Ye men upon your shoulders bearing Baskets beneath whose weight ye tire, Filled with the bread your fields have nourished,

And ye have baked by home's glad fire;

And ye who sport long braided tresses,

Black-forest maidens, slim and brown, Who on the sloop's green bench with caution Your pitchers and your pails lay down;

These are the self-same pails and pitchers
Oft plenish'd at your native spring,
These to the banks of still Missouri
Fair images of home shall bring:

The stone-built fountain at the hamlet,
O'er which so often ye have bent,
The household fire so brightly blazing,
The shelf they served to ornament.

They soon shall deck the rough log-cabin
In some far region of the West,
Soon, with cool waters overflowing,

Ye'll hand them to the thirsty guest.

From them the Cherokee o'erwearied

Shall drink, exhausted with the chase, But from the vintage, borne rejoicing, Green leaves no more their forms shall

grace.

Oh! wherefore are ye thus departing?

The Neckar vale bears grapes and corn, The Schwarzwald's fill'd with gloomy tannin, In Spessart rings the Alpine horn.

How often in those strange, wild forests

For home's green mountains ye will pine, For Deutschland's fields with ripe grain waving,

Her hills thick planted with the vine.

How must the shade of days departed Come glancing oft athwart your dreams, Till like some joyous, calm old legend,

Standing before your soul it seems.

The boatman calls-depart in gladness; In God's good keeping may you all be found;

May joy forever be your pastime,

Your fields with plenteous harvests still be crown'd.

The "Sunken City" is a wild and irregular lay, founded on a tradition which represents a town of the name of Julin, as having been submerged by the waters of the ocean.

O'er the silent waters my course I keep,
Calm is the surface, and hush'd each wave,

Thither I'll hasten, and there recall

The glories departed, the pleasures flown, And the magical realm of death shall fall, When the breath of the living is o'er it thrown.

Then people were more for war and gain,
The pillar'd halls and the markets vast,
Ye maidens no longer asleep remain,
But ponder the dream that's past.
"Downward-no farther ye row with me,"

Powerless sink both his arms and feet,
Deep over him closes the briny sea,

As he hastens the city to greet.

He lives among halls of the olden day,
Where the sea-shells glisten, the amber
glows:

Beneath, gleam splendors past away,
Above, the boat song flows.

"The Mirage" has been regarded as one

Who late hath crossed the lion's realm? the prints of paw and hoof are here; Tombuctoo's caravan perchance-far in the distance gleams a spear.

Lo! banners wave; the Emir's robe streams thro' the dusty cloud,

With wandering gaze she looks around "Ho! sleepest thou, my love?

How changed the sky's late brassy hue! it gleams like steel above.

Where is the desert's yellow glow? 'tis dazzling light all round,

motley crowd.

giers' rocky bound.

Now round the tam'risk's thorny stem see shreds of trappings fly,

And close at hand a dusty skin lies empty, torn, and dry.

Who is it spurns the gaping pouch, with looks of sorest need?

It is the dark-haired- swarthy chief of Biledulgereed.

fortress gained, how soon will close this pilgrimage of ours.

King of Prussia, who, doubtless, hoped by this display of munificence to control the course of his beneficiary, and render his talents subservient to the cause of despotism. This design was speedily made apparent in the mutilation or suppression of the poet's productions; and he soon became convinced that his duty, as an independent writer, required the sacrifice of his pension. Acting in accordance with this conviction, at the expiration of the year 1843 he refused any longer to receive it. In 1844 he published a volume of poems which he called his "Glaubensbekenntniss," or confession of faith, in the preface to which, while he disavows having ever entertained other than liberal sentiments on political questions, he does not scruple to acknowledge a progress in the formation and development of his opinions. He repels the idea of being a traitor or a renegade, but wisely and justly observes, that "he who stands at the goal, should not deny even the circuitous route by which he has reached it." His position, at this period, is thus defined:

"Firmly and unflinchingly I take my stand by the side of those who are resolute to breast the current of despotism. No more life for me

without freedom! However the lot of this

book and my own may fall, so long as the oppression endures under which I see my country suffering, my heart will bleed and heave indignantly, and my mouth and my arm shall not be weary of doing what they may towards the attainment of better days. Thereto help me, next unto God, my countrymen. My face is turned towards the future."

The poet had prudently crossed the frontier of Germany before this publication appeared; and it was well for his personal safety that this precaution had been taken, as an order was immediately issued for his arrest, as well as for the suppression of the work. "The author," says William Howitt in an article in the People's Journal, "retired with his accomplished wife to Brussels, where he resided some time. But here he found

himself not safe from the long arm of

Prussian influence. A Herr Henizen, who had been obliged to flee from Prussia to Paris for a similar cause, was, while living there in the utmost quiet, ordered to quit

France in eight and forty hours. He came to Brussels, and with him Freiligrath concluded to seek an asylum in Switzerland. Within six hours of his quitting Brussels, another German, singularly enough of the same name, and residing in the same place, was arrested for Freiligrath by mistake." Freiligrath continued to reside in Switzerland until the autumn of 1846, when he took up his residence in London, where he was employed as a clerk in a well-known German banking-house. Here, however, he did not remain long. During the revolutionary crisis of 1847-8, he visited Dusseldorf, where he was arrested and tried for seditious publications tending to destroy the authority of the government. His celebrated poem, "Die todten ans Lebenden," (the dead to the living,) founded on a well-known incident of the revolutionary struggle in Germany, was more especially selected as the basis of this prosecution. His trial, which was, we believe, the first instance in the history of German jurisprudence, where the fate of a political offender was referred to the decision of a jury, resulted in the triumphant acquittal of the poet, and the complete discomfiture of his opponents.

A translation or two from the Glaubensbekenntniss, exhibiting Freiligrath's communia dicere-will close our remarks capacity for that difficult task-propriè on his life and writings. Most of the poems comprised in this work contain political allusions to local politics, with which none but a German can be presumed to be familiar-a circumstance which lessens the utility, while it increases the difficulty, of presenting them in an English version. The following song, apart from its intrinsic merit, derives additional importance from the fact of having been honored by the censor's veto.