Main Currents in Nineteenth Century Literature - 6. Young GermanyBrandes, Georg
History
Main Currents in Nineteenth Century Literature - 6. Young Germany
Brandes, Georg
Literature, Modern -- 19th century -- History and criticism; Naturalism in literature; Romanticism
The anti-Prussian rhapsody in the inn at Minden is prepared for in the
same manner. Heine wants to summon forth the Prussian eagle, and to
pluck him and shoot him. If Aristophanes had had the same designs, he
would have introduced the eagle without more ado. Heine goes to work in
his roundabout way. In the act of falling asleep he dreams that the red
bed-curtain tassel above his head turns into an eagle with feathers and
claws, which threatens to tear the liver out of his breast, and which
he taunts with bitter hatred.
In a few single instances Heine's artistic procedure is bolder, more
like that of the great Greek. One of these is the splendid harangue to
the wolves at night in the Teutoburgerwald. At midnight the traveller
hears them howling round his carriage, which has lost a wheel. He comes
out and makes a speech to the savage brutes:
"Mitwölfe, ich bin glücklich, heut'
In eurer Mitte zu weilen,
Wo so viel' edle Gemüther mir
Mit Liebe entgegen heulen."[6]
[6]
Brother wolves! it gives me great pleasure to-day
To tarry awhile midst your growling,
Where so many noble spirits have met,
Around me lovingly howling.
(BOWRING)
And the speech is a humorous imitation of those which great men are
in the habit of making on such occasions: This is an hour which to
him will be ever memorable. They lie who say that he has joined the
dogs; the idea of becoming court-councillor to the lambs has never
even occurred to him. From time to time he has dressed himself in a
sheepskin, but only for the sake of the warmth; he is and always will
be a wolf.
In the scene between the poet and the strapping woman with the mural
crown who represents Hamburg, we have, as Heine himself informs us, a
direct imitation of the wedding of Peithetaerus and Basileia in _The
Birds_. It is wanton and boyishly frolicsome; its licentiousness is
really more offensive than that of similar passages in Aristophanes,
who never appears in his own plays except in defence of himself as a
poet. Heine does not go the same length as Aristophanes, but he is more
personal.
Public-domain text, read in full here on John Shaqi.
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