HEINRICH HEINE - Repositories
HEINRICH HEINE - Repositories HEINRICH HEINE - Repositories
xlil 0^ntrotiutttotu gen." It is impossible to go beyond that. What wit, again, in that saying which every one has heard : " The Englishman loves liberty like his lawful wife, the Frenchman loves her like his mistress, the German loves her like his old grandmother." But the turn Heine gives to this incomparable saying is not so well known; and it is by that turn he shows himself the born poet he is, — full of delicacy and tenderness, of inexhaustible resource, infinitely new and striking : — " And yet, after all, no one can ever tell how things may turn out. The grumpy Englishman, in an ill-temper with his wife, is capable of some day putting a rope round her neck, and taking her to be sold at Smithfield. The inconstant Frenchman may become unfaithful to his adored mistress, and be seen fluttering about the Palais Royal after another. But the German will never quite abandon his old grandmother ; he will always keep for her a nook by the chimney-corner, where she can tell her fairy stories to the listening children." Is it possible to touch more delicately and happily both the weakness and the strength of Germany; — pedantic, simple, enslaved, free, ridiculous, admirable Germany ? And Heine's verse, — his Lieder ? Oh, the comfort, after dealing with French
^Fntroliuction. xliil people of genius, irresistibly impelled to try and express themselves in verse, launching out into a deep which destinyhas sown with so many rocks for thein, — the comfort of coming to a man of genius, who finds in verse his freest and most perfect expression, whose voyage over the deep of poetry destiny makes smooth! After the rhythm, to us, at any rate, with the German paste in our composition, so deeply unsatisfying, of — '• All! que me dites-vous, et que vous dit mon ame ? Que dit le ciel a I'aube et la flamme a la flamme? " what a blessing to arrive at rhythms like — " Take, oh, take those lips away. That so sweetly were forsworn —" or — " Siehst sehr sterbeblas.slieh aiis, Docli getrost! du hist zu Haus —" m which one's soul can take pleasure! The magic of Heine's poetical form is incomparable ; he chiefly uses a form of old German popular poetry, a ballad-form which has more rapidity and grace than any ballad-form of ours ; he employs this form with the most exquisite lightness and ease, and yet it has at the same time the inborn fulness, pathos, and old-world charm of all true forms of
- Page 283: HEINE.
- Page 287 and 288: Edited by NEWELL DUNBAR HEINRICH HE
- Page 289 and 290: EDITOR'S PREFACE. THE reading publi
- Page 291: ^Un^tvation^. PAGE HEINE IN 1827 .
- Page 294 and 295: Vlll €ontattie?* \'RTOR III GO TH
- Page 296 and 297: €ontentier* THE POWER OI- WOMEN .
- Page 298 and 299: xn Contrntief. PERFECT HAPPINESS TH
- Page 300 and 301: XIV 4rontentie(* THE POET'S IMPARTI
- Page 302 and 303: The spirit of the woild Belioklinf^
- Page 304 and 305: xvi S^ntrotiuction, in discharging
- Page 306 and 307: xviii ^Tntrotiuction, Avhich of Goe
- Page 308 and 309: XX SFntrobuctioit, task of dissolut
- Page 310 and 311: xxii 5ntrot»uction» whose revolut
- Page 313 and 314: ^'ntrotmttton. xxlii Efforts have b
- Page 315 and 316: 3Pntrotiuction, xxv cause it was pr
- Page 317 and 318: S'nttOtniCttOtU xxvii and he shows
- Page 319 and 320: S^ntroliuction* xxix and courtiers
- Page 321 and 322: ^Tntrotiuction. xxxi "' Am I then r
- Page 323 and 324: ^Fntrotjuctiom xxxiii went on compo
- Page 325 and 326: Itootmtttott. XXXV his subject-matt
- Page 327 and 328: STntroductton. xxxvli mon school-bo
- Page 329 and 330: S'ntrotiuctton. xxxix but their ind
- Page 331: ^Fntrotiuctton, xll France Heine jo
- Page 335 and 336: 3FntroDuction» xlv reward, as alwa
- Page 337 and 338: 3^ntrotmctiom xlvii they crouched i
- Page 339 and 340: 3^ntrotiuction» xllx and politely
- Page 341 and 342: ^Fntrotiuction* whom he conquers th
- Page 343 and 344: ^Fntrobuction* liii all the scatter
- Page 345 and 346: S^ntroDuction, Iv entertaining hers
- Page 347 and 348: 3Fntrotiu(tion« Ivii (and posterit
- Page 349: WIT, WISDOM, POETRY.
- Page 352 and 353: ^eine* none is so trusty as the tru
- Page 354 and 355: I^eine* That I might love embrace r
- Page 356 and 357: I^eine, thoughts, with which the sp
- Page 358 and 359: 8 ^eim. PHILOSOPHY AND REVOLUTION.
- Page 360 and 361: lo ijeine. which indeed is almost i
- Page 362 and 363: 12 ^tine. though the learning of it
- Page 364 and 365: 14 i$tmt. I always told thee I shou
- Page 366 and 367: 16 f^tint. THE COMING FRAY. The mus
- Page 368 and 369: 18 i^eine* VICTOR HUGO. Victor Hugo
- Page 370 and 371: 20 i^cine. Who twines in one wreath
- Page 372 and 373: 22 i$tmt. Plucks from His head the
- Page 374 and 375: 24 J^eine, SHAKESPEARE. Generous Na
- Page 376 and 377: 26 i^etne. CHRIST. Christ is the Go
- Page 378 and 379: 28 l^etne* THE DELIGHT OF LIVING. L
- Page 380 and 381: 30 f^tint. After her health we aske
^Fntroliuction.<br />
xliil<br />
people of genius, irresistibly impelled<br />
to try and express themselves in verse,<br />
launching out into a deep which destinyhas<br />
sown with so many rocks for<br />
thein, — the comfort of coming to a<br />
man of genius, who finds in verse his<br />
freest and most perfect expression,<br />
whose voyage over the deep of poetry<br />
destiny makes smooth! After the<br />
rhythm, to us, at any rate, with the<br />
German paste in our composition, so<br />
deeply unsatisfying, of —<br />
'• All! que me dites-vous, et que vous dit mon<br />
ame ?<br />
Que dit le ciel a I'aube et la flamme a la<br />
flamme? "<br />
what a blessing to arrive at rhythms<br />
like —<br />
" Take, oh, take those lips away.<br />
That so sweetly were forsworn —"<br />
or —<br />
" Siehst sehr sterbeblas.slieh aiis,<br />
Docli getrost! du hist zu Haus —"<br />
m which one's soul can take pleasure!<br />
The magic of Heine's poetical form is incomparable<br />
; he chiefly uses a form of old<br />
German popular poetry, a ballad-form<br />
which has more rapidity and grace than<br />
any ballad-form of ours ; he employs<br />
this form with the most exquisite lightness<br />
and ease, and yet it has at the<br />
same time the inborn fulness, pathos,<br />
and old-world charm of all true forms of