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• W2925815914 abstract "H E I N R I C H H E I N E , T H E V I R G I N , A N D T H E H U M M I N G B I R D : F I F T H B U S I N E S S - A N O V E L A N D I T S S U B C O N S C I O U S F.L. RADFORD University of Alberta My life then resembled a great newspaper of which the upper section contained the present, the day with its daily reports and daily facts, while in the lower part the poetic past appeared fantastically in continuous night-dreams like a series of romans-feuilletons. (Heinrich Heine, Memoiren)' W h e n we realize how much else Heine has to do with Fifth Business, it is less surprising that this comment on his own psyche seems so appropriate to Robertson Davies's best novel and the psyche of its narrator. Heine's dance poem scenario, Doktor Faust, with its extensive prefatory material, gives us a better understanding of Davies's intricate use of the Faust legends. His poem, Vitzlipiitzli, takes us to the centre of the labyrinth of allusions that Davies has placed under the limpid surface of his novel. It gives us the full answer to Liesl's vital question, which is as much a challenge to the reader as to Ramsay: And me - do you know what my name really means, Liselotte Vitzlipiitzli? It sounds so funny, but one day you will stumble on its real meaning (f b , p 261).2 In The Manticore, her real name appears as Fraulein Doktor Liselotte Naegeli and, in World of Wonders, the connection between her pseudonym and the Faustus Legrand alias of Paul Dempster is explained: Dear, dear, how ignorant people are in this supposedly brilliant modern world, said Liesl. You surely know Faust? Not Goethe's Faust, of course ... but the old German play on which he based his poem. Look among the characters there, and you will find that the least of the demons attending on the great magician is Vitzlipiitzli. 3 There is a nice game of cultural snobbery going on here: Liesl sneers at Ramsay for knowing Goethe, but not the old Faust play, as Ramsay earlier sneered at Eisengrim for knowing Gounod, but not Goethe (f b , p 243). Meanwhile, Davies gives the academic reader information he already knows and smiles sardonically at his probable failure to see the Heine connection.4 English Studies in Ca n a d a , iv , 1, Spring 1978 96 At least the Faust allusion is confirmed, although the Vitzlipiitzli of the old Faust puppet play is not just a minor attendant of the already corrupted Faust, but one of those who initially tempt him from his study. Of course, Faust as scholar has more in common with Dunstan Ramsay than with Eisengrim. Ramsay is an inverted Faust who has sold his humanity for knowledge of the saints and gains it back by sleeping with the Devil. The Faust theme remains strong at the time of Ramsay's meeting with Liesl - in Eisengrim's illusion, The Vision of Dr. Faustus, and in the Faustina who serves the same purpose in Ramsay's fall as the image of Helen does in that of Faust. With her feminine version of the name and identified as the Eternal Feminine, she seems to represent Faust's anima, in the Jungian terms that are central to Davies's trilogy of novels. For Ramsay, Leola has filled the Gretchen role and Mary Dempster the Virgin role, but he has had no Helen until the appearance of Faustina. In Heine's Doktor Faust there is a parallel change in names, but this time it is to a female devil, Mephistophela, who takes the place of Faust's principal tempter and is justified thus: The early Faustbook states specifically: 'When Faust was alone and intent on pondering the word of God, the Devil overcame him by dressing himself in the shape of lovely women, falling on his neck and engaging him in promiscuity so that he forgot..." @default.
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• W2925815914 date "1978-01-01" @default.
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• W2925815914 title "Heinrich Heine, the Virgin, and the Hummingbird: Fifth Business – a Novel and Its Subconscious" @default.
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• W2925815914 doi "https://doi.org/10.1353/esc.1978.0009" @default.
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