ard as the fierce Hagen, or the revengeful Chrimhilde."

Another work which corresponds roughly with Percy's "Reliques," as the
"Nibelungenlied" with Macpherson's "Ossian," was "Des Knaben Wunderhorn"
(The Boy's Magic Trumpet), published in 1806-8 by Clemens Brentano and
Achim von Arnim, with a dedication to Goethe. This was a three-volume
collection of German songs, and although it came much later than Percy's,
and after the imitation of old national balladry in Germany was already
well under way, so that its relation to German romanticism is not of an
initial kind, like that of Percy's collection in England; still its
importance was very great. It influenced all the lyrical poetry of the
Romantic school, and especially the ballads of Uhland. "I cannot
sufficiently extol this book," says Heine. "It contains the sweetest
flowers of German poesy. . . . On the title page . . . is the picture of
a lad blowing a horn; and when a German in a foreign land views this
picture, he almost seems to hear the old familiar strains, and
homesickness steals over him. . . . In these ballads one feels the
beating of the German popular heart. Here is revealed all its sombre
merriment, all its droll wit. Here German wrath beats furiously the
drum; here German satire stings, here German love kisses. Here we behold
the sparkling of genuine German wine, and genuine German tears."

The German romantic school, like the English, but more learnedly and
systematically, sought to reinforce its native stock of materials by
_motifs_ drawn from foreign literatures, and particularly from Norse
mythology and from Spanish romance. Percy's translation of Malet: Gray's
versions from the Welsh and the Scandinavian: Southey's "Chronicles of
the Cid" and Lockhart's translations of the Spanish ballads are
paralleled in Germany by William Schlegel's, and Uhland's, and others'
studies in old Norse mythology and poetry; by Tieck's translation of "Don
Quixote" [18] and by Johann Dietrich Gries' of Calderon. The
romanticists, indeed, and especially Tieck and A. W. Schlegel, were most
accomplished translators. Schlegel's great version of Shakspere is
justly esteemed one of the glories of the German tongue. Heine affirms
that it was undertaken solely for polemical purposes and at a time (1797)
when the enthusiasm for the Middle Ages had not yet reached an
extravagant height, "Later, when this did occur, Calderon was translated
and ranked far above Shakes