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Schumann's Dichte Liebe and Ealy Omantic Poetics

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Schumann's Dichte Liebe and Ealy Omantic Poetics SCHUMANN’S DICHTELIEBE AND EALY OMANTIC POETICS FAGMENTATION OF DESIE BEATE JULIA PERREY published by the press syndicate of the university of cambridge The Pitt Building, Trumpington Street, Cambridge, United Kingdom cambridge university press The Edinburgh Building, Cambridge CB2 2RU, UK 40 West 20th Street, New York, NY 10011-4211, USA 477 Williamstown Road, Port Melbourne, VIC 3207, Australia Ruiz de Alarcon´ 13, 28014 Madrid, Spain Dock House, The Waterfront, Cape Town 8001, South Africa http://www.cambridge.org C Beate Julia Perrey 2002 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2002 Printed in the United Kingdom at the University Press, Cambridge Typeface Bembo 11/13 pt System LATEX2ε [TB] Acatalogue record for this book is available from the British Library Library of Congress Cataloguing in Publication data Perrey, Beate Julia. Fragments of desire: Schumann’s Dichterliebe / Beate Julia Perrey. p. cm. – (Cambridge studies in music theory and analysis; 17) Includes bibliographical references (p. ) and index. ISBN 0 521 81479 0 (hb) 1. Schumann, Robert, 1810–1856. Dichterliebe. 2. Romanticism in music. I. Title. II. Series. MT121.S38 P47 2002 782.47 – dc21 2002020552 ISBN 0 521 81479 0 hardback CONTENTS List of illustrations page vii Foreword ix Preface xi Acknowledgements xvi Abbreviations xviii Introduction 1 i early romantic forms of difference 1 Introduction 13 2 The Romanticfragment 26 3 Romanticirony 33 4 Reflection, language and music 40 5 Theories of song: Schumann’s ‘higher sphere of art’ 47 ii heine’s signature of modernity: the LYRISCHES INTERMEZZO 6 Introduction 71 7 Heine, the Romantics and disenchantment 74 8 Endings, cuts, cyclicity 78 9 Heine’s imago of a woman 91 10 The genesis of the Buch der Lieder 104 iii the poetics of DICHTERLIEBE 11 Introduction 111 12 Schumann’s reception of Heine and the Buch der Lieder 124 13 Musico-poetic analysis 131 (i) The Romantic concept of ‘poetic time’ in Dichterliebe 131 (ii) Sehnen und Verlangen fulfilled in a Romanticfragment 162 v vi Contents (iii) Romanticreflectionon a tonal metaphor for the amorous: the diminished-seventh chord in Dichterliebe 177 (iv) The ironic glance back: the last postlude 208 Conclusion 222 Bibliography 226 Index 238 ILLUSTATIONS Fig.1. Title page of Schumann’s personal copy of the first edition of Heinrich Heine’s Buch der Lieder of 1827. Reproduced, as are all other pages from this document, by kind permission of the Schumann-Archive of the Heinrich-Heine-Institut, Dusseldorf.¨ 128 Fig.2. Page prior to title page of Schumann’s personal copy of the first edition of Heinrich Heine’s Buch der Lieder showing the inscription: ‘Von W. Ulex geschenkt erhalten (1836): R. Schumann’. 129 Fig.3. Page 114 of Schumann’s personal copy of the first edition of Heinrich Heine’s Buch der Lieder showing in the upper left-hand corner the inscription: ‘8. Februar 1836’. 130 Fig.4. Page 114 of Schumann’s personal copy of the first edition of Heinrich Heine’s Buch der Lieder showing the poem ‘Wenn ich in deine Augen seh” with (presumably) Schumann’s underlining. 193 Fig.5. Pages 170 and 171 of Schumann’s personal copy of the first edition of Heinrich Heine’s Buch der Lieder showing the poem ‘Die alten, bösen Lieder’ with (presumably) Schumann’s underlining. 213 vii 1 INTODUCTION So, what is Poetology, as the aesthetic and literary theory of early German Romanticism was originally called? Developed in a decidedly analytical, if spec- ulative, mode of thinking, this theory introduced new definitions of literary genres and advanced new forms of expression in a radical move away from the older model of representation and mimesis towards that of creation and imagination. Poetology also involves a powerful advocacy of the inseparability of art and life, morality and religion, and as such lies at the heart of the overarching Romantic conception of Symphilosophy.1 Here, all aspects of life, in particular its contradictions, are raised on to a higher aesthetic plane. This process crystallizes in the Poetic. The qualifier ‘poetic’ thus takes on a newer and wider meaning than usually assumed when considered the property of a specific literary genre. The return to its original meaning, to poiesis as in ‘making’ and ‘creating’, is of paramount importance within the Romantics’ new philosophy of life – the progressive universal poetry – and receives here its social momentum: It tries to and should mix and fuse poetry and prose, inspiration and criticism, the poetry of art and the poetry of nature; and make poetry lively and sociable, life and society poetical; poeticize wit and fill and saturate the forms of art with every kind of good, solid matter for instruction, and animate them with the pulsation of humour. It embraces everything that is purely poetic, from the greatest systems of art, containing within themselves still further systems, to the sigh, the kiss that the child who composes breathes forth in artless song.2 In this introduction to some central topoi of Early Romantic thought, to the for- mative concepts of a highly refined kind of Idealism, I shall introduce and define the terms in which the subsequent discussion of Heinrich Heine and Robert Schumann will take place. Although different in their responses, both artists remained faithful 1 Lacoue-Labarthe and Nancy (1987). 2 Friedrich Schlegel’s definition of Romantic poetry in the famous fragment no. 116 of the Athenaeum [Sie will und soll auch Poesie und Prosa, Genialitat¨ und Kritik, Kunstpoesie und Naturpoesie bald mischen, bald ver- schmelzen, die Poesie lebendig und gesellig und das Leben und die Gesellschaft poetisch machen, den Witz poetisieren und die Formen der Kunst mit gediegenem Bildungsstoff jeder Art anfullen¨ und sattigen¨ und durch die Schwingungen des Humors beseelen. Sie umfaßt alles, was nur poetisch ist, vom großten¨ wieder mehre Systeme in sich enthaltende Systeme der Kunst bis zum Seufzer, dem Kuß, den das dichtende Kind aushaucht in kunstlosem Gesang]. Athenaeum, p. 119. Unless otherwise indicated, all translations are my own. The original spelling of these texts from nineteenth-century German sources has been left unchanged. 13 14 Early Romantic forms of difference to the ideas and poetic practices the Early Romantics developed – an interesting as- pect, for Heine and Schumann are latecomers in a movement that made its meteoric rise at the end of the eighteenth century, years before either of them had begun an artistic career. With the city of Jena as the centre of their congenial intellectual exchange, the Early Romantics developed their theory in a short period of time, effectively be- tween 1798 and 1801, the period in which the journal Das Athenaeum appeared. Founded by the brothers Friedrich and August Wilhelm von Schlegel as the organ for their literary-critical and aesthetic re-evaluation, it contains the essence of Early Romantic theoretical thought. Associated with the Jena groupare the philoso- phers Johann Gottlieb Fichte and Friedrich Schelling, the Protestant theologian Friedrich Schleiermacher, and the poets Ludwig Tieck and Wilhelm Wackenroder. The figure of Novalis epitomizes the Early Romantics’ aspirations. As the inventor of the Romantic symbol of the Blue Flower,3 he promoted the Romantic Ideal to its fullest extent. His collection of 114 philosophical-psychological fragments called Blutenstaub¨ (Pollen) of 1798, and the late Hymnen an die Nacht (Hymns to the Night) of 1799, both published in the Athenaeum, show him as advancing his vision intel- lectually and transcending it poetically on the side of religion, art and life. In the Hymnen in particular, the wholeness of mind and body, achieved in the need for an unshakeable God, was first announced and formally suggested through poetry’s inherently ascendant powers. Novalis could then meet the afterglow shadowing his art of darkness, for following the beloved, the Mother, the Spirit, meant bringing to life what the power of imagination had already prescribed. Befriending death for real after foretelling it in poetico-theoretical terms adds a further level of complexity to Novalis’ work and renders his poetry as one of the most difficult the Romantic spirit engendered. Just as the sheer intensity of the Early Romantic Idea was force enough to leave behind the ‘Age of Reason’, the atmospheric orbit of such an idealistic orientation was to hold its sway over future generations long after it was first articulated. Its high intellectual and spiritual values reach into the present, although unrecognized or unacknowledged at times, as they inform the best, or are merely perpetuated in the worst, forms of contemporary critical and philosophical pursuit.4 As this enquiry is concerned with the intellectual and aesthetic issues of Early Romanticism, its innovative concepts of artistic structure and representation, the distinction from later forms of Romanticism must be emphasized. If, as is stereo- typically suggested, the ideological content of Romanticism rested on a formidable 3 See Novalis’ novel Heinrich von Ofterdingen of 1802. See Part II for my discussion about Heine’s critical preoccu- pation with the Blue Flower, and my discussion about the Early Romantic concept of the ‘language of flowers’ as adopted by Schumann in Part III, pp. 87–90. 4 In philosophy, this has been demonstrated most consistently in the extensive work of Manfred Frank. See also Behler and Horisch¨ (1987), as well as Bowie (1990). Jerome McGann (1985, p. 12) uncovers and refutes as reactionary the uncritical adoption of Romantic ideology often present in scholarly work dealing with the period – the ‘absorption in Romanticism’s own self-representation’. Introduction 15 transference in which the Romantics’ intense adversity towards their socio-political setting finds itself relocated in poeticized and idealized ways of retreat, then two things need to be borne in mind: first, the term ‘Romantic’ is, of course, known to be prob- lematic, especially if applied without specific references regarding time, place and person.
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