I.

      One hemisphere of Heine's brain was Greek, the other Hebrew. He was born when the genius of Goethe was at its height; his mother had absorbed the frank earthliness, the sane and massive Paganism, of the Roman elegies, and Heine's ideals in all things, whether he would or not, were always Hellenic—using that word in the large sense in which Heine himself used it—even while he was the first in rank and the last in time of the Romantic poets of Germany. He sought, even consciously, to mould the modern emotional spirit into classic forms. He wrought his art simply and lucidly, the aspirations that pervade it are everywhere sensuous, and yet it recalls oftener the turbulent temper of Catullus than any serener ancient spirit.

      For Heine arose early in active rebellion against a merely passive classicism; just as fiercer and more ardent cries, as from the Orient, pierce through the songs of Catullus. The mischievous Hermes was irritated by the calm and quiet activities of the aged Zeus of Weimar. And then the earnest Hebrew nature within him, liberated by Hegel's favourite thought of the divinity of man, came into play with its large revolutionary thirsts. Thus it was that he appeared before the world as the most brilliant leader of a movement of national or even world-wide emancipation. The greater part of his prose works, from the youthful Reisebilder onwards, and a considerable portion of his poetic work, record the energy with which he played this part.

      But whether the Greek or the Hebrew element happened to be most active in Heine, the ideal that he set up for life generally was the equal activity of both sides—in other words, the harmony of flesh and spirit. It is this thought which dominates The History of Religion and Philosophy in Germany, his finest achievement in this kind. That book was written at the moment when Heine touched the highest point of his enthusiasm for freedom and his faith in the possibility of human progress. It is a sort of programme for the immediate future of the human spirit, in the form of a brief and bold outline of the spiritual history of Germany and Germany's great emancipators, Luther, Lessing, Kant, and the rest. It sets forth in a fresh and fascinating shape that Everlasting Gospel which, from the time of Joachim of Flora downwards, has always gleamed in dreams before the minds of men as the successor of Christianity. Heine's vision of a democracy of cakes and ale, founded on the heights of religious, philosophical, and political freedom, still spurs and thrills us—even now-a-days, when we have wearied of stately bills of fare for a sulky humanity that will not feed at our bidding, no, not on cakes and ale. Heine is wise enough to see, however imperfectly, that it is unreasonable to expect the speedy erection of any New Jerusalem; for, as he expresses it in his own way, the holy vampires of the middle ages have sucked away so much of our life-blood that the world has become a hospital. A sudden revolution of fever-stricken or hysterical invalids can effect little of permanent value; only a long and invigorating course of the tonics of life can make free from danger the open-air of nature. "Our first duty," he asserted in this book, "is to become healthy."

      Heine confesses that he too was among the sick and decrepit souls. In reality he was at no period so full of life and health, so harmoniously inspired and upborne by a great enthusiasm. He laughs a little at Goethe; he fails to see that the Phidian Zeus, at whose confined position he jests, was the greatest liberator of them all; but for the most part his mocking sarcasm is here silent. It was not until ten years later, when the subtle seeds of disease had begun to appear, and when, too, he had perhaps gained a clearer insight into the possibilities of life, that Heine realised that the practical reforming movements of his time were not those for which his early enthusiasm had been aroused. And then he wrote Atta Troll.

      With the slow steps of that consuming disease, and after the revolution of 1848, Heine ceased to recognise as of old any common root for his various activities, or to insist on the fundamental importance of religion. Everything in the world became the sport of his intelligence. The brain still functioned brilliantly in the atrophied body; the lightning-like wit still struck unerringly; it spared not even himself. The Confessions are full of irony, covering all things with laughter that is half reverence, or with reverence that is more than half laughter—and woe to the reader who is not at every moment alert! In the romantic, satirical poem of Atta Troll, written at the commencement of this last period, this, his final altitude, is most completely revealed. It needs a little study to-day, even for a German, but it is well worth that study.

      Atta Troll, the history of a dancing bear who escapes from servitude, is a protest against the radical party, with their narrow conceptions of progress, their tame ideal of bourgeois equality, their little watchwords, their solemnity, their indignation at the human creatures who smile "even in their enthusiasm." All these serious concerns of the tribunes of the people are bathed in soft laughter as we listen to the delicious childlike monotonous melody in which the old bear, surrounded by his family, mumbles or mutters of the future. Atta Troll is not, as many have thought, a sneer at the most sacred ideals of men. It is, rather, the assertion of those ideals against the individuals