Part 18

[5] Thou wast that flower, beloved! I knew thee by thy kisses; no flower lips kiss so tenderly, no flower tears burn so scorchingly. My eyes were fast closed, but my soul gazed steadfastly upon thy face; and in the moonlight's ghostly sheen, blissful and trembling, thou did'st return my gaze.

These images, these feelings, belong to an insubstantial world, a world like the blind man's, where there are kisses, but not from visible lips, and tears which fall from unseen eyes, a world fragrant with the perfume of flowers that cannot be touched, and illuminated by magic, spirit-like moonshine instead of the light of the sun. There is no substantiality and there is no sound:

"Wir sprachen nicht, jedoch mein Herz vernahm Was du verschwiegen dachtest im Gemüthe-- Das ausgesprochene Wort ist ohne Scham, Das Schweigen ist der Liebe keusche Blüthe."[6]

[6] We said not a word, but my heart felt all thy unspoken thoughts--the spoken word is a shameless thing, silence is love's chaste blossom.

They held noiseless converse, but what they talked of we are forbidden to ask:

"Frag, was er strahlet, den Karfunkelstein, Frag, was sie duften, Nachtviol' und Rosen-- Doch frage nie, wovon im Mondenschein Die Marterblume und ihr Todter kosen!"[7]

[7] Ask the ruby to explain its fiery glow, ask violet and rose to analyse their perfume, but never seek to know of what the passion-flower and her dead lover talk so caressingly in the pale moonlight.

Heine rises here to a level with Shelley, the sublimest of modern lyric poets. This is Shelley's note--the violin strain of an Ariel, clear and spirit-like and full, and entirely modern in its trembling, thrilling, almost morbid tenderness.

XVIII

LITERATURE AND PARTY

Börne and many later critics have maintained that Heine was never in earnest about anything, and have condemned him accordingly. Setting aside slighter and unimportant causes, Börne's resentment was really aroused by what appeared to him to be Heine's determination not to espouse the cause of any party. He himself, as far as it was possible in those unparliamentary days, was an extreme partyman in literature.

It is now a generally accepted, trite axiom, that art is its own aim and end, but then people were accustomed to look upon it as the handmaid of the great general aims of the day; and in all German literary productions of that period, important and unimportant, we feel exactly what it was that induced the writer to take up his pen. Even an author as strongly actuated by a purpose as Heine was, did not satisfy those who, like Börne, lived for their convictions. They applied to him the expression "talented but characterless" ("wohl ein Talent, aber kein Charakter"), which he ridicules so unmercifully in _Atta Troll_. Even in the introduction he alludes jestingly to the consolation for the great majority which is contained in the doctrine that respectable people are as a rule bad musicians, while, to make up for this, good musicians are anything but respectable people--and every one knows that respectability and not music is the important thing in this world.

Elsewhere Heine maintains that it is, as a rule, a sign of a man's narrowmindedness when he is straightway discerned and held in high esteem by the narrow-minded majority as a man of character; the chief reason for such distinction being that a narrow, superficial, but always consistent philosophy of life is what the multitude most easily understands.

Stoic firmness was assuredly not one of the qualities of Heine's nature. Allowing that in certain given circumstances he showed want of character, we proceed to what is really the vital question: Ought the poet to be a party-man?

At the time when Heine was jeering in _Atta Troll_ at those who in their philanthropic and political ardour imagined strength of character to be a sufficient substitute for talent, a serious literary war was being waged in Germany over the question whether the poet ought to be a party-man or to take up a position superior to all parties. _Atta Troll_, which pours such ridicule on Freiligrath's youthful poems, appeared in the autumn of 1841; in November of the same year Freiligrath, who till then had been best known by oriental poems in Victor Hugo's style, and who had a short time previously accepted a pension from the King of Prussia, wrote, in a poem entitled _Año Spanien_ (on Diego Leon, the Spanish general shot in 1841) the following lines on the poet as such:

"Er beugt sein Knie dem Helden Bonaparte, Und hört mit Zürnen d'Enghien's Todesschrei: Der Dichter steht auf einer höhern Warte Als auf den Zinnen der Partei."[1]

This sentiment was condemned by Georg Herwegh in the poem _Die Partei (an Ferdinand Freiligrath_), the most striking lines of which are:

"Partei! Partei! wer sollte sie nicht nehmen, Die noch die Mutter aller Siege war! Wie mag ein Dichter solch ein Wort verfehmen, Ein Wort, das alles Herrliche gebar! Nur offen wie ein Mann: Für oder wider? Und die Parole: Sklave oder frei? Selbst Götter stiegen vom Olymp hernieder Und kämpften auf den Zinnen der Partei."[2]

A year later, in his poem _Duett der Pensionirten_, Herwegh taunted Freiligrath with accepting a pension from the King of Prussia, whereupon Freiligrath, as is well known, threw up his pension, joined the ranks of the political poets, and developed so rapidly into a Radical and revolutionary, that at the time of the outbreak in 1848, he was looked upon as the representative revolutionary poet in Germany. It is plain, then, that Freiligrath considered Herwegh to be in the right. Still this does not prove him to have been so.

The question whether and to what extent the poet ought to be a party-man is a very complex one. It is so in the first instance because of the ambiguity of the word party, a word which Heine and Börne, Freiligrath and Herwegh employed with a different meaning at different times.

The poet, even if he is a small-minded man, can only lose by pinning his faith to any narrow, political, party programme, to any social or religious theory. How is it possible that his ideals should exactly correspond with the limited, definite aims of any party! Thomas Moore was a Whig poet, Walter Scott a Tory poet, because, with all their great talent, they were not great minds. Byron went more to the root of things than either of them, or than either of the political

## parties--yet every one instinctively feels that it is absurd to say

that Byron, as a poet, did not take a side in politics or religion. He did so even more markedly than Schiller, who also could not be said to belong to any political party, for one reason because there were none in the Germany of his day.

There are certain branches of literature which plainly have nothing to do with party. The poet of love, as such, belongs to no political or religious party; though it is not impossible that he may belong to an art party, for as soon as there is any question of style in art, we at once encounter party again. But the moment he begins to treat a theme in which there is any trace of theory, of thought, of fundamental principle, he is obliged to choose his side, to rank himself among the disciples of this or that philosophy of life.

When, however, as in Freiligrath's case, we have simply an assertion of the poet's right to admire Napoleon and yet to be incensed by the death of d'Enghien, party does not come into question at all; for all that is meant is, that the poet has not dispossessed himself of his right to judge the past with equity and to see the vices as well as the virtues of his heroes. The question of party, strictly so called, is not a question of the judging of the past, but of the shaping of the future; and no man can proceed in two directions at the same time.

Another difficulty presents itself to us in the word party. It means, generally speaking, part of the population of one's own country. And the poet ought to belong to his country and his people, not only to part of them. Looked upon in this light, party is the narrower, country the wider conception, and if by party an actual political party, corresponding more or less perfectly to its name or its programme, is meant, then as a matter of course country is superior to party.

But if we take the word party in the sense in which we use it when we speak of Schiller and of Byron as party-men, then party is a wider, a grander conception than country. For by country we understand a definitely bounded tract of land, definitely limited interests, a definitely circumscribed history; but by party in this sense we understand a system of ideas which, from their very nature, are not confined to any place--world-wide thoughts, the great general interests of humanity. And even if the party sided with represents only the great moving ideas of one age, an age is a wider, greater native land than a country; and the poet does his people a service by extending their horizon beyond their country's bounds.

Börne and Heine were, in my opinion, both strong party-men, but none the less both zealous patriots, their patriotism quite uninjured by their partisanship.

The official press of the day proclaimed Börne to be not only a mad Radical, but a libeller of his country. He had the dangerous habit of expressing all his opinions in such violent terms that they offended, wounded, or incited to action. There was an outcry of indignation when he wrote that any nation had a right to depose its king even if it were only because it had taken a dislike to the shape of his nose. And whole volumes of invective were called forth by his observations on the servility (_Bedientennatur_) of the Germans. He had gone so far as to call them "a nation of flunkeys."

He himself writes: "What can I do with people who really seriously believe that I have advised the nations of Europe to depose their kings as soon as they take a dislike to their noses.... If I were to say: Gentlemen! I did not mean you to take me so literally, they would perhaps believe me--but that would avail me nothing. They would say: You ought to have remembered that you do not write for educated readers only, but that a large proportion of your readers are uneducated men. To this I would answer nothing but: Take me to prison! Then when I was brought into court I would say: Gentlemen! The German is a crocodile! (Cries of indignation. Crocodile! Order!) Gentlemen! The German is a crocodile! (Order! Judge: You are abusing your right of self-defence.) Gentlemen! The German is a crocodile--I beg of you to allow me to continue. When I use the word crocodile I am not hinting at savage instincts or crocodile tears. The German is tame and good-natured, and weeps tears that are as sincere as the tears of a whipped child. If I have applied the name of crocodile to the German, it is only on account of his skin, which does resemble that of the crocodile. It consists of hard scales, and is like a slated roof. Anything solid that falls upon it rebounds, anything liquid runs off. Suppose, now, gentlemen, that you wished to mesmerise such a crocodile, with the final intention of curing his weak nerves, but in the first instance of making him so clear sighted that he could see inside himself, discover his own disease, and find out the proper remedy for it. How would you set about it? Would you gently stroke the crocodile coat-of-mail with your warm hand? No, you would not be so foolish; you know that would make no impression on it. You would stamp on it, drive nails into it, and if that were not enough, you would fire a hundred bullets at it, calculating that ninety-nine of them would take no effect, and that the hundredth would bring about just the mild, modest results your mesmerism was intended to produce. This is what I have done."[3]

One sees that Börne's strong language on the subject of German servility and indolence is simply the negative expression of his patriotism. It is a patriotism which as a rule finds only indirect expression, but we feel it as distinctly in his melancholy derision as in the enthusiastic demonstrations of others.

As regards Heine, Börne's charges were, no doubt, to a certain extent well founded. The versatile poet's temperament made the monotonous struggle for a political conviction hard for him, and he was, as we have already shown, drawn two ways and rendered vague in his utterances by feeling himself to be at one and the same time a popular revolutionist and an enthusiastic aristocrat. But his objection to connecting himself with any of the existing political or religious

## parties was more a proof of his high intellectual standard than of

anything else. His raillery in _Atta Troll_ at the canting preachers of the Opposition is delightful and perfectly justifiable; it only shows that he abhorred dogmatism in all its forms.

Börne is wrong in assuming that Heine, the man, was false to his party, taking that word in its greater, wider, signification, namely, the ideas for which he contended. For to these he was faithful, even throughout the eight long years when he lay on his deathbed, with difficulty opening his paralysed eyelids to look for God in that heaven whose emptiness he himself had so sadly and defiantly described.

And Heine was as true a patriot as Börne. Every reader of his works must remember the beautiful passage at the conclusion of the _Reisebilder_, in which he tells how the Emperor Maximilian sate in sore straits in the Tyrol, encompassed by his enemies, forgotten by his knights and courtiers. Suddenly the door of his prison cell was opened, and there entered a man in disguise, whom the Emperor recognised as Kunz von der Rosen, his faithful court jester.

I feel it to be not only beautiful but true when Heine says: "O German fatherland! beloved German people! I am thy Kunz von der Rosen. The man whose only business it was to amuse thee, to cater for thy mirth in times of prosperity, makes his way into thy prison in time of need. Here, under my cloak, I bring thee thy strong sceptre and thy beautiful crown--dost thou not recognise me, my Emperor? ... Thou liest in fetters now, but in the end thy rightful cause will prevail; the day of deliverance is at hand, a new time is beginning, my Emperor, the night is over; look out and see the ruddy dawn."

If we beware of attaching too much importance to single expressions, to the wanton or arrogant outbursts scattered here and there throughout his works, we shall perceive that the feeling which finds classic expression in the words just quoted was very strong in Heine's breast. Neither his party standpoint, nor the admiration of things foreign which it entailed, affected a very sincere, deep love of his native land, which made exile in many ways a punishment to him. But he had not the kind of patriotism which he somewhere ascribes to the average German, the kind that narrows the heart, makes it shrink like leather in the cold. His was the patriotism that warms the heart and widens it until it is able to embrace the whole realm of civilization.[4] How could he help loving Germany! As he himself has said, and as we all must say each of his own country: "The truth is--Germany is ourselves." His whole nature and character were determined by his German birth and upbringing. The second half of his life being spent in an exile that was partly voluntary, partly compulsory--in so far a homeless man, that his works were prohibited throughout the German Confederation--the German language became to him a true, a grander, a real fatherland. He himself called the German tongue the most sacred of all possessions, the unsilenceable call to liberty, a new fatherland for him whom stupidity or malice has banished from the land of his birth.

[1] He bows the knee to Bonaparte, the hero, yet d'Enghien's death-cry arouses his wrath: the poet observes from a higher watch-tower than the battlements of party.

[2] What! not a party man! Is not strong party feeling the mother of all victory? How can a poet calumniate the word in which lies the germ of all the noblest deeds? Speak out like a man: Are you for or against us? Is your watchword slavery or freedom? The Gods themselves descended from Olympus and fought on the battlements of party.

[3] _Letter from Paris_, Dec. 15, 1831.

[4] Heine: _Werke_, vi. 51. _Cf_. xiv. 45, and xiii. 16.

XIX

IMMERMANN

All who are familiar with Heine's works or letters are aware of the warm friendship and brotherhood in arms that united him in his youth to Karl Immermann. He proposed to Immermann to insert some of his epigrams in the _Reisebilder_, and as a matter of fact there are several pages of them in the book between the divisions _Norderney_ and _Das Buch Le Grand_. They satirise various literary personages and events of the day. The attacks on those writers who imitated Oriental forms of poetry incensed Platen, and induced him to write his dramatic satire, _Der romantische Oedipus_, which in its turn called forth Heine's well-known satire.

It was very curious that Platen, in his irritation, should with one blow stamp as Romanticists the two men who, each in his own way, did so much (more than Platen himself) to unswathe from the wrappings of Romanticism a new spirit, a new art--the spirit, the art of modern poetry.

Karl Immermann (born in 1796) was three years older than Heine. He was the son of a correct, austere Government official in Magdeburg, and was himself a man of strong character and solid culture, early imbued with that old Prussian spirit of which there was not a trace in Heine. They were contrasts in almost everything.

Immermann fought in the battle of Waterloo as a volunteer, entered Paris with the army, afterwards retired with the rank of an officer, and studied law at the University of Halle. His strong feeling of justice led him into disputes with the powerful students' union, Teutonia, which had usurped a kind of moral authority over all the students, and enforced its principles, especially that of purity of life, in a domineering, brutal fashion. For several years he continued to oppose the practices of the Union, and more than once during this time was obliged to invoke the power of the law to protect him from the insults and persecution to which he was subjected by his antagonists. The consequence of this was that he was hated by the great majority as an informer--the more so as the political reactionaries took advantage of this opposition to the traditional malpractices of the students' unions, to attack, and, where it was possible, suppress the unions, a proceeding for which Immermann was in no way responsible. From this time onwards he stood alone. Much in his character, much of its dryness and peculiarity, had its origin in this isolation, which also favoured the development of pride and self-esteem.

[Illustration: IMMERMANN]

In 1819, Immermann was given a Government appointment (that of _Divisionsauditor_), in the town of Münster, in Westphalia, an old, strictly Catholic, provincial town, where at first he felt himself out of sympathy with every one and everything. But here, ere long, he made acquaintance with the woman who was to be the most powerful influence in his life.

Elisa von Lützow was the wife of Brigadier-General Adolf von Lützow, the famous leader of the volunteer corps celebrated in Körner's song. By birth she was a Dane, a Countess Ahlefeldt-Laurvig of Tranekjær in the island of Langeland. When Immermann first saw her she was twenty-nine, and, according to the testimony of her contemporaries, a most fascinating woman, graceful, charming, intelligent, of aristocratic bearing, and yet genial. From her earliest youth she had made a deep impression on the men who came within her sphere.

She had grown up the supposed heiress of great wealth, but in an unhappy home; her father and mother had become estranged from each other, and about the time she was fourteen they separated. Count Ahlefeldt, a favourite of Frederick VI., was a pleasure-loving man, a pasha with a constantly changing harem; he was a patron of music and of the drama, kept a private orchestra, and entertained companies of French and German actors at Tranekjær; so hospitable and recklessly extravagant was he that even his great wealth could not stand the drain upon it. What brought Elisa and Immermann together was her applying to him for legal advice when her father not only refused to make over to her what had been left her by her mother, who had died in 1812, but also to pay the yearly income which he had settled upon her.

Count Ahlefeldt long refused his consent to his daughter's marriage with the poor and as yet undistinguished foreign officer, but he gave it in 1810, and when, in 1813, the youth of Prussia joyfully and enthusiastically rose to arms at the call of Frederick William III., and Lützow formed the famous volunteer corps known by his name, his wild and daring riflemen (_die wilde, verwegene Jagd_) found their Valkyrie in their leader's beautiful wife, who was worshipped by the whole regiment as a superior being. Elisa, who appears to have spoken German from her childhood, felt herself at home on German soil, became a faithful daughter of her new fatherland, and identified herself with its interests. She inspirited the brave, nursed the wounded with heroic devotion, was the confidante, helper, and comforter of the best among the young men. After a victory, the choicest of the booty was always presented to her. The lieutenant who first stepped into Napoleon's captured carriage after the fight at Belle-Alliance brought her, as a remembrance, a pair of gloves and two glasses of the Emperor's.

After the conclusion of peace she lived with her husband in the different garrison towns to which he was transferred. In 1817 they came to Münster. The stiff, narrow-minded, bigoted tone of its society was antipathetic to her; but here, as elsewhere, she gathered round her a circle of enthusiastic admirers, who were charmed by her taste and by the keen intelligence which she displayed, without being a great talker--sometimes only by a smile and a nod.

To Immermann she was like a revelation from a higher, nobler world, for which in his lonely, joyless life he had been longing. Lützow's quarters were in a castle-like building that had been a convent, with high windows and great folding doors. Here, surrounded by flowers, statues, books, birds, dogs, and admirers, she seemed like a noble lady of olden days, or one of those princesses of the Renaissance who attracted poets to their courts and inspired them.