Mythisches Denken zwischen Romantik und Realismus
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Die Untersuchung von Heinrich Heines (1797-1856) Umgang mit Mythos und Mythologie kann einen Beitrag zur gegenw�rtigen Diskussion �ber das Problem 'Mythos und Moderne' leisten. Heines Interesse gilt dem Weltbild, das sich mit dem ph�nomenologischen Begriff des mythischen Denkens beschreiben l� t. Die relative Fremdheit dieses Denkens f�llt jedoch aus den synkretistischen Denktraditionen heraus, die den kulturhistorischen Horizont von Heines Mythologie bilden. Auch Heine empf�ngt Impulse vom fr�hromantischen Programm der 'neuen Mythologie' und partizipiert deshalb an der Umwertung des Volksglaubens in der sp�tromantischen 'deutschen Mythologie'. Indes mi lingt schon in der "Harzreise" der Versuch, die im 'Volk' noch lebendigen mythischen Vorstellungen im romantischen Wunschbild vom Volk aufgehen zu lassen. Und auch in jenen Teilen der Essays �ber Deutschland, in denen Heine den 'altgermanischen Pantheismus' als Vorausdeutung auf die k�nftige pantheistische Revolution der Deutschen interpretieren will, macht sich die kulturelle Fremdheit des Mythos gegen seine aktualisierende Allegorese geltend. In der B�rne-"Denkschrift" demonstriert Heine deshalb die Differenz zwischen mythischer und nichtmythischer Zeichenordnung, und er lenkt den Blick auf die gef�hrliche Durchschlagskraft der politisch motivierten Leugnung dieser Differenz durch die 'teutomanischen' Vertreter der deutschen Nationalbewegung. Doch die kritische Rede �ber den Mythos trennt sich auch hier nicht von der mythosartigen Rede; Heine gibt zu verstehen, da der mythologische, von den Dichtern geerbte 'Bilderdienst' irreduziblen Bed�rfnissen gehorcht, die das moderne Weltbild nicht zu kompensieren vermag. Eine L�sung des kulturellen Konflikts zwischen Mythos und Moderne zeichnet sich nicht ab. Aber der aus dem Konflikt resultierende destruktive Kreislauf von Verdr�ngung und Revolte, G�tterd�mmerung und G�tteraufstand, kann unterbrochen werden, wie Heine in der sp�ten Schrift "Die G�tter im Exil" zeigt: Indem er hier die Travestie der G�tter als moderne Form ihres Exils gestaltet, gelingt es ihm, sowohl die Fremdheit des Mythos als auch seine Lebendigkeit erfahrbar zu machen.
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