HEINRICH HEINE - Repositories
HEINRICH HEINE - Repositories HEINRICH HEINE - Repositories
Heinrich Heine fore it, seeing that no other can succeed it; the throne shall remain void forever, the royalty of the Heavens be abolished. Fate, in the form of Science, has decreed the extinction of the gods. Mary and her babe must join Venus and Love, Isis and Horns, living with them only in the world of art." ^ Thomson, a radical in religion and politics, admured in Heine the very qualities that more respectable writers were wont to decry or to explain away. He was dehghted by Heine's propaganda of atheism and brought extracts from the most audacious passages of the German poet to the attention of English readers. He found in Heine's Gods in Exile the model for his own Satires and Profanities. He paid tribute to the German hero because the latter was no ascetic spirituahst, no self-torturing eremite or hypochondriac monk but by nature a joyous heathen of richest blood, a Greek, a Persian, a lusty lover of this world, an enthusiastic apostle of the rehabilitation of the flesh. He translated many of Heine's lyrics for the Secularist during 1876 and 1877. These "attempts at translations," as he modestly called them, were reprinted in the same volume that contained his masterpiece, The City of Dreadful Night. Karl Marx described the versions of Thomson as "no translation but a re- [96]
Hellenist and Cultural Pessimist production of the original, such as Heine himself, if master of the English language, would have given."'' Stigand's Heine-biography of 1875 roused Thomson's resentment because of its cringing to Bumbledom, its overmuch reverence for the dehcacy of the English public, its Philistine interpretation of the splendid child of light. In contrast to Stigand, Thomson wished to write a book on Heine as the restless rebel, the fiery iconoclast, the tortured genius whose closest affinity was with SheUey and Leopardi. Death, in 1882, prevented the completion of the planned volume. From essays on Heine which appeared early in 1876, it is obvious that the English Laureate of Pessimism intended to emphasize the pessimistic Romancero-iptnod and to dwell on Heine's long agony in the weird borderland of Death-in-Life and Life-in-Death. Thomson's legend of Heine bore many autobiographic traits and his own troubled soul peered from sentences such as the following: "In all moods, tender, imaginative, fantastic, humorous, ironical, cynical; in anguish and horror; in weariness and revulsion; longing backwards to enjoyment, and longing forward to painless rest; through the doleful days and the dreadful immeasurable nights; this [97]
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Heinrich Heine<br />
fore it, seeing that no other can succeed it; the<br />
throne shall remain void forever, the royalty of<br />
the Heavens be abolished. Fate, in the form of Science,<br />
has decreed the extinction of the gods. Mary<br />
and her babe must join Venus and Love, Isis and<br />
Horns, living with them only in the world of art." ^<br />
Thomson, a radical in religion and politics, admured<br />
in Heine the very qualities that more respectable<br />
writers were wont to decry or to explain<br />
away. He was dehghted by Heine's propaganda of<br />
atheism and brought extracts from the most audacious<br />
passages of the German poet to the attention<br />
of English readers. He found in Heine's Gods in<br />
Exile the model for his own Satires and Profanities.<br />
He paid tribute to the German hero because the<br />
latter was no ascetic spirituahst, no self-torturing<br />
eremite or hypochondriac monk but by nature a<br />
joyous heathen of richest blood, a Greek, a Persian,<br />
a lusty lover of this world, an enthusiastic apostle<br />
of the rehabilitation of the flesh. He translated<br />
many of Heine's lyrics for the Secularist during<br />
1876 and 1877. These "attempts at translations,"<br />
as he modestly called them, were reprinted in the<br />
same volume that contained his masterpiece, The<br />
City of Dreadful Night. Karl Marx described the<br />
versions of Thomson as "no translation but a re-<br />
[96]