enish Gazette at Cologne.

It is a curious fact that during this agitated time Freiligrath wrote
some of his tenderest poetry. In the collection which appeared in 1849
with the title 'Zwischen den Garben' (Between the Sheaves), was
included that exquisite hymn to love: 'Oh, Love So Long as Love Thou
Canst,' perhaps the most perfect of all his lyrical productions, and
certainly evidence that the poet could touch the strings to deep
emotions. In the following year both volumes of his 'New Political and
Social Poems' were ready. Once more he prudently retired to London;
his fears were confirmed by the immediate confiscation of these new
volumes, and by the publication of a letter of apprehension. By way of
reprisal he wrote his poem 'The Revolution,' which was published in
London.

In 1867 the Swiss bank with which Freiligrath was connected closed its
London branch, and the poet again faced an uncertain future. His
friends on the Rhine, hearing of his difficulties, raised a generous
subscription, and taking advantage of a general amnesty, he returned
to the fatherland and became associated with the Stuttgart Illustrated
Magazine. In 1870 appeared a complete collection of his poems; in
1876, 'New Poems'; and in the latter year, on March 18th, he died at
Cannstatt in Wuertemburg.

The question which Freiligrath asks the emigrants in his early poem of
that name,--'O say, why seek ye other lands?'--was destined to find
frequent and bitter answer in his own checkered career; but he never
swerved from the liberal principles which he had publicly announced.
His political poems were among the most powerful influences of his
time, and they have a permanent value as the expression of the spirit
of freedom. His translations are marvels of fidelity and beauty. His
'Hiawatha' and 'The Ancient Mariner,' together with his versions of
Victor Hugo, are perhaps the best examples of his surpassing skill.
His own works have been for the most part excellently translated into
English. His daughter published during her father's lifetime a volume
of his poems, in which were collected all the best English
translations then available. The exotic subjects of his early poems
make them seem the most original, as for example 'Der Mohrenfuerst'
(The Moorish Prince) and 'Der Blumen Rache' (The Revenge of the
Flowers); the unusual rhymes hold the attention, and the sonorous
melody of the verse delights the ear: but it is in a few of his superb
love ly