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READING HEINRICH HEINE

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The tribe of Harry: Heine and contemporary poetry 249<br />

philosophical poems. Andersch alludes to Heine, not because of any precise<br />

derivation of style, form, or diction, but because by the late 1950s, and in<br />

the context of the West German restoration and the Cold War, Heine had<br />

been reduced to his representative role as the poet of the left, irrespective<br />

of the particular linguistic effects or poetic ‘themes’ which might provide<br />

some concrete measure of his influence.<br />

For asuccession of post-war poets, however, Heine’s political reputation<br />

is more than a convenient cliché, because their own verse is closer to<br />

the profane line. Quite apart from the cynicism and studied awkwardness<br />

to which Heine subjects the poetry of romantic love in Buch der Lieder,<br />

his resistance to versions of the Sublime can be found in the parody of<br />

Klopstock and Ossian in the Harzreise episode of the tired and emotional<br />

students who become trapped in a wardrobe, as well as in the Captain’s<br />

question ‘Doctor, what the devil’s got into you?’ at the end of ‘Seegespenst’<br />

(‘Sea Apparition’) from the Buch der Lieder ‘Nordsee’ cycle. Such profanity<br />

sets a tone which eventually settles in the threadbare secularism of ‘Der<br />

Apollogott’ in Romanzero. This is the Heine who nourishes the cynical<br />

and deflating effects in early Expressionist poets such as van Hoddis and<br />

Lichtenstein. Among contemporary writers, Wolf Biermann’s memories of<br />

Heine in Paris provide a telling instance of this anti-poetic tone in ‘Auf dem<br />

Friedhof am Montmartre’ (‘In the cemetery in Montmartre’): 10<br />

Auf dem Friedhof am Montmartre<br />

Weint sich aus der Winterhimmel<br />

Und ich spring mit dünnen Schuhen<br />

Über Pfützen, darin schwimmen<br />

Kippen, die sich langsam öffnen<br />

Kötel von Pariser Hunden<br />

Undsohatt’ ich nasse Füße<br />

Als ich Heines Grab gefunden.<br />

Unter weißem Marmor frieren<br />

Im Exil seine Gebeine<br />

Mit ihm liegt da Frau Mathilde<br />

Undsofriert er nicht alleine.<br />

Doch sie heißt nicht mehr Mathilde<br />

Eingemeißelt in dem Steine<br />

Steht da groß sein großer Name<br />

Und darunter bloß: Frau Heine<br />

UndimKriege, als die Deutschen<br />

An das Hakenkreuz die Seine-<br />

Stadt genagelt hatten, störte<br />

Sie der Name Henri Heine!

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