The Essays of "George Eliot" Part 5

His sketch of Hegel is irresistibly amusing; but we must warn the reader that Heine's anecdotes are often mere devices of style by which he conveys his satire or opinions. The reader will see that he does not neglect an opportunity of giving a sarcastic lash or two, in pa.s.sing, to Meyerbeer, for whose music he has a great contempt. The sarcasm conveyed in the subst.i.tution of _reputation_ for _music_ and _journalists_ for _musicians_, might perhaps escape any one unfamiliar with the sly and unexpected turns of Heine's ridicule.

"To speak frankly, I seldom understood him, and only arrived at the meaning of his words by subsequent reflection. I believe he wished not to be understood; and hence his practice of sprinkling his discourse with modifying parentheses; hence, perhaps, his preference for persons of whom he knew that they did not understand him, and to whom he all the more willingly granted the honor of his familiar acquaintance. Thus every one in Berlin wondered at the intimate companions.h.i.+p of the profound Hegel with the late Heinrich Beer, a brother of Giacomo Meyerbeer, who is universally known by his reputation, and who has been celebrated by the cleverest journalists.

This Beer, namely Heinrich, was a thoroughly stupid fellow, and indeed was afterward actually declared imbecile by his family, and placed under guardians.h.i.+p, because instead of making a name for himself in art or in science by means of his great fortune, he squandered his money on childish trifles; and, for example, one day bought six thousand thalers' worth of walking-sticks. This poor man, who had no wish to pa.s.s either for a great tragic dramatist, or for a great star-gazer, or for a laurel-crowned musical genius, a rival of Mozart and Rossini, and preferred giving his money for walking-sticks-this degenerate Beer enjoyed Hegel's most confidential society; he was the philosopher's bosom friend, his Pylades, and accompanied him everywhere like his shadow. The equally witty and gifted Felix Mendelssohn once sought to explain this phenomenon, by maintaining that Hegel did not understand Heinrich Beer. I now believe, however, that the real ground of that intimacy consisted in this-Hegel was convinced that no word of what he said was understood by Heinrich Beer; and he could therefore, in his presence, give himself up to all the intellectual outpourings of the moment. In general, Hegel's conversation was a sort of monologue, sighed forth by starts in a noiseless voice; the odd roughness of his expressions often struck me, and many of them have remained in my memory. One beautiful starlight evening we stood together at the window, and I, a young man of one-and-twenty, having just had a good dinner and finished my coffee, spoke with enthusiasm of the stars, and called them the habitations of the departed. But the master muttered to himself, 'The stars! hum! hum! The stars are only a brilliant leprosy on the face of the heavens.' 'For G.o.d's sake,' I cried, 'is there, then, no happy place above, where virtue is rewarded after death?' But he, staring at me with his pale eyes, said, cuttingly, 'So you want a bonus for having taken care of your sick mother, and refrained from poisoning your worthy brother?' At these words he looked anxiously round, but appeared immediately set at rest when he observed that it was only Heinrich Beer, who had approached to invite him to a game at whist."

In 1823 Heine returned to Gottingen to complete his career as a law-student, and this time he gave evidence of advanced mental maturity, not only by producing many of the charming poems subsequently included in the "Reisebilder," but also by prosecuting his professional studies diligently enough to leave Gottingen, in 1825, as _Doctor juris_.

Hereupon he settled at Hamburg as an advocate, but his profession seems to have been the least pressing of his occupations. In those days a small blonde young man, with the brim of his hat drawn over his nose, his coat flying open, and his hands stuck in his trousers pockets, might be seen stumbling along the streets of Hamburg, staring from side to side, and appearing to have small regard to the figure he made in the eyes of the good citizens. Occasionally an inhabitant more literary than usual would point out this young man to his companion as _Heinrich Heine_; but in general the young poet had not to endure the inconveniences of being a lion. His poems were devoured, but he was not asked to devour flattery in return. Whether because the fair Hamburgers acted in the spirit of Johnson's advice to Hannah More-to "consider what her flattery was worth before she choked him with it"-or for some other reason, Heine, according to the testimony of August Lewald, to whom we owe these particulars of his Hamburg life, was left free from the persecution of tea-parties.

Not, however, from another persecution of Genius-nervous headaches, which some persons, we are told, regarded as an improbable fiction, intended as a pretext for raising a delicate white hand to his forehead. It is probable that the sceptical persons alluded to were themselves untroubled with nervous headaches, and that their hands were _not_ delicate. Slight details, these, but worth telling about a man of genius, because they help us to keep in mind that he is, after all, our brother, having to endure the petty every-day ills of life as we have; with this difference, that his heightened sensibility converts what are mere insect stings for us into scorpion stings for him.

It was, perhaps, in these Hamburg days that Heine paid the visit to Goethe, of which he gives us this charming little picture:

"When I visited him in Weimar, and stood before him, I involuntarily glanced at his side to see whether the eagle was not there with the lightning in his beak. I was nearly speaking Greek to him; but, as I observed that he understood German, I stated to him in German that the plums on the road between Jena and Weimar were very good. I had for so many long winter nights thought over what lofty and profound things I would say to Goethe, if ever I saw him. And when I saw him at last, I said to him, that the Saxon plums were very good! And Goethe smiled."

During the next few years Heine produced the most popular of all his works-those which have won him his place as the greatest of living German poets and humorists. Between 1826 and 1829 appeared the four volumes of the "Reisebilder" (Pictures of Travel) and the "Buch der Lieder" (Book of Songs), a volume of lyrics, of which it is hard to say whether their greatest charm is the lightness and finish of their style, their vivid and original imaginativeness, or their simple, pure sensibility. In his "Reisebilder" Heine carries us with him to the Hartz, to the isle of Norderney, to his native town Dusseldorf, to Italy, and to England, sketching scenery and character, now with the wildest, most fantastic humor, now with the finest idyllic sensibility-letting his thoughts wander from poetry to politics, from criticism to dreamy reverie, and blending fun, imagination, reflection, and satire in a sort of exquisite, ever-varying s.h.i.+mmer, like the hues of the opal.

Heine's journey to England did not at all heighten his regard for the English. He calls our language the "hiss of egoism (_Zischlaute des Egoismus_); and his ridicule of English awkwardness is as merciless as-English ridicule of German awkwardness. His antipathy toward us seems to have grown in intensity, like many of his other antipathies; and in his "Vermischte Schriften" he is more bitter than ever. Let us quote one of his philippics, since bitters are understood to be wholesome:

"It is certainly a frightful injustice to p.r.o.nounce sentence of condemnation on an entire people. But with regard to the English, momentary disgust might betray me into this injustice; and on looking at the ma.s.s I easily forget the many brave and n.o.ble men who distinguished themselves by intellect and love of freedom. But these, especially the British poets, were always all the more glaringly in contrast with the rest of the nation; they were isolated martyrs to their national relations; and, besides, great geniuses do not belong to the particular land of their birth: they scarcely belong to this earth, the Golgotha of their sufferings. The ma.s.s-the English blockheads, G.o.d forgive me!-are hateful to me in my inmost soul; and I often regard them not at all as my fellow-men, but as miserable automata-machines, whose motive power is egoism. In these moods, it seems to me as if I heard the whizzing wheelwork by which they think, feel, reckon, digest, and pray: their praying, their mechanical Anglican church-going, with the gilt Prayer-book under their arms, their stupid, tiresome Sunday, their awkward piety, is most of all odious to me. I am firmly convinced that a blaspheming Frenchman is a more pleasing sight for the Divinity than a praying Englishman."

On his return from England Heine was employed at Munich in editing the _Allgemeinen Politischen Annalen_, but in 1830 he was again in the north, and the news of the July Revolution surprised him on the island of Heligoland. He has given us a graphic picture of his democratic enthusiasm in those days in some letters, apparently written from Heligoland, which he has inserted in his book on Borne. We quote some pa.s.sages, not only for their biographic interest as showing a phase of Heine's mental history, but because they are a specimen of his power in that kind of dithyrambic writing which, in less masterly hands, easily becomes ridiculous:

"The thick packet of newspapers arrived from the Continent with these warm, glowing-hot tidings. They were sunbeams wrapped up in packing-paper, and they inflamed my soul till it burst into the wildest conflagration. . . . It is all like a dream to me; especially the name Lafayette sounds to me like a legend out of my earliest childhood. Does he really sit again on horseback, commanding the National Guard? I almost fear it may not be true, for it is in print. I will myself go to Paris, to be convinced of it with my bodily eyes. . . . It must be splendid, when he rides through the street, the citizen of two worlds, the G.o.dlike old man, with his silver locks streaming down his sacred shoulder. . . . He greets, with his dear old eyes, the grandchildren of those who once fought with him for freedom and equality. . . . It is now sixty years since he returned from America with the Declaration of Human Rights, the decalogue of the world's new creed, which was revealed to him amid the thunders and lightnings of cannon. . . . And the tricolored flag waves again on the towers of Paris, and its streets resound with the Ma.r.s.eillaise! . . . It is all over with my yearning for repose. I now know again what I will do, what I ought to do, what I must do. .

. . I am the son of the Revolution, and seize again the hallowed weapons on which my mother p.r.o.nounced her magic benediction. . . .

Flowers! flowers! I will crown my head for the death-fight. And the lyre too, reach me the lyre, that I may sing a battle-song. . . .

Words like flaming stars, that shoot down from the heavens, and burn up the palaces, and illuminate the huts. . . . Words like bright javelins, that whirr up to the seventh heaven and strike the pious hypocrites who have skulked into the Holy of Holies. . . . I am all joy and song, all sword and flame! Perhaps, too, all delirium. . . .

One of those sunbeams wrapped in brown paper has flown to my brain, and set my thoughts aglow. In vain I dip my head into the sea. No water extinguishes this Greek fire: . . . Even the poor Heligolanders shout for joy, although they have only a sort of dim instinct of what has occurred. The fisherman who yesterday took me over to the little sand island, which is the bathing-place here, said to me smilingly, 'The poor people have won!' Yes; instinctively the people comprehend such events, perhaps, better than we, with all our means of knowledge. Thus Frau von Varnhagen once told me that when the issue of the Battle of Leipzig was not yet known, the maid-servant suddenly rushed into the room with the sorrowful cry, 'The n.o.bles have won!' .

. . This morning another packet of newspapers is come, I devour them like manna. Child that I am, affecting details touch me yet more than the momentous whole. Oh, if I could but see the dog Medor. . .

. The dog Medor brought his master his gun and cartridge-box, and when his master fell, and was buried with his fellow-heroes in the Court of the Louvre, there stayed the poor dog like a monument of faithfulness, sitting motionless on the grave, day and night, eating but little of the food that was offered him-burying the greater part of it in the earth, perhaps as nourishment for his buried master!"

The enthusiasm which was kept thus at boiling heat by imagination, cooled down rapidly when brought into contact with reality. In the same book be indicates, in his caustic way, the commencement of that change in his political _temperature_-for it cannot be called a change in opinion-which has drawn down on him immense vituperation from some of the patriotic party, but which seems to have resulted simply from the essential antagonism between keen wit and fanaticism.

"On the very first days of my arrival in Paris I observed that things wore, in reality, quite different colors from those which had been shed on them, when in perspective, by the light of my enthusiasm.

The silver locks which I saw fluttering so majestically on the shoulders of Lafayette, the hero of two worlds, were metamorphosed into a brown perruque, which made a pitiable covering for a narrow skull. And even the dog Medor, which I visited in the Court of the Louvre, and which, encamped under tricolored flags and trophies, very quietly allowed himself to be fed-he was not at all the right dog, but quite an ordinary brute, who a.s.sumed to himself merits not his own, as often happens with the French; and, like many others, he made a profit out of the glory of the Revolution. . . . He was pampered and patronized, perhaps promoted to the highest posts, while the true Medor, some days after the battle, modestly slunk out of sight, like the true people who created the Revolution."

That it was not merely interest in French politics which sent Heine to Paris in 1831, but also a perception that German air was not friendly to sympathizers in July revolutions, is humorously intimated in the "Gestandnisse."

"I had done much and suffered much, and when the sun of the July Revolution arose in France, I had become very weary, and needed some recreation. Also, my native air was every day more unhealthy for me, and it was time I should seriously think of a change of climate. I had visions: the clouds terrified me, and made all sorts of ugly faces at me. It often seemed to me as if the sun were a Prussian c.o.c.kade; at night I dreamed of a hideous black eagle, which gnawed my liver; and I was very melancholy. Add to this, I had become acquainted with an old Berlin Justizrath, who had spent many years in the fortress of Spandau, and he related to me how unpleasant it is when one is obliged to wear irons in winter. For myself I thought it very unchristian that the irons were not warmed a trifle. If the irons were warmed a little for us they would not make so unpleasant an impression, and even chilly natures might then bear them very well; it would be only proper consideration, too, if the fetters were perfumed with essence of roses and laurels, as is the case in this country (France). I asked my Justizrath whether he often got oysters to eat at Spandau? He said, No; Spandau was too far from the sea.

Moreover, he said meat was very scarce there, and there was no kind of _volaille_ except flies, which fell into one's soup. . . . Now, as I really needed some recreation, and as Spandau is too far from the sea for oysters to be got there, and the Spandau fly-soup did not seem very appetizing to me, as, besides all this, the Prussian chains are very cold in winter, and could not be conducive to my health, I resolved to visit Paris."

Since this time Paris has been Heine's home, and his best prose works have been written either to inform the Germans on French affairs or to inform the French on German philosophy and literature. He became a correspondent of the _Allgemeine Zeitung_, and his correspondence, which extends, with an interruption of several years, from 1831 to 1844, forms the volume ent.i.tled "Franzosische Zustande" (French Affairs), and the second and third volume of his "Vermischte Schriften." It is a witty and often wise commentary on public men and public events: Louis Philippe, Casimir Perier, Thiers, Guizot, Rothschild, the Catholic party, the Socialist party, have their turn of satire and appreciation, for Heine deals out both with an impartiality which made his less favorable critics-Borne, for example-charge him with the rather incompatible sins of reckless caprice and venality. Literature and art alternate with politics: we have now a sketch of George Sand or a description of one of Horace Vernet's pictures; now a criticism of Victor Hugo or of Liszt; now an irresistible caricature of Spontini or Kalkbrenner; and occasionally the predominant satire is relieved by a fine saying or a genial word of admiration. And all is done with that airy lightness, yet precision of touch, which distinguishes Heine beyond any living writer. The charge of venality was loudly made against Heine in Germany: first, it was said that he was paid to write; then, that he was paid to abstain from writing; and the accusations were supposed to have an irrefragable basis in the fact that he accepted a stipend from the French government. He has never attempted to conceal the reception of that stipend, and we think his statement (in the "Vermischte Schriften") of the circ.u.mstances under which it was offered and received, is a sufficient vindication of himself and M. Guizot from any dishonor in the matter.

It may be readily imagined that Heine, with so large a share of the Gallic element as he has in his composition, was soon at his ease in Parisian society, and the years here were bright with intellectual activity and social enjoyment. "His wit," wrote August Lewald, "is a perpetual gus.h.i.+ng fountain; he throws off the most delicious descriptions with amazing facility, and sketches the most comic characters in conversations." Such a man could not be neglected in Paris, and Heine was sought on all sides-as a guest in distinguished salons, as a possible proselyte in the circle of the Saint Simonians. His literary productiveness seems to have been furthered by his congenial life, which, however, was soon to some extent embittered by the sense of exile; for since 1835 both his works and his person have been the object of denunciation by the German governments. Between 1833 and 1845 appeared the four volumes of the "Salon," "Die Romantische Schule" (both written, in the first instance, in French), the book on Borne, "Atta Troll," a romantic poem, "Deutschland," an exquisitely humorous poem, describing his last visit to Germany, and containing some grand pa.s.sages of serious writing; and the "Neue Gedichte," a collection of lyrical poems. Among the most interesting of his prose works are the second volume of the "Salon," which contains a survey of religion and philosophy in Germany, and the "Romantische Schule," a delightful introduction to that phase of German literature known as the Romantic school. The book on Borne, which appeared in 1840, two years after the death of that writer, excited great indignation in Germany, as a wreaking of vengeance on the dead, an insult to the memory of a man who had worked and suffered in the cause of freedom-a cause which was Heine's own. Borne, we may observe parenthetically for the information of those who are not familiar with recent German literature, was a remarkable political writer of the ultra-liberal party in Germany, who resided in Paris at the same time with Heine: a man of stern, uncompromising partisans.h.i.+p and bitter humor.

Without justifying Heine's production of this book, we see excuses for him which should temper the condemnation pa.s.sed on it. There was a radical opposition of nature between him and Borne; to use his own distinction, Heine is a h.e.l.lene-sensuous, realistic, exquisitely alive to the beautiful; while Borne was a Nazarene-ascetic, spiritualistic, despising the pure artist as dest.i.tute of earnestness. Heine has too keen a perception of practical absurdities and damaging exaggerations ever to become a thoroughgoing partisan; and with a love of freedom, a faith in the ultimate triumph of democratic principles, of which we see no just reason to doubt the genuineness and consistency, he has been unable to satisfy more zealous and one-sided liberals by giving his adhesion to their views and measures, or by adopting a denunciatory tone against those in the opposite ranks. Borne could not forgive what he regarded as Heine's epicurean indifference and artistic dalliance, and he at length gave vent to his antipathy in savage attacks on him through the press, accusing him of utterly lacking character and principle, and even of writing under the influence of venal motives. To these attacks Heine remained absolutely mute-from contempt according to his own account; but the retort, which he resolutely refrained from making during Borne's life, comes in this volume published after his death with the concentrated force of long-gathering thunder. The utterly inexcusable part of the book is the caricature of Borne's friend, Madame Wohl, and the scurrilous insinuations concerning Borne's domestic life. It is said, we know not with how much truth, that Heine had to answer for these in a duel with Madame Wohl's husband, and that, after receiving a serious wound, he promised to withdraw the offensive matter from a future edition. That edition, however, has not been called for. Whatever else we may think of the book, it is impossible to deny its transcendent talent-the dramatic vigor with which Borne is made present to us, the critical ac.u.men with which he is characterized, and the wonderful play of wit, pathos, and thought which runs through the whole. But we will let Heine speak for himself, and first we will give part of his graphic description of the way in which Borne's mind and manners grated on his taste:

"To the disgust which, in intercourse with Borne, I was in danger of feeling toward those who surrounded him, was added the annoyance I felt from his perpetual talk about politics. Nothing but political argument, and again political argument, even at table, where he managed to hunt me out. At dinner, when I so gladly forget all the vexations of the world, he spoiled the best dishes for me by his patriotic gall, which he poured as a bitter sauce over everything.

Calf's feet, _a la maitre d'hotel_, then my innocent _bonne bouche_, he completely spoiled for me by Job's tidings from Germany, which he sc.r.a.ped together out of the most unreliable newspapers. And then his accursed remarks, which spoiled one's appet.i.te! . . . This was a sort of table-talk which did not greatly exhilarate me, and I avenged myself by affecting an excessive, almost impa.s.sioned indifference for the object of Borne's enthusiasm. For example, Borne was indignant that immediately on my arrival in Paris I had nothing better to do than to write for German papers a long account of the Exhibition of Pictures. I omit all discussion as to whether that interest in Art which induced me to undertake this work was so utterly irreconcilable with the revolutionary interests of the day; but Borne saw in it a proof of my indifference toward the sacred cause of humanity, and I could in my turn spoil the taste of his patriotic _sauerkraut_ for him by talking all dinner-time of nothing but pictures, of Robert's 'Reapers,' Horace Vernet's 'Judith,' and Scheffer's 'Faust.' . . .

That I never thought it worth while to discuss my political principles with him it is needless to say; and once when he declared that he had found a contradiction in my writings, I satisfied myself with the ironical answer, 'You are mistaken, _mon cher_; such contradictions never occur in my works, for always before I begin to write, I read over the statement of my political principles in my previous writings, that I may not contradict myself, and that no one may be able to reproach me with apostasy from my liberal principles.'"

And here is his own account of the spirit in which the book was written:

"I was never Borne's friend, nor was I ever his enemy. The displeasure which he could often excite in me was never very important, and he atoned for it sufficiently by the cold silence which I opposed to all his accusations and raillery. While he lived I wrote not a line against him, I never thought about him, I ignored him completely; and that enraged him beyond measure. If I now speak of him, I do so neither out of enthusiasm nor out of uneasiness; I am conscious of the coolest impartiality. I write here neither an apology nor a critique, and as in painting the man I go on my own observation, the image I present of him ought perhaps to be regarded as a real portrait. And such a monument is due to him-to the great wrestler who, in the arena of our political games, wrestled so courageously, and earned, if not the laurel, certainly the crown of oak leaves. I give an image with his true features, without idealization-the more like him the more honorable for his memory. He was neither a genius nor a hero; he was no Olympian G.o.d. He was a man, a denizen of this earth; he was a good writer and a great patriot. . . . Beautiful, delicious peace, which I feel at this moment in the depths of my soul! Thou rewardest me sufficiently for everything I have done and for everything I have despised. . . . I shall defend myself neither from the reproach of indifference nor from the suspicion of venality. I have for years, during the life of the insinuator, held such self-justification unworthy of me; now even decency demands silence. That would be a frightful spectacle!-polemics between Death and Exile! Dost thou stretch out to me a beseeching hand from the grave? Without rancor I reach mine toward thee. . . . See how n.o.ble it is and pure! It was never soiled by pressing the hands of the mob, any more than by the impure gold of the people's enemy. In reality thou hast never injured me. . . . In all thy insinuations there is not a _louis d'or's_ worth of truth."

In one of these years Heine was married, and, in deference to the sentiments of his wife, married according to the rites of the Catholic Church. On this fact busy rumor afterward founded the story of his conversion to Catholicism, and could of course name the day and spot on which he abjured Protestanism. In his "Gestandnisse" Heine publishes a denial of this rumor; less, he says, for the sake of depriving the Catholics of the solace they may derive from their belief in a new convert, than in order to cut off from another party the more spiteful satisfaction of bewailing his instability:

"That statement of time and place was entirely correct. I was actually on the specified day in the specified church, which was, moreover, a Jesuit church, namely, St. Sulpice; and I then went through a religious act. But this act was no odious abjuration, but a very innocent conjugation; that is to say, my marriage, already performed, according to the civil law there received the ecclesiastical consecration, because my wife, whose family are staunch Catholics, would not have thought her marriage sacred enough without such a ceremony. And I would on no account cause this beloved being any uneasiness or disturbance in her religious views."

For sixteen years-from 1831 to 1847-Heine lived that rapid concentrated life which is known only in Paris; but then, alas! stole on the "days of darkness," and they were to be many. In 1847 he felt the approach of the terrible spinal disease which has for seven years chained him to his bed in acute suffering. The last time he went out of doors, he tells us, was in May, 1848:

"With difficulty I dragged myself to the Louvre, and I almost sank down as I entered the magnificent hall where the ever-blessed G.o.ddess of beauty, our beloved Lady of Milo, stands on her pedestal. At her feet I lay long, and wept so bitterly that a stone must have pitied me. The G.o.ddess looked compa.s.sionately on me, but at the same time disconsolately, as if she would say, Dost thou not see, then, that I have no arms, and thus cannot help thee?"

Since 1848, then, this poet, whom the lovely objects of Nature have always "haunted like a pa.s.sion," has not descended from the second story of a Parisian house; this man of hungry intellect has been shut out from all direct observation of life, all contact with society, except such as is derived from visitors to his sick-room. The terrible nervous disease has affected his eyes; the sight of one is utterly gone, and he can only raise the lid of the other by lifting it with his finger. Opium alone is the beneficent genius that stills his pain. We hardly know whether to call it an alleviation or an intensification of the torture that Heine retains his mental vigor, his poetic imagination, and his incisive wit; for if this intellectual activity fills up a blank, it widens the sphere of suffering. His brother described him in 1851 as still, in moments when the hand of pain was not too heavy on him, the same Heinrich Heine, poet and satirist by turns. In such moments he would narrate the strangest things in the gravest manner. But when he came to an end, he would roguishly lift up the lid of his right eye with his finger to see the impression he had produced; and if his audience had been listening with a serious face, he would break into Homeric laughter. We have other proof than personal testimony that Heine's disease allows his genius to retain much of its energy, in the "Romanzero," a volume of poems published in 1851, and written chiefly during the three first years of his illness; and in the first volume of the "Vermischte Schriften," also the product of recent years. Very plaintive is the poet's own description of his condition, in the epilogue to the "Romanzero:"

"Do I really exist? My body is so shrunken that I am hardly anything but a voice; and my bed reminds me of the singing grave of the magician Merlin, which lies in the forest of Brozeliand, in Brittany, under tall oaks whose tops soar like green flames toward heaven.

Alas! I envy thee those trees and the fresh breeze that moves their branches, brother Merlin, for no green leaf rustles about my mattress-grave in Paris, where early and late I hear nothing but the rolling of vehicles, hammering, quarrelling, and piano-strumming. A grave without repose, death without the privileges of the dead, who have no debts to pay, and need write neither letters nor books-that is a piteous condition. Long ago the measure has been taken for my coffin and for my necrology, but I die so slowly that the process is tedious for me as well as my friends. But patience: everything has an end. You will one day find the booth closed where the puppet-show of my humor has so often delighted you."

As early as 1850 it was rumored that since Heine's illness a change had taken place in his religious views; and as rumor seldom stops short of extremes, it was soon said that he had become a thorough pietist.

Catholics and Protestants by turns claiming him as a convert. Such a change in so uncompromising an iconoclast, in a man who had been so zealous in his negations as Heine, naturally excited considerable sensation in the camp he was supposed to have quitted, as well as in that he was supposed to have joined. In the second volume of the "Salon," and in the "Romantische Schule," written in 1834 and '35, the doctrine of Pantheism is dwelt on with a fervor and unmixed seriousness which show that Pantheism was then an animating faith to Heine, and he attacks what he considers the false spiritualism and asceticism of Christianity as the enemy of true beauty in Art, and of social well-being. Now, however, it was said that Heine had recanted all his heresies; but from the fact that visitors to his sick-room brought away very various impressions as to his actual religious views, it seemed probable that his love of mystification had found a tempting opportunity for exercise on this subject, and that, as one of his friends said, he was not inclined to pour out unmixed wine to those who asked for a sample out of mere curiosity. At length, in the epilogue to the "Romanzero," dated 1851, there appeared, amid much mystifying banter, a declaration that he had embraced Theism and the belief in a future life, and what chiefly lent an air of seriousness and reliability to this affirmation was the fact that he took care to accompany it with certain negations:

"As concerns myself, I can boast of no particular progress in politics; I adhered (after 1848) to the same democratic principles which had the homage of my youth, and for which I have ever since glowed with increasing fervor. In theology, on the contrary, I must accuse myself of retrogression, since, as I have already confessed, I returned to the old superst.i.tion-to a personal G.o.d. This fact is, once for all, not to be stifled, as many enlightened and well-meaning friends would fain have had it. But I must expressly contradict the report that my retrograde movement has carried me as far as to the threshold of a Church, and that I have even been received into her lap. No: my religions convictions and views have remained free from any tincture of ecclesiasticism; no chiming of bells has allured me, no altar candles have dazzled me. I have dallied with no dogmas, and have not utterly renounced my reason."

This sounds like a serious statement. But what shall we say to a convert who plays with his newly-acquired belief in a future life, as Heine does in the very next page? He says to his reader:

"Console thyself; we shall meet again in a better world, where I also mean to write thee better books. I take for granted that my health will there be improved, and that Swedenborg has not deceived me. He relates, namely, with great confidence, that we shall peacefully carry on our old occupations in the other world, just as we have done in this; that we shall there preserve our individuality unaltered, and that death will produce no particular change in our organic development. Swedenborg is a thoroughly honorable fellow, and quite worthy of credit in what he tells us about the other world, where he saw with his own eyes the persons who had played a great part on our earth. Most of them, he says, remained unchanged, and busied themselves with the same things as formerly; they remained stationary, were old-fas.h.i.+oned, _rococo_-which now and then produced a ludicrous effect. For example, our dear Dr. Martin Luther kept fast by his doctrine of Grace, about which he had for three hundred years daily written down the same mouldy arguments-just in the same way as the late Baron Ekstein, who during twenty years printed in the _Allgemeine Zeitung_ one and the same article, perpetually chewing over again the old cud of Jesuitical doctrine. But, as we have said, all persons who once figured here below were not found by Swedenborg in such a state of fossil immutability: many had considerably developed their character, both for good and evil, in the other world; and this gave rise to some singular results. Some who had been heroes and saints on earth had _there_ sunk into scamps and good-for-nothings; and there were examples, too, of a contrary transformation. For instance, the fumes of self-conceit mounted to Saint Anthony's head when he learned what immense veneration and adoration had been paid to him by all Christendom; and he who here below withstood the most terrible temptations was now quite an impertinent rascal and dissolute gallows-bird, who vied with his pig in rolling himself in the mud. The chaste Susanna, from having been excessively vain of her virtue, which she thought indomitable, came to a shameful fall, and she who once so gloriously resisted the two old men, was a victim to the seductions of the young Absalom, the son of David. On the contrary, Lot's daughters had in the lapse of time become very virtuous, and pa.s.sed in the other world for models of propriety: the old man, alas! had stuck to the wine-flask."

In his "Gestandnisse," the retractation of former opinions and profession of Theism are renewed, but in a strain of irony that repels our sympathy and baffles our psychology. Yet what strange, deep pathos is mingled with the audacity of the following pa.s.sage!

"What avails it me, that enthusiastic youths and maidens crown my marble bust with laurel, when the withered hands of an aged nurse are pressing Spanish flies behind my ears? What avails it me, that all the roses of s.h.i.+raz glow and waft incense for me? Alas! s.h.i.+raz is two thousand miles from the Rue d'Amsterdam, where, in the wearisome loneliness of my sick-room, I get no scent, except it be, perhaps, the perfume of warmed towels. Alas! G.o.d's satire weighs heavily on me. The great Author of the universe, the Aristophanes of Heaven, was bent on demonstrating, with crus.h.i.+ng force, to me, the little, earthly, German Aristophanes, how my wittiest sarcasms are only pitiful attempts at jesting in comparison with His, and how miserably I am beneath him in humor, in colossal mockery."

For our own part, we regard the paradoxical irreverence with which Heine professes his theoretical reverence as pathological, as the diseased exhibition of a predominant tendency urged into anomalous action by the pressure of pain and mental privation-as a delirium of wit starved of its proper nourishment. It is not for us to condemn, who have never had the same burden laid on us; it is not for pigmies at their ease to criticise the writhings of the t.i.tan chained to the rock.

On one other point we must touch before quitting Heine's personal history. There is a standing accusation against him in some quarters of wanting political principle, of wis.h.i.+ng to denationalize himself, and of indulging in insults against his native country. Whatever ground may exist for these accusations, that ground is not, so far as we see, to be found in his writings. He may not have much faith in German revolutions and revolutionists; experience, in his case as in that of others, may have thrown his millennial antic.i.p.ations into more distant perspective; but we see no evidence that he has ever swerved from his attachment to the principles of freedom, or written anything which to a philosophic mind is incompatible with true patriotism. He has expressly denied the report that he wished to become naturalized in France; and his yearning toward his native land and the accents of his native language is expressed with a pathos the more reliable from the fact that he is sparing in such effusions. We do not see why Heine's satire of the blunders and foibles of his fellow-countrymen should be denounced as a crime of _lese-patrie_, any more than the political caricatures of any other satirist. The real offences of Heine are his occasional coa.r.s.eness and his unscrupulous personalities, which are reprehensible, not because they are directed against his fellow-countrymen, but because they are _personalities_. That these offences have their precedents in men whose memory the world delights to honor does not remove their turpitude, but it is a fact which should modify our condemnation in a particular case; unless, indeed, we are to deliver our judgments on a principle of compensation-making up for our indulgence in one direction by our severity in another. On this ground of coa.r.s.eness and personality, a true bill may be found against Heine; _not_, we think, on the ground that he has laughed at what is laughable in his compatriots. Here is a specimen of the satire under which we suppose German patriots wince:

"Rhenish Bavaria was to be the starting-point of the German revolution. Zweibrucken was the Bethlehem in which the infant Saviour-Freedom-lay in the cradle, and gave whimpering promise of redeeming the world. Near his cradle bellowed many an ox, who afterward, when his horns were reckoned on, showed himself a very harmless brute. It was confidently believed that the German revolution would begin in Zweibrucken, and everything was there ripe for an outbreak. But, as has been hinted, the tender-heartedness of some persons frustrated that illegal undertaking. For example, among the Bipontine conspirators there was a tremendous braggart, who was always loudest in his rage, who boiled over with the hatred of tyranny, and this man was fixed on to strike the first blow, by cutting down a sentinel who kept an important post. . . . . 'What!'

cried the man, when this order was given him-'What!-me! Can you expect so horrible, so bloodthirsty an act of me? I-_I_, kill an innocent sentinel? I, who am the father of a family! And this sentinel is perhaps also father of a family. One father of a family kill another father of a family? Yes. Kill-murder!'"

In political matters Heine, like all men whose intellect and taste predominate too far over their impulses to allow of their becoming partisans, is offensive alike to the aristocrat and the democrat. By the one he is denounced as a man who holds incendiary principles, by the other as a half-hearted "trimmer." He has no sympathy, as he says, with "that vague, barren pathos, that useless effervescence of enthusiasm, which plunges, with the spirit of a martyr, into an ocean of generalities, and which always reminds me of the American sailor, who had so fervent an enthusiasm for General Jackson, that he at last sprang from the top of a mast into the sea, crying, "_I die for General Jackson_!"

"But thou liest, Brutus, thou liest, Ca.s.sius, and thou, too, liest, Asinius, in maintaining that my ridicule attacks those ideas which are the precious acquisition of Humanity, and for which I myself have so striven and suffered. No! for the very reason that those ideas constantly hover before the poet in glorious splendor and majesty, he is the more irresistibly overcome by laughter when he sees how rudely, awkwardly, and clumsily those ideas are seized and mirrored in the contracted minds of contemporaries. . . . There are mirrors which have so rough a surface that even an Apollo reflected in them becomes a caricature, and excites our laughter. _But we laugh then only at the caricature_, _not at the G.o.d_."

For the rest, why should we demand of Heine that he should be a hero, a patriot, a solemn prophet, any more than we should demand of a gazelle that it should draw well in harness? Nature has not made him of her sterner stuff-not of iron and adamant, but of pollen of flowers, the juice of the grape, and Puck's mischievous brain, plenteously mixing also the dews of kindly affection and the gold-dust of n.o.ble thoughts. It is, after all, a _tribute_ which his enemies pay him when they utter their bitterest dictum, namely, that he is "_nur Dichter_"-only a poet. Let us accept this point of view for the present, and, leaving all consideration of him as a man, look at him simply as a poet and literary artist.

Heine is essentially a lyric poet. The finest products of his genius are

"Short swallow flights of song that dip Their wings in tears, and skim away;"

and they are so emphatically songs that, in reading them, we feel as if each must have a twin melody born in the same moment and by the same inspiration. Heine is too impressible and mercurial for any sustained production; even in his short lyrics his tears sometimes pa.s.s into laughter and his laughter into tears; and his longer poems, "Atta Troll"

and "Deutschland," are full of Ariosto-like transitions. His song has a wide compa.s.s of notes; he can take us to the sh.o.r.es of the Northern Sea and thrill us by the sombre sublimity of his pictures and dreamy fancies; he can draw forth our tears by the voice he gives to our own sorrows, or to the sorrows of "Poor Peter;" he can throw a cold shudder over us by a mysterious legend, a ghost story, or a still more ghastly rendering of hard reality; he can charm us by a quiet idyl, shake us with laughter at his overflowing fun, or give us a piquant sensation of surprise by the ingenuity of his transitions from the lofty to the ludicrous. This last power is not, indeed, essentially poetical; but only a poet can use it with the same success as Heine, for only a poet can poise our emotion and expectation at such a height as to give effect to the sudden fall.

Heine's greatest power as a poet lies in his simple pathos, in the ever-varied but always natural expression he has given to the tender emotions. We may perhaps indicate this phase of his genius by referring to Wordsworth's beautiful little poem, "She dwelt among the untrodden ways;" the conclusion-