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

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Chapter 6 draws to a close precisely on this aspect of Hesse's oeuvre, which acknowledges the blurred boundaries between good and evil without abdicating responsibility or renouncing a moral choice. As opposed to Thomas Mann and other German intellectuals who were intoxicated by the belligerent frenzy sparked at the outbreak of World War I, Hesse voiced his opposition to the conflict with determination, and it is probably in this respect, as Magris suggests, that Hesse's stature and modernity rests: Hesse's entire life stands as an important moral example; it is the exemplary life of a man whose discernment allowed him to resist the lures of the irrational. [...] While much inferior to Mann on a poetic level, Hesse was able to see deeper than Mann did, and right from the start, into both the European crisis and the shipwreck of reason. 9 (Magris 1977, XVIII and XIX, my translation) This, we acknowledge, is one of the most compelling elements of Hesse's legacy and one of his most convincing claims to eternity. 9 Mann retrospectively, and with irony, captures the feelings of that historical moment in the fiction ofDoktor Faustus: 'O blOde Ode! O Hundedasein, wenn man nichts machen kann! Gabes doch nur Krieg da drauBen, damit was los war!' (1947, 237). 203
HERMANN HESSE, Bibliography Betrachtungen, Briefe, in Gesammelte Schriften, 7 vols (Frankfurt a. M.: Suhrkamp, 1968) VII, pp. 7-784 Die Einheit hinter den Gegensiitzen: Religionen und Mythen, ed. by V. Michels (Frankfurt a. M.: Suhrkamp, 1986) Die Kunst des Mufiiggangs: Kurze Prosa aus dem Nachlafl, ed. by V. Michels (Frankfurt a. M.: Suhrkamp, 1973) Gesammelte Briefe, ed. by U. Michels and V. Michels in collaboration with Heiner Hesse, 4 vols (Frankfurt a. M.: Suhrkamp, 1973-1986) Gesammelte Schriften, 7 vols (Frankfurt a. M.: Suhrkamp, 1968) Hermann Hesse - Thomas Mann: Briefwechsel, ed. by A. Carlsson (Frankfurt a. M.: Suhrkamp, 1968) Kleine Freuden: Verstreute und kurze Prosa aus dem Nachlafl, ed. by V. Michels (Frankfurt a. M.: Suhrkamp, 1977) Materialien zu Hermann Hesses "Der Steppenwolf", ed. by V. Michels (Frankfurt a. M.: Suhrkamp, 1972) Musik: Betrachtungen, Gedichte, Rezensionen und Briefe, ed. by V. Michels (Frankfurt a. M.: Suhrkamp, 1986) Samtliche Werke, ed. by V. Michels, 20 vols (Frankfurt a. M.: Suhrkamp, 2001-2007) Schmetterlinge, ed. by V. Michels (Frankfurt a. M.: Suhrkamp, 1982) 'Sommerschreck', Simplicissimus, 27 August 1906 ON HESSE AND HIS WORKS Arzeni, Flavia, 'Hermann Hesse und die Farben der Seele', in Hermann Hesse Jahrbuch (see Fumagalli), pp. 95-109 Berendt, Joachim-Ernst, 'Mozart ist Pablo: Hermann Hesse und die musikalische Subkultur' (1976), in Liber Hermann Hesse (see Mayer), pp. 276-85 204
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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'
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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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Page 169 and 170: und die Worte waren kleine schwarme
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Page 173 and 174: greater foe than emotion' (Bergson,
Page 175 and 176: of experience may be arbitrary and
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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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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
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Page 199 and 200: The various sections do not [...] r
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Page 207 and 208: irths and deaths, as portrayed in '
Page 209: Salvages' V; 1944, 30), as one of h
Page 213 and 214: '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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