the insertion of the following ? " A long stay at 

 Eome, and, perhaps, a warm interest for certain 

 epochs of Italian poetry, seem to have inspired my 

 brother with a particular predilection for a contracted 

 lyrical form which, if the harmony of language is not 

 to be sacrificed, imposes close fetters on the thought, 

 but which he managed freely with consciousness and 

 design," (or would you rather have " which he managed 

 in freedom, with consciousness and design," or " which 

 he managed in conscious freedom? ") " Now, if the poet, 

 according to his innermost nature and individuality, felt 

 most keenly a desire, to interweave with ideas all that 



springs from the feelings ." 



That treasure of criticism, your little note, I beg to 

 have returned to me. 



Most gratefully yours, 



A. v. HUMBOLDT. 



Friday. 



(Remark ly Varnhagen. I chose, "but which he managed with 

 conscious freedom," because this version tallied best with the meta- 

 phor of fetters, and also, in other respects, defines the subject most 

 clearly.) 



Yarnhagen states, 9th September, 1853, in his Diary: "Hum- 

 boldt having sent to announce himself, arrived about half-past 

 one, and stayed somewhat above an hour. A simple call, with- 

 out any reference to business ; he felt a want to speak out about 

 several things. In the first place he descanted, with bitter scorn, on 

 the King's speeches at Elbing and Hirschberg,* on the utter weakness 



* On the occasion of a journey of the King, when deputations of the magis- 

 trates of those democratically-disposed cities were severely reprimanded by 

 him. Among other things, he said to the Hirschberg deputation, " It was 

 my firm resolve not to allow you to enter my presence. As far back as 

 1846, I had only yielded to the most urgent prayers to pardon the town 

 indeed, I may say that I have had the weakness to do it. Then and there, 



