Still ist die Nacht, es ruhen die Gassen,
In diesem Hause wohnte mein Schatz;
Sie hat schon längst die Stadt verlassen,
Doch steht noch das Haus auf demselben Platz.
Da steht auch ein Mensch und starrt in die Höhe,
Und ringt die Hände, vor Schmerzensgewalt;
Mir graust es, wenn ich sein Antlitz sehe, -
Der Mond zeigt mir meine eigne Gestalt.
Du Doppelgänger! du bleicher Geselle!
Was äffst du nach mein Liebesleid,
Das mich gequält auf dieser Stelle,
So manche Nacht, in alter Zeit?
The night is quiet, the streets are calm,
In this house my beloved once lived:
She has long since left the town,
But the house still stands, here in the same place.
A man stands there also and looks to the sky,
And wrings his hands, overwhelmed by pain:
I am terrified – when I see his face,
The moon shows me my own form!
O you Doppelgänger! you pale comrade!
Why do you ape the pain of my love
Which tormented me upon this spot
So many a night, so long ago?
Heine's Buch der Lieder is divided into five sections; all the poems set in Schwanengesang are from the third, Die Heimkehr (The homecoming). In Schwanengesang, this song stands at the end of the Heine songs, although Heine's order is different and it has been argued that the sequence works better dramatically when the songs are performed in their order of appearance in the Buch der Lieder.
"Der Doppelgänger" is through-composed; each stanza's setting is different, but not altogether different: the song is a kind of passacaglia on the theme of the first four bars of the piano part. This simple harmonic progression, with the piano part consisting almost entirely of block chords, dominates the song and does much to give it its feeling of inexorability, and its brief abandonment (displaced by a succession of increasingly dissonant chords) at the climax of the song signals the frantic horror of the poet.
The song is 63 bars long, and in a typical performance lasts between 4 and 5 minutes. It is in the key of B minor, the same as Schubert's Unfinished Symphony.
The song plays a central role in the opening of the 2011 film Suicide Room
The song, and its poem, are both referenced in the opening of 1999 video game Persona 2: Innocent Sin .