rican romances, "The
Prairie" and "Red Rover," while Richard H. Dana published his "Buccaneer."
A book of singular fruition was Joseph Smith's "Book of Mormon," a
corrupted version of Spaulding's "The Manuscript Found."

[Sidenote: Heine's "Book of Songs"]

About the same time Wergeland in Norway published his tragedy, "Sinclair's
Death." In Germany the appearance of the "Book of Songs," instantly raised
Heine to the foremost rank among German lyric poets. The early influence of
Byron was revealed by his masterly translations from "Manfred," and of the
opening stanzas of "Childe Harold" and the lines addressed to "Inez." Most
felicitous was Heine's German version of Byron's famous farewell to his
wife:

"Fare thee well, and if forever,
Still forever, fare thee well."

Heine's own lyrical pieces, now put forth in profusion, were fully equal to
those of his English prototype. The "Book of Songs" throughout breathed
the spirit of the poet's sad boast:

"From my heavy sorrows
Made I these little songs...."

Heine's love songs, alone, by their subtile fusion of exquisite simplicity
with cynicism in a perverse form, won him immediate recognition outside of
Germany. This in itself has never been forgiven by the Germans. Such
prejudice did not deter German song composers from setting to music Heine's
melodious verses. Franz Schubert, the foremost song composer, just before
his death found inspiration in Heine's poems for his famous "Swan Song."

[Sidenote: Death of Schubert]

Schubert died in Vienna on the 19th of October, at the age of thirty-one.
Notwithstanding his brief career and lack of systematic schooling, he was
one of the most prolific as well as original of German composers. His
earliest extant song, "Hagar's Lament," was written at the age of fourteen.
Such early master works as "Margaret at the Spinning Wheel," and the
"Erl-King," both written for Goethe's words, mark the swift development of
his genius. During his eighteenth year, when he wrote the "Erl-King," he
composed no less than 144 songs. On one day alone he wrote eight. Besides
this he composed two operettas, three song plays, three other stage pieces,
four masses and several cantatas. In spite of his astonishing fecundity the
young composer suffered signally from lack of recognition. His whole life
was a long-drawn battle for subsistence. All his efforts to obtain a steady
income were unavailing. Though he composed scores for no less than