Christian Johann Heinrich Heine (German: Christian Johann Heinrich Heine, pronounced Heinrich Heine; December 13, 1797, Düsseldorf - February 17, 1856, Paris) - German poet, publicist and critic of Jewish origin.
The action of the poem takes place in the autumn-winter of 1843
Lyrical hero The poet leaves cheerful Paris and his beloved wife in order to make a short trip to his native Germany, which he misses very much, and to visit his old sick mother, whom he has not seen for thirteen years.
He entered native land gloomy November times and involuntarily shed tears. He heard his native German speech. A little girl with a harp sang a mournful song about a sorrowful earthly life and heavenly bliss. The poet proposes to start a new joyful song about heaven on earth, which will soon come, because there will be enough bread and sweet green peas and love for everyone. He hums this joyful song because his veins have been filled with the life-giving juice of his native land.
The little one continued to sing a heartfelt song in an out of tune voice, and meanwhile the customs officers were rummaging through the poet’s suitcases, looking for prohibited literature there. But in vain. He prefers to transport all forbidden literature in his brain. When he arrives, he will write. Outwitted the customs officers.
The first city he visited was Aachen, where the ashes of Charlemagne rest in the ancient cathedral. Spleen and melancholy reign on the streets of this city. The poet met the Prussian military and found that in thirteen years they had not changed at all - stupid and drilled dummies. At the post office he saw a familiar coat of arms with the hated eagle. For some reason he doesn't like the eagle.
Late in the evening the poet reached Cologne. There he ate an omelette with ham. I washed it down with Rhine wine. After that I went to wander around Cologne at night. He believes that this is a city of vile saints, priests who rotted in prisons and burned their flowers at the stake. German nation. But the matter was saved by Luther, who did not allow the disgusting Cologne Cathedral to be completed, but instead introduced Protestantism in Germany. And then the poet talked with Rain.
After that, he returned home and fell asleep like a child in a cradle. In France, he often dreamed of sleeping in Germany, because only native German beds are so soft, cozy, and fluffy. They are equally good for dreaming and sleeping. He believes that the Germans, unlike the greedy French, Russians and English, are characterized by dreaminess and naivety.
The next morning the hero set off from Cologne to Hagen. The poet did not get on the stagecoach, and therefore had to use a mail coach. We arrived in Hagen at about three o'clock, and the poet immediately began to eat. He ate fresh salad, chestnuts in cabbage leaves with gravy, cod in butter, smoked herring, eggs, fat cottage cheese, sausage in fat, blackbirds, goose and suckling pig.
But as soon as he left Hagen, the poet immediately became hungry. Then a nimble Westphalian girl brought him a cup of steaming punch. He remembered Westphalian feasts, his youth and how often he found himself under the table at the end of the holiday, where he spent the rest of the night.
Meanwhile, the carriage entered the Teutoburg Forest, where the Cherus prince Herman in 9 BC. e. dealt with the Romans. And if he had not done this, Latin morals would have been implanted in Germany. Munich would have its Vestals, the Swabians would be called Quirites, and Birch-Pfeiffer, a fashionable actress, would drink turpentine, like the noble Romans, who had a very pleasant smell of urine from it. The poet is very glad that Herman defeated the Romans and all this did not happen.
The carriage broke down in the forest. The postman hurried to the village for help, but the poet was left alone in the night, surrounded by wolves. They howled. In the morning the carriage was repaired, and it sadly crawled on. At dusk we arrived in Minden, a formidable fortress. There the poet felt very uncomfortable. The corporal interrogated him, and inside the fortress it seemed to the poet that he was in captivity. At the hotel he couldn’t even get a piece of food down his throat at dinner. So he went to bed hungry. He was haunted by nightmares all night. The next morning, with relief, he got out of the fortress and set off on his further journey.
In the afternoon he arrived in Hanover, had lunch and went sightseeing. The city turned out to be very clean and sleek. There is a palace there. The king lives in it. In the evenings he prepares an enema for his elderly dog.
At dusk the poet arrived in Hamburg. Came to my home. His mother opened the door for him and beamed with happiness. She began feeding her son fish, goose and oranges and asking him sensitive questions about his wife, France and politics. The poet answered everything evasively.
The year before, Hamburg had suffered a great fire and was now being rebuilt. There are no more streets there. The house in which, in particular, the poet first kissed the girl was gone. The printing house in which he printed his first works disappeared. There was no town hall, no Senate, no stock exchange, but the bank survived. And many people died too.
The poet went with the publisher Kampe to Lorenz's cellar to taste excellent oysters and drink Rhine wine. Kampe is a very good publisher, according to the poet, because it is rare that a publisher treats its author to oysters and Rhine wine. The poet got drunk in the cellar and went for a walk through the streets. There he saw beautiful woman with a red nose. She greeted him, and he asked her who she was and why she knew him. She replied that she was Hammonia, the patron goddess of the city of Hamburg. But he didn’t believe her and followed her into her attic. There they had a pleasant conversation for a long time, the goddess prepared tea with rum for the poet. He, lifting the goddess’s skirt and placing his hand on her loins, swore to be modest both in word and in print. The goddess blushed and uttered complete nonsense, such as the fact that the censor Hoffmann would soon cut off the poet’s genitals. And then she hugged him.
ABOUT further events That night, the poet prefers to talk with the reader in a private conversation.
Thank God, the old bigots are rotting and gradually dying. A generation of new people with a free mind and soul is growing. The poet believes that young people will understand him, because his heart is immeasurable in love and immaculate, like a flame. Retold by E. N. Lavinskaya
In the works of Heinrich Heine (1797-1856) to a greater extent, than in the works of Hoffmann, Kleist, Chamisso, reflected the process of evolution of German romanticism. Associated with many of the complexities of this process is deep inconsistency. creative method writer, which, in particular, was expressed in the connections of the romantic Heine with aesthetic principles early German romantics, in relation to whom he was not only a critic and subversive, but also a worthy successor.
The greatness of Heine the artist is determined by the fact that he combined outstanding creative talent with a broad social outlook. Declaring himself an adherent of the “free song of romanticism,” he gave a sober analytical assessment of his time and reflected its most important patterns in his work.
The French occupation introduced progressive ideas into the atmosphere of fragmented Germany, incl. new principles of civil and religious equality, which made Heine a lifelong “liberal” in the tradition of the French Revolution.
Heine is considered the last poet of the “romantic era” and at the same time its head. He did colloquial capable of lyricism, raised a feuilleton and travel notes before artistic form and gave a previously unfamiliar elegant lightness German language. Composers Franz Schubert, Robert Schumann, Richard Wagner, Johann Brahms, P. I. Tchaikovsky and many others wrote songs based on his poems.
The poet’s creative achievements of these years were most clearly reflected in his wonderful work - the poem “Germany. Winter's Tale" (1844). It embodied all the previous experience of the ideological and artistic development of Heine - prose writer, publicist, political lyrics. "The Winter's Tale", more than any other work by Heine, is the fruit of the poet's deep thoughts about the ways of development of Germany. Here his desire to see his homeland as a single democratic state was most fully expressed.
In the poem “Germany”, which, like early fiction, is a travel diary, the author paints a broadly generalizing picture of old Germany, with all poignancy he raises the question of revolution, of two possible ways development of their homeland. In system artistic means In the poem, this theme is expressed in a sharply alternative form: either the guillotine (conversation with Friedrich Barbarossa), or that terrible stinking pot that Heine saw in Hammonia’s room.
The main object of the poem's political satire is the pillars political reaction in Germany: the Prussian monarchy, the nobility and the military. Approaching the border line on a cold November day, the poet excitedly hears the sounds native speech. This beggar girl sings in a false voice to the accompaniment of a harp an old song about renunciation of earthly goods and about heavenly bliss in heaven. The words of the song of this poor harpist are spoken by that poor old Germany, which its rulers lull with the legend of heavenly joys, so that the people do not ask for bread here on earth.
The political circles against which the most acute stanzas of the poem are directed are the Junkers and the cowardly German bourgeoisie, which supported the desire of the German aristocracy for the reunification of Germany “from above,” that is, through the revival of “ German Empire”, designed to continue the traditions of the “Holy Roman Empire of the German nation”.
The revelation of the deep reactionary nature of this theory is given in those chapters of the poem (chap. XIV-XVI), where Heine talks about Barbarossa, “Kaiser Rothbart” *. The image of the old emperor, glorified in folk tales and dear to the hearts of conservative romantics, is in the poem one of the sharpest methods of satire on supporters of the “empire”, on the advocates of “reunification from above.” From the first lines of his poem, Heine himself advocates a different path for the reunification of Germany - a revolutionary path leading to the creation of the German Republic.
[* Barbarossa (Italian), Rothbart (Middle-German) “red-bearded” - nickname of the emperor.]
Rejecting the feudal-monarchical principle of German reunification, the poet also does not accept the bourgeois system. He speaks twice (Chapters V and VIII of the poem) about his disappointment with the results bourgeois revolution in France. The image of a poet-citizen - an active participant in the revolutionary struggle - runs through many chapters of the poem. In the Cologne episode (CHAPTERS VI and VII), the poet acts as a punitive judge who condemns representatives of old, reactionary Germany to physical extermination, and in Chapter XII, in an allegorical form, the author speaks of his loyalty to revolutionary convictions.
Where the poet actively calls for a fight against reaction, a deeply dual interpretation of the image of a revolutionary fighter arises. On the one hand, Heine emphasizes the need for the poet to actively participate in revolutionary struggle. But as soon as the punishing sword falls, he wakes up from a terrible pain in his chest: the blow to the old world also wounds the poet himself.
Artistic method The poem is characterized by a successfully found unity of revolutionary romantic and realistic principles. The poem is characterized by an organic combination of sharp journalisticism, pamphlet sarcasm with poetic pathos, with lyrical spontaneity and sincerity.
The collection “Modern Poems,” published in 1844, included works by Heine created in 1842–1844.
The very name of the collection emphasizes its social meaning: the concept of “Zeitgedichte” in the German literary tradition has a meaning not only of modernity, but also indicates the social nature of the assessment of events. Essentially, the title “Modern Poems” can also be translated as “Poems on Social Themes.”
These poems, more fully than in all of Heine’s previous works, more fully than in all German literature of the 40s, reflected the socio-political struggle in Germany, the main contradictions of German reality.
Poems of the 40s are conventionally divided mainly into two groups - propaganda, calling for revolutionary action, and satirical, ridiculing old feudal Germany. The first include such poems as “Silesian Weavers”, “Doctrine”, “Tendency”, “Just Wait”. The most characteristic of this group is the political poem “Silesian Weavers”.
Heine created this poem when events in Germany showed him that the people were truly capable of revolutionary action. In Heine's work, the rebel weavers are not hungry rebels demanding bread, but conscious gravediggers of the old order, weaving the shroud of feudal Germany. In the poem, an image of the German working class appears, full of menacing revolutionary force. The angry refrain of each stanza, put into the mouths of the revolutionary weavers, is “We weave, we weave!” - predicts the inevitable death of the old feudal-Junker Germany:
Curse the fatherland, the lying homeland,
Where only shame and baseness are happy,
Where every flower is trampled early,
Where mold tramples any sprout, -
We weave, we weave!
(...) Germany is old, we weave your shroud,
We lead the triple curse with a border, -
We weave, we weave!
The two main themes of “The Silesian Weavers” - criticism of old Germany and a call for revolutionary action in the name of new Germany - formed the basis for other poems in the collection. The entire collection sounds like a call to the German people to free themselves from hibernation and stand up to fight their oppressors. With bitter irony, Heine makes this appeal to the passive, sleepy Michel in the poem “Enlightenment.” From the pages of “Modern Poems” the reader is addressed by a poet-tribune, a poet - a revolutionary fighter, whose voice is heard loudly in the thick of the battle. “I am the sword, I am the flame!” - exclaims the poet.
I can flash lightning.
So you decided: I am not thunder.
How wrong you were! I own
And the thunderer's tongue.
And only the right day will come -
I must warn you:
Speech will be a formidable blow.
The poem “Doctrine” had a programmatic meaning, in which, calling for an uprising, the poet formulates his understanding of the tasks of revolutionary poetry. In “The Doctrine” the drums of the revolution sound, the roar of which was heard by the boy Heine in the stories of the drummer of the Napoleonic army Le Grand:
Beat the drum, don't be afraid of trouble,
And kiss the canteen more freely.
This is the meaning of the deepest books,
That's the essence of all science.
Likening a poet to a warrior, Heine sees poetry as a formidable weapon - it can call forward like a drum in the hour of a decisive onslaught, strike like a volley of grapeshot, destroy like a ram.
Heine's talent as a master of political satire reaches high perfection in this cycle, criticizing modern feudalism in Germany and its stronghold: reactionary Prussia.
A satire on monarchical Prussia and its ruler Frederick William IV are the poems “The Chinese Emperor” and “ New Alexander" “Songs of Praise to King Ludwig” were directed against Bavaria as the main support of the monarcho-Catholic reaction in Germany and the reactionary Ludwig I of Bavaria, who threw off the mask of a liberal after the July Revolution of 1830. They are a small cycle consisting of three poems united by a common title. “Songs of Praise to King Ludwig” are written in a caustic, witty form, in which Heine literally destroys this philanthropic “liberal” on the throne.
In many of the satirical poems in the collection and, in particular, in those mentioned above, the poet uses the folk song-narrative form. The simplicity and artlessness of conversational intonation further enhances the satirical effect. Irony, which, as noted above, is generally one of the characteristic features his creative style. Irony, aimed at important phenomena of social life, now turns into militant political satire. Heine’s satire in “Modern Poems” is characterized by a very successful use of a kind of ironic dialectic - the poet depicts a picture opposite to what is happening in reality (“The Chinese Emperor”, “The New Alexander”, “The World Topsy-Turvy”, etc.). The most typical in this regard is the last poem, where an even greater satirical effect is achieved by deliberately introducing obvious absurdities. The ending of this poem is significant, as an example of which one can see what transformation Heine’s famous ironic ending has undergone. Calling not to resist general progress things, the poet mockingly says:
You shouldn't swim against the current,
O brothers! Really, that's enough!
Let's go to Temple Hill
Shout: “Live our king!”
In such an ironic form, Heine makes clear to the reader the absurdity of the liberal German philistinism’s claims to “progressiveness” and “revolutionism,” which became fashionable in burgher circles in the early 40s. Heine calls on democratic readers not to believe the loud words of the bourgeois opposition, to see its goals and interests: they are fully and with amazing insight revealed in the last stanza, where Heine mocks the monarchical illusions of the bourgeoisie, predicting that at the decisive moment it will be afraid of the people and turn to the people for help. Prussian reaction.
A significant place in the cycle is devoted to criticism of the liberal illusions of some political poets, in particular Herwegh and Dingelstedt (“To Georg Herwegh,” “On the Arrival of the Night Watchman in Paris,” “The Night Watchman,” “The Political Poet”).
Heine believes that in Germany there are no forces capable of starting a real revolution. In the poem “Calm,” the poet doubts that in Germany there could be a Brutus who would dare to plunge a dagger into the chest of the tyrant Caesar. From these doubts were born poems full of melancholy and gloomy forebodings (“ Life path", "Night Thoughts"), sometimes resulting in painful stanzas full of bitterness, memories of friends whom the author - a political exile - had not seen for many years; many of them are no longer alive, and the lines of “Night Thoughts” sound like a requiem for these sons of Germany who went to their untimely graves and never saw the bright day of freedom.
But in general, the political poems of 1842 - 1844 meant a huge shift in the ideological and aesthetic development of the poet.
The poet’s creative achievements of these years were most clearly reflected in his poem “Germany. Winter's Tale" (1844). It embodied all the previous experience of the ideological and artistic development of Heine - prose writer, publicist, political lyricist. This work, integral in its deep artistic originality, reveals Heine’s multifaceted creative talent - the lyrical talent of the author of the “Book of Songs”, the skill of a publicist and the sharpness of the political satire of “Modern Poems”.
“The Winter's Tale,” more than any other work by Heine, is the fruit of the poet’s deep thoughts about the ways of development of Germany. At the same time, the poem most fully expressed Heine’s desire to see his homeland as a single, democratic state.
In the poem, which, like early literary prose, is a kind of travel pictures, the author paints a broad general picture of old Germany, and with all poignancy raises the question of revolution, of two possible ways of development of his homeland. In the system of artistic means of the poem, this theme is expressed in a sharply alternative form - either the guillotine (conversation with Friedrich Barbarossa), or that terrible stinking pot that Heine saw in Hammonia’s room.
Along with the aggravated situation in Germany and the general political situation in Europe, full of symptoms of an approaching revolutionary storm, the impetus for writing the poem was Heine’s trip to Hamburg in October 1843, undertaken in order to see his relatives and settle his publishing affairs.
Talking in the poem about his travel impressions from a trip to Germany, Heine writes with great love about his homeland. The poet feels good in France, separation from his beloved wife is hard for him, but he is tormented by longing for his native place:
I need to breathe the air of Germany
Or I will die, sad.
On a cold November day, approaching the border line, the poet excitedly hears the sounds of his native speech. Then a beggar girl, to the accompaniment of a harp, sings in a false voice an old song about renunciation of earthly goods and about heavenly bliss in heaven. The words of the song of this poor harpist are spoken by that poor old Germany, which its rulers lull with the legend of heavenly joys, so that the people do not ask for bread here on earth. Heine contrasts this feudal Germany with his ideal of reorganizing the homeland:
We are a new song, we are a better song
Now, friends, let's begin;
We will turn the earth into heaven,
The earth will be our paradise.
Give us happiness during our lifetime!
Enough tears and torment!
From now on, feed the lazy belly
There will be no diligent hands.
The author does not separate the struggle for a bright future for Germany from the struggle for the freedom of other peoples. The poet believes that the time has come for a general revolutionary upsurge. He affirms this idea in a poetic allegory - the image of young Europe lying in the arms of the genius of freedom.
However, Heine does not forget the immediate tasks today, facing German democrats. And the reader is presented with realistic episodes that reveal the ugly forms of social life in fragmented Germany before the revolution of 1848. Here, customs officials carefully sniff every item in the luggage, looking not only for goods prohibited for transportation, but also for illegal literature. Immediately there is a conversation with a travel companion about the Customs Union, to which Heine expresses sharply negative attitude. Being an ardent supporter of German unity, he, however, rejects the reactionary path of unification of the German states under the leadership of monarchical Prussia.
The bright pamphlet-journalistic style of Heine’s works of the 1830s, which brilliantly revealed the inconsistency of idealistic aesthetics and philosophy in their connection with political reaction, found a new artistic embodiment in the poem. The ideological orientation also takes a different turn here - the main subject of Heine’s attention and the object of his satire are no longer the forms of ideological life, but real forces political reaction in Germany. Driving through Aachen, the poet meets many Prussian warriors there, who were the support of feudal-clerical obscurantism in Germany. It is characteristic that the poet associates the appearance of arrogant Prussian officers with works of German literature that idealized the knightly Middle Ages. The sight of the Prussian coat of arms on the Aachen post office, personifying Prussianism, which Heine hated, causes him to cry out in anger:
O vile creature, you will fall for me,
I won't spare my hands!
I will rip out your claws and feathers,
I'll break the damned neck.
In the poem, the reactionary ideals of German nationalists who dream of returning Germany to the medieval way of life are subjected to sharp satirical ridicule and angry exposure. The poet debunks the demagogic nature of the legend created by the Teutonics around the battle of Arminius against the Romans. At the same time, Heine attacks those reactionary groups ruling classes Germany, who even then, in the 1840s, dreamed of creating a German empire under the auspices of a restored all-German monarchical government.
The political circles against which the most acute stanzas of the poem are mainly directed are the Junkers and the cowardly German bourgeoisie, which in many cases supported the desire of the German aristocracy for the reunification of Germany “from above” - through the revival of the “German Empire”, designed to continue the traditions of the “Holy Roman Empire of the German Nation” .
The revelation of the deep reactionary nature of this theory is given in those chapters of the poem (XIV-XVI), where Heine talks about Friedrich Barbarossa, “Kaiser Rothbart”. The image of the old emperor, glorified in folk tales and dear to the hearts of reactionary romantics, is in the poem one of the sharpest methods of satire on supporters of the “empire”, on the advocates of “reunification from above.” From the first stanzas of his poem, Heine himself advocates a different path for the reunification of Germany - a revolutionary path leading to the creation of a German republic. Therefore, the episode with Barbarossa, occupying such a large place in the poem, becomes its climax.
Exposing the nationalist nonsense of German reactionaries, Heine widely uses the technique of a sharp satirical parody of the sublime style of those romantics who idealized medieval antiquity. Therefore, the poem as a whole and the chapters about Barbarossa in particular are characterized by a deliberate combination of high and low styles, sharp transitions to satirical intonations.
Rejecting the feudal-monarchical principle of German reunification, the poet also does not accept the bourgeois system. He speaks twice (Chapters V and VIII of the poem) about his disappointment in the results of the bourgeois revolution in France:
Freedom in Paris, breaking my leg,
I forgot about the songs and dances.
The tricolor banner does not splash on the towers -
Having drooped, he yearns sadly.
Painting a gloomy tragicomic picture of the transfer of Napoleon's ashes from the island of St. Helena in bourgeois Paris, Heine speaks with deep disgust about the nationalist fuss raised around this event by the French bourgeoisie.
Not only in the story about the guillotine does the poem call for an effective, decisive struggle for a new Germany. The image of a poet-citizen, an active participant in the revolutionary struggle, runs through many of its chapters. In the Cologne episode (chapters VI and VII), the poet acts as a punishing judge who condemns representatives of old, reactionary Germany to physical extermination. In Chapter XII, in an allegorical poetic form, the author declares his loyalty to revolutionary convictions:
Sheep's clothing that I sometimes
I put it on my shoulders to keep warm,
Believe me, you didn't seduce me
Fight for the happiness of the sheep.
I'm not an advisor, I'm not a sheep,
Not a dog afraid of a stick,
I'm wolf! And I have a wolf tooth
And a wolf-hardened heart!
The theme of German unity is persistent in the poem. As already noted, Heine returns to it several times throughout the narrative. Chapter XIX is permeated with evil irony about the fragmentation of Germany, its dwarf states inhabited by cowardly philistines. Calling for a revolutionary struggle, the author, however, soberly assessed the situation in Germany and did not harbor rosy hopes for its near future.
In the scene of the hero’s meeting with Hammonia, Heine presciently showed the future that lies ahead of Germany if the monarchical regime remains in it, if a radical revolutionary coup is not carried out.
In the pre-revolutionary situation of the 40s, the poem was truly of great importance. At the same time, it reveals contradictions characteristic of the poet. It is especially significant that these contradictions are revealed in the most acute form in the Cologne episode of the poem already mentioned above - precisely where Heine speaks with particular force of his hatred of old Germany, of the strongholds of German reaction, the symbol of which is the still unfinished Cologne a cathedral whose bulky frame rises above the city.
Where the poet actively calls for a fight against reaction, a deeply dual interpretation of the image of a revolutionary fighter arises. On the one hand, Heine emphasizes the need for the poet to actively participate in the revolutionary struggle. But as soon as the punishing sword falls, he wakes up from a terrible pain in his chest: the blow to the old world also wounds the poet himself. Participation in the physical extermination of the enemies of the revolution gives the poet severe torment. His heart is a bleeding, gaping wound. But even in mortal languor, with his own blood, he draws a sign dooming the enemy to execution.
The artistic method of the poem is characterized by a successfully found unity of revolutionary romantic and realistic principles. The poem is characterized by an organic combination of sharp journalisticism, pamphlet sarcasm with poetic pathos, with lyrical spontaneity and sincerity.
The romantic form gave Heine the opportunity to especially freely and widely turn to his favorite fantastic or semi-fantastic images, behind which he always hid a specific, real meaning. For example, the image of the coat of arms of Prussia - a single-headed eagle. At first it is just a state coat of arms above the doors of the building of the German Postal Union - this achievement of the unification policy of the ruling classes - then the Prussian eagle becomes a revived personification of Prussianism, a symbol of reaction, causing Heine rage and contempt. The entire scene of the speculative reprisal against the eagle, decided in the spirit of romantic satire, expands to the limits of a poetic depiction of the revolution, the retribution that will fall on the “cursed bird of prey.”
In creating the poem “The Winter's Tale,” Heine, as in the “Book of Songs,” turned to the fruitful source of German folk poetry. The poem is written with extensive use of conversational intonations and the song-narrative form of a folk ballad. A short four-line stanza rarely represents a whole phrase in a poem; most often it contains two or three, and sometimes even four phrases. This construction of the stanza achieves, on the one hand, extreme simplicity in the presentation of the author’s thoughts, and at the same time a more concise, concentrated transmission of this thought, special simplicity and ease of poetic presentation. The latter is greatly facilitated by the very prosaic everyday vocabulary of the poem, especially where Heine, not afraid to play up an ambiguous situation, uses his favorite method of reducing high romantic images. Using the traditions of folk verse, the poet developed and improved its form, changing it in accordance with the new revolutionary-democratic content.
The poem "Germany" is a great work of German literature. It sums up Heine's great creative achievements.
Autumn-winter 1843. The poet's lyrical hero leaves cheerful Paris and his beloved wife in order to make a short trip to his native Germany, which he missed very much, and to visit his old sick mother, whom he had not seen for thirteen years.
He entered his native land on a gloomy November day and involuntarily shed tears. He heard his native German speech. A little girl with a harp sang a mournful song about a sorrowful earthly life and heavenly bliss. The poet proposes to start a new joyful song about heaven on earth, which will soon come, because there will be enough bread and sweet green peas and love for everyone. He hums this joyful song because his veins have been filled with the life-giving juice of his native land.
The little one continued to sing a heartfelt song in an out of tune voice, and meanwhile the customs officers were rummaging through the poet’s suitcases, looking for prohibited literature there. But in vain. He prefers to transport all forbidden literature in his brain. When he arrives, he will write. Outwitted the customs officers.
The first city he visited was Aachen, where the ashes of Charlemagne rest in the ancient cathedral. Spleen and melancholy reign on the streets of this city. The poet met the Prussian military and found that in thirteen years they had not changed at all - stupid and drilled dummies. At the post office he saw a familiar coat of arms with the hated eagle. For some reason he doesn't like the eagle.
Late in the evening the poet reached Cologne. There he ate an omelette with ham. I washed it down with Rhine wine. After that I went to wander around Cologne at night. He believes that this is a city of vile saints, priests who rotted in dungeons and burned the flower of the German nation at the stake. But the matter was saved by Luther, who did not allow the disgusting Cologne Cathedral to be completed, but instead introduced Protestantism in Germany. And then the poet talked with Rain.
After that, he returned home and fell asleep like a child in a cradle. In France, he often dreamed of sleeping in Germany, because only native German beds are so soft, cozy, and fluffy. They are equally good for dreaming and sleeping. He believes that the Germans, unlike the greedy French, Russians and English, are characterized by dreaminess and naivety.
The next morning the hero set off from Cologne to Hagen. The poet did not get on the stagecoach, and therefore had to use a mail coach. We arrived in Hagen at about three o'clock, and the poet immediately began to eat. He ate fresh salad, chestnuts in cabbage leaves with gravy, cod in butter, smoked herring, eggs, fat cottage cheese, sausage in fat, blackbirds, goose and suckling pig.
But as soon as he left Hagen, the poet immediately became hungry. Then a nimble Westphalian girl brought him a cup of steaming punch. He remembered Westphalian feasts, his youth and how often he found himself under the table at the end of the holiday, where he spent the rest of the night.
Meanwhile, the carriage entered the Teutoburg Forest, where the Cherus prince Herman in 9 BC. e. dealt with the Romans. And if he had not done this, Latin morals would have been implanted in Germany. Munich would have its Vestals, the Swabians would be called Quirites, and Birch-Pfeiffer, a fashionable actress, would drink turpentine, like the noble Romans, who had a very pleasant smell of urine from it. The poet is very glad that Herman defeated the Romans and all this did not happen.
The carriage broke down in the forest. The postman hurried to the village for help, but the poet was left alone in the night, surrounded by wolves. They howled. In the morning the carriage was repaired, and it sadly crawled on. At dusk we arrived at Minden, a formidable fortress. There the poet felt very uncomfortable. The corporal interrogated him, and inside the fortress it seemed to the poet that he was in captivity. At the hotel he couldn’t even get a piece of food down his throat at dinner. So he went to bed hungry. He was haunted by nightmares all night. The next morning, with relief, he got out of the fortress and set off on his further journey.
In the afternoon he arrived in Hanover, had lunch and went sightseeing. The city turned out to be very clean and sleek. There is a palace there. The king lives in it. In the evenings he prepares an enema for his elderly dog.
At dusk the poet arrived in Hamburg. Came to my home. His mother opened the door for him and beamed with happiness. She began feeding her son fish, goose and oranges and asking him sensitive questions about his wife, France and politics. The poet answered everything evasively.
The year before, Hamburg had suffered a great fire and was now being rebuilt. There are no more streets there. The house in which, in particular, the poet first kissed the girl was gone. The printing house in which he printed his first works disappeared. There was no town hall, no Senate, no stock exchange, but the bank survived. And many people died too.
The poet went with the publisher Kampe to Lorenz's cellar to taste excellent oysters and drink Rhine wine. Kampe is a very good publisher, according to the poet, because it is rare that a publisher treats his author to oysters and Rhine wine. The poet got drunk in the cellar and went for a walk through the streets. There he saw a beautiful woman with a red nose. She greeted him, and he asked her who she was and why she knew him. She replied that she was Hammonia, the patron goddess of the city of Hamburg. But he didn’t believe her and followed her into her attic. There they had a pleasant conversation for a long time, the goddess prepared tea with rum for the poet. He, lifting the goddess’s skirt and placing his hand on her loins, swore to be modest both in word and in print. The goddess blushed and uttered complete nonsense, such as the fact that the censor Hoffmann would soon cut off the poet’s genitals. And then she hugged him.
The poet prefers to talk with the reader about further events of that night in a private conversation.
Thank God, the old bigots are rotting and gradually dying. A generation of new people with a free mind and soul is growing. The poet believes that young people will understand him, because his heart is immeasurable in love and immaculate, like a flame.
Option 2
The events of the work take place in 1843 on the territory modern Germany. The lyrical hero of the story decides to leave his old place residence in France and for a while return to his native Germany, where he was born and raised, and where he has a mother, whom the hero has not seen for about thirteen years.
For the first time, after a long absence, he entered his native land in November and, hearing German speech, involuntarily shed tears. A very young girl with a harp was humming a song, the motive of which darkened the poet, and he invites the little girl to remake the song so that everyone around her would have more fun, because life is slowly getting better.
When passing the customs border, his suitcases were turned upside down. Customs officers searched for smuggled literature, but their efforts were in vain. The poet always carried all the forbidden literature with him, in his head.
The first city visited in Germany was Aachen, where the ashes of Charlemagne rest in the ancient cathedral. In thirteen years, almost nothing has changed here: the military, in his opinion, remains just as stupid, the same hated eagle hangs at the post office, and there are very few people on the streets.
The hero left Aachen that same day and was in Cologne in the evening. Having eaten his fill, an idea comes into his head to walk around the city at night. He did not like this city, because, as it seemed to him, it was here that the flower of the German nation was burned at the stake, and the priests and saints were to blame for this. He decides to clear his thoughts and feelings by sitting on the banks of the Rhine. After a walk on fresh air he immediately fell sound asleep in his bed. Finally, his dream came true; for a very long time he wanted to sleep in a warm and soft German bed.
At sunrise he continued on his way and the next stop was planned in the city of Hagen. The road was not close, and he had to get there by carriage. Upon arrival at the place, the fairly exhausted poet immediately started eating lunch: he ate fresh salad, chestnuts in cabbage leaves with gravy, cod in oil, smoked herring, eggs, fat cottage cheese, sausage in fat, blackbirds, goose and pig. But as soon as he left this town, he immediately remembered the Westphalian feasts, and how recklessly he spent his time in his youth.
In the Teutoburg Forest, his carriage broke down, the postman hurried to the village for help, and the poet was left alone with the wolves in the forest. In the morning they managed to fix the breakdown and by evening they had already arrived in Minden, a formidable fortress. He felt “out of place” here. Immediately upon arrival, he was given an unpleasant interrogation. For the whole day he ate almost nothing and in the morning he set off hungry.
By noon the carriage with the hero arrived in Hanover. The poet immediately remembered this lovely city for its cleanliness and well-groomed appearance. Of all the sights in the city, the king's palace made the greatest impression on him. His stay here was not long and by evening he finds himself in his native Hamburg. His mother opened the door for him and for a long time she could not believe her happiness. All day she fed her boy various fish, goose and oranges, and did not forget to ask him about his wife, France and politics, but in order not to upset his old mother, the poet tried to give evasive answers to all questions. The only thing that upset him was that after a big fire in the city, places dear to his heart burned down: the printing house where his first works were printed and the houses where he first kissed the girl.
After drinking with his old friend, the hero went for a walk through the streets and met there beautiful girl, with whom he spent the rest of the night. The author prefers not to remember further events.
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The poet's lyrical hero leaves cheerful Paris and his beloved wife in order to make a short trip to his native Germany, which he misses very much, and to visit his old sick mother, whom he has not seen for thirteen years.
He set foot on his native land on a gloomy November day and involuntarily shed tears. He heard his native German speech. A little girl with a harp sang a mournful song about a sorrowful earthly life and heavenly bliss. The poet proposes to start a new joyful song about heaven on earth, which will soon come, because there is enough bread and sweet green peas for everyone, and more love. He hums this joyful song because his veins have been filled with the life-giving juice of his native land.
The little one continued to sing a heartfelt song in an out of tune voice, and meanwhile the customs officers were rummaging through the poet’s suitcases, looking for forbidden literature there. But in vain. He prefers to transport all forbidden literature in his brain. When he comes, he’ll write then. Outwitted the customs officers.
The first city he visited was Aachen, where the ashes of Charlemagne rest in the ancient cathedral.
Spleen and melancholy reign on the streets of this city. The poet met the Russian military and found that in thirteen years they had not changed at all - the same stupid and drilled dummies. At the post office he saw a familiar coat of arms with the hated eagle. For some reason he doesn't like the eagle.
Late in the evening the poet reached Cologne. There he ate an omelette with ham. I washed it down with Rhine wine. After that I went to wander around Cologne at night. He believes that this is a city of vile saints, priests who rotted in dungeons and burned the flower of the German nation at the stake.
But the matter was saved by Luther, who did not allow the disgusting Cologne Cathedral to be completed, but instead introduced Protestantism in Germany. And then the poet talked with Rain.
After that, he returned home and fell asleep like a child in a cradle. In France, he often dreamed of sleeping in Germany, because only native German beds are so soft, cozy, and fluffy. They are equally good for dreaming and sleeping. He believes that the Germans, unlike the greedy French, Russians and English, are characterized by dreaminess and naivety.
The next morning the hero set off from Cologne to Hagen. The poet did not have time to catch the stagecoach, and therefore had to use a mail coach. We arrived in Hagen at about three o'clock, and the poet immediately wanted to eat. He ate fresh salad, chestnuts in cabbage leaves with gravy, cod in butter, smoked herring, eggs, fat cottage cheese, sausage, blackbirds, goose and pig.
But as soon as he left Hagen, the poet immediately became hungry. Then a nimble Westphalian girl brought him a cup of steaming punch. He remembered Westphalian feasts, his youth and how often he found himself under the table at the end of the holiday, where he spent the rest of the night.
Meanwhile, the carriage entered the Teutoburg Forest, where the Cherus prince Herman in 9 BC. e. dealt with the Romans. And if he had not done this, Latin morals would have been implanted in Germany. Munich would have its Vestals, the Swabians would be called Quirites, and Birch-Pfeiffer, a fashionable actress, would drink turpentine, like the noble Romans, who had a very pleasant smell of urine from it. The poet is very glad that Herman defeated the Romans and all this did not happen.
The carriage broke down in the forest.
The postman hurried to the village for help, but the poet was left alone in the night, surrounded by wolves. They howled.
In the morning the carriage was repaired, and it sadly crawled on. At dusk we arrived in Minden, a formidable fortress.
There the poet felt very uncomfortable. The corporal interrogated him, and inside the fortress it seemed to the poet that he was in captivity. At the hotel he couldn’t even get a piece of food down his throat at dinner. So he went to bed hungry. He was haunted by nightmares all night. The next morning, with relief, he got out of the fortress and set off on his further journey.
In the afternoon he arrived in Hanover, had lunch and went sightseeing. The city turned out to be very clean and sleek. There is a palace there. The king lives in it. In the evenings he prepares an enema for his elderly dog.
At dusk the poet arrived in Hamburg. Came to my home. His mother opened the door for him and beamed with happiness.
She began feeding her son fish, goose and oranges and asking him sensitive questions about his wife, France and politics. The poet answered everything evasively.
The year before, Hamburg had suffered a great fire and was now being rebuilt. There are no more streets there. The house in which, in particular, the poet first kissed the girl was gone. The printing house in which he printed his first works disappeared. There was no town hall, no Senate, no stock exchange, but the bank survived. And many people died too.
The poet went with the publisher Kampe to Lorenz's cellar to taste excellent oysters and drink Rhine wine.
Kampe is a very good publisher, according to the poet, because it is rare that a publisher treats its author to oysters and Rhine wine. The poet got drunk in the cellar and went for a walk through the streets. There he saw a beautiful woman with a red nose.
She greeted him, and he asked her who she was and how she knew him. She replied that she was Hammonia, the patron goddess of the city of Hamburg. But he didn’t believe her and followed her into her attic. There they had a pleasant conversation for a long time, the goddess prepared tea with rum for the poet. He, lifting the goddess’s skirt and placing his hand on her loins, swore to be modest both in word and in print. The goddess blushed and uttered complete nonsense, like the censor Hoffmann would soon cut off the poet’s genitals. And then she hugged him.
The poet prefers to be frank with the reader in a private conversation about the further events of that night.
Thank God, the old bigots are rotting and gradually dying. A generation of new people with a free mind and soul is growing. The poet believes that young people will understand him, because his heart is immeasurable in love and immaculate, like a flame.
Bibliography
To prepare this work, materials from the site were used. To prepare this work, materials were used from the site http://lib.rin.ru/cgi-bin/index.pl
In search of refuge from pessimism, I plunged into the wild world of lonely little people. Beginning with The Chronicle of Sparrow Street (1857), he continued the tradition of the humorous novel, which in Germany goes back to Jean Paul. Poetic realism, which a number of critics see in all artistic prose of this period is easily illustrated by the example of the Swiss novelist Keller (1819–1890). Relying on the...
... ", the arrogance of the Prussian lieutenants and the philistine narrowness of the burghers. After the July Revolution, political motives begin to sound more and more clearly thanks to the comparison of Germany and France. But in comparison with Heine’s prose - “Travel Pictures”, " French affairs", "Romantic School", "History of Religion and Philosophy in Germany" and various prefaces to his books - where he boldly, witty, ...
Epochs." Flexibility and looseness of speech, emotional intensity, mastery of landscape sketches, lyricism permeating the epic narrative - all these achievements of romanticism were organically adopted by Heine. “Travel Pictures” consists of three parts: “Journey along the Harz”, “North Sea”, “Journey from Munich to Genoa”. Different parts of “Travel Pictures” (1826-1831) differ significantly from each other...
To your bed - to your “mattress grave”. During this period, "Gods in Exile", "Elemental Spirits", "Confessions", the poetic cycles "Romansero", "Lazarus", " Latest poems". Heinrich Heine died on February 17, 1856 in Paris. He was buried in the Montmartre cemetery. On the island of Corfu, by order of the Austrian Empress Elizabeth, the wife of Franz Joseph, a mausoleum was erected in memory of Heine. In 1900 ...
Heinrich Heine. Germany. Winter's Tale
The action of the poem takes place in the autumn-winter of 1843. The poet's lyrical hero leaves cheerful Paris and his beloved wife in order to make a short trip to his native Germany, which he missed very much, and to visit his old sick mother, whom he had not seen for thirteen years.
He entered his native land on a gloomy November day and involuntarily shed tears. He heard his native German speech. A little girl with a harp sang a mournful song about a sorrowful earthly life and heavenly bliss. The poet proposes to start a new joyful song about heaven on earth, which will soon come, because there will be enough bread and sweet green peas and love for everyone. He hums this joyful song because his veins have been filled with the life-giving juice of his native land.
The little one continued to sing a heartfelt song in an out of tune voice, and meanwhile the customs officers were rummaging through the poet’s suitcases, looking for prohibited literature there. But in vain. He prefers to transport all forbidden literature in his brain. When he arrives, he will write. Outwitted the customs officers.
The first city he visited was Aachen, where the ashes of Charlemagne rest in the ancient cathedral. Spleen and melancholy reign on the streets of this city. The poet met the Prussian military and found that in thirteen years they had not changed at all - stupid and drilled dummies. At the post office he saw a familiar coat of arms with the hated eagle. For some reason he doesn't like the eagle.
Late in the evening the poet reached Cologne. There he ate an omelette with ham. I washed it down with Rhine wine. After that I went to wander around Cologne at night. He believes that this is a city of vile saints, priests who rotted in dungeons and burned the flower of the German nation at the stake. But the matter was saved by Luther, who did not allow the disgusting Cologne Cathedral to be completed, but instead introduced Protestantism in Germany. And then the poet talked with Rain.
After that, he returned home and fell asleep like a child in a cradle. In France, he often dreamed of sleeping in Germany, because only native German beds are so soft, cozy, and fluffy. They are equally good for dreaming and sleeping. He believes that the Germans, unlike the greedy French, Russians and English, are characterized by dreaminess and naivety.
The next morning the hero set off from Cologne to Hagen. The poet did not get on the stagecoach, and therefore had to use a mail coach. We arrived in Hagen at about three o'clock, and the poet immediately began to eat. He ate fresh salad, chestnuts in cabbage leaves with gravy, cod in butter, smoked herring, eggs, fat cottage cheese, sausage in fat, blackbirds, goose and suckling pig.
But as soon as he left Hagen, the poet immediately became hungry. Then a nimble Westphalian girl brought him a cup of steaming punch. He remembered Westphalian feasts, his youth and how often he found himself under the table at the end of the holiday, where he spent the rest of the night.
Meanwhile, the carriage entered the Teutoburg Forest, where the Cherus prince Herman in 9 BC. e. dealt with the Romans. And if he had not done this, Latin morals would have been implanted in Germany. Munich would have its Vestals, the Swabians would be called Quirites, and Birch-Pfeiffer, a fashionable actress, would drink turpentine, like the noble Romans, who had a very pleasant smell of urine from it. The poet is very glad that Herman defeated the Romans and all this did not happen.
The carriage broke down in the forest. The postman hurried to the village for help, but the poet was left alone in the night, surrounded by wolves. They howled. In the morning the carriage was repaired, and it sadly crawled on. At dusk we arrived in Minden, a formidable fortress. There the poet felt very uncomfortable. The corporal interrogated him, and inside the fortress it seemed to the poet that he was in captivity. At the hotel he couldn’t even get a piece of food down his throat at dinner. So he went to bed hungry. He was haunted by nightmares all night. The next morning, with relief, he got out of the fortress and set off on his further journey.
In the afternoon he arrived in Hanover, had lunch and went sightseeing. The city turned out to be very clean and sleek. There is a palace there. The king lives in it. In the evenings he prepares an enema for his elderly dog.
At dusk the poet arrived in Hamburg. Came to my home. His mother opened the door for him and beamed with happiness. She began feeding her son fish, goose and oranges and asking him sensitive questions about his wife, France and politics. The poet answered everything evasively.
The year before, Hamburg had suffered a great fire and was now being rebuilt. There are no more streets there. The house in which, in particular, the poet first kissed the girl was gone. The printing house in which he printed his first works disappeared. There was no town hall, no Senate, no stock exchange, but the bank survived. And many people died too.
The poet went with the publisher Kampe to Lorenz's cellar to taste excellent oysters and drink Rhine wine. Kampe is a very good publisher, according to the poet, because it is rare that a publisher treats its author to oysters and Rhine wine. The poet got drunk in the cellar and went for a walk through the streets. There he saw a beautiful woman with a red nose. She greeted him, and he asked her who she was and why she knew him. She replied that she was Hammonia, the patron goddess of the city of Hamburg. But he didn’t believe her and followed her into her attic. There they had a pleasant conversation for a long time, the goddess prepared tea with rum for the poet. He, lifting the goddess’s skirt and placing his hand on her loins, swore to be modest both in word and in print. The goddess blushed and uttered complete nonsense, such as the fact that the censor Hoffmann would soon cut off the poet’s genitals. And then she hugged him.
The poet prefers to talk with the reader about further events of that night in a private conversation.
Thank God, the old bigots are rotting and gradually dying. A generation of new people with a free mind and soul is growing. The poet believes that young people will understand him, because his heart is immeasurable in love and immaculate, like a flame.
Bibliography
To prepare this work, materials from the site http://briefly.ru/ were used