zals of Jami
into Italian (Fundgruben, vol. i. pp. 16-19).

[133] In Taschenbuch fuer Damen, which was already published in 1820,
thus establishing Rueckert's priority over Platen. See C. Beyer, Neue
Mittheilungen ueber Friedrich Rueckert, Leipz. 1873, p. 14; also letter to
Cotta, ibid. pp. 113, 114.

[134] Published in Lyrische Blaetter.

[135] In Vermischte Schriften.

[136] Platens Werke (Cotta), vol. ii. See p. 7, note, where information
is given as to place and date of these poems.

[137] Dedication of Spiegel des Hafis to Otto von Buelow, vol. i. p. 265.

[138] We cite the Ghaselen by the number in vol. ii. of the edition here
used.

[139] Goethe protested against this Oriental feature. See Noten u. Abh.
to his Divan, vol. iv. p. 273 seq.

[140] Heines Saemtliche Werke, ed. Born (Cotta), vol. vi. pp. 130 seq.
Goethe in his comments on his Saki Nameh (op. cit. p. 307) emphasizes
the purely pedagogical side of this relation of saqi and master.

[141] Kasside, dated February 3, 1823, ii. p. 60.

[142] Lith. ed., Shiraz, A.H. 1312.

[143] The Divan appeared August, 1819. Platen's poem is dated Oct. 28,
1819.

[144] See Studien zu Platen's Balladen, Herm. Stockhausen, Berl. (1898),
pp. 50, 51, 53, 54.

CHAPTER VIII.

RUeCKERT.

His Oriental Studies--Introduces the Ghasele--Oestliche Rosen;
Imitations of Hafid--Erbauliches und
Beschauliches--Morgenlaendische Sagen und Geschichten--Brahmanische
Erzaehlungen--Die Weisheit des Brahmanen--Other Oriental
Poems.

When speaking of the introduction of the _gazal_-form into German
literature mention was made of the name of the man who is unquestionably
the central figure in the great Oriental movement which is occupying our
attention. Combining the genius of the poet with the learning of the
scholar, Rueckert was preeminently fitted to be the literary mediator
between the East and the West. And his East was not restricted, as
Goethe's or Platen's, to Arabia and Persia, but included India and even
China. He is not only a devotee to the mystic poetry of Rumi and the
joyous strain of Hafid, but he is above all the German Brahman, who by
masterly translations and imitations made the treasures of Sanskrit
poetry a part of the literary wealth of his own country. To his
productivity as poet and translator the long list of his works bears
conclusive testimony. In this investigation, however, we shall confine
ourselves to those