Some say he's a sage. He was once a wandering shramana and, briefly, like thousands of others, he followed Gotama the Buddha, enraptured by his sermons.
This article explores the ways these two authors use analogies to dodecaphonic and baroque music in order to engage with an early German romantic ideal first expressed by Novalis, i.
There are, of course, various ways for music and language to intersect. One often begins by thinking about how music can make a text more meaningful or vice versa. Somewhat less common is the exploration of the ways that authors write about music.
This area of study can be divided into roughly three categories. In these cases, the writer may base the organization of his or her literary work on some well-known musical structure such as the sonata form, a phenomenon which musicologist Siglind Bruhn refers to as transmedialization.
Das Glasperlenspiel and Doktor Faustus are no exceptions to this general trend. To fully appreciate the significance of musical analogies in works of fiction, one must first examine the historical relationship between music and language.
Poets and philosophers have been contemplating the connection between these two fields for centuries, and a number of contemporary scholars have provided detailed accounts on the subject. Renowned musicologist Carl Dahlhaus points out in his Die Idee der absoluten Musik The Idea of Absolute Music that Plato, for example, believed that harmony, rhythm, and words are all required components of music.
Coinciding with well-known social, political, and philosophical changes such as the French Revolution and the birth of Kantian philosophy, the end of the eighteenth century also saw a shift in aesthetic theory, described most persuasively by [End Page 2] M.
Abrams in his The Mirror and the Lamp.
Moreover, he describes a new emphasis placed on the relationship between the artist and the artwork, rather than the work of art and the world. In other words, art becomes a way of organically expressing the interior, subjective nature of the artist.
In the realm of literature, this shift first led to an appraisal of music above other arts by authors themselves because music appeared best to fulfill this new requirement of expressing the inner nature or feelings of the artist.
Unlike language, music was deemed fundamentally nonrepresentational in nature and therefore not bound to empirical reality in any direct manner.
His comparisons between the two disciplines occur on a number of different levels, the first being in how their respective materials relate to each other, for example, how musical notes and words are similar.
Novalis asks his reader: Its beat—its key note—its diverse voices and speeds? Are the different types of styles not different instruments? Most important is the claim that language, just like music, can be divided into different voices. He points to the idea that notes and words relate to each other in constellations such as chords or sentences.
This attribute, rather than a direct correspondence between words and objects in the empirical world, is what gives both music and language meaning.
He argues that the procedure for creating a work of literary fiction should not differ from the one used to compose a piece of music.
But if he wants to speak about something definite, capricious language makes him say the most ridiculous and confused stuff. The key to these claims is musical improvisation.
Much as an improvising musician feels compelled or encouraged to play a certain succession of notes without giving the result much rational thought—naturally, within a specific framework such as a musical key—so too should the poet simply let the words flow from his pen when writing.
He should let only an impulse to write guide his play with words. In a frequently quoted passage, in which the reference to music follows shortly thereafter and can be included in the comparison, the author explains: These constitute a world of their own.
They play only with themselves, express nothing but their own marvelous nature, and just for this reason they are so expressive—just for this reason the strange play of relations between things is mirrored in them. As previously mentioned, it is the relationship between the signs, for example, musical notes or variables in a formula, which give music and math meaning.
In language, it is not the relationship between the signifier and signified which makes language meaningful, but the relationship between the signifiers themselves. Language represents empirical reality indirectly.
They are each autonomous, self-referential systems that reflect each other in basic structure rather than material.Under the wheel Book Summary and Study Guide. Writing Style Sex in book? - Yes What kind of sex: Demian by Hermann Hesse; Hermann Hesse Books Note: the views expressed here are only those of the reviewer(s).
2 Ways to Search! Or. Our Chief Librarian. Demian is a classic coming-of-age story that continues to inspire generations of readers in its exploration of good and evil, morality, and self-discovery.
ABOUT THE AUTHOR: Hermann Hesse (b. ) was a German-born Swiss poet and author, best known for writing the novels 'Steppenwolf', 'Siddhartha', and 'The Glass Bead Game'/5(62). con- sulted as part of the ongoing review of the methodology used in this yearâ€™s edition.
Index of Economic Freedom - Key4biz Materialien zu Hermann Hesses ' Demian' II. Die Wirkungsgeschichte in Rezensionen und AufsÃ¤tzen.
Writing, Compact Edition [with Lit21 CD-ROM]Multinational Finance, 4th EditionKisah Abu Bakar Al. Demian: The Story of Emil Sinclair's Youth is a Bildungsroman by Hermann Hesse, first published in ; a prologue was added in Demian was first published under the pseudonym "Emil Sinclair", the name of the narrator of the story, but Hesse was later revealed to be the author.
I will try not to be emotional and write an “objective” review, even though Hermann Hesse’s Demian moved me beyond words and explanations. Maybe because its serene tone and unaggressive intellectualism have a mesmerizing quality, or maybe because, just like Siddhartha some years later, it does not try to challenge or convince you.
Ralph Freedman is a professor emeritus of comparative literature at Princeton University and the author of an acclaimed biography of Hermann Hesse. He lives in Decatur, Georgia. James Franco is an Oscar-nominated actor and director. His writing has appeared in Esquire, the Wall Street Journal, and McSweeney's.
Franco lives in New York.