These lines, we believe, define very well the attitude which the poet of the West assumed toward his mystic brother in the East.

* * * * *

The series of Ghaselen signed Freimund and dated 1822 (third series in our edition) are not characteristically Persian.  Hence we proceed at once to a consideration of the fourth series (p. 253 seq.), which we shall discuss together with the poems collected under the title of Oestliche Rosen (p. 289 seq.) from which they differ in nothing but the form.  They were, besides, a part of the Oestliche Rosen as published originally at Leipzig, 1822.

These poems are free reproductions or variations of Hafizian themes and motives.  The spirit of revelry and intoxication finds here a much wilder and more bacchanalian expression than in the Divan of Goethe or the Ghaselen of Platen. Carpe diem is the sum and substance of the philosophy of such poems as “Einladung” (p. 287) and “Lebensgnuege” (p. 293); their note is in thorough accord with Hafid, when he exclaims (H. 525. 7): 

     [Arabic]
     [Arabic]

“to me, who worship the beloved, do not mention anything else; for except for her and my cup of wine, I care for none.”  We are admonished to leave alone idle talk on how and why ("Im Fruehlingsthau,” p. 261), for as Hafid says (H. 487. 11):  “Our existence is an enigma, whereof the investigation is fraud and fable.”  The tavern is celebrated with as much enthusiasm (e.g.  “Das Weinhaus,” p. 290) as the [Arabic] to which Hafid was destined by God (H. 492. 1).  Monks and preachers are scored mercilessly (e.g.  “Der Bussprediger,” p. 255; “Dem Prediger,” p. 295) as in H. 430. 7: 

     [Arabic]
     [Arabic]

     “The admonisher spoke tauntingly:  Wine is forbidden, do not drink! 
     I said:  On my eye (be it); I do not lend my ear to every ass.”

The characteristic Persian images and rhetorical figures, familiar to us from Platen, are also found here in still greater variety and number.  Thus to mention some new ones, the soul is likened to a bird (p. 270, No. 29, cf.  H. 427. 5:  [Arabic]); the cypress is invoked to come to the brook (p. 336, cf.  H. 108. 3:  [Arabic] “the place of the straight cypress is on the bank of the brook"); the rose-bush glows with the fire of Moses ("Gnosis,” p. 350, cf.  H. 517. 2:  [Arabic] [Arabic] “the rose displays the fire of Musa"); Hafis is an idol-worshipper (p. 305, “Liebesandacht,” cf.  H. 439. 6, where [Arabic] “the idol of sweet motions” is addressed).  We meet also the striking Oriental conception of the dust of the dead being converted into cups and pitchers.  In “Von irdischer Herrlichkeit” (p. 257) the character “der alte Wirth” is the pir of H. 4. 10 et passim, and when speaking of the fate of Jamsid, Sulaiman and Ka’us Kai, he says: 

    Von des Glueckrads hoechstem Gipfel warf der Tod in Staub sie,
    Und ein Toepfer nahm den Staub in Dienst des Toepferrades. 
    Diesen Becher formt’ er draus, und glueht’ ihn aus im Feuer. 
    Nimm! aus edlen Schaedeln trink und deiner Lust nicht schad’ es!