The poet Heinrich Heine and the composer Franz Schubert faced persecution in their social and cultural contexts due to certain aspects of their identities. Heine’s upbringing as a Jewish man living in the 19th Century led to conflicting feelings about his own faith and, eventually, he converted to Protestantism in order to find more commercial success as an author. Nevertheless, his heritage as a Jewish man still followed him and caused his work to be not taken seriously by others. Due to the discrimination he faced, Heine felt deeply connected with the term doppelgänger which refers to a person or an apparition that has the exact same appearance of another person that they are not directly related to. Heine went on to write a poem titled Der Doppelgänger and, later on, Schubert would use this poem to provide lyrics for his song cycle titled Schwanengesang. Though Schubert wrote compositions including Hebrew and texts from the Jewish tradition, there is speculation that he did not compose Der Doppelgänger with Heine’s original intentions in mind. Schubert manifested his own life in two different avenues by being a successful composer and a homosexual, which was taboo in Vienna in the 19th century.  Schubert utilizes unique musical elements to illustrate Heine’s themes, such as the consistent use of the note F# and a double articulation. The ideas of a notable queer theorist named Gayle Rubin combined with the analysis conducted by musicologists David Bretherton and David Løberg Code allow thematic and musical connections to blossom in Der Doppelgänger. This paper will utilize a musical, literary, and New Historicist framework to analyze the events in Schubert and Heine’s life, as well as conditions of life in Germany and Vienna during their lifetimes, to evaluate what meanings each artist intended in their individual settings of Der Doppelgänger.