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    Atta Troll
    Atta Troll
    Atta Troll
    Ebook152 pages1 hour

    Atta Troll

    By Oscar Levy, Herman George Scheffauer, Willy Pogany and Heinrich Heine

    ()

    Read preview
    LanguageEnglish
    PublisherArchive Classics
    Release dateNov 27, 2013
    Atta Troll

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      Book preview

      Atta Troll - Oscar Levy

      The Project Gutenberg EBook of Atta Troll, by Heinrich Heine

      This eBook is for the use of anyone anywhere at no cost and with

      almost no restrictions whatsoever. You may copy it, give it away or

      re-use it under the terms of the Project Gutenberg License included

      with this eBook or online at www.gutenberg.org

      Title: Atta Troll

      Author: Heinrich Heine

      Contributor: Oscar Levy

      Illustrator: Willy Pogány

      Translator: Herman Scheffauer

      Release Date: February 17, 2010 [EBook #31305]

      Language: English

      *** START OF THIS PROJECT GUTENBERG EBOOK ATTA TROLL ***

      Produced by Meredith Bach, Chuck Greif and the Online

      Distributed Proofreading Team at http://www.pgdp.net (This

      file was produced from images generously made available

      by The Internet Archive/American Libraries.)

      CONTENTS

      ILLUSTRATIONS

      The headings and tail-pieces to the Cantos are by Horace Taylor

      AN   INTERPRETATION   OF

      HEINRICH   HEINE'S

      ATTA   TROLL

      HE who has visited the idyllic isle of Corfu must have seen, gleaming white amidst its surroundings of dark green under a sky of the deepest blue, the Greek villa which was erected there by Elizabeth, Empress of Austria. It is called the Achilleion. In its garden there is a small classic temple in which the Empress caused to be placed a marble statue of her most beloved of poets, Heinrich Heine. The statue represented the poet seated, his head bowed in profound melancholy, his cheeks thin and drawn and bearded, as in his last illness.

      Elizabeth, Empress of Austria, felt a sentimental affinity with the poet; his unhappiness, his Weltschmerz, touched a responsive chord in her own unhappy heart. Intellectual sympathy with Heine's thought or tendencies there could have been little, for no woman has ever quite understood Heinrich Heine, who is still a riddle to most of the men of this age.

      After the assassination of the hapless Empress, the beautiful villa was bought by the German Emperor. He at once ordered Heine's statue to be removed—whither no one knows. Royal (as well as popular) spite has before this been vented on dead or inanimate things—one need only ask Englishmen to remember what happened to the body of Oliver Cromwell. The Kaiser's action, by the way, did not pass unchallenged. Not only in Germany but in several other countries indignant voices were raised at the time, protesting against an act so insulting to the memory of the great singer, upholding the fame of Heine as a poet and denouncing the new master of the Achilleion for his narrow and prejudiced views on art and literature.

      There was, however, a sound reason for the Imperial interference. Heinrich Heine was in his day an outspoken enemy of Prussia, a severe critic of the House of Hohenzollern and of other Royal houses of Germany. He was one who held in scorn the principles of State and government that are honoured in Germany, and elsewhere, to this very day. He was one of those poets—of whom the nineteenth century produced only a few, but those amongst the greatest—who had begun to distrust the capacity of the reigning aristocracy, who knew what to expect from the rising bourgeoisie, and who were nevertheless not romantic enough to believe in the people and the wonderful possibilities hidden in them. These poets—one and all—have taken up a very negative attitude towards their contemporaries and have given voice to their anger and disappointment over the pettiness of the society and government of their time in words full of satire and contempt.

      Of course, the echo on the part of their audiences has not been wanting. All these poets have experienced a fate surprisingly similar, and their relationship to their respective countries reminds one of those unhappy matrimonial alliances which—for social or religious reasons—no divorce can ever dissolve. And, worse than that, no separation either, for a poet is—through his mother tongue—so intimately wedded to his country that not even a separation can effect any sort of relief in such a desperate case. All of them have tried separation, all of them have lived in estrangement from their country—we might almost say that only the local and lesser poets of the last century have stayed at home—and yet in spite of this separation the mutual recriminations of these passionate poetical husbands and their obstinate national wives have never ceased. Again and again we hear the male partner making proposals to win his spouse to better and nobler ways, again and again he tries to educate her up to himself and endeavours to direct her anew, pointing out to her the danger of her unruly and stupid behaviour; again and again his loving approaches are thwarted by the well-known waywardness of the feminine character, and so all his friendly admonitions habitually turn into torrents of abuse and vilification. There have been many unhappy unions in the world, but the compulsory mésalliances of such great nineteenth-century writers as Heine, Byron, Stendhal, Gobineau, and Nietzsche with Mesdames Britannia, Gallia, and Germania, those otherwise highly respectable ladies, easily surpass in grotesqueness anything that has come to us through divorce court proceedings in England and America. That, as every one will agree, is saying a good deal.

      The German Emperor, as I have said, had some justification for his action, some motives that do credit, if not to his intellect, at least to what in our days best takes the place of intellect; that is to say his character and his principles of government. The German Emperor appears at least to realize how offensive and, from his point of view, dangerous, the spirit of Heinrich Heine is to this very day, how deeply his satire cuts into questions of religion and State, how impatient he is of everything which the German Emperor esteems and venerates in his innermost heart. But the German people, on the whole, and certainly all foreigners, have long ago forgiven the poet, not because they have understood the dead bard better than the Emperor, but because they understood him less well. It is always easier to forgive an offender if you do not understand him too well, it is likewise easier to forgive him if your memory be short. And the peoples likewise resemble our womenfolk in this respect, that as soon as they are widowed of their poets, they easily forget all the unpleasantness that had ever existed between

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