He lived the last 25 years of his life in exile in Paris.
A lot of Heine's writing is very simple, lucid prose that can be read by someone with only an intermediate knowledge of German--a good place to start is Die Harzreise ( Journey through the Harz mountains)
You know his "Ode to Joy" set to Beethoven's music most likely without knowing he was the author
For reasons of his ideas and of course because he was Jewish, the Hitler Youth were especially eager to burn all the works of Heine--and did-- the Nazis were so successful in stomping out the memory of Heine that many modern day Germans know nothing about him...more's the pity
Heinrich Heine
From Wikipedia, the free encyclopedia
For the German train route, see Heinrich Heine (train).
| Heinrich Heine | |
|---|---|
A painting of Heine, by Moritz Daniel Oppenheim
|
|
| Born | Harry Heine 13 December 1797 Düsseldorf |
| Died | 17 February 1856 (aged 58) Paris, France |
| Occupation | Poet, essayist, journalist, literary critic |
| Nationality | German |
| Alma mater | Bonn, Berlin, Göttingen |
| Literary movement | Romanticism |
| Notable work(s) | Buch der Lieder, Reisebilder, Germany. A Winter's Tale, Atta Troll, Romanzero |
| Relative(s) | Salomon Heine, Gustav Heine von Geldern |
Contents
Early life
Childhood and youth
Düsseldorf was then a small town with a population of around 16,000. The Revolution in neighbouring France and the subsequent Revolutionary and Napoleonic Wars which involved Germany meant that Düsseldorf had a complicated political history during Heine's childhood. It had been the capital of the Duchy of Jülich-Berg, but at the time of his birth it was under French occupation.[3] Then it went to the Elector of Bavaria before being ceded to Napoleon in 1806. Napoleon turned it into the capital of the Grand Duchy of Berg, one of three French states he established in Germany. It was first ruled by Joachim Murat, then by Napoleon himself.[4] In 1815, on Napoleon's downfall, it became part of Prussia. Heine's formative years were thus spent under French influence. The adult Heine would always be devoted to the French for introducing the Napoleonic Code and trial by jury. He glossed over the negative aspects of French rule in Berg: the heavy taxation, conscription and the economic depression brought on by the Continental Blockade (which may have ultimately contributed to Heine’s father’s bankruptcy).[5][6] Heine greatly admired Napoleon as the promoter of the revolutionary ideals of liberty and equality. Heine loathed the political atmosphere in Germany after Napoleon's defeat, which was marked by the conservative policies of the Austrian chancellor Metternich, who tried to reverse the effects of the French Revolution.[7]
Heine's parents were not particularly devout Jews. When he was a young child they sent him to a Jewish school where he learned a smattering of Hebrew. Thereafter he attended Catholic schools. Here he learned French, which would be his second language, although he always spoke it with a German accent. He also acquired a lifelong love for Rhineland folklore.[8]
In 1814 Heine went to a business school in Düsseldorf where he learned to read English, the commercial language of the time.[9] The most successful member of the Heine family was his uncle Salomon, who was a millionaire banker in Hamburg. In 1816 Heine moved to Hamburg to become an apprentice at Heckscher & Co, his uncle Salomon's bank, but he displayed little aptitude for business. 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 almost certainly had an unrequited love for his cousin Amalie, Salomon's daughter. Whether he then transferred his affections (equally unsuccessfully) to her sister Therese is unknown.[10] This period in Heine's life is not very clear, but it seems that his father Samson's business deteriorated and Samson Heine effectively became the ward of his brother Salomon.[11]
Universities
Salomon realised that his nephew had no talent for trade and it was decided that Heine should enter the law. So, in 1819, Heine went to the University of Bonn (then in Prussia). Political life in Germany was divided between conservatives and liberals. The conservatives, who were in power, 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 fall victim to revolutionary ideas. Most German states were absolutist monarchies with a censored press. The opponents of the conservatives, the liberals, wanted to replace absolutism with representative, constitutional government, equality before the law and a free press. At the University of Bonn, liberal students were at war with the conservative authorities. Heine was a radical liberal and one of the first things he did after his arrival was to take part in a parade which violated the Carlsbad Decrees, a series of measures introduced by Metternich to suppress liberal political activity.[12]Heine was more interested in studying history and literature than law. The university had engaged the famous literary critic and thinker August Wilhelm Schlegel as a lecturer and Heine heard him talk about the Nibelungenlied and Romanticism. Though he would later mock Schlegel, Heine found 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.[13]
After a year at Bonn, Heine left to continue his law studies at the University of Göttingen. Heine hated the town. It was part of Hanover, ruled by the King of England, the power Heine blamed for bringing Napoleon down. Here the poet experienced an aristocratic snobbery absent elsewhere. He also hated law as the Historical School of law he had to study was used to bolster the reactionary form of government he opposed. Other events conspired to make Heine loathe this period of his life: he was expelled from a student fraternity for anti-Semitic reasons and he heard the news that his cousin Amalie had become engaged. When Heine challenged another student, Wiebel, to a duel (the first of ten known incidents throughout his life), the authorities stepped in and Heine was suspended from the university for six months. His uncle now decided to send him to the University of Berlin.[14]
Another friend was the satirist Karl Immermann, who had praised Heine's first verse collection, Gedichte, when it appeared in December 1821.[16] During his time in Berlin Heine also joined the Verein für Cultur und Wissenschaft der Juden, a society which attempted to achieve a balance between the Jewish faith and modernity. Since Heine was not very religious in outlook he soon 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.[17]
In May 1823 Heine left Berlin for good and joined his family at their new home in Lüneburg. Here he began to write the poems of the cycle Die Heimkehr ("The Homecoming"). He returned to Göttingen where he was again bored by the law. In September 1824 he decided to take a break and set off on a trip through the Harz mountains. On his return he started writing an account of it, Die Harzreise.[18]
On 28 June 1825 Heine converted to Protestantism. The Prussian government 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 admission into European culture". In the event, Heine's conversion, which was reluctant, never brought him any benefits in his career.[19][20]
Julius Campe and first literary successes
Heine now had to search for a job. He was only really suited to writing but it was extremely difficult to be a professional writer in Germany. The market for literary works was small and it was only possible to make a living by writing virtually non-stop. Heine was incapable of doing this so he never had enough money to cover his expenses. Before finding work, Heine visited the North Sea resort of Norderney which inspired the free verse poems of his cycle Die Nordsee.[21]
The censorship in Hamburg was relatively lax but Campe had to worry about Prussia, the largest German state which had the largest market for books (it was estimated that one-third of the German readership was Prussian). Initially, any book which had passed the censor in a German state was able to be sold in any of the other states but in 1834 this loophole was closed. Campe was reluctant to publish uncensored books as he had bad experience of print runs being confiscated. Heine resisted all censorship. So this issue became a bone of contention between the two.[22] But the relationship between author and publisher started well: Campe published the first volume of Reisebilder ("Travel Pictures") in May 1826. This volume included Die Harzreise, which marked a new style of German travel-writing, mixing Romantic descriptions of Nature with satire. Heine's Buch der Lieder followed in 1827. This was a collection of already published poems. No one expected it would be one of the most popular books of German verse ever published and sales were slow to start with, picking up when composers began setting Heine's poems as Lieder.[23] For example the poem "Allnächtlich im Traume" of the Buch der Lieder was set to music by Robert Schumann as well as by Felix Mendelssohn. It contains the ironical disillusionment which is typical of Heine:
- Allnächtlich im Traume seh ich dich,
- Und sehe dich freundlich grüßen,
- Und lautaufweinend 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 see you in dreams-you speak,
- With kindliness sincerest,
- I throw myself, weeping aloud and weak
- At your sweet feet, my dearest.
- You look at me with wistful woe,
- And shake your golden curls;
- And stealing from your eyes there flow
- The teardrops like to pearls.
- You breathe in my ear a secret word,
- A garland of cypress for token.
- I wake; it is gone; the dream is blurred,
- And forgotten the word that was spoken.
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 so deeply stirred
By the setting sun
My Fräulein!, be gay,
This is an old play;
ahead of you it sets
And from behind it returns.
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 so deeply stirred
By the setting sun
My Fräulein!, be gay,
This is an old play;
ahead of you it sets
And from behind it returns.
Plant the black, red, gold banner at the summit of the German idea, make it the standard of free mankind, and I will shed my dear heart's blood for it. Rest assured, I love the Fatherland just as much as you do.
Travel and the Platen affair
The first volume of travel writings was such a success that Campe pressed Heine for another. Reisebilder II appeared in April 1827. It contains the second cycle of North Sea poems, a prose essay on the North Sea as well as a new work, Ideen: Das Buch Le Grand, which contains the following satire on German censorship:[25]
The German Censors —— —— —— —— ——
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—— —— —— —— —— —— —— —— —— ——
—— —— —— —— —— idiots —— ——
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[26]—— —— —— —— —— —— —— —— —— ——
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—— —— —— —— —— —— —— —— —— ——
—— —— —— —— —— —— —— —— —— ——
—— —— —— —— —— idiots —— ——
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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 £14,660 today), much to Salomon's chagrin. Heine was unimpressed by the English: he found them commercial and prosaic and still blamed them for the defeat of Napoleon.[27]
On his return to Germany, Cotta, the liberal publisher of Goethe and Schiller, offered Heine a job co-editing a magazine, Politische Annalen, in Munich. Heine did not find work on the newspaper congenial, and instead tried to obtain a professorship at Munich University, with no success.[28] After a few months he took a trip to northern Italy, visiting Lucca, Florence and Venice, but was forced to return 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").[29] Die Bäder von Lucca embroiled Heine in controversy. The aristocratic poet August von Platen had been annoyed by some epigrams by Immermann which Heine had included in the second volume of Reisebilder. He counter-attacked by writing a play, Die romantische Ödipus, which included anti-Semitic jibes about Heine. Heine was stung and responded by mocking Platen's homosexuality in Die Bäder von Lucca.[30]
Paris years
Foreign correspondent
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.[34]
In Paris, Heine earned money working as the French correspondent for one of Cotta's newspapers, the Allgemeine Zeitung. The first event he covered was the Salon of 1831. His articles were eventually collected in a volume entitled Französische Zustände ("Conditions in France").[35] Heine saw himself as a mediator between Germany and France. If the two countries understood one another there would be 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 two: Zur Geschichte der Religion und Philosophie in Deutschland ("On the History of Religion and Philosophy in Germany") and Die romantische Schule ("The Romantic School"). Heine was deliberately attacking Madame de Staël's 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 world. Heine thought that such an image suited the oppressive German authorities. He also had an Enlightenment view of the past, 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 material needs. According to Heine, pantheism had been repressed by Christianity and had survived in German folklore. He predicted that German thought would prove a more explosive force than the French Revolution.[36]
Young Germany and Ludwig Börne
Heine and his fellow radical exile in Paris, Ludwig Börne, had become the role models for a younger generation of writers who were given the name "Young Germany". They included Karl Gutzkow, Heinrich Laube, Theodor Mundt and Ludolf Wienbarg. They were liberal, but not actively political. Nevertheless, 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 marriage and some mildly erotic passages. In November of that year, 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, continued to comment on German politics and society from a distance. His publisher was able to find some ways of getting around the censors and he was still free, of course, to publish in France.[38][39]
Heine's relationship with his fellow 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 also a republican, while Heine was not. Heine regarded Börne, with his admiration for Robespierre, as 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 own, severely critical "memorial" of the man.
When the book was published in 1840 it was universally disliked by the radicals and served to alienate Heine from his public. Even his enemies admitted that Börne was a man of integrity so Heine's ad 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. Before fighting, he decided to safeguard Mathilde's future in the event of his death by marrying her.[40]
Political poetry and Karl Marx
In 1840 German poetry took a more directly political turn when the new Frederick William IV ascended the Prussian throne. Initially it was thought he might be a "popular monarch" and during this honeymoon period 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 (the author of "Deutschland Über Alles"), 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 too.Heine's mode was satirical attack: against 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 German people; and against the greed and cruelty of the ruling class. The most popular of Heine's political poems was his least typical, Die schlesischen Weber ("The Silesian Weavers"), based on the uprising of weavers in Peterswaldau in 1844.[42][43]
In the isolation he felt after the Börne debacle, Marx's friendship came as a relief to Heine, since he did not really like the other radicals. On the other hand, he did not share Marx's faith in the industrial proletariat and remained on the fringes of socialist circles. The Prussian government, angry at the publication of Vorwärts, put pressure on France to deal with its authors and in January 1845 Marx was deported to Belgium. Heine could not be expelled from the country because he had the right of residence in France, having been born under French occupation.[44] Thereafter Heine and Marx maintained a sporadic correspondence, but in time their admiration for one another faded.[45][46] Heine always had mixed feelings about 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 year 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 by no means is a mask! Indeed, with fear and terror I imagine the time, when those dark iconoclasts come to power: with their raw fists they will batter all marble images of my beloved world of art, they will ruin all those fantastic anecdotes that the poets loved so much, they will chop down my Laurel forests and plant potatoes and, oh!, the herbs chandler will use my Book of Songs to make bags for coffee and snuff for the old women of the future – oh!, I can foresee all this and I feel deeply sorry thinking of this decline threatening my poetry and the old world order - And yet, I freely confess, the same thoughts have a magical appeal upon my soul which I cannot resist .... In my chest there are two voices in their favour which cannot be silenced .... because the first one is that of logic ... and as I cannot object to the premise "that all people have 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 voice of hatred, the hatred I dedicate to this common enemy that constitutes the most distinctive contrast to communism and that will oppose the angry giant already at the first instance – I am talking about the party of the so-called advocates of nationality in Germany, about those false patriots whose love 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 France".[47]
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 rest of her life after Heine's death. Heine repeated the trip with his wife in July–October 1844 to see Uncle Salomon, but this time things did not go so well. It was the last time Heine would ever leave France.[48] At the time, Heine was working on two linked but antithetical poems with Shakespearean titles: Deutschland: Ein Wintermärchen ("Germany. A Winter's Tale") and Atta Troll: Ein Sommernachtstraum ("Atta Troll: A Midsummer Night's Dream"). The former is based on his journey to Germany in late 1843 and outdoes the radical poets in its satirical attacks on the political situation in the country.[49] Atta Troll (actually begun in 1841 after a trip to the Pyrenees) mocks the literary failings Heine saw in the radical poets, particularly Freiligrath. It tells the story of the hunt 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 believer's image (Atta Troll conceives God as an enormous, heavenly polar bear). Atta Troll's cubs embody the nationalistic views Heine loathed.[50]
Atta Troll was not published until 1847, but Deutschland appeared in 1844 as part of a collection Neue Gedichte ("New Poems"), which gathered all the verse Heine had written since 1831.[51] In the same year Uncle Salomon died. This put a stop to Heine's annual subsidy of 4,800 francs. Salomon left Heine and his brothers 8,000 francs each in his will. Heine's cousin Carl, the inheritor of Salomon's business, offered to pay him 2,000 francs a year at his discretion. Heine was furious; he had expected much more from the will and his campaign to make Carl revise its terms occupied him for the next two years.[52]
In 1844, Heine wrote series of musical feuilletons over several different music seasons discussing the music of the day. His review of the musical season of 1844, written in Paris on April 25, 1844, is his first reference to Lisztomania, the intense fan frenzy directed toward Franz Liszt during his performances. However, Heine was not always honorable in his musical criticism. In April 1844 he wrote to Liszt suggesting that he might like to look at a newspaper review he had written of Liszt's performance before his concert; he indicated that that it contained comments Liszt would not like. Liszt took this as an attempt to extort money for a positive review and did not meet Heine. Heine's review subsequently appeared on April 25 in Musikalische Berichte aus Paris and attributed Liszt's success to lavish expenditures on bouquets and to the wild behaviour of his hysterical female "fans." Liszt then broke relations with Heine. Liszt was not the only musician to be blackmailed by Heine for the nonpayment of "appreciation money." Meyerbeer had both lent and given money to Heine, but after refusing to hand over a further 500 francs was repaid by being dubbed "a music corrupter" in Heine's poem Die Menge tut es.[53]
Last years: the "mattress-grave"
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.[59] During these final years Heine had a love affair with the young Camille Selden, who visited him regularly.[60] He died on 17 February 1856 and was interred in the Paris Cimetière de Montmartre. His wife Mathilde survived him, dying in 1883. The couple had no children.[61]
Legacy
| "The highest conception of the lyric poet was given to me by 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 day be said that Heine and I have been by far the first artists of the German language." — Friedrich Nietzsche, Ecce Homo[62] |
In 1834, 99 years before Adolf Hitler and the Nazi Party seized power in Germany, Heine wrote in his work "The History of Religion and Philosophy in Germany":
- "Christianity - and that is its greatest merit - has somewhat
mitigated that brutal Germanic love of war, but it could not destroy it.
Should that subduing talisman, the cross, be shattered, the frenzied
madness of the ancient warriors, that insane Berserk rage of which
Nordic bards have spoken and sung so often, will once more burst into
flame. This talisman is fragile, and the day will come when it will
collapse miserably. Then the ancient stony gods will rise from the
forgotten debris and rub the dust of a thousand years from their eyes,
and finally Thor with his giant hammer will jump up and smash the Gothic cathedrals. (...)
"Do not smile at my advice -- the advice of a dreamer who warns you against Kantians, Fichteans, and philosophers of nature. Do not smile at the visionary who anticipates the same revolution in the realm of the visible as has taken place in the spiritual. Thought precedes action as lightning precedes thunder. German thunder is of true Germanic character; it is not very nimble, but rumbles along ponderously. Yet, it will come and when you hear a crashing such as never before has been heard in the world's history, then you know that the German thunderbolt has fallen at last. At that uproar the eagles of the air will drop dead, and lions in the remotest deserts of Africa will hide in their royal dens. A play will be performed in Germany which will make the French Revolution look like an innocent idyll."
Music
Many composers have set Heine's works to music. They include Robert Schumann (especially his Lieder cycle Dichterliebe), Friedrich Silcher (who wrote a popular setting of "Die Lorelei", one of Heine's best known poems), Franz Schubert, Felix Mendelssohn, Fanny Mendelssohn, Johannes Brahms, Hugo Wolf, Richard Strauss, Pyotr Ilyich Tchaikovsky, Edward MacDowell, Clara Schumann and Richard Wagner; and in the 20th century Nikolai Medtner, Hans Werner Henze, Carl Orff, Lord Berners, Paul Lincke, Yehezkel Braun, Marcel Tyberg[63] and Friedrich Baumfelder (who wrote another setting of "Die Lorelei", as well as "Die blauen Frühlingsaugen" and "Wir wuchsen in demselben Thal" in his Zwei Lieder).Heine's play William Ratcliff was used for the libretti of operas by César Cui (William Ratcliff) and Pietro Mascagni (Guglielmo Ratcliff). Frank van der Stucken composed a "symphonic prologue" to the same play.
Controversy
In Israel, the attitude to Heine has long been the subject of debate between secularists, who number him among the most 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 city 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.
Ha'ir (a left-leaning Tel-Aviv magazine) sarcastically suggested that "The Exiling of Heine Street" symbolically re-enacted the course of Heine's own life. Since then, a street in the Yemin Moshe neighborhood of Jerusalem and a community center in Haifa have been named after Heine. A Heine Appreciation Society is active in Israel, led by prominent political figures from both the left and right camps. His quote about burning books is prominently displayed in the Yad Vashem Holocaust museum in Jerusalem. (It is also displayed in the United States Holocaust Memorial Museum).
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Heine monument in Düsseldorf
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Heine monument in Frankfurt, the only pre-1945 one in Germany
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Heine monument in Berlin
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Grave in Montmartre Paris
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Grave and poem "Wo ?"
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1956 German stamp commemorating the 100th anniversary of Heine's death (Federal Republic of Germany)
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1956 Soviet stamp commemorating the 100th anniversary of Heine's death
Works
A list of Heine's major publications in German. All dates are taken from Jeffrey L. Sammons: Heinrich Heine: A Modern Biography (Princeton University Press, 1979).- 1820 (August): Die Romantik ("Romanticism", short critical essay)
- 1821 (20 December [66]): 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:
- Almansor (play, written 1821-1822)
- William Ratcliff (play, written January 1822)
- Lyrisches Intermezzo (cycle of poems)
- 1826 (May): Reisebilder. Erster Teil ("Travel Pictures I"), contains:
- Die Harzreise ("The Harz Journey", prose travel work)
- Die Heimkehr ("The Homecoming", poems)
- Die Nordsee. Erste Abteilung ("North Sea I", cycle of poems)
- 1827 (April): Reisebilder. Zweiter Teil ("Travel Pictures II"), contains:
- Die Nordsee. Zweite Abteilung ("The North Sea II", cycle of poems)
- Die Nordsee. Dritte Abteilung ("The North Sea III", prose essay)
- Ideen: das Buch le Grand ("Ideas: The Book of Le Grand")
- Briefe aus Berlin ("Letters from Berlin", a much shortened and revised version of the 1822 work)
- 1827 (October): Buch der Lieder ("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)
- Die Nordsee ("The North Sea: 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)
- Die Bäder von Lucca ("The Baths of Lucca", prose travel work)
- Anno 1829
- 1831 (January): Nachträge zu den Reisebildern ("Supplements to the Travel Pictures"), the second edition of 1833 was retitled as Reisebilder. Vierter Teil ("Travel Pictures IV"), contains:
- Die Stadt Lucca ("The Town of Lucca", prose travel work)
- Englische Fragmente ("English Fragments", travel writings)
- 1831 (April): Zu "Kahldorf über den Adel" (introduction to the book "Kahldorf on the Nobility", uncensored version not 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 Deutschland ("On the History of Religion and Philosophy in Germany")
- Neuer Frühling ("New Spring", cycle of poems)
- 1835 (November): Die romantische Schule ("The Romantic School", criticism)
- 1837 (July): Der Salon. Dritter Teil ("The Salon III"), 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 School)
- 1838 (October): Shakespeares Mädchen und Frauen ("Shakespeare's Girls and Women", essays on the female characters Shakespeare's tragedies and histories)
- 1839: Anno 1839
- 1840 (August): Ludwig Börne. Eine Denkschrift ("Ludwig Börne: A Memorial", long prose work about the writer 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 Spring", originally published in 1834)
- Verschiedene ("Sundry Women")
- Romanzen ("Ballads")
- Zur Ollea ("Olio")
- Zeitgedichte ("Poems for the Times")
- it also includes Deutschland: Ein Wintermärchen ("Germany: A Winter's 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 three books:
- Erstes Buch: Historien ("First Book: Histories")
- Zweites Buch: Lamentationen ("Second Book: Lamentations")
- Drittes Buch: Hebräische Melodien ("Third Book: Hebrew Melodies")
- 1851 (October): Der Doktor Faust. Tanzpoem ("Doctor Faust. Dance Poem", ballet libretto, written 1846)
- 1854 (October): Vermischte Schriften ("Miscellaneous Writings") in three volumes, contains:
- Volume 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 about France)
- Volume Three:
- Lutezia. Zweiter Teil ("Lutetia II", collected journalism about France)
- Volume One:
Posthumous publications
- Memoiren ("Memoirs", first published in 1884 in the magazine Die Gartenlaube)
Editions in English
- The Complete Poems of Heinrich Heine: A Modern English Version by Hal Draper, Suhrkamp/Insel Publishers Boston, 1982. ISBN 3-518-03048-5
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