About the same time Wergeland in Norway published his tragedy, "Sinclair's Death." In Germany the appearance of the "Book of Songs," instantly raised Heine to the foremost rank among German lyric poets. The early influence of Byron was revealed by his masterly translations from "Manfred," and of the opening stanzas of "Childe Harold" and the lines addressed to "Inez." Most felicitous was Heine's German version of Byron's famous farewell to his wife:
"Fare thee well, and if forever, Still forever, fare thee well."
Heine's own lyrical pieces, now put forth in profusion, were fully equal to those of his English prototype. The "Book of Songs" throughout breathed the spirit of the poet's sad boast:
"From my heavy sorrows Made I these little songs...."
Heine's love songs, alone, by their subtile fusion of exquisite simplicity with cynicism in a perverse form, won him immediate recognition outside of Germany. This in itself has never been forgiven by the Germans. Such prejudice did not deter German song composers from setting to music Heine's melodious verses. Franz Schubert, the foremost song composer, just before his death found inspiration in Heine's poems for his famous "Swan Song."
Schubert died in Vienna on the 19th of October, at the age of thirty-one. Notwithstanding his brief career and lack of systematic schooling, he was one of the most prolific as well as original of German composers. His earliest extant song, "Hagar's Lament," was written at the age of fourteen. Such early master works as "Margaret at the Spinning Wheel," and the "Erl-King," both written for Goethe's words, mark the swift development of his genius. During his eighteenth year, when he wrote the "Erl-King," he composed no less than 144 songs. On one day alone he wrote eight. Besides this he composed two operettas, three song plays, three other stage pieces, four masses and several cantatas. In spite of his astonishing fecundity the young composer suffered signally from lack of recognition. His whole life was a long-drawn battle for subsistence. All his efforts to obtain a steady income were unavailing. Though he composed scores for no less than seventy-two of Goethe's lyrics, that great poet was indifferent to the young composer. Beethoven, too, gave him but reluctant recognition. Not until the year of his death did Schubert succeed in giving a public concert that was a pecuniary success. He was wretchedly underpaid by his publishers, and his greatest works utterly failed of contemporary recognition. He died in the depths of poverty. In accordance with his last request, Schubert was buried in the eastern graveyard at Waehring, close to the grave of Beethoven. Schubert achieved immortal fame as the creator of the modern lyric song. No less original were his effective transfers of the song motive to pianoforte music, as shown in his "Moments Musicales" and "Impromptus." Some of his symphonies, notably that in C and the "Fragment" in B minor, are equal to those of Beethoven.