idea of converting the heart does, of course, recall Christian imagery, but the idea of God's sending the heart, now separated from the poet-persona, to a place where it will be well treated as it has been by the poetpersona is forced, since it implies that God will aid a rebellious heart in its struggle against Him. Yet the last three lines of the strophe imply that the poet has recognized the heart's difficulty in its constancy to the lady and would wish God to help it.
It is hard to understand the last strophe, normally attached to the poem, as a suitable conclusion. It shows none of the stylistic subtlety of its predecessors and it is hard not to agree that it should be regarded as a separate strophe. The use of imagery can sometimes be a clear indication of the integrity of a poem or its reverse.
Contrast imagery is an essential, perhaps the essential feature of Friedrich von Hausen's style. He uses the associations already firmly established by French poets to provide reinforcements of his statements about love but much more frequently he juxtaposes these images to provide contrasts, often ironical contrasts, which cause the audience to reassess their views and ideals of love. This type of contrast imagery is most effective when the standard verbal imagery of love is used in a Christian as well as in a secular sense, so that the whole problem of devotion to the lady, with its dubious or non-existent rewards must be compared with the certain rewards of the devotion of the Christian soul to God. The problem is deliberately left unresolved. The imagery leaves us with the impression that the lady may yet prove to be more powerful.