HERMANN HESSE AND THE DIALECTICS OF TIME Salvatore C. P. ...

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traces the heritage of this tradition back to Lessing, notes that writers of any time are forced to call on images if they attempt to 'transduce' music into the medium of words: [the] creation of the illusion of 'musical7 motion within a 'musical landscape' seems the most successful solution to this problem. Strangely enough, [...] prose tends to create 'space' to demonstrate musical movement, although prose as such has its own progressive (linguistic) motion in time (cf. Lessing's Laokoon). Is it conceivable, then, that prose working with the 'nonspatial' material of words must be inevitably 'unfaithful' to its own principles to be able to make musical movement more 'visible'?53 (1968,154) Rilke's 'An die Musik' (1918) offers a paradigmatic example of Scher's argument: Musik: Atem der Statuen. Vielleicht: Stille der Bilder. Du Sprache wo Sprachen enden. Du Zeit, die senkrecht steht auf der Richtung vergehender Herzen. Gefuhle zu wem? O du der Gefuhle Wandlung in was? -: in horbare Landschaft. Du Fremde: Musik. Du uns entwachsener Herzraum. Innigstes unser, das, uns iibersteigend, hinausdrangt, - heiliger Abschied: da uns das Innre umsteht als geiibteste Feme, als andre Seite der Luft: rein, riesig, nicht mehr bewohnbar. (1955-1966, 111) Pronounced similarities link this poem with Hesse's poetics and aesthetics. As in Hesse, music equals time (cf. 'Das Wesen der Musik ist Zeit' in 5.2) and is the language where words lose their power (cf. 'Sprache ohne Worte' in Chapter 2, section 4.1). The idea of transformation ('Wandlung'), especially the transmutation of the temporal into the visual ('horbare Landschaft'), is integral to Rilke's poem. As we will note in the rest of this section, two further elements point us towards Hesse's Morgenlandfahrt, where H. H. states: 'meine Gesellschaft bestand aus den Lieblingsfiguren meiner Bucher, es ritten Almansor und ParzivaF (SW 4, 547). 53 Although he approaches the question from a different angle, Tom Service underlines the common temporal denominator in the concurrent exposition to a piece of music and a landscape: 'The deep connection between the experience of a piece of music and the experience of a landscape is their shared temporality' (13). 157
poetic world: the metaphor of the soul as 'Herzraum' and the reconciliation of the self with the external reality of the world by means of music. Hesse's 'Orgelspiel' (1937), which recalls Rilke's poem thematically and structurally, expresses feelings elicited by the sound of an organ through the use of images: 'Sich Musik aufbaut zu geistigen Raumen' (Musik, 27). 54 Schlegel's idea of architecture as 'frozen music' (see note 59) resonates with Rilke's metaphor ('Atem der Statuen') and is echoed in the image of music as 'frozen time' in Der Steppenwolf. As noted above (see 5.2.), the idea of eternity and the music of Bach and Mozart are often brought together in Hesse. According to Harry Haller, Mozart's 'Cassations' and Bach's 'Das Wohltemperierte Klavier' cause time to solidify 'Ja, das war es, diese Musik war so etwas wie zu Raum gefrorene Zeit' (SW 4,147). 55 Der Steppenwolf and Siddhartha are the two novels where Hesse's conceptualisation of the transformation of time into space achieves almost a visible form. With regard to Der Steppenwolf, this holds true especially in the Magic Theatre, the point of departure for the present discussion. As highlighted by Karalaschwili, 'Dieses Verwandlungsprinzip von Zeit in Raum realisiert sich am anschaulichsten in den Szenen des «Magischen Theaters», das schon in seiner aufieren Form ein Raum ist' (229). The alchemic mutation does not, however, take place in any physical space ('Raum') within the Magic Theater, but in Harry's soul. By escorting him into the theatre, Pablo clearly states that Haller is only offered the opportunity to penetrate the images of his memory, the 'Bildersaal' of his own soul: 'Ich kann Ihnen nichts geben, was nicht in Ihnen selbst schon existiert, ich kann Ihnen keinen andern Bildersaal offnen als den Ihrer Seele' (SW 4,165). 56 It is indeed in the soul, in memory, that time stops and, from impalpable, condenses into space, unleashing a multitude of images: 54 As a motif, the sound of the organ occurs in 'Alte Musik' (1913), producing a similar effect: 'Da, ein hoher starker Orgelton. Er fullt, anwachsend, den ungeheuren Raum, er wird selber zum Raume, umhullt uns ganz' (Musik, 25). 55 In a letter of 1940 to Otto Korradi, Hesse restates this belief along with his idea of music as 'pure present' (see section on simultaneity, 5.2): 'Sie [die Musik] ist, so scheint mir, philosophisch formuliert: asthetisch wahrnehmbar gemachte Zeit. Und zwar Gegenwart' (Musik, 177). 56 It should be noted that Pablo uses the word 'Bildersaal' to refer to the Magic Theater too (Ste, SW 4, 201). 158
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HERMANN HESSE AND THE DIALECTICS OF
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Chapter 5 Eternity_________________
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Declaration The discussion on Tablo
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Abstract This thesis explores Herma
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century onwards.4 The discussion on
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An interest in eternity is not Hess
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die Zeit fur mich hat, wie ich die
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Menschen ihres fruhesten Lebens eri
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subject and countersubject in the l
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Finally, dates of publication have
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This chapter explores this intrigui
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und Du, Freund und Feind, Tier und
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Karalaschwili accounts for this pas
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paradoxically, his personal 'freedo
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As Boulby perceptively notes, chara
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[D]ie Legende [1st] jene Literaturf
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the other hand, he is convinced tha
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ejection entails an act of the mind
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his way to enlightenment, is attune
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'Fifty year old Harry Haller [...]
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eal self is transferred onto pairs
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consideration. 55 Clearly, any aspe
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This chapter, which is the necessar
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In the twentieth century, the adven
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609). 14 Klingsor even calls on the
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This conception of music, reflected
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eproducing the soloist's frenzy, in
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Spafi'). A further point we drew at
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they revolve around a common 'home
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More recent literary employment of
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In the chapter 'Erwachen', after hi
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'modulated' and developed, identify
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movements of a tripartite sonata. M
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In addition, Hesse's main character
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Drin eins das andre halt, Zeigen si
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Klange alle wie die Stimme der Mutt
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father, soul and spirit. 59 To Gold
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evolution of his connections to mus
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Music means solace for Kuhn in Gert
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Furthermore, the erotic element of
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Hesse's penchant for 'klassische' (
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the aesthetic qualities of a piece
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creation is, for Hesse, the princip
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'Hesse had nothing against virtuosi
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undramatisch' (letter of 1898 to He
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As far as the formal plane is conce
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called 'absurd'. 53 The most conspi
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existence and the dismissal of any
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in that the former's opera paves th
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'Bine Arbeitsnacht' (1928), he poin
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debate on jazz but also by the Nazi
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catchy tunes threaten to drain art
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individuationis—accepting his lim
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Singen oder Summen oder auch nur da
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die Erden und Sterne harmonisch im
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in the euphoria of the 'Maskenball'
Page 113 and 114: Chapter 4 Memory, metamorphosis, an
Page 115 and 116: Hesse's approach to memory and the
Page 117 and 118: Hesse's main characters who, almost
Page 119 and 120: ich sah mich wahrend der ganzen Vor
Page 121 and 122: with music, which would eventually
Page 123 and 124: correlative' of childhood in Hesse.
Page 125 and 126: equally pressing desire to release
Page 127 and 128: mit Entsetzen erinnerte ich mich an
Page 129 and 130: Hesse ascribes his fascination with
Page 131 and 132: weigert sich, es will sich haufig a
Page 133 and 134: exceptions (see the myth of Pygmali
Page 135 and 136: internalized and replaced by transf
Page 137 and 138: to India ('Erinnerung an Mwamba').
Page 139 and 140: there are occasions when we experie
Page 141 and 142: Beschreibung einiger Augenblicke ku
Page 143 and 144: In the first place, time is no long
Page 145 and 146: Beja underlines that, for both Berg
Page 147 and 148: Karalaschwili refers to as the 'Zei
Page 149 and 150: (unity, memory, and music) merge in
Page 151 and 152: of Hesse's personal creed as well a
Page 153 and 154: Nichts war, nichts wird sein; alles
Page 155 and 156: The complex symbol of the river in
Page 157 and 158: as revealed by the opening line of
Page 159 and 160: While Mann's image of endless repet
Page 161 and 162: Glasperlenspiel). Clearly, 'authori
Page 163: spread very rapidly to the human sc
Page 167 and 168: Verwandlungen, Goethe and Mozart-Pa
Page 169 and 170: und die Worte waren kleine schwarme
Page 171 and 172: After dealing with the rather probl
Page 173 and 174: greater foe than emotion' (Bergson,
Page 175 and 176: of experience may be arbitrary and
Page 177 and 178: identified by Ziolkoski (see Chapte
Page 179 and 180: Rad (1905-1906) is a noticeable exc
Page 181 and 182: however, the dualism of 'ideal' and
Page 183 and 184: 'Witzbold und frechen Bettler' (SW
Page 185 and 186: from their own creation through an
Page 187 and 188: observed in Chapter 3 (section 2),
Page 189 and 190: works, and the motif (the mirroring
Page 191 and 192: hinein: Kindergesichter sufi und er
Page 193 and 194: As noted above (6.1) that the last
Page 195 and 196: Mozart play practical jokes on Harr
Page 197 and 198: superior wit. Furthemore, Mozart's
Page 199 and 200: The various sections do not [...] r
Page 201 and 202: Modernist distance from the norms o
Page 203 and 204: concludes that what might seem a sh
Page 205 and 206: Jahren war ich nicht mehr in dem sc
Page 207 and 208: irths and deaths, as portrayed in '
Page 209 and 210: Salvages' V; 1944, 30), as one of h
Page 211 and 212: HERMANN HESSE, Bibliography Betrach
Page 213 and 214: 'Chapter 6: Siddhartha: The Way Wit
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Kilchenmann, Ruth J., 'Hermann Hess
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Theodorou, Panagiota, '«Das leiden
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Debord, Guy, The society of the spe
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Mann, Thomas, Doktor Faustus: das L
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Volkmann-Schluck, Karl H., 'Novalis
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Schmidt, Richard A.; Lee, Timothy D
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