Verglühte Schatten: Roman (German Edition)

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Here we find a poetry that has given itself over to a "heroism of modern life" that consists in the sobriety of a consciousness that, bereft erf stable and consoling idealisms, mustfightits way through the new urban spaces and their populations of displaced and anonymous masses. Baudelaire describes eyes of which one is inclined to say that they have lost their ability to look.

As Benjamin says, "The ideal supplies the power of remembrance; the spleen musters the multitude of the seconds against it. He has lost himself to the spell of eyes which do not return his glance and submits to their sway without illusions. I cannot bear the difference between us. It reads: "Ich kann den Unterschied nicht leiden, der zwischen uns ist.

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But "leiden" can also mean to suffer or undergo something painful, a loss or ordeal of some sort. Reading the two significations together so that the tension between them constitutes a narrative, it is as if Hyperion were saying that he cannot tolerate difference because he has no means or context in which he might be able to suffer and work through the pain of difference and separateness. To be one with all that lives, to return in blessed self-forgetfulness into the All of Nature—this is the pinnacle of thoughts and joys, this the sacred mountain peak, the place of eternal rest, On this height I often stand, my Bellarmin!

But an instant of reflection hurls me down. I reflect, and find myself as I was before—alone, with all the griefs of mortality, and my heart's refuge, the world in its eternal oneness, is gone; Nature closes her arms, and I stand like an alien before her and do not understand her. This pattern of oscillation between oneness and abandonment is repeated in all of Hyperion's significant relationships but perhaps most forcefully and dangerously with Diotima, whose namesake was, after all, the great teacher of the meanings of erotic union in Plato's Symposium.

Echoing Aristophanes' remarkable myth of the origins of Eros in that dialogue, Hyperion cries out: Ah!

Verglühte Schatten: Roman (German Edition)

There Hyperion meditates anxiously about his disturbing emotional dependence on the woman he has fallen in love with in this version she is called Melite : But what I was I was through her. The gracious one took pleasure in the light that seemed to emanatefromme and it never occurred to her that it was only the reflection of her own brilliance. All too soon I felt how I became poorer than a shadow if she did not live in me, around me, and for me, if she did not become mine; that I was nothing when she withdrewfromme.

It was inevitable: with a deathly anxiety I had to watch every expression on her face, interrogate every utterance that came from her lips, follow every movement of her eyes, as if my life wouldflowfromme should she divert her gaze toward heaven or to die earth. In Hyperion's case, however, it would seem that any interruption of a full specular reciprocity between himself and his other would be experienced as traumatic.

I feel so deeply how far I am from attaining it, and yet my whole soul is struggling to do so, and often I am so overcome that I weep like a child when Ifeelin every way the lack in my work of one thing or another, and still I cannot wrest myself off the wrong poetic tracks on which I wander around. I lack not so much power as ease, not so much ideas as nuances, not so much light as shadows, and all this for one single reason: I am too shy of what is common and ordinary in actual life.

I am a proper pedant, if you like. And yet, unless I am mistaken, pedants are so cold and loveless, whereas my heart is so impatient to ally itself with sublunary people and things. I see that. Can my seeing it help me? A little, I think. Because I am more destructible than some other men, I must seek all the more to derive some advantage from what has a destructive effect on me, I must not take it as it is, but only in so far as it does service to my own truest life.

I must assimilate them, to arrange them eventually as an artist, if I should wish to be one, and come to be one as shadows to my light, to reproduce them as subordinate tones among which the tone of my soul springs out all the more livingly. According to this theory, each genre epic, tragic, lyric is organized by a particular series of modulations of the three fundamental poetic tones, the naive, the heroic, and the ideal Each tone is in turn associated with a Grundstimmung, a fundamental mood reflecting a particular state or level of attunement with the world.

Moreover, each tone always occupies a position in relation to another, depending on the genre and the particular place in the alternating series. More specifically, the basic tone Grundton of any poetic utterance must always be mediated by way of an artistic effect Kunstcharakter associated with a contrasting tone; no tone can speakforitself, can make itself available in its utmost purity.

According to this theory, every work of poetic art is a process whereby the tension between a fundamental tone and its signifying medium or artistic effect is elaborated. And as the later hymns andfragmentsbear witness, the most important site of this homeopathic procedure, that is, these efforts to institute a properly dosed-out disturbance erf an all too inward communion with the other, was in the relationship to the gods.

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But, oh, my shame! And let me say at once That I approached to see the Heavenly And they themselves cast me down, deep down Below the living, into the dark cast down The false priest that I am, to sing, For those who have ears to hear, the warning song. There The final strophe of "The Migration" intones the "warning song" from a somewhat safer distance: The handmaids of heaven Are miraculous, As is everything born of the gods. Try taking it by surprise, and it turns To a dream; try matching it by force, And punishment is the reward.. In such a furnace then All thingsfreedof dross are shaped And beauty comes thereafter, when Leaving the mountains he meanders Quietly through German lands, content, And slakes his cravings In wholesome commerce, in husbandry, Father Rhine,feedinghis beloved Children in towns that he has founded.

And hisfaceis withheldfromthe knowing And covers the winds with art. And when God cast off his cloak, the darkness came to cut Her lock of hair. For the gods grow Indignant if a man Not gather himself to save His soul. A somewhat less cryptic poetic performance of a chastening dialectic of desire may be found in the earlier ode "Voice of the People.

And not the eagle's fledgelings alone their sire Throws out of eyries, knowing that else too long They'd idle—us the Ruler also Goads intoflightwith a prong that's fitting. The process whereby an all too inward communion with the other is homeopathically disrupted so as to empower one to act in the world—in the "icy history of common day"—unfolds under the auspices of a third term conceived as paternal agency.

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That is, the ability to master the grief over the taboos that interrupt the circuit of an excessive and, ultimately, selfdestructive desire is facilitated by an identification with thefigurein whose name these taboos were instituted in the first place. The power to mourn successfully the primal "shock" of oedipal losses derives, in other words, from the very origin of these losses: the father, or as Lacan would have it, the Name-of-the-Eather, the father as idealized totemic figure.

More precisely, once it has become an aspect of the self's own structure, the paternal totem helps to prevent experiences of loss,frustration,disenchantment, etc. To return for a moment to the terms of the discussion of shock experience, it might be said that the successfully internalized totem keeps loss or lack from resonating too violently "beyond the pleasure principle.

Patriotic song proves, in the end, to be insufficient and, perhaps, to contain too many double binds. The self is left exposed, protected by only the thinnest of membranes, subject to the multifarious shocks of the icy history of common day, the beginnings, perhaps, of what would become our modernity: And now I wish to sing the journey of the nobles to Jerusalem, and anguish wandering at Canossa, And Heinrich hi mself.

If only My very courage does not expose me. Thisfirstwe Must understand. For like morning air are the names Since Christ. Become dreams. Fall on the heart Like error, and killing, if one does not Consider what they are and understand.

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I have also included one of the very late poems written during the long period of schizophrenic withdrawal. Preciselyforthis reason, they can be surpassed in comely passion.

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But I say it again and offer it for your reflection and use: a peculiarly native quality becomes less salient as the cultivation of the mind proceeds. But what is proper to oneself must be as well learned as what is alien.

Therefore the Greeks are indispensable to us. It is simply that we shall not approach them in that which is proper and native to us, because, as I have said, the most difficult thing is the free use of what is proper to oneself. My hope is that this variety of approaches will lead to a deeper engagement with the work erf one erf the most remarkable poets of the Western tradition. Essays and Reflections, trans. Harry Zohn New York: Schocken, I have cited English translations whenever possible.

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See Benjamin's discussion of Baudelaire's sonnet "Correspondances? Benjamin, "On Some Motifs in Baudelaire," ; In the context of this discussion, the ostensible discontinuities between modernity and postmodernity are less important than the continuities. For the purposes of this essay I thus include the present historical moment within the "modern.

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Essays and Letters on Theory, ed. Friedrich Beissner, Adolf Beck, 7 vols. Letter to Neuffer, 12 November , trans. Kohlhammer, Regarding this process erf textual empowerment as it figures in the mourning-work that constitutes the self, Julia Kristeva has remarked: "We would follow the hypothesis according to which the infant prompted by separation. We shall add. Here see once more the sixth strophe erf "The Rhine" quoted above, where in the course offourteenlines the ragingriver-youthaccedes to the position of Father Rhine by way of a certain oedipal chastening.

Letter of 4 December , trans. Sattler's reconstructions of the poems in the introductory volume of his Frankfurter Ausgabe, all translations were based on the text of the poems in the Grosse Stuttgarter Ausgabe. Regarding the increasing predominance of the naive tone in the later works, see Peter Szondi, "Gattungspoetik und Geschichtsphilosophie," in Schriften I Frankfurt a. Not to be confined by the greatest, yet to be contained within the smallest, is divine.