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Heiterer Heinrich Heine
- Narrated by: Martin Held
- Length: 50 mins
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Publisher's summary
Witz und Schmerz des heiteren Heinrich Heine.
Heinrich Heine: einer der berühmtesten Dichter der Deutschen, zugleich ein Poet, dem schon zu Lebzeiten (und erst recht von der Nachwelt) zwiespältig, oft feindselig begegnet wurde. Nicht nur die Zensurbehörden verfolgten ihn, sondern all jene, denen er zu aufsässig, zu witzig, zu frech, zu schlüpfrig war. Viele Deutsche sangen Heines Lieder (keines inniger als die berühmte "Loreley"). Große Komponisten haben seine Gedichte vertont: Franz Schubert und Robert Schumann, Richard Wagner und Johannes Brahms, Carl Loewe und Hugo Wolf. Man sang Heine, schwelgte in seiner Poesie. Aber man tadelte seine Ironie, nahm Anstoß an seinem Witz. Bis die Nazis seine Bücher verbrannten.
"Kein anderer Dichter", schrieb Hermann Kesten, "wurde so beharrlich von seinem eigenen Volk verfolgt, verleumdet und ausgestoßen. Viele hassten ihn, weil Heine ein Jude unter unzulänglichen Christen und falschen Heiden war. Seine Feinde hassten ihn auch darum, weil Heine der witzigste Deutsche war. Leider nehmen allzu viele Deutsche den Witz übel und grollen ihren Satirikern, statt mit ihnen zu lachen."
Man muss solche Sätze zitieren, gerade bei einer Auswahl, die "Heiterer Heinrich Heine" betitelt ist. Heine war ein Humorist, aber sein Humor dient der Notwehr und zuweilen auch der Angriffslust. Seine Heiterkeit überspielt niemals sein Unglück, vor allem nicht seine unglückliche Liebe zu Deutschland. Und im Gelächter über seine Witze und komischen Grimassen kann man die tiefen Schmerzen nicht verkennen, die noch aus seinen übermütigsten Versen sprechen. Man nehme nur das Sonett "Gib her die Larv, ich will mich jetzt maskieren" aus dem "Buch der Lieder", das in den düster-unheimlichen Schlussakkord mündet: "Denn wollt ich mich entmummen, / So müsste all das Galgenpack verstummen." Nietzsche schrieb: "Was wüsste deutsches Hornvieh mit den délicatesses einer solchen Natur anzufangen!"
Noch heute nach zweihundert Jahren, ist Heine ein deutscher Zwiespalt oder, wie auch gesagt worden ist, eine deutsche Wunde. Er war ein Dichter voller Widersprüche, wie seine ganze Epoche gebildet aus Kontrasten und Konflikten. Er war ein Poet und ein politischer Mensch, ein Dichter von Liedern, die reine Musik waren, und der treffsicherste Satiriker, ein Romantiker und ein Revolutionär. Der Romantik lauschte er ihre innigen und sinnigen Reize ab, um sie gleichzeitig ins Ätzwasser der Ironie zu tauchen. Der politische Heine ist ein Kapitel für sich: hier anspielungsreich repräsentiert durch die Auszüge aus den "Memoiren des Herren von Schnabelewobski", das Fragment eines satirischen Schelmenromans, der die politischen Übel durch die "Religion der Freude", die Sinneslust zu lindern und zu heilen versucht. Richard Wagner zog aus dem Büchlein den Stoff für seinen "Fliegenden Holländer".
Ein anderes Kapitel ist der Artist Heine, der virtuos mit den Tönen, Klängen und Assonanzen spielt und selbst triviale Sujets ("Ein Jüngling liebt ein Mädchen") ins Artifizielle ummodelt. Heine hat dem deutschen Gedicht eine sinnliche Glut gegeben, die man daneben allenfalls bei Brentano findet. Nochmals sei Nietzsche zitiert: "Ich suche umsonst in allen Reichen die Jahrtausende nach einer gleich süßen und leidenschaftlichen Musik. Er besaß jene göttliche Bosheit, ohne die ich mir das Vollkommene nicht zu denken vermag." In unserer Auswahl ist "Der Ritter Tannhäuser" das beste Beispiel dieser Kunst, geradezu ein Prisma Heine'scher Techniken und Themen, von Poesie und Prosaik, christlicher Verdächtigung und antiker Verherrlichung des Erotischen, asketischer Weltflucht und sinnlicher Libertinage. Auch diesen Stoff hat Wagner in ein bedeutendes (und sehr deutsches) Künstler-Drama verwandelt. Entscheidendes ging dabei verloren: Heines Witz, sein sardonisches Lachen, der Schatten des ennui, die Bosheit unter Tränen.
Text: Hanjo Kesting, 1997.
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