ill. His only consolation in these months of discontent was the

completion and publication of the _Reisebilder_. When in 1830 the news of the July Revolution in the streets of Paris reached him, Heine hailed it as the beginning of a new era of freedom, and his thoughts reverted once more to his early plan of settling in Paris. All through the following winter the plan ripened, and in May 1831 he finally said farewell to his native land.

Heine's first impressions of the "New Jerusalem of Liberalism" were jubilantly favourable; Paris, he proclaimed, was the capital of the civilized world, to be a citizen of Paris the highest of honours. He was soon on friendly terms with many of the notabilities of the capital, and there was every prospect of a congenial and lucrative journalistic activity as correspondent for German newspapers. Two series of his articles were subsequently collected and published under the titles _Franzosische Zustande_ (1832) and _Lutezia_ (written 1840-1843, published in the _Vermischte Schriften_, 1854). In December 1835, however, the German Bund, incited by W. Menzel's attacks on "Young Germany," issued its notorious decree, forbidding the publication of any writings by the members of that coterie; the name of Heine, who had been stigmatized as the leader of the movement headed the list. This was the beginning of a series of literary feuds in which Heine was, from now on, involved; but a more serious and immediate effect of the decree was to curtail considerably his sources of income. His uncle, it is true, had allowed him 4000 francs a year when he settled in Paris, but at this moment he was not on the best of terms with his Hamburg relatives. Under these circumstances he was induced to take a step which his fellow-countrymen have found it hard to forgive; he applied to the French government for support from a secret fund formed for the benefit of "political refugees" who were willing to place themselves at the service of France. From 1836 or 1837 until the Revolution of 1848 Heine was in receipt of 4800 francs annually from this source.

In October 1834 Heine made the acquaintance of a young Frenchwoman, Eugenie Mirat, a saleswoman in a boot-shop in Paris, and before long had fallen passionately in love with her. Although ill-educated, vain and extravagant, she inspired the poet with a deep and lasting affection, and in 1841, on the eve of a duel in which he had become involved, he made her his wife. "Mathilde," as Heine called her, was not the comrade to help the poet in days of adversity, or to raise him to better things, but, in spite of passing storms, he seems to have been happy with her, and she nursed him faithfully in his last illness. Her death occurred in 1883. His relations with Mathilde undoubtedly helped to weaken his ties with Germany; and notwithstanding the affection he professed to cherish for his native land, he only revisited it twice, in the autumn of 1843 and the summer of 1847. In 1845 appeared the first unmistakable signs of the terrible spinal disease, which, for eight years, from the spring of 1848 till his death, condemned him to a "mattress grave." These years of suffering--suffering which left his intellect as clear and vivacious as ever--seem to have effected what might be called a spiritual purification in Heine's nature, and to have brought out all the good sides of his character, whereas adversity in earlier years only intensified his cynicism. The lyrics of the _Romanzero_ (1851) and the collection of _Neueste Gedichte_ (1853-1854) surpass in imaginative depth and sincerity of purpose the poetry of the _Buch der Lieder_. Most wonderful of all are the poems inspired by Heine's strange mystic passion for the lady he called _Die Mouche_, a countrywoman of his own--her real name was Elise von Krienitz, but she had written in French under the _nom de plume_ of Camille Selden--who helped to brighten the last months of the poet's life. He died on the 17th of February 1856, and lies buried in the cemetery of Montmartre.

Besides the purely journalistic work of Heine's Paris years, to which reference has already been made, he published a collection of more serious prose writings under the title _Der Salon_ (1833-1839). In this collection will be found, besides papers on French art and the French stage, the essays "Zur Geschichte der Religion und Philosophie in Deutschland," which he had written for the _Revue des deux mondes_. Here, too, are the more characteristic productions of Heine's genius, _Aus den Memoiren des Herrn von Schnabelewopski_, _Der Rabbi von Bacherach_ and _Florentinische Nachte_. _Die romantische Schule_ (1836), with its unpardonable personal attack on the elder Schlegel, is a less creditable essay in literary criticism. In 1839 appeared _Shakespeares Madchen und Frauen_, which, however, was merely the text to a series of illustrations; and in 1840, the witty and trenchant satire on a writer, who, in spite of many personal disagreements, had been Heine's fellow-fighter in the liberal cause, Ludwig Borne. Of Heine's poetical work in these years, his most important publications were, besides the _Romanzero_, the two admirable satires, _Deutschland, ein Wintermarchen_ (1844), the result of his visit to Germany, and _Atta Troll, ein Sommernachtstraum_ (1876), an attack on the political _Tendenzliteratur_ of the 'forties.

In the case of no other of the greater German poets is it so hard to arrive at a final judgment as in that of Heinrich Heine. In his _Buch der Lieder_ he unquestionably struck a new lyric note, not merely for Germany but for Europe. No singer before him had been so daring in the use of nature-symbolism as he, none had given such concrete and plastic expression to the spiritual forces of heart and soul; in this respect Heine was clearly the descendant of the Hebrew poets of the Old Testament. At times, it is true, his imagery is exaggerated to the degree of absurdity, but it exercised, none the less, a fascination over his generation. Heine combined with a spiritual delicacy, a fineness of perception, that firm hold on reality which is so essential to the satirist. His lyric appealed with particular force to foreign peoples, who had little understanding for the intangible, undefinable spirituality which the German people regard as an indispensable element in their national lyric poetry. Thus his fame has always stood higher in England and France than in Germany itself, where his lyric method, his self-consciousness, his cynicism in season and out of season, were little in harmony with the literary traditions. As far, indeed, as the development of the German lyric is concerned, Heine's influence has been of questionable value. But he introduced at least one new and refreshing element into German poetry with his lyrics of the North Sea; no other German poet has felt and expressed so well as Heine the charm of sea and coast.

As a prose writer, Heine's merits were very great. His work was, in the main, journalism, but it was journalism of a high order, and, after all, the best literature of the "Young German" school to which he belonged was of this character. Heine's light fancy, his agile intellect, his straightforward, clear style stood him here in excellent stead. The prose writings of his French period mark, together with Borne's _Briefe aus Paris_, the beginning of a new era in German journalism and a healthy revolt against the unwieldy prose of the Romantic period. Above all things, Heine was great as a wit and a satirist. His lyric may not be able to assert itself beside that of the very greatest German singers, but as a satirist he had powers of the highest order. He combined the holy zeal and passionate earnestness of the "soldier of humanity" with the withering scorn and ineradicable sense of justice common to the leaders of the Jewish race. It was Heine's real mission to be a reformer, to restore with instruments of war rather than of peace "the interrupted order of the world." The more's the pity that his magnificent Aristophanic genius should have had so little room for its exercise, and have been frittered away in the petty squabbles of an exiled journalist.

The first collected edition of Heine's works was edited by A. Strodtmann in 21 vols. (1861-1866), the best critical edition is the _Samtliche Werke_, edited by E. Elster (7 vols., 1887-1890). Heine has been more translated into other tongues than any other German writer of his time. Mention may here be made of the French translation of his _Oeuvres completes_ (14 vols., 1852-1868), and the English translation (by C. G. Leland and others) recently completed, _The Works of Heinrich Heine_ (13 vols., 1892-1905). For biography and criticism see the following works: A. Strodtmann, _Heines Leben und Werke_ (3rd ed., 1884); H. Hueffer, _Aus dem Leben H. Heines_ (1878); and by the same author, _H. Heine: Gesammelte Aufsatze_ (1906); G. Karpeles, _H. Heine und seine Zeitgenossen_ (1888), and by the same author, _H. Heine: aus seinem Leben und aus seiner Zeit_ (1900); W. Bolsche, _H. Heine: Versuch einer asthetischkritischen Analyse seiner Werke und seiner Weltanschauung_ (1888); G. Brandes, _Det unge Tyskland_ (1890; Eng. trans., 1905). An English biography by W. Stigand, _Life, Works and Opinions of Heinrich Heine_, appeared in 1875, but it has little value; there is also a short life by W. Sharp (1888). The essays on Heine by George Eliot and Matthew Arnold are well known. The best French contributions to Heine criticism are J. Legras, _H. Heine, poete_ (1897), and H. Lichtenberger, _H. Heine, penseur_ (1905). See also L.P. Betz, _Heine in Frankreich_ (1895). (J. W. F.; J. G. R.)

HEINECCIUS, JOHANN GOTTLIEB (1681-1741), German jurist, was born on the 11th of September 1681 at Eisenberg, Altenburg. He studied theology at Leipzig, and law at Halle; and at the latter university he was appointed in 1713 professor of philosophy, and in 1718 professor of jurisprudence. He subsequently filled legal chairs at Franeker in Holland and at Frankfort, but finally returned to Halle in 1733 as professor of philosophy and jurisprudence. He died there on the 31st of August 1741. Heineccius belonged to the school of philosophical jurists. He endeavoured to treat law as a rational science, and not merely as an empirical art whose rules had no deeper source than expediency. Thus he continually refers to first principles, and he develops his legal doctrines as a system of philosophy.

His chief works were _Antiquitatum Romanarum jurisprudentiam illustrantium syntagma_ (1718), _Historia juris civilis Romani ac Germanici_ (1733), _Elementa juris Germanici_ (1735), _Elementa juris naturae et gentium_ (1737; Eng. trans. by Turnbull, 2 vols., London, 1763). Besides these works he wrote on purely philosophical subjects, and edited the works of several of the classical jurists. His _Opera omnia_ (9 vols., Geneva, 1771, &c.) were edited by his son Johann Christian Gottlieb Heineccius (1718-1791).

Heineccius's brother, JOHANN MICHAEL HEINECCIUS (1674-1722), was a well-known preacher and theologian, but is remembered more from the fact that he was the first to make a systematic study of seals, concerning which he left a book, _De veteribus Germanorum aliarumque nationum sigillis_ (Leipzig, 1710; 2nd ed., 1719).

HEINECKEN, CHRISTIAN HEINRICH (1721-1725), a child remarkable for precocity of intellect, was born on the 6th of February 1721 at Lubeck, where his father was a painter. Able to speak at the age of ten months, by the time he was one year old he knew by heart the principal incidents in the Pentateuch. At two years of age he had mastered sacred history; at three he was intimately acquainted with history and geography, ancient and modern, sacred and profane, besides being able to speak French and Latin; and in his fourth year he devoted himself to the study of religion and church history. This wonderful precocity was no mere feat of memory, for the youthful savant could reason on and discuss the knowledge he had acquired. Crowds of people flocked to Lubeck to see the wonderful child; and in 1724 he was taken to Copenhagen at the desire of the king of Denmark. On his return to Lubeck he began to learn writing, but his sickly constitution gave way, and he died on the 22nd of June 1725.

_The Life, Deeds, Travels and Death of the Child of Lubeck_ were published in the following year by his tutor Schoneich. See also _Teutsche Bibliothek_, xvii., and _Memoires de Trevoux_ (Jan. 1731).

HEINICKE, SAMUEL (1727-1790), the originator in Germany of systematic education for the deaf and dumb, was born on the 10th of April 1727, at Nautschutz, Germany. Entering the electoral bodyguard at Dresden, he subsequently supported himself by teaching. About 1754 his first deaf and dumb pupil was brought him. His success in teaching this pupil was so great that he determined to devote himself entirely to this work. The outbreak of the Seven Years' War upset his plans for a time. Taken prisoner at Pirna, he was brought to Dresden, but soon made his escape. In 1768, when living in Hamburg, he successfully taught a deaf and dumb boy to talk, following the methods prescribed by Amman in his book _Surdus loquens_, but improving on them. Recalled to his own country by the elector of Saxony, he opened in Leipzig, in 1778, the first deaf and dumb institution in Germany. This school he directed till his death, which took place on the 30th of April 1790. He was the author of a variety of books on the instruction of the deaf and dumb.

HEINSE, JOHANN JAKOB WILHELM (1749-1803), German author, was born at Langewiesen near Ilmenau in Thuringia on the 16th of February 1749. After attending the gymnasium at Schleusingen he studied law at Jena and Erfurt. In Erfurt he became acquainted with Wieland and through him with "Father" Gleim who in 1772 procured him the post of tutor in a family at Quedlinburg. In 1774 he went to Dusseldorf, where he assisted the poet J. G. Jacobi to edit the periodical _Iris_. Here the famous picture gallery inspired him with a passion for art, to the study of which he devoted himself with so much zeal and insight that Jacobi furnished him with funds for a stay in Italy, where he remained for three years (1780-1783), He returned to Dusseldorf in 1784, and in 1786 was appointed reader to the elector Frederick Charles Joseph, archbishop of Mainz, who subsequently made him his librarian at Aschaffenburg, where he died on the 22nd of June 1803.

The work upon which Heinse's fame mainly rests is _Ardinghello und die gluckseligen Inseln_ (1787), a novel which forms the framework for the exposition of his views on art and life, the plot being laid in the Italy of the 16th century. This and his other novels _Laidion, oder die eleusinischen Geheimnisse_ (1774) and _Hildegard von Hohenthal_ (1796) combine the frank voluptuousness of Wieland with the enthusiasm of the "Sturm und Drang." Both as novelist and art critic, Heinse had considerable influence on the romantic school.

Heinse's complete works (_Samtliche Schriften_) were published by H. Laube in 10 vols. (Leipzig, 1838). A new edition by C. Schuddekopf is in course of publication (Leipzig, 1901 sqq.). See H. Prohle, _Lessing, Wieland, Heinse_ (Berlin, 1877), and J. Schober, _Johann Jacob Wilhelm Heinse, sein Leben und seine Werke_ (Leipzig, 1882); also K. D. Jessen, _Heinses Stellung zur bildenden Kunst_ (Berlin, 1903).

HEINSIUS (or HEINS) DANIEL (1580-1655), one of the most famous scholars of the Dutch Renaissance, was born at Ghent on the 9th of June 1580. The troubles of the Spanish war drove his parents to settle first at Veere in Zeeland, then in England, next at Ryswick and lastly at Flushing. In 1594, being already remarkable for his attainments, he was sent to the university of Franeker to perfect himself in Greek under Henricus Schotanus. He stayed at Franeker half a year, and then settled at Leiden for the remaining sixty years of his life. There he studied under Joseph Scaliger, and there he found Marnix de St Aldegonde, Janus Douza, Paulus Merula and others, and was soon taken into the society of these celebrated men as their equal. His proficiency in the classic languages won the praise of all the best scholars of Europe, and offers were made to him, but in vain, to accept honourable positions outside Holland. He soon rose in dignity at the university of Leiden. In 1602 he was made professor of Latin, in 1605 professor of Greek, and at the death of Merula in 1607 he succeeded that illustrious scholar as librarian to the university. The remainder of his life is recorded in a list of his productions. He died at the Hague on the 25th of February 1655. The Dutch poetry of Heinsius is of the school of Roemer Visscher, but attains no very high excellence. It was, however, greatly admired by Martin Opitz, who was the pupil of Heinsius, and who, in translating the poetry of the latter, introduced the German public to the use of the rhyming alexandrine.

He published his original Latin poems in three volumes--_Iambi_ (1602), _Elegiae_ (1603) and _Poemata_ (1605); his _Emblemata amatoria_, poems in Dutch and Latin, were first printed in 1604. In the same year he edited Theocritus, Bion and Moschus, having edited Hesiod in 1603. In 1609 he printed his Latin _Orations_. In 1610 he edited Horace, and in 1611 Aristotle and Seneca. In 1613 appeared in Dutch his tragedy of _The Massacre of the Innocents_; and in 1614 his treatise _De politico sapientia_. In 1616 he collected his original Dutch poems into a volume. He edited Terence in 1618, Livy in 1620, published his oration _De contemptu mortis_ in 1621, and brought out the _Epistles_ of Joseph Scaliger in 1627.

HEINSIUS, NIKOLAES (1620-1681), Dutch scholar, son of Daniel Heinsius, was born at Leiden on the 20th of July 1620. His boyish Latin poem of _Breda expugnata_ was printed in 1637, and attracted much attention. In 1642 he began his wanderings with a visit to England in search of MSS. of the classics; but he met with little courtesy from the English scholars. In 1644 he was sent to Spa to drink the waters; his health restored, he set out once more in search of codices, passing through Louvain, Brussels, Mechlin, Antwerp and so back to Leiden, everywhere collating MSS. and taking philological and textual notes. Almost immediately he set out again, and arriving in Paris was welcomed with open arms by the French savants. After investigating all the classical texts he could lay hands on, he proceeded southwards, and visited on the same quest Lyons, Marseilles, Pisa, Florence (where he paused to issue a new edition of Ovid) and Rome. Next year, 1647, found him in Naples, from which he fled during the reign of Masaniello; he pursued his labours in Leghorn, Bologna, Venice and Padua, at which latter city he published in 1648 his volume of original Latin verse entitled _Italica_. He proceeded to Milan, and worked for a considerable time in the Ambrosian library; he was preparing to explore Switzerland in the same patient manner, when the news of his father's illness recalled him hurriedly to Leiden. He was soon called away to Stockholm at the invitation of Queen Christina, at whose court he waged war with Salmasius, who accused him of having supplied Milton with facts from the life of that great but irritable scholar. Heinsius paid a flying visit to Leiden in 1650, but immediately returned to Stockholm. In 1651 he once more visited Italy; the remainder of his life was divided between Upsala and Holland. He collected his Latin poems into a volume in 1653. His latest labours were the editing of Velleius Paterculus in 1678, and of Valerius Flaccus in 1680. He died at the Hague on the 7th of October 1681. Nikolaes Heinsius was one of the purest and most elegant of Latinists, and if his scholarship was not quite so perfect as that of his father, he displayed higher gifts as an original writer.

His illegitimate son, NIKOLAES HEINSIUS (b. 1655), was the author of _The Delightful Adventures and Wonderful Life of Mirandor_ (1675), the single Dutch romance of the 17th century. He had to flee the country in 1677 for committing a murder in the streets of the Hague, and died in obscurity.

HEIR (Lat. _heres_, from a root meaning to grasp, seen in _herus_ or _erus_, master of a house, Gr. [Greek: cheir], hand, Sans, _harana_, hand), in law, technically one who succeeds, by descent, to an estate of inheritance, in contradistinction to one who succeeds to personal property, i.e. next of kin. The word is now used generally to denote the person who is entitled by law to inherit property, titles, &c., of another. The rules regulating the descent of property to an heir will be found in the articles INHERITANCE, SUCCESSION, &c.

An _heir apparent_ (Lat. _apparens_, manifest) is he whose right of inheritance is indefeasible, provided he outlives the ancestor, e.g. an eldest or only son.

_Heir by custom_, or customary heir, he who inherits by a particular and local custom, as in borough-English, whereby the youngest son inherits, or in gavelkind, whereby all the sons inherit as parceners, and made but one heir.

_Heir general_, or heir at law, he who after the death of his ancestor has, by law, the right to the inheritance.

_Heir presumptive_, one who is next in succession, but whose right is defeasible by the birth of a nearer heir, e.g. a brother or nephew, whose presumptive right may be destroyed by the birth of a child, or a daughter, whose right may be defeated by the birth of a son.

_Special heir_, one not heir at law (i.e. at common law), but by special custom.

_Ultimate heir_, he to whom lands come by escheat on failure of proper heirs. In Scots law the technical use of the word "heir" is not confined to the succession to real property, but includes succession to personal property as well.

HEIRLOOM, strictly so called in English law, a chattel ("loom" meaning originally a tool) which by immemorial usage is regarded as annexed by inheritance to a family estate. Any owner of such heirloom may dispose of it during his lifetime, but he cannot bequeath it by will away from the estate. If he dies intestate it goes to his heir-at-law, and if he devises the estate it goes to the devisee. At the present time such heirlooms are almost unknown, and the word has acquired a secondary and popular meaning and is applied to furniture, pictures, &c., vested in trustees to hold on trust for the person for the time being entitled to the possession of a settled house. Such things are more properly called settled chattels. An heirloom in the strict sense is made by family custom, not by settlement. A settled chattel may, under the Settled Land