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READING HEINRICH HEINE

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212 Reading Heinrich Heine<br />

This conclusion is reached at the end of a meditation on the early life of<br />

the great Jewish poet, prompted by a reminiscence of the opening of Psalm<br />

137. Among the shadowy figures conjured by the lament for Jerusalem<br />

is Halevi. He thus becomes visible within a certain tradition, both religious<br />

and poetic, whose voices are heard singing psalms (‘Psalmodierend,<br />

Männerstimmen’) (B 6/1, 130), 750 years after Halevi’s birth. The first part<br />

of the poem goes on to tell how, touched by the primal language of the<br />

Torah and Talmud, and especially by the poetic power of the Halacha or<br />

Babylonian Talmud, Halevi’s poetry became a pillar of fire to the Diaspora.<br />

The second part of the poem returns to the great elegy of Psalm 137.Heine’s<br />

narrator identifies himself with this old song that ‘moans and hums like a<br />

kettle’:<br />

Lange schon, jahrtausendlange<br />

Kochts in mir. Ein dunkles Wehe!<br />

Und die Zeit leckt meine Wunde,<br />

Wie der Hund die Schwären Hiobs.<br />

Dank dir, Hund, für deinen Speichel –<br />

Doch das kann nur kühlend lindern –<br />

Heilen kann mich nur der Tod,<br />

Aber, ach, ich bin unsterblich.<br />

(B 6/1, 135–6)<br />

Long it has been seething in me –<br />

Forathousand years. Black sorrow!<br />

And my wounds are licked by time<br />

Just as Job’s dogs licked his boils.<br />

Dog, I thank you for your spittle,<br />

But its coolness merely soothes me –<br />

Only death can really heal me,<br />

But, alas, I am immortal!<br />

(D 660)<br />

There is an important and difficult temporal dislocation involved in this<br />

positioning of Heine’s narrator. He speaks within the tradition of dereliction<br />

which includes Job and the Babylonian exiles of the psalm, and yet<br />

unmistakably defines himself in relation to his own mortal sickness and<br />

to history as a repetition of suffering. A modern Jewish poet in Paris sees<br />

himself as the Jew of history, perhaps as the Wandering Jew. Both timeless<br />

and yet subject to time, the specific substance of this tradition is grasped by<br />

the modern poet in his own time as a ‘Spleen’, which is also a revolutionary<br />

animus cited from the end of Psalm 137:

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