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

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In einem Netzwerk von Interdependenzen und Analogien zu Goethe und der Theorie der Romantik, C. G. Jung und Freud, Buddhismus und Daoismus konstituiert sich Hesses dynamisches Polaritatskonzept. (20) I would also claim that a further source should be taken into account: music or, more specifically, the counterpoint technique and the sonata form. Although counterpoint originated and developed in the Baroque period, and the sonata form reached its pinnacle during Romanticism, both forms are relevant to the classical and Romantic periods, which are amongst Hesse's most praised periods of German music (see 2.5). 9 The counterpoint technique, built on the sequential interplay of Voices' on a given theme (subject), often accompanied by a second (countersubject), and the sonata form, which revolves around the polar tension between its (usually two) themes, were internalized through the medium of music and contributed towards shaping Hesse's idea of polarization as argued in 2.5. The aforementioned scholars mostly fail to pick up on this connection. A passage from Kurgast cited and commented on at length by critics in connection with Hesse's interest in music clearly expresses the underlying relation between polar opposites and the musical forms mentioned above: ware ich Musiker, so konnte ich ohne Schwierigkeit eine zweistimmige Melodie schreiben, eine Melodie, welche aus zwei Linien besteht, aus zwei Ton- und Notenreihen, die einander entsprechen, einander erganzen, einander bekampfen, einander bedingen, jedenfalls aber in jedem Augenblick, auf jedem Punkt der Reihe in der innigsten, lebendigsten Wechselwirkung und gegenseitigen Beziehung stehen. 10 (SW 11,125) 9 Henceforth, we will distinguish between 'Classic', 'classical' (lower initial), and 'Classical' (capital initial) music. 'Classic' refers to the music of the period that encompasses the lives and works of Haydn, Mozart and Beethoven (before his Romantic turn in the early 19th century), while 'classical' will here be employed as an equivalent of what Hesse calls 'klassisch' in music, which contrasts with 'romantisch'. The term 'classical' therefore describes 'music that is considered to be part of a long especially formal tradition and to be of lasting value' ( , Cambridge Advanced Learner's Dictionary [accessed 22 August 2010]) and includes the works of Bach and the Baroque period. Finally, 'Classical' refers to the musical genre, as opposed to jazz, rock, etc. 10 A similar concept is expressed in Das Glasperlenspiel in relation to the dynamics of the 'Bead Game': 'Beliebt war bei einer gewissen Spielerschule lange Zeit namentlich das Nebeneinanderstellen, Gegeneinanderfuhren und endliche harmonische Zusammenfuhren zweier feindlicher Themen oder Ideen, wie Gesetz und Freiheit, Individuum und Gemeinschaft, und man legte groBen Wert darauf, in einem solchen Spiel beide Themata oder Thesen vollkommen gleichwertig und parteilos durchzufuhren, aus These und Antithese moglichist rein die Synthese zu entwickeln' (SW 5, 35). See section 2.5 for further elaboration on this excerpt. 17
Karalaschwili accounts for this passage as a musical analogy to the theme of polarities and Hesse's creative powers rather than one of their sources: die Bipolaritat [mufite] kraft der Ubereinstimmung des kunstlerischen Modells mit dem Original zur untrennbaren Eigenschaft und zum alleinigen Gestaltungsprinzip von Hesses Erzahlwerken werden. Dafi der Dichter gerade in der Erzielung einer solchen Analogic und Ubereinstimmung seine dichterische Aufgabe erblickte, davon zeugen neben anderen Aufierungen auch die letzten Seiten des »Kurgasts«. (87) Musical influences, eastern philosophy and spirituality, Goethe and Romanticism, and Pietism indicate the range of complexity of the origins of the role of antitheses in Hesse. Although this theme is a feature of Hesse's entire corpus, early works are marked by stronger polar tensions than his late ones, where they are more softened and modulated. As Gommen notes: Wahrend sich beispielsweise in Hesses Fruhwerk Peter Camenzind Gegensatze noch unversohnlich als Entweder-oder gegentiberstehen, so emanzipiert sich der Autor in seinen spateren Werken von dieser Ausschliefilichkeit, wie anhand der Gesprachspassage iiber die unterschiedlichen Wege aus Narzift und Goldmund dargestellt. 11 (42-43) 1.2 Thinking in polarities: Significance Hesse's conceptualisation and treatment of polarities does not depart significantly from his sources and influences. However, he blends different tendencies and strands to suit his own vision of the world, and I will now consider the main features of this process. In the first place, thinking in opposites is for Hesse an epistemological need. 12 Human beings, he argued, learnt primarily through contrasts and differences: 'wir alle vermogen zu erkennen nur in Gegensatzen, wir sind Individuen, sind an Tag und Nacht, an Warm und Kalt gebunden, brauchen einen Gott und einen Teufel' 11 As noted by Boulby, 'the fundamental pattern of the two spheres, light and dark, may be traced as far back as "Julius Abderegg'" (90). 'Julius Abdereggs erste und zweite Kindheit' dates back to 1901-1902 (SW 1, 550-75). 12 In his account on 'Polarita't und Harmonie bei Goethe', Gores highlights that, to Goethe, 'eine Trennung, ein Gegensatz [ist] erforderlich [...], damit iiberhaupt etwas erkennbar werde' (98). 18
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 and 18: subject and countersubject in the l
Page 19 and 20: Finally, dates of publication have
Page 21 and 22: This chapter explores this intrigui
Page 23: und Du, Freund und Feind, Tier und
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
Page 71 and 72: Klange alle wie die Stimme der Mutt
Page 73 and 74: 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
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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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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
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Rad (1905-1906) is a noticeable exc
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however, the dualism of 'ideal' and
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'Witzbold und frechen Bettler' (SW
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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
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HERMANN HESSE, Bibliography Betrach
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'Chapter 6: Siddhartha: The Way Wit
Page 215 and 216:
Kilchenmann, Ruth J., 'Hermann Hess
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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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