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

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waste land (1922), and his Four quartets prompts several comparisons in relation to music, time, and eternity. 26 Rilke, who expressed his encouragement to the young author of Eine Stunde hinter Mitternacht (1899), is relevant to the discussion on metamorphosis for Die Sonette an Orpheus (1923) and, in the context of our discussion on eternity in Chapter 5 (section 4), for the poem 'An die Musik' (1918). 27 Moreover, we will refer to Camus' The myth of Sisyphus (1942) with regard to Hesse's connections with Existentialism (see especially Chapter 3, section 3) and eternity (Chapter 5, section 3). 28 Three further observations on the scope, approach, and methodology have to be made by way of conclusion. Firstly, although dreams are connected with Hesse's idea of time, and both Freud and Bergson registered similarities between the psychological mechanisms underlying humour and dreams, no specific discussion on dreams has been included, since this would have excessively widened an already broad area of investigation, not allowing adequate scrutiny of each single strand and eventually resulting in an approximate and non-cohesive study. Secondly, although we have not intentionally restricted our investigation to a specific genre or category, most of our observations and references are to Hesse's narrative fiction which, more than his prolific poetic production, has attracted our attention and stimulated our reflection. Moreover, the reader will certainly notice that a large part of our arguments draws on or points to Der Steppenwolf which, for reasons that will be justified throughout this thesis, we tend to regard as the pinnacle of Hesse's narrative production. 29 26 Attention is drawn to similarities between Hesse's and Eliot's concept of eternity, especially in Chapter 5 (sections 2 and 4). 27 Rilke's praise of Eine Stunde hinter Mitternacht was not, however, without reservations on the overall poetic qualities of Hesse's small collection of poems (see Freedman 2005, 83-84). Furthermore, Rilke's response to Hesse's poetry, which he often regarded as stylistically 'flach und uninteressant' (Freedman 2005, 86), was generally rather tepid. 28 Despite Hesse's veneration for Mozart and Bach, and his consistent reference to their music as an unsurpassed fusion of aesthetic and ethical qualities, it is Wagner, whose music Hesse often criticises, who offers significant elements of comparison with Hesse's artistry in Chapter 3 (section 3). 29 The originality of Der Steppenwolf rests on the modernity of its structure (see Chapter 2) and also on the poetic aims and orientations it expresses (see Chapter 3). The novel deals with all the themes with which this research project is concerned: the clash between ideal and reality, also articulated as the contrast between time and eternity; humour and music, central themes in the autobiographical Kurgast too; memories as a burden, and metamorphosis (see the 'transformation' of Pablo into Mozart in Chapter 4, section 5). 11
Finally, dates of publication have been consistently added to situate a given work in time, and where an argument is illustrated by means of several citations, these are usually arranged chronologically to highlight underlying patterns in the evolution of Hesse's thought or artistry. 12
Page 1 and 2: HERMANN HESSE AND THE DIALECTICS OF
Page 3 and 4: Chapter 5 Eternity_________________
Page 5 and 6: Declaration The discussion on Tablo
Page 7 and 8: Abstract This thesis explores Herma
Page 9 and 10: century onwards.4 The discussion on
Page 11 and 12: An interest in eternity is not Hess
Page 13 and 14: die Zeit fur mich hat, wie ich die
Page 15 and 16: Menschen ihres fruhesten Lebens eri
Page 17: subject and countersubject in the l
Page 21 and 22: This chapter explores this intrigui
Page 23 and 24: und Du, Freund und Feind, Tier und
Page 25 and 26: Karalaschwili accounts for this pas
Page 27 and 28: paradoxically, his personal 'freedo
Page 29 and 30: As Boulby perceptively notes, chara
Page 31 and 32: [D]ie Legende [1st] jene Literaturf
Page 33 and 34: the other hand, he is convinced tha
Page 35 and 36: ejection entails an act of the mind
Page 37 and 38: his way to enlightenment, is attune
Page 39 and 40: 'Fifty year old Harry Haller [...]
Page 41 and 42: eal self is transferred onto pairs
Page 43 and 44: consideration. 55 Clearly, any aspe
Page 45 and 46: This chapter, which is the necessar
Page 47 and 48: In the twentieth century, the adven
Page 49 and 50: 609). 14 Klingsor even calls on the
Page 51 and 52: This conception of music, reflected
Page 53 and 54: eproducing the soloist's frenzy, in
Page 55 and 56: Spafi'). A further point we drew at
Page 57 and 58: they revolve around a common 'home
Page 59 and 60: More recent literary employment of
Page 61 and 62: In the chapter 'Erwachen', after hi
Page 63 and 64: 'modulated' and developed, identify
Page 65 and 66: movements of a tripartite sonata. M
Page 67 and 68: In addition, Hesse's main character
Page 69 and 70:
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
Page 79 and 80:
Furthermore, the erotic element of
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Hesse's penchant for 'klassische' (
Page 83 and 84:
the aesthetic qualities of a piece
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creation is, for Hesse, the princip
Page 87 and 88:
'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'
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Chapter 4 Memory, metamorphosis, an
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Hesse's approach to memory and the
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Hesse's main characters who, almost
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ich sah mich wahrend der ganzen Vor
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with music, which would eventually
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correlative' of childhood in Hesse.
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equally pressing desire to release
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mit Entsetzen erinnerte ich mich an
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Hesse ascribes his fascination with
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weigert sich, es will sich haufig a
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exceptions (see the myth of Pygmali
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internalized and replaced by transf
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to India ('Erinnerung an Mwamba').
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there are occasions when we experie
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Beschreibung einiger Augenblicke ku
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In the first place, time is no long
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Beja underlines that, for both Berg
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Karalaschwili refers to as the 'Zei
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(unity, memory, and music) merge in
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of Hesse's personal creed as well a
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Nichts war, nichts wird sein; alles
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The complex symbol of the river in
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as revealed by the opening line of
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While Mann's image of endless repet
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Glasperlenspiel). Clearly, 'authori
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spread very rapidly to the human sc
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poetic world: the metaphor of the s
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Verwandlungen, Goethe and Mozart-Pa
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und die Worte waren kleine schwarme
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After dealing with the rather probl
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greater foe than emotion' (Bergson,
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of experience may be arbitrary and
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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
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'Witzbold und frechen Bettler' (SW
Page 185 and 186:
from their own creation through an
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observed in Chapter 3 (section 2),
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works, and the motif (the mirroring
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hinein: Kindergesichter sufi und er
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As noted above (6.1) that the last
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Mozart play practical jokes on Harr
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superior wit. Furthemore, Mozart's
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The various sections do not [...] r
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Modernist distance from the norms o
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concludes that what might seem a sh
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Jahren war ich nicht mehr in dem sc
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irths and deaths, as portrayed in '
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Salvages' V; 1944, 30), as one of h
Page 211 and 212:
HERMANN HESSE, Bibliography Betrach
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'Chapter 6: Siddhartha: The Way Wit
Page 215 and 216:
Kilchenmann, Ruth J., 'Hermann Hess
Page 217 and 218:
Theodorou, Panagiota, '«Das leiden
Page 219 and 220:
Debord, Guy, The society of the spe
Page 221 and 222:
Mann, Thomas, Doktor Faustus: das L
Page 223 and 224:
Volkmann-Schluck, Karl H., 'Novalis
Page 225:
Schmidt, Richard A.; Lee, Timothy D
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HERMANN HESSE AND THE DIALECTICS OF TIME Salvatore C. P. ...

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