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1866.] hot-house plants. We were scarcely seated before Rückert made his appearance, having laid aside his blouse, and put on a coat. After a moment of hesitation, he asked me, "Where have you been travelling?" "I come from the Orient," I answered. He looked up with a keen light in his eyes. "From the Orient!" he exclaimed, "Where? let me know where you have been, and what you have seen!" From that moment he was self-possessed, full of life, enthusiasm, fancy, and humor.

He was then in his sixty-fifth year, but still enjoyed the ripe maturity of his powers. A man of more striking personal appearance I have seldom seen. Over six feet in height, and somewhat gaunt of body, the first impression of an absence of physical grace vanished as soon as one looked upon his countenance. His face was long, and every feature strongly marked,—the brow high and massive, the nose strong and slightly aquiline, the mouth wide and firm, and the jaw broad, square, and projecting. His thick silver hair, parted in the middle of his forehead, fell in wavy masses upon his shoulders. His eyes were deep-set, bluish-gray, and burned with a deep, lustrous fire as he became animated in conversation. At times they had a mystic, rapt expression, as if the far East, of which he spoke, were actually visible to his brain. I thought of an Arab sheikh, looking towards Mecca, at the hour of prayer.

I regret that I made no notes of the conversation, in which, as may be guessed, I took but little part. It was rather a monologue on the subject of Arabic poetry, full of the clearest and richest knowledge, and sparkling with those evanescent felicities of diction which can so rarely be recalled. I was charmed out of all sense of time, and was astonished to find, when tea appeared, that more than two hours had elapsed. The student had magnanimously left me to the poet, devoting himself to the good Frau Rückert, the "Luise" of her husband's Liebesfrühling (Spring-time of Love). She still, although now a grandmother, retained some traces of the fresh, rosy beauty of her younger days; and it was pleasant to see the watchful, tender interest upon her face, whenever she turned towards the poet. Before I left, she whispered to me, "I am always very glad when my husband has an opportunity to talk about the Orient: nothing refreshes him so much."

But we must not lose sight of Rückert's poetical biography. His first volume, entitled "German Poems, by Freimund Raimar," was published at Heidelberg in the year 1814. It contained, among other things, his famous Geharnischte Sonette (Sonnets in Armor), which are still read and admired as masterpieces of that form of verse. Preserving the Petrarchan model, even to the feminine rhymes of the Italian tongue, he has nevertheless succeeded in concealing the extraordinary art by which the difficult task was accomplished. Thus early the German language acquired its unsuspected power of flexibility in his hands. It is very evident to me that his peculiar characteristics as a poet sprang not so much from his Oriental studies as from a rare native faculty of mind.

These "Sonnets in Armor," although they may sound but gravely beside the Tyrtæan strains of Arndt and Körner, are nevertheless full of stately and inspiring music. They remind one of Wordsworth's phrase,—

"In Milton's hand,

The thing became a trumpet,"—

and must have had their share in stimulating that national sentiment which overturned the Napoleonic rule, and for three or four years flourished so greenly upon its ruins.

Shortly afterwards, Rückert published "Napoleon, a Political Comedy," which did not increase his fame. His next important contribution to general literature was the "Oriental Roses," which appeared in 1822. Three years before, Goethe had published his Westöstlicher Divan, and the younger poet dedicated his first venture in the same field to his venerable predecessor, in stanzas which express the most delicate, and at the