POETRY AND ETHOS: TOWARD AN ONTIC UNDERSTANDING1 ... And yet the spirit of a poem does not exist 'an sich', but is only re ... rection of man's life, of all inter-human and all other relationships and ... from the numerical to the ligual) refer to the later aspects by means of .... 'und/und/und' : narrative continuity. 'Denn'.
P O ETRY AND ETHO S: TOWARD AN O N T IC U N D E R S T A N D IN G 1
G u d ru n K u s c h k e D e p a rtm e n t o f G erm an, PU fo r CHE
OPSOMMING
Die a r tik e l p o n e e r 'n g e in te g re e rd e s t r u k tu r e le le s e r
poësie
n o rm a tie f
kan
g e fu n d e e rd e
fiio s o fie s e
b a sis
s u b je k tie w e
b e n a d e rin g
va n
sisteem w a a rv o lg e n s die
o n tle e d en e v a iu e e r. rig tin g g e w e n d die
le se r
Hoe we I die re lig ie u s
op t r e e ,
g e e nsin s
b e p e rk
n ie .
d it
die
A a n g e sie n
die
s k r y w e r va n m ening is d a t die k u n s p ro d u k d ie to ta le re lig ie u s e s ta n d p u n t van d ie d ig t e r w e e rg e e , w o rd d it h ie r bew ys d a t d it d u s ook m o o n tlik is om d ie g e o b je k tiv e e rd e etos in d ie g e d ig d e u r m iddel va n d ie s tr u k tu r e le m etode te ka n id e n tifis e e r en a n a lise e r.
1.
T H E A N A L Y T IC QUEST
T h is s h o rt in te r p r e ta tiv e s tu d y e n d ea vo u rs to e x p lic a te a nd illu s tr a te a n o rm a tiv e
m ethod
of
p o e tic
a n a ly s is .
By
means
of
th is
s tr u c t u r a l s ys te m , th e re a d e r has a th e o re tic a l c o n s tr u c t a nd tool a t his d is p o s a l. d ire c tiv e s
in te g ra te d e ffe c tiv e
W hile th e re a d e r is co m p le te ly fr e e to a p p ly these
s u b je c tiv e ly ,
th e o b je c tiv e ,
re lig io u s ly
fo u n d e d
p h ilo so p h ica l
basis keeps th e d a n g e r o f p u re in s p ira tio n a l a n a ly s is a t b a y .
Each a s p e c t o f c re a tio n a l r e a lity is c o n s id e re d in its own a r t is t ic
r ig h t
and th e in te r - r e la tio n o f th e p a rts c o n tin u a lly reassesses th e s ig n ific a n c e o f th e in d iv id u a l segm ents.
I t is n e v e rth e le s s th e c o h e re n t u n ity o f th e
t e x t th a t rem ains c e n tra l to th e re a d in g and u n d e rs ta n d in g o f th e
a rt
w o rk .
1
P aper
read
at
th e
X th
In te rn a tio n a l
M o n tré a l. Canada in 1984. Koers 53(2)1988
-157-
C o n g re ss
in
A e s th e tic s
at
T h is a r t is t ic wholeness is th e in te r p r e ta tiv e e x p re s s io n o f th e a u th o ria l p re se n ce in th e poem.
T he q u e s t o f th is in te g ra te d a p p ro a ch is to ana
ly s e and e va lu ate such an a e s th e tic in te rp r e ta tio n o f r e a lity .
A n d o n ly
b y u n lo c k in g th e m anifested e x p re s s io n o f th e a r t is t , can th e re a d e r t r u ly p e n e tra te in to th e
2.
h e a rtb e a t' o f th e a e s th e tic e x p e rie n c e .
A E S T H E T IC ETHOS
As a r t ,
o r any a e sth e tic e x p e rie n c e , is alw ays an in te r p r e ta tio n , a p a r
t ic u la r vie w o f r e a lity , tr a y e d
v is io n .
A
it is im p o rta n t to g a in
system
sh o u ld
th e re fo re
in s ig h t in to such a p o r be
d e vise d
by
w hich to
d e te rm in e and eva lu ate th e e x p re s s io n o f th e a r t is t s in s ig h t, his fe e lin g and
his
sense
of
b e a u ty ,
his
im a g in a tio n
and
his
s u b je c tiv ity
(R o o km a a ke r, 1975:229); in s h o rt, th e re fle c tio n o f th e s p ir it o f man and s p ir it o f th e tim es.
I t is th is s p ir it p e rm e a ting th e e x p e rie n c e , th e human e x p e rie n c e re c re ated as a e sth e tic e x p re s s io n , w h ic h ,
b e in g co n ce rn e d w ith fe e lin g s and
a ttitu d e s , also re fle c ts th e " liv e d fu lln e s s o f th e w o rld " (B ro o k s , 19 7 6:9 ).
A n d y e t th e s p ir it o f a poem does n o t e x is t 'an s ic h ', c o g n iz a b le in th e
b u t is o n ly r e
B e in g ' o f th e poem, th e a e s th e tic e x p re s s io n .
In o th e r
w o rd s , th e ethos can be d e te cte d "a u s dem was es etwa aus dem M enschen m ach t,
also aus dem G e s ta lth a fte n
1 9 5 6 :8 ).
u n d G e s ta ltg e w o rd e n e n "
(S c h n e id e r,
Dooyeweerd and S e e rve ld a g re e th a t th e e ve n tu a l a r t is t ic ac
t i v i t y o f th e a r t is t is re lig io u s ly d e te rm in e d and d ire c te d fro m th e h e a rt (V a n d e r B e rg , 1975:166).
I f a r t is t ic e x p re s s io n is ind e ed g ro u n d e d in
th e " s u p r a - s tr u c tu r a l ro o te d n e ss" ( T r o o s t, ethos
or
to w a rd s
1970:75) o f th e ' I ' ,
m an's " f a ir ly c o n s ta n t fo u n d a tio n a l a ttitu d e life ,
m ust be e n vin ce d
in
a
re c o g n iz a b le
( T r o o s t,
and
th e n th e 1970:77)
a n a lyzab le
ex
p re s s io n .
D e te ctio n
o f th e o b je c tifie d e th os m u s t,
lik e a n y s c ie n tific e x p e rim e n t,
be fo u n d e d upon la w -b o u n d a n a ly s is in o r d e r to be n o rm a tiv e . p h ilo s o p h y and S c rip tu re can p ro v id e such a b a s is . e lu c id a te th is p o in t o f d e p a rtu re b r ie f ly .
-158-
C h ris tia n
I sh a ll a tte m p t to
B o th
C h r is tia n
c e n tra tio n 1 9 7 0 :7 2 ).
in th e same ro o t.
a cts
and
n o rm -la w s . o f life ,
p lace th e
re lig io u s co n I’
T h e co n fe ssio n a l w itn e s s o f man o r poem, fin d s
d e p a r tu r e human
p h ilo s o p h y and s c r ip tu r a l t r u t h
o f human e x is te n c e in th e h e a rt o f man o r th e
th e ir
T h is 'I '
modal
is c o n c re te ly e x p re s s e d
a s p e c ts ,
th ro u g h
human
( T r o o s t,
its p o in t of th ro u g h
p o s itiv a tio n
of
T h e s e acts a lw ays have t h e ir o r ig in in th e in te g ra te d c e n tre
in th e ' I ' w h ich ca n n ot be an a lyzed e x c e p t in th e e x p re s s io n o f
th e se lfh o o d th ro u g h th e e th o s.
T ro o s t (19 5 8 :3 7 2 ) sees th e re c o g n iza b le m a n ife s ta tio n o f th e e th os in life and c u lt u r e , th e human ' I ' .
as th e e x p re s s io n o f th e in te rn a l in te n tio n , s p r in g in g fro m T h e ethos is th u s a to ta l re fle c tio n o f th e
re c tio n o f m an's lif e ,
o f all in te r-h u m a n
a lso o f h is c u lt u r a l a rte fa c ts .
re lig io u s d i
and a ll o th e r re la tio n s h ip s and
T h is im plies th a t th e ethos o f a poem can
also be d e te rm in e d th ro u g h th e re v e rs e a p p ro a c h ; fro m th e poem to th e e th o s .
3.
T H R O U G H S T Y L E TO S P IR IT
F o r S e e rv e ld th e a r t is t ic e x p re s s io n is v is ib le in th e s ty le o f th e lit e r a r y w o rk a nd s ig n ific a n tly e n o u g h , i t is th e w hole man w ith h is w h o le modal m ake u p w h o is " s u b te r ra n e a n ly " (S e e rv e ld , 1977:41) in v o lv e d .
I t is th e t o t a lit y o f th e poem, th e c o h e re n t in te g r a tio n o f th e p a rts th a t w ill be re fle c te d th ro u g h th e s ty le o f th e lit e r a r y w o r k . a s p e c t o f r e a lity has its own e x p re s s iv e im p o rta n ce and
A lth o u g h each re le v a n c e ,
i t is
o n ly th e in te r- re la te d n e s s , co h e re n ce and d im e n s io n a lity w h ic h w ill reveal th e g re a tn e s s o f th e p o e tic v is io n . s ig n ific a n c e to a poem, th is in te g r a te d t in c t io n ,
I t is th is a e s th e tic v is io n w h ic h lends
"c re d a l s ta te m e n t”
(R o o km a a ke r,
in th e t o t a lit y o f th e poem, w h ich w ill be
th e
seal
1 9 7 5:1 4 ), of
d is
u n iq u e to e v e ry poem.
O n ly be re a d in g a nd u n d e rs ta n d in g a r t in th is w ay can we s h a re in a n o th e r p e rs o n 's v ie w o f th e u n iv e rs e .
O u r q u e s t th e n
is to reve a l and
u n d e rs ta n d th e lit e r a r y te s tim o n y o f th e r e lig io u s ly d e te rm in e d T .
-15 9 -
4.
AN IN TEG R ATED M ETHO DOLOG Y2
T h e s tr u c tu r a l fra m e w o rk used in th e a n a lys is o f th e fo llo w in g poem,
is
based on th e Dooyew eerdian P h ilo s o p h y o f th e Cosmonomic Id e a, adapted f o r th e p la s tic a rts b y Rookm aaker and f o r lit e r a t u r e b y C a lv in S e e rv e ld .
T h e fifte e n aspects o r m odalities re p re s e n t th e f u ll scale o f r e a lity .
T he
o r d e r o f th e m odalities has been a d ju s te d and th e p o s itiv a tio n s have been s p e c ific a lly d e vise d w ith th e p u rp o s e o f a tte m p tin g a p ra c tic a l in te g ra te d a n a ly s is o f p o e try in p a r tic u la r .
A lit e r a r y w o rk o f a r t , q u a lifie d b y its a e s th e tic n u a n c e fu ln e s s , fo u n d a tio n a lly
e x is ts th ro u g h th e w o rd .
I t is th e lin g u a l base,
q u a lifie d and p is tic a lly opened u p , th a t u n fo ld s th e lit e r a r y
a e s th e tic a lly p o s s ib ilitie s
o f p o e tr y .
In such an in te g ra te d a p p ro a ch to a r t , can be d is tin g u is h e d :
th e fo llo w in g
le ve ls o f a n a lysis
th e c o n s titu e n t lin g u a - fo rm a tiv e a s p e c ts ,
th e a d
h e re n t a e s th e tic q u a litie s and th e p is tic q u a litie s o f an a r t w o rk .
4.1
T h e lin g u a -fo rm a tiv e basis
T h e s u rfa c e level o f a n a ly s is , fo u n d e d on th e lin g u a l a s p e c t, in c o rp o ra te s th e
fir s t
n ine
adapted
m oda litie s
(fro m th e
n u m e rica l to th e lin g u a l) .
T h is f i r s t phase o f th e f ir s t - le v e l a n a ly s is (clo s e re a d in g ) w ill b e g in w ith th e a n a ly s is o f th e num e rica l a sp e ct and p ro g re s s to w a rd s fo u n d a tio n .
th e
lin g u a l
T hese lin g u a -fo rm a tiv e a spects a re s im p ly d e fin e d fro m th e
t e x t w ith o u t in te r p r e ta tiv e d e d u c tio n s .
4 .1 .1 up
T h e in te r p r e ta tiv e level o f th e lin g u a - fo rm a tiv e a n a lys is is opened b y th e a e s th e tic q u a lify in g fu n c tio n and th u s
reassessm ent
of
re q u ire s an a e s th e tic
th e s u b -la y e r (w h ic h co m p rise s th e f i r s t 9 m o d a litie s)
and its la te n t s e c o n d a ry p o s s ib ilitie s .
1
A d ia g ra m m a tic re p re s e n ta tio n o f th e lit e r a r y th e o re tic a l a p p lic a tio n s o f D ooyew eerd's modal a n a ly s is , has been a d ded as addendum I. -160-
4 .2
U n d e r th e g u id a n c e o f th e q u a lify in g fu n c tio n o f th e a e s th e tic ,
th e
h ig h e r a s p e c ts o f an a r t w o rk a re u n fo ld e d and reve a le d in t h e ir many fa c e te d p o te n tia litie s .
T h e a r t is t ic q u a lity o f th e lit e r a r y w o rk o f a r t is
to be d e te rm in e d in d ir e c t c o rre la tio n w ith th e m an n e r in w h ic h sym bo lica l o r ig in a lit y
has
been
e x p re s s e d .
It
is
h e re
th a t
th e a llu s iv e m u lti
d im e n s io n a lity o f th e h ig h e r m odalities w ill em erge ( n a tu r a lly o n ly if th e y a re p r e s e n t ) .
4 .2 .1
T e m p o ra l r e a lity fu n c tio n s in 15 modes o f e x p re s s io n o r m o d a litie s.
W hile each a s p e c t is d is tin g u is h e d m o d a lity also m irr o rs
by
its
own
all o th e r m o d a litie s .
special
q u a litie s ,
each
T h e e a rlie r m o d a litie s
( e .g .
fro m th e n u m e ric a l to th e lig u a l) r e fe r to th e la te r asp e cts b y means o f a n a lo g ie s c a lle d a n tic ip a tio n s .
T h e h ig h e r m o d a litie s again r e fe r b a ck to
th e lo w e r ones b y means o f re tr o c ip a tio n s .
B y means o f th is
modal s tr u c tu r a l fra m e w o rk , a w o rk o f a r t is an a lysed
in its lin g u a l, a e s th e tic and p is tic t r a d it io n ,
p o s s ib ilitie s .
In th e D ooyew eerdian
a r t is fo u n d e d on a te c h n o -fo rm a tiv e b a sis w h ich c o n tro ls and
o rg a n iz e s th e " c o n n o ta tiv e s u b -la y e r " (S e e rv e ld , n d .:2 9 ) in to a te c h n ic a l fo rm .
W ith o u t th is basis o f p rim a ry s ig n ific a tio n v e r y lit t le com m unication
is p o s s ib le a nd y e t, no e x p e rie n ta l r e a lity can be f u lly c la r it y
le v e l o f th e w o rd alone.
t e n tio n is e s s e n tia l; means w o rk
an o p e n in g up o f all fa c e ts o f life ’ s e x p e rie n c e b y
o f a e s th e tic im a g in a tiv ity . of
a rt
a re
a n a lyse d on th e
I t is h e re w h e re an in te r p r e ta tiv e e x -
d is c o v e re d
T h e m u lti-v a le n c ia l p o s s ib ilitie s o f a
and
released
r e tr o c ip a tio n s o f th e a e s th e tic m o d a lity .
by
th e
a n tic ip a tio n s
a n t ic ip a t o r ily d isclo se d and th e e x p e rie n c e o f a r t is t ic q u a lity by
means o f th e
means
th a t
th e
is reve a le d
r e tr o c ip a to r y analogies o f th e a e s th e tic a s p e c t. a e s th e tic
d im ension
and
T h u s th e lin g u a l fo u n d a tio n is
re-a sse sse s
th e
p u r e ly
T h is lin g u a -
fo rm a tiv e m echanics o f a poem (th e aspects 1 -9 ) w ith a e s th e tic in t e r p r e t a tiv e in s ig h t ; th e
and th e h ig h e r m od a litie s
c o n fe s s io n a l,
a re
a n a lo g ic a lly
(1 0 -1 5 ),
n u c le a r m om ent o f th e a e s th e tic q u a lity o f r e a lity . is
an
e s s e n tia l
fo u n d a tio n ,
it
fro m th e a e s th e tic to
opened up b y means o f th e a llu s iv e
re q u ire s
A lth o u g h th e lin g u a l
sym b o lica l
o r ig in a lity
and
a llu s iv e n e s s to open up th e p o s s ib ilitie s o f e n ric h in g th e norm al c la r it y o f speech
in to an " in d ig e n o u s ly , p o lyse m ic, m e ta p h o rica l k in d o f e n t it y ”
(S e e rv e ld , n d . : 1 7 ) , of a rt.
re v e a lin g th e a r tis t ic e xc e lle n ce o f th e lit e r a r y w o rk
T h is in te r- a c tio n between th e lin g u a l fo u n d a tio n and th e a e s th e tic -161-
's u p e r s tr u c tu r e ' w h ich opens up and deepens th e a e s th e tic e xp e rie n ce , ta k e s place u n d e r th e lea d in g fu n c tio n o f th e a sp e ct o f b e lie f.
4 .3
T h e co n fe ssio n a l stance o f th e a r tis t w ill become e v id e n t in th e e x
p re ss io n o f th e ethos o f th e a r t is tic m a n ife s ta tio n . p a r tic u la r d r iv in g
T h is means th a t
a
re lig io u s sta n d w ill re ce ive d ire c tio n and become th e re lig io u s
fo rc e o f an e th o s , a w o r ld - a n d - life v ie w ,
w h ich
perm eates all human a c tiv itie s and a ttitu d e s c o n c re te ly .
in flu e n c e s and T h is is th e c ru x
o f th is lite r a r y a n a ly s is .
B y means o f th e le a d in g fu n c tio n o f th e co n fe ss io n a l asp e ct in th e whole u n fo ld in g
p ro ce ss o f a n a ly s is , th e v a rio u s p a rts
and t h e ir
a p p ro p ria te
balance w ill be u n lo ck e d and e va lu a te d .
B y means o f th e se v a rio u s segm ents, m an's d e e p e st c o n v ic tio n s may be im p lic itly o r e x p lic itly d is c o v e re d and in te r p r e te d .
T h is
th e n
is
th e
moment w hen th e message o f th e a e s th e tic m eaning a tta in s its u n iq u e n e s s; th e
moment
w hen
th e
a r t is t 's
o n tic
e x p re s s io n
fin d s
an
echo in th e
re a d e r's o n tic u n d e rs ta n d in g .
5.
S T R U C T U R A L A N A LY S IS
One poem and o n ly th re e o f th e fifte e n asp e cts w ill be a n a lyse d a cc o rd in g to th e
in te g ra te d
m e th o d o lo gy
m od a litie s th a n th o s e s e le cte d ,
e x p lic a te d .
The
choice
of
any
o th e r
nam ely th e p h y s ic a l, b io tic and a e sth e tic
m o d a litie s (th e f o u r t h , f i f t h and te n th a s p e c ts ), w o u ld have been e q u a lly c o n v in c in g as each m o d a lity has its own p o s itiv a tio n in lite r a tu r e and th u s w o u ld s im p ly have u n lo cke d a d iffe r e n t dim e n sio n co n fe ss io n a l
w itn e s s
of
th e
poem.
T he
p e rv a d in g th e poem as a w h o le w o u ld nonetheless
h ave been re v e a le d .
T h e se le ctio n o f tw o c o n s e c u tiv e m oda litie s fro m th e lin g u a -fo rm a tiv e b a s is ,
w h ic h
co m p rise
th e
fir s t
n in e
m o d a litie s ,
in te n d s
to
reveal
a n tic ip a to r y and r e tr o c ip a to r y p o s s ib ilitie s betw een m o d a litie s . th e tic m o d a lity was s p e c ific a lly ch o se n, is an in te r p r e ta tiv e one.
th e
T h e aes
as th e second level o f
a n a lysis
U n d e r th e g u id a n ce o f th e q u a lify in g
fu n c tio n
-162-
of
th e
a e s th e tic ,
th e h ig h e r aspects o f an a r t w o rk a re u n fo ld e d and
re ve a le d in t h e ir m any fa c e tte d p o te n tia litie s .
The
poem
'K r e u z ig u n g ' b y
R a in e r M aria R ilk e 3 is n o t p u r e ly fic titio u s
b u t re lie s on an h is to ric a l r e a lity re co rd e d in th e G o sp els. makes o f th e e v e n t and how it
is
e x p re s s e d ,
is
th e
W hat th e poet
co n c e rn
of
th is
a n a ly s is .
5.1
T h e p h y s ic a l a sp e ct
T h e lit e r a r y
p o s itiv a tio n s o f th is m o d a lity a re :
sound,
rh y m e , te n sio n
and a e s th e tic b a la nce .
5 .1 .1
P o e try is c h a ra c te r is tic a lly co n ce rn e d w ith
s tr u c t u r e o f rh y m e .
so u n d and th e v e rb a l
B oth a re o rig in a l (g iv e n s ) o f la n g u a g e and in tim a te ly
s h a re in th e w h o le e x p e rie n c e o f th e poem.
On th e s u rfa c e le ve l o f th e f i r s t level re a d in g , w h ic h does n o t y e t a tte m p t a n y in te r p r e ta t io n ,
a pred o m ina n ce o f th e h e a v ie r,
vo w e ls is to be d e te c te d . d is tin g u is h e d :
T h re e co n so na n ta l
long a,
so u n d
a,
p a tte r n s
ii and o can
th e f r ic a t iv e 'L ’ , g u ttu r a l 'G' a nd th e s ib ila n t 's c h '.
be
They
do n o t o n ly r e fle c t a e u p ho n io u s v e rs e b u t, a n tic ip a to r ily a dd to th e fo rc e o f e x p re s s io n o f th e fo llo w in g a sp e ct, th e b io tic , a n d th u s so u n d is fu se d to th e o th e r d im e n sio n s o f e x p re s s io n . re la tio n o f th e f i r s t ,
sta n za has a s ig n ific a n t f i f t h
5 .1 .2
T h e rh y m e scheme shows a c o r
la st and second and t h i r d
s ta n z a s .
The
fo u r th
lin e ad d ed .
T h e in t e r p r e ta t iv e level o f th e s u rfa c e re a d in g .
O f th e t h r e e so u n d p a tte r n s , th e s tr o n g ly fle c ts a n a r r a tiv e c o n tin u ity
re p re s e n te d f r ic a t iv e 'L ’ r e
(u n d e rlin e d b y th e
r e p e titiv e
use o f 'u n d '
a t th e b e g in n in g o f 5 v e rs e s ):
3
T h e p o e tic te x t ’ K re u z ig u n g ' b y R .M .
R ilk e
(w h ic h
is a n a lyze d and
d is c u s s e d in th is p a p e r) and a fr e e tr a n s la tio n in E n g lis h , have been in c lu d e d
as
addenda
2 a n d 3.
-163-
’ k a h le n
G a lg e n p la tz e /
G e s in d e l/lie s s e n /A lle
v o lle r
L u s t/h ie lte n ,
v e rfa ll/E s s ig a lle ' and also co n ve ys a c e rta in sense o f b e w ild e re d u n re a lity ( 'ir g e n d ein G e s in d e l/u n d es w a r ihm s e lb e r, e r h a tte ih n den Elia ru fe n h o re n /s ie
h o ffte n
noch ein ganzes Spiel u nd v ie lle ic h t
E lia ’ ) , an atm osphere o f in s e n s ib ility
den
kommenden
in th e m onotony o f th e
re p e titiv e
la b ia ls , w h ich su g g e s t a p o s itiv e s u rr e n d e r to c irc u m s ta n c e , a p a w n -lik e q u a lity .
Even th e d ic tio n h in ts a t a c e rta in a u to m a tic ity o f a ctio n:
L a n g s t g e iib t .
ein G esindel h in z u d ra n g e n
liessen sich . . .
hangen
dann u nd wann
. . . ke h re n d
liessen sich . . .
s c h le n k e rn sagte
B is d e r eine . .
In c o n tra s t to th e lu llin g
c o n tin u ity
g u t t u r a l 'G ' and th e re la te d s tr e s s .
of
th e
'n g ' so u n d ,
la b ial
sounds,
th e
h a rsh
in tro d u c e a te n s ile element
T h e d e c e p tiv e calm o f th e v is u a l and a u d ito r y
of
sce n a rio s triv e s
to p o r tr a y th e enactm ent o f ju s t a n o th e r sp e cta c le , d is ta n c ia te d as a p lay on a s ta g e .
The
p o la riz e d
in te rp la y
betw een
th e
so o th in g
'L ' and th e g ra tin g
so u n ds seems lik e an onom atopoeic u n d e r c u r r e n t,
s tr a in in g
'G'
u n c e rta in ly
to and f r o ; v e r y much lik e th e o n lo o k e r's eye (d is c u s s e d u n d e r th e b io tic a s p e c t) s u rv e y in g th e scene.
T h is te n s ile q u a lity o f b re a th le s s e x p e c ta tio n and fa ta lis tic u n b e lie f, p a r t ic u la r ly no ticea b le in th e second h a lf o f th e poem.
is
T h e m on o sylla b ic
q u e s tio n 'W e lch e r? ', d ra w s th e a tte n tio n to th e s in g le main fig u r e and th e e x p e c ta tio n o f a s p e c ta c u la r m ira cle (lin e s 12 & 1 3 ). h old t h e ir b re a th b u t th e o n lo o k e r-s p e a k e r, d ra w n
in to
th is
who
T h e c ro w d lite r a lly seems
to
have
been
s u s p e n s e -fille d m om ent, a b r u p tly a p p ea rs to a lte r th e
t r e n d o f n a rra tio n and r e p o rts :
'A lle h ie lte n (de n A tem : my a d d itio n ) g ie r ig ihm die E ssig g a lle (das e r n ic h t v e r fa lle ) '
-16 4 -
In lin e 18, e x p e c ta tio n S p ie l',
w h ic h
s till
ru n s
h ig h
in 'sie h o ffte n
noch
ein
ganzes
is th e n f in a lly fo rc e d to a c o n c lu s iv e co lla p se o f all hope
b y th e use o f th e p a st te n se w o rd ’v e r f ie l'.
T h is v a c illa tio n betw een th e
u n sp o ke n q u e s tio n 'W ill He o r w o n 't H e?', is a p e rs o n a l a u th o ria l s tr u g g le re fle c te d th r o u g h o u t th e poem.
T h e p re s e n c e o f G od, c u m u la tiv e
use o f th e ’G’ so u n d .
Jesus' c ry : (M a rk
n e v e r e x p lic itly
"M ein G o tt,
mein
m e n tio n e d ,
is im p lie d
S c r ip t u r a lly th is
G o tt,
w a rum
hast
in th e ac
also co in cid e s w ith
du
m ich
1 5:34) and th e p o e tic re p re s e n ta tio n in 'd ie h ie lte n
v e rla s s e n ? "
. . . g ie rig ihm
d ie E s s ig g a lle '.
T h e s ig n ific a n c e o f th e in s e rte d f i f t h
lin e in th e fo u r th s ta n z a :
h ie lte n , dass e r n ic h t v e r fa lle ', w h ich rhym es w ith
u nd sie
E s s ig g a lle ' in th e n e x t
lin e , is c o n c lu d e d in th e f in a lit y o f th e p a s t te n se 'v e r f i e l', th e la s t w o rd o f th e poem.
T he se rh y m in g w o rd s a lre a d y in d ic a te an im p o rta n t d is
c lo s u re c o n c e rn in g th e se n tim e n ts o f th e cro w d a nd o f th e im p lie d a u th o r ( th e hope o f s u rv iv a l and th e c o n c re te c o lla p s e ). g ra te s w ith th e de a th o f C h r is t, d itio n a l
lin e
sums
up
E v e r y th in g
th e unnam ed c e n tra l f ig u r e .
d is in te The ad
th e d e s p e ra te e f f o r t and hope o f th e masses to
p re v e n t C h r is t fro m re a lly d y in g lik e a n y o th e r p e rs o n ;
a nd th e c o n d i
tio n a l v e rb 'v e r fa lle ' (w h ic h c o n v in c in g ly em phasized th is h o p e fu l e x p e c t a t io n ) ,
5 .2
in d ic a te s m ore th a n th e m ere d y in g o f th e b o d y .
T h e b io tic a s p e ct
H ere a lit e r a r y th e o re tic a l p o s itiv a tio n o f th is m o d a lity in c lu d e s :
in te n
s it y , c lim a x in g d e v e lo p m e n t, fo rc e o f e x p re s s io n a nd v it a l it y .
5 .2 .1
T h e s u rfa c e level o f a n a lysis
I f a w o rk o f a r t has
v i t a li t y ,
possess a e s th e tic in te n s ity .
W o lte rs to r ff
(19 7 8 :3 1 4 )
c o n s id e rs
it
to
In th is poem th e n a r r a tiv e q u a lit y a tta in s a
d e ve lo p m e n ta l v it a lit y in its s tre s s e d in itia l rh y m e .
T h e in te rre la te d n e s s
o f th e v a rio u s m o d a litie s , w h ic h a re c o n tin u a lly re v e a le d b y means o f th e in te g ra te d m ethod o f a n a ly s is , is e v id e n t in th e r e tr o c ip a to r y c o rre la tio n o f p ro g re s s iv e v it a l it y and th e v a c illa tin g so u n d q u a lity o f th e p re v io u s p h y s ic a l a s p e c t. -165-
T h e s tre s se d in itia l
rhym e emphasizes th e asp e cts o f tim e and place in
th e poem:
'L a n g s t'
tim e
'd a n n und w ann' 'A b e r oben' 'B is '
:
:
im p ly in g e x te n tio n in tim e and space
'u n d / u n d / u n d ' 'D e n n ’
:
F or
:
all
n a rra tiv e c o n tin u ity
c o n ju n c tiv e dependence on tim e and s itu a tio n
'A b e r h in te n ' 'u n d '
time
place
place
c o n tin u ity in time
its
s u rfa c e
a ir
of
dise n ga g e m en t and u n c o n c e rn , th e poem is
s tre tc h e d t ig h t w ith in n e r s tr u g g le ; all th e m ore in te n s e f o r th e d e sp era te a tte m p t
at
th e re o f
are
vance.
d is in te re s te d n e s s .
M an's
e x p e rie n c e
and
th e
e x p re s sio n
placed in to a sp a tia l dim ension and a p a r tic u la r tim e re le
T h e tim e d is ta n ce o f
th e
b e g in n in g ,
e x p e rie n c e d
as
if
from
m em ory, as w ell as th e sp a tia l d is ta n c e o f th e c o n c lu s io n , sim u lta n e o u sly e x p re s s a p s y c h ic d ista n ce fro m th e e v e n t.
Tim e seems to have lo st its
re le va n ce because th is h a p pe n in g to o k p lace 'h in te n fe r n e ',
b e yo nd any
c o n c e rn f o r tim e .
C lim a c tic movem ent
T h e e v e n t o f th e c r u c ifix io n
is n a rra te d fro m th e v a n ta g e p o in t o f th e
o n lo o k e r and h is p a rtic u la r co n fessio n a l s ta n c e ;
th u s fro m th e o n lo o k e r
to th e e v e n t.
On
th e s u rfa c e th e re are no o b v io u s c lim a xe s.
a ctio n th e re seems to be o n ly d is in te re s te d T h e c r y o f M a ry crea te s a fa in t f lic k e r in g
o b s e rv a tio n .
o f in te r e s t, ju s t to collapse
in to th e ash th a t th e fin a l 'v e r f ie l' sym b o lize s.
-16 6 -
In w o rd , th o u g h t and
n a rra tio n and
5 .2 .2
I n te r p r e ta tiv e level
T he n a rra tio n is one o f c lim a ctic sweeps o f th e eye fro m th e o n lo o k e r to th e e v e n t w h ic h is a t th e place o f th e s k u ll.
FIGURE
I
In lin e s 1-4 th e movem ent is fro m th e o n lo o k e r to th e sce n ic b a c k g ro u n d o f th e p o e tic ( p la y ) ; w ith in
lin e 5 b rin g s th e eye to c o n c e n tra te on one asp e ct
th e mass scene.
W hile sta n za tw o d ire c ts
th e re a d e r's v is io n to
th e h a p p e n in g in th e d is ta n c e once m ore ( " A b e r o b e n " ) , th e t h ir d stanza t u r n s th e v is u a l fo cu s fro m th e g e n e ra liz a tio n o f th e mass im p re ssio n to a d e ta ile d c e n tu rio n
c lo s e -u p
betw een
and a s o ld ie r ) .
tw o
The v e rb
w h ile th e b ra c k e te d d e s c rip tio n la rg e m e n t.
in d iv id u a ls (s a g te )
(a
d ia lo g u e
p o r tr a y s
b etw een th e
close
p ro x im ity
( fle c k ig wie ein S e lc h e r) is a v is u a l e n
T h e d e m o n s tra tiv e p ro n o u n
"d ie s e r h a t g e s c h rie n " co n ve ys
th e im p re s s io n o f s p a tia l n e a rn e ss.
T u r n in g
to th e f i f t h
stanza and th e c ru c ia l fin a l a c t,
s p a tia l d is ta n c e has again been c re a te d in a n a lo g y
is
one n o tice s th a t
( h in te n f e r n e ) .
and th e in te n s ity t e s t th a t th e
( in h e r e n t in th e b io tic a s p e c t) o f th e s u s p e n s e -fille d
im plie d a u th o r p u ts to C h r is t.
N e ith e r th e o n lo o k e r
th e a v id c ro w d e n vin ce s a n y real b e lie f in th e m ira c u lo u s th e d y in g
th ir d
h e ld w ith
o f t h e ir ho p es.
nor
re s to ra tio n o f
man on th e ( c r o s s ) ; and y e t th e y hope a g a in s t hope to
be p ro v e d w ro n g (lin e d 15 and 1 8 ). ta tio n
In tra -m o d e l
re ve a le d betw een th e te n s ile elem ent o f th e p h y s ic a l asp e ct
b a te d b re a th ,
T h e t e n s ile - in te n s ity o f an e x p e c
reaches a sh o cke d clim ax in th e co lla pse
T h e m ira cle does n o t ta k e p lace and God does n o t p ro v e -167-
h im se lf to be G od;
in s te a d , M ary c rie s o u t in th e d is ta n c e and th e man
how ls and d is in te g ra te s ;
A b e r h in te n fe m e s c h rie M aria und e r se lb e r b r u llt e und v e rfie l
It is re v e la to ry th a t th e flu c tu a tin g d is ta n c e o f tim e and place is f u r th e r e x te n d e d
in
th e p s y c h ic asp e ct o f th e poem.
A lth o u g h fe e lin g is th e
ir re d u c ib le c h a ra c te r is tic of th e p s y c h ic m o d a lity , th is poem is s tra n g e ly in s e n s itiv e
(na ch
s c h le n k e rn ;
Langst
dem
F e rtig s e in /lie s s e n
g e iib t
...
sich
die
th e re fo re
M anner
irg e n d ein G e sindel h in z u d ra g e n )
c onscious d is ta n c ia tio n from p e rso n a l e ngagem ent. is
fre ie n
one o f c a lcu la te d n o n -in v o lv e m e n t.
in its
T h e em otive q u a lity T h e n a rr a to r rem ains
s tra n g e ly aloof and seems to lack fe e lin g o r im a g in a tio n to e x p e rie n c e th e event
s e n s itiv e ly .
S patial
and
tim e
d is ta n c e
a re
th u s
a n tic ip a to r ily
com pletem ented b y p s y c h ic d is ta n c e .
5 .3
T h e a e s th e tic asp e ct
A llu s iv e n e s s ,
n u a n c e fu ln e ss and sym bolical o r g in a lit y are p o s tiv a tio n s o f
th e a e s th e tic dim ension in lite r a tu r e . d ic tio n
fa lls in to tw o p o la ritie s ;
U n d e r th e t it le
( C r u c if ix io n ) ,
th e
a ckn o w le d g e d e a rth ly pow er (o f Rome)
and u n re c o g n iz e d h e a v e n ly p o w e r (in C h r is t) .
E n v e lo p in g b o th , is h is
t o r ic tim e and pla ce , and th e human elem ent.
L ine I w ith
its naked place o f th e s k u ll, se ts th e scene.
th e s k u ll is d e riv e d fro m th e A ram aic te rm 'G o lg o th a '.
T h e place of
In L a tin "C a lv a ria "
also s ig n ifie s s k u ll, and is re la te d to " c a lv u s " , m eaning b a ld .
In German
i t c o in c id e s w ith " k a h l" hence "C a lv a " is scalp w ith o u t h a ir (H e n d rik s e n , 1973:425).
T h e w o r d - g r o u p 'k a h le n G a lg e n p la tze ’ is th u s a tw o fo ld e x p re s s io n o f th e same idea, e m p h a sizin g th e d e n u d e d b a rre n n e s s o f th e h ill and im p ly in g at th e same tim e th e tr a n s ito r in e s s o f life . sym bo lize s in d e s tr u c t ib ilit y and th a t C h ris tia n
w h ich
On th e o th e r h a n d , 's k u ll' s u rv iv e s
d e a th .
For
th e
b e lie v e r G olgotha is synonym ous w ith life b u t th e s c e p tic ’ s in
t e r p r e ta tio n is p ro b a b ly d ia m e tric a lly o p p o s ite , tw ic e a s c rib in g em ptiness and n o th in g n e s s to th is p a r tic u la r h ill. -168-
In th is poem th e p a s t te n se v e rb ( v e r f ie l) does n o t e x p re s s th e idea o f v o lu n ta r y s a c rific e , b u t is s p e c ific a lly se le cted to p o r tr a y v is ib le d e clin e and c o lla p s e ,
lik e b u r n t ashes d is in te g r a tin g o r a house o f c a rd s fa llin g
a p a rt.
is s ig n ific a n t,
T h is
'v e rs c h ie d ' w h ic h
as th e s c r ip tu r a l
r e p o r ts all use th e
means th a t He gave up His S p ir it .
T h is
w o rd
in d ic a te s
a
sym bol o f th e cro ss
is
v o lu n ta r y la y in g dow n o f His L ife w h ic h no one to o k aw ay.
A lth o u g h th e poem is e n title d n e v e r m e n tio n e d ;
p lie s e x e c u tio n b y h a n g in g . th e s a c rific e o f c r u c ifix io n w h o le e v e n t,
'C r u c ifix io n ',
th e
o n ly 'das s c h le c h te H e n k e rn ', w h ich s e m a n tic a lly im T he cro ss w h ic h is a sym bol o f life th ro u g h and w h ich
is th u s th e c o n c re te c r u x o f th e
is n o t o n ly co m p le te ly o m itte d b u t also r e in te r p r e te d
(h e re
th e c ro s s e n ded in d e a th ).
As th e a e s th e tic a sp e ct is co n ce rn e d w ith (S e e rv e ld ,
1977:106)
s u g g e s tio n - ric h
a llu s iv e n e s s
i t is as n a tu ra l as it is e ss e n tia l th a t th e a u th o ria l
c o n fe ss io n a l s ta n d w ill
h e re
be
reve a le d
m ore
c o n v in c in g ly
and
more
c le a rly th a n p e rh a p s in o th e r a sp e c ts.
5 .4
T h e a ll- p e r v a d in g e th os
In c o n c lu s io n one fin a l exam ple m ust be m en tio n e d to illu s tr a t e th is p e r m e a tin g e th o s , 'A b e r h in te n fe rn e s c h rie M a ria '.
H e re , th e c o n ju n c tiv e
( A b e r ) is an e x p re s s io n o f th e d is illu s io n m e n t fo llo w in g on th e e x p e c ta tio n s h o r t ly b e fo re 'D e n n sie h o ffte n noch ein ganzes S p ie l', h o p in g f o r a game and e n te rta in m e n t o r f o r c o n c re te p ro o f th a t th is man is G od. s te a d ,
When in
( e r s e lb e r b r u llt e u n d v e r fie l) in a m u ffle d b u t v io le n t a n im a l-lik e
c r y w h ic h e q u a te d Him w ith m an, and th e n c o lla p s e d , He lo s t His v a lid it y and is d isp o se d o f in th e m inds o f th e s p e a k e r a nd m ost o f th e c ro w d . T h is co lla p se is n o t o n ly th e decay o f th e p h y s ic a l b o d y b u t ,
m ore s ig
n if ic a n t ly , a d is in te g r a tio n o f th e c ro w d 's p o s s ib le b e lie f in Him and above a ll,
a fin a l n e g a tio n on th e p a r t o f th e im p lie d a u th o r 's o p in io n o f th e
n o n -e x is te n c e o f C h r is t, a n o n -a ckn o w le d g e m e n t o f th e m e d ia to r, C h r is t.
In th is poem th e re is a b ib lic a l them e, o fte n c u ra te h is to ric a l n a rra tio n t r a liz in g
and y e t,
b ib lic a l d ic tio n ,
f a ir ly
th e s p i r it is one o f u n b e lie f,
th is c r u x o f C h r is tia n ity to
n o t h in g . -169-
ju s t
a n o th e r
in c id e n t,
a c neu
s ig n ify in g
T h u s , if p o e tic com m unication w ishes to be more th a n an im personal a r tis t sp e a k in g to an e q u a lly faceless re a d e r;
if com m unication d e sire s to b e
come w h a t M a rtin B u b e r (1958:57) calls ’e n c o u n te r’ , in w h ich th e one is s e n s itiz e d
and
c o rre la tiv e
to th e o n tic -le v e l o f fe e lin g s ,
needs o f th e o th e r , th e n th e s p ir it o f th e a r t w o r k ,
a ttitu d e s and
th e 'I '
re fle c te d
th e e th o s , becomes th e life - g iv in g p u lse o f such an e n c o u n te r.
-170-
in
ADDENDUM 1
E T HO S
Confessional disclosure, authorial presence
15. Pistic : Belief 14. Ethical : T ro th
Sublimity, genuineness
13. Jural : Right
Relevance, appropriateness
12. Economic T h rift
Density, iterative element Social relationships, communication range
11. 10.
Allusiveness, symbolical originality
Social : Relation ships A esth e tic : Sugges tion
9.
Lingual : Clarity
8.
H istorical : Form a tive power
Aesthetic thought, emblematic possibilities
7
Analytic : Distinc tion
Emotive effect, 'Stimmung' SiSSS:;:
6.
Psychic : Sensitivity
Intensity, climaxing development, vitality
5
B iotic : L ife
Clarity of meaning Technical control
^
•:
Sound, rhyme, tension, aesthetic balance Metre, rhythm, movement
4 . Physical : Energy 3.
Kinem atic : Motion
2.
Spatial : Form
I.
Numerical : D iscre te ness
Composition Scale
A.
LITERARY THEORETICAL MODEL OF THE DOOYEWEERDIAN MODALITIES
-17 1 -
ADDEMDUM 2
KREUZIGUNG
L a n g st g e iib t, zum kahlen G a lg e n p la tze irg e n d ein G esindel h in z u d ra g e n , lieSen sich die schw eren K n e ch te h a n g e n , dann und wann n u r eine groB e F ra tz e
ke h re n d nach den abgetanen D re in . A b e r oben w a r das sch le ch te H e n ke rn rasch g e ta n ; und nach dem F e rtig s e in lieQen sich d ie fre ie n M anner s c h le n k e rn .
Bis d e r eine ( fle c k ig wie ein S e lch e r) sa g te :
H auptm ann, d ie s e r hat g e s c h rie n .
U nd d e r Hauptm ann sah vom P fe rd e : W elcher? und es w a r ihm s e lb s t, e r h a tte ih n
den Elia ru fe n h ó re n .
A lle
w aren zuzuschauen v o lle r L u s t, u nd sie h ie lte n , daB e r n ic h t v e rfa lle , g ie rig ihm die ganze E ssiggalle an sein schw in d en d e s G e h u st.
Denn sie h o ffte n noch ein ganzes Spiel u n d v ie lle ic h t den kommenden E lia . A b e r h in te n fe rn e s c h rie M aria, u nd e r se lb e r b r u llte u nd v e r fie l.
-17 2 -
ADDENDUM 3
C R U C IF IX IO N
L ong since p ra c tic e d to fo rc e a n y k in d o f ra b b le to th e place o f th e ga llow s th e h e a v y s e rv a n ts le t them selves be han ge d now and th e n o n ly a grim ace
d ire c te d to th e d is p o s e d -o f th re e . B u t a b o ve, th e p o o r e xe cu tio n was q u ic k ly d o n e; and a fte r th e c o n c lu sio n th e fr e e men sham bled a ro u n d s w in g in g t h e ir arm s
U n til th e one (s p o tte d lik e a b u tc h e r) s a id :
C a p ta in , th is one sho u te d
and th e c e n tu r io n , lo o k in g from his h o rs e : and i t seemed to him th a t even he
had h e a rd E lija h c a llin g . E v e ry b o d y was w a tc h in g w ith p u re p le a s u re an d g re e d ily held th e v in e g a r th a t he m ig h t n o t collapse to h is d w in d lin g cough
Because th e y s till hoped f o r a f u ll show a n d p e rh a p s th e com ing E lija h . B u t b e h in d , f a r o f f , M a ry scream ed a n d he h im se lf how led and co lla pse d .
-1 7 3 -
W hich one?
B IB L IO G R A P H Y
BRO O KS, Y o rk
:
C.
& WARREN,
R .P .
1976.
U n d e rs ta n d in g p o e try .
New
H o lt, R in e h a rt & W inston.
B U B E R , M.
1958.
I-T h o u .
H E N D R IK S E N , W. ta ry .
1973.
E d in b u rg h
R IL K E ,
R .M .
New Y o rk : S c r ib n e r.
T h e Gospel o f J o h n ,
New T esta m e nt commen
: T he B a n n e r o f T r u t h T r u s t .
1955.
Sam tliche W erke Band 1, F r a n k fu rt/M a in
:
In s e l-
V e r la g .
R O O KM AAKER ,
H.
1975.
M odern a r t a nd th e d e a th o f
a c u ltu re .
London : I n te r v a r s ity Press.
SC H N E ID E R , Z u r ic h
R.
1956.
D er B ild u n g s a u ftra g des c h ris tlic h e n D ic h te rs .
: A rc h e .
SEER V ELD ,
C.
1977.
A
C h ris tia n
c r itiq u e
of
a rt
and
lite r a tu r e .
H am ilton O n ta rio : G u a rd ia n P ress.
SEER V ELD , C.
TRO OST, A.
n .d .
1958.
te r r e in v e r k e n n in g .
TRO OST,
A.
A Modal A e s th e tic s .
T o ro n to : ICS.
CasuTstiek en S itu a s ie -e th ie k .
Een m ethodologische
U tre c h t : D r u k k e r ij L ib e rta s .
1970.
Deel
1.
S y s te m a tie k .
Am sterdam
V r ije
U n iv e r s ite it.
VAN
DEN BERG , D .J .
1975.
"E n k e le v e r s k ilp u n te in die
E s te tik a " , T y d s k r if v i r C h r is te lik e W e te n ska p ,
W O LTE R STO R FF, N.
1980.
W ork and w o rld s o f a r t .
P re s s .
-174-
C h r is te lik e
II.
O x fo rd : C la rad o n
