Dehmel was a controversial figure in the Germany of Kaiser Wilhelm II, a socialist who had been convicted for blasphemy in Berlin during 1897.

[4] Norman Del Mar wrote that The title word "Befreit" derives from the basic sentiment of the poem, an ultimate devotion which has "freed" the loving pair from suffering.

The firm serenity of the music reflects the immortal quality of their love which is also emphasised by a phrase recalling the so moving passage of Gretchen's love by Liszt's Faust Symphony ... but the true refrain lies in the bitter-sweet phrase "O Glück" ("O Happiness", in the midst of sorrow) which crowns each verse in the song, and it is the melodic line which accompanies this which Strauss extracted when he chose "Befreit" to join "Traum durch die Dämmerung" to represent his Lieder output in the Works of Peace section of his new tone poem Ein Heldenleben written the same year.

[5]Following Strauss, several composers wrote songs that were settings of Dehmel poems, including Reger, Schoenberg, Sibelius and Szymanowski.

Du schenktest mir dein ganzes Leben, ich will es ihnen wiedergeben – o Glück!

Then shall thy soft snow white hands caress me, Thou shalt leave me your soul and bless me, Leave me our babes with a mother’s kiss, Thou gave me your life, thy love so tender Both now to them I gladly render O Bliss!

Life fast is ebbing, death comes tomorrow We both then shall be released from sorrow, Take now and give the farewell kiss.

But, as works of art only aim at arousing human sensations and feelings in rhythmic harmony, I do not mind in the least that the allegory is also conceived of the other way around ... it can also allude to any kind of loving couple.

Such mutual elevations of the soul – at least noble souls – apply not only to death, but to any parting for life; for every leave taking is related to death, and what we give up forever, we give back to the world ...[11]In 1933 Strauss orchestrated the song for soprano Viorica Ursuleac whilst staying at the Bavarian resort Bad Wiessee.