Stirling, kindly tipping us to the inner meaning of his lyrics sheds light
on a particularly murky problem:

>What does "Sensucht" suggest but - "senses" - the opening and
>closing words of both stanzas are Sensuous, and Senses [?]...

Sensucht as a title strikes one as a strident solecism, whether inadvertent
or deliberate.  If inadvertent, it doesn't belong there; if deliberate
it keys the lyrics to the sardonic mood-- which, it transpires, does not
inform the body of the lyric.  If in both stanzas the flow of words led
from Sensucht, at the outset, to sense, at the end, then it may be expected
of the hearer/reader to follow, and to understand the lyricist's mental
tropism.  (It might also help to signpost another Germanism, or two, along
the way from Sensucht to sense, by way of reassuring the hearer/reader that
he's still on the right trail, and that it'll all make Kauderwelsch sense
to him, provided he perseveres.

If the intention of the artist is to lead his audience to a meaning that
is interiorized in him/her--rather than reaching out to attempt to make
contact with what is interior to him/her--then great ingenuity of craft
(= art) is required.  Along with a firm, if unobtrusive, guiding hand.
Arch modifications such as feint for faint, or though for thought, convey
meanings that serve disorient rather than to signpost.

Denis Fodor                             Internet:[log in to unmask]