The Poems of Schiller — Third period. Friedrich von Schiller
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One whose honored name ne'er dies."
Nestor, joyous reveller old,
Who three generations saw,
Now the leaf-crowned cup of gold
Gave to weeping Hecuba.
"Drain the goblet's draught so cool,
And forget each painful smart!
Bacchus' gifts are wonderful, —
Balsam for a broken heart.
Drain the goblet's draught so cool,
And forget each painful smart!
Bacchus' gifts are wonderful, —
Balsam for a broken heart.
"E'en to Niobe, whom Heaven
Loved in wrath to persecute,
Respite from her pangs was given,
Tasting of the corn's ripe fruit.
Whilst the thirsty lip we lave
In the foaming, living spring,
Buried deep in Lethe's wave
Lies all grief, all sorrowing!
Whilst the thirsty lip we lave
In the foaming, living spring,
Swallowed up in Lethe's wave
Is all grief, all sorrowing!"
And the Prophetess 14 inspired
By her God, upstarted now, —
Toward the smoke of homesteads fired,
Looking from the lofty prow.
"Smoke is each thing here below;
Every worldly greatness dies,
As the vapory columns go, —
None are fixed but Deities!
Cares behind the horseman sit —
Round about the vessel play;
Lest the morrow hinder it,
Let us, therefore, live to-day."
PUNCH SONG.
(TO BE SUNG IN NORTHERN COUNTRIES.)
On the mountain's breezy summit,
Where the southern sunbeams shine,
Aided by their warming vigor,
Nature yields the golden wine.
How the wondrous mother formeth,
None have ever read aright;
Hid forever is her working,
And inscrutable her might.
Sparkling as a son of Phoebus,
As the fiery source of light,
From the vat it bubbling springeth,
Purple, and as crystal bright;
And rejoiceth all the senses,
And in every sorrowing breast
Poureth hope's refreshing balsam,
And on life bestows new zest.
But their slanting rays all feebly
On our zone the sunbeams shoot;
They can only tinge the foliage,
But they ripen ne'er the fruit.
Yet the north insists on living,
And what lives will merry be;
So, although the grape is wanting,
We invent wine cleverly.
Pale the drink we now are offering
On the household altar here;
But what living Nature maketh,
Sparkling is and ever clear.
Let us from the brimming goblet,
Drain the troubled flood with mirth;
Art is but a gift of heaven,
Borrowed from the glow of earth.
Even strength's dominions boundless
'Neath her rule obedient lie;
From the old the new she fashions
With creative energy.
She the elements' close union
Severs with her sovereign nod;
With the flame upon the altar,
Emulates the great sun-god.
For the distant, happy islands
Now the vessel sallies forth,
And the southern fruits, all-golden,
Pours upon the eager north.
As a type, then, — as an image,
Be to us this fiery juice,
Of the wonders that frail mortals
Can with steadfast will produce!
THE COMPLAINT OF CERES. 15
Does pleasant spring return once more?
Does earth her happy youth regain?
Sweet suns green hills are shining o'er;
Soft brooklets burst their icy chain:
Upon the blue translucent river
Laughs down an all-unclouded day,
The winged west winds gently quiver,
The buds are bursting
Cassandra.
It may be scarcely necessary to treat, however briefly, of the mythological legend on which this exquisite elegy is founded; yet we venture to do so rather than that the forgetfulness of the reader should militate against his enjoyment of the poem. Proserpine, according to the Homeride (for the story is not without variations), when gathering flowers with the Ocean-Nymphs, is carried off by Aidoneus, or Pluto. Her mother, Ceres, wanders over the earth for her in vain, and refuses to return to heaven till her daughter is restored to her. Finally, Jupiter commissions Hermes to persuade Pluto to render up his bride, who rejoins Ceres at Eleusis. Unfortunately she has swallowed a pomegranate seed in the Shades below, and is thus mysteriously doomed to spend one-third of the year with her husband in Hades, though for the remainder of the year she is permitted to dwell with Ceres and the gods. This is one of the very few mythological fables of Greece which can be safely interpreted into an allegory. Proserpine denotes the seed-corn one-third of the year below the earth; two-thirds (that is, dating from the appearance of the ear) above it. Schiller has treated this story with admirable and artistic beauty; and, by an alteration in its symbolical character has preserved the pathos of the external narrative, and heightened the beauty of the interior meaning — associating the productive principle of the earth with the immortality of the soul. Proserpine here is not the symbol of the buried seed, but the buried seed is the symbol of her — that is, of the dead. The exquisite feeling of this poem consoled Schiller's friend, Sophia La Roche, in her grief for her son's death.