By birth he was a Jew, both of his parents having been of that persuasion. He was the eldest of four children, and his two brothers are (or were recently) still alive, the one being a physician in Russia, and the other an officer in the Austrian service. The famous Solomon Heine, the banker of Hamburg, whose wealth was only equalled by his philanthropy, was his uncle. His father, however, was far from being in opulent circumstances. When quite a child, he took delight in reading Don Quixote, and used to cry with anger at seeing how ill the heroism of that valiant knight was requited. He says somewhere, speaking of his boyish days, “apple-tarts” were then my passion. Now it is love, truth, freedom, and “crab-soup.” He received his earliest education at the Franciscan convent in his native town, and while there had the misfortune to be the innocent cause of the death by drowning of a schoolfellow, an incident recorded in one of the poems in his “Romancero.” He mentions the great effect produced upon him by the sorrowful face of a large wooden Christ which was constantly before his eyes in the Convent. Even at that early age the germs of what has been called “his fantastic sensibility, the food for infinite irony,” seem to have been developing themselves. A visit of the Emperor Napoleon to Dusseldorf when he was a boy affected him in a singular manner, and had probably much to do with the formation of those imperialist tendencies which are often to be noticed in his character and writings. He was next placed in the Lyceum of Dusseldorf, and in 1816 was sent to Hamburg to study commerce, being intended for mercantile pursuits. In 1819 he was removed to the University at Bonn which had been founded in the previous year, and there he had the advantage of studying under Augustus Schlegel. He seems, however, to have remained there only six months, and to have then gone to the University of Göttingen, where, as he tells us, he was rusticated soon after matriculation. He next took up his abode at Berlin, where he applied himself to the study of philosophy, under the direction of the great Hegel, whose influence, combined with that of the works of Spinosa, undoubtedly had much to do with the formation of Heine’s mind, and also determined his future career. From this time we hear no more of his turning merchant; and it is from the date of his residence at Berlin that we may date the rise of that spirit of universal indifference and reckless daring that so strongly characterizes the writings of Heine. Amongst his associates at this period may be mentioned, in addition to Hegel, Chamisso, Varnhagen von Ense and his well-known wife Rachel, Bopp the philologist, and Grabbe, the eccentricities of whose works were only equalled by the eccentricities of his life.
Heine’s first volume of poetry, entitled “Gedichte” or Poems, was published in 1822, the poems being those which, under the name of “Youthful Sorrows,” now form the opening of his “Book of Songs.” Notwithstanding the extraordinary success afterwards obtained by this latter work, his first publication was very coldly received. Some of the poems in it were written as far back as 1817,[2] and originally appeared in the Hamburg periodical “Der Wachter” or “Watchman.” Offended at this result, he left Berlin and returned to Göttingen in 1823, where he took to studying law, and received the degree of Doctor in 1825. He was baptized into the Lutheran Church in the same year, at Heiligenstadt, near that place. He afterwards said jocularly that he took this course to prevent M. de Rothschild treating him too fa-millionairely. It is to be feared, however, from the tone of all his works, that his nominal religious opinions sat very lightly upon him through life. He writes as follows on this subject in 1852: “My ancestors belonged to the Jewish religion, but I was never proud of this descent; neither did I ever set store upon my quality of Lutheran, although I belong to the evangelical confession quite as much as the greatest devotees amongst my Berlin enemies, who always reproach me with a want of religion. I rather felt humiliated at passing for a purely human creature—I whom the philosophy of Hegel led to suppose that I was a god. How proud I then was of my divinity! What an idea I had of my grandeur! Alas! that charming time has long passed away, and I cannot think of it without sadness, now that I am lying stretched on my back, whilst my disease is making terrible progress.”
Previous to this date, and whilst living at Berlin, Heine published (in 1823) his only two plays, “Almanzor” and “Ratcliff,” which were equally unsuccessful on the stage and in print, and which are certainly the least worthy of all his works. Between these two plays he inserted a collection of poetry entitled “Lyrical Interlude,” which attracted little attention at the time. In the year 1827, however, he republished this collection at Hamburg, in conjunction with his “Youthful Sorrows,” giving to the whole the title of the “Book of Songs.” In proportion to the indifference with which his poems had been received on their first appearance, was the enthusiasm which they now excited. They were read with avidity in every direction, especially in the various universities, where their influence upon the minds of the students was very great. In the year 1852, this work had reached the tenth edition.
Heine’s next great work, his “Reisebilder,” or Pictures of Travel, written partly in poetry and partly in prose, was published at Hamburg at various intervals from 1826 to 1831, and, as its name implies, is descriptive of his travels in different countries, especially in England and Italy. The poetical portion of the “Reisebilder,” the whole of which is translated in this volume, is divided into three parts—“The Return Home,” the “Hartz-Journey,” and “The Baltic,” written between 1823 and 1826. This work again met with an almost unprecedented success, and from the date of its publication and that of the “Book of Songs,” may be reckoned the commencement of a new era in German literature. These remarkable poems exhibit the whole nature of Heine, free from all disguise. The striking originality, the exuberance of fancy, and, above all, the singular beauty and feeling of the versification that characterize nearly the whole of them, stand out in as yet unheard-of contrast to the intense and bitter irony that pervades them—an irony that spared nobody, that spared nothing, not even the most sacred subjects being exempt from the poet’s mocking sarcasm. This characteristic of Heine only increased as years passed on. In the later years of his life, which were one long-continued agony, his bodily sufferings offer some excuse, it may be, for what would otherwise have been inexcusable in the writings of a great poet. There was doubtless much affectation in the want of all religious and political faith that is so signally apparent in the works of Heine, and yet they betray a real bitterness of feeling that cannot be mistaken. At every page may be traced the malicious pleasure felt by him in exciting the sympathy and admiration of the reader to the highest pitch, and then with a few words—with the last line or the last verse of a long poem, it may be—rudely insulting them, and dashing them to the ground. No better parody of this favourite amusement of Heine can be given than by citing two well-known verses of Dr. Johnson:
“Hermit old in mossy cell,
“Wearing out life’s evening gray,
“Strike thy pensive breast, and tell
“Where is bliss, and which the way?”
Thus I spake, and frequent sigh’d,
Scarce repress’d the falling tear,
When the hoary sage replied:
“Come, my lad, and drink some beer.”
The exuberance of Heine’s heart, as has been well said, was only equalled by the dryness of his spirit; a real enthusiasm was blended with an unquenchable love of satire; “his exquisite dilettanteism made him adore the gods and goddesses of Greece at the expense even of Christianity.” In short, qualities scarcely ever found in combination, were combined in him; in one weak, suffering body two distinct and opposite natures, each equally mighty, were united. Perhaps the best name ever applied to him is that of the “Julian of poetry.”
The French Revolution in 1830 determined