Heinrich Heine was the last great German romantic, at the same time, a restless antiromantiker.
Mikael van Reis welcomes Malte Persson’s inspired interpretations of the poet’s late poetry.
It is all crossing what makes Heinrich Heine life and the poem so vivid, because the empties in the neural paradoxes, in the Conservative faith and faithlessness, in rastlöshetens the lifeblood.
Heine (1797-1856) was the last German romantic and at the same time, a antiromantiker, he is a poet but also poisonous publisher, loved by many and bad tåld of the other, absorbed in månskensmagi and caught up in the social fun, fall in love with the rose and the nightingale but also a ironiker that cut his opponent’s silhouette with the pen as the florett.
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Cosmopolitans and good europeans
The once radical German romantics had with age become calcified catholics. Heine read instead Marx and Marx, Heine. Nietzsche would then read Heine. So also the excited He. In Swedish, interpreted he of Hjalmar Söderberg and Ture Nerman. In some way or another, they were all cosmopolitans in the Conservative result – or at least good europeans.
Heine’s “Before the book” from 1827, became a megasuccé which gave birth to more than 7 000 sterling (Schubert, Schumann…). “Germany, a winter’s tale” from 1844 became in the same way a great success, where the prussian despotin gisslades. In between takes Heine long steps on their versfötter. For German-language poetry, new heights take right to the Rilke and later Celan. All they ended up in Paris. The year after the revolution of July 1830, was Heine one as poetic as journalistic works emigré.
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Devotional, gäcksam and productive
Heine would remain split between Germany and France, at once away from its romantic puberty, and back, because it förfuskats of the other. So he remained devoted, gäcksam, välförsörjd and wonderfully productive, until in the final years of rumination, and tvinsot in the “madrasskryptan". God forgives, it’s his job. He pointed out spefullt.
2011, Martin Tegens interpretations of the “Before book” and now complemented the image of the genial Heine, Malte Persson’s in “Other times, other birds,” which extends from the romantikerns lyrism to the late, satirical poems in “Romanzero” from 1851 and forward.
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Between romance and politics
in Between unfolds motsägelsernas lived geometry Malte Persson signs in a very elegant and detailed afterword. Heine writes constantly between romance and politics, two diverse societies and at least three religions.
What I can now love of Heine? It is his antibrackighet and antinationalism, but especially also his lyrical shifts between the sorrowful mirth and merry sadness. He remains the kluvne who are looking for the beauty in the freedom vindöga. Just in the cross-section in between, he is the best and I think that Malte Persson often show with great finesse.
His interpretation makes me sometimes to quietly amazed when the verse feels more authentic than translated. Clean stagnelianskt it will be in the “New spring” from 1830:
Listening is dumb, forests,
each leaf a ear green!
And in the dream stretches the mountain
out his skuggarm, quiet and nice.
But what sounded over there? Something
echoes in my heart valley.
I Heard my relationships with those sue,
or mere luck?
Heine wrote his four line stanzas rhyming in different combinations. There are a given the mechanics of the rimflätor; abundance playing with the heaven and dreams attracts streams in ädelromantisk spirit. It is then to find ways in which rimlösningen not dominate meningsinnehållet with vitsighet, to find a precise viktläge between rhyme or reason, and still get the light shoulder shrug, which preferably ends a stanza with the ironiske Heine.
Other times, other birds
Poems in the selection and translation of Malte Persson
Ruin, 346 p.
Malte parts klacksparkskynnet
A humorous poet as Heine might in translation is easily transformed into a studentikos versmakare with the reverse word order and everything, the warning lamp flashes here and there, but all in all, this is a very admirable accomplishment. Malte Persson parts klacksparkskynnet, but in the inspired way also inside the poem he translates.
He stepped, therefore, not dance, to speak with Birger Sjöberg. He does not to rhyme heart with pain, but for the poetry of the thing, it’s not about sounding music boxes, but to find a poetic cross between density and demonstrativeness. Elasticated halvrim helps.
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fairy tale glass crack
There is somewhere there that Heine will be the in love with a biton of the narraktighet as strength. He can create himself a glass of the fairy tale, but splits the hive a bit and smile. It cleans the sentiment from sentimentality. And yet he can maintain both kisses, the moonlight, and Lorelei.
Some political years later in the 1840′s can Heine both the lightnings and thunder. Memorable is his spökbalett of the headless Marie Antoinette and her dekapiterade entourage. It then continues with the narrative poems – that the strong political appeal in “The silesian weavers” in 1844.
I do not really share Malte Persson’s inclinations for the narrative poems, even if they testify to Heine’s records for mercury and självspegling in a time of anti-semitism. The best in “Tannhäuser” and more eccentric in the “Vitziputzli” and “Jehuda Ben Halevy”, but the poems fill out the picture of the restless Heinrich Heine. Like all real poets longing he both home and away.
Mikael van Reis
Malte Persson are employees of the Swedish newspaper Expressen kultursida. Therefore, the reviewed book by Mikael van Reis, a literary critic in the Göteborgs-Posten.
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