HERMANN HESSE AND THE DIALECTICS OF TIME Salvatore C. P. ...
HERMANN HESSE AND THE DIALECTICS OF TIME Salvatore C. P. ... HERMANN HESSE AND THE DIALECTICS OF TIME Salvatore C. P. ...
of a drama. Moreover, Hesse employs words such as Streben and Spannung, which are key terms in German Romanticism: Drama innerhalb eines Sonatensatzes: Zuerst Streben zur Dominante und Gewinnung der Dominante, dann Mittelteil: Kampf um das Behaupten der erreichten Dominante, was aber vergeblich ist und tragische Spannung bringt, nun suchen und Getriebenwerden durch fremde Tonarten hindurch, bis bei Beginn des 3. Teiles der Reprise die Haupttonart wieder gewonnen [sic] wird. (Musik, 161; original emphasis) The Romantic scheme of conflict and reconciliation of opposite forces, as expressed in the dynamics of the sonata form, describes the fundamental features in many of Hesse's novels where, as previously mentioned, two contrasting ideas, two opposing forces or clashing tendencies, embodied by his main characters (see note 30 above as well as section 2 in Chapter I). 47 It seems as if a complementary antagonism runs between these characters. Muoth, whose own Streben and passionate drive would prove fatal to himself, is contrasted with Gertrud, 'eine sicher schreitende Melodic' (SW 2, 345). Narzifi 'sah Goldmunds Natur, die er trotz des Gegensatzes innigst verstand; derm sie war die andere, verlorene Ha'lfte seiner eigenen' (SW 4, 293). Each of these characters can be seen as 'an opposite who by his very difference intensifies the traits of both' (Brown, 122) or as 'zwei untrennbare Half ten einer lebendigen Einheit' (Glas, SW 5, 40). The same dynamics emerge at a different level. Not only are couples of characters linked to the two themes of a sonata form, but also single characters host their own inner dichotomy. Their psychological development hinges on opposite facets of their personalities: Siddhartha is both sinner and saint; Haller is torn between his contempt for mankind and his need for human contact; Veraguth, in Rofthalde, cannot find a balance between his needs as an artist and his duties as a husband and a father. 48 47 For other elements of the influence of Romanticism on Hesse, see Weibel (1954), Freedman (1958), and Ziolkoswki(1965). 48 As expressed by Martin Buber on the occasion of Hesse's eightieth birthday: 'Hermann Hesse hat dem Geiste gedient, indem er als Erzahler, der er ist, vom Widerspruch zwischen Geist und Leben und vom Streit des Geistes gegen sich selber erzShlt' (Volker ed., Hermann Hesse. Leben und Werk im Bild, 212). 59
In addition, Hesse's main characters often experience the impression that the contrast between opposites is fictitious. Life and death, eternity and a fleeting instant, sin and innocence are all like two melodies springing one from the other. Goldmund discovers, for instance, that 'dafi Schmerz und Lust einander ahnlich sein [konnen], wie Geschwister' (SW 4, 377); Haller feels that 'die Verrucktheit, im einem hohern Sinn, der Anfang aller Weisheit isf (SW 4,181-82). 49 As for the Classical heritage, three novels (Der Steppenwolf, Siddhartha, and Narzift und Goldmund) provide insights into aspects of his writing that can be ascribed to counterpoint. As far as the first is concerned, Ziolkowski's 'double perception', which entails the simultaneous unfolding of two perspectives on a given action, captures the essence of counterpoint (see above in this section). 50 In Siddhartha, the river flow recalls the pattern of counterpoint, composed of voices carrying a similar melody, entering (and fading away) in imitation of each other. The river, next to which Siddartha sits, conveys an idea of sameness along with one of change and motion, becoming therefore a symbol of eternity: 'dies Wasser lief und lief, immerzu lief es, und war doch immer da, war immer und allezeit dasselbe und doch jeden Augenblick neu' (SW 3, 439) .51 The symbol of the river also fulfils one of the tenets of counterpoint: 'the aesthetic principle of unity in diversity' (The Oxford Companion to Music). What is more, those sounds made by the river weave a sort of 'polyphonic' texture: 'dann bestand das grofie Lied der tausend Stimmen aus einem einzigen Worte, das hiefi OnY (SW 3, 462), 'Om' being the point of convergence, the musical 'cell', of the numerous voices 'sung' by the river. Narzifl und Goldmund is in tune with the principle according to which 'for music to be truly contrapuntal there must always be a balance between independence and interdependence' (The Oxford Companion to Music). 'Goldmund 49 The simultaneous validity of conflicting ideas is indeed the very systole and diastole of Romantic truth' (Cardinal, 43). 50 Although the technique of 'double perception' is associated with counterpoint (Baroque and Classic element), it must be noted that Ziolkowski draws on Novalis 1 'magischer Idealismus' (Romantic heritage) to develop his argument. See section 4 in Chapter 1 for further considerations on 'Magical thinking*. Furthermore, 51 With regard to the river as a symbol of eternity, see section 2 in Chapter 5. 60
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In addition, Hesse's main characters often experience the impression that the<br />
contrast between opposites is fictitious. Life and death, eternity and a fleeting<br />
instant, sin and innocence are all like two melodies springing one from the other.<br />
Goldmund discovers, for instance, that 'dafi Schmerz und Lust einander ahnlich sein<br />
[konnen], wie Geschwister' (SW 4, 377); Haller feels that 'die Verrucktheit, im einem<br />
hohern Sinn, der Anfang aller Weisheit isf (SW 4,181-82). 49<br />
As for the Classical heritage, three novels (Der Steppenwolf, Siddhartha, and<br />
Narzift und Goldmund) provide insights into aspects of his writing that can be ascribed<br />
to counterpoint. As far as the first is concerned, Ziolkowski's 'double perception',<br />
which entails the simultaneous unfolding of two perspectives on a given action,<br />
captures the essence of counterpoint (see above in this section). 50<br />
In Siddhartha, the river flow recalls the pattern of counterpoint, composed of<br />
voices carrying a similar melody, entering (and fading away) in imitation of each<br />
other. The river, next to which Siddartha sits, conveys an idea of sameness along<br />
with one of change and motion, becoming therefore a symbol of eternity: 'dies<br />
Wasser lief und lief, immerzu lief es, und war doch immer da, war immer und<br />
allezeit dasselbe und doch jeden Augenblick neu' (SW 3, 439) .51 The symbol of the<br />
river also fulfils one of the tenets of counterpoint: 'the aesthetic principle of unity in<br />
diversity' (The Oxford Companion to Music). What is more, those sounds made by<br />
the river weave a sort of 'polyphonic' texture: 'dann bestand das grofie Lied der<br />
tausend Stimmen aus einem einzigen Worte, das hiefi OnY (SW 3, 462), 'Om' being<br />
the point of convergence, the musical 'cell', of the numerous voices 'sung' by the<br />
river.<br />
Narzifl und Goldmund is in tune with the principle according to which 'for<br />
music to be truly contrapuntal there must always be a balance between<br />
independence and interdependence' (The Oxford Companion to Music). 'Goldmund<br />
49 The simultaneous validity of conflicting ideas is indeed the very systole and diastole of Romantic truth'<br />
(Cardinal, 43).<br />
50 Although the technique of 'double perception' is associated with counterpoint (Baroque and Classic element),<br />
it must be noted that Ziolkowski draws on Novalis 1 'magischer Idealismus' (Romantic heritage) to develop his<br />
argument. See section 4 in Chapter 1 for further considerations on 'Magical thinking*. Furthermore,<br />
51 With regard to the river as a symbol of eternity, see section 2 in Chapter 5.<br />
60
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