# 17. German Poems of the Present

What may be most comforting to us Germans in the hard-pressed situation in which we currently find ourselves is the awareness that our nation rests on foundations that can never be damaged by any external power. The German nation is one that is not dependent on physical means of power alone for its development. The "strong roots of our power" rest in the depths of the people's soul, which is not accessible to any opponent. And so we experience the joy that, while the external power and living conditions are decidedly unfavorable to us, German poetry is flourishing among us in a way that we have rarely experienced since classical times. The Germans of Austria have the good fortune to possess a poetic phenomenon whose poetry reaches the highest level of art and at the same time must be regarded as the most wonderful outflow of the German national spirit. The fact that we are dealing with a female poet is of no consequence. Those who do not know from the outset are simply like almost all critics: they consider M. E. delle Grazie - the name of our poetess - to be a pseudonym, and it does not even occur to them to think that the powerful Germanic figures of the epic "Hermann" - which is the most important achievement of the brilliant poetess - that this powerful language *did not* originate from a *poet* in her prime. We are dealing here with a powerful phenomenon. Delle Grazie is as original as only a spirit formed from the never-ending source of German essence can be, she is as powerful and deep in her characterization as only the German spirit with its loving immersion in the human heart and mind can be. She depicts the Roman depravity that confronts noble German morality with such bitterness as only the noble-minded German is capable of, who on his moral high ground knows no mercy for the unfair, for the bad, but only contempt. The poet has succeeded in creating characters in "Hermann" that are truly of the flesh and blood of our people. The whole poem is borne by the majesty of German sentiment, by the most beautiful idealism.

> The sweet hope of all German sons  
> United in this heroic song;  
> I wrote it with the bold vigor of youth  
> You know the hot all-powerful urge,  
> My deepest love and my deepest love,  
> My own feeling rests in this song!

This is how the poet praises her work. She wants to send this deepest longing and feeling of hers to all German lands:

> Go forth, O song, and glide boldly determined  
> Through all the tides that blue in the sea,  
> Welcome also those German shoots,  
> Who build their hut far away in the jungle.  
> Proclaim to them that in the homeland  
> The last chain breaks weak and powerless -  
> From the Alpine summit to the northern edge  
> Awaken the German courage, the German spirit!

It is the collapse of Roman rule through the youthful strength of the German people that the epic describes to us. Treachery and deceit fight against German nobility and German manly virtue. Struggle and victory are described with a poetic power that is unique to genius. The poet finds the right tone for every situation. No less for the scenes of battle than for the wonderful depictions of nature, which, when inserted in the right place, give the poetry its greatest advantage. It thus becomes a reflection of Germanic folk life, which also unfolded in an intimate alliance with nature. The crown of the poem, however, is the last song: Peace. Up to this point, Hermann has been presented to us as the hero with the highest martial virtues. Here, in the last canto, we get to know the other side of the German man. He immediately sheds all the roughness of the hero when selfless love pours into his heart. After the brilliant victory, Hermann's union with Thusnelda takes place.

> The priest lifts his piously transfigured eyes  
> And now blesses the blissful couple...
> "In autumn you fought with a bloody shield,  
> But today you are adorned with Freia's oak wreath!"

Surrounded by his warriors, the hero celebrates his marriage.

> In battle he fought like a fierce warrior,  
> But now love transfigures his face  
> He gazes at the star-studded sky,  
> He raises the polished sword and speaks:  
> "May the Star of Concord never fade,  
> Its holy glimmer nourish our glow.  
> Freedom float over these lands  
> And direct our gaze heavenward,  
> Let the spirit of the ancestors tie all bonds  
> And sweeten our blurred ore of arms! Let love spread its golden wings,  
> Loyalty increase her gods' hoard  
> And victoriously through the wide fields ring  
> The German song, the free German word!"

The beautiful song concludes meaningfully with a dream of Hermann's: Germania, "the proud, shining Germania", appears to our hero and reveals the future to him. Here, the poet's brilliant imagination is revealed in the wonderful addition and interpretation she gives to the Balder saga. Our ancestors have created an uplifting divine figure in Balder. Balder is the god of love, of peace, who perished in the battle against evil. Germania announces to Hermann that this Balder will reappear:

> "The god of peace will rise from death! He comes with his ether-bright shield,  
> When all the princes of heaven perish!"

She lets Balder, our dearest god, awaken again before his eyes "in the green legendary grove of the Orient".

Christus, then, is Balder, once overcome by evil, for whose return the German people longed because they already knew him, because they were prepared for him by their own legend of the gods. Is there a more beautiful way of expressing the idea that it was precisely the German people who were most receptive to pure, unadulterated Christianity, that this noblest of all cultural creations could never take root in the depraved world of the south because they were simply not receptive there? Christianity, transfigured by the Germanic essence, then appears to Hermann as the champion of a new culture that unites German love and the German spirit with the "beautiful form of the Greeks". The goddess then prophetically predicts to him:

> "As long as the oaks lift their crowns,  
> The larks sing and the roses bloom  
> As long as you walk on light paths,  
> Surrounded by a golden ray of sky,  
> As long as the freedom of the Teutons lives,  
> As long as the German ideal triumphs!"

Delle Grazie is the singer of that love which expresses itself most purely in the selfless nature of the German. Her poetic mission is to show how pure human love is the source of all that is great, to show how all that is noble and good can ultimately be traced back to the victorious power of this love. What is so far apart in terms of subject matter, such as "Hermann" and the Old Testament story of "Saul", which she turned into a tragedy, is united by this fundamental trait of her poetry. Many objections have been raised against "Saul". But the most important thing has been little noticed. It is the tragic trait of a very special kind that delle Grazie knew how to put into the figure of Saul. In the midst of a people whose religion knows no freedom of spirit, Saul wants to unfurl the banner of love. He wants to oppose the dark Jehovah, the God of revenge and slavery, who does not love his people but only punishes them and is therefore not loved but only feared by them, with the God of nobler humanity. Saul senses Christianity, he senses the basic trait of it, which later found its symbol in the Redeemer, the "image of love-declared humanity". The hero must perish as a result. "Hermann" and "Saul" complement each other; they show how pure love unfolds in different times. That is what is significant about our poet, what is genuinely artistic, that it is problems that reach deep into the workings of the world that she seeks to solve in these, her two most important poems. The latter are followed by a small volume of "Poems". Of these, "The Nile", "Adam and Eve", "Thirst" and "Hashish" can be regarded as masterful. It is always a sign of a poet's original power when the imagination works in such a powerful way, as is the case with delle Grazie. The mere contemplation of a photograph of the ancient colossal statue "The Nile" in the Vatican allows the whole history of Egypt to pass before the poet's mind in the most marvelous poetic images. "Adam and Eve" is a magnificent myth that depicts the longing of the sexes for each other and the delight of the first meeting of man and woman, culminating in a thought of the most far-reaching significance. The voice of God resounds to the first human beings who find each other and see themselves in the midst of the most glorious creation:

> I, I called this wonderful becoming,  
> I created the beautiful world, the vast sea.  
> I lifted the dark globe from the depths,  
> I gave the sun its golden glow,  
> Without me everything would lie lifeless and sleep,  
> Without me everything would be desolate and dark,  
> Everywhere are my blessed impulses,  
> Everywhere is the trace of my goodness.  
> I am the pure everlasting love,  
> I am the noble spirit of nature! But even if my works are beautiful and glorious,  
> You alone show all my power:  
> In your breast dwells all my strength,  
> In you I have kindled the holy spirit.

The view expressed in the poem "Thirst" is just as magnificent. It describes a journey through the desert. Merchants accompanied by slaves move across the vast sandy expanse. They are longing for an oasis. Not a drop of water has touched their tongues for a long time.

> Full of sorrow and fear of death  
> The rich merchants look to the earth.

The whole terrible situation of the people is now described.

> "O Allah, Allah, have mercy!"  
> O they cry out involuntarily, for already  
> They see in their minds their pale carcasses  
> Adorning the glowing ground of the desert.  
> ...  
> "O joy, honor, happiness and wealth,  
> What are you in the face of death?" ...  
> "Oh how beautiful, oh how glorious  
> It is up here in the realm of golden light,  
> But you must go down  
> Into the cold, eerie darkness."
> >

So the rich merchants. But there are beings in the course who do not fear death, who see it as salvation. They are the slaves. They are not attached to earthly life, because: "What is life for them without freedom?" They feel a different "thirst" than their masters, they thirst for freedom.

> Welcome to them is pale death,  
> They do not fear it, oh no,  
> They rejoice and cheer him! Perhaps that over there in his kingdom  
> The beautiful freedom blooms for them too.

The last of the poems in the collection, "Hashish", truly contains all the qualities of the highest poetic power. It shows us how the poet receives poetic consecration at the throne of God himself. The whole thing is a dream that leads her through infinite space directly to the seat of the divine. Poetic talent is revealed above all when the poet succeeds in transforming real objects into images of extraordinary beauty. For example, when she addresses the moon, which she reaches on her journey:

> We are already near you, friendly moon,  
> And wonderfully, you seem quite different to me now  
> Than otherwise seen from a lofty vantage point  
> And scientifically described in many a book! [...] you are just a small gondola,  
> Shimmering through infinite space,  
> And all rapturous, enamored poets  
> To the beautiful realm of divine dreams!

The reader will have seen from the above where delle Grazie's significance lies: in the grandeur of his vision, in his German idealism and in a rich imagination that moves primarily in the regions of the spiritual. We must now mention a fourth of the poet's works, "The Gypsy Woman", a novella. It does not occur to us to defend the deficiency of form and the improbability of the situations in this little work. The son of a landowner is enchanted by the beauty of a girl from this gang at a party where a band of gypsies is providing music and dancing. This girl, an orphan, is not a real gypsy, even according to her comrades. They don't really know how she got into the gang. A rare phenomenon in a gypsy society: a very noble girl, capable of the most beautiful feelings, who has been passionately in love with the landowner's scion ever since they met. After some time, they meet again. The relationship continues, the girl is seduced and then abandoned. The unfaithful man marries Etelka, the daughter of a magistrate. When the couple is blessed by the priest, the gypsy woman appears, mad to assert the rights of her heart. She is thrown into prison. An old gypsy, whose fatherly advice she usually listens to, but not when the seducer approaches, frees her. The madwoman grabs the old man's dagger, rushes into the unfaithful man's house and murders him. She and her liberator flee, pursued by the lord of the manor's people. The old man is killed by a stone thrown at him, the girl plunges the dagger into her own heart.

In spite of all the shortcomings of this little work, if you want to be unbiased, you will find the heartfelt tones with which the poet knows how to depict human relationships and the conflicts they entail, even when they take place within a despised, neglected class of people.

If we consider that the creator of all this is only at the beginning of her twenties, then no assumption we make about the glorious things she will yet give our people will be too bold. In any case, it is the duty of every German who has a heart and mind for the education of his people to follow the development of this spirit. A nation that produces such blossoms has nothing to fear. Not of the present, not of the future. When we are told from some quarters that the German people have played their part and that it is now the turn of younger peoples, we reply: we have nothing ageing about us as long as such youthful life is developing in our midst.