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READING HEINRICH HEINE

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The real Heine: Atta Troll and allegory 149<br />

ironic, and therefore ‘real’ Heine who writes to his friend Varnhagen in the<br />

final canto.<br />

What frustrates the reader is the constant display of critical temperament<br />

without any corresponding positive commitments. Alexander Jung’s review<br />

of the first published version of the poem in 1843 called Atta Troll ‘the ruin<br />

of a ruined poet’ precisely because, in spite of all its rejection of mood,<br />

‘here and there the style of the genre picture and the cheerful sensuality<br />

of the old Heine still flashes out’ – and Jung is clearly thinking of the<br />

treacherously moody middle cantos (B 6/2, 677). Even a more sympathetic<br />

reviewer looked forward to ‘many more, even less “tendentious” poetic<br />

productions’. 34 Heine’s prismatic authorship, dispersed between poet, ‘I’,<br />

and Hunter, declines to take up an authorial position.<br />

In this, of course, he could not be less like his hero. Atta Troll is bursting<br />

with opinions to which he gives the full authority of his age and worldly<br />

experience. As a result, the bear is celebrated in the Wittelsbach Valhalla<br />

after his death not for the views he holds but for the very fact that he holds<br />

them:<br />

Atta Troll, Tendenzbär; sittlich<br />

Religiös; als Gatte brünstig;<br />

Durch Verführtsein von dem Zeitgeist,<br />

Waldursprünglich Sanskülotte;<br />

Sehr schlecht tanzend, doch Gesinnung<br />

Tragend in der zottgen Hochbrust;<br />

Manchmal auch gestunken habend;<br />

Kein Talent, doch ein Charakter.<br />

(B 4, 563)<br />

‘Atta Troll: bear with a cause.<br />

Moral, pious. Ardent husband.<br />

Led astray by our Zeitgeist,<br />

Primitive sans-culotte of the forest.<br />

‘Dancing: bad. But strong opinions<br />

Borne within his shaggy bosom.<br />

Sometimes also stinking strongly.<br />

Talent, none; but character, yes!’<br />

(D 475)<br />

It was the reverse of this antithesis that Heine had suffered in much of the<br />

criticism he faced. He insists on the point in the preface to Atta Troll: ‘In<br />

those days talent was a very unfortunate gift, for it meant you were suspected<br />

of a lack of character’ (B 4, 494); the terms of this populist critique are rigid,

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