VYTAUTO DIDŽIOJO UNIVERSITETAS ŠVIETIMO AKADEMIJA

KALBINIO IR MENINIO UGDYMO PROGRAMŲ GRUPĖ

Karina Kolesovaitė

RELIGINIS SIMBOLIZMAS HERMANNO HESSĖS ROMANE „DEMIANAS“

Bakalauro baigiamasis darbas

Vadovė: Assoc. Prof. Dr. Daina Miniotaitė

Vilnius, 2020

VYTAUTAS MAGNUS UNIVERSITY EDUCATION ACADEMY

LANGUAGE AND ART EDUCATION STUDY PROGRAMME GROUP

Karina Kolesovaitė

THE RELIGIOUS SYMBOLISM IN HERMANN HESSE’S NOVEL DEMIAN

BA THESIS

Academic advisor: Assoc. Prof. Dr. Daina Miniotaitė

Vilnius, 2020

1

VYTAUTO DIDŽIOJO UNIVERSITETAS ŠVIETIMO AKADEMIJA

KALBINIO IR MENINIO UGDYMO PROGRAMŲ GRUPĖ

Karina Kolesovaitė

RELIGINIS SIMBOLIZMAS HERMANNO HESSĖS ROMANE „DEMIANAS“

Bakalauro baigiamasis darbas

Anglų filologijos ir kitos užsienio kalbos studijų programa, valstybinis kodas 612Q30007 Anglų filologijos studijų kryptis

Vadovė Assoc. Prof. dr. Daina Miniotaitė ______(Moksl. laipsnis, vardas, pavardė) (Parašas) (Data)

Apginta Doc. dr. Žydronė Kolevinskienė ______(Programų grupės vadovas) (Parašas) (Data)

Vilnius, 2020

2 Contents

Abstract ...... 4 Introduction ...... 5 Hermann Hesse and his Novels ...... 7 Reviews of “Demian” Analyses ...... 9 Methodology ...... 17 Contrasting of Symbols in “Demian” and the Bible .... 18 The Environment ...... 18 The Two Realms ...... 18 A Place of the First Sin and the Gates of Heaven ...... 24 The False Paradise ...... 28 The Characters ...... 30 The Serpent ...... 30 The False Prophet ...... 33 The Tree of Life and the Advisor ...... 36 Babylon the Great ...... 38 The Religion ...... 40 Ideas Expressed by the Novel “Demian”...... 42 Conclusions ...... 45 Santrauka ...... 46 Sources ...... 47 References ...... 48 Appendix ...... 50

3 Abstract

This thesis will analyze Hermann Hesse’s novel “Demian” with regards to the Biblical symbolism presented in the book. The research aims to discover the possible connection between the book and the Biblical myths through hermeneutics, moreover, to also find out the origin of the unnamed religion of the novel and the idea’s Hermann Hesse wishes to pass on to his readers. As observed, most symbols contain allusions to the Bible, with the exception of a few with a partial or a non-existent connection. Furthermore, the religion is based on an existing one and the lessons conveyed involve advice for self- improvement and growth.

4 Introduction

In “Demian: The Story of Emil Sinclair's Youth”, Hermann Hesse, in addition to directly referencing various Biblical situations and characters, also uses symbols that seemingly have a hidden message to them and have no connection to Christianity. However, considering that the novel revolves around a character, Emil Sinclair, who gradually changes his religion, from Christianity to an unnamed belief, there is no reason to abandon the possibility that most of the symbols and metaphors are not referring to the Bible. The behavior and speech of certain characters, particularly Demian, resemble those of well-known figures depicted in the Bible, as well as descriptions of places and objects. Additionally, the character’s actions and thoughts during certain scenes in some way resemble parts of Hermann Hesse’s own life and his main character’s, from “Der Steppenwolf”, ideas. This possession of similar values gives it more possibility to the religion being created by Hermann Hesse. Finally, Emil Sinclair’s growth in the story mainly depends on his own strength as opposed to the character’s initial life of trusting a deity. This seemingly teaches readers to believe in their own strength in order to grow. Which raise a couple of questions, such as if the metaphors and symbols in fact have any connection to Biblical stories, if the unnamed religion is based on an existing belief or is, as speculated, created by Hermann Hesse himself and is it possible to uncover the ideas that Hermann Hesse wishes readers to understand, based on his life and his other novel “Der Steppenwolf”. Since the topic of the thesis is The religious symbolism in Hermann Hesse’s novel “Demian” this literary analysis will look over key concepts of symbolism, the Bible and Abraxas, the main Godly figure in the book. As mentioned above, the reasons for this analysis are to confirm if the analyzed symbols are based of off original Biblical stories and places, the unnamed religion’s origin being the usage Hermann Hesse’s own ideals, rather than representing and already existing one and that one of the points the author wants readers to learn, is to believe in themselves and not blindly follow a God. The possible answers will be searched in Hermann Hesse’s novels “Demian” and “Der Steppenwolf” as well as facts from his life up until the finishing of “Der Steppenwolf”. Such period is selected primarily because there is a possibility that the author had a change in his philosophies after the publication and scenarios described in the books that followed have different ideas expressed through his use of symbols. Additionally, since the type of data that is involved in this paper is religious symbolism, the Bible, alongside the novel in question “Demian”, will be used as a main source for material. Considering the amount of idioms, metaphors and words that may not be used every day; a dictionary might be consulted for better insight. Moreover, works and analyses of scholars will be reviewed to see

5 if there were any comparisons between the Bible and images offered by Hermann Hesse in the novel “Demian” and if there are answers to questions which this thesis is trying to solve. Some problems may arise in case of information tied in with Biblical symbols and phrases as there are many places that can offer untrustworthy information while claiming it as true. This, however, will be avoided by checking the internet sources and referring to the quotes offered, rather that information without them. Ideally, the aim of this research is to prove that Hermann Hesse’s symbols, which are analyzed in this paper, are references to figures and places of Christian religion, depicted in the Bible. As such, the objectives of this thesis are: 1. To analyze symbols, that reappear throughout the book multiple times, and either prove that they can, in fact be seen as references to Biblical myths or stories, or to dismiss the connection with Christianity. 2. To uncover the ideas behind the unnamed religion, which the main character ends up taking, and see if it was created by the author or is based on an existing belief. 3. By using Hermann Hesse’s life and similarities between characters of “Demian” and “Der Steppenwolf”, formulate the ideas that the author wants his readers to take from his novel “Demian: The Story of Emil Sinclair's Youth”. For completing the points mentioned above, a method of the qualitative perspective will be used. Therefore, the novel will be approached in terms of hermeneutics - meant for interpretation of the Biblical and general texts, in this case the story of “Demian”. Given that there is a vast amount of religions and their variations from which the analysis of the symbols could be done, this research will focus on the Biblical Christianity. However, there might be a need to encompass bits of information from other beliefs to better understand the initial image of the symbol. This thesis could grant a new outlook on the meaning of “Demian: The Story of Emil Sinclair's Youth”, considering that a bigger portion of analyses are made referring to Hermann Hesse’s life. Moreover, if the research outcome validates the hypothesis, the possibility of different than before thought messages could be discovered in other creations of Hermann Hesse.

6 Hermann Hesse and his Novels

Hermann Hesse is a 20th century German novelist and poet mostly known for his works like “Demian”, “Der Steppenwolf”, “Siddhartha” and “The Glass Bead Game”. Hesse received the Nobel Prize in literature in 1946 “for his inspired writings which, while growing in boldness and penetration, exemplify the classical humanitarian ideals and high qualities of style” (Nobel Lectures, 1946). Although, the novel that will be analyzed in this paper is not the Nobel Prize winning one, but one of his earlier ones by the name of “Demian” – a bildungsroman. In the first place, this novel was published under a pseudonym of Emil Sinclair (Mileck 1978, pg. 88). According to Mileck (1978) it was necessary for Hesse as he had become hated and ignored as a writer. Moreover, Hermann Hesse welcomed the idea since it allowed him to show his new self (Mileck 1978, pg. 88). This new novel caused a bigger uproar than Hesse initially anticipated (Mileck 1978, pg. 89). Additionally, as mentioned in the source, after being exposed as the original author, the youth started seeing Hesse as their hope and the book as the Bible. As such, the main aim of this thesis being to find a connection between the Bible and Hermann Hesse’s novel “Demian” seems quite fitting in this regard. However, one of the objectives set is to also find the origin of the religion in the mentioned novel and the ideas Hesse tries to convey to the reader. Considering that Hermann Hesse’s novels are different depending on the time and state of well-being during which they were written, works that were created after 10 years of the publication of “Demian” (1919) will not be used as references. However, for better analysis, a novel that displays similarities in the subject will be needed. Therefore, a closer look at the author’s life and his other book “Der Steppenwolf” is required. Born to a family consisting of various lineages, Hermann Hesse was exposed to different nationalities since childhood (Frenz, 1996). In his letters Hesse mentions how his father had a significant influence over his identity as a small child. The author further talks about the tales of Estonia, his father’s birthplace, and how it seemed as if it was a haven to his child-self (Hesse, 1964). Hesse’s family was considerably devout to Christianity. Both of his parents spent a couple of years in India doing missionary work (Nobel Lectures, 1996). According to Hermann Hesse’s letters (1964), his grandfather encouraged him to read all kinds of literature in his youth, which later gave him a sense of belonging in the world and isolation from his nation (Hesse, 1964). Most of Hesse’s early school years were spent in various Latin boarding schools of Wuerttemberg (Frenz, 1996). Following the same source, he also mentions his later years in Maulbronn monastery's theological seminary. Due to his family being devout believers of Christianity, Hesse was expected to

7 follow the same path of religion. However, that was not the case. Although, Hesse described himself as a capable learner, particularly at Latin but not so much at Greek, he also adds that he was fairly an unmanageable child (Frenz, 1996). Additionally, Hesse had a hard time in meeting the requirements of being a proper pietist as he valued the expression of his personality. During those school years, Hesse did not fully know what he wanted to do after graduation (Frenz, 1996). The same source states that, despite the difficulties the author concluded his schooling, became an apprentice of a mechanic and later started working at an antique store. Hesse shares that even though he was influenced by western philosophers such as Plato and Nietzsche, philosophy that of Indian and Chinese nature had a much bigger effect on his thinking (Frenz, 1996). In his book about Hermann Hesse, Joseph Mileck (1978) notes that the main character in Hesse’s novel “Gertrud” partially reflects Hesse’s life during the eight years in Gaienhofen (Mileck 1978, pg. 58). As such the character displays the same interest in theosophy, a belief based on Hinduism and Buddhism (Merriam-webster dictionary, n.d). During the First World War Hesse spoke against Germany’s ideology and gained support from pacifistic youth (Frenz, 1996). In Hesse’s review of “Nervöse Leute” by Eugen Löwenstein, Mileck (1978) indicates the author’s familiarity with psychoanalysis, more specifically with Freud and Adler (Mileck 1978, pg. 101). Mileck (1978) also states that this curiosity of psychoanalysis began due to his worsening marriage. As such, later in the years Hesse started analytical sessions with Dr. Lang, under whose influence Carl Jung’s ideas became Hesse’s primary focus and had an effect on his novel “Demian” (Mileck 1978, pg. 101). However, that infatuation, as mentioned by Mileck (1978), did not last long, reverting Hesse’s attention to Freud. Although, Freud and Jung’s teachings impressed Hesse, he was not outright Freudian or Jungian, but merely took pieces that were useful for his writings and adapted them according to his personal ideas (Mileck 1978, pg. 100). Since Hermann Hesse’s works were influenced by different factors in his life, there is no need to look over events that occurred much later, as the author’s understanding regarding certain things might have changed. There is also the possibility of accidental projection of ideas from author’s later novels, where they seem similar yet were not intended to be seen from that perspective in the older novels, in this case “Demian”. However, this research will utilize some parts of Hermann Hesse’s other novel “Der Steppenwolf” seeing that the circumstances somewhat coincide with the period during which “Demian” was written. The story of “Der Steppenwolf” is an existential fiction that revolves around an intellectual middle-aged man of bourgeoisie descent who does not see any joy in life and has chosen to isolate himself from the world. As a result the character, Harry Haller, starts to see himself as part beast, a steppenwolf, and part man. He is caught between two worlds, hating certain aspects of humanity and at the same time 8 being captivated by the others, unable to live a normal life. After certain events, Harry’s resolve to be gone from this world flairs up and he decides to end his suffering. However, just before he executes his plan, Harry meets a captivating young lady that reminds him of his old friend. As fate entails, the mysterious lady also possesses a similar name to the same old friend of Harry’s, Hermine, and promises to make him fall in love and then kill her in the future. As such, Hermine becomes Harry’s guide to his rehabilitation into the normal way of living. Through Hermine and her friends, the main character rediscovers pleasure from simple things and even finds love. Despite all that, Harry still feels that his beast side is revolted by this change, so he confines in his mysterious lady friend. As it turns out, Hermine fully understands what the man is experiencing and knows about his mental state better than he does. After some time, Harry’s worry about his inner state peaks and he professes his love towards Hermine. Shortly after, Harry enacts the prophecy of Hermine, killing her. In the end he admits his unsuccessful attempt in returning to the normal society life, promising he will find a way to be successful. In the same way as Hesse’s troubles in marriage lead him to delve into psychoanalysis that resulted in the novel “Demian”, “Der Steppenwolf” was written at the time of his separation from his second wife Ruth (Mileck 1978, pg. 174). Additionally to the divorce, the source mentions Hesse’s internal problems and isolation from the world. Mileck (1978) describes “Der Steppenwolf” as “<…> the most autobiographical of Hesse’s many stories” (Mileck 1978, pg. 175). Mileck (1978) compares the main character Harry Haller’s birthplace, interests, family situation etc., to that of Hermann Hesse’s (Mileck 1978, pg. 175). According to Mileck (1978), even the schoolmate of Haller’s is based of Hesse’s classmate from Maulbronn, who, coincidentally, also served as a partial outline to the character Demien (Mileck 1978, pg. 175). Additionally, Jung in one of his replies to Emanuel Maier (Mileck 1978, pg. 103) states, that Hesse should feel indebt to him as without his directions couple of his novels, such as “Demian” and “Der Steppenwolf”, would not have come to fruition. These similarities in circumstances and relevant subjects used in writing “Demian” and “Der Steppenwolf” make them a fair combination in regards to trying to find answers to the raised questions of the thesis.

Reviews of “Demian” Analyses

In the book “Hermann Hesse: Life and Art” (1978), one of the first ways Joseph Mileck looks at Hermann Hesse’s novel “Demian” is from an autobiographical side. 9 As Mileck (1978) states, the novel is a revision of Hesse’s past, more precisely years 1887 – 1897, using psychoanalysis and Hesse’s developing wish to be himself (Mileck 1978, pg. 89). Mileck (1978) compares the family circumstances in the novel with Hesse’s childhood (Mileck 1978, pg. 89). Additionally, Mileck (1978) interprets the “realm of day” described in the book as Hesse’s sheltered life in his young days and Emil Sinclair’s growing interest in the “realm of night” as Hermann Hesse’s recognition of another side (Mileck 1978, pg. 90). Even the environment where the character of the book loiters is supposedly, a reminiscence of Hesse’s hometown Calw (Mileck 1978, pg. 90). As well as the tormentor of Sinclair’s, who as Mileck (1978) guesses is an associate from Hermann Hesse’s school days. As was stated in the review of “Der Steppenwolf”, another classmate of Hesse’s also provided a small outline for the character of Demian. Although Mileck (1978) calls Demian “<…> Sinclair’s projected alter ego <…>” and “<…> a projection of Hesse’s impulses and curiosity” (Mileck 1978, pg. 90). Speaking of education, Mileck (1978) states that events described in the novel have direct connection to Hermann Hesse’s experience, including the anxiety and unruly actions of Emil Sinclair (Mileck 1978, pg. 90 – 91). However, the meetings with Beatrice and Pistorius do not follow the order as the previously mentioned parts. As by Mileck (1978), Beatrice matter took place earlier than depicted in “Demian”, whereas Pistorius was vice versa (Mileck 1978, pg. 91). Although, both characters do not display any outer or inner similarities, Mileck (1978) believes that they were molded in the image of Eugenie Kolb and Dr. Lang (Mileck 1978, pg. 91). Specifically, because Kolb was Hesse’s first love, as was Beatrice Sinclair’s and Pistorius because his library books, interest in religion and dream interpretations were Dr. Lang’s. Mileck (1978) also refers to the fact that Sinclair learned more about himself under Pistorius’ mentorship as well as Hermann Hesse did with Dr. Lang (Mileck 1978, pg. 91). At the end, Mileck (1978) declares that “Demian” is by no means an autobiography as such, but rather a collection of events of his life from 1887 to 1897, occasionally from 1914 – 1917, modified and blend into one with the help of psychoanalysis to create the story (Mileck 1978, pg. 91 – 92). Bernhard Zeller (1972) agrees with this view on Hermann Hesse’s writings. However, it does not limit to only “Demian”. Zeller (1972) states that, although many authors use their personal involvements in the books they produce, it is quite notable in Hermann Hesse’s works (Zeller 1972, pg. 8). According to Zeller (1972), Hesse’s writings remind that of a journal where he analyses his past choices. Additionally, Zeller (1972) notes that the writer knowingly limits his theme to that which he has experienced himself (Zeller 1972, pg. 8). This type of analysis although valid, can raise some inconsistencies about certain events. Considering how Mileck, as mentioned above, noted that certain happenings were out of order and were taken apart and again put back together. Another point that should be noted is that “Demian” and “Der 10 Steppenwolf” for that matter contain various mythic allusions and metaphors that do not refer to real life experience. Another type of analysis used to understand Hermann Hesse’s novel is by interpreting it through certain ideologies that Hesse was known to follow. Additionally to the ones mentioned before (pg. 8), the author, during his creation of “Demian” was interested in Nietzsche’s ideas. This is the second way Mileck looks at the novel. Mileck (1978) accounts that Hesse started to develop a new ideal which he described in “Rosshalde” and “Knulp”, novels predeceasing “Demian” (Mileck 1978, pg. 92). However, before accepting a new ideal Hesse needed to free himself from morals and traditional religion, as well as enriching his own philosophy (Mileck 1978, pg. 92). As stated previously (pg. 7), Hesse was an individualist since a young age following his own choices rather than going with the herd, which is why, as Mileck (1978) notes, Nietzsche’s ideology agreed with Hesse. The author’s doubts in Christianity, its myths and its values gave Hesse a reason to reconsider his previous world view (Mileck 1978, pg. 93). This change can be seen in the novel “Demian”. Following the Nietzschean belief, presented by Mileck (1978) that Christianity’s division of “this” world and the yonder resulted in them having no similarities whatsoever (Mileck 1978, pg. 93). Such world separation is noticeable since the first pages of “Demian”. Second idea that can be noted in the novel is that of good and evil. Mileck (1978) states that one of Nietzsche’s beliefs touch upon the religious separation of 2 deities representing order and chaos, rather minimal self-appreciation and self-fulfillment, marking them as incorrect in view of them not being “in the nature of things” (Mileck 1978, pg. 93). Such idea is also evident in the novel, as one of the characters, Demian, raises this thought leading Sinclair to self-realization and reevaluation of values. Lastly, Mileck (1978) mentions Nietzsche’s idea of a new God. A God, who by the previously presented idea, would embody both good and evil, bringing forth a new man and a fresh world (Mileck 1978, pg. 93). This in the book is represented as the God Abraxas, who becomes a point of interest of the main character. As such, Mileck’s (1978) overview of Hermann Hesse’s “Demian” by using Nietzschean sentiments does offer answers about certain points of the novel. However, it only presents answers to a limited amount of questions, leaving an incomplete guide of the book’s concept. Another ideologist view noticeable in “Demian” is that of Jung. As noted before (pg. 8), Hesse had been visiting Dr. Lang’s sessions during the time of writing his novel. These sessions gave Hesse a new focus that involved Jung’s psychological theory. Such analysis is reviewed by Emanuel Maier (1953) in his dissertation. Maier (1953) states that certain characters in Hermann Hesse’s novel “Demian” can be found to have originated from the analytic meetings with Dr. Lang (Maier 1953, pg. 1). Maier (1953) indicates 11 that Emil Sinclair, the character in the book, unknowingly produces symbols which he, through the course of the story, recognizes as parts of himself and in turn absorbing them (Maier 1953, pg. 4). These symbols representing some of the Archetypes of Carl Jung include the two realms, Sinclair’s family crest, the lady he named Beatrice, Frau Eva and Demian. As by Maier (1953) the characters that come from the unconscious part of Sinclair are depicted as “real” as per Jung’s ideology that experiencing the symbols is what helps a person’s consciousness grow (Maier 1953, pg. 4). Maier (1953) notes a similarity between two characters of the novel – Demian and Pistorius. Both of them act as guides to Emil in his journey, however the latter is a separate entity from Sinclair and, just as Mileck (1978) will, Maier (1953) had believed Pistorius to be Dr. Lang, whereas Demian – one of Jung’s Archetypes (Maier 1953, pg. 4 – 5). Maier (1953) suggests that the novel is set up as a road of Individuation, which begins in one’s unconsciousness (Maier 1953, pg. 5). And in the case of “Demian” the boundaries between the real world and Sinclair’s consciousness are blurred. Maier (1953) states that Jung’s Archetypes appear after the previous trait had been integrated. Sometimes being missed as the character is not yet ready to admit its similarity to self (Maier 1953, pg. 6). The first Archetype Maier (1953) identifies is the Shadow manifested in the form of Emil Sinclair’s captor Kromer. Sinclair deems himself to be a part of the day realm, whereas Kromer dwells in the night – being the opposite of what Sinclair is, hence the Shadow (Maier 1953, pg. 6). As Demian comes into play he is classified by Maier (1953) as the Genius. Maier (1953) even compares Demian to a demon by the name of Mephistopheles saying "He has the power to destroy the bright world of Abel [in this case the innocent Emil Sinclair], but he also destroys unmitigated evil like Kromer" (Maier 1953, pg. 6 – 7). As the story of “Demian” progresses another Archetype is introduced in the form of Beatrice. Maier (1953) notes how after seeing Beatrice Emil changes his way of living to the complete opposite, particularly the spiritual aspect concerning love (Maier 1953, pg. 7). Such is Carl Jung’s Archetype of the Anima. When speaking about Pistorius, Maier (1953) labels him not as a separate Archetype, but the Collective Unconscious as Sinclair through his meeting with him starts to believe that every person is connected (Maier 1953, pg. 8 – 9). After separation from Pistorius, Sinclair comes in contact with Frau Eva where he sees himself in her and understands that if he “owns” Frau Eva, he will own himself (Maier 1953, pg. 10). Such belief represents the Archetype of Self. Lastly Maier (1953) references the last interaction between Demian and Sinclair, in which both finally unify into one, signaling the end of Individuation and the Rebirth, at the start introduced in the form of the Sinclair family crest (Maier 1953, pg. 10). Maier (1953) states that the understanding of Jung’s theory can bring forth a different understanding of Hermann Hesse’s writings, in this case “Demian” (Maier 1953, pg. 13).

12 Contrary to Maier (1953), Mileck’s (1978) division of characters from the novel according to Jung’s theory differ in certain categories. In terms of the Shadow, both authors agree that it manifests in the form of Kromer (Mileck 1978, pg. 94). Additionally to that, Mileck (1978) describes Kromer as the personified evil and the messenger of the Fallen Angel or the Satan himself. Although, just as Maier (1953) had, Mileck (1978) considers Demian as Sinclair’s guide, the Archetype of Genius, however instead of classifying him as a demon, Mileck (1978) calls Demian a daemon, a more benevolent type of guide compared to Mephistopheles (Mileck 1978, pg. 94). In Mileck’s (1978) distinction of Jung’s Archetypes Beatrice, unlike in Maier (1953), is not connected with an Archetype, but rather identified as Emil’s “idolized woman” (Mileck 1978, pg. 94). Instead, Mileck (1978) states that Frau Eva holds the Archetype of Anima (Mileck 1978, pg. 94). Moreover, Mileck (1978) expresses the idea that Frau Eva holds not only Sinclair’s Anima, but also the image of Self, just as Maier (1953) had initially suggested in his work. Frau Eva, according to Mileck (1978), embodies the guide, the ideal image Sinclair will become at the end of his journey, life in its entirety and “Magna Mater” (Mileck 1978, pg. 94). Mileck (1978) notes that the inner world created in the novel is attentively produced by excluding details, presumably Hermann Hesse’s life as looked over in the autobiographical perspective (pg. 10), and in close connection to the Bible, hence Mileck’s (1978) usage of the terms such as Satan or Magna Mater (Mileck 1978, pg. 94). The analysis of “Demian” with the Jung’s psychological theory conducted by Emanuel Maier (1953) offers an agreeable result that this thesis is trying to achieve in regards to proving that the majority of characters are Emil Sinclair’s inner creations. Moreover, this analysis offers answers to the mystic part of the novel that comprises most of the story, giving light to a better understanding of it. And as for Mileck’s (1978) categorization of the characters, it is of course possible to regard them in such way, however the view of one character housing 2 Archetypes is not preferred, as such combination of qualities may give life to a completely different connotation. Aside from the prevailing analyses involving Hermann Hesse’s biographical details and his interests in moral views of other people or writers when trying to explain “Demian”, some choose a different approach in attempt to reveal the essence of the book. Such is the aim of Stephen K. Roney (1999). At the start of his analysis Roney (1999) boldly states that Hermann Hesse’s novel “Demian” is an ironic story which tricks the reader from the start, only to later reveal the destination to which the reader chose to follow Emil Sinclair is that of damnation (Roney 1999, pg. 1). He claims that most commentators, mentioning authors such as Ralph Freedman, Theodore Ziolkowski and Kathryn Byrnes, accept Hesse’s novel “Demian” as that with a happy ending. However, Roney (1999) deems the 13 understanding short of its true nature, believing Hesse did not intend to romanticize the hurt Sinclair spoke of, but illustrate a clear-cut image of the Biblical hell (Roney 1999, pg. 2). However, for such an interpretation Roney (1999) states that the reader must see the novel as a farce. Understandably that might seem superficial, still Roney (1999) notes that Hesse exhibits the use of irony in his works and that “Demian” should not be exempted from it (Roney 1999, pg. 2). Using the last meeting between Demian and Sinclair which, in Roney’s (1999) opinion could not have taken place, he states that Emil is dead (Roney 1999, pg. 3). As such, a comparison between “Everyman” and “Demian” is raised, suggesting both belong to the same genre – morality play. Roney (1999) states that the names Demian and Sinclair, just as in a morality play, describe the characteristics of their owners, the former referring to a demon and the latter to sin (Roney 1999, pg. 5). Similarly to Maier (1953), Roney (1999) labels Demian as Sinclair’s Mephistopheles (Roney 1999, pg. 5). Additionally, Roney (1999) suggests that Emil might not have dominion over himself as there is a possibility that he had given that power to Demian, consequently selling his soul to the Devil. To further show that Emil is dying at the end of the novel, Roney (1999) references the kiss between the friends (Hesse 1919, pg. 86) stating it was that of Judas and Jesus’ before the former’s betrayal (Roney 1999, pg. 6). Although, this resemblance might be accidental, it is worth noting that Hermann Hesse’s family were that of missionaries and that he had received a religious education (pg. 7), resulting in Roney (1999) to state that “<…> it is improbable that he would not have noticed Biblical parallels in his tale” (Roney 1999, pg. 6). He further notes that the novel is riddled with references of the Bible in both speech and the chapter titles (Roney 1999, pg. 6 – 7). Using Ziolkowski’s (1965) mention of similarities between Emil Sinclair’s dream of eating ashes of his painting and a passage in Revelation, Roney (1999) suggests the possibility of it referring to the novel’s message which is “not everything is as it seems in the first place” (Roney 1999, pg. 7). Coming back to the beginning of the book, Roney (1999) notes that the crime that started Sinclair’s journey and his own alienation from his parents’ home is that of stealing apples from a garden; the same motif as that of the original Biblical sin (Roney 1999, pg. 8). Reviewing Demian’s character Roney (1999) raises many quirks of his, such as Emil’s descriptions, the way of speech, that in a way portray the character as none other but the Devil himself (Roney 1999, pg. 9 – 11). Demian attracts Emil with his knowledge and charisma, telling different interpretations of the stories of the Bible, notably about Cain and Abel, and why they should be taken not in the literal sense, which is yet another feature of the Devil (Roney 1999, pg. 12 – 14). To further assert his idea of the novel depicting Hell, Roney (1999) notes how Emil Sinclair expresses his dissatisfaction in the events happening throughout his life (Roney 1999, pg. 15 – 16). However, Roney (1999) suggest that Emil does receive a chance at repentance 14 of his sins in the form of people. Firstly, it manifests in his drinking buddy Alphons Beck, who wants Sinclair to admit his secrets as if in a confessional; then in Beatrice representing love of God. Both of them Sinclair met in a park, which Roney (1999) suggests is a reference to the Garden of Eden (Roney 1999, pg. 17 – 20). Nevertheless, Sinclair does not manage to repent, staying a follower of Demian, who coincidentally introduces him to a God representing both good and evil – Abraxas (Roney 1999, pg. 20). And here again, Roney (1999) expresses the idea that Demian is not who he seems to be – a trustworthy guide. Roney (1999) notes that Demian’s interpretation of Abraxas is the opposite of its original source, the Gnostic belief, suggesting Demian has a hidden motive in teaching Emil his version (Roney 1999, pg. 22 – 23). However, Roney (1999) believes that Emil indeed meets a true Gnostic – Knauer. Similarly to Beatrice, Knauer is put on Sinclair’s path to awaken his paternal love, to choose the “good” side and repent. Still, Sinclair brushes off the call, just as he had done with Beatrice (Roney 1999, pg. 23 – 24). In regards to Pistorius, Roney (1999) disagrees with the assumptions that regard him as a representation of Hesse’s psychoanalyst Dr. Lang (Roney 1999, pg. 26). Rather Roney (1999) proposes the possibility of him being Hermann Hesse himself as both of them have similar backgrounds, religious views and ideas (Roney 1999, pg. 26 – 27). Nonetheless, all characters, who per Roney (1999), tried to help Emil Sinclair atone coincide with “various faculties of man” frequently met in a morality play – Repentance, Love, Reason and Faith (Roney 1999, pg. 25). Additionally to that, Roney (1999) suggests that Hesse did not use Jungian belief as a foundation for the novel’s characters but did use it for a different image. That image is of the Gnostic belief which Demian speaks about. As Roney (1999) notes the ideas Demian expresses as the belief of Gnostics seem to coincide with Jung’s published work of “Septem Sermones ad Mortuos”. Moreover Roney (1999) suspects it to be Hesse’s mockery of Jung’s inaccurate understanding of the Gnostic religion (Roney 1999, pg. 27 – 28). Coming back to Pistorius, Roney (1999) notes how the teachings he offers Emil are the opposite of Demian’s. As Demian teaches individuality and the existence of free will, Pistorius seems to negate those ideas (Roney 1999, pg. 30). Touching upon the symbolism of the bird and the egg, Roney (1999) connects it to the Gnostic belief. Although, it yet again does not correspond to its original source, being as the Gnostic hawk does not break away from the egg (Roney 1999, pg. 31). This yet again suggests that the happenings are not what they seem. However, Roney (1999) does suspect that the hawk might represent Emil Sinclair’s being. Ergo the idea presented before (pg. 14) about Sinclair giving his soul is reinforced as the hawk was “sent” to Demian (Roney 1999, pg. 31). Roney (1999) also notices that Pistorius gives Sinclair the warning of not letting the bird fly off for the dangers it can bring. If going by the suggestion that Pistorius is Hesse, Roney (1999) believes the cautionary messages to Sinclair are also directed to the reader telling of the ominous end that is to come (Roney 1999, pg. 33 – 34). 15 At the end of Emil and Pistorius’ meetings, Roney (1999) mentions the act of “turning the other cheek”. He connects it with the Christian angel way of not responding with revenge. Whereas Demian is noted to preaching vengeance instead, once again depicting him as the evil force of the novel (Roney 1999, pg. 34). However, before this “bad end” warned by Pistorius, Emil receives another chance at redemption still. And Roney (1999) supposes it to be Demian’s house. Roney (1999) argues that the description of the house bears resemblance to the Biblical Garden of Eden (Roney 1999, pg. 36). Not to mention the name of Demian’s mother is Frau Eva, which is unmistakably similar to Eve from the Bible. Roney (1999) states that to Emil she is the mother of everything further reinforcing the idea that the talk is about the Biblical Eve (Roney 1999, pg. 34). However, considering the ideas and teaching of Demian and how they were more than a few times the opposite of its original source, it is acceptable to believe Frau Eva is not really Eve, which is why Roney (1999) references Sinclair’s dreams in which he firstly called her beautiful names and later proceeded throw profanities at her (Roney 1999, pg. 37). As such, Roney (1999) assumes Frau Eva could be the Whore of Babylon who usually brings upon the Apocalypse (Roney 1999, pg. 37). Additionally to that, Roney (1999) states that Frau Eva’s teachings of love contradict to those of Beatrice, which is rather to lust than to love God (Roney 1999, pg. 38). And as Sinclair practices those teaching the message of war comes in carried by Demian, looking as pale as ever, as if one of the riders of the Apocalypse – Death (Roney 1999, pg. 41). Roney (1999) states “As the novel begins with the Garden of Eden, the beginning of Every Man, so it ends with the Apocalypse, the end of time -- as a complete morality play or miracle play cycle would” (Roney 1999, pg. 36). If going by the idea of Emil Sinclair’s death at the end of the novel, it ends the same way a morality play would, by soul transfer to the afterlife. However, in Sinclair’s case, Roney (1999) notes, he instead of ascending, descends into Hell for damnation (Roney 1999, pg. 43). The analysis completed from the Biblical perspective in order to provide evidence that Hermann Hesse’s novel “Demian” is a morality play looks over the Christian symbolism which dominates the book. As such, it seems that Roney’s (1999) work covers and explains the bigger part of the happenings than the previously presented views. However, that would only seem that way because the events in “Demian” exclude a feeling of supernatural and questionably realistic occurrences. Moreover, although the part about Sinclair’s death at the end is agreeable, it is questionable if he did go to Hell or if he was already experiencing it. This thesis will conduct a similar comparison of the characters and places to that of the descriptions of the Bible, but on a lesser focus on the main character Emil Sinclair, as done in the research above.

16 Methodology

To answer the questions of this thesis, certain steps will be taken:

• Finding symbols that reference myths or stories. The novel “Demian” is full of metaphors and allusions that can be not so obvious, so it is necessary to first identify them in the book. • Analyzing the essence of the symbols and comparing them to Biblical motives. This step is vital in order to be able to fully understand and see the similarities or differences in the connection between “Demian” and the Bible. • Forming the foundation of the unknown religion and trying to find its counterpart in reality. For determining the origin of the religion in the novel it is first needed to find its core values and then locating, if possible, the real counterpart of its source. • Collecting ideas presented by the author in the book. After completing the analysis of the symbols, Hermann Hesse’s ideas should become more visible and for a better interpretation of them, “Der Steppenwolf” and part of Hermann Hesse’s life will be used to determine the ideas behind “Demian”.

17 Contrasting of Symbols in “Demian” and the Bible

The Environment

The Two Realms

The first chapter of the novel “Demian” is titled as Two Realms. There Emil Sinclair, the main character, describes his home and the outside world. These two environments are described in an opposing manner; as such it can be accepted as an allusion to the Bible’s heaven and hell. 1) The realms of day and night, two different worlds coming from two opposite poles, mingled during this time. (Hesse 1919, pg. 1) Example 1 indicates how Sinclair clearly separates the two environments. The reference to “day and night” show his view of the worlds as white and black which in turn can be interpreted as good and evil. The good and evil sides are what people hold as characteristics of heaven and hell respectively. Additionally, the mentioning of these realms “coming from two opposite poles” show their existing relation to each other and appear to correspond to a dualist belief. Such ideology is present in most religions, although not always relating only to good and evil, for example this verse from the Christian Bible depicts man and woman as two opposites: “So God created man in his own image, in the image of God he created him; male and female he created them.” (Genesis 1:27). Another verse speaks of actions with opposite effects yet still being produced by the same entity, therefore coming from the same “pole”: “See now that I, even I, am he, and there is no god beside me; I kill and I make alive; I wound and I heal; and there is none that can deliver out of my hand.” (Deuteronomy 32:39). The same heaven and hell in that sense display the dualist imagery of the Christian belief. Furthermore, let’s examine each side of the realms and contrast their imagery, given by Sinclair, to descriptions of heaven and hell in the Bible. 2) My parents' house made up one realm, yet its boundaries were even narrower, actually embracing only my parents themselves. (Hesse 1919, pg. 1)

18 Example 2 illustrates the realm of day that contains the main character’s home. Sinclair speaks how the boundary of this side is very narrow as if belonging to his parents only or as if the parents themselves are the realm. One of Matthew’s verses reference a narrow gate leading to heaven: “Enter by the narrow gate. For the gate is wide and the way is easy that leads to destruction, and those who enter by it are many. For the gate is narrow and the way is hard that leads to life, and those who find it are few.” (Matthew 7:13-14). The wide gate leading to destruction is that of hell, whereas the narrow one of life refers to heaven. The idea that Sinclair’s parents could be considered as heaven itself is raised from the fact that they are the ones that built the peaceful world Sinclair lives in. For them to be able to create the realm of day, in the first place they had to posses it in themselves. As Sinclair’s parents expanded their home, they also expanded their “heavenly” influence and encompassed the living space. So the reason for Sinclair’s thoughts about the boundaries holding only his parents is because they were the originators and the boundary did, at one point, embraced only them. However, this thesis will still use the whole house as a reference to heaven and Emil Sinclair’s parents as its rulers in further analysis, which is why another verse for comparison is needed: “In my Father's house are many rooms. If it were not so, would I have told you that I go to prepare a place for you?” (John 14:2-3). The Biblical verse indicates that heaven is a house of many rooms, perhaps a mansion or a palace. Emil Sinclair belongs to a higher social class, indicated by him having a servant girl (Hesse 1919, pg. 1) and having an upstairs floor (Hesse 1919, pg. 6), and as such lives in a mansion type residence which in turn has the many rooms that, supposedly, heaven also has. 3) It was a realm of brilliance, clarity, and cleanliness, gentle conversations, washed hands, clean clothes, and good manners. (Hesse 1919, pg. 1) In example 3 expressions relate to cleanness and purity, which in a way give an image of positivity. Additionally, a connotation to the color white or at least to colors of clear and light nature can be taken from the adjectives in the presented example. However, white does come to mind first as to most it associates with clarity and cleanliness. Although the Bible itself does not indicate that the palace of heaven is white, or any other specific color for that matter, it does mention God’s throne: “Then I saw a great white throne and him who was seated on it.” (Revelation 20:11). Considering that God is the ruler of heaven, a place of kindness and purity, the associations of the color white do seem to fit. Additionally, another verse mentions the color and its correlation: “Then I saw heaven opened, and behold, a white horse! The one sitting on it is called Faithful and True, and in righteousness he judges and makes war.” (Revelation 19:11). 19 Here the white horse carries a being, supposedly Jesus, who is “faithful and true and righteous”. The way the words are said and adjectives used produce an image which tells us that if the being had possessed different qualities the horse would either be of different color or from the beginning would not allow itself to be mounted. Therefore, this yet again suggests, that the color white belongs to those who are worthy or are part of heaven. Since the color displays the correlation to adjectives in example 3, it would not be a mistake to see Sinclair’s described realm as the Biblical heaven. 4) Straight lines and paths led into the future: there were duty and guilt, bad conscience and confession, forgiveness and good resolutions, love, reverence, wisdom and the words of the Bible. (Hesse 1919, pg. 1) Example 4 yet again dictates the environment of Emil Sinclair’s house. Where example 3 described the material aspects, example 4 speaks of abstract features that exist in the space. Starting from the beginning, the mentioned paths and lines that lead into the future are “straight” meaning – right. Of course, it could somehow refer to a material road; however, there is no “straight path” guiding to the future, unless we consider a path given by family members, like an heir that is promised a throne when born. Nevertheless, this does not seem to direct it to that side, but rather a way of life that is righteous and just. A verse of the Bible suggests a similar idea: "In all your ways acknowledge him, and he will make straight your paths." (Proverbs 3:6). Stating that trusting and accepting God with your being will allow to head into the future by a straight path, the description that Sinclair accounts to the possibility presented in his house. The actions that can be received when living in the realm of day coincide of God’s grace given to his followers, especially that of confession and forgiveness. "For the Lord your God is gracious and merciful and will not turn away his face from you, if you return to him." (2 Chronicles 30:9). The main theme of Christian belief is that God forgives the sins of those who confess, in turn granting them his love and place in heaven. It is quite evident in example 4, how Sinclair dictates that even if you are sinful, all can be fixed through a confession and the gate to a good life, or paradise, will yet again open. Additionally, another verse presents a similar idea: "In him we have redemption through his blood, the forgiveness of our trespasses, according to the riches of his grace, which he lavished upon us, in all wisdom and insight making known to us the mystery of his will, according to his purpose, which he set forth in Christ" (Ephesians 1:7-9). Here, the God’s forgiveness of sins is again present; moreover, the verse mentions God’s wisdom received from his will, which is as example 4 calls “the words of the Bible” (Hesse 1919, pg. 1). Since Sinclair’s house is governed by the God’s grace, notably confession, forgiveness and wisdom, and a 20 house cannot be the giver of these actions, it is safe to say that it is the place which is reached by following the words of the Bible (God) – heaven. 5) If one wanted an unsullied and orderly life, one made sure one was in league with this world. (Hesse 1919, pg. 1) After describing the realm of light, Emil Sinclair concludes that a peaceful life awaits those who reach for the realm he is living in now. Being gracious, righteous and living by the wisdom of God; those are also the qualifications of entering the palace of heaven. Moreover, the heaven also offers the life Emil portrays. "Then I saw a new heaven and a new earth, for the first heaven and the first earth had passed away, and the sea was no more. And I saw the holy city, new Jerusalem, coming down out of heaven from God, prepared as a bride adorned for her husband." (Revelation 21:1-2). As per the verse presented, in heaven everything is new, additionally, it seems that for every person a different heaven is given, otherwise it would not be new per say. New heaven means clean and pristine, similarly like Sinclair’s description of the environment in example 3 (pg. 19), ergo unsullied by no dirt or anything of similar nature. "The wolf and the lamb shall graze together; the lion shall eat straw like the ox, and dust shall be the serpent's food. They shall not hurt or destroy in all my holy mountain,” says the Lord." (Isaiah 65:25). The Bible also speaks of peace that encompasses all of heaven and its occupiers. No killing, pain or war is present in the realm. This feature yet again corresponds to the energy existing in Emil’s home, which is the light realm. Since no distress or chaos is in heaven, it possesses the same orderly life opportunities described in example 5, further strengthening the idea that Emil lives in a place like heaven or heaven itself. The second realm, existing next to and sometimes overlapping with the light side, was a complete opposite. Emil Sinclair expresses it as having different air, manners and language compared to his own. The people of the night realm were not like Sinclair’s family. Not bourgeoisie. They were workmen and servant girls, hence how the two realms overlapped in the house. The contradictory descriptions given by Sinclair, if following the previous idea of his house being heaven, are those of hell. 6) It was dominated by a loud mixture of horrendous, intriguing, frightful, mysterious things, including slaughterhouses and prisons, drunkards and screeching fishwives, calving cows, horses sinking to their death, tales of robberies, murders, and suicides. (Hesse 1919, pg. 1)

21 7) Policemen and tramps, drunkards who beat their wives, droves of young girls pouring out of factories at night, old women who put the hex on you so that you fell ill, thieves hiding in the forest, arsonists nabbed by country police <...>. (Hesse 1919, pg. 1) Examples 6 and 7 show how instead of the peaceful and clean house, the other side is cruel and filthy. There is no “realm of brilliance”, no good resolutions or love. The adjectives used are full of negativity. It is a complete 180 from the heavenly place of Emil Sinclair. "But as for the cowardly, the faithless, the detestable, as for murderers, the sexually immoral, sorcerers, idolaters, and all liars, their portion will be in the lake that burns with fire and sulfur, which is the second death." (Revelation 21:8). The Biblical verses are, for the most part, quite clear of the imagery of hell. The verse presented enumerates most wrong doings that are committed by characters in Emil’s description. Prisons full of detestable criminals, robbers and arsonists as liars, slaughterhouses and suicides comparable to murders, although the latter could be argued as not connected in any way. The old women in example 7 fit in both the sorceress and the idolater’s category, as hexes are curses (Oxford Advanced Learner’s Dictionary [OALD] 2020) connected to witchcraft and that is a practice that is condemned by the Christian belief. "And throw them into the fiery furnace. In that place there will be weeping and gnashing of teeth." (Matthew 13:50). The screams of fishwives and wives beaten by their partners would be the constant sound in hell’s landscape as presented by the Biblical verse above. Furthermore, seeing as Sinclair added this to his description of the night realm, it appears that that is in fact the case. The “gnashing of teeth” (OALD 2020) yet again can be related to the happenings in examples 6 and 7, more particularly to the drunkards. This, of course comes from general depictions in media, but drunkards are shown to be violent, in this case it is described in example 7, and angry. Once more, seeing as Sinclair chose to include the drunkards and their actions, a kind of strong anger is constantly present in the space, which probably in more than several occasions results in teeth gnashing. "And the smoke of their torment goes up forever and ever, and they have no rest, day or night, these worshipers of the beast and its image, and whoever receives the mark of its name." (Revelation 14:11). Other similarities between the images of hell in the Bible and Emil’s night realm are the smoke and days and nights of no rest. In example 7 Emil mentions “droves of young girls pouring out of factories at night” (Hesse 1919, pg. 1). Some factories to this day still produce a large amount of smoke that pollutes the sky and given that the novel’s timeline is set after the industrial revolution, it being before the First World War, where factories were common, the fumes produced were much more noticeable and 22 prevalent. Considering that, the smoke most likely covered the whole sky and since Emil saw it even at night-time the verse’s “smoke of torment goes up forever and ever” holds true. Additionally, the “torment” aspect of the smoke could be in reference to the difficult working conditions in factories of that time. Moreover, the fact that the girls observed by Sinclair exited at night rather than at dusk, indicate that their work continued for the day and night, hence the Biblical verse’s eternal torment without rest, no matter day or night. It is of course possible, that the depicted young girls came to work not in the early hours of the day, however again, going by Sinclair’s definition of the night realm, the monetary status of the people was not the best, as such every hour for which the pay was given had to be important. 8) When I pictured the devil to myself I could easily imagine him on the street below, disguised or undisguised, or at the country fair or in a bar, but never at home with us. (Hesse 1919, pg. 2) In example 8, Sinclair clearly puts the Devil in the streets of the other realm, indicating how the environment there was fit to be compared to hell. In addition, he is looking down, meaning that the other side exists not on the same level as his day realm. "And you, Capernaum, will you be exalted to heaven? You shall be brought down to Hades." (Luke 10:15). The verse above states the sinner’s fate of going down to the fire pit, portraying it being lower than the heaven’s palace. Just as Sinclair feeling himself be higher that the Devil in the outside streets. "Then I saw an angel coming down from heaven, holding in his hand the key to the bottomless pit and a great chain." (Revelation 20:1). "And in Hades, being in torment, he lifted up his eyes and saw Abraham far off and Lazarus at his side." (Luke 16:23). Additionally, the next two verses give an even better representation of the positioning of the realms. To reach the pit, the angel must descend from heaven and the sinner situated in hell must look up to see the worthy. This fits quite well with the imagery Sinclair provides. His house, as concluded before (pg. 21), represents heaven in its nature, and he is one of its residents, contrary, the dark realm, as analyzed previously (pg. 22), displays the harsh atmosphere of the Biblical hell and the place to which the Devil was cast out. As such, Sinclair has the possibility to “look down” onto the bottomless pit and see the former angel, no longer allowed access to the heaven’s palace. Given all the indicators it would not be too far off to say that the two realms, day and night, introduced by Emil Sinclair, are certainly allusions to the Bible’s heaven and hell, respectfully. Nevertheless, despite the not so appealing imagery of the dark realm, Sinclair, in example 6, still displays an interest in it by calling it intriguing and full of mysterious things. The Bible does not have 23 descriptions of the fiery pit being tempting in anyway, and rightfully so. However, Sinclair sees it as so, going as far as calling the light realm dull and uninteresting (Hesse 1919, pg. 2). This is the first foreshadowing of his encounter with someone that could take up the role of the Devil in the course of future chapters of the book.

A Place of the First Sin and the Gates of Heaven

Emil Sinclair’s curiosity of the realm different from his own started a chain reaction, which inevitably changed his life. It begins quite innocently, while playing after school with his friends and meeting a kid who comes from the “dark” side. Although, it is not entirely Emil’s interest in the night realm that pushes him over, but also fear of the boy from the other side – Franz Kromer; nevertheless, the fact that Sinclair wished to be accepted or approved by Kromer still stands (Hesse 1919, pg. 3). Coincidently enough, the story with which Sinclair chooses to win over Kromer involves a garden and stolen apples – much like the first sin of man depicted in the Bible. 9) In a garden near the mill, I said, together with a friend, I had stolen a whole sackful of apples one night, and by no means ordinary apples, but apples of the very best sort. (Hesse 1919, pg. 3) A garden with no description – be it of the orchard or its surroundings – seems like an everyday common garden that cannot be connected with Eden of the Bible. However, that is not the case as the presence of a mill can provide more detail. "Then the angel showed me the river of the water of life, bright as crystal,<…>; also, on either side of the river, the tree of life with its twelve kinds of fruit, yielding its fruit each month.<...>"(Revelation 22:1-2). Biblical Garden of Eden is in fact a simple garden with many trees that yields bountiful of fruits and has a river flowing past it (Genesis 1:11-20). Since there is no river mentioned in example 9, it would be easy to argue that there is no relation between the two gardens. However, the mill can be used to argue the statement. There are many different types of mills, of course, but considering no specification given in the novel, it is possible to make it a water mill. Water mills are generally built with the intention to use a river to power them, as such placing a river near the garden where, supposedly, Emil Sinclair had stolen the apples. The Garden of Eden houses the river of life, just as the garden in Sinclair’s story.

24 Nevertheless, the tree of life mentioned in the verse above is not the tree from which a forbidden fruit was taken. It was that of knowledge. Still that can be explained by the Bible. "And out of the ground the Lord God made to spring up every tree that is pleasant to the sight and good for food. The tree of life was in the midst of the garden, and the tree of the knowledge of good and evil." (Genesis 2:9). As shown above, both trees are situated in the same garden of heaven, signifying that the place of the stealing incident can still be correlated to Eden. In example 9, Sinclair notes of being not alone, but with a friend. It seems quite coincidental how the boy uses an indefinite article a, making only two people the doers of the act. The Biblical incident of stealing from Eden’s tree also involved only two people: Adam and Eve (Genesis 3:17). The environment and the number thieves further increase the possibility of Sinclair’s lie being an allusion, a recreation, of the original sin that resulted in the banishment from paradise. Concerning the fruit which Adam and Eve took from the tree of knowledge, the Bible does not give it a name. "The vine dries up; the fig tree languishes. Pomegranate, palm, and apple, all the trees of the field are dried up, and gladness dries up from the children of man." (Joel 1:12). As by the offered verse, since the garden of heaven was filled with fruit, any of them could be the fruit of knowledge. Among them are apples, which in Emil’s story were mentioned. Otherwise, there is no way to certainly say that apples were the ones taken in the original sin. However, Sinclair does point out that they were not ordinary, but the best of its kind, which leads to another verse from the Bible. "Then the Lord God said, “Behold, the man has become like one of us in knowing good and evil. Now, lest he reach out his hand and take also of the tree of life and eat, and live forever—”" (Genesis 3:22). Among all fruits produced in the heavenly garden, the mentioned two – fruit of knowledge and fruit of life – are noted to have effects after consumption. Additionally, only their respective trees were forbidden, being touched or eaten, from the arrival of Adam and Eve (Genesis 3:3). That alone could classify the fruits as being “of the very best sort” (Hesse 1919, pg. 3). However, in addition, as the Biblical verse suggests, the fruits bear power of ultimate knowledge and life, raising their consumer on the same level as God. The special effects and limited access of the product makes them fairly unrivaled in Eden, despite of the possibility of having other fruit with the same physical appearance or classification. Nevertheless, it would not be a mistake to say that the apples Sinclair got hold off could be from the tree of life and not knowledge, as again the Bible does not name the fruit it bears, however,

25 seeing the similarities between the miller’s garden and Eden, the transgression committed point to the mistake of Adam and Eve, hence the apples correlating to the fruits of knowledge, not life. Emil Sinclair, a boy from the light realm above, tells a story of a crime he did not commit, in a place that stands like Eden; the crime itself – an allusion to the first sin resulting in banishment from heaven. By all means, Sinclair was not without flaw and did quarrel with his sisters (Hesse 1919, pg. 2), however, he did not stray from the word of God prior to the lie, at least as much as the story tells us. Meaning that, the story the boy told was his first sin, much like in the story he himself described. The repercussions of this sin separated Sinclair from his realm. He was no longer able to go upstairs, back to heaven, and was trailed by darkness everywhere he went (Hesse 1919, pg. 6). Emil Sinclair’s supposed crime in the garden brought forth his “fall”, much like Adam and Eve’s in the Biblical Eden. Following the events of the lie that brought misfortune to Emil Sinclair’s life, he with some help from a new friend, Demian, manages to come back to his parents side; although, because of the previous connection to the night realm and somewhat the influence from Demian, Sinclair stays wandering in between the two worlds. After being sent out to a boarding school, Sinclair for the first time felt truly disconnected from his childhood heaven (Hesse 1919, pg. 33 – 34). One evening Sinclair ends up in a town park. The park he sees is desolate yet still calling him to enter its grounds. 10) “<...> the path lay thickly carpeted with fallen leaves which I stirred angrily with my feet. There was a damp, bitter smell, and distant trees, shadowy as ghosts, loomed huge out of the mist." (Hesse 1919, pg. 34) Its description is quite negative. Trees are bare, leaves covering the path. Sinclair even depicts the unpleasant smell in the air. The park appears dead. Granted, it is the beginning of November, a time when the world starts to fall asleep for the upcoming winter. Moreover, Sinclair’s emotional condition is on the lower end of the spectrum (Hesse 1919, pg. 34). However, a question rises if this park could not represent the current state of Eden from which Sinclair departed. He lived in a bright place, as shown in example 3 (pg. 19), following God’s grace (example 4, pg. 20), hence was allowed in the Garden of Eden. However, after the lie, he began drifting farther from his heaven as mentioned before. The garden became inaccessible to the sinner. Sinclair “killed” the prosperous Eden with his mistake, hence why he views the park he entered – dead. Sinclair still reminiscences of the childhood home and the pure garden he comes from, understanding, that he cannot go back there (Hesse 1919, pg. 36). Eden stands behind a locked gateway. The stolen fruit of knowledge gave him God’s promised insight on good, the light realm he was familiar with, and the bad, the loneliness and isolation from heaven (Hesse 1919, pg. 38). Emil creates a forsaken feeling, by stating the presence of a mist in example 10, referring to both – his abandonment of Eden and God’s deserting of him. 26 Ordinarily, the park would not raise any correlation to Eden and the gloomy description of it could pass as a result of Emil Sinclair’s bad mood. However, because of a certain meeting with a young woman Beatrice in the same park, Emil drastically changes. The meeting takes place in spring, a time when new beginnings start, contrary to autumn signifying the beginning of the end. Sinclair does not give any imagery on how the park looks at that moment or after he had a glimpse of Beatrice. Nevertheless, a drastic change can be seen in the way he begins to see the world. Instead of feeling wretched (Hesse 1919, pg. 37) Sinclair feels a sudden urge to worship and admire (Hesse 1919, pg. 39). He is yet again given life and a chance at redemption that will give him access to the garden of heaven. Moreover, as stated before (pg. 25), there stands a tree of life in heaven’s garden, although only hinted at the ability to bestow eternal life (pg. 25); it could also be able to grant a new chance at life. Additionally, if this meeting in the park, which represents Eden, expresses God’s willingness to forgive, it paints an ironic picture since in the first place the transgression in the Garden of Eden was what influenced Sinclair in abandoning God. And yet here he is, in the same garden receiving another chance to start anew. After receiving the first sign in, what supposedly is the Garden of Eden, Emil for a short while returns to following God. However, since he has not yet fully returned to the heavenly realm, Demian manages to pull Sinclair back to his side. At that moment, another sign beckoning Sinclair to return to the righteous path appears before him. It found Sinclair in a form of organ music, more specifically – Bach’s (Hesse 1919, pg. 49). Emil is familiar with the composer as he had listened to his work in his child years, while in the light realm (Hesse 1919, pg. 29). Bach is famous for his many arrangements that display his devotion to God (Maitland 1911, pg. 154). Following the music Emil ends up near a small church on the edge of a town (Hesse 1919, pg. 49). The church’s door was locked. A church, according to an online etymology dictionary, represents the house of God (Online Etymology Dictionary, 2020) hence heaven that is currently locked to Sinclair. Therefore, heaven called for him to revive his fate with songs as a prayer (Hesse 1919, pg. 49). First, God sent a message temporary inviting Sinclair into Eden – it did not work out fully, however, Sinclair did regain a dash of fate. This time Sinclair is invited to listen to prayers outside of the heaven’s gate to reinforce his fate. 11) The church was almost completely dark, only a very thin beam of light penetrated the window closest to me. (Hesse 1919, pg. 49) Seeing that Emil was on the fence about his beliefs and life (Hesse 1919, pg. 49), he most likely did not see heaven clearly, hence why the church for the most part was dimmed. However, a beam of light did reach him. A call from God aimed as closely to Emil as possible; an indication that he still had a place in the higher realm if he chooses to return. 27 "And I tell you, ask, and it will be given to you; seek, and you will find; knock, and it will be opened to you. For everyone who asks receives, and the one who seeks finds, and to the one who knocks it will be opened." (Luke 11:9-10). The Bible verse states to ask for entrance and knock on the gates of heaven to be given access. Sinclair in that moment did neither of the two options, which is probably another reason as to why the church doors were closed. Nevertheless, the light from the window indicates that if he chose to do so he would have been granted permission and be forgiven for his mistakes. At one point, the doors had been left open (Hesse 1919, pg. 49), perhaps an indication that Sinclair should not be afraid and enter. The church exists as a bridge to the true heaven, acting like a gate, waiting for Sinclair’s request to open. Both supposed gardens granted him the fruit of knowledge and the fruit of life – belonging only to Eden – further proving their role as the gardens of heaven. The church called Sinclair with its prayers, beckoning him to knock on the door and in turn the gates of heaven. Both environments stand as guide leading back to paradise, something that Sinclair misses a lot (Hesse 1919, pg. 36). In fact, Sinclair does end up back in Eden, although it might not be the same as in his childhood.

The False Paradise

During the time frame of Emil Sinclair receiving a chance at redemption (pg. 27) and his gradual approach to the gates of heaven, he hears a call of a different being than God. As noted before (pg. 26), Sinclair is stuck wandering between the two realms – day and night – trying to find a path home. Yet again following his friend Demian, Sinclair finds himself in a place that undeniably looks like paradise. Max Demian’s house, much like the Eden analyzed before (pg. 24), shares a lot of similarities with the Biblical paradise. However, unlike with the garden from which Emil stole the apples (pg. 24), Demian’s house is straightforwardly said to be in “a garden by the river” (Hesse 1919, pg. 70). Tall trees decorated the front (Hesse 1919, pg. 71) and the back of the house, the garden continuing some distance along the river (Hesse 1919, pg. 73), even the inside of the house was decorated with live vegetation (Hesse 1919, pg. 71). Certainly, the setting looks much more like the lush Eden described in Genesis 2:9. However, some details raise a slight suspicion about the true nature of Demian’s house. 12) "I looked around and at once was swept into the middle of my dream." (Hesse 1919, pg. 71) After walking into the house, Sinclair feels like he is dreaming. It is breathtaking and everything he ever wanted. For someone, who was born and lived in heaven, Sinclair does not mention any

28 resemblance between the two places. Granted, as mentioned before (pg. 21), heaven is tailored according to a person; however, it still keeps some similarity to God’s palace to remind of his presence. Sinclair’s comparison to a dream might suggest the house’s look being created by his own imagination or by someone who wishes to gain his trust by offering the place he desires most. 13) "<...> I felt joy and pain as though at this moment everything I had ever done and experienced returned to me in the form of a reply and fulfillment." (Hesse 1919, pg. 71) Upon entering, Emil feels forgiveness, much like he would from God if he returned and asked to atone. However, the one that shows mercy to Sinclair for what he had done is not God, but as later revealed to be Demian’s mother – Frau Eva (Hesse 1919, pg. 72). Moreover, Emil Sinclair has his whole life played out before him as he stands in the corridor of the house (Hesse 1919, pg. 71); something that is commonly said to occur during near death experience. Till this point, all places sharing similarity to heaven were, presumably, situated in the “real” world, which is why saying that Sinclair died without himself noticing is a little stretched. Although, not denying its impossible nature, Sinclair does experience new things till the end of the book. If the detailed recollection is not due to death, another possibility of it being drawn out in a dream is present. This idea, however, does not have any scientific proof making it more of a fantasy than anything. Nevertheless, the same could be said about the strange mental connection between Sinclair and Demian, and later on Frau Eva. Having Sinclair in a state of unconsciousness, like a dream, placing him in a place of his desire and forgiving all his sins would surely gain the trust of the character. 14) "He was standing in an open summer house, stripped to the waist, punching a suspended sandbag." (Hesse 1919, pg. 74) Another detail that raises suspicion on the credibility of Demian’s house being heaven or belonging to a part of it is the act of boxing. As Emil sets out into the garden to find Demian, he sees him training. Violence, as previously stated (pg. 21), is nonexistent in the light realm. Of course, Demian is only punching a sandbag for training, so technically that could not be considered as such. However, this way of training is a preparation for the “real” fight, hence it being a less destructive mock battle. Nevertheless, less destructive does not mean that it is void of the violent aspect of the sport. Considering that no cruel acts are being done or allowed in the higher realm, there should be no reason for someone to even consider training in the sport. Yet Demian is doing just that – visibly breaching one of heaven’s laws. Additionally, although a small nuance, the fact is that the “ruler” of this paradise for which Demian’s house stands, is a mother. The one ruler that the Bible mentions is God – the Father (John

29 14:2). Even the holy mother Mary who gave birth to Jesus is only a magnification of God (Luke 1:46 – 47). This shows that the current Eden to which Sinclair found a path to is different from the one in heaven. Externally, Demian’s house is like a perfect representation of the Biblical Garden of Eden – full of beautiful vegetation, a river streaming through the garden and peaceful like a dream. Certainly, it does sound better than the previously analyzed gardens (pg. 24 – 27). However, fundamentally, the rules governing this place as if contradict to those of the “real” paradise – God’s presence is scarce, acts close to violence are committed and the ruler is, in a way, displayed in an opposite form. Sinclair calls it a dream (Hesse 1919, pg. 71) and honestly it might be just that; A perfectly tailored imaginary world – a false paradise – for the sole purpose of gaining complete trust of Emil Sinclair and taking him somewhere far from God’s grace.

The Characters

The Serpent

Emil Sinclair’s initial interest in the night realm brought him new and sometimes unfortunate meetings. The first one being Franz Kromer: a tailor’s son with a bad family name and equally bad manners (Hesse 1919, pg. 3). The boy, or rather a man as his manners fitted the category in Sinclair’s eyes, had Sinclair submitting from the very first meeting (Hesse 1919, pg. 3). Emil Sinclair had been caught by someone or something, transforming his life into a kind of torment. The meeting between the two resulted in Emil Sinclair’s “first” sin – the supposed stealing of apples (pg. 24). Franz Kromer was the initiator and the cause, much like the serpent in the heaven’s garden who caused the fall of man by having him eat the forbidden fruit. 15) "I kept quiet and yet was afraid I'd be noticed, that my silence might particularly incur Kromer's wrath." (Hesse 1919, pg. 3) 16) "I looked at him, terrified." (Hesse 1919, pg. 4) As someone who met Kromer on the same day, Sinclair was instinctively afraid of him. Granted, Franz Kromer did live in the night realm, full of sinners and violence, as analyzed before (pg. 22), and that does change a person's presence. Kromer seems to radiate dislike and intimidation.

30 "And another sign appeared in heaven: behold, a great red dragon, with seven heads and ten horns, and on his heads seven diadems." (Revelation 12:3). In the Bible, the devil goes by many names; however, he is always described as a giant serpent or dragon. Without trying, the devil can impose great intimidation with its seven headed form, given the imagery in the verse above, much like Kromer, who had Emil on his toes from the beginning. Granted, Kromer does not possess multiple heads, he is however much bigger than the other kids (Hesse 1919, pg. 3), which could be seen as a similarity to the devil’s giant dragon form. "Then the dragon became furious with the woman and went off to make war on the rest of her offspring, <...>" (Revelation 12:17). In example 15, Sinclair is aware of Kromer’s wrath despite actually seeing it in the first place. It is not clear if Franz is just bad at concealing his malicious side or Sinclair already knew who he was dealing with. As suggested by the verse, the devil is a fierce and cruel creature and if cornered by it will not show mercy. Similar personality traits Sinclair also observes in Franz Kromer. Additionally to the violence aspect in examples 15 and 16, Emil senses no mercy and evil intent without any openings to escape after being caught by Franz (Hesse 1919, pg. 4). 17) "The devil held me in his clutches, the enemy was behind me." (Hesse 1919, pg. 7) After having a one on one conversation with Kromer, Emil Sinclair appears to realize that he had made a deal with the devil (Hesse 1919, pg. 7). As stated before (pg. 30), Sinclair had already had a bad feeling about Franz Kromer, however all too late he saw his mistake. "Be sober-minded; be watchful. Your adversary the devil prowls around like a roaring lion, seeking someone to devour." (1 Peter 5:8). The Bible warns to stay levelheaded in the face of the serpent; however, Sinclair was blinded and acted out of fear for Franz which landed in him being caught. The serpent waits for an opportunity to “pounce” and by the example 17 Sinclair has lost the game to Kromer. Moreover, Franz appeared to enjoy the torment inflicted on Sinclair, as if playing with a new toy (Hesse 1919, pg. 5 – 6) and since Emil is already caught, Kromer can “use” him until “devouring”. 18) "Next morning <...> I looked sick. When she asked me whether anything was wrong, I vomited." (Hesse 1919, pg. 8) After the events with Franz Kromer, Emil falls sick. Considering the probable stress that he received out of fear and realization of his big mistake, it is no wonder that the boy’s health took a hit. However, coincidently, sickness to those who had a run in with the devil or unclean spirits, another name for demons, in the Bible is a common reoccurrence.

31 "The people also gathered from the towns around Jerusalem, bringing the sick and those afflicted with unclean spirits, and they were all healed." (Acts 5:16). In the Bible verse above Jesus Christ is healing the sick and afflicted, both of these are separate elements, yet, whenever a person comes for healing, they seemingly also bring the tarnished spirits within. That situation, nevertheless, could most likely be explained by saying that the spirits target the already weak and do not necessarily cause the illness. However, the following verse can fortify the idea that the demons are, in fact, the cause of health issues. "Then a demon-oppressed man who was blind and mute was brought to him, and he healed him, so that the man spoke and saw." (Matthew 12:22). As stated, because of the demon the man had lost the ability to see and speak, meaning that till the time the demon started to occupy the body, the man was in good health. Seeing as the malicious spirits have the ability to hinder the body, the devil becoming one of them also can influence the well- being. Since Sinclair’s health went down after being “captured” by Kromer, who displays the serpent’s characteristics, it would not be too far off to assume that Kromer is the serpent of heaven. 19) "<...> before I forget it, you might bring your sister along the next time, the older one, what's her name." (Hesse 1919, pg. 16) Additionally, to all the monetary requests Kromer, at one point, asks Emil to bring his sister as a “payment”. Sinclair notes how the exchange between the two went differently than always. Where Kromer would use fear and mockery to get the most out of Sinclair, this time he was almost friendly (Hesse 1919, pg. 17). The sudden change of character seems like a tactic to lower Emil Sinclair’s guard to reach the desired goal. Such play ties in with the devil’s personality of speaking out of character when lying (John 8:44). Moreover, the Bible speaks of sacrifices consisting of sons and daughters to the demons (Psalm 106:37) and as stated before the devil is also considered as belonging to the same species. Although, in this case Sinclair is the one who has to deliver the sacrifice as he is the one in Franz Kromer’s hands. Given that Franz Kromer influenced Sinclair into “stealing” the apples – fruit of knowledge (pg. 24) – just as the serpent of heaven did with Adam and Eve and the characteristic similarities with descriptions of the devil, additionally to the fact that Emil himself gives him the image of such (Hesse 1919, pg. 7), it would be possible to pronounce Franz Kromer as the serpent or at least an allusion to the Biblical devil.

32 The False Prophet

During the ordeal with Franz Kromer, Emil Sinclair catches the attention of a peculiar new face in the school – Max Demian. Demian is one of the important characters, if not the most, considering one of the names the novel goes by is “Demian”. The boy first appears wearing a mourning band and, likewise to Kromer, does not exclude an air of a child; however, it is also not an air of a man, but a gentleman (Hesse 1919, pg. 11). Despite the slight dislike to the newcomer, Sinclair seems to be in a way drawn to the new kid (Hesse 1919, pg. 12). Still unknown to the young Emil, Max Demian will become a core essence in his life, for better or worse. Max Demian’s role correlates to that of a guide and a leader showing a better future. Nevertheless, following his instructions Emil ends up in a not so “right” place (pg. 28), raising the suspicion of Demian being not who he pretends to be. In the Bible, those who teach the people about God, leading them to paradise, are prophets or messiahs. As Max Demian fundamentally carries out the same function, the title of the prophet could be bestowed to him. Yet, noting the destination, it seems that the goal is different from granting God’s grace, hence him being a fake (Deuteronomy 18:20-22). In such essence another title from the Bible might fit Max Demian better – a false prophet. 20) "<...> his manner and bearing was that of a prince disguised among farm boys, taking great pains to appear one of them." (Hesse 1919, pg. 12) Even without having a conversation with Max first, Emil had the impression that the boy did not belong amongst them. The attempt at blending in and posing as part of the crowd is necessary for one to gain trust. Acquiring trust will aid in his spread of lies and since the false prophet wishes for others to believe his words, the attempt at displaying similarity is needed. "And no wonder, for even Satan disguises himself as an angel of light. So it is no surprise if his servants, also, disguise themselves as servants of righteousness." (2 Corinthians 11:14-15). As the Bible verse suggests, the devil is known to change appearances to get results. That is also transferred to those who follow it. Since the false prophet speaks of words that came not from God (Deuteronomy 18:20-22), the opposing force left, to which the prophet might belong, is the one ruled by the devil. Max Demian’s effort to disguise to seem “normal” suggests the need to hide something, additionally to gaining trust. Granted, it might be a simple secret; however, Emil does note him “taking great pains to appear” (Hesse 1919, pg. 12) as others and, in all honesty, hiding one’s connection to the darker side so as to get closer, would seem as something that would require quite the effort.

33 Max Demian’s cunning nature comes into the light not soon after he had bonded with Sinclair through a different interpretation of the Biblical tale of Cain and Abel (Hesse 1919, pg. 13 – 14). He had offered an explanation that showcased Cain as the victim of a misunderstanding and fear from those around him. Demian managed to put doubt in Emil’s belief with a single recreated story (Hesse 1919, pg. 14). It is later revealed that the interpretation is used by followers of the devil that wish to pronounce God as the fake (Hesse 1919, pg. 22). Another instance of Demian’s ability to get what he desires with words is the information on Sinclair’s troubles, specifically Kromer. Demian thought a simple “experiment” manages to dig out the secrets Emil tried to hide (Hesse 1919, pg. 19). Seemingly ordinary encouragement as “go on” (Hesse 1919, pg. 18) and questions about the name or grade (Hesse 1919, pg. 19) end up being a kind of manipulation tactic to reaching a goal. Demian himself remarks about wishing that next time Sinclair would give up the information willingly (Hesse 1919, pg. 19), insinuating that he had controlled the boy in some way. In the Bible, the devil is noted to have the gift of speech, as he had persuaded to eat the forbidden fruit (Genesis 3:1-24). Additionally, Kromer, standing as the devil in the novel, used bargaining in his deals with Emil (pg. 32). As noted before, the servants of the devil share some abilities with the ruler, hence Demian’s power of speech and manipulation. Nevertheless, as opposed to Franz Kromer’s violent intimidation, Max assures Sinclair that he would not use the former’s way (Hesse 1919, pg. 19). However, the statement still holds the suggestion that another way of control will in fact be adopted, most probably a way involving blending in and using trust, traits that Max Demian had already displayed. Much like Kromer, Demian was still in a way a tempter (Hesse 1919, pg. 22). 21) "If there's no other way of doing it, kill him. It would impress and please me if you did! I'd even lend you a hand." (Hesse 1919, pg. 20) Another point that puts Max Demian as someone not following God is his support of violence. After discussing on a way to free Sinclair, Demian’s easiest conclusion is to use violence. Granted, killing would in fact be the easiest and fastest way, however it comes at a price of ending up in hell, as presented before (pg. 22) heaven does not condone extreme force and possessors of the sin end up in the pit (pg. 22). To show the support, he goes to even offer his aid in the treason. One of the Bible verses warn about the “destructive heresies” brought upon by false prophets (2 Peter 2:1). Additionally, impression and pleasure to Demian would most likely come from Sinclair’s willingness to succumb and follow the devil rather than God, despite Max only just starting to “convert” the boy. 22) "<...> suddenly he became distracted or uneasy, pulled at his shut collar, stepped up to Demian, who was looking him directly in the eye <...>. But he turned away again, cleared his throat a few times, and then called on someone else." (Hesse 1919, pg. 26) 34 Furthermore, continuing with the idea that servants of the devil share his abilities (pg. 33); Demian displays a rather powerful force of intimidation presented in example 22, allowing him to bend even a pastor of a confirmation class. A pastor teaches of God’s word; still he does not come into direct contact with him and does not display any gifts from him, like Jesus and his power of healing (Matthew 12:22). A fake prophet, however, possesses skills to perform miracles on par with the true prophets (Matthew 24:24). Additionally, as mentioned previously (pg. 31), the devil’s dragon form carries strong pressure and if Demian managed to channel a part of it in the instance of example 22, it would be no wonder that the priest had retreated. After all a simple mortal could not do much against the heaven’s former dragon. 23) "But you have the sign. <…> We used to call it the mark of Cain earlier on -- if you can still remember. It's our sign. You've always had it, that's why I became your friend." (Hesse 1919, pg. 68 – 69) From the beginning, just as Emil was drawn to Max, he too had been a person of interest to the supposed prophet. One of the mentioned false messengers in the Bible serves the first beast that had risen from the sea and received the authority of the devil (Revelation 13:11-18). The prophet speaks like a dragon, presumably a comparison to the devil, meaning he is versed in the spoken tongue, much like observed in Demian (pg. 34). Those who are marked with a sign of the beast or Cain, as Demian refers to and in a way hints at having in example 23, are followers not of God, but the beast. Emil Sinclair, however, only followed the devil, Franz Kromer, yet as the first beast had received the authority of the heaven’s former serpent, the devil – as the originator of the first beast – also possesses the power of bestowing the mark. Had it not been for Sinclair’s first sin (pg. 24) he would not have caught the eye of the fake prophet Max Demian. From first glance Max Demian appears to be an intelligent young boy, however looking into his way of speech and word usage, he is much more than that. The need to blend in with other kids of the heavenly realm dictates him not belonging to it. His stories which contradict with the church's teachings try to knock down God from his pedestal. Moreover, the encouragement of violence and ability to cunningly construct a conversation so it would lead to his desired answers is shared with the imagery of the serpent in the Bible. The fact that Demian also bears the mark places him as one of the followers of the first beast and the devil. These quirks point at Max Demian’s character as being the false prophet connected to both the devil and the first beast. Although, Demian does act as an enemy to God by planting doubt and tempting Emil, he still wishes to teach Sinclair about the other side and effectively, by his own volition, make him a part of the first beast’s followers.

35 The Tree of Life and the Advisor

Despite not having a proper appearance Beatrice had a strong impact on Emil Sinclair’s mental well-being. Their meeting in the Garden of Eden (pg. 27) had shed light on the now young man Emil. Although, Sinclair compares her to Dante’s Beatrice (Hesse 1919, pg. 39) who, according to Lansing (2000), represents divine revelation, faith in God and his grace (Lansing 2000, pg. 93), she seems to also represent a more “divine” concept of heaven. Much like with the situation of the false paradise where Sinclair ends up at the end of his wandering (pg. 28), Beatrice’s image is created according to his preferred type (Hesse 1919, pg. 39). An idea could be proposed that Beatrice too wishes to deceive Sinclair by adopting such image, nevertheless the message Emil receives steers him to a path of redemption. As such, Beatrice’s appearance exists to catch the eye of the man, which it does (Hesse 1919, pg. 39), to deliver God’s grace. It would then be possible for her to mold into a different type if the person fancies another. In essence, Beatrice as a person does not possess a form. Emil Sinclair had met Beatrice in what seems to be Eden (pg. 27), in such case, there is a possibility to relate her to Eve – the only woman in heaven’s garden. The Bible has no description on Eve’s appearance so she could look like Sinclair’s imagery of Beatrice. Nonetheless, Eve is no longer a habitant of Eden, as both Adam and Eve were chased from there by God for the same transgression committed by Emil (pg. 25). At the point of their meeting, as noted previously (pg. 26), Sinclair had not seen the point in life. The act of granting life to Sinclair is what essentially reveals Beatrice’s true nature. She is the tree of life that resides in the heaven’s garden in human form. Sinclair had not come into contact with her nor spoken any words to her (Hesse 1919, pg. 39), learning from the experience to heed God’s word of not touching the tree of life. He had not eaten the fruit, hence why he did not become immortal; however, since the fruit had such power, the tree’s presence itself could most likely exclude a part of its life energy to those around without direct consumption. Emil had been revitalized. Additionally, Beatrice awoke Emil Sinclair’s adoration (Hesse 1919, pg. 39), however not to herself per se, but to God and life. His life had again become rich and he had been granted access to a holy shrine (Hesse 1919, pg. 39). As analyzed before (pg. 27), previously unable to enter heaven’s garden, Sinclair through Beatrice was granted the chance. Beatrice in a single meeting with Sinclair provided him with every chance to start anew. Her relaying of God’s message of possible redemption, bringing back the love for life and God, virtually

36 raises Sinclair from the ground up. If not God himself, the creator of life, accomplishes the feat, then the one capable should be Beatrice – the physical form of the tree of life. In the church which Emil had stumbled upon, the church that acts as the gates of heaven (pg. 28), the young man comes into contact with the organist Pistorius. In the whole novel, Pistorius among all the main characters appears to be the most ordinary one. Yet, he still played an important role in Emil Sinclair’s self-discovery. By the description of Sinclair, Pistorius was of a wild appearance, eyes proud and hostile, yet the lower part of his face held qualities of a child (Hesse1919, pg. 50). He does not seem to be a part of the clean and orderly heaven (pg. 19). Yet, Pistorius sits with a wine jug before him (Hesse 1919, pg.). To the followers of God, wine is a symbol of the blood of Christ, who had been sacrificed for the sins of man (Luke 22:17–20). He had also been the one to play the organ as if delivering a prayer (pg. 27). Despite the appearance, the organist does in a way display similarities to followers of God. Additionally, after finding out Sinclair had been sitting outside to listen to his musical prayers, he urges for the man to next time knock and enter (Hesse 1919, pg. 50). Just as presented before (pg. 28), the knocking on the door would have granted Sinclair access to heaven. This, in a way, seems like Pistorius is the gatekeeper of the heaven’s palace and he has deemed Emil Sinclair worthy of entrance and his appearance is just a disguise. Nevertheless, Pistorius is not a follower of God, thus he cannot be the gatekeeper. After offering Sinclair help in finding out more about a God named Abraxas – something he had learned from Demian – Pistorius invites the young man into a kind of fire ritual (Hesse 1919, pg. 52). Fire worship is not accepted in the Bible, as it states that there is only one lord – that is God (Leviticus 18:21). Additionally, Pistorius expresses his interest in many different Gods created by the people for themselves (Hesse 1919, pg. 52). Pistorius’ beliefs hold a similar idea to the God Emil is interested in. It is built on the fact that both the good and bad, God and devil, exist inside every person (Hesse 1919, pg.53). Certainly, that is not something a follower of God would believe in. By offering aid, Pistorius becomes Sinclair’s advisor on various matters. Be it on religion (Hesse 1919, pg. 53) or dreams and their meaning (Hesse 1919, pg. 54). Without trying to influence Sinclair’s thoughts, the organist stands as a guide pointing to a direction Emil Sinclair is interested in and allowing him to find his own conclusion. As such, Pistorius’ character is a neutral existence in regards to others, whilst keeping his own convictions and morals. He also does not possess, at least easily visible, allusions to the Bible making him, quite literally an ordinary character, nonetheless, his influence on Sinclair’s development to that of previously discussed characters.

37 To Emil Sinclair the organist is not someone he needs to follow nor for Pistorius to keep under his wing. They both are acquaintances who enjoy a meaningful conversation where they can speak their mind. Pistorius, as someone who is more “experienced” in life, provides insight on different maters, yet does not look to sway Sinclair to his side. As such the role given to Pistorius is apparent to be that of an advisor in Emil Sinclair’s journey, with no connection to Biblical figures.

Babylon the Great

The arrival at Demian’s house introduces the final character in the novel – Frau Eva. She, as mentioned before (pg. 29), is the head of the house, which seemingly represents the fake heaven. Her image has been plaguing Emil’s dreams and mind even before he had any idea who she was (Hesse 1919, pg. 41). Frau Eva is Max Demian’s mother, and much like her “son” she is not someone who outright shows her true being. Together with Demian and Sinclair, Frau Eva too bears the mark on her forehead and in the Bible there is a woman described with such a mark, riding the first beast, called Babylon the Great. 24) "<...> the hair was not flaxen like that of my pretty girl, but dark brown with a reddish hue. <...> the mouth like a red flower." (Hesse 1919, pg. 41) In example 24 Sinclair had yet to know the owner of the face he had painted. Although, he had the intention of portraying Beatrice he ended up with a completely opposite image. Sinclair later realizes that the one who he painted in those years was Demian’s mother (Hesse 1919, pg. 71). Ordinarily, such color features are not strange, as there are natural hair colors that have a tendency to look as if two combined shades. Likewise, to the red mouth since red lipstick was already invented in that time period. However, that could also be the first indication to Frau Eva’s nature. "And I saw the woman, drunk with the blood of the saints, the blood of the martyrs of Jesus. When I saw her, I marveled greatly." (Revelation 17:6). The Bible’s description of Babylon the Great does not go into detail of her appearance. However, as in the verse presented, she is shown to enjoy the blood of the followers of God. The enjoyment dictates her, presumably, numerous killing of the saints effectively painting her as someone swimming in blood. In such an occasion Babylon the Great would have her whole body red, including the hair, which if in fact as dark as presented in example 24, would produce a reddish hue if hit by a source of light. Additionally, the Bible verse displays her drinking the said blood, which again, if done and not rinsed

38 would paint her mouth red. As described by Sinclair in the example 24, the mouth was red and not the lips; moreover, assuming the reference to the flower also indicates the shape of the mouth, her mouth is open, presenting the aftermath of drinking the saints’ blood. From the first direct meeting Emil Sinclair is taken by Eva’s being, essentially giving himself to her. That is illustrated by Sinclair “drinking” up her voice like wine (Hesse 1919, pg. 72 – 73). As mentioned before (pg. 37), wine to believers of God represents Christ’s blood and is drunk to show faith. However, in the case of Babylon the Great, the Bible mentions her intoxicating the kings with wine of “sexual immorality” making them her followers (Revelation 17:2). Sinclair’s way of worshiping Frau Eva is seemingly the opposite of Beatrice. Whereas Beatrice introduced purity (Hesse 1919, pg. 40), Frau Eva released the man’s desire; prompting Emil to kiss the objects she had contact with (Hesse 1919, pg. 77). Much like the kings in the Bible, Sinclair is drunk, yet still leaving him desiring for more. 25) "I dreamed that the whole world was in turmoil <...>. The face of fate remained obscured but somehow bore the features of Frau Eva <...>." (Hesse 1919, pg. 76) After joining the “cult” of Frau Eva, Sinclair had started to have a feeling of impending doom, noting that every member had the same feeling (Hesse 1919, pg. 75). Frau Eva’s influence on Sinclair had been so strong that he felt his dreams were also affected by her (Hesse 1919, pg. 76). As shown in the example 25, the dreams were starting to display the world in chaos. The opposite feeling to what Eva gave off in person (Hesse 1919, pg. 76). Be it not for the fate’s resemblance to Eva, the dream could stand as a warning of what is to come. However, it is Frau Eva playing the role of fate making her the originator of the turmoil; as such the dream is rather a prophecy or her desire for destruction, since she might have had an influence on it. Similar visions are followed by the dream, until it came to be. After a sudden deployment into the frontlines of what appears to be the First World War, Sinclair witnesses Frau Eva’s destruction. During a night watch, the clouds that Emil Sinclair observed turned into a city. Frau Eva’s figure, hovering above it like a mighty God, had swallowed the people whole. The mark on her forehead, the mark of Cain, the mark of the first beast, sent a ray of stars down to where Sinclair stood, bringing annihilation in their wake (Hesse 1919, pg. 85). The image of Frau Eva brought not life, but death. "<...> Fallen, fallen is Babylon the great! She has become a dwelling place for demons, a haunt for every unclean spirit, a haunt for every unclean bird, a haunt for every unclean and detestable beast." (Revelation 18:2). Emil Sinclair dubs Eva “a universal mother” (Hesse 1919, pg. 74), in a way that could establish her as Eve – mother of all humans. Although, she does inspire a calm atmosphere around her (Hesse 1919, pg. 76) that is only what she gives on the surface. As per the verse above, Babylon the Great is 39 also a mother – a universal mother to all that is opposed to God. Both Eve and Babylon the Great can give life; however, that life is quite different. Frau Eva, despite having a calming aura, brought Sinclair dreams of the end and violence, what is, yet again, against God’s creed (pg. 21). She is the mother of Demian, the false prophet; both bear the mark on their foreheads, a sign of those far from God, both promoting rules opposite of heaven in the false paradise they created. Much like Max Demian, Frau Eva’s character appears to be straightforward, acting like a supporting mother, friend and advisor to Emil Sinclair. Although, requesting signs that ordinarily would be associated with devotion to God, she spins them just past the limit, landing them at the side where they are considered sin. The mark on the forehead and her association with the false prophet puts her in a place near the first beast – a creature with devil’s authority whose goal is to dethrone God. Frau Eva is the universal mother of the creatures of the night realm riding the first beast – the Biblical Babylon the Great.

The Religion

In the novel “Demian” the first religion introduced is Christianity, the rules by which Emil Sinclair lives (Hesse 1919, pg. 1). Much like Hermann Hesse’s family (pg. 7), Sinclair’s is also devout to following God. Of course, that would be the case for those virtually living in heaven (pg. 18). Alongside this fairly known belief, however, the author introduces something different. As Max Demian enters the story, he opens up a door to Sinclair, behind which resides a belief comprised from both good and evil. Hesse does not specify what religion it is outright; however, he does offer the deity that stands at its core – Abraxas. This belief also does not seem to be completely opposed to Christianity, despite being whispered to Emil by the false prophet, since, Pistorius the small church’s organist (pg. 37) too shares this faith, even though he does not bear the mark like Emil and Max (pg. 35). It might suggest that Demian and Pistorius follow different branches of the belief of Abraxas. Given Hermann Hesse’s knowledge on various nationalities of the world (pg. 7) it would be safe to assume that he was also familiar with their religions. As such, there exists a possibility that the unnamed religion is the author’s creation. The first introduction of the belief happens during a sudden conversation with Demian (Hesse 1919, pg. 12). As mentioned before (pg. 34), Demian interests Sinclair in his interpretation of the Biblical story of Cain and Abel. In his story, Cain’s mark was a distinction that was inaccessible to others and,

40 hence, made them fear “the special one”. After the killing of Abel, be it a courageous act or not, those without the mark dubbed Cain as someone to be avoided as he had been touched by God (Hesse 1919, pg. 13 – 14). Such analysis on the story puts doubt and brings up a suggestion that the Bible is either not telling the whole story or is lying. Considering that Max Demian’s character represents the false prophet (pg. 34), the story is most likely meant to paint the Bible as a lie. Later in the story Sinclair’s father assorts this way of thinking to Cainites (Hesse 1919, pg. 22). Cainites are a part of Gnostic sect that believed God is a being preventing man’s reunion with the divine (Encyclopædia Britannica [EB] 1998). Moreover, they were deemed to have abandoned Jesus and searched for salvation by breaching God’s rules written in the Old Testament; rules, such as non – violence, which Max Demian is seen to break and encourage in Sinclair (pg. 29, pg. 34). Considering, that the whole premise of the false prophet reviewed previously (pg. 33) consists of denying God and his authority it does appear that the father of Sinclair had been exact in identifying Demian’s faith. Pistorius, however, acts differently in regards to expressing his faith. Despite not being a Christian like his family, he still holds the practice as respectable and, in a way, close to himself (Hesse 1919, pg. 52). The organist teaches Sinclair that humans in their body harbor everything that the world is made of, be it good, evil or divine (Hesse 1919, pg. 53). In Pistorius’ belief a human being is born from the moment he becomes cognizant of these aspects within (Hesse 1919, pg. 54). As mentioned above, Pistorius still keeps some connection to Christianity, more specifically Jesus Christ. Despite following Abraxas as the main deity, he regards Jesus as “an extraordinary shadow image in which humanity has painted itself on the wall of eternity” (Hesse 1919, pg. 56). The ideas presented appear to indicate Pistorius as a Basilide. Much like Cainites, Basilides belong to a branch of Gnosticism (EB 1998). Although not a lot is known about this specific branch as only fragments of their gospels have remained, it seems to follow the main Gnostic parts. Mainly, where knowledge is the key to reaching salvation and that Jesus is an example of how it can be reached by studying the scriptures (EB 1998), hence, why Pistorius regards him as extraordinary. Due to the lack of accurate knowledge of Basilidic belief it is difficult to truly say that Pistorius defines this branch, however, such conclusion had been reached because of its connection to Abraxas. Both Gnostic branches represented by Demian and Pistorius seemingly operate on opposite spectrums. Cainites – throwing their relation to the Bible and acquiring ascension through violation of God’s rules, whereas Basilides rely on a collection of knowledge, viewing Jesus as their ideal form worth reaching the divine. However, both of them believed in a true entity standing above the Biblical God (EB 1998). This God in the novel is deemed to be Abraxas (Hesse 1919, pg. 45). Abraxas, however, is only mentioned in connection to Basilides (EB 1998). Originally the name was used as a charm inscription 41 believed to harbor divine traits (EB 1998). However, with the forming of Basilides, the phrase had been reformed to represent the “supreme deity”. Since no other Gnostic belief mentions a name of their God, including the Cainites, it would be arbitrary for it to be present in the novel without a representative of Basilides; hence the decision to view Pistorius as one of them, since Max Demian is of the more “radical” branch of Gnostics. Besides Abraxas, there is another symbol that is repeated or referenced in both Demian and Pistorius’ faiths – a sparrow hawk and the act of flying. Max Demian’s awareness about a coat of arms that was painted over time and time again on an arch of a doorway of Emil’s house (Hesse 1919, pg. 12) might point to his keen observation skills, however, the specification that it is “a sparrow hawk” (Hesse 1919, pg. 12) hints at the bird’s importance to him. The picture painted by Sinclair of the same bird flying out of an egg mysteriously – the young man did not know Max’s address – finds its way to the fake prophet (Hesse 1919, pg. 44 – 45). Frau Eva later states their happiness at receiving such a gift from Emil (Hesse 1919, pg. 72). The same flying sparrow hawk is the one to “introduce” Emil Sinclair to Abraxas (Hesse 1919, pg. 45). Pistorius in his teaching informs Emil of the supposed existence of an air bladder which allows humans to fly like birds – an action accomplished by those who are ready to reach the divine (Hesse 1919, pg. 54 – 55). In the spiritual sense, the sparrow hawk flying out of a human represents an awakening of consciousness and ascension of the spirit, the hawk, to the stars (Weor 2010, pg. 66). The egg in Sinclair’s painting might, instead of a human, represent the world. In Demian’s belief it would stand for the successful escape from the “false” God holding them from reaching the divine, explaining the happiness of being gifted the image (Hesse 1919, pg. 72). Since the bird’s flying insinuates awakening, both sides, Cainites and Basilides, thus would treat flying as ascension and the ultimate goal of their belief, hence the hawk’s connection to the faith of Gnostics. Although, the execution of the belief could be considered quite the opposite, the religion exhibited by Max Demian and Pistorius stems from Gnosticism – a religion of the old. Hermann Hesse, instead of creating or using one type of belief, in his novel “Demian” employs lesser known branches, represented by two characters. Such division is, presumably, adapted not only to illustrate the variety that can develop from the same source, but to also define the characters and their approach to situations. Demian being a Cainite seeks to dethrone the Biblical God by force, whereas Pistorius – a Basilide – uses wisdom by idolizing Jesus. Nevertheless, both seek to rise like the sparrow hawk and unite with Abraxas.

Ideas Expressed by the Novel “Demian”

42

Despite having a number of allusions to the Bible and introducing the readers to lesser known form of belief Gnosticism and its branches, Hermann Hesse’s novel “Demian” is ultimately a bildungsroman. Such types of novels are meant to describe a character’s growth through lessons in the book. That being said, the same lessons could be employed by the readers themselves. As “Demian” possesses various and sometimes clashing ideals of accomplishing a goal (pg. 41) the ideas might become jumbled and harder to detect. In such a case, it might be advantageous to look into the author’s and his other creations for guiding. For finding, or at least trying, to discern the main lessons of the novel, Hermann Hesse’s perspective at the time of writing the book and his another work by the name of “Der Steppenwolf” might allow an easier insight on the ideas hidden behind Emil Sinclair’s growth story. Both of Hermann Hesse’s novels from the start are separated into two different worlds from which the characters come from – Emil from the light realm (pg. 18) and Harry from “another world” (Hesse 1927, pg. 7). At the same period, Hesse had been known to isolate himself from the outside world due to divorce and mental problems (pg. 8), which would explain the separation of worlds in the novels. However, despite this separation, the characters exist in both spaces, accepting and balancing the differences in them. Although, in “Der Steppenwolf” Harry does not succeed fully (pg. 9), whereas Sinclair does (Hesse 1919, pg. 77), both parties express the same idea. This idea consists of learning to welcome everything as a whole, rather than just seeing only black and white, since it is merely an artificial division of the entire world (Hesse 1919, pg. 30). Alongside the separation of the environment, “Demian” and “Der Steppenwolf” showcase the main characters’ attempts to find actions allowing them to be a part of the “normal” side. In Harry’s case it is accomplishment of mundane daily life errands to appear “human” (Hesse 1927, pg. 17). For Emil it was maintaining the perfect son’s image (Hesse 1919, pg. 22). In a sense, Hermann Hesse was also expected to be a good son and follow in his family’s footsteps of a religious path (pg. 7). However, by the looks of it, that is the opposite of what the books teach. One of Haller’s monologues express the difficulty for one generation to adapt to another, rising from the diversity and changes between them. Such split brings suffering to life according to the supposed Steppenwolf (Hesse 1927, pg. 15). “Demian” also possesses such an idea of differences between humans; however, being the predecessor of “Der Steppenwolf” it also provides the solution to it. By that, it conveys the need for peoples’ individuality, showing to find one’s own way of living rather than trying to become like everyone else (Hesse 1919, pg. 31). That is what Hesse himself did by becoming an author after trying out various jobs (pg. 8). Although the same solution can be detected in “Der Steppenwolf” too, it is much more directly stated in the novel “Demian”. 43 Still, perhaps the most important idea that Hermann Hesse wished to convey encompasses the whole book, be it “Demian” or “Der Steppenwolf”. As mentioned before (pg. 8), in time of writing “Demian” Hesse had been involved in psychoanalytic teachings, which are believed to have been the inspiration for it. As such, it is hard not to notice the theme of self-observation and self-study in the novels; Harry Haller’s journey of self-discovery with the help of Hermine who manages to show his inner thoughts and help him reach a “higher” state (pg. 9). The same happens with Emil Sinclair, having Demian and at a later time Frau Eva to guide him to freedom like a sparrow hawk (pg. 41). To become the best version of oneself and possess balance, it is necessary to be cognizant of the inner thoughts concealed inside the mind. This idea also encompasses the previously mentioned acceptance of both worlds and individuality. Reaching inside and finding what hides in the unconscious part of the mind and moving forward without fear should be the goal of the enlightened (Hesse 1919, pg. 65). That, however, does not mean that only the “intelligent” are able to accomplish this. Haller was an intellectual yet still failed in finding oneself even with the help of a guide (pg. 9), Sinclair, on the other hand, was naïve, however with ,mostly, Demian’s help managed to combine his different sides and become one (Hesse 1919, pg. 86). As such, through understanding and learning it is indeed possible to grow for the better by developing one’s mind and thinking. Ultimately, Hermann Hesse through “Demian” seemingly wishes to teach his readers how to develop for the better by acknowledging the differences of the world. However, in addition, to also accept them all as necessary and understanding that it is important to find individuality by doing what is acceptable to oneself. Such steps will aid in reaching the finest state of being, much like the divinity searched by Cainites and Basilides (pg. 42).

44 Conclusions

Through the analysis of Hermann Hesse’s novel “Demian” in regards to the Biblical symbolism in the story, the following results have been discovered: 1. As concluded, most environments and characters bear aspects of places and persons depicted in the Bible, apart from Demian’s house and Pistorius. The house does not allude to any environment existing in the Bible; however, it does bear resemblance to Eden on its surface. Pistorius, on the other hand, in character and abilities is not based on any Biblical persona or is in anyway an allusion to it. 2. As discovered, the unnamed religion from the novel “Demian” actually consists of two different and in a way opposing branches from one belief. Although, both belong to Gnosticism, they possess their own representatives and ways of dealing with situations. Hermann Hesse had used existing branches of religion – Cainites and Basilides – rather than creating his own faith for his novel. 3. Lastly, the aim of “Demian” is to encourage people to fully accept the world around them and find individuality instead of becoming like the “previous generation”. This will aid in finding one’s inner-self and increase the quality of life for the better.

45 Santrauka

Šiame baigiamojo bakalauro darbe bus analizuojamas Hermanno Hessės romanas „Demianas“, atsižvelgiant į knygoje pateiktus įmanomus Biblijos simbolius. Kadangi romane yra minimi personažai ir įvykiai aprašyti Biblijoje, kaip Kainas ir Abelis ir Adomo ir Ievos nuodėmė, įmanoma kad Hessė įtraukė ir paslėpė kitas aliuzijas iš Bibliniu istorijų. Taigi, pirmiausia, tyrimu siekiama atrasti ar personažai ir vietovės yra sukurtos pasitelkus Biblijos istorijas kaip jų pagrindą. Šiam žingsniui įvykdyti bus pasitelktas hermeneutikos metodas skirtas Biblijos tekstų interpretacijai. Antra, rengiamasi išsiaiškinti bevardės religijos, kuri yra demonstruojama dviejų knygos veikėjų – Demiano ir Pistoriaus – kilmę. Kadangi Hermannas Hessė buvo nusimanantis įvairiose tautybėse, yra įmanoma kad jis sukūrė specifinę religiją savo romanui „Demianas“. Paskutinis šio tiriamojo darbo tikslas yra išsiaiškinti kokias mintis autorius norėjo perduoti šios knygos skaitytojams. Kad lengviau aptikti šias idėjas, bus pasitelkti Hessės gyvenimo faktai knygos rašymo metu ir jo kitas darbas „Stepių vilkas“. Atlikus analize atrasta, kad dauguma veikėjų ir vietovių atitinka Biblijoje pasirodančius personažus ir apylinkes. Tačiau tarp jų buvo ir išimtys, kaip Pistorius kurio charakteris ir veikla neatitiko jokios Biblinės figūros. Be to, Demiano namas taip pat neturi visiško Biblinio atitikmens, tačiau dalinai vaizduoja savo išorini atitikmenį su dangaus sodu Edenu. Taip pat atrasta, kad Hermannas Hessė panaudojo egzistuojančios religijos – Gnosticizmo – šakas kaip pagrindą knygos religijai. Šios šakos, Kainitai ir Basilidai, vaizduoja skirtingą savo Dievo – Abraxo – garbinimo būdą. Galutinai, išsiaiškinta, kad pagrindinės romano „Demianas“ idėjos perduotos rašytojo įtraukia patarimus dvasiniam savęs tobulinimui ir augimui.

46 Sources

Hesse, Hermann (1919). Demian. Fischer Verlag, Germany.

N/A (2001). The Holy Bible, English Standard Version. Good News Publishers.

47 References

Encyclopædia Britannica (1998). Abraxas. Retrieved May 3, 2020, from https://www.britannica.com/topic/abraxas-sequence-of-Greek-letters#ref82405

Encyclopædia Britannica (1998). Basilides. Retrieved May 3, 2020, from https://www.britannica.com/biography/Basilides

Encyclopædia Britannica (1998). Cainites. Retrieved May 3, 2020, from https://www.britannica.com/topic/Cainites

Encyclopædia Britannica (1998). Gnosticism. Retrieved May 3, 2020, from https://www.britannica.com/topic/gnosticism/Apocryphon-of-John

Fuller, Maitland (1911). Johann Sebastian Bach. Grove's Dictionary of Music and Musicians. J.A., ed. Volume 1. Macmillan Publishers, New York, p. 154. Retrieved April 15, 2020, from https://archive.org/details/grovesdictionar02boydgoog/page/n190/mode/2up

Frenz, Horst (1996). Literature 1901-1967. Elsevier Publishing Company, Amsterdam. Retrieved January 1, 2020 from https://www.nobelprize.org/prizes/literature/1946/hesse/biographical/

Hesse, Hermann (1963). Der Steppenwolf. Fischer Verlag, Germany. Retrieved May 6, 2020, from http://www.kkoworld.com/kitablar/Herman_Hesse_Yalquzaq_eng.pdf

Hesse, Hermann (1964). Briefe [Letters]. Verlag Suhrkamp, Frankfurt, p. 414.

Lansing, Richard (2000). The Dante Encyclopedia. Garland Pub., New York. Retrieved April 28, 2020, from https://books.google.lt/books?id=CY- sAgAAQBAJ&printsec=frontcover#v=onepage&q=93&f=false

Maier, Emanuel (1978). The Psychology of C.G. Jung in the Works of Hermann Hesse. University Microfilms. Retrieved January 16, 2020, from http://hesse.projects.gss.ucsb.edu/papers/maier.pdf

Mileck, Joseph (1978). Hermann Hesse: Life and Art. University of California Press. Retrieved January 10, 2020, from https://books.google.lt/books?id=rr_EaUeiVzkC&pg=PA58&lpg=PA58&dq=hesse+and+theosophy&s ource=bl&ots=cCXOQyCYPP&sig=ACfU3U3okMasDxAbTjrfenxwr_NH9vaeZw&hl=en&sa=X&ve d=2ahUKEwjMytGFpOLmAhWRwqYKHfBACCgQ6AEwDnoECAwQAQ#v=onepage&q=theosoph y&f=false

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49 Appendix

Psalm 106:37 "They sacrificed their sons and their daughters to the demons"

Matthew 24:24 "For false christs and false prophets will arise and perform great signs and wonders, so as to lead astray, if possible, even the elect."

Genesis 3:1-24 "Now the serpent was more crafty than any other beast of the field that the Lord God had made. He said to the woman, “Did God actually say, ‘You shall not eat of any tree in the garden’?” And the woman said to the serpent, “We may eat of the fruit of the trees in the garden, but God said, ‘You shall not eat of the fruit of the tree that is in the midst of the garden, neither shall you touch it, lest you die.’” But the serpent said to the woman, “You will not surely die. For God knows that when you eat of it your eyes will be opened, and you will be like God, knowing good and evil"

Luke 1:46 – 47 "And Mary said, “My soul magnifies the Lord, and my spirit rejoices in God my Savior"

2 Peter 2:1 "But false prophets also arose among the people, just as there will be false teachers among you, who will secretly bring in destructive heresies, even denying the Master who bought them, bringing upon themselves swift destruction."

Genesis 2:9 "And out of the ground the Lord God made to spring up every tree that is pleasant to the sight and good for food. The tree of life was in the midst of the garden, and the tree of the knowledge of good and evil."

Genesis 3:3 "But God said, ‘You shall not eat of the fruit of the tree that is in the midst of the garden, neither shall you touch it, lest you die.’" 50

Genesis 3:17 "And to Adam he said, “Because you have listened to the voice of your wife and have eaten of the tree of which I commanded you, ‘You shall not eat of it,’ cursed is the ground because of you; in pain you shall eat of it all the days of your life"

John 8:44 "You are of your father the devil, and your will is to do your father's desires. He was a murderer from the beginning, and has nothing to do with the truth, because there is no truth in him. When he lies, he speaks out of his own character, for he is a liar and the father of lies."

Matthew 12:22 "Then a demon-oppressed man who was blind and mute was brought to him, and he healed him, so that the man spoke and saw."

John 14:2 "In my Father's house are many rooms. If it were not so, would I have told you that I go to prepare a place for you?"

Revelation 17:2 "With whom the kings of the earth have committed sexual immorality, and with the wine of whose sexual immorality the dwellers on earth have become drunk."

Deuteronomy 18:20-22 "But the prophet who presumes to speak a word in my name that I have not commanded him to speak, or who speaks in the name of other gods, that same prophet shall die.’ And if you say in your heart, ‘How may we know the word that the Lord has not spoken?’— when a prophet speaks in the name of the Lord, if the word does not come to pass or come true, that is a word that the Lord has not spoken; the prophet has spoken it presumptuously. You need not be afraid of him."

Leviticus 18:21 "You shall not give any of your children to offer them to Molech, and so profane the name of your God: I am the Lord." 51

Luke 22:17–20 "And he took a cup, and when he had given thanks he said, “Take this, and divide it among yourselves. For I tell you that from now on I will not drink of the fruit of the vine until the kingdom of God comes.” And he took bread, and when he had given thanks, he broke it and gave it to them, saying, “This is my body, which is given for you. Do this in remembrance of me.” And likewise the cup after they had eaten, saying, “This cup that is poured out for you is the new covenant in my blood."

Revelation 13:11-18 "Then I saw another beast rising out of the earth. It had two horns like a lamb and it spoke like a dragon. It exercises all the authority of the first beast in its presence, and makes the earth and its inhabitants worship the first beast, whose mortal wound was healed. It performs great signs, even making fire come down from heaven to earth in front of people, and by the signs that it is allowed to work in the presence of the beast it deceives those who dwell on earth, telling them to make an image for the beast that was wounded by the sword and yet lived. And it was allowed to give breath to the image of the beast, so that the image of the beast might even speak and might cause those who would not worship the image of the beast to be slain."

Genesis 1:11-20 "And God said, “Let the earth sprout vegetation, plants yielding seed, and fruit trees bearing fruit in which is their seed, each according to its kind, on the earth.” And it was so. The earth brought forth vegetation, plants yielding seed according to their own kinds, and trees bearing fruit in which is their seed, each according to its kind. And God saw that it was good. And there was evening and there was morning, the third day. And God said, “Let there be lights in the expanse of the heavens to separate the day from the night. And let them be for signs and for seasons, and for days and years, and let them be lights in the expanse of the heavens to give light upon the earth.” And it was so."

52