Hermann Hesse`s Siddhartha, eine indische Dichtung, as a Western

Transcrição

Hermann Hesse's Siddhartha, eine indische Dichtung, as a Western Archetype
Author(s): Robert C. Conard
Source: The German Quarterly, Vol. 48, No. 3 (May, 1975), pp. 358-369
Published by: Wiley on behalf of the American Association of Teachers of German
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HERMANN HESSE'SSIDDHARTHA,EINE INDISCHE
DICHTUNG, AS A WESTERN ARCHETYPE
ROBERT C. CONARD
AlthoughHesse'sSiddharthais subtitledeine indischeDichtung,
and a prominentIndian scholarhas discoveredin it "the core of Indian thought"'and "the greatesttributeof one of the greatestminds
of our time to the sons of India,"2Westerncriticsstill claim the work
as a productof Occidentalculture.While the Orientsees the book as
a great Easternworkby a Westernwriter,manyWesternscholarsperceive the book as typicallyWesternwith merelyan Orientalfacade.
Rudolf Pannwitz refers to the hero, Siddhartha,as an Indian
who "proveshimself a functionalEuropeanin that he cannot accept
a lawfulorderor a preordainedrule,"3and labelsthe end of the novel
a "Europeannirvana."4Hugo Ball regardsSiddhartha'sinsistencethat
one must know oneselfand not merelyfollow the teachingof another
as a reflectionof the influenceof Nietzsche'sZarathustrianphilosophy,5and perceivesa Dostoevskianinfluencein the novel's tendency
towardthe abrogationof morality(die AufhebungderMoral).6Theodore Ziolkowskiputs Siddharthain the traditionof the lives of the
with the
saintsbecauseof the similarityof Siddhartha's"reunification
All at the end of the book to the miraculousunionwith God in Christian legends."'7
ErnstRose in his studyof HesseconsidersSiddhartha's
messageof love and affirmationof life (as opposedto the Buddhistic
rejectionof the world) a form of Christianmysticismand Christian
charity,a synthesisof Easternand Christianthought.He concludes:
"Despitethe Easterncoloration,the messageof Siddharthais Christian, even ProtestantChristian,not Asiatic."8MarkBoulbycategorizes
Siddhartha'ssearch for knowledgeand experienceas Faustian and
regardsthe companionGovindaas Siddhartha'sWagner,the apostle
of gradualism,the strict adhererto preordainedrule.9He findsSiddhartha's doctrine of love to be more Catholic than Protestantand
suggeststhat it "is not Indian at all, but Franciscan,or at the very
least Christian."'oGeorgeField in his work on Hesse acceptsthe conclusionsof Boulbythat SiddharthaembodiesFaustiansearching,and
he agreeswith both Rose and Boulbythat the book'smessageof love
expressesChristian caritas. However, Field goes on to label Siddhartha'sbelief in divine grace as a form of Protestantismand to define the developmentinherentin Siddhartha'slife as an example of
the Westernconcept of "progress"rather than the Oriental idea of
358
SIDDHARTHA, EINE INDISCHE DICHTUNG
359
metempsychosis.11 The Eastern quality of the work he ascribes to its
"pervading passivity," and concludes that "it is in fact an interesting
compound of Eastern and Western ingredients."'12
An encouragement to critics to regard this indische Dichtung as
an embodiment of Western thought comes from Hesse himself, for he
acknowledges in his confessional "Mein Glaube" (1931): "Daf3 mein
'Siddhartha' nicht die Erkenntnis, sondern die Liebe obenan stellt,
daf3 er das Dogma ablehnt und das Erlebnis der Einheit zum Mittelpunkt macht, mag man als ein Zurilckneigen zum Christentum, ja als
Even with his
einen wahrhaft protestantischen Zug empfinden."13
authorial encouragement, however, critics have not exhausted the
Western possibilities in Siddhartha. And despite a seemingly comprehensive array of Occidental motifs singled out by various commentators, none has succeeded in presenting the unconscious pattern in
Hesse's work which does most to make it Western literature par excellence.
The works Robinson Crusoe, Ivanhoe, Oliver Twist, Treasure
Island, the first two parts of Gulliver's Travels and Cooper's "LeatherStocking Tales" manifest the characteristics of a European archetype,
which, according to Leslie Fiedler in his Love and Death in the American Novel, developed into the central myth of American literature in
Huckleberry Finn and Moby Dick.14 All these works show the following traits: 1. a male protagonist 2. a flight from society 3. an escape
from death 4. adventure in isolation 5. a male-male relationship, and
6. an absence of women in the hero's ultimate state in life.' When
Huck Finn, Moby Dick, and Siddhartha are taken as the models of
this archetypal pattern, other important features are apparent: 1.
water as teacher of and initiator into the mysteries of.life. 2. water as
a symbol of life and rebirth 3. the hero's male companion as the pure,
natural man, unintellectual and close to nature 4. the companion as
a representative of a lower social order than the hero. These ten conditions, then, provide working parameters for defining what I will
call the isolato-archetype16
in Western literature.
Although German literature does not lack its isolatoes, most German Robinsonaden and other variations of this unconscious cultural
form omit some of the basic characteristics of the collective image,
namely, the absence of women or the single male companion. Grimmelshausen's continuation of Simplicius Simplicissimus, concluding
360
ROBERT C. CONARD
with the hero a hermit on a tropical island, comes very close to including all the traits mentioned above, as do Karl May's popular
"Winnetou Tales." But in German literature it is only in Hesse's
Siddhartha that one finds a fully developed example of this archetypal pattern, a true counterpart of Moby Dick and Huck Finn, and
the German version of this primordial conception.
The term 'archetype' is employed here in the strict Jungian sense
as "the indispensable correlate of the idea of the collective unconscious
[which] indicates the existence of definite forms in that psyche which
seem to be present always and everywhere." It is "literally a preexistent form," manifested in "dreams," in the "delusions of paranoiacs," and in the "active imagination."17
All three novels, Moby Dick, Huckleberry Finn, and Siddhartha,
begin with a flight from society. While all three heroes leave home
because they cannot tolerate the restrictions imposed by the conventions of their individual lives, each expresses his contempt for society
in accordance with his social position. Siddhartha flees the world of
simple-minded virtue embodied in his family, especially in his father's
narrow Brahmanism with its ceremonial washing, ritual prayer, and
formalized goodness. When Siddhartha exclaims: "Daf3 Weltlust und
Reichtum nicht vom Guten sind, habe ich schon als Kind gelernt,"1s
his flight is revealed to be more than the mere rejection of his father's
religious values, but also an expression of disdain for his father's
wealth, social position, and way of life. Later, when Siddhartha makes
his second escape from society, when he flees the entanglements of
Sansara, he expressly renounces such esteemed activities as "Handel zu
treiben, Macht ilber Menschen auszuiiben, sich mit dem Weibe zu
vergniigen, . . .sch-6ne Kleider zu tragen, Dienern zu befehlen, sich
in wohlriechenden Wassern zu baden, ...
[und] auf einem weichen
Bett zu schlafen" (pp. 673-674).
These aversions, while not identical to Ishmael's and Huck's, are
similar to their rationale for taking to the sea and the river. Ishmael
asserts: "For my part, I abominate all honorable respectable toils,
trials and tribulations of every kind whatsoever" (ch. I, p. 5). It is
the wearisome experience of society that has caused him to turn to the
sea with a "splintered heart and maddened hand against the wolfish
world" (ch. X, p. 49). Similarly Huck Finn's flight from the unimaginative, inhibiting Christian world of the Widow Douglas and Miss
SIDDHARTHA,
EINE INDISCHE DICHTUNG
361
Watson is a rejection of petty proscriptions and the Protestant concept
of cleanliness and the work ethic. Although Huck, because of his lack
of education, cannot always find the right words for his feelings,"1he
achieves a simple eloquence in his objection to life at the Widow
Douglas'. "She took me for her son, and allowed she would civilize
me, but it was rough living in the house all the time, considering how
dismal regular and decent the widow was in all her ways; and so
when I couldn't stand it no more I lit out" (ch. I, p. 7).
Each of these heroes has a specific alternative life in mind as he
flees society. Each has an intellectual problem to solve which becomes
the main theme of each novel. Siddhartha seeks the meaning of existence in his labor to find psychic contentment, to achieve harmony
between his inner drives, the self, and the outside world, or expressed
in psychological terms, to attain a balance between the id, the ego,
and the super ego. To the extent that such a state of peace can be
achieved, Siddhartha accomplishes it through struggle, friendship, and
openness to the wisdom of Vasudeva and the sacred river.
Ishmael too know what he seeks-relief from the "damp, drizzly
November" (ch. I, p. 3) in his soul. Although this problem, like
Siddhartha's, is personal, it becomes a struggle with the much larger
abstract problem of the existence of evil in the world. By unintentionally shipping with a mad captain, whose compulsion it is to rid the
world of Moby Dick, the evil principle in creation, Ishmael is forced
in the course of his journey to come to terms with the moral order of
the universe.
Huck Finn's adventure, a confrontation with the moral incongruities of his native Southern culture, is a plumbing of the depth of
the chasm between what religion preaches and society does. He learns
to "pray a lie" (ch. XXXI, p. 167), and to accept hell for freeing a
slave. He attains the precarious existential' wisdom that in his world
right is wrong and wrong is,right. Because Huck alone of the three
protagonists is concerned with concrete social aspects of an intellectual problem, he alone fails to reach a solution. Whereas the first two
novels end.with denouements, the latter concludes with Huck still on
the run, seeking refuge from civilization in the Indian territory of
Oklahoma. Thus to say that Huckleberry Finn treats the problem of
society, Moby Dick the problem of creation (cosmic order), and Siddhartha the problem of self seems a simple way of summarizing the
variant themes of three novels which employ the same archetypal pattern.
362
ROBERT C. CONARD
As the heroes leave home, compelled by their natures to seek
formative adventure, they are destined to discover wisdom in isolation, i.e., away from society. Huck's adventures are in remote river
towns or on the Mississippi itself, the river of life. The raft, with Huck
and Jim, floats leisurely downstream, surrounded by sequestering and
protective water, fog, and darkness. At no time is Huck more than a
few minutes from the seclusion, security, and silent moral influence of
the great river.20 The loneliness of Ishmael's cruise is similarly manifested in the expanse of ocean around him and by Captain Ahab's
destruction of the Pequod's quadrant. When Ahab dashes the ship's
means of navigation, the crew's remoteness from the world of reasonable, collective humanity is emphasized. From this point on the ship
journeys through the dark waters of the soul guided merely by intuition and dead reckoning. Parallel to this isolation is Siddhartha's
abhorrence of society inherent in his life both as an ascetic wandering
through an arid, hot wasteland and later as a holy man by the sacred
river on which no one else lives.
Typical of this isolato-archetype as it is manifested in Western
literature is the hero's escape from intellectual spiritual death, symbolized in an escape from physical death. Ishmael describes his taking
to the sea as "my substitute for pistol and ball. With a philosophical
flourish Cato throws himself upon his sword; I quietly take to the
ship" (ch. I, p. 3). But his leaving land and society is not his only
escape from death, for he alone of the Pequod's crew is rescued to
begin a new life. The good ship Rachel in search of her missing children finds the lost Ishmael, reborn and rebaptized,21 floating on the
coffin of his friend and savior Queequeg.
Huck Finn, although long dissatisfied with life at the Widow
Douglas', does not actually contemplate his escape until he truly fears
his life is imperiled. Only when Huck's father, suspecting a conspiracy
by the Widow Douglas and Judge Thatcher to remove Huck's six
thousand-dollar fortune from his parental grasp, threatens to put
Huck where "They might hunt till they dropped" (ch. IV, p. 25),
does Huck make his decision to escape both his father and the Widow.
Huck arranges his escape by feigning his own murder. Thus a contrivance is employed whereby Huck's symbolic death in society is
acted out. This symbolic death permits him to escape the spiritualintellectual death that would have befallen him had he remained with
either his father or the Widow, i.e., the death which would have come
363
through his father's evil and which the Widow would have wrought
by forcing Huck to observe Southern convention.
Siddhartha's escape from death is no less symbolic. Hesse describes
Siddhartha's intellectual-spiritual condition with the Kindermenschen
in Sansara in terms of the death of the soul. "Es gab keine Ziele
mehr, es gab nichts mehr als die tiefe, leidvolle Sehnsucht, diesen
ganzen wiisten Traum von sich zu schiitteln, diesen schalen Wein von
sich zu speien, diesen jdimmerlichen und schmachvollen Leben ein
Ende zu machen" (p. 682). In Siddhartha's ensuing attempt at suicide he enacts the symbolic death of his spirit which has suffered a
mortal blow from contact with society. But from death he arises like
Lazarus from the grave, for as he loosens his grasp on the coconut tree
to disappear into the river; he speaks to his slumbering spirit the saving word "Om." "Und im Augenblick, da der Klang 'Om' Siddharthas Ohr beriihrte, erwachte sein entschlummerter Geist plktzlich,
und erkannte die Torheit seines Tuns" (p. 683). Now like his predecessors Ishmael and Huck, Siddhartha, purified and reborn, begins a
new existence by the water of life. "Er wusste nur, daf2 er sein
friiheres Leben . . . verlassen habe . .. daB er aber an einem Flusse,
unter einem Kokosbaume, zu sich gekommen sei ... und nun erwacht
als ein neuer Mensch in die Welt blicke" (p. 684).
In each of these three novels the central enlightening relationship between two males begins after the hero's escape from death. In
each novel this decisive relationship takes the homoerotic form of a
mythical marriage.22 As Ishmael and the Polynesian Queequeg are
fated to share the same bed, and thus destined to a type of marital
union, so too are Huck and Nigger Jim confined to extreme intimacy
in sharing the narrow limits of a raft. Nature seems fulfilled in the
union of the protagonists with noble men of inferior social rank. Ishmael confesses: "He seemed to take to me quite as naturally and unbiddenly as I to him, and when our smoke was over, he pressed his
forehead against mine, clasped me round the waist, and said henceforth we were married" (ch. X, pp. 49-50).
In Huckleberry Finn the homoerotic relationship of Huck and
Jim is no less obvious. Jim cares for Huck, babies him, stands his
watch, and shares his adventures. They experience an idyllic life in a
prelapsarian Eden with Jim petting Huck and affectionately addressing him as "honey" (ch. XVIII, p. 95 and ch. XXXI, p. 167). "Soon
as it was night out we shoved; when we got her [the raft] out to about
the middle we let her alone, and let her float wherever the current
364
ROBERT C. CONARD
wanted her to; then we lit the pipes, and dangled our legs in the water,
and talked about all kinds of things-we was always naked, day and
night, whenever the mosquitoes would let us" (ch. XIX, pp. 96-97).
As Fiedler summarizes this relationship: Jim is Huck's father, mother,
servant, playmate, and lover.23
In Siddhartha the male-male relationship is more complex, for
besides the archetypal association with Vasudeva, Siddhartha is emotionally involved at various times with Govinda, the courtesan Kamala,
and his own son. But it is solely the association with Vasudeva that
determines the archetypal pattern of the novel. Siddhartha has from
the moment of their first meeting unconsciously fallen in love with the
gentle, self-effacing man. "Siddhartha saB und sah ihm zu, und erinnerte sich, wie schon einstmals, an jenem letzten Tage seiner SamanaZeit, Liebe zu diesem Manne sich in seinem Herzen geregt hatte" (p.
695). Siddhartha, after years with Kamala, is still drawn back to
Vasudeva by the inscrutable power of love, the relationship with the
courtesan being unable to satisfy or fulfill him. In the archetypal context discussed here, the attraction between man and man is stronger
and more lasting than that between man and women. With Siddhartha's unconscious return to the river and to Vasudeva, the mythical
marriage between the two takes place. Vasudeva, who years before
had been married, offers Siddhartha his wife's bed (p. 696), consummating the mythical union as in Moby Dick and Huckleberry Finn.
The strange bond between Vasudeva and Siddhartha is immediately
recognized by passing strangers. "Viele Reisende, wenn sie die beiden
Flihrminner sahen, hielten sie fiir Briider" (p. 699). This assertion is
reminiscent of Ishmael's reference to Queequeg as "my dear comrade
and twin-brother" (ch. LXXII, p. 302). The word "brother" in this
context symbolizes "of the same flesh" or man and wife, "two in one"
-total unity of two human beings. It is to this reality that the narrative points: "Und es geschah zuweilen, daB beide beim Anh-6rendes
Flusses an dieselben Dinge dachten .
.
. und daB sie beide im selben
Augenblick, wenn der FluB ihnen etwas Gutes gesagt hatte, einander
anblickten, beide genau dasselbe denkend, beide begliickt iiber dieselbe
Antwort auf dieselbe Frage" (p. 699).
Vasudeva is Siddhartha's destiny. It is this archetypal male-male
relationship which complements and fulfills Siddhartha's life. Govinda,
Siddhartha's first companion, cannot meet the needs of Siddhartha's
psyche. He is too much like Siddhartha. He is educated, his social
equal, a Brahman son, an intellectual by profession. In Govinda there
is merely the
Sawyer, while
the Polynesian
is as Pannwitz
365
parallel of the relationship between Huck and Tom
in Vasudeva there is the counterpart to Nigger Jim and
savage, the social inferior, the man of nature; Vasudeva
refers to him an "Elementargeist."24
Siddhartha's experiment with Kamala, while it plays a major
role in his development, is ultimately unsatisfying and must be forsaken. With Kamala, as the text makes clear, Siddhartha masters
only the mechanics of love: "[Er] lernte Liebeskunst, iibte den Kult
der Lust . . . Sie spielten das Spiel der Liebe . . ." (p. 670-671). The
failure of their association is acknowledged by Kamala's assessment:
k6nntest du sonst die
"Ich bin wie du. Auch du liebst nicht-wie
Liebe als eine Kunst betreiben?" (p. 672), and in Siddhartha's own
summary of the affair: "War es notwendig, dafiir zu leben? Nein, es
war nicht notwendig!" (p. 680). Siddhartha's relationship to his son
is a further stage in his personal development. And although Siddhartha first realizes total human commitment and loss of self in this
filial union, it too, because of the son's indifference to the father, is
an unfulfilling experience and must be abandoned.
Colin Butler makes a pertinent statement about this relationship:
"Much has been made by Hesse's expositors of Siddhartha's love for
his son, and Hesse clearly regarded it as important. Yet it is also true
that he found it necessary to remove both the son and Kamala. .
..."25
Not only did Hesse remove the son and Kamala, but Govinda as well,
and all for the same unconscious reason. In the Occidental psyche the
isolato-archetype is drawn inexorably to the noble savage, not to his
peers, children, or mistress.
In the characters of Queequeg, Nigger Jim, and Vasudeva there
are variations of Rousseau's myth of the natural man, the genius of
simplicity whose heart, soul, and mind are at peace. To such a person
come the restless heroes on the run from society and civilization, drawn
by a puissant attraction. The heroes, in flight from teachers and
teachings, having discovered the doctrines of society bankrupt, find in
their natural companions the perfect masters and appropriate guidance for their present states of mind. Siddhartha openly expresses his
dissatisfaction with the convention of acquiring knowledge: "Ich bin
niimlich miltrauisch und miide gegen Lehre und Lernen geworden,
und mein Glaube ist klein an Worte, die von Lehrern zu uns kommen" (p. 634). For this reason the silent Vasudeva is for him the
ideal pedagogue.
366
ROBERT C. CONARD
Ishmael confesses to a like frame of mind and finds in Queequeg
a new mentor: "No more my splintered heart and maddened hand
were turned against the wolfish world. This soothing savage has redeemed it. There he sat, his very indifference speaking a nature in
which there lurked no civilized hypocrisies and bland deceits. Wild he
was, a very sight of sights to see, yet I began to feel myself mysteriously drawn towards him. And those same things that would have
repelled most others, they were the very magnets that thus drew me"
(ch. X, p. 49). In Queequeg's "calm self-collectedness of simplicity"
Ishmael discovers "Socratic wisdom" (ch. X, p. 48), and while contemplating Queequeg's tatooed body, Ishmael realizes he is "a riddle
to unfold, a wondrous book in one volume" (ch. CX, p. 450).
Huck, with his already simple ways, discovers in the illiterate
slave, Jim, an even simpler and nobler human being than himself.
Through Jim, Huck senses the dignity of all men and overcomes his
perverted heritage: "It was fifteen minutes before I could work myself
up to go and humble myself to a nigger, but I done it, and I warn't
ever sorry for it afterward, either" (ch. XV, pp. 71-72). Thus, through
Jim's agency the natural innocence of Huck is developed and preserved.
These uneducated but wise companions are naturally wary of
communication by language; they prefer to let their actions speak for
them: "Vasudeva war kein Freund der Worte, selten gelang es Siddhartha, ihn zum Sprechen zu bewegen" (p. 698). This paradox of the
unlearned man of nature who directs the development of the schooled
hero is essential to the isolato-archetypal relationship. These natural
men, although lacking the training to abstract and synthesize their
wisdom, succeed as master pedagogues. They teach by personal example and by directing their comrades to the font of wisdom, the water
surrounding them. In Huckleberry Finn the gentle flowing Mississippi
River is a hypnotic, idyllic playfield, delivering Huck over to contemplation. "We slid into the river and had a swim, so as to freshen up
and cool off; then we set down on the sandy bottom . . and watched
the daylight come. Not a sound anywheres-perfectly
still-just like
the whole world was asleep . . and you see the mist curl up off the
water, and the east reddens up, and the river . . . and everything
smiling in the sun, and songbirds just going to it!" (ch. XIX, pp. 9596). This serene thoughtfulness leads Huck to ponder the eternal
question of the origin of the universe. "It's lovely to live on a raft.
We had the sky up there, all speckled with stars, and we used to lay
367
on our backs and look up at them, and discuss about whether they
were made or just happened" (ch. XIX, p. 97).
In Moby Dick as in Huckleberry Finn "the whole movement of
the book is from land to sea, from time to timelessness,"26 from self to
selflessness. The experience of the ocean forces upon Ishmael a contemplative mood which merges his spirit into the All. The lulling ocean
produces "an opium-like listlessness of vacant, unconscious reverie"
until he at last "loses his identity, takes the mystic ocean at his feet
for the visible image of that deep, blue, bottomless soul, pervading
mankind and nature" and discerns "those elusive thoughts that only
people the soul by continuing flitting through it. In this enchanted
mood, thy spirit ebbs away to whence it came; becomes diffused
through time and space" (ch. XXXV, p. 149).
In Siddhartha the river is called the "music of life" the ageless
body self-regenerating, the transitory and the eternal. Through the
river, Siddhartha experiences the two central ideas of existence, that
all is one ("Alles war eins, alles war ineinander verwoben und verkniipft, tausendfach verschlungen. Und alles zusammen, alle Stimmen,
alle Ziele, alles Sehnen, alle Leiden, alle Lust, alles Gute und B6se,
alles zusammen war die Welt. Alles zusammen war der FluBf des
Geschehens, war die Musik des Lebens" p. 720.), and that there is no
time ("Hast auch du . . . vom Flusse jenes Geheime gelernt: daf3 es
keine Zeit gibt?" p. 698).27
Thus Siddhartha, subtitled by Hesse eine indische Dichtung and
claimed by him to reflect his long association with the Orient (although in a Christian way), fits perfectly into a recognizable pattern
of Western literature, the archetype of the isolato. While Hesse's work
has cultural determinants which distinguish it from other works employing the same archetype, his Siddhartha proclaims a primordial
image, emerging from the deepest strata of unconsciousness, which reveals the bodily structure of the work as Western despite the Indic
garment it wears.28
University of Dayton
1
2
3
Reported in Bernhard Zeller, Hermann Hesse in Selbstzeugnissen
und Bilddokumenten (Reinbek bei Hamburg: Rowohlt, 1963), p. 95.
Reported in Franz Baumer, Hermann Hesse, K6pfe des XX. Jahrhunderts (Berlin: Colloquium Verlag, 1959), p. 62.
Rudolf Pannwitz, Hermann Hesses west-dstliche Dichtung (Frankfurt: Suhrkamp, 1957), p. 13.
368
ROBERT C. CONARD
4 Ibid., p. 14.
Hugo Ball, Hermann Hesse (Frankfurt: Suhrkamp, 1967), reprint
of the 1927 edition which appeared on Hesse's fiftieth birthday, pp.
160-61.
6 Ibid., p. 167.
7 Theodore Ziolkowski, The Novels of Hermann Hesse (Princeton,
N.J.: Univ. of Princeton Press, 1965), p. 156.
8 Ernst
Rose., Faith from the, Abyss: Hermann Hesse's Way from
Romanticism to Modernity (New York: New York Univ. Press,
1965), p. 71.
9 Mark Boulby, Hermann Hesse: His Mind and His Art (Ithaca,
N.Y.: Cornell Univ. Press, 1967), pp. 135-36 and 151.
5
10 Ibid., pp. 138 and 152.
11
George Wallis Field, Hermann Hesse, Twayne's World Authors
Series, 93 (New York: Twayne, 1970), p. 80.
12
Ibid., p. 79.
13
Hermann Hesse, Gesammelte Schriften, VII (Frankfurt: Suhrkamp, 1958), p. 372.
Leslie Fiedler, Love and Death in the American Novel (New York:
Stein and Day, 1960), revised edition 1966, pp. 179-82.
14
15
Ibid., p. 181.
The term isolato, used to identify the specific archetypal pattern
discussed in this article, is taken from Herman Melville, Moby
Dick, ed. Willard Thorp (New York: Oxford Univ. Press, 1947),
ch. XXVIII: "They were nearly all Islanders in the Pequod, Isolatoes too, I call such, not acknowledging the common continent of
men, but each Isolato living on a separate continent of his own"
(p. 112). This edition is henceforth cited in the text.
17 Carl G. Jung, "The Concept of the Collective Unconscious," Journal -of St. Bartholomew's Hospital (London), 1936 reprinted in
Persuasive Prose: A Reader, eds. Richard E. Hughes and P. Albert Duhamel (Englewood Cliffs, N.J.: Prentice Hall, 1964), pp. 4
and 10-11.
18 Hermann
Hesse, Gesammelte Schriften, III (Frankfurt: Suhrkamp, 1958), p. 691. This volume is henceforth cited in the text.
19 "You know what I mean-I don't know the words to put it in."
Samuel Langhorne Clemens, Adventures of Huckleberry Finn, an
Annotated Teixt, Backgrounds and Sources, Essays in Criticism, eds.
Sculley Bradley, Richard Croom Beatty, and E. Hudson Long
(New York: Norton, 1961), ch. VII, p. 32. This edition is henceforth cited in the text.
20 Lionel
Trilling, writing of the river symbolism in "The Greatness
of Huckleberry Finn," assures the reader: "We are not likely to
miss in Huckleberry Finn the subtle, implicit moral meaning of the
great river," and "Against the money-god stands the river-god,
16
whose comments
are silent
..
. ," Introduction
to The Adventures
of Huckleberry Finn, Reinehart Editions, 1948, reprinted in Bradley, Beatty, and Long, pp., 317-18.
21
22
369
While all three novels represent the redemptive quality of love
between two men: a black man for a white man, a dark-skinned
savage for a white man and a lower caste Indian for a higher
caste Indian, nowhere is the general all inclusive character of this
redemption so celebrated as in Moby Dick, ch. XCIV, p. 391. In
this chapter the word "sperm" takes on a double meaning, the literal meaning of whale sperm and the erotic meaning of the sperm
of human life. In squeezing the sperm Ishmael is reborn, or in
theological terms, rebaptized with the stuff of life. Cf., Fiedler, pp.
370-71.
See Fiedler, p. 373.
23 Fiedler, p. 353.
24
25
26
27
28
Pannwitz, p. 14.
Colin Butler, "Hermann Hesse's Siddhartha: Some Critical Objections," Monatshefte, 63 (1971), 123.
Fiedler, p. 382.
Theodore Ziolkowski in writing of Siddhartha formulates it thus:
"The river, as so often in literature from Heraclitus to Thomas
Wolfe, is a symbol for timelessness" (p. 157).
I would like to acknowledge the work of my student Katherine
Shipper whose literary insights have contributed to this paper.
ER RATA
In the September issue of the German Quarterly an unfortunate error was
made in a review by Heinz Moenkemeyer on page 141, lines 10-12 from the
bottom. It should read as follows:
Im folgenden Abschnitt, betitelt "Umwandlung der Offenheit in
Notwendigkeit," iibergehen wir als wenig iiberzeugend das Uiier "Die
Verfaftheit der Person," "Person und Pers6nlichkeit," "Unbeliebigkeit
von Name und Nennung" Gesagte, weisen aber auf Sektion 3.13 ("Zusammenspiel der Verm6gen") hin, wo die Rolle der Phantasie und Einbildungskraft bei Goethe er6rtert wird, und auf die Ausfiihrungen iiber
"Das Kunstnotwendige"
(3.2), ...

Hermann Hesse`s Siddhartha, eine indische Dichtung, as a Western

Transcrição

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