BY FREDERIC EDWARD COENEN
It is the purpose of this study to examine personifications of lifeless objects in Storm's works in the light of his critical pronouncements concerning the nature of poetry in general and the metaphor and the personification of lifeless objects in particular. The nature of this investigation necessitates a brief discussion of the fundamental character of the so-called "pathetic fallacy."
The lyricist Theodor Storm once wrote to his daughter Elsabe that recognition was coming to him only slowly, but that it would be all the more lasting. Over five decades have passed since his death in 1888, and Storm has long been recognized as one of the greatest German lyricists of the nineteenth century. Like his contemporary Mörike, Storm reaches -- in some of his poems -- the unsurpassed height of Goethe in simplicity, in depth of emotion, in the charm and tenderness of his verse. The directness of these creations makes them part of nature itself. Storm displays a vigor and a passion in some of his lyrics whose intensity is unexcelled by his contemporaries.1 His lyrics are genuine expressions of emotion, not mere rhetoric.2 His mastery in the lyric expression of mood is unquestioned.3____________________