READING HEINRICH HEINE

Notes to pages 8–15 267
13 Adolf Loos, ‘Ornament und Verbrechen’ in Sämtliche Schriften, ed. Franz Glück
(Vienna and Munich: Herold Verlag, 1962), p. 284: translated in Ornament and
Crime, Selected Essays, selected and with an introduction by Adolf Opel, trans.
Michael Mitchell (Riverside, CA: Ariadne Press, 1998), p. 172 (modified).
14 See Alfred Pfabigan, Karl Kraus und der Sozialismus (Vienna: Europaverlag,
1976), p. 136, onthe Wittgenstein house.
15 ‘die Hülle der schlechten Absicht gefällig zu machen’, Kraus, Untergang der
Welt, p.189.
16 Karl Kraus, Nachts (Vienna and Leipzig: [Kurt Wolff] Verlag der Schriften
von Karl Kraus, 1924), p. 67. The idea of an aesthetics of the phrase has
been deployed by two unorthodox monographs on Kraus: Pfabigan’s study,
which cites the case of Bahr’s beard (p. 137), and, following him, Manfred
Schneider’s psycho-biography Die Angst und das Paradies des Nörglers (Frankfurt
am Main: Syndikat, 1977). Pfabigan illustrates Kraus’s resistance to the ‘phrase’
in the context of Loos’s idea of ornament, which Kraus understands, in human
terms, as costume and fashion. Thus the popularity of the beard is attacked as
no more than the self-stylization of those who like to think of themselves as
artists.
17 Walter Benjamin, ‘Karl Kraus’ in Selected Writings, trans. Rodney Livingstone
and others, ed. Michael W. Jennings, Howard Eiland, and Gary Smith, 3 vols.
(Cambridge, MA and London: Belknap Press of Harvard University Press,
1999), vol. II: 1927–1934, p.435 (slightly modified); Gesammelte Schriften, ed.
Rolf Tiedemann and Hermann Schweppenhäuser, 7 vols. (Frankfurt am Main:
Suhrkamp, 1977), vol. II.1,pp.336–7.
18 Kraus, Untergang der Welt,p.190.
19 Pfabigan, Karl Kraus und der Sozialismus, p.141, citing Jürgen Habermas,
Strukturwandel der Öffentlichkeit (Neuwied: Luchterhand, 1971), p. 227.
20 SeeWilhelm Gössmann, Hans P. Keller, Hedwig Walwei-Wiegelmann (eds.),
Geständnisse: Heine im Bewußtsein heutiger Autoren (Düsseldorf: Droste, 1972),
pp. 46–7.
21 Alf Jörgensen, Karl Kraus. Der Heinefresser und die Ursachen (Flensburg:
Schütze und Schmidt, n.d. [?1912]), p. 13.
22 Pfabigan, Karl Kraus und der Sozialismus,p.21; see also p. 17.
23 Hans Mayer, ‘Karl Kraus und die Nachwelt’, in Ansichten. Zur Literatur der
Zeit (Reinbek bei Hamburg: Rowohlt, 1962), p. 74.
24 Kraus’s term ‘prompte[r] Bekleider’ (Untergang der Welt,p.197) suggests both
the earlier metaphors of clothing and costume, as of a superficial effect, and of
Heine fulfilling a role in the sense of ‘ein Amt bekleiden’ – to hold an (already
existing) office.
25 Walter Benjamin, The Origin of the German Tragic Drama, trans. John Osborne
(London: Verso, 1985), p. 162; Ursprung des deutschen Trauerspiels, Gesammelte
Schriften, vol. I.1, p.339. See Heinz Schlaffer, Faust Zweiter Teil. Die Allegorie
des 19. Jahrhunderts (Stuttgart: Metzler, 1981).
26 Strikingly enough, Adorno, recalling a remark of Proust, will note the
same sense of embarrassment himself vis-à-vis Kraus’s own Sittlichkeit und