rtue, and nobility sown in their country. Without noise, without
humanitary pretensions, they have fulfilled their mission of religion
and refinement.

FOOTNOTES:

[B] THE FEMALE POETS OF AMERICA: BY RUFUS WILMOT GRISWOLD. Philadelphia,
Henry C. Baird, 1851.

[C] From Nanuntenoo, an Indian Romance. By Frances H. Green.
Philadelphia, 1850.

JEANNE MARIE, AND LYRICAL POETRY IN GERMANY.

We are induced to translate for _The International_ the following
crisply written critique from _Die Grenzboten_, not only from its giving
for the benefit of certain of our _dilettanti_ German scholars a few
judicious remarks on the true merit of their "new celebrity," JEANNE
MARIE, but because the preceding account of the present state of lyrical
poetry in Germany, is very nearly as applicable to lyrical poetry as it
now exists among the rising bards of America and England as to that of
the father-land:

"It is now about a century since the beginning of our most brilliant
German lyrical era, and we are at the conclusion of a series of
developments, which individually display all of the peculiarities
indicative of the decline of a great epoch in art. The incredible number
of subjects which have been artistically treated, has inspired the minds
of our cotemporaries with an almost superfluity of poetically adapted
figures, forms, tones and materials, with which we are familiar from our
first breath. Vast numbers of corresponding series of similes, and
combinations of words and sentences have been naturalized in our
language, and the spirit of the rising generation cannot be other than
powerfully influenced by the incredible variety of forms and phrases,
which it acquires during education. From all which a limitation of the
creative power naturally results--since there is hardly a sentiment,
hardly a perception of the present day, which has not been rendered
applicable to poetic art; and the array of these imposing creations ring
in the soul of the young poet wonderfully through each other. It is
almost impossible to experience a new feeling which has not been sung,
and yet the impulse still exists to win for the again and again
experienced, a value, and a certain degree of originality. From which
results the most desperate efforts, by means of bold, artificial, highly
polished or tasteless images and comparisons, to form a style and
acquire a peculiar literary physiognomy: efforts which should by no
means be despised, even wh