German Poet Composers Were Called

German poet, writer and literary critic (1797–1856)

Heinrich Heine
Painting of Heine by Moritz Daniel Oppenheim
Born	Harry Heine (1797-12-xiii)xiii December 1797 Düsseldorf, Duchy of Berg, Holy Roman Empire
Died	17 Feb 1856(1856-02-17) (aged 58) Paris, 2d French Empire
Occupation	Poet, essayist, announcer, literary critic
Nationality	German
Alma mater	Bonn, Berlin, Göttingen
Literary movement	Romanticism
Notable works	Buch der Lieder [de] Reisebilder Germany. A Winter's Tale Atta Troll Romanzero
Relatives	Salomon Heine (uncle) Gustav Heine (brother) Karl Marx (tertiary cousin) Margreet M. Heine (great-granddaughter)
Signature

Christian Johann Heinrich Heine (German: [ˈhaɪnʁɪç ˈhaɪnə] ( listen ); born Harry Heine; 13 December 1797 – 17 Feb 1856) was a German poet, writer and literary critic. He is all-time known outside Germany for his early lyric verse, which was set to music in the form of Lieder (fine art songs) by composers such equally Robert Schumann and Franz Schubert. Heine'southward later on poetry and prose are distinguished by their satirical wit and irony. He is considered a fellow member of the Immature Germany movement. His radical political views led to many of his works being banned by German government—which, however, only added to his fame.^[1] He spent the last 25 years of his life every bit an departer in Paris.

Early life [edit]

Childhood and youth [edit]

Heine was born on 13 December 1797, in Düsseldorf,^[2] in what was then the Duchy of Berg, into a Jewish family unit.^[iii] He was chosen "Harry" in babyhood just became known as "Heinrich" later on his conversion to Lutheranism in 1825.^[4] Heine's father, Samson Heine (1764–1828), was a cloth merchant. His mother Peira (known as "Betty"), née van Geldern (1771–1859), was the daughter of a physician.

Heinrich was the eldest of four children. He had a sister, Charlotte (after Charlotte Embden [de]), and two brothers, Gustav (later Baron Heine-Geldern and publisher of the Viennese paper Fremden-Blatt [de] ), and Maximilian, who became a physician in Petrograd.^[5] Heine was as well a tertiary cousin once removed of philosopher and economist Karl Marx, besides built-in to a German language Jewish family in the Rhineland, with whom he became a frequent correspondent in later life.^[6]

Düsseldorf at the time was a town with a population of around 16,000. The French Revolution and subsequent Revolutionary and Napoleonic Wars involving Germany complicated Düsseldorf'due south political history during Heine's childhood. It had been the majuscule of the Duchy of Jülich-Berg, merely was under French occupation at the time of his nascency.^[7] It then passed to the Elector of Bavaria earlier beingness ceded to Napoleon in 1806, who turned it into the uppercase of the Chiliad Duchy of Berg, one of 3 French states he established in Germany. Information technology was start ruled by Joachim Murat, so by Napoleon himself.^[8] Upon Napoleon's downfall in 1815 it became part of Prussia.

Thus Heine's formative years were spent under French influence. The developed Heine would always exist devoted to the French for introducing the Napoleonic Code and trial past jury. He glossed over the negative aspects of French rule in Berg: heavy revenue enhancement, conscription, and economical depression brought about past the Continental Blockade (which may accept contributed to his male parent's bankruptcy).^[9] Heine greatly admired Napoleon equally the promoter of revolutionary ideals of liberty and equality and loathed the political atmosphere in Federal republic of germany afterward Napoleon's defeat, marked by the conservative policies of Austrian chancellor Klemens von Metternich, who attempted to opposite the effects of the French Revolution.^[x]

Heine'due south parents were not particularly devout. They sent him every bit a young child to a Jewish schoolhouse where he learned a smattering of Hebrew, but thereafter he attended Cosmic schools. Here he learned French, which became his 2d linguistic communication – although he always spoke information technology with a German accent. He besides caused a lifelong beloved for Rhenish sociology.^[11]

In 1814 Heine went to a business school in Düsseldorf where he learned to read English, the commercial language of the fourth dimension.^[12] The almost successful member of the Heine family was his uncle Salomon Heine, a millionaire banker in Hamburg. In 1816 Heine moved to Hamburg to become an apprentice at Heckscher & Co, his uncle'due south bank, just displayed little aptitude for concern. He learned to hate Hamburg, with its commercial ethos, but it would become one of the poles of his life alongside Paris.

When he was 18 Heine well-nigh certainly had an unrequited dear for his cousin Amalie, Salomon's girl. Whether he and so transferred his angel (every bit unsuccessfully) to her sister Therese is unknown.^[13] This menses in Heine's life is not clear only it seems that his male parent's business organization deteriorated, making Samson Heine effectively the ward of his blood brother Salomon.^[14]

Universities [edit]

Salomon realised that his nephew had no talent for trade, and it was decided that Heine should enter law. So, in 1819, Heine went to the University of Bonn (so in Prussia). Political life in Frg was divided betwixt conservatives and liberals. The conservatives, who were in ability, wanted to restore things to the way they were before the French Revolution. They were against German unification because they felt a united Germany might autumn victim to revolutionary ideas. Nearly German states were absolutist monarchies with a censored press. The opponents of the conservatives, the liberals, wanted to replace absolutism with representative, ramble regime, equality before the law and a free printing.

At the University of Bonn, liberal students were at war with the conservative authorities. Heine was a radical liberal and ane of the starting time things he did after his arrival was to take part in a parade which violated the Carlsbad Decrees, a serial of measures introduced by Metternich to suppress liberal political activity.^[15]

Heine was more than interested in studying history and literature than police force. The university had engaged the famous literary critic and thinker Baronial Wilhelm Schlegel as a lecturer and Heine heard him talk about the Nibelungenlied and Romanticism. Though he would later mock Schlegel, Heine establish in him a sympathetic critic for his early verses. Heine began to acquire a reputation as a poet at Bonn. He also wrote two tragedies, Almansor and William Ratcliff, but they had little success in the theatre.^[16]

Afterwards a year at Bonn, Heine left to proceed his constabulary studies at the Academy of Göttingen. Heine hated the town. It was part of Hanover, ruled past the United Kingdom of United kingdom and Ireland, the ability Heine blamed for bringing Napoleon down.

Here the poet experienced an aloof snobbery absent elsewhere. He hated law every bit the Historical School of law he had to written report was used to bolster the reactionary form of government he opposed. Other events conspired to make Heine loathe this flow of his life: he was expelled from a pupil fraternity due to anti-Semitism reasons and he heard the news that his cousin Amalie had go engaged. When Heine challenged another student, Wiebel, to a duel (the offset of ten known incidents throughout his life), the government stepped in and he was suspended from the university for 6 months. His uncle then decided to ship him to the Academy of Berlin.^[17]

Heine arrived in Berlin in March 1821. It was the biggest, most cosmopolitan city he had ever visited (its population was about 200,000). The university gave Heine access to notable cultural figures as lecturers: the Sanskritist Franz Bopp and the Homer critic F. A. Wolf, who inspired Heine'south lifelong love of Aristophanes. Most important was the philosopher Hegel, whose influence on Heine is hard to guess. He probably gave Heine and other young students the thought that history had a pregnant which could be seen as progressive.^[18] Heine likewise made valuable acquaintances in Berlin, notably the liberal Karl August Varnhagen and his Jewish wife Rahel, who held a leading salon.

Another friend was the satirist Karl Immermann, who had praised Heine's first verse collection, Gedichte, when it appeared in December 1821.^[19] During his time in Berlin Heine besides joined the Verein für Cultur und Wissenschaft der Juden, a guild which attempted to achieve a balance between the Jewish organized religion and modernity. Since Heine was non very religious in outlook he presently lost interest, but he also began to investigate Jewish history. He was particularly drawn to the Spanish Jews of the Middle Ages. In 1824 Heine began a historical novel, Der Rabbi von Bacherach, which he never managed to finish.^{[twenty] [21]}

In May 1823 Heine left Berlin for adept and joined his family at their new home in Lüneburg. Hither he began to write the poems of the cycle Dice Heimkehr ("The Homecoming"). He returned to Göttingen where he was over again bored by the constabulary. In September 1824 he decided to take a break and set off on a trip through the Harz mountains. On his render he started writing an account of it, Dice Harzreise.^[22]

On 28 June 1825 Heine converted to Protestantism. The Prussian authorities had been gradually restoring discrimination against Jews. In 1822 it introduced a law excluding Jews from academic posts and Heine had ambitions for a university career. As Heine said in self-justification, his conversion was "the ticket of access into European civilisation". In any upshot, Heine'due south conversion, which was reluctant, never brought him whatsoever benefits in his career.^{[23] [24]}

Julius Campe and first literary successes [edit]

Heine now had to search for a task. He was but actually suited to writing but it was extremely difficult to be a professional author in Frg. The market for literary works was small and it was only possible to make a living by writing almost non-stop. Heine was incapable of doing this and so he never had enough money to cover his expenses. Before finding piece of work, Heine visited the N Body of water resort of Norderney which inspired the complimentary verse poems of his bicycle Die Nordsee.^[25]

First page of first edition of Heine'southward Buch der Lieder, 1827

In Hamburg one evening in January 1826 Heine met Julius Campe [de], who would be his principal publisher for the rest of his life. Their stormy human relationship has been compared to a marriage. Campe was a liberal who published as many dissident authors as he could. He had developed various techniques for evading the authorities. The laws of the time stated that any book under 320 pages had to be submitted to censorship (the authorities idea long books would cause fiddling trouble equally they were unpopular). 1 way around censorship was to publish dissident works in big print to increase the number of pages across 320.

The censorship in Hamburg was relatively lax just Campe had to worry near Prussia, the largest German state and largest market for books (it was estimated that 1-3rd of the High german readership was Prussian). Initially, any volume which had passed the censor in a German land was able to be sold in whatever of the other states, but in 1834 this loophole was closed. Campe was reluctant to publish uncensored books as he had bad experiences with print runs being confiscated. Heine resisted all censorship; this issue became a bone of contention betwixt the two.^[26]

Nonetheless, the human relationship between author and publisher started well: Campe published the first book of Reisebilder ("Travel Pictures") in May 1826. This volume included Dice Harzreise, which marked a new fashion of German language travel-writing, mixing Romantic descriptions of nature with satire. Heine's Buch der Lieder [de] followed in 1827. This was a collection of already published poems. No one expected it to become one of the most pop books of High german poesy ever published, and sales were wearisome to start with, picking up when composers began setting Heine's poems equally Lieder.^[27] For example, the verse form "Allnächtlich im Traume" was set to music past Robert Schumann and Felix Mendelssohn. Information technology contains the ironic disillusionment typical of Heine:

Allnächtlich im Traume seh ich dich,
Und sehe dich freundlich grüßen,
Und laut aufweinend stürz ich mich
Zu deinen süßen Füßen.

Du siehst mich an wehmütiglich,
Und schüttelst das blonde Köpfchen;
Aus deinen Augen schleichen sich
Die Perlentränentröpfchen.

Du sagst mir heimlich ein leises Wort,
Und gibst mir den Strauß von Zypressen.
Ich wache auf, und der Strauß ist fort,
Und das Wort hab ich vergessen.

Nightly I run into you in dreams – y'all speak,
With kindliness sincerest,
I throw myself, weeping aloud and weak
At your sugariness anxiety, my dear.

You look at me with wistful woe,
And shake your aureate curls;
And stealing from your eyes there flow
The teardrops similar to pearls.

You lot exhale in my ear a secret discussion,
A garland of cypress for token.
I wake; information technology is gone; the dream is blurred,
And forgotten the word that was spoken.
(Poetic translation by Hal Draper)

Starting from the mid-1820s, Heine distanced himself from Romanticism past adding irony, sarcasm, and satire into his verse, and making fun of the sentimental-romantic awe of nature and of figures of speech in contemporary poetry and literature.^[28] An instance are these lines:

Das Fräulein stand am Meere
Und seufzte lang und bang.
Es rührte sie so sehre
der Sonnenuntergang.

Mein Fräulein! Sein sie munter,
Das ist ein altes Stück;
Hier vorne geht sie unter
Und kehrt von hinten zurück.

A mistress stood by the sea
sighing long and anxiously.
She was then securely stirred
Past the setting sun

My Fräulein!, be gay,
This is an old play;
ahead of you it sets
And from behind it returns.

The blueish bloom of Novalis, "symbol for the Romantic motility", as well received withering treatment from Heine during this period, as illustrated by the following quatrains from Lyrisches Intermezzo:^[29]

Am Kreuzweg wird begraben
Wer selber brachte sich um;
dort wächst eine blaue Blume,
Die Armesünderblum.

Am Kreuzweg stand ich und seufzte;
Die Nacht state of war kalt und stumm.
Im Mondenschein bewegte sich langsam
Die Armesünderblum.

At the cross-road will be buried
He who killed himself;
There grows a blue blossom,
Suicide's flower.

I stood at the cross-road and sighed
The nighttime was cold and mute.
By the light of the moon moved slowly
Suicide'south blossom.

Heine became increasingly disquisitional of despotism and reactionary chauvinism in Germany, of nobility and clerics but also of the narrow-mindedness of ordinary people and of the rising German language form of nationalism, peculiarly in dissimilarity to the French and the revolution. Nevertheless, he fabricated a signal of stressing his love for his Fatherland:

Plant the blackness, red, gold banner at the summit of the German idea, make it the standard of gratuitous flesh, and I will shed my dear centre'due south blood for it. Rest assured, I love the Fatherland only as much every bit you do.

Travel and the Platen affair [edit]

Count von Platen, target of Heine'southward satire in Die Bäder von Lucca

The beginning volume of travel writings was such a success that Campe pressed Heine for some other. Reisebilder II appeared in April 1827. It contains the second cycle of North Sea poems, a prose essay on the North Sea every bit well as a new work, Ideen: Das Buch Le Grand, which contains the following satire on German censorship:^{[30] [31]}

The German Censors  ——  ——  ——  ——  ——
——  ——  ——  ——  ——  ——  ——  ——  ——  ——
——  ——  ——  ——  ——  ——  ——  ——  ——  ——
——  ——  ——  ——  ——  ——  ——  ——  ——  ——
——  ——  ——  ——  ——  ——  ——  ——  ——  ——
——  ——  ——  ——  ——  ——  ——  ——  ——  ——
——  ——  ——  ——  ——    idiots    ——  ——
——  ——  ——  ——  ——  ——  ——  ——  ——  ——
——  ——  ——  ——  ——  ——  ——  ——  ——  ——
——  ——  ——  ——  ——  ——  ——  ——  ——  ——
——  ——  ——  ——  ——

Heine went to England to avoid what he predicted would be controversy over the publication of this work. In London he cashed a cheque from his uncle for £200 (equal to £18,421 today), much to Salomon'due south chagrin. Heine was unimpressed by the English: he found them commercial and prosaic, and notwithstanding blamed them for the defeat of Napoleon.^[32]

On his render to Frg, Cotta, the liberal publisher of Goethe and Schiller, offered Heine a job co-editing a magazine, Politische Annalen, in Munich. Heine did not discover piece of work on the newspaper congenial, and instead tried to obtain a professorship at Munich University, with no success.^[33] After a few months he took a trip to northern Italia, visiting Lucca, Florence and Venice, just was forced to render when he received news that his father had died. This Italian journey resulted in a series of new works: Die Reise von München nach Genua (Journey from Munich to Genoa), Die Bäder von Lucca (The Baths of Lucca) and Die Stadt Lucca (The Town of Lucca).^[34]

Die Bäder von Lucca embroiled Heine in controversy. The aristocratic poet August von Platen had been annoyed past some epigrams past Immermann which Heine had included in the second book of Reisebilder. He counter-attacked past writing a play, Der romantische Ödipus, which included anti-Semitic jibes about Heine. Heine was stung and responded by mocking Platen's homosexuality in Dice Bäder von Lucca.^[35] This back-and-along advertizing hominem literary polemic has become known as the Platen affair [de].

Paris years [edit]

Strange correspondent [edit]

Heine left Germany for France in 1831, settling in Paris for the remainder of his life. His motility was prompted by the July Revolution of 1830 that had made Louis-Philippe the "Citizen King" of the French. Heine shared liberal enthusiasm for the revolution, which he felt had the potential to overturn the conservative political order in Europe.^[36] Heine was too attracted by the prospect of freedom from German censorship and was interested in the new French utopian political doctrine of Saint-Simonianism. Saint-Simonianism preached a new social order in which meritocracy would supervene upon hereditary distinctions in rank and wealth. In that location would also be female emancipation and an of import function for artists and scientists. Heine frequented some Saint-Simonian meetings after his inflow in Paris merely within a few years his enthusiasm for the ideology – and other forms of utopianism – had waned.^{[37] [38]}

Heine soon became a celebrity in France. Paris offered him a cultural richness unavailable in the smaller cities of Germany. He made many famous acquaintances (the closest were Gérard de Nerval and Hector Berlioz) but he always remained something of an outsider. He had little interest in French literature and wrote everything in German, subsequently translating it into French with the help of a collaborator.^[39]

In Paris, Heine earned money working as the French correspondent for one of Cotta's newspapers, the Allgemeine Zeitung. The first effect he covered was the Salon of 1831. His articles were eventually collected in a volume entitled Französische Zustände ("Conditions in France").^[40] Heine saw himself as a mediator between Germany and France. If the two countries understood one another there would exist progress. To further this aim he published De l'Allemagne ("On Germany") in French (begun 1833). In its later German version, the book is divided into ii: Zur Geschichte der Organized religion und Philosophie in Germany ("On the History of Faith and Philosophy in Germany") and Die romantische Schule ("The Romantic School"). Heine was deliberately attacking Madame de Staël'due south book De l'Allemagne (1813) which he viewed as reactionary, Romantic and obscurantist. He felt de Staël had portrayed a Germany of "poets and thinkers", dreamy, religious, introverted and cut off from the revolutionary currents of the modern earth. Heine idea that such an image suited the oppressive German government. He also had an Enlightenment view of the by, seeing it as mired in superstition and atrocities. "Religion and Philosophy in Germany" describes the replacement of traditional "spiritualist" religion by a pantheism that pays attention to human cloth needs. According to Heine, pantheism had been repressed past Christianity and had survived in German language folklore. He predicted that High german thought would prove a more explosive forcefulness than the French Revolution.^[41]

Heine'southward wife "Mathilde" (Crescence Eugénie Mirat)

Heine had had few serious love diplomacy, but in late 1834 he made the acquaintance of a 19-yr-sometime Paris shopgirl, Crescence Eugénie Mirat, whom he nicknamed "Mathilde". Heine reluctantly began a relationship with her. She was illiterate, knew no German, and had no interest in cultural or intellectual matters. Nevertheless, she moved in with Heine in 1836 and lived with him for the rest of his life (they were married in 1841).^[42]

Immature Germany and Ludwig Börne [edit]

Heine and his fellow radical exile in Paris, Ludwig Börne, had go the role models for a younger generation of writers who were given the name "Young Federal republic of germany". They included Karl Gutzkow, Heinrich Laube, Theodor Mundt and Ludolf Wienbarg. They were liberal, but not actively political. Nonetheless, they still fell foul of the authorities.

In 1835, Gutzkow published a novel, Wally die Zweiflerin ("Wally the Sceptic"), which contained criticism of the institution of union and some mildly erotic passages. In November of that twelvemonth, the German Diet consequently banned publication of works by the Young Germans in Germany and – on Metternich's insistence – Heine's name was added to their number. Heine, however, connected to annotate on German politics and society from a distance. His publisher was able to notice some ways of getting around the censors and he was notwithstanding free, of course, to publish in France.^{[43] [44]}

Heine'southward relationship with his swain dissident Ludwig Börne was troubled. Since Börne did not attack religion or traditional morality like Heine, the German authorities hounded him less although they still banned his books as soon as they appeared.

Börne was the idol of German immigrant workers in Paris. He was besides a republican, while Heine was not. Heine regarded Börne, with his admiration for Robespierre, equally a puritanical neo-Jacobin and remained aloof from him in Paris, which upset Börne, who began to criticise him (mostly semi-privately). In February 1837, Börne died. When Heine heard that Gutzkow was writing a biography of Börne, he began work on his ain, severely disquisitional "memorial" of the man.

When the book was published in 1840 information technology was universally disliked by the radicals and served to alienate Heine from his public. Fifty-fifty his enemies admitted that Börne was a man of integrity and so Heine's advertizement hominem attacks on him were viewed as being in poor taste. Heine had made personal attacks on Börne's closest friend Jeanette Wohl so Jeannette's husband challenged Heine to a duel. It was the last Heine ever fought – he received a flesh wound in the hip. Earlier fighting, he decided to safeguard Mathilde's time to come in the effect of his death past marrying her.^[45]

Illustration by Max Liebermann for a 1920s edition of Heine's historical novel Der Rabbi von Bacherach

Heine continued to write reports for Cotta'due south Allgemeine Zeitung (and, when Cotta died, for his son and successor). One upshot which really galvanised him was the 1840 Damascus Thing in which Jews in Damascus had been subject to blood libel and accused of murdering an erstwhile Catholic monk. This led to a wave of anti-Semitic persecution.

The French regime, aiming at imperialism in the Middle Due east and not wanting to offend the Catholic party, had failed to condemn the outrage. On the other manus, the Austrian consul in Damascus had assiduously exposed the claret libel every bit a fraud. For Heine, this was a reversal of values: reactionary Republic of austria standing upwards for the Jews while France temporised. Heine responded by dusting off and publishing his unfinished novel most the persecution of Jews in the Middle Ages, Der Rabbi von Bacherach.^[46]

Political verse and Karl Marx [edit]

German poesy took a more than directly political turn when the new Frederick William IV ascended the Prussian throne in 1840. Initially it was thought he might be a "popular monarch" and during this honeymoon menstruum of his early reign (1840–42) censorship was relaxed. This led to the emergence of popular political poets (so-called Tendenzdichter), including Hoffmann von Fallersleben (writer of Deutschlandlied, the High german canticle), Ferdinand Freiligrath and Georg Herwegh. Heine looked down on these writers on aesthetic grounds – they were bad poets in his opinion – but his verse of the 1840s became more political besides.

Heine'southward way was satirical assail: confronting the Kings of Bavaria and Prussia (he never for one moment shared the belief that Frederick William IV might be more liberal); against the political torpor of the High german people; and against the greed and cruelty of the ruling form. The most popular of Heine's political poems was his to the lowest degree typical, Die schlesischen Weber ("The Silesian Weavers"), based on the insurgence of weavers in Peterswaldau in 1844.^{[47] [48]}

Front folio of Marx's Vorwärts, featuring Heine's poem "Die schlesischen Weber"

In October 1843, Heine's distant relative and German revolutionary, Karl Marx, and his wife Jenny von Westphalen arrived in Paris after the Prussian regime had suppressed Marx'southward radical newspaper. The Marx family unit settled in Rue Vaneau. Marx was an gentleman of Heine and his early on writings evidence Heine's influence. In December Heine met the Marxes and got on well with them. He published several poems, including Die schlesischen Weber, in Marx's new periodical Vorwärts ("Forrad"). Ultimately Heine's ideas of revolution through sensual emancipation and Marx's scientific socialism were incompatible, but both writers shared the same negativity and lack of faith in the bourgeoisie.^{[ citation needed ]}

In the isolation he felt later the Börne debacle, Marx's friendship came every bit a relief to Heine, since he did not really like the other radicals. On the other mitt, he did not share Marx's religion in the industrial proletariat and remained on the fringes of socialist circles. The Prussian government, angry at the publication of Vorwärts, put pressure on French republic to bargain with its authors, and Marx was deported to Belgium in January 1845. Heine could non be expelled from the state because he had the right of residence in France, having been born under French occupation.^[49] Thereafter Heine and Marx maintained a desultory correspondence, but in time their admiration for each other faded.^{[50] [51]} Heine e'er had mixed feelings nigh communism. He believed its radicalism and materialism would destroy much of the European culture that he loved and admired.

In the French edition of "Lutetia" Heine wrote, one yr before he died: "This confession, that the future belongs to the Communists, I made with an undertone of the greatest fear and sorrow and, oh!, this undertone past no means is a mask! Indeed, with fear and terror I imagine the time, when those nighttime iconoclasts come to power: with their raw fists they volition batter all marble images of my beloved globe of art, they will ruin all those fantastic anecdotes that the poets loved so much, they will chop downwardly my Laurel forests and institute potatoes and, oh!, the herbs chandler volition utilise my Volume of Songs to make numberless for coffee and snuff for the old women of the future – oh!, I can foresee all this and I experience deeply sorry thinking of this decline threatening my poetry and the erstwhile world order – And nonetheless, I freely confess, the aforementioned thoughts accept a magical appeal upon my soul which I cannot resist .... In my chest there are two voices in their favour which cannot exist silenced .... because the first one is that of logic ... and as I cannot object to the premise "that all people take the right to eat", I must defer to all the conclusions....The second of the two compelling voices, of which I am talking, is even more powerful than the first, because it is the vocalization of hatred, the hatred I dedicate to this common enemy that constitutes the most distinctive dissimilarity to communism and that volition oppose the angry giant already at the outset instance – I am talking about the political party of the so-chosen advocates of nationality in Federal republic of germany, about those faux patriots whose dearest for the fatherland only exists in the shape of imbecile distaste of foreign countries and neighbouring peoples and who daily pour their bile especially on French republic".^[52]

In October–December 1843, Heine made a journey to Hamburg to see his aged mother and to patch things up with Campe with whom he had had a quarrel. He was reconciled with the publisher who agreed to provide Mathilde with an annuity for the balance of her life after Heine's death. Heine repeated the trip with his wife in July–October 1844 to see Uncle Salomon, merely this time things did not go and then well. It was the terminal time Heine left France.^[53] At the time, Heine was working on ii linked but antonymous poems with Shakespearean titles: Frg: Ein Wintermärchen (Germany. A Wintertime's Tale) and Atta Troll: Ein Sommernachtstraum (Atta Troll: A Midsummer Nighttime's Dream). The sometime is based on his journeying to Germany in late 1843 and outdoes the radical poets in its satirical attacks on the political situation in the country.^[54] Atta Troll (actually begun in 1841 afterward a trip to the Pyrenees) mocks the literary failings Heine saw in the radical poets, particularly Freiligrath. It tells the story of the chase for a runaway bear, Atta Troll, who symbolises many of the attitudes Heine despised, including a simple-minded egalitarianism and a religious view which makes God in the laic's image (Atta Troll conceives God equally an enormous, heavenly polar bear). Atta Troll's cubs embody the nationalistic views Heine loathed.^[55]

Atta Troll was not published until 1847, only Deutschland appeared in 1844 as part of a collection Neue Gedichte ("New Poems"), which gathered all the verse Heine had written since 1831.^[56] In the aforementioned year Uncle Salomon died. This put a stop to Heine'south annual subsidy of 4,800 francs. Salomon left Heine and his brothers 8,000 francs each in his will. Heine'southward cousin Carl, the inheritor of Salomon's business, offered to pay him two,000 francs a year at his discretion. Heine was furious; he had expected much more from the volition and his campaign to brand Carl revise its terms occupied him for the adjacent two years.^[57]

In 1844, Heine wrote serial of musical feuilletons over several different music seasons discussing the music of the 24-hour interval. His review of the musical season of 1844, written in Paris on 25 April of that year, is his first reference to Lisztomania, the intense fan frenzy directed toward Franz Liszt during his performances. All the same, Heine was not e'er honorable in his musical criticism. That same month, he wrote to Liszt suggesting that he might like to wait at a newspaper review he had written of Liszt's operation earlier his concert; he indicated that it contained comments Liszt would not like. Liszt took this as an endeavour to extort money for a positive review and did not come across Heine. Heine's review subsequently appeared on 25 Apr in Musikalische Berichte aus Paris and attributed Liszt'due south success to lavish expenditures on bouquets and to the wild behaviour of his hysterical female "fans". Liszt and then broke relations with Heine. Liszt was not the merely musician to be blackmailed past Heine for the nonpayment of "appreciation money". Meyerbeer had both lent and given coin to Heine, but after refusing to paw over a farther 500 francs was repaid past beingness dubbed "a music corrupter" in Heine's poem Die Menge tut es.^[58]

Last years: the "mattress-grave" [edit]

Heine on his sickbed, 1851

In May 1848, Heine, who had not been well, suddenly fell paralyzed and had to be confined to bed. He would non go out what he called his "mattress-grave" (Matratzengruft) until his death eight years later. He also experienced difficulties with his optics.^[59] It had been suggested that he suffered from multiple sclerosis or syphilis, although in 1997 it was confirmed through an analysis of the poet's pilus that he had suffered from chronic lead poisoning.^[sixty] He diameter his sufferings stoically and he won much public sympathy for his plight.^[61] His illness meant he paid less attention than he might otherwise have done to the revolutions which bankrupt out in France and Federal republic of germany in 1848. He was sceptical about the Frankfurt Assembly and continued to attack the King of Prussia.

When the revolution collapsed, Heine resumed his oppositional stance. At first he had some hope Louis Napoleon might be a good leader in France merely he shortly began to share the opinion of Marx towards him as the new emperor began to crack downward on liberalism and socialism.^[62] In 1848 Heine also returned to religious faith. In fact, he had never claimed to be an atheist. Nevertheless, he remained sceptical of organised religion.^[63]

He continued to work from his sickbed: on the collections of poems Romanzero and Gedichte (1853 und 1854), on the journalism collected in Lutezia, and on his unfinished memoirs.^[64] During these terminal years Heine had a love affair with the young Camille Selden, who visited him regularly.^[65] He died on 17 Feb 1856 and was interred in the Paris Cimetière de Montmartre.

His tomb was designed by Danish sculptor Louis Hasselriis. Information technology includes Heine'south poem Where? (German language: Wo?) engraved on three sides of the tombstone.

Wo wird einst des Wandermüden
Letzte Ruhestätte sein?
Unter Palmen in dem Süden?
Unter Linden an dem Rhein?

Werd ich wo in einer Wüste
Eingescharrt von fremder Manus?
Oder ruh ich an der Küste
Eines Meeres in dem Sand?

Immerhin! Mich wird umgeben
Gotteshimmel, dort wie hier,
Und als Totenlampen schweben
Nachts dice Sterne über mir.

Where shall I, the wander-wearied,
Discover my haven and my shrine?
Nether palms volition I be buried?
Nether lindens on the Rhine?

Shall I lie in desert reaches,
Buried past a stranger'south hand?
Or upon the well-loved beaches,
Covered past the friendly sand?

Well, what matter! God has given
Wider spaces at that place than here.
And the stars that swing in sky
Shall be lamps in a higher place my bier.
(translation in verse by L.U.^[66])

His wife Mathilde survived him, dying in 1883. The couple had no children.^[67]

Legacy [edit]

The highest conception of the lyric poet was given to me past Heinrich Heine. I seek in vain in all the realms of millennia for an equally sweet and passionate music. He possessed that divine malice without which I cannot imagine perfection... And how he employs German! It will one mean solar day be said that Heine and I have been past far the first artists of the German language.

Friedrich Nietzsche, Ecce Homo ^[68]

Amid the thousands of books burned on Berlin's Opernplatz in 1933, post-obit the Nazi raid on the Institut für Sexualwissenschaft, were works by Heinrich Heine. To memorialize the event, one of the most famous lines of Heine'due south 1821 play Almansor, spoken past the Muslim Hassan upon hearing that Christian conquerors burned the Quran at the marketplace of Granada, was engraved in the basis at the site: "Das war ein Vorspiel nur, dort wo homo Bücher verbrennt, verbrennt homo auch am Ende Menschen." ("That was merely a prelude; where they burn books, they will ultimately burn people besides.")^[69]

In 1835, 98 years before Adolf Hitler and the Nazi Party seized power in Germany, Heine wrote in his essay "The History of Faith and Philosophy in Deutschland":^[seventy]

Christianity – and that is its greatest merit – has somewhat mitigated that brutal Germanic honey of war, but it could non destroy information technology. Should that subduing talisman, the cross, exist shattered, the frenzied madness of the ancient warriors, that insane Berserk rage of which Nordic bards have spoken and sung so often, volition once again burst into flame. This talisman is frail, and the 24-hour interval will come when it will plummet miserably. So the ancient stony gods volition ascent from the forgotten debris and rub the grit of a m years from their eyes, and finally Thor with his giant hammer volition jump up and smash the Gothic cathedrals. ... Do non smile at my advice – the advice of a dreamer who warns you confronting Kantians, Fichteans, and philosophers of nature. Do non smile at the visionary who anticipates the same revolution in the realm of the visible as has taken identify in the spiritual. Idea precedes activity every bit lightning precedes thunder. German language thunder is of true Germanic character; it is not very nimble, only rumbles along ponderously. Notwithstanding, it will come up and when y'all hear a crashing such as never before has been heard in the earth'southward history, then you know that the High german thunderbolt has fallen at terminal. At that uproar the eagles of the air will drop expressionless, and lions in the remotest deserts of Africa will hibernate in their royal dens. A play will be performed in Germany which volition make the French Revolution look like an innocent idyll.^[71]

The North American Heine Order was formed in 1982.^[72]

Heine in Nazi Germany [edit]

Heine'south writings were abhorred past the Nazis and ane of their political mouthpieces, the Völkischer Beobachter, made noteworthy efforts to attack him. Within the pantheon of the "Jewish cultural intelligentsia" chosen for anti-Semitic demonization, perhaps nobody was the recipient of more National Socialist vitriol than Heinrich Heine.^[73] When a memorial to Heine was completed in 1926, the paper lamented that Hamburg had erected a "Jewish Monument to Heine and Damascus...one in which Alljuda ruled!".^[74] Editors for the Völkischer Beobachter referred to Heine's writing as degenerate on multiple occasions as did Alfred Rosenberg.^[75] Correspondingly, as part of the effort to dismiss and hide Jewish contribution to High german fine art and culture, all Heine monuments were removed or destroyed during Nazi Germany and Heine's books were suppressed and, from 1940 on, banned.^[76] The popularity of many songs to Heine'south lyrics represented a trouble for the policy of silencing and proposals such as bans or rewriting the lyrics were discussed.^[76] Nevertheless, in contrast to an often-made claim,^[77] in that location is no testify that poems such as "Dice Lorelei [de]" were included in anthologies every bit written by an "unknown author".^[78]

Music [edit]

Many composers have gear up Heine's works to music. They include Robert Schumann (especially his Lieder bicycle Dichterliebe), Friedrich Silcher (who wrote a popular setting of "Die Lorelei", 1 of Heine'south best known poems), Franz Schubert, Franz Liszt, Felix Mendelssohn, Fanny Mendelssohn, Johannes Brahms, Hugo Wolf, Richard Strauss, Pyotr Ilyich Tchaikovsky, Edward MacDowell, Sophie Seipt, Charlotte Sporleder, Maria Anna Stubenberg, Clara Schumann and Richard Wagner; and in the 20th century Nikolai Medtner, Lola Carrier Worrell,^[79] Hans Werner Henze, Carl Orff, Lord Berners, Paul Lincke, Yehezkel Braun, and Marcel Tyberg.^[80]

Heine'due south play William Ratcliff was used for the libretti of operas by César Cui (William Ratcliff) and Pietro Mascagni (Guglielmo Ratcliff). Frank Van der Stucken equanimous a "symphonic prologue" to the same play.

In 1964, Gert Westphal and the Attila-Zoller Quartet released the vinyl "Heinrich Heine Lyrik und Jazz". In 2006 Philips/Universal launched a republication on CD.

Wilhelm Killmayer set 37 of his poems in his song book Heine-Lieder , subtitled Ein Liederbuch nach Gedichten von Heinrich Heine, in 1994.^[81]

Morton Feldman's I Met Heine on the Rue Fürstemberg was inspired past a vision he had of the expressionless Heine as he walked through Heine's old neighborhood in Paris: "One early morning time in Paris I was walking along the small street on the Left Depository financial institution where Delacroix's studio is, only as information technology was more than a century ago. I'd read his journals, where he tells of Chopin, going for a drive, the poet Heine dropping in, a refugee from Deutschland. Nada had changed in the street. And I saw Heine up at the corner, walking toward me. He almost reached me. I had this intense feeling for him, y'all know, the Jewish exile. I saw him. Then I went back to my place and wrote my work, I Met Heine on the Rue Fürstemberg."^[82]

Controversy [edit]

In the 1890s, amidst a flowering of affection for Heine leading up to the centennial of his birth, plans were made to honour Heine with a memorial; these were strongly supported by one of Heine's greatest admirers, Elisabeth of Bavaria, Empress of Austria. The empress commissioned a statue from the sculptor Louis Hasselriis.^[83] This statue, originally located at Achilleion, Empress Elisabeth's palace in Corfu, was later removed by Kaiser Wilhelm II later he acquired Achilleion in 1907,^[84] but information technology eventually found a domicile in Toulon.^[83] This became the inspiration for Tony Harrison'due south 1992 film-poem, The Gaze of the Gorgon.^[84]

Another memorial, a sculpted fountain, was commissioned for Düsseldorf. While at first the plan met with enthusiasm, the concept was gradually bogged downwardly in anti-Semitic, nationalist, and religious criticism; by the time the fountain was finished, in that location was no identify to put it. Through the intervention of German language American activists, the memorial was ultimately transplanted into the Bronx, New York City (in Philadelphia already in 1855 was printed the complete edition of Heine's works in High german language).^[85] While the memorial is known in English every bit the Lorelei Fountain, Germans refer to it as the Heinrich Heine Memorial.^[86] Likewise, after years of controversy,^[87] the Academy of Düsseldorf was named Heinrich Heine University. Today the metropolis honours its poet with a boulevard (Heinrich-Heine-Allee) and a modern monument.

In State of israel, the attitude to Heine has long been the subject area of debate between secularists, who number him among the well-nigh prominent figures of Jewish history, and the religious who consider his conversion to Christianity to be an unforgivable act of betrayal. Due to such debates, the metropolis of Tel Aviv delayed naming a street for Heine, and the street finally chosen to bear his name is located in a rather desolate industrial zone rather than in the vicinity of Tel Aviv University, suggested by some public figures as the appropriate location.^{[ citation needed ]}

Ha-'Ir (העיר – The Metropolis, a left-leaning Tel Aviv magazine) sarcastically suggested that "The Exiling of Heine Street" symbolically re-enacted the course of Heine'south own life. Since and so, a street in the Yemin Moshe neighborhood of Jerusalem^[88] and, in Haifa, a street with a beautiful square and a customs center have been named subsequently Heine. A Heine Appreciation Society is active in Israel, led by prominent political figures from both the left and right camps.^{[ citation needed ]} His quote about called-for books is prominently displayed in the Yad Vashem Holocaust museum in Jerusalem. (It is also displayed in the United States Holocaust Memorial Museum and in the pavement in Frankfurt am Chief.)

• 

  Heine monument in Düsseldorf

• 

  Heine monument in Frankfurt, the simply pre-1945 one in Deutschland

• 

  Heine monument in Berlin

• 

  Heine'southward bust on his grave in Montmartre, Paris

• 

  The poem Where? (Wo?) on Heine's grave

• 

  Grave and poem "Wo?"

• 

  1956 German stamp commemorating the 100th anniversary of Heine's death

• 

  1956 Soviet stamp commemorating the 100th anniversary of Heine's death

• 

  Plaque at the Nazi book burning memorial on Bebelplatz in Berlin, Germany, with a quote from Heine's play Almansor

Works [edit]

A list of Heine'south major publications in German. All dates are taken from Sammons 1979.

• 1820 (August): Die Romantik ("Romanticism", short critical essay)
• 1821 (twenty December^[89]): Gedichte ("Poems")
• 1822 (February to July): Briefe aus Berlin ("Letters from Berlin")
• 1823 (January): Über Polen ("On Poland", prose essay)
• 1823 (April): Tragödien nebst einem lyrischen Intermezzo ("Tragedies with a Lyrical Intermezzo") includes:

Plaque at the Nazi book burning memorial on Bebelplatz in Berlin, Frg. The plaque has a quote from Heinrich Heine's play Almansor (written 1821–1822). "Where they burn books, in the finish they will also burn human being beings" (Dort, wo human Bücher verbrennt, verbrennt human being am Ende auch Menschen) about called-for of Quran in Granada that was expected to be followed by burning humans (Muslims then Jewish) in 1500s.

• • Almansor (play, written 1821–1822)
  • William Ratcliff (play, written Jan 1822)
  • Lyrisches Intermezzo (cycle of poems)
• 1826 (May): Reisebilder. Erster Teil ("Travel Pictures I"), contains:
  • Dice Harzreise ("The Harz Journey", prose travel work)
  • Die Heimkehr ("The Homecoming", poems)
  • Die Nordsee. Erste Abteilung ("Northward Sea I", cycle of poems)
• 1827 (April): Reisebilder. Zweiter Teil ("Travel Pictures Ii"), contains:
  • Die Nordsee. Zweite Abteilung ("The North Bounding main II", cycle of poems)
  • Die Nordsee. Dritte Abteilung ("The North Sea Three", prose essay)
  • Ideen: das Buch le Yard ("Ideas: The Volume of Le Thousand")
  • Briefe aus Berlin ("Letters from Berlin", a much shortened and revised version of the 1822 work)
• 1827 (October): Buch der Lieder [de] ("Book of Songs"); collection of poems containing the following sections:
  • Junge Leiden ("Youthful Sorrows")
  • Die Heimkehr ("The Homecoming", originally published 1826)
  • Lyrisches Intermezzo ("Lyrical Intermezzo", originally published 1823)
  • "Aus der Harzreise" (poems from Die Harzreise, originally published 1826)
  • Dice Nordsee ("The North Ocean: Cycles I and II", originally published 1826/1827)
• 1829 (December): Reisebilder. Dritter Teil ("Travel Pictures III"), contains:
  • Die Reise von München nach Genua ("Journey from Munich to Genoa", prose travel work)
  • Dice Bäder von Lucca ("The Baths of Lucca", prose travel piece of work)
  • Anno 1829
• 1831 (January): Nachträge zu den Reisebildern ("Supplements to the Travel Pictures"), the second edition of 1833 was retitled every bit Reisebilder. Vierter Teil ("Travel Pictures IV"), contains:

  

  • Die Stadt Lucca ("The Town of Lucca", prose travel piece of work)
  • Englische Fragmente ("English Fragments", travel writings)
• 1831 (April): Zu "Kahldorf über den Adel" (introduction to the book "Kahldorf on the Nobility", uncensored version non published until 1890)
• 1833: Französische Zustände ("Conditions in France", collected journalism)
• 1833 (December): Der Salon. Erster Teil ("The Salon I"), contains:
  • Französische Maler ("French Painters", criticism)
  • Aus den Memoiren des Herren von Schnabelewopski ("From the Memoirs of Herr Schnabelewopski", unfinished novel)
• 1835 (January): Der Salon. Zweiter Teil ("The Salon II"), contains:
  • Zur Geschichte der Religion und Philosophie in Frg ("On the History of Religion and Philosophy in Deutschland")
  • Neuer Frühling ("New Leap", bicycle of poems)
• 1835 (November): Die romantische Schule ("The Romantic School", criticism)
• 1837 (July): Der Salon. Dritter Teil ("The Salon Three"), contains:
  • Florentinische Nächte ("Florentine Nights", unfinished novel)
  • Elementargeister ("Elemental Spirits", essay on folklore)
• 1837 (July): Über den Denunzianten. Eine Vorrede zum dritten Teil des Salons. ("On the Denouncer. A Preface to Salon III", pamphlet)
• 1837 (November): Einleitung zum "Don Quixote" ("Introduction to Don Quixote", preface to a new German translation of Don Quixote)
• 1838 (November): Der Schwabenspiegel ("The Mirror of Swabia", prose work attacking poets of the Swabian Schoolhouse)
• 1838 (Oct): Shakespeares Mädchen und Frauen ("Shakespeare's Girls and Women", essays on the female characters in Shakespeare's tragedies and histories)
• 1839: Anno 1839
• 1840 (August): Ludwig Börne. Eine Denkschrift ("Ludwig Börne: A Memorial", long prose piece of work about the author Ludwig Börne)
• 1840 (November): Der Salon. Vierter Teil ("The Salon IV"), contains:
  • Der Rabbi von Bacherach ("The Rabbi of Bacharach", unfinished historical novel)
  • Über die französische Bühne ("On the French Stage", prose criticism)
• 1844 (September): Neue Gedichte ("New Poems"); contains the following sections:
  • Neuer Frühling ("New Leap", originally published in 1834)
  • Verschiedene ("Sundry Women")
  • Romanzen ("Ballads")
  • Zur Ollea ("Olio")
  • Zeitgedichte ("Poems for the Times")
  • information technology as well includes Federal republic of germany: Ein Wintermärchen (Federal republic of germany. A Winter'south Tale, long poem)
• 1847 (January): Atta Troll: Ein Sommernachtstraum (Atta Troll: A Midsummer Night's Dream, long poem, written 1841–46)
• 1851 (September): Romanzero; collection of poems divided into 3 books:
  • Erstes Buch: Historien ("Beginning Book: Histories")
  • Zweites Buch: Lamentationen ("Second Volume: Lamentations")
  • Drittes Buch: Hebräische Melodien ("Third Book: Hebrew Melodies")
• 1851 (October): Der Doktor Faust. Tanzpoem ("Doctor Faust. Trip the light fantastic Verse form", ballet libretto, written 1846)
• 1854 (October): Vermischte Schriften ("Miscellaneous Writings") in iii volumes, contains:
  • Book One:
    • Geständnisse ("Confessions", autobiographical work)
    • Die Götter im Exil ("The Gods in Exile", prose essay)
    • Die Göttin Diana ("The Goddess Diana", ballet scenario, written 1846)
    • Ludwig Marcus: Denkworte ("Ludwig Marcus: Recollections", prose essay)
    • Gedichte. 1853 und 1854 ("Poems. 1854 and 1854")
  • Volume Two:
    • Lutezia. Erster Teil ("Lutetia I", collected journalism almost French republic)
  • Volume Three:
    • Lutezia. Zweiter Teil ("Lutetia II", collected journalism about French republic)

Posthumous publications [edit]

• Memoiren ("Memoirs", showtime published in 1884 in the magazine Dice Gartenlaube). Published as a volume in English language equally The Memoirs of Heinrich Heine and Some Newly-Discovered Fragments of His Writings with an Introductory Essay by Thomas Westward. Evans, M.D. (1884). London: George Bong & Sons.

Editions in English language [edit]

• Poems of Heinrich Heine, Iii hundred and Twenty-five Poems, Translated past Louis Untermeyer, Henry Holt, New York, 1917.
• The Complete Poems of Heinrich Heine: A Modern English Version by Hal Draper, Suhrkamp/Insel Publishers Boston, 1982. ISBN 3-518-03048-5
• Religion and Philosophy in Germany, a fragment, Tr. James Snodgrass, 1959. Boston, MA (Beacon Press). LCCN 59--6391 Available online.

See too [edit]

• Die Lotosblume
• On Wings of Song (poem and song)
• Heinrich Heine University of Düsseldorf
• Heinrich Heine Prize
• The Gaze of the Gorgon

References [edit]

1. ^ Amey, 50.J. (1 Jan 1997). Censorship: Gabler, Mel, and Norma Gabler-President's Commission on Obscenity and Pornography. Salem Press. p. 350. ISBN9780893564469. Ironically, Heine became famous because of censorship, specially later he wrote a political cycle of poems entitled Germany. A Winter'due south Tale in 1844 that was immediately banned throughout the confederation
2. ^ Galley, Eberhard (1969), "Heine, Heinrich", Neue Deutsche Biographie (in German language), vol. 8, Berlin: Duncker & Humblot, pp. 286–291 ; (full text online)
3. ^ "Heroes – Trailblazers of the Jewish People". Beit Hatfutsot.
4. ^ "There was an old rumor, propagated particularly past anti-Semites, that Heine'due south Jewish name was Chaim, but at that place is no bear witness for information technology." Ludwig Börne: A Memorial, ed. Jeffrey Fifty. Sammons [de], Camden House, 2006, p. 13 n. 42.
5. ^ Sammons 1979, pp. xi–thirty.
6. ^ Raddatz Karl Marx: A Political Biography ^{[ full citation needed ]}
7. ^ Sammons p. 30^{[ incomplete brusque citation ]}
8. ^ In the proper name of his four-year-onetime nephew, Napoleon Louis. (Sammons 1979, p. 31)
9. ^ Sammons 2006, p. 67.
10. ^ Sammons 1979, pp. 30–35.
11. ^ Sammons 1979, pp. 35–42.
12. ^ Sammons 1979, p. 47.
13. ^ Sammons 1979, pp. 42–46.
14. ^ Sammons 1979, pp. 47–51.
15. ^ Robertson 1988, pp. xiv–15.
16. ^ Sammons 1979, pp. 55–lxx.
17. ^ Sammons 1979, pp. 70–74.
18. ^ Sammons 1979, pp. 74–81.
19. ^ Sammons 1979, pp. 81–85.
20. ^ Sammons 1979, pp. 89–96.
21. ^ The Rabbi of Bacharach on Wikisource.
22. ^ Sammons 1979, pp. 96–107.
23. ^ Sammons 1979, pp. 107–110.
24. ^ Robertson 1988, pp. 84–85.
25. ^ Sammons 1979, pp. 113–118.
26. ^ Sammons 1979, pp. 118–124.
27. ^ Sammons 1979, pp. 124–126.
28. ^ Neue Gedichte (New Poems), citing: DHA, Vol. 2, p. 15
29. ^ Perry, Beate Julia, Schumann's Dichterliebe and Early Romantic Poetics: Fragmentation of Desire, Cambridge University Printing; 2002, p. 87-88
30. ^ Sammons 1979, pp. 127–129.
31. ^ Heine, Ideen. Das Buch Le Grand, Chapter 12
32. ^ Sammons 1979, pp. 129–132.
33. ^ Sammons 1979, pp. 132–138.
34. ^ Sammons 1979, pp. 138–141.
35. ^ Sammons 1979, pp. 141–147.
36. ^ Sammons 1979, pp. 150–155.
37. ^ Sammons 1979, pp. 159–168.
38. ^ Robertson 1988, pp. 36–38.
39. ^ Sammons 1979, pp. 168–171.
40. ^ Sammons 1979, pp. 172–183.
41. ^ Sammons 1979, pp. 188–197.
42. ^ Sammons 1979, pp. 197–205.
43. ^ Sammons 1979, pp. 205–218.
44. ^ Robertson 1988, p. twenty.
45. ^ Sammons 1979, pp. 233–242.
46. ^ Sammons 1979, pp. 243–244.
47. ^ Sammons 1979, pp. 253–260.
48. ^ Robertson 1988, pp. 22–23.
49. ^ Sammons 1979, p. 285.
50. ^ Sammons 1979, pp. 260–265.
51. ^ Robertson 1988, pp. 68–70.
52. ^ Heine's typhoon for Préface in the French edition of Lutezia (1855), DHA, Vol. 13/1, p. 294.
53. ^ Sammons 1979, pp. 265–268.
54. ^ Sammons 1979, pp. 268–275.
55. ^ Robertson 1988, pp. 24–26.
56. ^ Sammons 1979, pp. 275–278.
57. ^ Sammons 1979, pp. 278–285.
58. ^ Walker, Alan, Franz Liszt: The virtuoso years, 1811–1847, Cornell Academy Press; Rev. ed edition, 1997, p. 164
59. ^ Sammons 1979, pp. 295–297.
60. ^ Bundesgesundheitsblatt [de] (in German language). 48 (two): 246–250. 2005.
61. ^ Sammons 1979, p. 297.
62. ^ Sammons 1979, pp. 298–302.
63. ^ Sammons 1979, pp. 305–310.
64. ^ Sammons 1979, pp. 310–338.
65. ^ Sammons 1979, pp. 341–343.
66. ^ "Poems of Heinrich Heine". Retrieved 27 February 2019.
67. ^ Sammons 1979, pp. 343–344.
68. ^ Friedrich Nietzsche, A Nietzsche Reader, Translated by R. J. Hollingdale, Penguin 1977, p. 147
69. ^ Heinrich Heine, Gesamtausgabe der Werke; Hrsg. Manfred Windfuhr (Hamburg 1973-1997), Bd. 5, folio 16
70. ^ Reid Busk 2014.
71. ^ Kossoff 1983, pp. 125–126.
72. ^ North American Heine Lodge, University of Connecticut
73. ^ Dennis 2012, pp. 110–123.
74. ^ "Ein Heinrich Heine-Denkmal in Hamburg", Völkischer Beobachter, October 1926; as found in Heinrich Heine im Dritten Reich und im Exil past Hartmut Steinecke (Paderborn: Schöningh, 2008), pp. 10-12.
75. ^ Alfred Rosenberg, The Myth of the 20th Century. (Text)
76. ^ ^{a b} Erhard Jöst (December 2008). "Eine spannungsgeladene Wirkungsgeschichte". Literaturkritik (in German) (12): 520. Schließlich wurde als Ziel der NS-Kulturpolitik ausgegeben, den Dichter totzuschweigen. Dabei waren Heines Werke anfangs von dem generellen Verbot nicht betroffen, erst ab dem April 1940 fielen sie ebenfalls unter die pauschale Indizierung jüdischen Schrifttums. [Ultimately, it was formulated as the goal of nationalsocialist cultural policy to silence the poet. However, his works were initially not covered past a general ban, simply in April 1940 did they fall under the blanket indexing of Jewish literature.]
77. ^ First in 1935 past Walter A. Berendsohn (Der lebendige Heine im germanischen Norden) and ofttimes repeated, due east.g., in Arendt, Hannah (1944). "The Jew as Pariah: A Hidden Tradition". Jewish Social Studies. vi (2): 103. Though they dub its author 'unknown', the Nazis cannot eliminate the Lorelei from the repertoire of German language vocal.
78. ^ Anja Oesterheld (2011). "'Verfasser unbekannt'? Der Mythos der Anonymität und Heinrich Heines Loreley". In Stephan Pabst (ed.). Anonymität und Autorschaft. Zur Literatur und Rechtsgeschichte der Namenlosigkeit (in German). Berlin: de Gruyter. pp. 325–358.
79. ^ Part, Library of Congress Copyright (1908). Musical Compositions: Part 3. Library of Congress.
80. ^ Buffalo News. Performers revel in premiere of Tyberg songs
81. ^ "Heine Songs". Schott. Retrieved 24 August 2017.
82. ^ Feldman, Morton (2000). Friedman, B. H. (ed.). Give My Regards to Eighth Street. Cambridge: Exact Modify. pp. 120–121. ISBNone-878972-31-half dozen.
83. ^ ^{a b} Richard S. Levy, Heine Monument Controversy, in Antisemitism: A Historical Encyclopedia of Prejudice and Persecution, ABC-CLIO, 2005, p.295
84. ^ ^{a b} Shanks, Michael (1996). Classical Archæology of Hellenic republic: Experiences of the Discipline. Psychology Press. p. 169. ISBN9780415085212.
85. ^ Rolf Hosfeld, Heinrich Heine: Die Erfindung des europäischen Intellektuellen – Biographie (Munich 2014), p. 153
86. ^ "Sturm und Drang Over a Memorial to Heinrich Heine" by Christopher Gray, The New York Times, 27 May 2007.
87. ^ "West German Universities: What to Call Them?" by John Vinocur, The New York Times, 31 March 1982
88. ^ Jewish Postcards from... haGalil onLine. Archived iv August 2014 at archive.today
89. ^ The title page says "1822"

Sources [edit]

• Dennis, David B. (2012). Inhumanities: Nazi Interpretations of Western Civilization. Cambridge and New York: Cambridge Academy Printing.
• Kossoff, Philip (1983). Valiant Middle: A Biography of Heinrich Heine. Associated University Presses. pp. 125–126. ISBN9780845347621.
• Reid Busk, Michael (Summer 2014). "Rag-and-Bone Angel: The Angelus Novus in Charles Bernstein's Shadowtime". Journal of Modern Literature. 37 (4): 1–fifteen [14]. doi:ten.2979/jmodelite.37.4.1. JSTOR 0.2979/jmodelite.37.4.i. S2CID 171072437.
• Robertson, Ritchie (1988). Heine. Jewish Thinkers. London: Halban. ISBN9781870015929.
• Sammons, Jeffrey L. [de] (1979). Heinrich Heine: A Modernistic Biography. Princeton, New Jersey: Princeton University Printing.
• Sammons, Jeffrey L. (2006). Heinrich Heine: Alternative Perspectives 1985–2005. Königshausen & Neumann. ISBN9783826032127.

Farther reading [edit]

• Brod, Max (1957). Heinrich Heine: The Creative person in Revolt. New York: New York University Press.
• Hoffman, Michael, "Heine'southward Heartmobile" (review of George Prochnik, Heinrich Heine: Writing the Revolution, Yale Academy Press, 2020, 312 pp.), The New York Review of Books, vol. LXVIII, no. 12 (22 July 2021), pp. 42–44.
• Pawel, Ernst (1995). The Poet Dying: Heinrich Heine's Last Years in Paris. New York: Farrar, Straus and Giroux.
• Prochnik, George (2020). Heinrich Heine: Writing the Revolution. New Haven, Connecticut: Yale Academy Press.
• Selden, Camille (1884). The Concluding Days of Heinrich Heine (translated into English by Clare Brune). London: Remington & Co.
• Skolnik, Jonathan (2014). Jewish Pasts, German Fictions: History, Retentivity, and Minority Civilization in Germany, 1824–1955. Stanford, California: Stanford Academy Press.
• Stigand, William (1880). The Life, Work, and Opinions of Heinrich Heine (two volumes). New York: J. W. Bouton.

External links [edit]

• Works by Heinrich Heine at Project Gutenberg
• Works past Heinrich Heine at Faded Folio (Canada)
• Works by or well-nigh Heinrich Heine at Internet Archive
• Works past Heinrich Heine at LibriVox (public domain audiobooks)
• The High german classics of the nineteenth and twentieth centuries: masterpieces of German literature translated into English" 1913–1914 "Heinrich Heine". Retrieved 24 September 2010.
• Parallel High german/English language text of Heine's poem Geoffroy Rudel and Melisande of Tripoli
• Deutsche Welle's review of Heinrich Heine in 2006, 150 years after his death
• Art of the States: The Resounding Lyre – musical setting of Heine's poem "Halleluja"
• Free scores of texts by Heinrich Heine in the Choral Public Domain Library (ChoralWiki)
• Loving Herodias by David P. Goldman, First Things
• Heinrich Heine (German author), Britannica Online Encyclopedia

German Poet Composers Were Called,

Source: https://en.wikipedia.org/wiki/Heinrich_Heine

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