ABSTRACT

Heinrich Heine has long been recognized as an early admirer of Goethe’s Divan. In Die romantische Schule, he issues an enthusiastic endorsement that helped popularize Goethe’s late poetry in the French-speaking world, and in his own poetic production, above all in Buch der Lieder, he repeatedly orients himself eastwards in terms of settings and designs. This article considers the language of flowers in Traumbilder I, the allegorical resonances of the Orient in the famous ‘Fichtenbaum’ poem, and the mirroring of Goethe’s Hafiz in the concluding poems of Nordsee II, ‘Fragen’, ‘Der Phönix’, and ‘Im Hafen’. Throughout the cycles of his collection, Heine embarks on West-Eastern voyages after Goethe.

摘要

海因里希·海涅（Heinrich Heine）长期以来一直被认为是歌德歌剧院（Divan）的早期崇拜者。在Die romantische Schule中，他发表了热烈的赞同，这有助于歌德的晚期诗歌在法语世界和他自己的诗歌创作中，尤其是在布赫·利德（Buch der Lieder）的流行，他反复地将自己的环境和设计定位向东方。本文考虑了Traumbilder I中的花朵语言，著名的《 Fichtenbaum》诗中东方的寓言共鸣，以及Nordsee II，《 Fragen》，《 DerPhönix》和《我是哈芬。在整个收藏周期中，海涅（Heine）在歌德（Goethe）之后踏上了向西航行的旅程。