heitere Huldigung, gewidmet vom Verfasser." In the first edition of R. the motto was chosen from Immermann's Cardenio und Celinde: Des Altars heil'ge Deck', um eines Diebes Zu stolz, den Thau des Himmels zu empfangen, In the second edition he chose, with more propriety, the lines, also from [Wir] hassen jede halbe Lust, The title may have been suggested by a poem of Eichendorff (see Note to xvii.); taken generally it applies to the lyrics written on the poet's return from the University of Berlin. I. In Die Biene (January 31, 1826) and R. Eichendorff has repeated the idea of the second and third stanzas in his "Wehmuth" ii. : Eben, wenn ich munter singe, Um die Angst mir zu zerstreun. II. The first appearance of the Lorelei legend in poetry was in Brentano's poem in the novel Godwi (1802). There the heroine is a young maid from Bacharach, who, by her beauty, causes all to be in love with her. She is accused of sorcery and brought before the bishop, who himself falls under her spell. The maid herself longs for death, as she has been deserted by the only one she loved. She is sent to a cloister, but on the way she throws herself from the well-known rock into the Rhine. In 1811 Nikolaus Vogt published a slightly different version of the legend in prose. Another version of the legend, approaching very closely to Heine's poem, appeared in 1818 in Aloys Schreibers Handbuch für Reisende am Rhein: “In alten Zeiten ließ sich manchmal auf dem Lurley um die Abenddämmerung und beim Mondschein eine Jungfrau sehen, die mit so anmuthiger Stimme sang, daß alle, die es hörten, davon bezaubert wurden. Viele, die vorüberschifften, gingen am Felsenriff, oder im Strudel zugrunde, weil sie nicht mehr auf den Lauf des Fahrzeugs achteten, sondern von den himmlischen Tönen der wunderbaren Jungfrau gleichsam vom Leben abgelöst wurden (quoted from Walzel's note to this poem). In 1821 Graf Loeben turned the legend into verse again, and here the maid is represented as a Nixe who entices men to their doom. From this poem Heine has derived more than from Brentano, notably the brevity of the ballad, the calm atmosphere of its setting and two of the rhymes, as we see from the stanzas : Da, wo der Mondschein blitzet Das Zauberfräulein sitzet Sie singt dir hold am Ohre, Sie hat's dir angethan. Eichendorff's "Loreley" appeared in his novel Ahnung und Gegenwart in 1815, but it has the forest as background. On the other hand, later versions of the theme in Eichendorff, e.g. "Schlimme Wahl,' ""Der stille Grund," and "Verloren," point to his acquaintance with Heine's poem. The latter by its masterly construction, vividness, and musical charm has become famous, while other versions are known only to the scholar. III. In G.G. (March 27, 1824) and R. According to Heine's brother Maximilian the scenery of this poem represents Lüneburg. The "rothgeröckte Bursche" is a reference to the red-coats of the Hanoverian infantry. IV. In G.G. (March 26, 1824) and R. The picture of the swallows building their nests at the window of the loved one is derived from the Volkslied (Schottky, Lieder, 65). V. In R. VI. In G.G. (March 27, 1824) and R. 3. Schwesterchen. earliest reference in the poems to Amalie's younger sister Therese. VII. In G.G. (March 27, 1824) and R. sea-poetry (see Introduction, p. xxxiii). VIII. In G.G. (March 27, 1824) and R. The The beginning of Heine's 10. Cp. Brentano's Godwi, p. 260: "so schwoll es wie Ebbe und Fluth in meinem Herzen." XV. In G. G. (March 29, 1824) and R. from Des Knaben Wunderhorn, i. p. 141: Cp. also iii. p. 356. The first verse is borrowed Da droben auf jenem Berge Da steht ein goldnes Haus, Da schaun wohl alle Frühmorgen XVI. In G.G. (March 26, 1824) and R. XVII., XVIII., XX. In G. G. (March 26, 1824) and R. XIX. In R. only. The general idea and several of the details in these and other poems are common to Heine and Eichendorff. This point was discussed by S. Heller in his theses Eichendorffs Einfluß auf Heine, Lemberg, 1897-98, but, as he paid no attention to the chronology of the poems, his conclusions are frequently wrong. What may be called the Heimkehrmotive occurs first in Eichendorff's "Jahrmarkt," originally published in Florens, Dichterwald, 1813, with the title "Heimkehr." The poet returns to the home of his youth, where he left his sweetheart many years ago. He knocks at her door, but no one recognizes him. He casts his eyes around and sees many happy faces, among them the object of his love, but she is sad and pale, as she passes on the arm of another. She looks strangely at him. Both are secretly broken-hearted. This poem is clearly the source of many ideas in Heine's poetry, cp. Traumbilder v., Intermezzo xviii., xix., xxxviii., lx., Heimkehr xviii., xx., xxvi., lx. It may even have suggested the title of this cycle. But the remarkable thing is that the poems of Eichendorff which treat this theme fully, and in so doing show the greatest resemblance to Heine, were published after the Buch der 66 Lieder. Examples are "In der Fremde," "Der verliebte Reisende," "Das Ständchen," Rückkehr," "Letzte Heimkehr." The following stanza from "Rückkehr " shows a marked resemblance to Heine : Heine seems to have borrowed the first suggestions from Eichendorff and then to have influenced him in return (as in the case of the "Lorelei "), or it is a striking coincidence in the use of poetical motives. XXI., XXII. In G. G. (March 26, 1824) and R. In both poems there is an allusion to the Lenore legend. XXIII., XXIV. In R. XXV. In Agrippina (July 25, 1824) and R. 8. Madame. parallel to this ironical use of "Madame" in Intermezzo xxviii. There is a Otto zur Linde (.c.) quotes a passage from Chamisso (i. 76) where “gnädige Frau ” is used for the same purpose of ironical contrast: XXVI. In R. XXVII., XXVIII. Hegst im Herzen du die Stunden In G. G. (March 29, 1824) and R. The picture of the "Pfarrerhaus" in xxviii. in its general outlines and in some of the details, e.g. when the family is warned by the hand knocking at the window, resembles Eichendorff's early poem "Der Reitersmann." XXIX. In G. G. (March 31, 1824) and R. 15. Die goldnen Locken. Eichendorff has the same image in a later poem, "Die Nachtigallen" (1841): Es fallen die Löcklein Ubers ganze Gesicht. XXX. In Agrippina (July 23, 1824) and R. Heine XXXII., XXXIII. In Die Biene (January 31, 1826) and R. seems to have thought very highly of XXXIII. It was sent to Christiani on December 6, 1815, in a letter with the words: "Folgendes famose Lied machte ich gestern abend. Ist es nicht wunderschön? Kennst du in der ganzen deutschen Litteratur ein besseres Lied?" (quoted from Walzel's note). XXXIV. In Rheinblüthen, 1825, and R. XXXV. In Rheinblüthen, 1825, and R. 11. Fouqué. In 1823 Fouqué dedicated a poem to Heine. The latter replied with an extravagantly worded letter of thanks (June 10, 1823), mentioning among other things that Fouqué's Zauberring had influenced his Almansor. Heine's maturer judgement upon Fouqué is to be found in Die romantische Schule (ed. Elster, v. p. 336). 14. Hekate. This may refer to a weekly magazine of that name, edited by Adolf Müllner, famous as the author of the fate-tragedy Die Schuld. XXXVI. Rheinblüthen, 1825, and R. XXXVII. In R. XXXVIII. In R. This poem is addressed to Heine's sister, Charlotte, who married Moritz Emden in 1823. In one of his many affectionate letters the poet writes: "Giebt es doch niemand auf der Welt, in dessen Gesellschaft es mir wohler zu Muthe wäre, als in der meiner Schwester." XXXIX. In R. XL., XLI. In G. G. (March 31, 1824) and R. XLII., XLIII. In Die Biene (January 31, 1826) and R. XLIV. In Rheinblüthen, 1825, and R. XLV. Ibid. The subject is drawn from the story of the Indian king Wiswamitra, who tried by every means, but in vain, to get possession of the pious Wasischta's divine cow, which was capable of conferring all worldly blessings. The poem introduces the new group of songs inspired by Therese. XLVI. In R. XLVII. In Rheinische Flora (February 13, 1825) and R. Elster refers the poem to Therese. Maria Embden-Heine, a niece of the poet, says that it was inspired by a poor Jewish girl from Gnesen, whom Heine found destitute in the streets of Berlin and assisted. (See her Erinnerungen an Heinrich Heine, Hamburg, 1881.) XLVIII. In R. XLIX., L. In G. G. (March 29 and 31, 1824) and R. LI. In Aurora für 1823 and R. LII. In R. LIII. In R. stanza of XLIV. LIV. In R. The second verse should be compared with the last LV. In G. G. (March 29, 1824) and R. CLVI. First published in the Buch der Lieder, then in R. 5. Diamant. Eichendorff uses the same metaphor in a slightly later poem, wandernde Musikant " (1826): Mein Herz ist recht von Diamant, Ein' Blum' von Edelsteinen. 'Der Both may have derived it from the Volkslied. (See Des Knaben Wunder horn, ii. p. 497, and iii. p. 401.)/ LVII. In G. G. (March 29, 1824) and R. LVIII. In R. LIX. In R. (1826), but not in later editions of R. LX. In Die Biene (January 31, 1826) and R. LXI. In R. The wish that the winds may carry the sighs of the lover to his mistress is from the Volkslied. (See Des Knaben Wunderhorn, iii. p. 333, and ii. pp. 59, 78.) LXII. In Die Biene (January 31, 1826) and R. The refrain is an echo of Goethe's "Nachtgesang." Cp. Goethe-Jahrbuch, v. pp. 329 f. LXIII. In R. LXIV. In G.G. (March 31, 1824), Rheinische Flora (November 8, 1825), and R. LXV. In R. According to Maximilian Heine this poem is "eine gereimte Photographie” of Dr. Rudolf Christiani (Erinnerungen, p. 68). He is also the subject of a later poem, "An einen ehemaligen Goethianer," written in 1832. He was town-clerk of Lüneburg, and one of Heine's devoted admirers. He married a cousin of the poet, and was made Heine's literary executor by the will of 1851, but he died before carrying out the work, LXVI. In Westteutscher Musenalmanach, 1823, and R. 15. Eugen. The reference is to Heine's Polish friend, Graf Eugen von Breza. LXVII. First published in Buch der Lieder, then in R. (1830). LXVIII., LXIX., LXX. In R. LXXI. In G.G. (March 31, 1824) and R. LXXII. In G. G. (March 31, 1824) and R. (1826), but not later in R. LXXIII. In R. For the situation in the second verse cp. Des Knaben Wunderhorn, ii. p. 465: Hör' ich nicht den Trompeter blasen In der Stadt auf der Parade, Den Trompeter mit dem Federbuch, LXXIV., LXXV. In R. LXXVI., LXXVII. First published in Buch der Lieder, then in R. (1830). LXXVIII. In G. G. (March 31, 1824) and R. (1826), but not later in R. LXXIX. In Agrippina (June 25, 1824) and R. LXXX. In Agrippina (July 25, 1824) and R. following one, according to Maximilian Heine (l.c. stands for Göttingen. LXXXI. Not in R. LXXXII.-LXXXV. In R. In this poem and the pp. 126 f.), Salamanca R. M. LXXXVI. In Rheinische Flora (January 20, 1825) and R. Meyer, in his Goethe, 2nd ed. pp. 154-56, makes an interesting comparison between this "Mondlied" and similar poems by Goethe, Eichendorff, Lenau, and Storm. Regarding Heine he says: "Der Dichter gönnt sich keine Zeit, auszumalen. Impressionistisch werden rasch die Grundtöne hingesetzt: Nacht, Fremde, krankes Herz, müde Glieder. Sie bilden nur den dunkeln Hintergrund, von dem sich das Erlebnis abhebt: das Mondlicht, das Heines aufgeregtes Herz, wie das Lenaus und Storms, besänftigt.” LXXXVII. In R. To the second verse Ochsenbein (1.c. p. 190) quotes a parallel from Byron's "Stanzas to Augusta": In the desert a fountain is springing, |