Explanation: Heinrich Heine's birth name was Harry Heine, and he was born in Düsseldorf in 1797, as documented in biographical records.

Explanation: Heinrich Heine was born Harry Heine into a Jewish family in Düsseldorf.

Explanation: Heine studied law, literature, and history at multiple universities, including Bonn, Göttingen, and Berlin, and his studies were not exclusively legal.

Explanation: Heine converted to Lutheran Christianity in 1825, viewing it as a necessary step for cultural integration and career advancement in a society with prevalent anti-Semitism.

Explanation: Mathilde Mirat, whom Heine married, was described as lacking significant cultural or intellectual interests.

Explanation: Salomon Heine, a banker and Heine's uncle, offered financial assistance and an apprenticeship opportunity to his nephew.

Explanation: Heine acquired knowledge of Hebrew and French during his early education and also learned English at a business school.

Explanation: Heinrich Heine was born Christian Johann Heinrich Heine, but his original given name was Harry.

Explanation: Heinrich Heine's father, Samson Heine, worked as a textile merchant.

Explanation: While studying at university, Heine was exposed to the intellectual milieu that included figures like Georg Wilhelm Friedrich Hegel and August Wilhelm Schlegel.

Explanation: Heine converted to Lutheran Christianity in 1825, viewing it as a pragmatic step to surmount professional obstacles stemming from anti-Semitism and to gain entry into broader European culture.

Explanation: Mathilde Mirat was Heine's wife, whom he met and later married in Paris.

Explanation: Salomon Heine, his uncle, provided financial backing and an apprenticeship opportunity for Heinrich Heine.

Explanation: While renowned as a poet, Heine also engaged extensively in journalism, essay writing, and literary criticism throughout his career.

Explanation: Heine's work is predominantly categorized under Romanticism, although his later writings often incorporated elements of irony and satire that transcended typical Romantic conventions.

Explanation: In his later works, Heine increasingly employed satire and irony to critique societal and political issues, moving away from the more conventional Romantic lyrical style.

Explanation: According to Karl Kraus, Heine played a significant role in introducing and popularizing the feuilleton, a genre that originated in France for political commentary and evolved into a precursor for modern journalistic features.

Explanation: Key early successes for Heine were the prose collection *Reisebilder* (1826) and the poetry compilation *Buch der Lieder* (1827).

Explanation: Heine's poetry evolved by incorporating irony and satire, often critiquing the sentimental aspects of Romanticism rather than embracing them further.

Explanation: Heine's 1820 essay *Die Romantik* was a critical analysis of the Romantic movement, not a defense.

Explanation: The collection *Buch der Lieder*, published in October 1827, included the cycle 'Youthful Sorrows' among other significant poetic works.

Explanation: The poetry collection *Romanzero*, released in 1851, is organized into three distinct books: 'Histories,' 'Lamentations,' and 'Hebrew Melodies.'

Explanation: *Vermischte Schriften* was a compilation that included autobiographical works, essays, poetry collections, and journalistic writings, not solely political essays.

Explanation: Heine's *Memoiren* were published posthumously, not during his lifetime.

Explanation: Heine's critique of Romanticism involved satirizing its sentimental themes and idealized view of nature, rather than embracing them.

Explanation: *Atta Troll: A Midsummer Night's Dream* is recognized for its satirical critique of literary trends and certain forms of egalitarian thought.

Explanation: Heine's career encompassed significant work as an essayist, journalist, and literary critic, in addition to his celebrated poetry.

Explanation: Heinrich Heine is primarily identified with the Romantic movement, even as his work evolved to include elements of irony and satire.

Explanation: Heine's later literary output distinguished itself through the prominent use of satirical wit and irony, often directed at societal and political subjects.

Explanation: Karl Kraus attributed to Heine the popularization of the feuilleton, a literary form originating in France, within the German literary landscape.

Explanation: *Reisebilder* (Travel Pictures), published in 1826, marked a significant early success for Heine, blending Romantic descriptions with sharp satire.

Explanation: Heine's 1820 essay *Die Romantik* offered a critical examination of the Romantic movement.

Explanation: *Buch der Lieder* (Book of Songs), published in October 1827, contained the poetic cycle 'Youthful Sorrows'.

Explanation: Conversely, Heine's radical liberal political stances led to significant censorship and the banning of many of his works by German authorities.

Explanation: Heine and Marx were contemporaries and acquaintances who corresponded and shared certain critical views, particularly regarding the bourgeoisie.

Explanation: In the 'Platen affair,' Heine responded to August von Platen's anti-Semitic remarks by satirizing Platen's homosexuality.

Explanation: Heine saw himself as a mediator between Germany and France, aiming to foster understanding rather than isolation.

Explanation: Heine became a figurehead for the "Young Germany" movement, but his radical writings led to his works being banned by German authorities.

Explanation: Heine's memorial to Ludwig Böne was poorly received by radicals due to perceived *ad hominem* attacks, negatively impacting his public standing.

Explanation: In the 1840s, Heine's political poetry featured sharp, satirical critiques of German rulers and the ruling class.

Explanation: Both Heine and Marx expressed a critical perspective and a shared lack of faith in the bourgeoisie as a societal force.

Explanation: While acknowledging communism's appeal, Heine harbored fears that its radicalism and materialism could detrimentally affect European artistic and cultural heritage.

Explanation: Heine predicted that a future German revolution would be far more explosive and impactful than the French Revolution.

Explanation: *Germany. A Winter's Tale* was a satirical critique of the political situation in Germany and was subsequently banned by authorities.

Explanation: Heine predicted that German thought would ultimately prove to be a more explosive force than the French Revolution.

Explanation: Heine was critical of rising German nationalism, perceiving it as narrow-minded and contrasting unfavorably with French revolutionary ideals.

Explanation: Heine held Napoleon in high regard for advancing revolutionary principles and expressed disdain for the conservative political climate in post-Napoleonic Germany.

Explanation: Published in 1844, *Germany. A Winter's Tale* offered a sharp satire of the German political landscape and faced a ban from German authorities.

Explanation: Heine was critical of German censors, often depicting them satirically as lacking intelligence and hindering cultural discourse.

Explanation: Heine found the English people to be commercial and prosaic, and he harbored resentment towards them, partly due to their role in Napoleon's defeat.

Explanation: Heine predicted that German thought would prove to be a more explosive and impactful force than the French Revolution.

Explanation: Heine's radical liberal political perspectives led to censorship and the prohibition of numerous publications within German territories.

Explanation: Heine and Marx both articulated a critical stance and expressed a lack of faith concerning the bourgeoisie.

Explanation: *Germany. A Winter's Tale* is recognized for its potent satirical critique of the prevailing political conditions within Germany.

Explanation: Heine envisioned his role as that of a mediator, seeking to cultivate greater understanding and connection between Germany and France.

Explanation: Heine's memorial for Ludwig Böne generated controversy among radicals who found its tone and content to be overly critical and personally attacking.

Explanation: During the 1840s, Heine's poetry frequently employed satire to critique German rulers and the established social hierarchy.

Explanation: Heine expressed apprehension that communism's radicalism might lead to the destruction of European artistic and cultural achievements.

Explanation: Heine prognosticated that a future German revolution would possess a far greater and more explosive impact than its French predecessor.

Explanation: Heine criticized German nationalism for its perceived 'narrow-mindedness,' contrasting it unfavorably with the ideals of the French Revolution.

Explanation: Heine expressed a critical view of the English, characterizing them as commercial and prosaic.

Explanation: Heinrich Heine passed away on February 17, 1856, in Paris, France, at the age of 58.

Explanation: Heine spent the last 25 years of his life as an expatriate in Paris, France, having relocated there in 1831.

Explanation: Seeking freedom from censorship and embracing the liberal climate following the July Revolution, Heine moved to Paris in 1831.

Explanation: Subsequent scientific analysis has confirmed chronic lead poisoning as a contributing factor to Heine's prolonged illness.

Explanation: Heinrich Heine is interred in the Cimetière de Montmartre in Paris, not Père Lachaise.

Explanation: Suffering from paralysis starting in 1848, Heine described his condition as his 'mattress-grave' (*Matratzengruft*).

Explanation: Heinrich Heine died in Paris, France, during the period of the Second French Empire.

Explanation: Heinrich Heine spent the final 25 years of his life living as an expatriate in Paris.

Explanation: Heine's move to Paris in 1831 was motivated by a desire to escape the restrictive censorship in Germany and to engage with the city's more liberal intellectual and political climate.

Explanation: Subsequent analysis has confirmed chronic lead poisoning as a significant factor contributing to Heine's prolonged health decline.

Explanation: Heinrich Heine is interred in the Cimetière de Montmartre in Paris.

Explanation: The relationship between Heine and his publisher, Julius Campe, was frequently contentious, marked by disagreements over censorship and editorial matters.

Explanation: Heine criticized Madame de Staël's *De l'Allemagne* for presenting a reactionary image of Germany as a land of "poets and thinkers," detached from contemporary revolutionary currents.

Explanation: Numerous composers, including Liszt and Brahms, created musical settings for Heine's poetry, contributing significantly to the dissemination of his work.

Explanation: The dramatic work *William Ratcliff* by Heine was adapted into operas by composers César Cui and Pietro Mascagni.

Explanation: Morton Feldman's musical piece draws inspiration from an imagined encounter with Heine, reflecting on his status as a Jewish exile.

Explanation: Heine's poetry significantly influenced the arts, particularly through musical settings (Lieder) and operatic adaptations, rather than primarily visual art.

Explanation: Heine resisted censorship, while his publisher, Julius Campe, was more inclined towards caution due to past legal issues with Prussian censorship.

Explanation: Camille Selden was a young woman with whom Heine had a relationship in his final years; she was not a collaborator on political essays.

Explanation: The transformation of Heine's poems into *Lieder* (art songs) by various composers greatly enhanced the reception and popularity of *Buch der Lieder*.

Explanation: Heine argued that Madame de Staël's portrayal of Germany overlooked its burgeoning revolutionary spirit, presenting instead a static image of 'poets and thinkers'.

Explanation: Heine contended that Madame de Staël's work depicted Germany as a realm of 'poets and thinkers,' thereby overlooking its contemporary political and revolutionary dynamics.

Explanation: While composers like Schumann, Schubert, and Mendelssohn set Heine's poems to music, Richard Wagner is not listed among those who did so for his poetry.

Explanation: Heine's play *William Ratcliff* was adapted into operas by the composers César Cui and Pietro Mascagni.

Explanation: This profound statement, originating from Heine's play *Almansor*, is widely recognized as a warning about the escalating consequences of suppressing knowledge and ideas.

Explanation: The Damascus Affair, involving accusations of blood libel against Jews, spurred Heine to publish his unfinished novel *Der Rabbi von Bacherach*.

Explanation: Nietzsche held Heine in high regard, commending his musicality and 'divine malice' as hallmarks of a supreme German artist.

Explanation: The Nazis suppressed Heine's works, deeming them 'degenerate.' His quote about burning books was instead inscribed at the site of the 1933 Berlin book burnings as a memorial to the event's implications.

Explanation: The Nazi regime actively suppressed Heine's works, classifying them as 'degenerate' and enforcing bans on their publication.

Explanation: Due to controversy, the Lorelei Fountain, initially intended for Düsseldorf, was ultimately relocated to New York City.

Explanation: Heine's legacy in Israel is debated, with secularists viewing him favorably and some religious groups expressing reservations due to his conversion.

Explanation: The quote "Where books burn, so do people" is prominently featured at institutions such as the Yad Vashem Holocaust museum.

Explanation: This significant quote, warning of the consequences of censorship, is indeed found within Heine's play *Almansor*.

Explanation: The widely cited warning attributed to Heine is: "Where books burn, so do people."

Explanation: In response to the Damascus Affair, Heine published his unfinished novel, *Der Rabbi von Bacherach*.

Explanation: Nietzsche lauded Heine's work, specifically citing its 'sweet and passionate music' and 'divine malice' as elements of his poetic genius.

Explanation: The Nazi regime actively suppressed Heine's writings, labeling them 'degenerate' and prohibiting their publication.

Explanation: The Lorelei Fountain, facing controversy in Düsseldorf, was ultimately relocated and installed in New York City.