Johanna Spyri's Heidi is a novel that is not only an enduring classic (first published in 1880/1881 and originally as two volumes, as Heidis Lehr- und Wanderjahre and as Heidi kann brauchen was es gelernt hat, still going strong, a perennial favourite, and even now remarkably enjoyable), but that Heidi is (for me) also one of those stories that can (at least in my opinion) be read and perhaps even should be read on a multitude of different and equally rewarding levels. And like with many children's classics I consider personal favourites, my review will consist of primarily musings and detailed analyses of certain parts and aspects of the text, of Spyri's featured narrative for Heidi. But yes, I will also be providing information on English language translations of Heidi and possible considerations regarding choosing certain editions over others. Now this here particular edition of Heidi is a German language Kindle version I recently downloaded on my iPad (containing both parts, showing both Heidis Lehr- und Wanderjahre and Heidi kann brauchen was es gelernt hat complete, totally unabridged, and also written in the new orthography, the "neue Rechtschreibung"). And indeed with Heidi in particular, one really does have to be careful with regard to avoiding abridged and heavily adapted printings, well, unless one is actually desiring a shortened offering (for both in German and in English, and likely with many other languages as well, abridgements of Heidi seem to exist en masse and that sometimes, it is not even made at all clear that a particular edition has been significantly shortened, so potential readers beware is my suggestion). Case in point, THREE of my hardback copies of Heidi (German language), which I thought were unabridged when I purchased them, turned out to have significant parts of entire chapters removed (something that definitely was NOT mentioned, was not made clear on either the book covers or on the book pages of ABE Books).
HOW TO READ HEIDI
Now Heidi can of course be read simply and enjoyably as a sweet tale of an adorable and personable young orphan whose soul and inner beauty are shiningly portrayed by and through Johanna Spyri's words and who with her personality, with her love, her sweetness and tenderheartedness, and also aided by many of her friends/family and especially her grandfather once he himself has been won over, brings not only joy but also health and wisdom to those around her (except of course Heidi's aunt Dete and perhaps the Frankfurt governess, as well as Clara's silly and pompous tutor who are just plain stubborn and never affected in a positive way by Heidi's charms and mannerisms). And well, these above-mentioned descriptions, they are a very basic and for me as an older adult (and generally rather academic) reader, in no way even remotely sufficient analysis of Heidi's life and struggles, but they are still a very good place to start, and yes, also a decent way to whet a potential reader's textual appetite (especially for a first time reader). However, perusing Heidi on purely a basic level, while definitely more than appropriate and adequate for children and for casual readers, this really only scratches the proverbial surface so to speak, and in a very much superficial manner at that. For Heidi and Spyri's text are deceptively simple, and underneath the descriptive joys of Swiss alpine glory and beauty, of what one can call a wholesome childhood, much darker and problematic material is indeed often hiding (and no pun is intended here). And yes, the original German titles of the two parts parts of Heidi, Heidis Lehr- und Wanderjahre and Heidi kann brauchen, was es gelernt hat, they both allude to and point out the fact that Johanna Spyri is with her Heidi character harkening back to two of the most famous "Bildungsromane" (novels of development) in the German language, namely to Johann Wolfgang von Goethe's two Wilhelm Meister novels (with the first volume being being titled Wilhelm Meisters Lehrjahre and the sequel then having the title of Wilhelm Meisters Wanderjahre).
But and importantly, while in most traditional stories of development, it is generally the main protagonist, it is the main character who develops, who changes, who matures, Heidi herself is really never shown by Spyri as changing a lot, since she never truly internally develops and thus certainly never matures all that much either, and that Heidi's sojourn to Frankfurt, while it might have had the positive result of her learning to read (which she then later on in the Heidi novel uses to bring joy to the grandmother and reading as a skill to the stubbornly illiterate Peter) and giving Heidi more of an understanding of religion and patience, this (being in Frankfurt) also proves once once for all that Heidi is for all intents and purposes not in any manner resilient, that she is not mentally and psychologically robust (that Heidi will thrive and flourish only in a very limited and limiting environment, in the Alps, in the Swiss mountains, and not just anywhere in Switzerland either, but specifically only on her grandfather's alpine meadows).
And indeed, many readers and equally so scholars have noticed and stated that in Heidi Heidi's friend Clara is seemingly miraculously healed from her physical paralysis (and needing to use a wheelchair) while on her alpine visit to Heidi (whether by God or due to the robust natural environment of the Alps, that is of course quite another question to consider albeit I believe in the latter being the case). But if one actually takes the time to consider a detailed characterisation of Clara, she is in fact and indeed (and right from the beginning of Heidi at that, right from the time Heidi and Clara meet in Frankfurt) textually portrayed by Johanna Spyri as considerably more psychologically robust and resilient and thus also much more "healthy" than Heidi (at least on a spiritual and emotional level, even if Clara has physical challenges). Now when Clara is able to actually stand up and walk in Heidi (during her visit with Heidi and after the destruction of her wheelchair), she is of course totally delighted and filled with joy that her physical strength is being restored (as are her father and her grandmother), but in my opinion, Clara has truly throughout Heidi always been considerably stronger than Heidi spiritually, emotionally, internally (and that Clara is thus able to leave the Alps after her visit, after her "cure" but that Heidi must forever remain in this specific place, as any other place will elicit not only homesickness, but indeed the kind of homesickness that eats the soul and will ultimately destroy the sufferer).
Furthermore, while Heidi as a novel does (and as mentioned above) allude to Goethe's Wilhelm Meister novels, the main character (Heidi) is actually more based on, is more similar to the character of Mignon than to Wilhelm Meister himself (except that unlike the doomed Mignon, Heidi is granted textual release and reprieve by Spyri in so far that she is allowed to remain in and on the Alps, in the one place that is suitable for and to her, unmoving, unchanging, but alive and to a point thriving, always happy and contented, while Mignon in Wilhelm Meisters Lehrjahre, she is ultimately totally destroyed by her homesickness, by her unrequited and constant yearning for Italy). And thus, from a purely developmental point of view and philosophy, Johanna Spyri's Heidi as a character, she is thus really and truly much less nuanced, much less rounded and much more unyielding and stagnant than her grandfather, than Clara (and yes, even than the stubborn and often annoyingly obstinate Peter).
For yes, throughout the course of Heidi, many of the encountered and featured characters do seem to mature under Johanna Spyri's pen, to become healthier and heartier, increasingly educated and self aware (not all of them, but indeed very many), but that with Heidi in particular (and even though she is the main protagonist), this really only occurs on a very sporadic and partial as well as on q superficial level at best (and mostly with regard to her ability to read, with Heidi's increasing trust in God and that she post coming back from Frankfurt also now sees and realises which household tasks require doing and how to bring joy to others and in particular to Peter's frail and blind grandmother). But Heidi's mental and emotional stagnation, her lack of psychological fortitude (and which she likely has inherited from her deceased mother), Heidi's inability to endure and tolerate change of any kind, all this Spyri presents as never really much fluctuating for Heidi throughout her text, throughout Heidi. And that with this in mind, Heidi is actually to be considered (for me at least and indeed really strongly) as being very much like those same alpine flowers encountered at the beginning of the novel, when in Heidi Heidi for the first time goes with Peter and the goats to the alpine meadows, wildflowers that while bright, glowing and healthy while rooted in the alpine ground, very quickly lose their bloom, very quickly wilt and droop as soon as they are picked and transported away from the meadows they call home.
HEIDI ENGLISH LANGUAGE TRANSLATIONS
For those reading Heidi in English or more to the point, desiring to read Heidi in English, there are indeed many different and vastly variable translations available (from 1882-1959 alone something like fifteen different English language translations of Heidi were published and I do wonder if Johanna Spyri might have had any input regarding the earliest English language translations of Heidi, the ones that were published prior to her death). Now I have not read all of these, but I have read at least three separate English language editions of Heidi and that each offers unique reading experiences. Now with regard to readability, textual flow, and if one is primarily reading for simple enjoyment (or to and with children), the 1956 translation by Eileen Hall is excellent and highly recommended (although many of the character names have been anglicised and that even some of the specific geographic references have annoyingly been omitted). Earlier translations of Heidi by Louise Brooks and Helen B. Dole, while they do retain a more slavish adherence to Spyri's original text regarding contents and thematics, they are also translated in a much more literal manner and thus readability and narration at times do rather suffer, feeling awkward and halting (in other words, one is often rather painfully aware of the fact that these are, in fact, translations). So which English translation of Heidi to consider is of course and thus a matter of personal choice, but for me personally, for academic comparisons, I would tend to recommend the older translations of Heidi, while for pleasure reading, Eileen Hall's 1956 translation is truly superb (and also nicely enjoyable).