. Amdt E. Seine . Komer 3. Heine . Gleim. Schiller Schmidt . M. Zmther Goethe W. Mailer Amdt G. W.. Arndt F. Ruckert Ehrhard . Uhland . Matthias Clavdius Kopisch . G. N&wmarh Schiller . N. G. Becker E. Seine . Schiller . G. V. Starke Schiller . J. Kerner . De la Motte F&tigw . PAGE 291 157 171 58 74 142 53 214 212 264 254 140 66 244 61 234 152 219 281 298 226 315 274 319 168 237 164 240 206 35 227 91 159 .1 — -,,ir , Intobidton. The practice of celebrating the deeds and perpetuating the memory of heroes in tragic and mirthful song, seems to have been common among the German races in the most ancient times. The records of the earliest battles, in which INTEODUCTION. the rude barbarians of the north strove to make head against the powers and resources of Kome, tell us how the Cimbri and Teutones advanced singing to the contest. The songs in praise of the god Thuisco are mentioned by Tacitus ; and a few scattered fragments of old heroic lays, which have been preserved through the devastation, turmoil, and conflict amid which the Queen of the World sank down, still remain to indicate to the modern German the character of these first glimmerings of his country's literature. With the conversion of the German tribes to Christianity came the substitution of Christian traditions for pagan ditties ; and though Charlemagne made a collection of Teutonic ballads, the old legends were almost forgotten, till the time when a poet of the twelfth century incorporated a number of them to form the incidents in the plot of the Song of the Nibe- lungers (Das Nibelungen Lied).* The institution of the laws and customs of chivalry brought with it a peculiar literature. Germany — the southern portion, Austria, and Thuringia in particular — had its Min- strels and Minnesingers, who became as popular at the German courts as were the troubadours and Proven^aux in the bowers of France and England. The legends of Prince Arthur and the "HolyGral" date from this period. The catalogue of the minnesingers includes many noble and even some royal names. Versification became a fashion, and * The opening lines of this magnificent song sufficiently explain its purport. They run thus : — " TJns ist in alten Mceren, Wunders vil geseit, Von Helden loteticeren, von grozer Kuonheit ; Von Vrouden, H6chgezSten, von Weiuen und Ton Elagen, Von Kuener Keoken striten muget ir nu Wuuder hoeren sagen." INTEODnCTION. the poet was sure of entertainment and patronage at the court of the German prince. The lyrical poetry of this period is trivial in form, and of small literary value ; it possesses, however, in a high degree, the element which gave its elevation to chivalry, and which operated as a check to the irresponsible power of the great in the middle ages — respect and devotion to the weaker sex. Walter von der Vogelweide, 1170-1226 — Heinrich Prauenlob (the woman-praiser), 1250-1318 — Wolfram von Bschenbach, and many other minstrels, come under this category. Satirical poetry, first bursting forth in little rills against the aristocracy, and at length rolling in a powerful stream against churchmen and church abuses, now begins to gain the ascendant ; chivalry, with its songs, falls into disrepute, and becomes an object of caricature ; a deep religious contest engrosses the minds of the populace, and one great man arises to exert an influence equally conspicuous in the religious and in the literary history of his age. A new era of national writing may be dated from the 31st October, 1617, when Martin Luther publicly upheld the ninety-five theses he had nailed to the door of the castle church at Wittenberg. Throughout all the song literature of the sixteenth century the religious element predominates. With the Emperor MaximiUan, " the last of the knights," as historians call him, the age of chivalric poetry passed away; and Theuerdanh, the famous allegorical poem, wherein is repre- sented the Kaiser's marriage with Mary of Burgundy, forms the last link in the series of knightly romaunts. The great religious struggle of the century began, and the literary ability of the time was enlisted on either side of the contest. XX INTRODUCTION. Thus the satirist, Thomas Murner, after graphically exposing the abuses of the Romish church, plied his pen with much acrimony against Luther, and was invited by Henry VIII. to England, on the strength of this literary activity. But, on the side of the Protestants, song was a powerful vehicle for the representation of doctrines and dogmas. The Reformers, who had justly raised their voices against the subject-matter of the ballads then in vogue among the people, borrowed the shape and structure of the popular songs of the day for the erection of a purer and higher lyrical standard. Some of the more rigid teachers of Protestantism seem to have objected to songs generally, and to have coun- tenanced the writing of hymns principally as a means of getting rid of a great evil; and this intolerance was not confined to songs of an objectionable character, but was extended to every lyrical production of a political or humorous tendency. That the great leader of the Re- formation cannot have entertained these extreme views is indicated by his having written a poetical eulogy of music generally, under the title " Frau Musica," and a distich of a still more explicit kind, which runs — " Wer nicht liett Weib, Wein, and Gresang, BleiM ein Narr sein Lebelang." * Among the inestimable services rendered by Luther to Germany, his having been the founder of a new school of sacred songwriting is, perhaps, not the least. Through his own efforts, and the effect of his example on his friends, col- lections of noble hymns were called into being, which have, * Who loveth not wife, wine, and song Eemaineth a fool his whole life long. INTRODUCTION. XXI in spite of all changes of poetical taste and feeling, main- tained their high position in every congregational collection of hymns throughout Protestant Gei-many. It is scarcely necessary to point to the grandeur of the lyric, " Ein' feste Burg ist unser Gott," or to the sweet simplicity of the " Christ- mas Carol for Children," and of the " Vater unser." Alberus, Dachstein, Justus Jonas, Hegenwaldt, Spengler, and many others, had a share in the authorship of Luther's hymn- books. The best collection of the religious songs of Ger- many, from the time of Luther to that of A. Blaurer, is the excellent and laborious one compiled by K. E. P. Wackernagel. The rehgious movement which had agitated Germany now manifested itself in the production of dramas on sacred subjects, interspersed with efforts of a humourous cha- racter. As a tragic poet, Rebhuhn stands pi-e-eniinent ; in the lighter department, Hans Sachs, " the cobbler bard." This prolific author produced, in the space of about half a century, the almost incredible number of six thousand two hundred and sixty pieces, comprising merry comedies, mournful tragedies, farces (schwanke), dialogues, and an infinity of songs, serious and gay. The tragic productions of Hans Sachs are far inferior in merit to his poems on lighter subjects ; the latter are written with true poetic feeling. Some of his hymns, also, are pre-eminent among the sacred songs of the age. Johann Fischart, the author of " Till Eulenspiegel," is the only contemporary writer whose works can bear comparison with those of Hans Sachs. The seventeenth century brought with it the memorable struggle known as the " Thirty Years' War." It is natural B INTRODUCTION. to suppose that, while the eyes of all men were turned upon the leaders of the contest, and while every ear was strained to catch the first sound of each new event, the song litera- ture of the period should choose as its chief subject the chances and changes of the battle field. This has been the case ; and every important turn in the fortune of the war — the repulse of Wallenstein from Stralsund — the frightful devastation of Magdeburg — the battle of Liitzen — the death of Gustavus Adolphus — each memorable action, advance, or retreat, has been recorded in song, till an almost inex- haustible budget has accumulated. Some pieces are written in a serious, the majority, however, in a satirical vein. The favourite hero of these war songs is the gallant Swedish king, Gustavus Adolphus. Among the whimsical effusions called into being by the events of the time, is a song with the strange title, " Tilly-Schwedisches Concert und Contra- punct, von groben schweren Nothen darvon die Kopffe bluten, und zum Final ein hartes Schwedisches Obendrauf oder Zugab " — (Tilly-Swedish Concerto and Counterpoint, of rude heavy notes which make the heads bleed; and for the finale a hard Swedish conclusion or supplement.) This was an outburst of triumph on the occasion of the Swedish king's victory over Tilly, at Leipsic. Its date is 1632. The troopers' songs of the Thirty Years' War are not devoid of a certain broad humour, and here and there exhibit even gleams of pathos. But the remaining portion of the period's literature is inferior to that of the preceding century. The form of the German tongue was changing. A weak, tasteless style, encumbered by the introduction of French and Latin words, was gradually usurping the place INTRODUCTION. XXIU of the vigorous, healthy language into which Luther had translated the Scriptures. The boundless misery entailed upon the German empire by the presence of the mer- cenaries of Wallenstein, and of the marauding troops of Saxony, who fed upon the land like locusts, could not have any but an unfavourable influence upon the men who lived during this period of anarchy and distress. All things considered, the wonder is, not that there should be a dearth of poetry during the Thirty Years' War, but that the charac- ter of the literature it has to offer is not more gloomy and despairing. Efforts were made to counteract the destructive tenden- cies of the times by the formation of literary societies (Sprachgesellschaften). Foremost among these stands the Fruchtbringende Gesellschaft (Fruit-bearing Society), formed in 1617 by two princes of Anhalt, several Saxon princes, and a number of notabilities ; — its object being to revive the purity of the German language. Various similar fraternities were founded in succession ; among others the G-eseJlschaft dtr Pegnitz scliafer {Pegnitz shejoherds), a.nd the MbscKiuanenorden (order of Elbe-swans). None of these societies would seem to have achieved very important results. The " fruit-bearing society " yielded but scanty literary crops, and the only advantage secured by the whole movement appears to be that it kept alive, among the higher classes at any rate, the embers of an interest for poetry. Becker, a teacher at the Leipsic Thomasschule, was the author of various hymns of more than ordinary merit. But the man who at this time deserved better than any other poet of the period at the hands of his countrymen, and who is looked upon, to a great B 2 INTRODUCTION. extent, as the father of modem German poetry, was Martin Opitz. This writer strove manfully, and successfully, to raise the poetry of his nation to the Lutheran standard. The reproach of having, in his writings, paid too exclusive a court to the princes of his time, has been frequently cast at Opitz ; but he can scarcely be blamed for having endea- voured to diffuse an interest for literature among the only class who could advance its cause. Unconsciously, however, he became the founder of a species of court poetry, which does not occupy an honourable position in the literary annals of his country. A more important fraternity of poets than had yet appeared arose at Konigsberg, in or about the year 1646. The originator of the society was Heinrich Albert, organist at Konigsberg. The meetings of the club were at first held in the garden of the founder, who composed music for many of the songs which were there read. Robert Roberthin, born at Konigsberg in 1600, was the most influential mem- ber of the club, though the name of Simon Dach, the author of "Annie of Tharaw," is the one most intimately identified with the Konigsberg society. Some clever satires of J. Riemer, who wrote under the name of Reinhold, are worthy of mention. They are directed against the prevailing rage for introducing foreign words into German writings — a custom reprehended by many German poets of the period, who seem to have overlooked the fact that the introduction of a foreign form and spirit into their poetry was doing far greater injury to its national character than the use of foreign terms. A satirical "Song a-la-mode," in which this confusion of terms is ridiculed, INTRODUCTION. has a most comic effect. The song (the foreign words of which are printed in italics) reads as follows : — Revmrte Dame, PJicenix meiner Ame, Gebt mir audienz. Euer Grunsfc meriten, Machen zMfaUiten Meine pattern. Aoh ich admirire Dnd considerire Eure violentz ; Wie die Liebesfiamme Micli brennt sooder ilasme, Gleieh der Pestilentz. Ibr seid sehr capable, Icb bin pen valahle In der Eloqueniz; Aber mein serviren Pflegt zu dependiren Von der Influeniz. Meine Larmes miissen Von den jouen Flvissen Naeb der Sing cadentz ; Wie der Rhein couliret Und sich degorgiret Nacbst bei Cohelentz. Solcbe Amartume Macht Neptuno Ruhme In Oceans Grentz, — Komt ihr Flussnajadeu Uud ihr Meertriaden Schaut die Consequsntz. Belle, werd ihr lieben Und nioht mehr betriiben Eure Conscientz ; Werdt ihr rejouiren Die im Meer rersiren Naoh der Aparentz. Die CoquUles tragen Werden tandem fragen Nach der Excdlentz, So die taliteten Adulciret hatten Durch die Abstinentz. Abstinentz Ton Hassen TJnd sich lieben lassen Sender Tnsolentz, Kann das Meer versiissen. Bis zu euren Fiissen Macht Eueh Beverentz. Confusius von Ollapodrida. At the close of the seventeenth and the commencement of the eighteenth century, German poetry appears in a more hopeless condition than during the convulsions of the Thirty Years' War. The coarseness which abounded in the songs of the troopers had given place to a wide-spread depravity, badly concealed beneath a thin cloak of so-called gallantry. Founded on foreign models, badly followed and clumsily imitated, the songs of the beginning of the seventeenth eentury were not more likely to gain a permanent hold on INTKODDCTION. the affections of the people than were the ditties of the Oorydon and Phyllis school in England. Some clever students' songs certainly occur; but the general literary aspect of the first half of this century is barren, immoral, and licentious. The first symptoms of a healthier tone are to be found in the writings of Haller and Hageorn, who endeavoured to elevate the taste of their readers by giving them vivid and faithful representations of nature, in contradiction to the literary dictator of the time, Gottsched, whose artificial style, " correctly dull and regularly low," was only too uni- versally lauded and emulated. The "Bremer Beytrage" {Bremen Contributions), a periodical with which most of the literary celebrities of the time were connected, appeared from the year 1745 to 1759. The poems in this collection are not of a high order, and the publication itself degene- rated at length into licence and frivolity ; miserable effusions in the style of Grecourt and of the " Conies'" of La Fon- taine being freely admitted. It is remarkable that the fourth volume of the periodical contains the three first cantos of Klopstock's "Messiah;" and the fact that this gloi^ous poem was not admitted without hesitation, forms a sufficient commentary on the discernment of Klopstock's contemporaries. The latter portion of the work is full of adulation of Frederick the Great. The Seven Years' War naturally gave employment to the pens of song writers. Gleim, Ramler, E. von Kleist, Schu- bart, Cronengk, Willamov, and many others, sang the praises of the Prussian hero Frederick, while Rautenbach, with a small band of supporters, took up the cause of Maria INTRODDCTION. Theresa. The nameless poets of the bivouac were for their part not silent ; and the anonymous songs, " Fridericus Rex" and " Als die Preussen marschirten vor Prag," enjoyed a popularity which never fell to the share of the effusions from the pens of the accredited poets. The songs of Gleim may be taken as specimens of this school of writing. Goethe says, in reference to them, " The war- songs of Gleim have held so high a position among German poems from the fact that they arose with the events they record, and, moreover, because they possess the happy appearance of having been written by one of the com- batants in the highest moment of excitement ; which makes us feel their entire weight. The Prussians, and with them the Protestant part of Germany, thus obtained for their literature a treasure which the opposite party lacked, and the want of which no exertion afterwards enabled them to supply." The great names of Klopstock and Lessing now ap- peared on the scene of German literature, and the reign of the Gottsched school was at an end. Klopstock threw into his poem the " Messiah," the whole power of his grand genius; and the effect he produced on Gei-man literature was deep and permanent. Lessing began to write when Gottsched's throne was tottering ; and the restless life which animated all his writings was the very element still wanting to procure the fall of pedantry and aflectation. The Gottinger Dichterbund (Gdttingen Poetical Society), formed in 1772, is interesting from the association of its members with the '^ Musen Almanache" (Almanacks of the Muses), vi'hich appeared at intervals throughout a series of years ; one INTnOBUCTION. series being edited for a long period by Biirger, the cele- brated author of " Lenore." The founders of this society were a number of young Gottingen students. Foremost among them stood Voss, Boie, Holty, Miller, Ewald, Hahn, and Biirger. Admiration of Klopstock and Lessing was the bond which first united these young spirits, and one of their earliest meetings was devoted to a celebration of the great poet's birthday. Detestation of Wieland, the corrupter of morals, as they called him, was almost as powerful with them as the other feeling, and at the banquet in question a copy of the obnoxious poet's works was publicly torn, and the leaves, whimsically enough, used for pipelights. The merry meetings of the Gottingen Society were soon inter- rupted by the more serious avocations of life. The young poets were quickly obliged to give up their golden dreams of song under the pressure of impending necessity. Poverty was the lot of the majority of them ; and even Biirger was for a long time subjected to the pressure of want. Some of the most gifted members of the fraternity died young ; the rest were scattered here and there by fortune ; and the Gottingen Society quickly fell to pieces. It was not, how- ever, without its beneficial influence on the literature of Germany. The " Musen Almanache" increased in number and variety, and one of them was edited by Schiller himself. The works of Schiller and Goethe, the two greatest geniuses of Germany, revolutionised every department of literature. The influence of Goethe begins with his first work, " Gotz von Berlichingen ; " that of Schiller with the publication of " The Robbers." Throughout the works INTRODUCTION. XXIX both of Goethe and Schiller a number of songs are scat- tered, which are too well known and appreciated to need comment. The writings of the romantic school of poets, who flourished at the commencement of the present century, contain a number of good songs. The war of liberation in Germany called forth a number of patriotic lays, most of them formed more or less on the model of Korner's admirable lyrics. Schenkendorff, Arnim, Eichendorff", Kleist, and more than all, Moritz Arndt, are representatives of this school of song writers. When the contest against the power of Napoleon had ended with the downfall of the French emperor, the fiery enthusiasm which had vented itself in songs of defiance and hate towards the foreign invader unfortunately sought an outlet in the production of songs of an inflammatory and revolutionary tendency. These songs are in general blatant and weak, magniloquent indeed in expression, but lacking that earnestness and depth which gave force to Korner's lyrics. They were, however, considered sufficiently dangerous to ensure the expatriation of several young poets, and the suspension from his oSice even of such a man as Arndt. Political songs are now for- bidden in the vocal associations of Germany — a circum- stance to be regretted in many respects. The songs written during the war with Napoleon are far superior to any produced during the Gleim period. They bear the stamp of reality, are less burdened with bombast than were their predecessors, and have evidently been called forth by real enthusiasm. As specimens may be cited Korner's " Battle Prayer," Arndt's song " Der Gott der INTRODUCTION. Eisen wachsen liess," and Schenkendorff's " Erhebt euch von der Erde." It is among the poets of the last forty yearSj however, that we must look for the best song writers. Uhland, Gr. Schwab, Mayer, Riickert, J. Kerner, Platen, Geibel, Herwegh, Heine, have contributed plentifully to the fund of German song in all its departments. One writer whose songs deserve greater attention in England than has yet been awarded to them, is worthy of especial mention. This is Robei't Reinick, the painter and poet, who died in 1850. No man has been so happy as Reinick in por- traying the emotions of trusting and innocent affection. His songs are redolent, moreover, of the corn-field and the green-wood ; and the " Lieder und Bilder," enriched by illustrations contributed by some of the first artists in Diissel- dorff, are well worthy the perusal of the student. xlitarg anb Halmtk ^oixqb. The military songs given as specimens of this department are all more or less modern. The songs of the period of the Thirty Years' War, though almost innumerable, are generally too long for translation, or do not offer any point of interest. They belong, moreover, rather to a collection of "Historical Popular Ballads," than to the division of war songs. The revolutionary productions of 1848 (Barrikadenlieder) have been entirely omitted. They are mostly formed upon the basis of Korner, and vpould scarcely be considered an acquisition. A greater number of Korner's songs might have been given, but his productions have already found translators. 32 THE BOOK OF GERMAN SONGS. TAKING UP QUARTERS. {§dm (gkrutkn; iits ^ttsrtkr.) Date and Author uncertain. Soldiers are coming, good people, be gay ! Singing we greet ye — hurrah — sa — sa — sa ! Come from the German land, As you all understand, Take up our quarters so gleesome with you. Strengthening fare and a welcoming glance, More than rare dainties, our pleasures enhance ; "When we to drink begin, Host, in our song join in — " Health to the soldier, and health to our land." MILITAEY AND PATRIOTIC SONGS. 33 Germans are merry, are ready and right, Gallant to maidens, and keen in the fight ; Warmly their blood doth flow — Kiss, wine, and battle-glow. True word they love, and a boisterous song. Maidens, I warn ye, your hearts guard aright. Love oft steals in like a thief in the night ! When we at morn depart. Many a lonely heart. Many a tearful eye follows our track. Home hath the soldier none where he may rest ; Here he's to-day, there to-morrow a guest ; — Home and love change we all, Till the pale reaper's call To our last head quarters bids us away. ORIGINAL. fUSTIG ihr Leute, Soldaten siiid da ! Griissen euch singend, Juchheira — sa— Sind aus dem Deutschen Land, Wie euch gar wohl bekannt, Kommen fein lustig zu euch ins Quartier. Nahrhafte Kost und ein frohes Gesicht, Geht uns weit iiber ein kostlich Gericht ; — Bringt man den Trunk herein, Stimme der Wirth mit ein, Hoch lebe Deutschland, hoch leb' der Soldat. 34 THE BOOK OP GERMAN SONGS. Teutsche sind munter, sind immer bereit, Sanft bei den Madchen, erfahren im Streit, Lieben mit heissem Blut, Kuss, Wein, und Kriegesglut, Trauliches Wort, und ein frohliches Lied. Madchen, ich sag' euch, nehmt's Herzehen in Acht, Liebe kommt oft wie der Dieb in der Nacht, Wenn's Morgen weiter geht, Manche wohl einsam steht, Schauet betriibt und voll Thranen uns nach. Denn der Soldat hat nie Ruhe noch Rast, Heut ist er hier, und dort morgen zu Gast ; Lieb' und Ort wechseln wir, Bis uns ins Hauptquartier Einstens der knocherne Sensemann ruft. MIMTAKY AND PATRIOTIC SONGS. ^^r TROOPER'S (ricitcilicir [ SCHILIEE. Up, up, brave comrades ! — to horse, to horse ! To the field where we freedom merit ! Where still is valued the brave man's force, — Where we weigh in the scale his spirit ! In war no man for his friend may stand. Where each one fights for his own right hand. Ohor, In war no man, &c. 36 THE BOOK OF GERMAN SONGS. All freedom hath fled from this world of guile, But tyrants and serfs remaining ; Now flourish lying and treason ^ale, O'er cowardly mortals reigning. Who looks on death with unblenching brow, The soldier alone is the free man now ! Qhor. Who looks on death, &c. The troubles of life he away hath thrown. Small need his for care or sorrow ; To meet his fate he rides boldly on. It may be to-day or to-morrow. It may be to-morrow ; then let us to-day To the dregs quaff the goblet of time while we may I Clior. It may be to-morrow, &c. Our merry lot from the sky falls down. We seek not to fill our measure ; The bondman grubs in the earth so brown, Still weening to lift a treasure ; He digs and shovels till life is past. And digs but a trench for his grave at last. Qhor. He digs and shovels, &c. The trooper bold, and his steed so gay, Are hated guests and dreaded ; Where the bride-lamps gleam he will find his way, Unasked, to the feast of the wedded; Nor shows he money, nor long he'll plead ; With his sword, like a soldier, he'll gain his meed. Ohor. Nor shows he money, &c. MILITARY AND PATRIOTIC SONGS. 37 Why weep' St thou, maiden ? — what grieves thee so ? Let him go, let him go, I pray thee ; He owns no home in this earth below. Nor love nor troth can he pay thee. His rapid fortune tears him away, And therefore his heart with none may stay. Ghor. His rapid fortune, &c. Then up, brave comrades, and saddle and ride, For the fight each bold heart beating ; Youth rolls through our veins life's foaming tide, — Up ! ere time quench the spirit fleeting : And whoso casts not his life in the scale. To win life's gladness shall surely fail ! Qhor. And whoso casts not his life in the scale, To win life's gladness shall surely fail. ORIGINAL. ^^OHLAUF, Kameraden, auf's Pferd, auf's Pferd, vJlAiv In's Feld, in die Freiheit gezogen ! — Im Felde, da ist der Mann noch was werth, Da wird das Herz noch gewogen ; Da tritt kein And'rer fiir ihn ein, Auf sich selber steht er da, ganz allein. — Qhor. Da tritt kein And'rer, &c. Aus der Welt die Freiheit verschwunden ist, Man sieht nur Herren und Knechte ; Die Falschheit herrscht, und die Hinterlist Bei dem jFeigen Menschengeschlechte ; 38 THE BOOK OF GERMAN SONGS. Der dem Tod in's Angesicht schauen kann, Der Soldat allein ist der freie Mann. Chor. Der dem Tod in's Angesicht, &c. Des Lebens Aengsten er wirft sie weg, Hat nicht mehr zu furchten, zu sorgen, Er reitet dem Schicksal entgegen keck, Trifft's heut nicht, triffi es doch morgen ; Und triffi es morgen, so lasset uns heut, Noch schliirfen die Neige der kostlichen Zeit. Ohor. Und triffi; es morgen, &c. Von dem Himmel fallt ihm sein lustig Loos, Braucht's nicht mit Miih zu erstreben ; Der Frohner der sucht's in der Erde Schoos, Da meint er den Schatz zu erheben ; Er grabt und schaufelt so lang er lebt, Und grabt, bis er endhch sein Grab sich grabt. Chor. Er grabt und schaufelt, &c. Der Reiter und sein geschwindes Ross, Sie sind gefiirchtete Gaste ; Es flimmem die Dampen im Hochzeitschloss, Ungeladen kommt er zum Feste ; Er wirbt nicht lange, er zeigt kein Gold, Im Sturm erringt er der Minne Sold. Chor. Er wirbt nicht lange, &c. Warum weinet die Dim' und zergramt sich schier, Lass fahren dahin, lass fahren, Er hat auf Erden kein bleibend quartier, Kann treue Lieb' nicht bewahren ; MILITARY AND PATRIOTIC BONGS. 39 Das rasche Schicksal es treibt ihn fort, Seine B-uhe lasst er an keinem Ort. Ohor. Das rasche Schicksal, &c. Drum frisch Kameraden, den Rappen gezaumt. Die Brust im Gefechte geliiftet ; Die Jugend brauset, das Leben schaumt, Frisch auf, eh' der Geist uns verdiiftet ; Und setzet ihr nicht das Leben ein, Nie wird euch das Leben gewonnen seyn. Chor. Und setzet ihr nicht das Leben ein, Nie wird euch das Leben gewonnen seyn. COUNT EBERHAED, THE WEEPER OF WURTEMBERG. [WAE-SONG.] (ierj.) H. Heine. Two grenadiers, captives from Russia's strand, Towards France were home returning ; But when they came to the German land Their hearts were filled with mourning. MILITARY AND PATRIOTIC SONGS. 87 For then they heard of the luckless fall Of France, all lost and forsaken ; How scattered or slain the brave soldiers were all, And the emp'ror, the emperor taken. Then wept with his comrade each grenadier, This direful story learning : Then spake the first, " What woe is here ? And how my old wound is burning." f2 THE BOOK OF GERMAN SONGS. Then spake the other, " The song is done — How gladly with thee I'd perish ; But my wife and child, save myself, have none To comfort them and cherish." " What care I my wife or child to greet ? To better deed I'd waken ; Now let them beg, an they needs must eat. My emp'ror, my empei-or taken. " One prayer, good brother, grant to me, When away by death I'm hurried; Then take my body to France with thee. In French earth see me buried. " The legion-cross, with its crimson band, Fast on my bosom tie me ; Give me my musket in my hand. And lay my good sword by me. Thus, like a sentry, I'll still give heed. In the grave whereto ye take me ; Till the trampling hoof of the neighing steed And the cannon's roar shall wake me. Then, 'mid sabres clashing and flashing by, O'er my grave is my emperor wending. Then, ready and arm'd, from my grave start I, The emp'ror, the emp'ror defending. MILITARY AND PATRIOTIC SONGS. 89 ORIGINAL. OjtyACH Frankreich zogen zwei Grenadier', (3Kv Die waren in Russland gefangen ; Und als sie kamen ins deutsche Quartier Sie liessen die Kopfe hangen. Da horten sie beide die traurige Mahr : Dass Frankreich verloren gegangen, Besiegt und zerschlagen das tapfere Heer, — Und der Kaiser, der Kaiser gefangen. Da weinten zusammen die Grenadier, Wohl ob der klaglichen Kunde. Der Eine sprach : Wie weh wird mir, Wie brennt meine alte Wunde. Der Andere sprach : Das Lied ist aus, Auch ich mocht' mit dir sterben, Doch hab' ich Weib und Kind zu Haus, Die ohne mich verderben. Was scheert mich Weib, was scheert mich Kind, Ich trage weit bess'res Verlangen ; Lass sie betteln gehn, wenn sie hungrig sind, — Mein Kaiser, mein Kaiser gefangen ! Gewahr rair, Bruder, eine Bitt' : Wenn ich jetzt sterben werde, So nimm meine Leiche nach Frankreich mit, Begrab' mich in Frankreich' s Erde. 90 THE BOOK OF GBEMAN SONGS. Das Ehrenkreuz am rothen Band SoUst du auf's Herz mir legen, Die Flinte gieb mir in die Hand, Und giirt mir um den Degen. So will ich liegen und horchen still, Wie eine Schildwach im Grabe, Bis einst ich hdre Kanonengebriill, Und wiehemder Rosse Getrabe. Dann reitet mein Kaiser wohl iiber mein Grab, Viel Schwerter klirren und blitzen ; Dann steig ich gewafFnet hervor aus dem Grab', Den Kaiser, den Kaiser zu schiitzen. MILITARY AND TATRIOTIO SONGS. 91 WAR-SONG FOR THE CHASSEUR VOLUNTEERS. 1813. De Li. MOTTB FoUQTnE. Up, up, to the merry hunting, For now the time draws on ; The strife will quickly follow, The day begins to dawn. Up, pass them by, the idle, And leave them to their rest; But we will stir us gladly At our good king's behest. Our monarch he has spoken, " Where are my huntsmen true ? " And we have all arisen, A gallant work to do. We will build up a safety For all our fatherland ; With fervent trust in Heaven, With strong enduring hand ! Sleep calmly now, ye loved ones, Around our father's hearth. While 'gainst the foeman's weapons We boldly issue forth. happiness, our dear ones From danger to defend ; Let cannon flash — true courage Will triumph in the end ! 92 THE BOOK OF GERMAN SOKGS. Some will be home returning In victory, ere long, And then will be rejoicing. And joyful triumph song. With strength and glad emotion How ev'ry heart will bum. — Who falls, a heavenly kingdom For this on earth shall earn ! Afoot, or on our war-steeds. To the red field will we. Our God will show us favour; He greets us graciously. Ye huntsmen, all and each one. Charge hotly on the foe ; While fires of joy are burning, While yet life's sun doth glow ! Frederic, Baron de la Motte Fouqii6 (born at Brandenburg in 1777, died at Berlin, January, 1843), is chiefly known in this country as the author of "Undine," and by a few readers as the writer of "Sintram and Ms Com- panions." Fouque's literary career closed less brilliantly than could haye been anticipated from the popularity achieved by " Undine " and others of his earlier works. He died in straitened circumstances, a pensioner on the bounty of the King of Prussia. >m^^^=^ €{iB Snnrwpnn's ^mMll. btT0S nf t\it ||^0pk. SiMEOCK, in his admirable collection " Die Deutschen Volksbiicher," gives the name of " Volkslieder," Songs of the People, exclusively to those songs which are handed down by oral tradition from among the people themselves, having been written by unknown authors, and rescued from oblivion merely by the universal acceptation they found in the cottages of the peasants and at the fireside in the village inn. " Beliehte Lieder" popular songs written by authors of known literary fame and widely circulated among the people, are considered as belonging to a different class of literature, and form no portion of Simrock's collection. The necessity for condensation, and the impossibility of giving more than a few specimens of each department, has occa- sioned the union of the two classes under one head in the present work. Taken as a whole, the " People's Songs" of Germany are honourably distinguished by a certain purity of tone and general healthiness of feeling. Many of the older songs inculcate the highest maxims of morality. Not a few among the historical songs go to prove that even so early as the time of the Emperor Charles V.* there were among the people uneducated politicians whose shrewdness saw farther into the crooked policy of princes and generals than would have been possible with any but a sturdy, strongheaded race. Some of the religious songs of the people are not unworthy of notice. * For instance, the satirical song beginiiingl "Es geht ein Butzemann im Land hertun,'' in whicli the author shows a Tivid appreciation of the Emperor and his under- takings. 94 THE BOOK OP GERMAN SONGS. FAREWELL SONG OP A JOURNEYMAN. It, it, it and it. It is a heavy blow. That, that, that and that. From Frankfort I must go ; So I'll forget this Frankfort rare. And turn to wander, Heaven knows where ; I go to seek my fortune A-marchin'. Thou, thou, thou and thou, Good master, fare thee well ; Now freely to your face I'll say, Your work don't please me anyway ; I'll go to seek my fortune A-marchin'. You, you, you and you, Good mistress, fare you well ; Now to your face I'll tell you free, Your pork and cabbage won't suit me ; I'll go to seek my fortune A-marchin'. You, you, you and you, Dame Cookee, fare you well ; If better you had known your trade. Perchance with you I might have stayed ; I'll go to seek my fortune A-marchin'. SONGS OP THE PEOPLE. Ye, ye, ye and ye, Fair maidens, fare ye well ; My parting wish for you is still That one may come my place to fiU ; I'll go to seek my fortune A-marchin'. You, you, you and you. Good comrades, all farewell ; If I have wronged you any way, I would for your forgiveness pray ; I'll go to seek my fortune A-marchin'. 95 ORIGINAL. i S, es, es und es, Es ist ein harter Schluss, Dass, dass, dass und dass Ich aus Frankfurt muss — So schlag ich Frankfurt ans dem Sinn Und wende mich, Gott weiss wohin ; Ich will mein Gliick probire', Marschiere'. Er, er, er und er, Herr Meister, leb' er wohl, Ich sag's ihm nur frei in's Gesicht Sein' Arbeit die gef allt mir nicht ; Ich will mein Gliick probire', Marschiere'. 96 THE BOOK OF GERMAN SONGS. Sie, sie, sie und sie, Frau Meist'rin, leb' sie wohl — Ich sag' ihr's nur frei in's Gesicht Ihr Speck und Kloss' das g'fallt mir nicht ; Ich will mein Gliick probire', Marschiere'. Sie, sie, sie und sie, Frau Kochin, leb' sie wohl ; Hatt' sie's Essen besser angericht', Vielleicht sich war' gewandert nicht, Ich will mein Gliick probire', Marschiere'. Ihr, ihr, ihr und ihr, Ihr Jungfern, lebet wohl ; Ich wiinsch euch noch zu guter Letzt', Ein'n Andern, der mein Stell' ersetzt ; Ich will mein Gliick probire', Marschiere'. Ihr, ihr, ihr und ihr, Ihr Briider, lebet wohl ; Hab' ich euch was zu Leid gethan So bitt' ich um Verzeihung an ; Ich will mein Gliick probire', Marschiere', SONGS OP THE PEOPLE. 97 MY TRUELOVE IS PRETTY. My truelove is pretty, thougli rich is not she. — I can't kiss the money ; what is it to me? Handsome I'm not ; rich I have grown, And a whole bagful of money I own. Had I but three farthings more, I should have twelve kreutzers, sure. Oh, my truelove is pretty, though rich is not she. My truelove is good ; kind and winning is she. If she gives me one kiss, I'm as brave as can be; Dearer and richer than jewels and gold, Therefore my truelove' s heart I hold. — Were thou always with me, doubly dear shouldst thou be, Oh, my truelove so fair, how I dote upon thee ! THE WATCHMAN'S SONG. Listen, townsmen, hear me tell Ten hath struck upon our bell ; God hath given commandments ten That we might be happy men. Nought avails that men should ward us, God will watch and God will guard us. May he, of his boundless might, Give unto us all good night. 98 THE BOOK OF GERMAN SOKGS. Listen, townsmen, hear me tell Eleven hath struck upon our bell ; Eleven apostles went there forth, Teaching men through all the earth. Nought avails, &c. Listen, townsmen, hear me tell Twelve hath struck upon our bell ; Twelve, time's turning point must be, Think, man, on eternity. Nought avails, &c. Listen, townsmen, hear me tell One hath struck upon our bell ; One God all this world hath made ; Unto him all praise be paid. Nought avails, &c. Listen, townsmen, hear me tell Two hath struck upon our bell ; Two ways before him man can see. Lord, in the right one lead thou me. Nought avails, &c. Listen, townsmen, hear me tell Three hath struck upon our bell ; Three are sacred, Father, Son, Holy Spirit, three in one. Nought avails, &c. BONGS OF THE PEOPLE. '^9 Listen, townsmen, hear me tell Four hath struck upon our bell ; Four sides hath the ploughed field, Will thy heart, man, harvest yield ? Nought avails, &c. Now all stars must fade away — Quickly now must come the day ; Thank your God, who through each hour Kept you with a father's power. Nought avails that man should ward us, God will watch and God will guard us — May he, through his boundless might, Give to each of us good night. From Simrook's oolleotion of Volkslieder. The formula generaDy used by the Grerman watchmen at the present day is less elaborate in its nature ; the same Terse being repeated after the lapse of each hour. The most popular form is the foEowing : — HoRT ihr Herren und last euoh sagen, Die Glocke hat geschlagen : Bewahret das Feuer und das Licht, Dass in uns're Stadt kein Sohaden gesehieht. Lobt Gott den Herm Listen, Gentlemen, hear me tell, hath struck upon the bell : Guard ye the fires and the candles all, That no harm to our town befall rraise God the Lord ! 100 THE BOOK OF GERMAN SONGS. THE JOLLY BROTHER, A FARTHING and a penny, They both of them were mine ; The farthing went for water, The penny went for wine. The vintners and the maidens They cry " alas " and " oh ! " The vintners when I'm coming, The maidens when I go. SONGS OF THE PEOPLE, 101 My boots are torn, my slippers Are rent most ruefully, But out among the heather, The birds are singing free. And, if there were no highway, I'd stay at home, I think ; And had the cask no bung-hole, Why, then I couldn't drink. ORIGINAL. jrif^IN Heller und ein Batzen, ^^ War'n allzwei Beide mein, Der Heller ward zu Wasser, Der Batzen ward zu Wein. Die Wirthsleut' und die Madel, Die rufen beid, "0 weh!" Die Wirthsleut' wenn ich komme, Die Madel wenn ich geh. Mein' Stiefel sind zerrissen Mein' Schuh, die sind entzwei, Und draussen auf der Haide Da singt der Vogel frei. Und gab's kein Landstrass, nirgend, Da sass' ich still zu Haus ; Und gab's kein Loch im Fasse, Da trank ich gar nicht drauss. G 102 THE BOOK OP GERMAN SONGS. THE THREE TAILORS. C. Heklossohn. Three tailors came o'er the Rhine once on a time', And put up with mine host at Ingelheim, On the Rhine, on the Rhine. They had in their pouches no penny to pay. And yet most tremendously thirsty were they, All for wine, all for wine, " Mine host, not a penny of money have we. Yet far through the world have we travell'd all three, By the Rhine, by the Rhine ; And each one among us has learnt a thing That we'll teach to you, and good luck 'twill bring. All for wine, all for wine." " My lads, I will not be be-fool'd this time, For I am the host of Ingelheim, On the Rhine, on the Rhine ; And so you can't carry your masterpiece through, I'll break ev'ry one of your sconces for you, 'Stead of wine, 'stead of wine." The first lad caught up a ray of light. And threaded it through his needle bright, By the Rhine, by the Rhine ; And he mended a broken glass so well, That, which way the seam ran, none could tell. Through the wine, through the wine. SONGS OF THE PEOPLE. 103 The second tailor a gnat espied, That over his nose so merrily hied, To the Rhine, to the Rhine. This gnat a hole in its stocking had worn, Which, small as it was, the tailor did darn. All for wine, all for wine. The third in his hand took a needle tall. And fixed it firmly and deep in the wall. By the Rhine, by the Rhine ; Then the lad through the eye of the needle did spring. Excepting that once, I ne'er saw such a thing. All for wine, all for wine. Quoth the innkeeper, " Surely such feats ne'er were played So to you, my young masters, my thanks must be paid, On the Rhine, on the Rhine." He took up a thimble and filled to the brim, " Now, lads, ye may drink, till your heads all swim, Of my wine, of my wine." The tailor and his trade have furnished a fertile theme for the Tfit and satire of the German people. Among the innumerable songs of which the tailor is made the hero, there are few to be found in which the knight of the shears is not turned into ridicule and represented as the victim of a species of poetical injustice in the last verse. He is usually thrown out of the window , or makes his exit in some equally ignominious manner. The Germans have a proverb respecting him to the effect that, — Seehzehn sieb' zehn Schneider gehen anf ein Pfund, TJnd wenn sie das nioht wiegen, so sind sie nicht gesnnd. (Sixteen or seventeen tailors go to make a pound, And if they do not weigh it, they are not hale and sound. ) A notable exception to the general fate of the German song-taUor is found in the fortunes of the hero in the old song "Es woUt' ein Schneider wandern, zu Montag in der friih." Here a tailor, carried off by demons that he may supply them with clothes, plays such pranks among his captors as make them only too glad to dismiss him, and deteimine never to fetch another of the fraternity, — " Er stehl so viel er wiill," — let him filch as much as he will. Q 2 104 THE BOOK OF GERMAN SONGS. THE STAGES OF LIFE. A. P. E. IiAKOBEIlr. Full many a poet who lived long ago, Has liken' d our life to a journey, I know ; But none I've heard tell of has published abroad The stages we pass as we travel the road. At first we ride gently through childhood's domain; We're happily blind, so that sorrow in vain Lies skulking to watch our approach by the way ; We see but the flowers, and cry, " Oh, how gay !" SONGS OP THE PEOPLE. 105 With hearts beating high, on the next stage we start, And as maidens and youths play a weightier part. — Now Love mounts the coach as we hurry on fast, And gives us or sugar or wormwood to taste. With many a jolt through the third stage we stray, Where cares matrimonial darken the way ; And the worst is that children, a numerous brood, Come flocking around us, all screaming for food. The fourth stage is laden with sighs and with groans. From feeble old men and decrepit old crones ; On the box, as postillion, the scythe-bearer pale. Drives off with us wildly o'er hill and o'er dale. And travellers younger and stronger, they say. Have by that pale driver been hurried away ; But with all to the hostel of peace he has gone — If that is — then, honest postillion, drive on ! 106 THE BOOK OF GERMAN SONGS. THE LOCKSMITH'S MAN. {'§n ^x;^Ioss£rg£sdI.) GrKUBEL. A LOCKSMITH had a workman bold, Right slow at his file was he ; But when the dinner summons came, He hurried grievously. The first to dip in the porridge-pot, And the last to get his fill ; There was not another in all the house Could work with such hearty will. " Ho, workman mine," quoth his master once, " This riddle now read, I pray ; For, all the days wherein I've lived I still have heard men say, — 'As a man doth eat so worheth he.'' — 'Tis not so with thee, I vow ; For none have I seen, at work so slow, At feeding so fast, as thou." " Ho, master mine," the workman said, " The reason sure is plain, — The dinner that's quickly eaten up Takes fourteen hours to gain. If I should eat the whole day long, Nor once leave off the while, I warrant my jaws would as slowly work As yonder I ply my file." SONGS OF THE PEOPLE. 107 ORIGINAL. (5[ N Schlosser hot an G'sellen g'hot, (^V Der hot gar langsam g'feilt ; Doch wenn's zum Bsche gange ischt, Do hot er grausam g'eilt : Der Erschte in der Schiissel drin, Der letzte wieder draus, Do ischt ka Mejisch so fleissig g'west, Als er im ganze Haus. G'sell, hot amal der Meister g'sogt, Hor das begreif i not ; Es ist doch all mei' Lebtag g'west, So lang i' denk' die Red' ; So wie man frisst, so schafft man a ; Bei dir ischt's not a su ; So langsam hat noch Kaner g'feilt, Un g' fresse su, wie du. Ho, sagtder G'sell, das b'greif i scho; 'Sch hot all's sei gate Grund : Das Fresse wahrt holt gor nit lang, Un d' Arbeit vierzeh' Stund! Wenn Aner sullt den ganzi Tag, In an Stiick fresse fort : 'Sch wiird' a gor bold su langsam gehn, Als wie beim Feile dort. 108 THE BOOK OF GERMAN SONGS. THE TREE IN THE ODENWALD. (Jk §anra im ©brnfaalb.) HERE is a tree in the Odenwald Has store of branches green, And there full many a thousand times With my true love I've been. A beauteous bird sits on the tree : His song is bUthe to hear. — I and my true love listen still As we are walking there. The bird upon the topmost branch He sits in quiet guise ; And merrily he pipes whene'er We lift to him our eyes. The bird is sitting in his nest Upon the green, green tree ; And have I been, in sooth, with her ? A vision it must be. Eor, when I came to her again, The tree did wither'd seem. Another lover by her side — Avaunt, thou hateful dream ! SONGS OF THE PEOPLE. 109 The tree stands yet in the Odenwald. To Switzerland I wend. — Seemeth the snow so cold, so cold, As though my heart 'twould rend. ORIGINAL. /jjj^S steht ein Eaum im Odenwald, ^^ Der hat viel griine Aest' ; Da bin ich wohl viel tausendmal Mit meinem Schatz gewest. Da sitzt ein schdner Vogel drauf, Der pfeift gar wunderschon, Ich und mein Schatzel lauern auf, Wenn wir selbander gehn. Der Vogel sitzt in seiner Ruh Wohl auf dem hochsten Zweig ; Und schauen wir dem Vogel zu, So pfeift er alsogleich. Der Vogel sitzt in seinem Nest Wohl auf dem griinen Baum ; Ach Schatz, bin ich bei dir gewest, Oder ist es nur ein Traum ? Und als ich wied' rum kam zu ihr, Verdorret war der Baum ; Ein and'rer Liebster stand bei ihr, Hinweg ! du boser Traum, 110 THE BOOK OF GERMAN SONGS. Der Baum der steht im Odenwald, Und ich bin in der Schweiz ; De liegt der Schnee so kalt, so kalt, Das Herz es min zerreisst. PARTING. (SwABiAN Song.) Must I, then ! must I, then ! from the town must I, then ! — And thou all alone must be ? When I come, when I come, when I come back again, I'll return, dear love, to thee. What though I can't always with thee remain, Yet thou still my joy shall be. — When I come, when I come, when I come home again, I'll return, my love, to thee ! When thou weep' st, when thou weep'st,forthatImust away, That parting there now must be ; — Be there maids, many maids, in the lands where I stray, I'll still, love, be true to thee. Think not my affection would wither away Because I another might see ; Be there maids, many maids, in the lands where I stray, I'll still, love, be true to thee. In a year, in a year, ere the vintage is o'er, I'll return, dear girl, to thee ; Am I then, am I then still thy love as before. Then shall our wedding be. SONGS OF THE PEOPLE. Ill In a year my time will be over, and then I belong but to me and to thee. — When I come, when I come, when I come home again, Then shall our wedding be. ORIGINAL. kYUSS i' denn, muss i' denn zum Statele 'naus, zA Und Du, mein Schatz, bleibst hier ? Wenn i' komm, wenn i' komm, wenn i' wed' rum komm, Kehr i' ein, mein Schatz, bei dir. Kann i' auch nit all'weil bei dir seyn Hab' i' doch meine Freud' an dir, Wenn i' komm, wenn i' komm, wenn i' wied'rum komm, Kehr i' ein, mein Schatz, bei dir. Wie du weinst, wie du weinst, dass i' wandere muss, Wie wenn d'Lieb jetzt war vorbei — Sind au drauss, sind au drauss, der Madele viel, Lieber Schatz i' bleib dir treu. Denk du net, wenn i' en andere seh', So sei mei' Lieb' vorbei — Sind au drauss, sind au drauss, der Madele viel, Lieber Schatz i' bleib dir treu. Uebers' Jahr, iibers Jahr, wenn me Traubele schneid't, Stell i' hier mi' wiederum ein ; Binn i' dann, bin i' dann dein Schatzele noch, So soil die Hochzeit seyn. Uebers Jahr da ist mei' Zeit vorbei. Da g'hor i' mein und dein ; Bin i' dann, bin i' dann dei Schatzele noch, So soil die Hochzeit sein. 112 THE BOOK OF GERMAN SONGS. HAVE-I AND HAD-I. (Pab' k^ ants J ail' k^.) A. F. E. Lakqbeiii. There are two birds, well known in the land, Save-I and Had-I named ; The one will cheerfully rest on your hand, The other still flies untamed. A Have-I aflbrdeth pleasure rare ; More joy to his master bringing Than a thousand JIad-I's that high in air Their restless flight are winging. Eggs of gold will the Have-I lay. And sings, " Content thee, content thee ! If thou labourest bravely the livelong day. At night sweet sleep shall be sent thee." But he who determines a Had-I to seize, And to capture him madly striveth. He never shall have either peace or ease So long as on earth he liveth. He runs and pants till his grave is nigh, The craggiest mountains scaling, While ever before him aloft through the sky The golden- vsdng'd bird keeps sailing. Then each and every sensible wight, Be with your Have-I contented ; Should a Had-I tempt ye, so blooming and bright, Let him soar away unprevented. SONGS OP THE PEOPLE. 113 THE TOPER'S DILEMMA. Just from the inn my de- parture I took ; " Street, thou hast surely a marvellous look ! J- Right side and left side are both out of place ; Street, thou art tipsy ! — A very clear case." " Moon, what a comical face dost thou make, One of thine eyes asleep, t'other awake ! Thou, too, art tipsy, I plainly can see ; Shame, my old comrade, oh, shame upon thee ! " Look at the lampposts, too, here is a sight, !Not one among them can now stand upright ; Flick' ring and flack' ring to right and to left, Sure they all seem of their senses bereft. 114 THE BOOK OP GERMAN BONGS. All things around me are whirling about, One sober man alone, dare I come out ? That seems too venturesome, almost a sin- Think I had better go back to the inn ! THE TAILOR'S FRIGHT. Goethe. Hark ! was not that a rifle ? Now, say, who fired the shot ? It was the youthful huntsman I' the garden-house, I wot. The sparrows in the garden Were cause of grief ,and woe : Two sparrows and a tailor Were by the shot laid low. The tailor he was frighten' d ; The sparrows they were hurt : The sparrows fell in the bean-field. The tailor in the dirt. SONGS OF THE PEOPLE. 115 Eeihiok. As once I went out for a walk, you see, A curious circumstance happened to me : A huntsman I saw through the thorny brake Ride to and fro by the woodland lake. The stags by the roadside came bounding on : What did the huntsman ? He shot not one ; But he wound his hunting horn lustily. Now I ask you, good people, what may this be ? And as I pursued my way, you see, Another strange circumstance happened to me : A fisher-maid in a boat on the lake Rowed to and fro near the thorny brake. The fishes leapt to the setting sun ; What did the maiden ? She caught not one ; But she sang a roundelay merrily. Now I ask you, good people, what may this be ? 116 IHE BOOK OF GERMAN SONGS. For an hour I'd been walking on, you see, When the strangest circumstance happened to me : Towards me a riderless horse advanced ; An empty boat on the clear lake danced ; And I saw, 'neath the willows that grew close by, Two persons whispering secretly ; And 'twas late, and the moon shone radiantly. Now I ask you, good people, what this may be ? IT IS ALL ONE! {%"iBt mix allies dm.) It is all one, it is all one. If I money have or none. It is all one, it is all one, If I money have or none. He who money has, can take a wife ; He who none has, leads a happier life. It is all one, &c. He who money has, can speculate ; He who's none, his losses can't be great. It is all one, &c. He who money has, may be a boor ; He who's none, may be so all the more. It is all one, &c. SONGS OF THE PEOPLE. 117 He who money has, with his sweetheart goes ; If he none has, some one else does. It is all one, &c. He who money has, can a-sleighing go ; He who none has, shuffles through the snow. It is all one, &c. He who money has, can on oysters sup ; He who none has, may eat the shells up. It is all one, &c. He who money has, to the play may roam ; He who none has, may play the fool at home. It is all one, &c. He who money has, must die at last ; He who none has, dies just as fast. It is all one, it is all one. If I money have or none. 118 THE BOOK OF GERMAN SOUaS. CRAM® SONG. Peacefully dumber, my own darling son ; Close thy deajf eyelids and sweetly sleep on ; All things lie buried in silence profound. Sleep — I will scare e'en the gnats floating round. 'Tis now, my dearest, thy life's early May — Ah ! but to-morrow is not as to-day. Trouble and care round thy curtains shall soar ; Then, child, thou'lt slumber so sweetly no more. SONGS OF THE PEOPLE. 119 Angels of heaven, as lovely as thou, Float o'er thy cradle and smile on thee now. Later, when angels around thee shall stray, 'Twill be to wipe but thy teardrops away. Peacefully slumber, my own darling son, I'll watch by thy bedside till dark night is gone ; Careless how early, how late it may be, Mother's love wearies not, watching o'er thee. LIFE STILL ENJOY, FRIENDS. J. M. USTEBI. Life still enjoy, friends, While yet the lamplet glows ; Ere it hath faded Pluck ye the rose. Men for themselves make grief and care, Seek thorns in hfe, and find them there ; And never heed the violet flower That blooms, their path beside. Life then enjoy, &c. h2 120 THU BOOK OF GERMAN SONGS. When all creation 's veil'd in cloud, When roars the thunder o'er us loud, At evening, when the storm is past, The sun shines twice as fair. Life then enjoy, &c. * Who from revenge and hate hath fled To sow contentment's seed instead. Will find it grow a gallant tree To bear him golden fruit. Life then enjoy, &c. Who loveth truth and probity, Who to the poor gives bounteously. Shall find content a vidlling guest Blithely with him to dwell. Life then enjoy, &c. Though dark his dreary path may grow, Though fate may work him plague and woe, Friendship shall stretch a sister's hand To greet the worthy man. Life then. enjoy, &c. She wipes away his tears that fall. She streweth flow'rets on his pall. She turneth midnight into dawn, And dawning into day. Life then enjoy, &c, * "Freut euch des Leliens " has an unbounded popularity among the lower classes in Germany, though it is not very apparent by -what merit this distinction has been gained. SONGS OF THE PEOPLE. 121 She is our being's fairest band ; She gives us, brothers, hand for hand ; So wend we glad and joyously To better fatherland. Life then enjoy, friends. While yet the lamplet glows ; Ere it hath faded Pluck ye the rose. WANDERER'S SONG. (fflanbtrlitir.) trees are all budding, the May- time has come, f Then tarry who listeth with sorrow at home ; As the cloudlets wander through skies far away. So standeth my desire through the wide world to stray. My father, my mother, may God guard ye well, For where my fortunes bloom in the world, who can tell ? There stretches many a highroad where never I did stride. There grows full many a wine that I never yet have tried. 122 THE BOOK OF GERMAN SONGS. Arise, then, arise, in the bright sunny ray, And over the mountains, and through the vale away ; The brooklets are babblers, the trees a rustling crowd ; My heart is like a skylark that singeth out aloud ! At ev'n, in the village, I seek the vintner's sign — " Mine host, ho ! mine host, — a can of sparkling wine ; Ho, take up thy fiddle, thou merry fiddler thou, A song of my dear maiden I'll sing to thee now." What though I find no shelter, then lie I at night All under the blue heaven, where watch the stars so bright ; The wind in the linden rocks me to rest amain. And with a kiss the red morn will wake me again. wand' ring, wand' ring, of free-born life the zest, Thou send'st the breeze of heaven so freshly to the breast ; — That gaily to heaven my heart is singing now, — How beautiful, thou wide world, how beautiful art thou ! p:y''i;7'Ti' :.4''7,;[Ti'iTrei'a^;/-^^^ SONGS OF THE PEOPLE. 123 ORIGINAL. 5n ER Mai ist gekommen, die Baume schlagen aus, (3/ Da bleibe, wer Lust hat, mit Sorgen zu Haus ; Wie die Wolken wandern, am himmlischen Zelt, So steht aucli mir der Sinn in die weite weite Welt Herr Vater, Frau Mutter^ dass Gott euch behiit, Wer Weiss wo in der Fefne mein Gliick mir noch bliiht, Es giebt so manche Strasse^ wo nimmer ich marschirt, Es giebt so manchen Wein den ich nimmer noch probirt. Frisch auf denn, frisch auf, im hellen Sonnenstrahl, Wohl iiber die Berge, wohl durch das tiefe Thai ; Die Quellen erklingen, die Baume rauschen all', Mein Herz ist wie 'ne Lerche, und stimmet ein mit Schall. Am Abend, im Wirthshaus, da kehr' ich durstig ein, " Herr Wirth, he, Herr Wirth, 'ne kanne blanken Wein ! Ergreife die Fidel, du lust' ger Spielmann du, Vor meinem Schatz das Liedel das sing ich dazu." Und find ich keine Herberg', so lieg ich zu Nacht, Wohl unter freiem Himmel, die Sterne halten Wacht; Im Winde die Linde, die rauscht mich ein gemach, Es kiisset in der Friih' das Morgenroth mich wach. Wandern, Wandern, du freie Burschenlust, Da wehet Gottes Odem so frisch in die Brust : Da singet und jauchzet das Herz zum Himmelszelt, " Wie bist du doch so schon, du weite, weite Welt." 124 THE BOOK OF GEKMAN SONGS. NOR LUCK NOR STAR. (^eiiT §lMck notlj Sttnv.) Fiom the Lower Rhine. There fell a frost in the clear spring night ; It fell upon the blue-flowers bright, So that they wither' d and perish' d. There was a youth, and he loved a maid, And silently from home they fled : Nor father nor mother knew it. And they have wander' d near and far ; But they had neither luck nor star, So that they died and perish'd. Around their grave the blue flowers wreathe, Entwined, in embrace, like the lovers beneath ; No frost can wither or kill them. SONGS OF THE PEOPLE. 125 € OEIGINAL. S fiel ein Reif in der Friihlingsnacht, Wohl auf die schonen Blaubliimelein, Sie sind verwelket, verdorret. Ein Knabe hatte ein Magdlein lieb, Sie liefen heimlich von Hause fort, Es wusst 's nicht Vater noch Mutter. Sie liefen weit in's freinde Land, Sie hatten weder Gliick noch Stern, Sie sind verdorben, gestorben. Auf ihrem Grab Blaubliimlein bliihn, Umschlingen sich treu, wie sie im Grab, Der Reif sie nicht welket, noch dorret. I , ® ¥ F. > 1 ^ i IBAILILAffi)© .''::''''/j '^f ^' '"!* I /- l^niji'ff 1 „ . flip -i''.!,. ifi-f \:^1 Jok Snitjgs, §allabs, anb g0mattas. In the arrangement of this department the selection of Fink has, to a certain extent, been followed ; though some of the ballads are not devoted to the description of the affections, and should therefore, strictly speaking, have been separately classed. The materials in this branch of song-writing are so extensive that a complete selection was out of the question. Some of the earliest German love songs are to be found in the ". Galliarden," and similar publications of the sixteenth century. 128 LOVE SONGS, BALLADS, ETC. A LOVER'S SONG. 1583. '■^^WE peaceful sleep that falleth all m^y upon, Can never stay my heart's sad, weary moan ; There's one can make me glad, and one alone. Nor meat nor drink can ever nourish me, No sport can make my heart beat joyously ; That can but she who in my heart doth lie. Where men are merry, I would not go there ; By night and day I'm lonely in my care : That maketh she whom in my heart I bear. To her alone I look with steadfast faith, Hoping she'll soon look down on me beneath, Lest that I fall in power of bitter death. This old song appeared in a collection entitled " Ein Ansbund sdiiiner weltUcher nnd ziiolitiger Deutacher Lieder." It is also to be found in Erlach's collection, and in "Des Knaben Wunderiiorn," Brentano's famous work. LOVE SONGS, BALLADS, ETC. 129 DAME NIGHTINGALE. (Jrau faclftisaU.) From the " Galliardten " of Eosthio, dated 1593. Dame Nightingale, prepare to roam, The day doth break, the time hath come ! For thou true messenger shalt be All to ray dearest love for me — Who in her little herb-garden Doth thee await in care and pain ; Many hot sighs do her escape, Till thou to her good news shalt take. Then get thee up, delay not long ; Go thou with gay and merry song, And her from me full kindly greet ; Say, I myself will soon her meet. A thousand times she shall not fail To welcome thee fair, — Dame Nightingale, — At the same hour she '11 show thee, too. Wounded with love, her heart so true. By Venus' arrow is she pierced, — Do thou her cure ; and tell her first, That she shall cease her sigh and wail — Do well thy task. Dame Nightingale. 130 THE BOOK OP GERMAN SONGS. ORIGINAL. JjtRAU Nachtigall, mach' dich bereit, (J^l Der Tag bricht an, es ist hoch Zeit, Du soUst mein treuer Bote seyn — Wohl zu der Allerliebsten mein. Die dein in ihrem Wiirzgartlein, Thut warten mit gross Noth und Pein ; Maneh heisser Seufzer ihr 'raus dringt — Bis ihr von mir gut Botschaft bringst. So mach dich auf, saum' doch nicht lang, Fahr hin mit schdn und frohlichem Gesang, Sprich ihr meinen Gruss in's Herz hinein, Sag, ich woll' selbst bald bei ihr sein. Sie wird dich heissen zu tausendmal, Willkommen sein, Frau Nachtigall, Wird dir auch zeigen zur selben Stund, Ihr treues Herz, mit Lieb' verwund't. Durch Venus Pfeil ist es verletzt ; Drum du sie alles Leids ergetz', Sag', dass sie ihren Unmuth lass fall' ; Richt's nur recht aus, Frau Nachtigall. LOVE SONGS, BALLADS, ETC. 131 THE OLD LOVE SONGS. (©■fljt ben ulhn 'giehsslk'btxn.} Ambkosics JKIetzger. Before my true-love's threshold I needs would up and ride — She saw me from afar oif, And joyfully she cried : " My heart's delight I see, Now trots he here to me ; Trot, good steed, trot — Trot speedily." Then let I loose the bridle, And flew my love to meet ; And greeted her so gaily. And said in accents sweet : " My pretty love, so fair, "What dost at threshold there ? Trot, good steed, trot — Trot now to her." Off sprang I from my steed then, — To the door I bound it fast, — And kindly I embraced her, — Nor slow the moments passed. To the garden then went we, All filled with lovers' glee ; Trot, good steed, trot, — Trot silently. 132 THE BOOK OF GERMAN BONGS. And pleasantly together In the green grass sat we then ; Of olden times the love songs We sang once and again. Till we to weep were fain, For the hate of scornful men ; Trot, good steed, trot — Trot home amain. A modernised version of this song has lately become popular in England. The text, of which the above is a translation, is to be found in Erlach's " Deutsche Lieder." It dates as early as the year 1612. THE BROKEN RING. ' (Jhs lahror^tiu |littgldn.) J. V. ErOHEHBOEFP. HERE goes, in a pleasant valley, A mill-wheel round and round., \ My faithless love hath vanished, Whom dwelling there I found. She promised she'd be faithful, She gave me a ring thereto ; Her phghted troth she's broken, — ; My ring hath sprung in two. I would I were a minstrel, To travel the wide world o'er, And sing in my vagrant fashion. Wand' ring from door to door. LOVE SONGS, BALLADS, ETC. 133 Or, I would be a trooper, And rush to the bloody fight ; And lie by the silent watchfire, Afield in the darksome night Hear I the mill-wheel turning, I know not what I will ; — Soonest of all I'd perish, — Then were it for ever still. ORIGINAL.