The question of what happens when a composer alters a poet's poetic cycle haunts examinations of many song cycles and has proven especially problematic for Robert Schumann's Dichterliebe. The long-held view that Schumann crafted a clear plot from Heine's non-narrative Lyrisches Intermezzo has recently been questioned in favour of a view of the cycle as an incoherent fragment. Using the tools of narratology, this article argues that Dichterliebe is both a fragment and a coherent whole, a string of memories held together by a distinct narrative logic. Identifying two poetic voices illuminates the cycle's narrative strategy and also sheds light on problematic aspects of the music, including Schumann's deletion of four songs, the voice–piano relationship and the enigmatic final postlude. This article proposes answers to age-old questions about Dichterliebe while also offering a fresh approach to the study of song cycles.

中文翻译：

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说和不说的记忆：聆听 Dichterliebe 中的叙事声音

当作曲家改变诗人的诗歌周期时会发生什么的问题困扰着对许多歌曲周期的考察，并且证明对罗伯特舒曼的诗歌尤其成问题双鱼座. 长期以来一直认为舒曼从海涅的非叙述性情节中构思出清晰的情节抒情间奏曲最近有人质疑，赞成将周期视为一个不连贯的片段。本文运用叙事学的工具，认为双鱼座既是一个片段，又是一个连贯的整体，是一串由独特的叙事逻辑结合在一起的记忆。识别出两个富有诗意的声音阐明了循环的叙事策略，也揭示了音乐中存在问题的方面，包括舒曼删除四首歌曲、人声与钢琴的关系以及神秘的最后后奏曲。这篇文章提出了关于古老问题的答案双鱼座同时也为研究歌曲周期提供了一种新的方法。