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Ausprägungen Der Kunstprosa in George Orwells Essays, Prinzipielle

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Ausprägungen Der Kunstprosa in George Orwells Essays, Prinzipielle Ausprägungen der Kunstprosa in George Orwells Essays, prinzipielle Anwendbarkeit des Begriffs Essay und rhetorische Analyse der essayistischen Elemente in seinen Tagebüchern und seinem Journalismus Dissertation zur Erlangung der Würde eines Doktors der Philosophie vorgelegt der Neuphilologischen Fakultät der Ruprecht-Karls-Universität Heidelberg von Richard Nikoliü Betreuer: Prof. Dr. Peter Paul Schnierer Heidelberg, im April 2008 1 I N H A L T Seite I. EINFÜHRUNG 3 II. DEFINITION UND PRINZIPIELLE ANWENDBARKEIT DES GATTUNGSBEGRIFFS „ESSAY“ 2.1 Orwells Essayistik im Kontext von Montaigne und Bacon __ 11 2.2 Approximation, Assoziation, Bildung, Subjektivität ______ 18 2.3 Disparität der Themen ___________________________________ 33 2.4 Orwells Argumentation gegen die Literaturform Roman _____ 51 III. GESELLSCHAFTSKRITIK IN REISEBERICHT UND TAGEBUCH 3.1 Tagebuchartiger Erlebnis- und Stationenbericht: „Hop-Picking“ ____________________________________________ 59 3.2 Erinnerungsjournal als Romanvorläufer: „The Road to Wigan Pier Diary” ___________________________ 67 3.3 Literarische Mitteilungsform in Grenzsituationen: „War-time Diaries“ _______________________________________ 80 IV. SERIENPROSA IM KONTEXT JOURNALISTISCHER QUALITÄTEN: „AS I PLEASE“ 91 4.1 Journalistische Charakteristika _________________________ 93 4.1.1 Neugier ________________________________________________ 93 4.1.2 Urteilsbereitschaft ____________________________________ 98 4.2 Journalistischer Schreibstil ____________________________ 103 4.2.1 Apodiktische Entschiedenheit vs. Skeptizismus des Urteils ________________________________________________ 103 4.2.2 Produktion von Neuem vs. Reproduktion von Überliefertem 107 4.2.3 Übergang in erzählende Prosaformen _____________________ 119 4.2.4 Journalismus als literarischer Pragmatismus ____________ 124 1 2 V. ESSAYISTIK ALS SPIEGEL DER PERSONEN- UND ZEITGESCHICHTE 5.1 Der Essay als Medium der autobiographischen Reflexion ___ 131 5.2 Der Essay als literarisches und auktoriales Sekundärphänomen ________________________________________ 143 5.3 Der Essay im Kontext politisch-sozialen Engagements _____ 164 5.4 Der Essay als Medium zur Betrachtung von Sprache und Politik _________________________________________________ 188 5.5 Der Essay als literarpolitische Großform: „The English People“ ____________________________________ 193 VI. AFFINITÄT MIT ANDEREN PROSAFORMEN: DRAMA, ERZÄHLUNG, KURZGESCHICHTE, ERLEBNISBERICHT 6.1 Dramatisierung des Dialogs in „Clink“ ___________________ 203 6.2 Erzählprosa in der Kurzgeschichte _______________________ 208 6.2.1 „A Hanging“ ____________________________________________ 208 6.2.2 „Shooting an Elephant” _________________________________ 217 6.3 Erzählprosa im Erlebnisbericht __________________________ 224 6.3.1 „The Spike“ ____________________________________________ 224 6.3.2 „Marrakech“ ____________________________________________ 233 6.3.3 „How the Poor Die“ _____________________________________ 239 6.3.4 „Such, such were the Joys” _____________________________ 247 VII. INDIVIDUALSTILISTISCHE DARSTELLUNGSMITTEL 7.1 Manierismus des Ausdrucks _______________________________ 260 7.1.2 Enumeratio _____________________________________________ 260 7.2. Regelmäßigkeit pauschaler Werturteile ___________________ 272 7.2.1 „As always”, „As usual”, „Of course” ___________________ 272 VIII. SCHLUSSBEMERKUNG __________________________________ 278 BIBLIOGRAPHIE ___________________________________________ 283 2 3 I. EINFÜHRUNG Den Wunsch nach schriftstellerischer Betätigung hegt Eric Arthur Blair (1903–1950) bereits im frühen Kindesalter. Und von diesem Anspruch berichtet er retrospektiv 1946 in „Why I Write“ unter dem Pseudonym George Orwell.1 Der Essay steht am Anfang des von Sonia Brownell Orwell und Ian Angus heraus- gegebenen Kompendiums seiner nicht-fiktionalen Prosa. Umfang und Inhalt von The Collected Essays, Journalism and Letters of George Orwell2 sind gleichermaßen bezeichnend für Art und Umfang der Schaffenskraft des Literaten auch innerhalb der Gattungen der nicht-fiktionalen Prosa. Biograph Bernard Crick erinnert sich: „[…] this was a writing life, a life lived in thrall to the ideal of producing clear, honest, telling sentences.”3 Mehr als fünfhundert Essays, Tagebücher, Zeitschriftenartikel (As I Please), Briefe und Buchrezensionen (Reviews) sind in diesem vierbändigen Werk zusammengetragen. Es ist die Synthese aus dreißig Jahren non-ficton writing eines Autors, dessen literarische Arbeit generell von der Furcht geprägt war, einmal nicht produktiv zu sein; in einem Brief an Geoffrey Gorer bekennt er: „[…] at present I am very anxious to slow off & not hurry on with my next book, as I have now __________________ 1 In einem auf den 19. November 1932 datierten Brief an Leonard Moore schlägt E. A. Blair die vier Namen P.S. Burton, Kenneth Miles, George Orwell und H. Lewis Allways als mögliche Pseudonyme vor. Letztlich entscheidet er sich für George Orwell als Nom de plume, unterzeichnet aber erstmals ein Vierteljahr später ein Schreiben an den Herausgeber der Times noch wenig selbstbewusst mit dem in Anführungszeichen gesetzten Namen „George Orwell“. 2 The Collected Essays, Journalism and Letters of George Orwell, hrsg. von Sonia Brownell Orwell und Ian Angus, Vol. I – IV, Penguin Books, Harmondsworth, Middlesex, England, 1970. Nach dieser Ausgabe wird zitiert. Im Folgenden abgekürzt mit CEJL. 3 Stefan Collini, The Guardian, London, 4. Juli 1998 3 4 published 8 in 8 years […]“.4 Akribisch komplettiert (und kommentiert) hat Peter Davison die von Sonia Brownell Orwell und Ian Angus edierten Bände in dem aktualisierten voluminösen Gesamtwerk The Lost Orwell (1998) um zahlreiche bislang verschollene Briefe, übersehene Artikel sowie Addenda und Corrigenda, kurzum: „[…] a scholarly cornucopia, bulging with discoveries, that will enrich readers’ lives for generations to come“5, wie Times-Rezensent John Carey ihm (Davison) respektvoll attestiert. Die, wie Orwell selbst sagt, nahezu neurotische Angst davor, ein Schriftstück im halbfertigen Zustand zu belassen oder Zeit zu verschwenden, begleitet ihn auf Schritt und Tritt, treibt ihn an: „It is awful to think that for nearly three months I have not done a stroke of work. Getting and spending we lay waste our powers. However I have wads of notes which give me the illusion of not having wasted my time.“6 In seinem vorletzten, mittlerweile von Krankheit und Selbst- zweifel gezeichneten Lebensjahr reflektiert George Orwell wehmütig über sein zugegebenermaßen respektables Arbeits- pensum als Schriftsteller. In sein Tagebuch notiert er: It is now (1949) 16 years since my first book was published & abt 21 years since I started publishing articles in the magazines. Throughout that time there has literally been not one day in which I did not feel that I was idling, that I was behind with the current job, & that my total output was miserably small. Even at the periods when I was working 10 hours a day on a book, or turning out 4 or 5 articles a week, __________________ 4 CEJL, Vol. I, Letter to Geoffrey Gorer, S. 578 f 5 John Carey, „Insights into a life of genius“, in The Sunday Times, 28. Mai 2006 6 CEJL, Vol. I, Letter to Jack Common, S. 246 4 5 I have never been able to get away from this neurotic feeling, that I was wasting time.7 Neben der Vielzahl der von Orwell veröffentlichten nicht- fiktionalen Prosa ist es die Vielfalt der Themen, die ihn als prolific writer im Genre Essay auszeichnet. Politisches, soziales, kulturelles Engagement und nicht zuletzt persön- liche Betroffenheit durchziehen faktisch alle seine diaris- tischen, journalistischen und essayistischen Schriften. Dem wörtlichen Sinn des Essays entsprechend (Probe, Versuch), sind die Erörterungen stets „offen“; das heißt, sie werden nie vollständig oder abschließend geführt. Die gedankliche Auseinandersetzung mit einem Thema ist also nicht endlich, sondern geht weiter – als Kritik oder Kommentar, Anregung oder Abwägung, Produktion neuer oder Reproduktion alter Ideen: „The essayist [...] does not create material so much as he comments upon material already existing.“8 Seine Sujets findet Orwell vor seinen Augen in der ihn umgebenden Realität, und zwar stets, überall und sozusagen beim Spaziergang (im wörtlichen wie im übertragenen Sinne und damit einen Wesenszug der Gattung Essay implizierend) durch den Zeitgeist der ersten Hälfte des 20. Jahrhunderts. Es ist die wirtschaftliche, soziale, kultur- und weltpolitische Lage jener Zeit, die ihn herausfordert, Probleme, die ihn oder andere bewegen, öffentlich (wie in Tribune, den Essays und Reviews) oder persönlich (in Briefen und Tagebüchern) zu erörtern. Dass er zu bestimmten Fragestellungen wiederholt zurückkehrt, ist ein wesentliches Merkmal seiner Essayistik.9 __________________ 7 CEJL, Vol. IV, Extracts from a Manuscript Notebook, S. 573 f 8 Alexander Smith, „On the writing of Essays”, zitiert in Hugh Walker, The English Essay and Essayists, J.M. Dent & Sons, London and Toronto, 1915, S. 3 f 9 vgl. Lutz Büthe, Auf den Spuren Orwells, Eine soziale Biographie, Junius Verlag, Hamburg, 1984, S. 294 5 6 Im indischen Motihari10 1903 geboren (wo übrigens Gandhis Unterstützung der örtlichen Bauern in ihrem Feldzug gegen die britische Bevormundung begann), sind Orwells literarische Werke – fiktionale und nicht-fiktionale gleichermaßen – geprägt von seinen desillusionierenden Erfahrungen in der britischen Kronkolonie. Stets spiegeln seine Schriften die Aversion gegen das Primat des British Raj in Asien wider; in einer Autobiographical Note
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