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1 Chapter 1 Introduction Chapter 1 Introduction: Die Schlafwandler as an Apocalyptic Text Hermann Broch’s trilogy, 1931-32 trilogy, Die Schlafwandler [The Sleepwalkers] has often been described as an apocalyptic text.1 This characterization is primarily used to convey the trilogy’s gloomy portrayal of German history from the late 19th century until the end of the First World War as an increasingly materialist society whose status quo is preserved by pervasive apolitical and amoral apathy.2 The use of the term “apocalyptic” seems to suggest that Broch holds a deterministic vision of Germany’s future. With the exception of Karl Heinz Osterle’s article of the early 1970s, no one has extensively examined what makes Broch’s trilogy apocalyptic. In fact, those who describe Die Schlafwandler as apocalyptic tend to focus on the catastrophic outcomes of apocalypse, neglecting the full scope of both the apocalyptic genre and the trilogy. Neither the 1 Hermann Broch, “Pamphlet gegen die Hochschätzung des Menschen (ca. 1932),” in Philosophische Schriften 1. Kritik, ed. Paul Michael Lützeler (Frankfurt am Main: Suhrkamp Verlag, 1977); Hermann Broch, “Pamphlet gegen die Hochschätzung des Menschen (ca. 1932),” in Kommentierte Werkausgabe. Philosophische Schriften 1. Kritik, ed. Paul Michael Lützeler (Frankfurt am Main: Suhrkamp Verlag, 1977); Hermann Broch, Die Schlafwandler: Eine Romantrilogie. Kommentiere Werkausgabe, ed. Paul Michael Lützeler, vol. 1 (Frankfurt am Main: Suhrkamp Verlag, 1978). From here on, citations from the trilogy are indicated under “D.S.” In referring to the individual part of the trilogy, I use the terms “Volume” and Roman numerals, as well as the following descriptive terms: “The Pasenow story” (Volume I), “The Esch story” (Volume II), and “The Huguenau story” (Volume III). 2 Lützeler even refers to the tone of cultural pessimism in the recent essay, "Einleitung: Brochs Theogonie der Ethik," in Hermann Broch: Religion, Mythos, Utopie -- zur ethischen Perspektive seines Werks, ed. Paul Michael Lützeler and Christine Maillard (Strasbourg: Recherches Germaniques, Université Marc Bloch, 2008). Cf. Steven Aschheim, Culture and Catastrophe : German and Jewish Confrontations with National Socialism and Other Crises (London: McMillan, 1996); Austin Harrington, “Hermann Broch as a Reader of Max Weber: Protestantism, Rationalization and the ‘Disintegration of Values’,” History of the Human Sciences 19, no. 4 (2006): 7, 10, 11; Paul Michael Lützeler, “Einleitung: Brochs Theogonie der Ethik,” in Hermann Broch: Religion, Mythos, Utopie -- zur ethischen Perspektive seines Werks, ed. Paul Michael Lützeler and Christine Maillard (Strasbourg: Recherches Germaniques, Université Marc Bloch, 2008); Heinz D. Osterle, “Hermann Broch, Die Schlafwandler : Revolution and Apocalypse,” PMLA: Publications of the Modern Language Association of America 86, no. 5 (1971): 951-954. 1 apocalyptic genre nor the trilogy is solely about catastrophe, as they are in fact also about the promise of redemption and utopia. After all, despite prophetic admonition, Die Schlafwandler ends with the comforting words of Apostelgeschichte 16:28 (Elberfelder Bibel): “Tu dir kein Leid! denn wir sind alle noch hier!”3 While acknowledging the existence of the silver lining in Broch’s trilogy, scholars have not given serious attention to the element of hope in the trilogy.4 By analyzing how religious tropes and apocalyptic rhetoric are used as poetic devices in the trilogy, I seek to examine how Broch contours the delicate yet persistent note of hope in the redemption of the human soul. Theories of apocalyptic texts point out that apocalypse denote “revelation,” which means that apocalyptic texts are narratives of revelation.5 According to the standard definition, apocalyptic texts are highly symbolic texts that are written by an oppressed people to encourage others among them to persevere through a seemingly endless period of hardship.6 Disguising social and political criticism with figurative language, authors of apocalyptic texts claim that their message carries a divine vision of the ultimate punishment of the oppressors, who are deemed evil, and promises rehabilitation in a new utopian kingdom for the persecuted, who are deemed righteous. By examining what it means to call the trilogy apocalyptic, my study of Broch’s first three novels contributes to 3 The Book of Acts 16:28 (New International Version): “Don’t harm yourself! We are all here!” 4 Cf. Monika Ritzer, Hermann Broch und die Kulturkrise des frühen 20. Jahrhunderts (Stuttgart: Metzler Verlag, 1988); Ernestine Schlant, Hermann Broch (Chicago and London: University of Chicago Press, 1978, 1986), 66-67. 5 Jürgen Brokoff, Die Apokalypse in der Weimarer Republik (München: Wilhelm Fink Verlag, 2001); Frank Kermode, The Sense of an Ending: Studies in the Theory of Fiction (Oxford ; New York: Oxford University Press, 2000; reprint, With a new epilogue). Klaus Vondung, Die Apokalypse in Deutschland (München: Deutscher Taschenbuch Verlag, 1988). 6 For an extensive theological explication of the Biblical genre of apocalypse, see the exemplary study by Jürgen Roloff, Die Offenbarung des Johannes, 2nd edition ed., Zürcher Bibelkommentare, vol. 18 (Zürich: Theologischer Verlag, 1987). 2 our understanding of Broch’s poetics, which centers on thematic and structural tensions, commonly found in modernist literary works.7 My dissertation argues that the Biblical apocalyptic text of The Book of Revelation serves as the central subtext for the trilogy’s structure and content. By no means do I intend to say, however, that Broch’s novel is a religious text, but rather that Broch’s trilogy is a modernist secular novel that uses religious rhetoric to criticize the phenomena of modernity, including the effects of secularization in the early 20th century. The treatment of the trilogy as a text of worldly revelation, rather than an eschatological text about the end of the Wilhelmine era as the end of humanity, helps improve our understanding of Broch’s novels as a kind of Erkenntnisweg, a path of comprehension, during a specific critical period in German history. This line of inquiry contributes to a nuanced view of the trilogy’s unresolved tensions, while allowing readers to detect the importance of (the idea of) hope in Die Schlafwandler, which is an understudied aspect in the body of literature on the trilogy. In depicting the Wilhelmine era as an apocalyptic time, Die Schlafwandler works with the anticipation of catastrophe and of renewal, thus conveying both admonition and desire for an alternative. First, Broch expresses a harsh criticism of the imperial period as an unjust, amoral, and oppressive epoch. Over the course of the trilogy, the sense that Judgment Day is approaching intensifies. The expected event, however, never happens; 7 For comparisons of Broch to other modernists, see the following studies as examples: Aschheim; Dagmar Barnouw, Weimar Intellectuals and the Threat of Modernity (Bloomington: Indiana University Press, 1988); Hermann Broch, “James Joyce und die Gegenwart. Rede zu Joyce's 50. Geburtstag”, Herbert Reichner Verlag; S. D. Dowden, Sympathy for the Abyss : A Study in the Novel of German Modernism: Kafka, Broch, Musil, and Thomas Mann Studien zur Deutschen Literatur (Tübingen: Niemeyer, 1986); Manfred Durzak, “Hermann Broch und Alfred Döblin : Begegnung und Kontroverse oder der deutsche Roman am Scheideweg,” in Hermann Broch: Das dichterische Werk. Neue Interpretationen, ed. Michael Kessler and Paul Michael Lützeler (Tübingen: Stauffenburg, 1987); Endre Kiss, “"Dichter werben für Dichter" (Hermann Broch und Elias Canetti),” TRANS. Internet-Zeitschrift für Kulturwissenschaften. No. 7(2005). http://www.inst.at/trans/7Nr/kiss_canetti7.htm (accessed September 2005). 3 the period of waiting continues indefinitely. In the trilogy, everyone is haunted from 1888 to 1918 and beyond by a longing for something that no one can define. The first volume of the trilogy, Pasenow oder die Romantik – 1888, emphasizes the suffocating Protestant moral sensibilities through which the protagonist, Joachim von Pasenow, a Junker and officer of the imperial Prussian military, filters his social reality.8 The second volume, Esch oder die Anarchie – 1903, is characterized by the accountant August Esch’s search for redemption through his relations with women and his fantasies of self-sacrifice. Esch subscribes to an eschatological-apocalyptic fantasy of the world’s cleansing which is tied to a vulgarized version of Pasenow’s moral(istic) sensibilities. Toward the end of the second novel, the narrator lends words to Esch’s instinctual eschatological disposition: “[U]nabänderlich ist das Irdische, mag es sich auch scheinbar verändern, und würde selbst die ganze Welt aufs neue geboren, sie würde trotz des Erlösers Tod den Stand der Unschuld im Irdischen nicht erlangen, nicht ehe das Ende der Zeit erreicht ist” (D.S. 379). The clerk’s experiences in Cologne and Mannheim color his view of the empire’s heydays and offer a glimpse into petit bourgeois life in an industrialized society. The third volume, Huguenau oder die Sachlichkeit – 1918, takes place during the last year of the First World War in the small Southern German town of Kurtrier. It foregrounds a figure who straddles several boundaries: Wilhelm Huguenau is a talented businessman and a deserter. Originally from Alsace, Huguenau serves in the German army during the war, and traverses national and social frontiers fluidly, due to his fluency in both French and German. He is a pragmatic man of
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