Heine
I am a sword, I am a flame.
I shine on you in the dark,
When the fighting started,
I took the lead.
Walk at the head of the line.
I'm upside down around me
The body of my comrade in arms,
But we won.
We won,
But it's upside down
The body of my comrade-in-arms
In the triumphant song of cheering victory
There was a solemn song at the memorial service.
But we don't have time to be happy,
No time to mourn.
The horn sounded again,
A new battle has begun.
I am a sword, I am a flame.
[Appreciation]
Henrich Heine (1795 ~ 1856) is a famous lyric poet in Germany. This poem is a famous one, with a lofty and solemn declaration of life, a metaphor of "sword" and "fire", and shows the poet's spirit of striving for his ideal.
I. Life and creation
Henrik? Heine (1797-1856) was a famous revolutionary democratic poet and political commentator in Germany19th century. /kloc-In the first half of the 0/9th century, the bourgeois revolution in Britain and France was basically completed, but Germany was still under feudal autocracy, and the whole country was divided into many states.
Heine
This split state has seriously hindered the development of capitalism. Therefore, Germany still faces the task of overthrowing feudal autocracy and establishing a unified nation-state. Heine's works lashed out at the reactionary feudal system and praised the democratic revolution. Some of his works also exposed and criticized the evils of the capitalist system. His works played an important role in the German people's struggle for liberation and reunification of the motherland.
Heine was born in a poor Jewish merchant family in Dü sseldorf on the Rhine. 1795, Napoleon's army marched into the Rhine valley and carried out some democratic reforms on the feudal system in Germany. As Engels pointed out, Napoleon was "the representative of the German revolution, the disseminator of revolutionary principles and the destroyer of the old feudal society". These reforms of the French army improved the social status of the discriminated Jews, so Heine was influenced by the French bourgeois revolutionary thought from an early age.
From 18 19 to 1823, Heine studied law and philosophy at Bonn University and Berlin University. Has he ever heard of the romantic writer Auguste? William? Speech by schlegel and the idealistic philosopher Hegel. Heine started literary creation as early as 20 years old. His well-known poems, such as The Distress of Youth, Lyric Interlude, The Return of the Native, Beihai Collection, etc., mostly focus on personal experience and love distress, reflecting the depression of personality and the anguish of not finding a way out under feudal autocracy. "I feel the same pain as some people in Germany; Say the most painful, say my pain. " The personal feelings expressed in these poems have certain social significance. When 1827 was collected and published, these poems were labeled as poetry lines. They show a distinctive romantic style, simple and sincere wishes and rich folk songs, which are welcomed by the majority of speakers. Many of these poems have been set to music by composers, which are widely circulated in Germany and are excellent works of German lyric poetry.
From 1824 to 1828, Heine traveled to many places in the motherland, Britain, Italy and other countries. Because of his extensive contact with the society, he deepened his understanding of the real society and wrote four prose travel notes. Heine described the suffocating situation in Germany in the 1920s with a humorous and lively style in The First Travels of Harz Mountain (1826), satirizing feudal reactionary rulers, stale universities, vulgar philistines, reactionary nationalists and passive romantics. It depicts the magnificent natural scenery of the motherland with a strong lyric style, and at the same time describes the labor and life of miners in mountainous areas with deep sympathy. In the second "concept-music? In the Collected Works of Grant (1826), Heine described the scene of the French army entering his hometown, portrayed the image of Napoleon, and showed the author's longing for the French Revolution and his hatred of German feudal rule. In the third travel notes of Italy, such as Travel from Munich to Genoa and Lugabas (1830), the natural scenery and social life of Italy are described, the reactionary nature of aristocratic Catholicism is exposed, and the tendency of aristocratic writers to be divorced from reality is criticized. In the fourth segment of England (183 1), the writer depicts the sharp opposition between the rich aristocrats and the bourgeoisie and the working people's lives, and exposes the greed and plunder of the big bourgeoisie. The main tendency of these four notes is to attack the feudal reactionary rule of Germany and expect a more thorough bourgeois revolution in Germany. The creation of these four travel notes shows that Heine has grown into a revolutionary Democrat in thought, and in art, Heine has turned from describing his personal experiences and feelings in his youth to exploring social reality and moving towards realism.
1830 At the beginning of August, Heine heard the news that the French Revolution of July overthrew the Bourbon dynasty in Helgolan, and wrote excitedly: "... I am the son of the revolution, ... Pass me the piano, and I will sing the battle songs, ... Language is like burning stars shot down from a height, which burn down palaces and light up huts ..." He wrote a famous revolutionary ode with revolutionary passion. This revolution greatly inspired Heine's revolutionary spirit and strengthened Heine's revolutionary belief.
Heine's revolutionary tendency is increasingly persecuted by the domestic feudal ruling class. With longing for the French Revolution, he moved to Paris in May 183 1. In Paris, he became friends with the famous French writers Balzac and George? Sang contacted with Chopin, a Polish musician in exile in Paris, all kinds of social thoughts in Europe, especially with Saint-Simon's disciples, which made him accept the ideological influence of utopian socialism. The reality of France broke his fantasy of the July Revolution, which made him see clearly the deception of the bourgeoisie and the class nature of the July Dynasty. From moving to Paris until the early 1940s, Heine devoted himself to studying the social politics and literature of France and Germany, and wrote a large number of political and literary papers, with unprecedented fighting passion and revolutionary edge. He wrote a political article for a German newspaper, commenting on the struggle between French politics and literature, which was later compiled into an album The Situation in France (1832). At the same time, he also wrote articles for French newspapers, introducing German politics and literature. In On Romanticism (1833), Heine analyzed the reactionary nature of German romanticism from the relationship between romantic literature, politics and religion, pointed out that obscurantism was the weapon and pillar of reactionary class rule, advocated the close combination of literature and reality, and warmly praised Goethe and Lessing. This article embodies Heine's literary viewpoint. In On the History of German Religion and Philosophy (1833- 1834), he analyzed and criticized the idealistic philosophy of Kant, Fichte and Hegel, and at the same time he was very keenly aware of the revolutionary significance of Hegel's idealistic dialectics: "We should finish our philosophy first, and then our revolution. ..... Revolutionary forces developed through these theories. " Heine's historical insight was highly praised by Engels: "Just as in France in the18th century, in Germany in the19th century, the philosophical revolution also led political changes. ..... but no matter what the government or liberals didn't see, at least one person saw it at 1833, and that person was Henrik? Heine. " ①
In the early 1940s, Germany, like the whole of Europe, entered the gestation period of the 1848 Revolution, and the domestic class contradictions became increasingly acute, especially the contradiction between the German working class and the bourgeoisie became more acute. 1844, a textile worker uprising broke out in Silesia and Bohemia. The broad working class in Germany was awakened by poverty, oppression, unemployment and the uprising and began to struggle for class liberation. Marx and Engels, the world proletarian revolutionary instructors, began to establish the theory of scientific socialism, which prepared the conditions for the proletariat to oppose the existing system ideologically and organizationally. Marx and Engels published Rheinische Zeitung and Yearbook of Germany and France successively, actively spreading revolutionary ideas and supporting the European revolutionary movement. This booming revolutionary situation, especially the struggle of the working class, has brought new contents and characteristics to Heine's creation. From 1843 to 65438+February, Heine met Marx in Paris and forged a profound friendship with him. Under the influence of Marx, Heine's thought has made great progress, which has caused great changes in his creative thoughts and methods. His creation entered a new era in the 1940s.
During this period, Heine wrote the most mature works in his life-long poems "Germany-A Fairy Tale in Winter" and "Poetry of the Times". There are several poems in Time Poetry Magazine that contain socialist ideas, so Engels praised them: "Henrich, the most outstanding contemporary German poet? Heine also joined our team. " ①
In the short poem "Waiting" (1844), the poet boldly challenged feudal autocracy and church rule and predicted that they would inevitably perish:
The storm will come on that day,
Even blew down some torreya trees,
Some church towers are about to collapse,
Some palaces will be shaken!
Silesia textile workers (1844) wrote to support Silesia textile workers' uprising. The uprising of Silesia textile workers was an important event in the history of early German workers' movement. Heine did not simply praise the sufferings of the workers in his poems, but expressed the strong class hatred and uncontrollable anger of the working class towards the rulers and exploiters. The image of workers in the poem is a soldier who struggles consciously and is a grave digger in the old world. They woven the triple curse into a shroud to bury Germany, showing the great determination of the working class to bury the old world:
The shuttle is flying, the loom is ringing,
We knit, we are busy day and night-
Old Germany, we are knitting your shroud,
We weave a triple curse,
We knit! We knit!
The weavers' triple curse on God, the king and the motherland is exactly what the German ruling authorities want people to support. The Triple Curse marks Heine's complete break with the reactionary German ruling class and its ideological and moral system, as well as his crusade against these evil forces. The language of the whole poem is concise and concise, and the rhythm is strong. Because the servant has realized the historical mission of the proletariat, the whole poem is full of great ideological power that inspires people to bury the old world. Engels spoke highly of this song: "The original German version of this song is one of the most powerful poems I know" and translated it into English himself.
The vigorous 1848 revolution failed because of the shameless betrayal of the bourgeoisie. This disillusioned Heine's bourgeois democrats, aggravated his illness and paralyzed him in bed. From then on, he broke away from the real revolutionary struggle and fell into deep depression. Romantic (185 1), a collection of lyric poems in this period, reflects his lost state of mind after the failure of the revolution and "returned to religious thoughts and feelings". But his revolutionary spirit was not completely destroyed: "My heart was destroyed, my weapons were not destroyed, I fell, and I did not fail." In his poems in his later years, he still maintained satire and condemnation of the feudal reactionary forces and the bourgeoisie. In the poem1649-1793-(1855), Heine deeply satirized the weakness of the German bourgeoisie and the deep-rooted servility of the bourgeoisie to the nobles and emperors. The British and French bourgeoisie executed their king in 1649 and 1793 respectively, but I don't know when the revolution will break out in Germany and their king will be executed. Because of the "deep affection" of the Germans, even if the king is guillotined in the future, he should be respectful according to the king's etiquette. How bitter the poet's satire on the German bourgeoisie is!
Heine's ideological contradictions and doubts in his later years are highlighted in his belief and understanding of productism. In the preface of 1854 French edition of Lutzia, on the one hand, he expressed his belief that the future belongs to * * * productism, and at the same time he expressed his doubts about * * * productism, fearing that the victorious proletariat would destroy his poems. But even in this case, he still agrees with the future productism, which is commendable.
Heine's ideological contradiction is the product of that era. As Lenin said in memory of herzen, "It is the product and reflection of an era with world historical significance, in which the revolutionary nature of bourgeois democrats is dying out (in Europe) and the revolutionary nature of the socialist proletariat is not yet mature". At the same time, it also reflects the limitations of Heine's own bourgeois worldview. 1856 On February 27th, Heine passed away.
Second, "Germany-A Winter Fairy Tale"
The political lyric "Germany-A Fairy Tale in Winter" (1844) is the product of Heine's first return to Germany after he was in exile in France 1843+00 months. 12 years later, Heine returned to his motherland that he missed day and night. However, the motherland that appeared before the poet was still divided and stagnant, feudal reactionary rule remained, and progressive social movements were suppressed. In this regard, Heine is extremely disgusted. In his long poems, Heine used dreams, fantasies, fairy tales and legends to expose, satirize and castigate the feudal reactionary system in Germany, and pointed out the inevitable trend of its decay, decline and extinction. The existing system in Germany is so decadent and backward that the reactionary government in Germany tries to cover up its decay with illusion, hypocrisy and sophistry and preserve the feudal system in Germany for a long time. This can only be an unrealistic fairy tale fantasy. As an illusion, it is bound to be shattered, and the existing system in Germany is doomed to perish. This is the moral of the title of a long poem. The poet also used the depressed winter to symbolize the lethargy and stagnation of German society, so he used the description of "winter" before the "fairy tale".
The long poem "Germany-A Fairy Tale in Winter" is a poetic travel note with 27 chapters. Heine reflected the reality of Germany by describing a trip in his motherland. The first chapter begins to write about the poet's excitement when he returned to the motherland after 12 years of exile, but the poet still heard the tone of reactionary romanticism and despair.
Rheinland
In contrast, the poet sang a "new song" to promote the early socialist thought. From the second chapter, the poet attacked the feudal reactionary rule in Germany, especially the Prussian government, the army, the Catholic church, the German liberals and the vulgar bourgeois philistines. The end of the long poem echoes the first chapter, expressing the poet's belief that "the hypocritical old generation is dying" and "the new generation is growing" Long poems are well-structured.
This long poem attacked the feudal rule of Germany, especially Prussia, and expressed the poet's profound hatred for it. Prussia and Russia formed a "holy alliance" to suppress the revolution, eliminate the progressive forces and restore the feudal system. The reactionary rulers of Prussia practiced autocracy at home, controlled and manipulated the German Federal Parliament and other states, and were the de facto rulers of the German Federation. Heine is full of deep hostility to it. The long poem mercilessly mocked Prussia's censorship of books and newspapers, exposed the ignorance and stubbornness of Prussia's captured army and gendarmerie with playful descriptions, and sharply revealed that the church was the spiritual pillar of feudal rule, and Cologne Cathedral was a prison for imprisoning people's spirits. Poets especially hate the eagle on the national emblem of Prussia, which is a symbol of reactionary Prussia. The poet swore that once the bird fell into his hands, he would pluck its feathers and cut off its claws. The poet called on the Rhine people influenced by the French bourgeois ideology to shoot at it, hoping that the people would rise up and overthrow the reactionary rule of Prussia by violence.
Through the legend of the red beard emperor, the ghost of the feudal emperor, the long poem attacked the reactionary and retrogressive countercurrent that permeated German society and criticized German liberals. The legend of the Red Beard Emperor was widely circulated in Germany, and the feudal reactionary rulers used it to beautify the monarchy, exposing their reactionary attempt to unify Germany through the Prussian dynasty war. The bourgeois liberals pinned their fantasy of reunifying Germany entirely on the Prussian monarch, so the red beard emperor became their dream emperor. They tried to deceive the people with a mixture of "medieval delusion and modern deception", and petty-bourgeois radicals also dreamed of unifying and liberating the German people through a monarch. In the long poem, Heine debunked this romantic and fantastic legend with extremely sharp irony through the dialogue with the Red Beard Emperor in his dream and the description of his surrounding environment, which exposed the reactionary content of the restored monarch. The poet also praised nationalism and romanticism advocated by liberals. The quintessence school severely criticized and sang the dazzling poem "We have to save ourselves without you" that the emperor was out of date.
The long poem satirizes the weakness, moderation and compromise of the feudal forces of the German bourgeoisie through the image of the guardian goddess of Hamburg. The image of Han Mogna, the guardian goddess of Hamburg, in the long poems embodies the characteristics of the German bourgeoisie. Hamburg is a free city with developed capitalism, but the bourgeoisie has no courage and perseverance to carry out revolution. "The German bourgeoisie knows that Germany is just a dunghill. But they are very comfortable in this dung heap, because they are dung themselves, and the dung around them makes them feel very warm. " Han Mogna beautified Germany's past and expressed regret for its passing: beautiful poems are disappearing, and people can no longer enjoy quiet and pastoral love. She also boasted to the poet that now "we are making progress", books and newspapers are no longer strictly controlled, and children and grandchildren are full of food and drink. Due to the compromise and confluence of the bourgeoisie and feudal reactionary forces, the future of Germany will be the continued existence of thirty-six "cesspits", emitting a suffocating stench. This is exactly what the German bourgeoisie wants. In contrast, Heine pointed out that "rose oil and musk cannot be used to treat Germany's' serious illness'", indicating that social attitudes should be changed by revolutionary means. This long poem expresses the poet's longing for the early arrival of the German revolution and his firm belief as a revolutionary.
When the poet returned to the motherland, he still heard the "song of silence" and "lullaby" used by negative romanticism to deceive the people. In contrast, the poet sang a new and better song, calling on people not to wait for "the happiness of heaven" but to build a heaven on the ground: "We will live happily on the ground, and we will never be hungry again." The poet is eagerly looking forward to the arrival of the European revolution. The yearning for the future revolution of the motherland and Europe has given the poet great power. In the sixth and seventh chapters, the poet profoundly expressed the revolutionary thought that thought must be focused on action and overthrow feudal reactionary rule by violence through A Camouflaged Companion in Black. In chapter 12, the poet retaliated against the slander of bourgeois radicals, and showed his position of being loyal to the revolution: "I will always be a wolf with wolf's teeth and heart", "I am a wolf, and I will always howl and follow the wolves-"In the last chapter, the poet expressed his belief that the old era is fading and the new era is growing.
The most striking feature of this poetic travel note is that when describing the reality in Germany, it always flies to the realm of fantasy and returns to the description of real life from time to time. Reality and fantasy are intertwined, which constitutes a very unique long poem style. In long poems, the poet wrote so many dreams and fantasies, but these dreams and fantasies are rooted in reality; From dreams and fantasies, we can see the reality of Germany and the poet's thoughts. Because he described a fantasy, the poet can write more boldly and without scruple. In fantasy, a poet can say something inconvenient when describing social reality. Fantasy is the embodiment of the poet's thoughts and wishes. However, there are also many fantasies that can only be expressed by hazy romantic fantasies, because poets lack clear, concrete and scientific understanding of things.
In his long poems, the poet made sharp, pungent and extensive comments on the dark and ugly phenomena of German society and various representative figures, such as customs union, customs system, chivalry, reactionary rulers and troops of Prussia, "the dead, kings and sages", churches, religions, monks, brave nobles, imperial literati, nationalists, nationalists and Philistines. Its sharpness has reached all aspects of social history and played a great role in fighting. Although they are all satirical works, they show different styles because of different satirical objects. But whether humorous, ironic, revealing or contemptuous, the purpose is to expose the decadent and reactionary nature of a social phenomenon or thing and destroy it. Due to the use of satire, the power of lashing and criticizing the feudal reactionary system has been greatly strengthened, and the fighting role of long poems has been enhanced. In short, the great irony in the works comes from the deep hatred of feudal autocracy.
Long poems not only express strong hatred and hatred for the German feudal system, but also have strong lyricism. However, Heine has never broken through the limitations of bourgeois democratic worldview. In his long poems, the new society without exploitation he sang belongs to the category of utopian socialism. Although he put forward the idea that "we will save ourselves", he lacked specific historical content and his belief in the new era in the future was vague. At the same time, because the poet can't see the power of the people, he can't see the image of the people in his long poems, and he can't see the poet's understanding and reflection of the power of the people. Whether it is a strong hatred of the decadent monarchy, a ruthless ridicule and lashing of the liberal bourgeoisie, or a profound exposure of the hypocritical and reactionary faces of religious monks, poets all appear in their personal capacity, and what we see is the opposition and conflict between poets and the whole society. Therefore, poets often feel weak and hopeless in the face of powerful reactionary forces. "I fight and don't want to win." This kind of thinking will inevitably bring a gloomy tone to some parts of long poems. Due to the profound exposure and bitter irony of the old system, long poems are permeated with the spirit of critical fighting and have a certain ideological depth; But because we didn't see the power of the people, we lacked the majestic momentum and artistic power that shocked people and inspired people to fight.