Heinrich Heine

Early life

Childhood and youth

Heine was born on 13 December 1797, in Düsseldorf, in what was then the Duchy of Berg, into a Jewish family. He was called "Harry" in childhood but became known as "Heinrich" after his conversion to Lutheran Christianity in 1825. Heine's father, Samson Heine (1764–1828), was a textile merchant. His mother Peira, née van Geldern (known as "Betty" or Betty Heine) (1771–1859) was daughter of physician Gottschalk van Geldern (1726–1795) and Sara van Geldern née Bocková (?-1779).

Heinrich was the eldest of four children. He had a sister, Charlotte (later Charlotte Embden) (1800–1899), who married merchant Moritz Embden (1790–1866), and two brothers, Gustav (1812–1886), later Baron Heine-Geldern and publisher of the Viennese newspaper Fremden-Blatt, and Maximilian (1807–1879), who became a physician in Saint Petersburg. Heine was a third cousin once removed of philosopher and economist Karl Marx (1818–1883), also born to a German Jewish family in the Rhineland, with whom he became a frequent correspondent in later life.

Düsseldorf at the time was a town with a population of around 16,000. The French Revolution and subsequent Revolutionary and Napoleonic Wars involving Germany complicated Düsseldorf's political history during Heine's childhood. It had been the capital of the Duchy of Jülich-Berg, but was under French occupation at the time of his birth. It then passed to the Elector of Bavaria before being ceded to Napoleon in 1806, who turned it into the capital of the Grand Duchy of Berg, one of three French states he established in Germany. It was first ruled by Joachim Murat, then by Napoleon himself. Upon Napoleon's downfall in 1815, it became part of Prussia.

Thus Heine's formative years were spent under French influence. The adult Heine would always be devoted to the French for introducing the Napoleonic Code and trial by jury. He glossed over the negative aspects of French rule in Berg: heavy taxation, conscription, and economic depression brought about by the Continental Blockade, which may have contributed to his father's bankruptcy. Heine greatly admired Napoleon as the promoter of revolutionary ideals of liberty and equality and loathed the political atmosphere in Germany after Napoleon's defeat, marked by the conservative policies of the Austrian chancellor Klemens von Metternich, who attempted to reverse the effects of the French Revolution.

Heine's parents were not particularly devout. They sent him as a young child to a Jewish school where he learned a smattering of Hebrew, but thereafter he attended Catholic schools. Here he learned French, which became his second language – although he always spoke it with a German accent. He also acquired a lifelong love for Rhenish folklore.

Universities

Salomon realised that his nephew had no talent for trade, and it was decided that Heine should enter law. So, in 1819, Heine went to the University of Bonn, then in Prussia. Political life in Germany was divided between conservatives and liberals. The conservatives, who were in power, wanted to restore things to the way they were before the French Revolution. They were against German unification because they felt a united Germany might fall victim to revolutionary ideas. Most German states were absolutist monarchies with a censored press. The opponents of the conservatives, the liberals, wanted to replace absolutism with representative, constitutional government, equality before the law, and a free press.

At the University of Bonn, liberal students were at war with the conservative authorities. Heine was a radical liberal and one of the first things he did after his arrival was to take part in a parade which violated the Carlsbad Decrees, a series of measures introduced by Metternich to suppress liberal political activity.

Heine was more interested in studying history and literature than law. The university had engaged the famous literary critic and thinker August Wilhelm Schlegel as a lecturer, and Heine heard him talk about the Nibelungenlied and Romanticism. Though he would later mock Schlegel, Heine found in him a sympathetic critic for his early verses. Heine began to acquire a reputation as a poet at Bonn. He also wrote two tragedies, Almansor and William Ratcliff, but they had little success in the theatre.

After a year at Bonn, Heine left to continue his law studies at the University of Göttingen. Heine hated the town. It was part of Hanover, then also rulers of the United Kingdom of Great Britain and Ireland, the power Heine blamed for bringing Napoleon down.

Here, the poet experienced an aristocratic snobbery absent elsewhere. He hated law as the Historical School of law he had to study was used to bolster the reactionary form of government he opposed. Other events conspired to make Heine loathe this period of his life: he was expelled from a student fraternity for antisemitism, and he learned that his cousin Amalie had become engaged. When Heine challenged another student, Wiebel, to a duel, the first of ten known incidents throughout his life, the authorities stepped in, and he was suspended from the university for six months. His uncle then decided to send him to the University of Berlin.

Julius Campe and first literary successes

Heine now had to search for a job. He was only really suited to writing but it was extremely difficult to be a professional writer in Germany. The market for literary works was small and it was only possible to make a living by writing virtually non-stop. Heine was incapable of doing this so he never had enough money to cover his expenses. Before finding work, Heine visited the North Sea resort of Norderney which inspired the free verse poems of his cycle Die Nordsee.

In Hamburg one evening in January 1826, Heine met Julius Campe, who would be his chief publisher for the rest of his life. Their stormy relationship has been compared to a marriage. Campe was a liberal who published as many dissident authors as he could. He had developed various techniques for evading the authorities. The laws of the time stated that any book under 320 pages had to be submitted to censorship. The authorities thought long books would cause little trouble as they were unpopular. One way around censorship was to publish dissident works in large print to increase the number of pages beyond 320.

The censorship in Hamburg was relatively lax but Campe had to worry about Prussia, the largest German state and largest market for books. It was estimated that one-third of the German readership was Prussian. Initially, any book which had passed the censor in a German state was able to be sold in any of the other states, but in 1834 this loophole was closed. Campe was reluctant to publish uncensored books as he had bad experiences with print runs being confiscated. Heine resisted all censorship; this issue became a bone of contention between the two.

However, the relationship between author and publisher started well: Campe published the first volume of Reisebilder ("Travel Pictures") in May 1826. This volume included Die Harzreise, which marked a new style of German travel-writing, mixing Romantic descriptions of nature with satire. Heine's Buch der Lieder followed in 1827. This was a collection of already published poems. No one expected it to become one of the most popular books of German verse ever published, and sales were slow to start with, picking up when composers began setting Heine's poems as Lieder. For example, the poem "Allnächtlich im Traume" was set to music by Robert Schumann and Felix Mendelssohn. It contains the ironic disillusionment typical of Heine:

Travel and the Platen affair

The first volume of travel writings was such a success that Campe pressed Heine for another. Reisebilder II appeared in April 1827. It contains the second cycle of North Sea poems, a prose essay on the North Sea as well as a new work, Ideen: Das Buch Le Grand, which contains the following satire on German censorship:

Heine went to England to avoid what he predicted would be controversy over the publication of this work. In London, he cashed a cheque from his uncle for £200 (equal to £18,274 today), much to Salomon's chagrin. Heine was unimpressed by the English: he found them commercial and prosaic, and still blamed them for the defeat of Napoleon.

On his return to Germany, Cotta, the liberal publisher of Goethe and Schiller, offered Heine a job co-editing a magazine, Politische Annalen, in Munich. Heine did not find work on the newspaper congenial, and instead tried to obtain a professorship at the Ludwig-Maximilians-Universität München, with no success. After a few months, he took a trip to northern Italy, visiting Lucca, Florence and Venice, but was forced to return when he received news that his father had died. This Italian journey resulted in a series of new works: Die Reise von München nach Genua (Journey from Munich to Genoa), Die Bäder von Lucca (The Baths of Lucca) and Die Stadt Lucca (The Town of Lucca).

Die Bäder von Lucca embroiled Heine in controversy. The aristocratic poet August von Platen had been annoyed by some epigrams by Immermann which Heine had included in the second volume of Reisebilder. He counter-attacked by writing a play, Der romantische Ödipus, which included antisemitic jibes about Heine. Heine was stung and responded by mocking Platen's homosexuality in Die Bäder von Lucca. This back-and-forth ad hominem literary polemic has become known as the Platen affair.

Paris years

Foreign correspondent

Heine left Germany for France in 1831, settling in Paris for the remainder of his life. His move was prompted by the July Revolution of 1830 that had made Louis-Philippe the "Citizen King" of the French. Heine shared liberal enthusiasm for the revolution, which he felt had the potential to overturn the conservative political order in Europe. Heine was also attracted by the prospect of freedom from German censorship and was interested in the new French utopian political doctrine of Saint-Simonianism. Saint-Simonianism preached a new social order in which meritocracy would replace hereditary distinctions in rank and wealth. There would also be female emancipation and an important role for artists and scientists. Heine frequented some Saint-Simonian meetings after his arrival in Paris but within a few years his enthusiasm for the ideology – and other forms of utopianism – had waned.

Heine soon became a celebrity in France. Paris offered him a cultural richness unavailable in the smaller cities of Germany. He made many famous acquaintances (the closest were Gérard de Nerval, Victor Hugo, Frederic Chopin, Hector Berlioz and Franz Liszt) but he always remained something of an outsider. He had little interest in French literature and wrote everything in German, subsequently translating it into French with the help of a collaborator.

In Paris, Heine earned money working as the French correspondent for one of Cotta's newspapers, the Allgemeine Zeitung. The first event he covered was the Salon of 1831. His articles were eventually collected in a volume entitled Französische Zustände ("Conditions in France"). Heine saw himself as a mediator between Germany and France. If the two countries understood one another there would be progress. To further this aim he published De l'Allemagne ("On Germany") in French (begun 1833). In its later German version, the book is divided into two: Zur Geschichte der Religion und Philosophie in Deutschland ("On the History of Religion and Philosophy in Germany") and Die romantische Schule ("The Romantic School").

Heine was deliberately attacking Madame de Staël's book De l'Allemagne (1813) which he viewed as reactionary, Romantic and obscurantist. He felt de Staël had portrayed a Germany of "poets and thinkers", dreamy, religious, introverted and cut off from the revolutionary currents of the modern world. Heine thought that such an image suited the oppressive German authorities. He also had an Enlightenment view of the past, seeing it as mired in superstition and atrocities. "Religion and Philosophy in Germany" describes the replacement of traditional "spiritualist" religion by a pantheism that pays attention to human material needs. According to Heine, pantheism had been repressed by Christianity and had survived in German folklore. He predicted that German thought would prove a more explosive force than the French Revolution.

Young Germany and Ludwig Börne

Heine and his fellow radical exile in Paris, Ludwig Börne, had become the role models for a younger generation of writers who were given the name "Young Germany". They included Karl Gutzkow, Heinrich Laube, Theodor Mundt and Ludolf Wienbarg. They were liberal, but not actively political. Nevertheless, they still fell foul of the authorities.

In 1835, Gutzkow published a novel, Wally die Zweiflerin ("Wally the Sceptic"), which contained criticism of the institution of marriage and some mildly erotic passages. In November of that year, the German Diet consequently banned publication of works by the Young Germans in Germany and – on Metternich's insistence – Heine's name was added to their number. Heine, however, continued to comment on German politics and society from a distance. His publisher was able to find some ways of getting around the censors and he was still free to publish in France.

Heine's relationship with his fellow dissident Ludwig Börne was troubled. Since Börne did not attack religion or traditional morality like Heine, the German authorities hounded him less, although they still banned his books as soon as they appeared.

Börne was the idol of German immigrant workers in Paris. He was a republican, while Heine was not. Heine regarded Börne, with his admiration for Robespierre, as a puritanical neo-Jacobin and remained aloof from him in Paris, which upset Börne, who began to criticise him, mostly semi-privately. In February 1837, Börne died. When Heine heard that Gutzkow was writing a biography of Börne, he began work on his own, severely critical "memorial" of the man.

When the book was published in 1840, it was universally disliked by the radicals and served to alienate Heine from his public. Even his enemies admitted that Börne was a man of integrity, so Heine's ad hominem attacks on him were viewed as being in poor taste. Heine had made personal attacks on Börne's closest friend Jeanette Wohl, so Jeannette's husband challenged Heine to a duel. It was the last Heine ever fought – he received a flesh wound in the hip. Before fighting, he decided to safeguard Mathilde's future in the event of his death by marrying her.

Heine continued to write reports for Cotta's Allgemeine Zeitung, and, when Cotta died, for his son and successor. One event which really galvanised him was the 1840 Damascus Affair in which Jews in Damascus had been subject to blood libel and accused of murdering an old Catholic monk. This led to a wave of antisemitic persecution.

Political poetry and Karl Marx

German poetry took a more directly political turn when the new Frederick William IV ascended the Prussian throne in 1840. Initially it was thought he might be a "popular monarch" and during this honeymoon period of his early reign (1840–1842) censorship was relaxed. This led to the emergence of popular political poets (so-called Tendenzdichter), including Hoffmann von Fallersleben (author of Deutschlandlied, the German anthem), Ferdinand Freiligrath and Georg Herwegh. Heine looked down on these writers on aesthetic grounds – they were bad poets in his opinion – but his verse of the 1840s became more political too. Heine's mode was satirical attack: against the Kings of Bavaria and Prussia (he never for one moment shared the belief that Frederick William IV might be more liberal); against the political torpor of the German people; and against the greed and cruelty of the ruling class. The most popular of Heine's political poems was his least typical, Die schlesischen Weber ("The Silesian Weavers"), based on the uprising of weavers in Peterswaldau in 1844.

In October 1843, Heine's distant relative and German revolutionary, Karl Marx, and his wife Jenny von Westphalen arrived in Paris after the Prussian government had suppressed Marx's radical newspaper. The Marx family settled in Rue Vaneau. Marx was an admirer of Heine and his early writings show Heine's influence. In December Heine met the Marxes and got on well with them. He published several poems, including Die schlesischen Weber, in Marx's new journal Vorwärts ("Forwards"). Ultimately Heine's ideas of revolution through sensual emancipation and Marx's scientific socialism were incompatible, but both writers shared the same negativity and lack of faith in the bourgeoisie.

In the isolation he felt after the Börne debacle, Marx's friendship came as a relief to Heine, since he did not really like the other radicals. On the other hand, he did not share Marx's faith in the industrial proletariat and remained on the fringes of socialist circles. The Prussian government, angry at the publication of Vorwärts, put pressure on France to deal with its authors, and Marx was deported to Belgium in January 1845. Heine could not be expelled from the country because he had the right of residence in France, having been born under French occupation. Thereafter, Heine and Marx maintained a sporadic correspondence, but in time their admiration for each other faded. Heine always had mixed feelings about communism. He believed its radicalism and materialism would destroy much of the European culture that he loved and admired.

Last years: the "mattress-grave"

In May 1848, Heine, who had not been well, suddenly fell paralyzed and had to be confined to bed. He would not leave what he called his "mattress-grave" (Matratzengruft) until his death eight years later. He also experienced difficulties with his eyes. It had been suggested that he suffered from multiple sclerosis or syphilis, although in 1997 it was confirmed through an analysis of the poet's hair that he had suffered from chronic lead poisoning.

He bore his sufferings stoically and he won much public sympathy for his plight. His illness meant he paid less attention than he might otherwise have done to the revolutions which broke out in France and Germany in 1848. He was sceptical about the Frankfurt Assembly and continued to attack the King of Prussia.

When the revolution collapsed, Heine resumed his oppositional stance. At first he had some hope Louis Napoleon might be a good leader in France, but he soon began to share the opinion of Marx towards him as the new emperor began to crack down on liberalism and socialism. In 1848 Heine also returned to religious faith. In fact, he had never claimed to be an atheist. Although Heine was a Cultural Lutheran Christian and believed in God, Heine was skeptical of organized religion.

He continued to work from his sickbed: on the collections of poems Romanzero and Gedichte (1853 und 1854), on the journalism collected in Lutezia, and on his unfinished memoirs. During these final years Heine had a love affair with the young Camille Selden, who visited him regularly. He died on 17 February 1856 and was interred in the Paris Cimetière de Montmartre.

His tomb was designed by Danish sculptor Louis Hasselriis. It includes Heine's poem Where? (German: Wo?) engraved on three sides of the tombstone.

His wife Mathilde died in 1883. The couple had no children.

Legacy

Heine was largely beloved as a popular poet, but he is often recalled by his most relentless critics as a champion of the feuilleton and thus of the way that culture was promoted by the newspaper in the 19th and early 20th century overall. In this sense, he has a continuing influence despite many changes to the format and style of newspapers over the years. Both aspects of his career were important to his fame.

The feuilleton had been invented in France as an esoteric means by which criticism of Napoleon's regime could pass under the radar of censors while remaining on the front page of the newspaper: by concealing their political polemics against the Napoleonic dictatorship as art criticism, early journalists found they were able to avoid censure and continue publishing their views. In this sense, the feuilleton is an ancestor to the Art & Culture section of the newspaper and the talk of the town, but it is also ancestral to the notion that the arts should critique and resist oppressive political hegemony. In the literature establishing and recalling his legacy, Heine is often held responsible for scaling the effects of this form across Europe.

As an exile in Paris, Heine became a celebrity avatar reflective of the liberal and cosmopolitan values of the mainstream press. To make "an appeal to Heine" was to make an appeal to these values. Heine was accused by Karl Kraus of being the vector by which the feuilleton spread from France to Germany.

In the Third Reich Heine's name was invoked as an archetype of the extraordinarily influential Jewish opinion columnist and uber-literati. Hitler's propaganda minister Goebbels wanted to purge the German language of Heinrich Heine's influence but, according to a 1937 article in the New York Times, found that doing so proved impossible in practice. But even before that, these associations accrued to Heine and his name became a symbol of the values and manners—both good and bad—of the liberal press.

By the pinnacle of his career, Heine was friends with both Karl Marx and Baron de Rothschild, and Heine's 1841 article on Rothschild provides an example of Heine's maintenance of a stance of ambiguity on political questions. Almost every statement in Heine's characterization of Rothschild, a powerful banker, could be read either as a denunciation or a bracingly back-handed compliment—a paean that apotheosizes the power and influence of bankers with cheerful good humor of a spectator who stands in awe of this icon of the same. Whereas Marx never ceased to foment revolution, Heine's work became more palliative, increasingly popular, and gradually more representative of liberal values as these values became established norms over the course of the 19th century.

Heine in Nazi Germany

Heine's writings were abhorred by the Nazis and one of their political mouthpieces, the Völkischer Beobachter, made noteworthy efforts to attack him. Within the pantheon of the "Jewish cultural intelligentsia" chosen for antisemitic demonization, perhaps nobody was the recipient of more National Socialist vitriol than Heinrich Heine. When a memorial to Heine was completed in 1926, the paper lamented that Hamburg had erected a "Jewish Monument to Heine and Damascus ... one in which Alljuda ruled!".

Among the thousands of books burned on Berlin's Opernplatz in 1933, following the Nazi raid on the Institut für Sexualwissenschaft, were works by Heinrich Heine. To memorialize the event, one of the most famous lines of Heine's 1823 play Almansor, spoken by the Muslim Hassan upon hearing that Christian conquerors burned the Quran at the marketplace of Granada, was engraved in the ground at the site: "Das war ein Vorspiel nur, dort wo man Bücher verbrennt, verbrennt man auch am Ende Menschen." ("That was but a prelude; where they burn books, they will ultimately burn people as well.")

Editors for the Völkischer Beobachter referred to Heine's writing as degenerate on multiple occasions, as did Alfred Rosenberg. Correspondingly, as part of the effort to dismiss and hide Jewish contribution to German art and culture, all Heine monuments were removed or destroyed during Nazi Germany and Heine's books were suppressed and, from 1940 on, banned.

The popularity of many songs to Heine's lyrics represented a problem for the policy of silencing and proposals such as bans or rewriting the lyrics were discussed. However, in contrast to an often-made claim, there is no evidence that poems such as "Die Lorelei" were included in anthologies as written by an "unknown author".

Music

Many composers have set Heine's works to music. They include Robert Schumann (especially his song cycle Dichterliebe), Friedrich Silcher (who wrote a popular setting of "Die Lorelei", one of Heine's best known poems), Franz Schubert, Franz Liszt, Felix Mendelssohn, Fanny Hensel, Johannes Brahms, Hugo Wolf, Richard Strauss, Pyotr Ilyich Tchaikovsky, Edward MacDowell, Ada Weigel Powers, Clara Ross, Elise Schlick, Elise Schmezer, Sophie Seipt, Charlotte Sporleder, Maria Anna Stubenberg, Pauline Volkstein, Clara Schumann and Richard Wagner; and in the 20th century Lord Berners, Yehezkel Braun, Hans Werner Henze, Paul Lincke, Nikolai Medtner, Carl Orff, Harriet P. Sawyer, Marcel Tyberg and Lola Carrier Worrell.

Heine's play William Ratcliff was used for the libretti of operas by César Cui (William Ratcliff) and Pietro Mascagni (Guglielmo Ratcliff). Frank Van der Stucken composed a "symphonic prologue" to the same play.

In 1964, Gert Westphal and the Attila-Zoller Quartet released the vinyl "Heinrich Heine Lyrik und Jazz". In 2006 Philips/Universal launched a republication on CD.

Wilhelm Killmayer set 37 of his poems in his song book Heine-Lieder, subtitled Ein Liederbuch nach Gedichten von Heinrich Heine, in 1994.

Morton Feldman's I Met Heine on the Rue Fürstemberg was inspired by a vision he had of the dead Heine as he walked through Heine's old neighborhood in Paris: "One early morning in Paris I was walking along the small street on the Left Bank where Delacroix's studio is, just as it was more than a century ago. I'd read his journals, where he tells of Chopin, going for a drive, the poet Heine dropping in, a refugee from Germany. Nothing had changed in the street. And I saw Heine up at the corner, walking toward me. He almost reached me. I had this intense feeling for him, you know, the Jewish exile. I saw him. Then I went back to my place and wrote my work, I Met Heine on the Rue Fürstemberg."

Memorials

In the 1890s, amidst a flowering of affection for Heine leading up to the centennial of his birth, plans were made to honor Heine with a memorial. These were strongly supported by one of Heine's greatest admirers, Elisabeth of Bavaria, Empress of Austria. The empress commissioned a statue from the sculptor Louis Hasselriis. This statue, originally located at Achilleion, Empress Elisabeth's palace in Corfu, was later removed by Kaiser Wilhelm II after he acquired Achilleion in 1907, but it eventually found a home in Toulon. This became the inspiration for Tony Harrison's 1992 film-poem, The Gaze of the Gorgon.

Another memorial, a sculpted fountain, was commissioned for Düsseldorf. While at first the plan met with enthusiasm, the concept was gradually bogged down in antisemitic, nationalist, and religious criticism; by the time the fountain was finished, there was no place to put it. Through the intervention of German American activists, the memorial was ultimately transplanted into the Bronx, New York City; the complete edition of Heine's works in German had already been printed in Philadelphia in 1855. While the memorial is known in English as the Lorelei Fountain, Germans refer to it as the Heinrich Heine Memorial. After years of controversy, the University of Düsseldorf was named Heinrich Heine University. Today the city honours its poet with a boulevard (Heinrich-Heine-Allee) and a modern monument.

In Israel, the attitude to Heine has long been the subject of debate between secularists, who number him among the most prominent figures of Jewish history, and the religious who consider his conversion to Christianity to be an unforgivable act of betrayal. Ha-'Ir (העיר – The City, a left-leaning Tel Aviv magazine) sarcastically suggested that "The Exiling of Heine Street" symbolically re-enacted the course of Heine's own life. Since then, a street in the Yemin Moshe neighborhood of Jerusalem and, in Haifa, a street with a beautiful square and a community center have been named after Heine.

A Heine Appreciation Society is active in Israel, led by prominent political figures from both the left and right camps. His quote about burning books is prominently displayed in the Yad Vashem Holocaust museum in Jerusalem. It is also displayed in the United States Holocaust Memorial Museum and in the pavement in Frankfurt am Main.

Works

A list of Heine's major publications in German. All dates are taken from Sammons 1979.

1820 (August): Die Romantik ("Romanticism", short critical essay)

1821 (20 December): Gedichte ("Poems")

1822 (February to July): Briefe aus Berlin ("Letters from Berlin")

1823 (January): Über Polen ("On Poland", prose essay)

1823 (April): Tragödien nebst einem lyrischen Intermezzo ("Tragedies with a Lyrical Intermezzo") includes:

Almansor (play, written 1821–1822)

William Ratcliff (play, written January 1822)

Lyrisches Intermezzo (cycle of poems)

1826 (May): Reisebilder. Erster Teil ("Travel Pictures I"), contains:

Die Harzreise ("The Harz Journey", prose travel work)

Die Heimkehr ("The Homecoming", poems)

Die Nordsee. Erste Abteilung ("North Sea I", cycle of poems)

1827 (April): Reisebilder. Zweiter Teil ("Travel Pictures II"), contains:

Die Nordsee. Zweite Abteilung ("The North Sea II", cycle of poems)

Die Nordsee. Dritte Abteilung ("The North Sea III", prose essay)

Posthumous publications

Memoiren ("Memoirs", first published in 1884 in the magazine Die Gartenlaube). Published as a book in English as The Memoirs of Heinrich Heine and Some Newly-Discovered Fragments of His Writings with an Introductory Essay by Thomas W. Evans, M.D. (1884). London: George Bell & Sons.

Editions in English

Poems of Heinrich Heine, Three hundred and Twenty-five Poems, Translated by Louis Untermeyer, Henry Holt, New York, 1917.

The Complete Poems of Heinrich Heine: A Modern English Version by Hal Draper, Suhrkamp/Insel Publishers Boston, 1982. ISBN 3-518-03048-5

Religion and Philosophy in Germany, a fragment, Tr. James Snodgrass, 1959. Boston, MA (Beacon Press). LCCN 59--6391 Available online.

On the History of Religion and Philosophy in Germany and Other Writings, Ed. Terry Pinkard, Tr. Howard Pollack-Milgate. New York (Cambridge University Press), 2007. ISBN 978-0-521-86129-8