same time the most generous homage. I scarcely know where to look for a more graceful dedication in verse. It is said that Goethe never acknowledged the compliment,—an omission which some German authors attribute to the latter's distaste at being surpassed on his latest and (at that time) favorite field. No one familiar with Goethe's life and works will accept this conjecture.
It is quite impossible to translate this poem literally, in the original metre: the rhymes are exclusively feminine. I am aware that I shall shock ears familiar with the original by substituting masculine rhymes in the two stanzas which I present; but there is really no alternative.
"Would you taste
Purest East,
Hence depart, and seek the selfsame man
Who our West
Gave the best
Wine that ever flowed from Poet's can:
When the Western flavors ended,
He the Orient's vintage spended,—
Yonder dreams he on his own divan!
"Sunset-red
Goethe led
Star to be of all the sunset-land:
Now the higher
Morning-fire
Makes him lord of all the morning-land!
Where the two, together turning,
Meet, the rounded heaven is burning
Rosy-bright in one celestial brand!"
I have not the original edition of the "Oriental Roses," but I believe the volume contained the greater portion of Rückert's marvellous "Ghazels." Count Platen, it is true, had preceded him by one year, but his adaptation of the Persian metre to German poetry—light and graceful and melodious as he succeeded in making it—falls far short of Rückert's infinite richness and skill. One of the latter's "Ghazels" contains twenty-six variations of the same rhyme, yet so subtly managed, so colored with the finest reflected tints of Eastern rhetoric and fancy, that the immense art implied in its construction is nowhere unpleasantly apparent. In fact, one dare not say that these poems are all art. In the Oriental measures the poet found the garment which best fitted his own mind. We are not to infer that he did not move joyously, and, after a time, easily, within the limitations which, to most authors, would have been intolerable fetters.
In 1826 appeared his translation of the Makamât of Hariri. The old silk-merchant of Bosrah never could have anticipated such an immortality. The word Makamât means "sessions," (probably the Italian conversazione best translates it,) but is applied to a series of short narratives, or rather anecdotes, told alternately in verse and rhymed prose, with all the brilliance of rhetoric, the richness of alliteration, antithesis, and imitative sound, and the endless grammatical subtilties of which the Arabic language is capable. The work of Hariri is considered the unapproachable model of this style of narrative throughout all the East. Rückert called his translation "The Metamorphoses of Abou-Seyd of Serudj,"—the name of the hero of the story. In this work he has shown the capacity of one language to reproduce the very spirit of another with which it has the least affinity. Like the original, the translation can never be surpassed: it is unique in literature.
As the acrobat who has mastered every branch of his art, from the spidery contortions of the India-rubber man to the double somersault and the flying trapeze, is to the well-developed individual of ordinary muscular habits, so is the language of Rückert in this work to the language of all other German authors. It is one perpetual gymnastic show of grammar, rhythm, and fancy. Moods, tenses, antecedents, appositions, whirl and flash around you, to the sound of some strange, barbaric music. Closer and more rapidly they link, chassez, and "cross hands," until, when you anticipate a hopeless tangle, some bold, bright word leaps unexpectedly into the throng, and resolves it to instant harmony. One's breath is taken away, and his brain made dizzy, by any half-dozen of the "Metamorphoses." In this respect the translation has become a representative work. The Ara-
