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Those who wish for a single good specimen of him should read his first important work, the work which made his reputation, the Reisebilder, or "Travelling Sketches": prose and verse, wit and seriousness, are mingled in it, and the mingling of these is characteristic of Heine, and is nowhere to be seen practised more naturally and happily than in his Reisebilder.
The Jews have monopolized the gold of the world; they compose Robert the Devil, act Phedre, sing William Tell, give commissions for pictures and build palaces, write Reisebilder and wonderful verse; they are more powerful than ever, their religion is accepted, they have lent money to the Holy Father himself!
In his “Reisebilder” Heine carries us with him to the Hartz, to the isle of Norderney, to his native town Düsseldorf, to Italy, and to England, sketching scenery and character, now with the wildest, most fantastic humor, now with the finest idyllic sensibility—letting his thoughts wander from poetry to politics, from criticism to dreamy reverie, and blending fun, imagination, reflection, and satire in a sort of exquisite, ever-varying shimmer, like the hues of the opal.
But, in 1830, Heine very soon found that the fire-engines of the German governments were too much for his direct efforts at incendiarism. "What demon drove me," he cries, "to write my Reisebilder, to edit a newspaper, to plague myself with our time and its interests, to try and shake the poor German Hodge out of his thousand years' sleep in his hole? What good did I get by it?
The most poetic and specifically humorous of Heine’s prose writings are the “Reisebilder.” The comparison with Sterne is inevitable here; but Heine does not suffer from it, for if he falls below Sterne in raciness of humor, he is far above him in poetic sensibility and in reach and variety of thought.
However, as he himself says, the important point is that he was born, and born on the banks of the Rhine, at Düsseldorf, where his father was a merchant. In his “Reisebilder” he gives us some recollections, in his wild poetic way, of the dear old town where he spent his childhood, and of his schoolboy troubles there.
The richest specimens of Heine’s wit are perhaps to be found in the works which have appeared since the “Reisebilder.” The years, if they have intensified his satirical bitterness, have also given his wit a finer edge and polish.
In his "Reisebilder," he describes the scene café basin, swans, and townsfolk upon the quays Heaven knows what portraits he makes of them! He returns to it again in his poem, "Germania," and there is so much life to the picture, such distinctness, such relief, that sight itself teaches you nothing more.
Do you remember a scene in Henry Heine's 'Reisebilder, when a young student kisses a pretty girl, who lets him have his own way and makes no great resistance, because he has told her, 'I will be gone to-morrow at dawn, and I will never see you again'? The certainty of never seeing a person again gives a man the courage to say things that otherwise he would have kept hidden in the most secret depths of his being.
When he came out, the table in the living room was set for three. The stout old dame who was placing the plates paid no attention to him, seemed, from her expression, to scorn him and all his kind. He withdrew as far as possible out of her path and picked up a book from the table, a volume of Heine's Reisebilder in German.
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