Author
Heinrich Heine is documented in Fuller’s letters, books, published essays, and journals (1836–1845). 3 distinct works are named, most often in Summer on the Lakes, in 1843, and the most intensive engagement recorded is “analyzed”.
Additional passages preserved in the Memoirs (1852)
Reprints, Memoirs passages, and repeat notes within a single manuscript are shown but never counted twice. Evidence for this author is selective, not exhaustive. Methodology →
“The Lorelei of the Rhine, with her syren song, and the sad events that follow, is found on the lonely rocks of Lake Superior. [...] like the victims of the Lorelei, he looks, like them beholds a maiden of unearthly beauty, to him the harbinger of earthly wo.”
This page brings together documented engagements currently identified within the Fuller Reading Worlds catalog.
Selected passages from Fuller’s own writings, in chronological order.
“I have read, too, Heyne's letters twice”
Fuller, Margaret. The Letters of Margaret Fuller. Edited by Robert N. Hudspeth. Vol. I. Ithaca: Cornell University Press, 1983.
Fuller refers to "Heyne's letters," which Hudspeth identified as Heinrich Heine's work that became Die romantische Schule (1836), translated into English as Letters Auxiliary to the History of Modern Polite Literature in Germany (Boston, 1836).
“The Lorelei of the Rhine, with her syren song, and the sad events that follow, is found on the lonely rocks of Lake Superior.”
Fuller, Margaret. Summer on the Lakes, in 1843. Boston: Little, Brown & Co., 1844.
Inferred Fuller invokes 'the Lorelei of the Rhine' twice as a known literary/legendary figure ? the siren on the Rhine rocks whose song lures boatmen to destruction. The legend was fixed in the German literary imagination by Clemens Brentano's 'Zu Bacharach am Rheine' (1801) and especially Heinrich Heine's 'Die Lorelei' (composed 1824; published in Das Buch der Lieder, Hamburg: Hoffmann und Campe, 1827).
“Heine calls her the Dame du Comptoir of the Catholic church, and this jeer well expresses a serious truth.”
Fuller, Margaret. Woman in the Nineteenth Century. New York: Greeley & McElrath, 1845.
“Markgraff has been giving sketches of these celebrated personages, Rahel, the intellectual Queen of Berlin, well described by Carlyle in one of the Foreign Reviews some five or six years since, Börne, and Heinrich Heine.”
Fuller, Margaret. "The Modern Jews." New-York Daily Tribune, 21 April 1845. · 21 April 1845
Undated
Pieces with no legible date. They are part of the record but cannot be placed on the lifeline.
“the other grand as a Greek / drama with its relentless / fate.”
Fuller, Margaret. "Journal 1837–1843." Houghton Library, Harvard University; bMS Am 1086; Box 5.
Inferred The canonical literary Lorelei is Heine's poem 'Die Lorelei,' first published in Buch der Lieder (1827), though Clemens Brentano originated the legend in 1801. Fuller invokes 'the Rhine Lorelei' as a literary comparison for an Indian legend she plans to include in Summer on the Lakes.
Passages surviving only in the posthumous Memoirs of Margaret Fuller Ossoli, compiled by Emerson, Channing, and Clarke.
“I have read, too, Heyne's Letters twice”
Emerson, Ralph Waldo, William Henry Channing, and James Freeman Clarke, eds. Memoirs of Margaret Fuller Ossoli. 2 vols. Boston: Phillips, Sampson and Company, 1852.
Inferred This archive entry identifies Heinrich Heine's Letters on German Literature (1833) as the subject of Margaret Fuller's remarks.