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Downloaded340028 from Brill.Com09/26/2021 12:36:12PM Via Free Access “Tout Comprendre, C’Est Tout Pardonner?” 389 philological encounters � (�0�7) 388-40� brill.com/phen “Tout comprendre, c’est tout pardonner?” The “Case of Jauss” Ottmar Ette Universität Potsdam [email protected] Abstract Hans Robert Jauss cannot simply be excluded from the history of Romance Studies, or from the history of literary science in 20th century Germany: the attractive power of his style of thought, writing and scholarship was too profound, his machine de guerre too powerful. If the “case of Jauss” is now on its way to becoming the “paradigm of Jauss,” it is time to examine scientifically the text and work, the impact and the recep- tion of the author of Ästhetische Erfahrung und literarische Hermeneutik (“Aesthetic Experience and Literary Hermeneutics”), and to illuminate them from the perspective of Romance Studies. The considerations put forth in this essay should in no way dimin- ish the undeniable merits of the founder of “Reader-response criticism”. With him and with his words, one may surely hold on to the hope that “the triadic relationship of technology, communication, and world view” can be brought “once more into equilib- rium.” Hans Robert Jauss—to use the words of Jorge Semprún—traveled the very short, and at the same time very long, path from Buchenwald to Weimar: a path that first led him into the most abysmal, reprehensible, and rational form of human barba- rism, which he wished to leave behind him as quickly as possible after the end of the war. His path to Weimar, as the symbol of a “refined” western culture, was extremely short: indeed, all too short. Keywords Hans Robert Jauss – reader-response criticism – Waffen-SS – intellectual history – literary theory – romance studies * This article is an abridged version of the presentation I delivered on March 3, 2016 at the Deutsches Literaturarchiv in Marbach. © koninklijke brill nv, leiden, ���7 | doi �0.��63/�45�9�97-��Downloaded3400�8 from Brill.com09/26/2021 12:36:12PM via free access “Tout comprendre, c’est tout pardonner?” 389 In Hans Robert Jauss’ 1994 book Wege des Verstehens (“Paths of Understanding”), which culminated the cycle of monographs published during his lifetime, there is a passage that may be understood as a set of instructions for reading this par- ticular volume, but which might also stand as a preliminary to any examina- tion of the writings of this Romanist and literary theorist. The 14th paragraph of chapter A.3, “Tout comprendre, c’est tout pardonner,” characteristically deals with the concept, shaped by Nathalie Sarraute, of the sous-conversation, and with what Sarraute called the “predecessor” of this “new form of dialogue,”1 in reference to the 1939 novel A Family and a Fortune by Ivy Compton-Burnett. Here we find the following remark: Im neuartigen Dialog der Ivy Compton-Burnett sind alle Personen mit der analytischen Gabe ausgestattet, die Äußerung des Gesprächspartners nicht einfach wörtlich zu nehmen, sondern auf das hin zu interpretieren, was sie absichtlich oder unwillentlich verschweigt.2 (“In the new dialog form of Ivy Compton-Burnett, all persons are equipped with the analytical gift of not merely taking literally the expressions of their conversational partner, but rather, of interpreting that about which they either deliberately or involuntarily remain silent.”) Not only in reading the resumes that he himself had composed since 1945, but in reading all texts by Jauss, one is well-advised to take these ground rules to heart. For the texts by Jauss—in a manner similar to Erich Auerbach or Werner Krauss, upon whom he often drew—are laid out in a fashion that is highly autoreferential, so that they impart to their readership direct reading instructions which, while occasionally overt, are more often hidden. Such cryptographic writing was efficiently developed by Werner Krauss as he sat on death row at Plötzensee, having been condemned to death for being a mem- ber of the Schulze-Boysen/Harnack group (an element of the “Red Orchestra” resistance movement), when he was forced to compose Graciáns Lebenslehre and his novel PLN in a highly cryptographic fashion.3 Cryptographic writing of this sort stands in a state of tension—as fruitful as it is unusual, in terms of writing technique—with the numerous explicit demands and challenges 1 Hans Robert Jauß, Wege des Verstehens (Munich: Wilhelm Fink Verlag 1974), 77. 2 Ibid., 78. 3 See Ottmar Ette, “ ‘Von einer höheren Warte aus.’ Werner Krauss—eine Literaturwissenschaft der Grundprobleme,” in Werner Krauss. Wege—Werke—Wirkungen, ed. Ottmar Ette, Martin Fontius, Gerda Haßler, Peter Jehle (Berlin: Berlin Verlag 1999), 91-122. philological encounters 2 (2017) 388-402 Downloaded from Brill.com09/26/2021 12:36:12PM via free access 390 ette that Hans Robert Jauss formulated in Part A. It is not without reason that this part carries the inscription “Ad dogmaticos: Kleine Apologie der literarischen Hermeneutik”4 (“Ad dogmaticos: A Small Apologia for Literary Hermeneutics”). In the foreword to his book Wege des Verstehens, which brings together his writings from 1985 to 1993, he assails from the very beginning, in the combative tone so characteristic of Jauss’ writing, all dogmatists of any stripe. Jauss again takes the field in his last book, moving against “the orthodoxists and funda- mentalists of every camp,”5 as if, immediately after the end of his “activity” in the Waffen-SS, he had become a warrior against Bolshevism and on the side of world peace. Militaristic metaphorics shine forth right from the very first page of the book, written a half-century after the end of the war, wherever the author believes to find even an inkling of reasons for which his position may be subject to criticism. But these he wishes to “calmly take into account, if I henceforth turn the weapons of these adversaries against them and maintain that hermeneutics is and has always been innately undogmatic. Whoever de- spises it because he—to name in advance the current allegations—rejects it as conservative, enslaved by the past and faithful to tradition, beguiled by the ‘chimera of origin,’ uncritical, affirmative and—worse yet—providing stabil- ity to dominance, subjective, unsystematic, and blind to theory.” (gelassen in Kauf nehmen, wenn ich nunmehr die Waffen der Widersacher gegen sie selbst wende und behaupte: Hermeneutik war von Haus aus undogmatisch und ist es noch. Wer sie verachtet, weil er sie—um vorab die gängigen Vorwürfe zu nen- nen—für konservativ, vergangenheitshörig und traditionsgläubig, der ‘Chimäre des Ursprungs’ verfallen, für unkritisch, affirmativ und—schlimmer noch—für herrschaftsstabilisierend, für subjektivistisch, unsystematisch und theorieblind ablehnt.)6 The arguments of the great number of adversaries are thus enumerated, but in such a way that the self-proclaimed warrior for the undogmatic, unortho- dox cause of Jaussian hermeneutics no longer sees himself obligated to deal with the arguments of even the “educated among its detractors.”7 Differing from the foreword to Literaturgeschichte als Provokation (“Literary History 4 He had already employed the concept of the apologia in the small volume: Hans Robert Jauß, Kleine Apologie der ästhetischen Erfahrung. With art-historical commentary by Max Imdahl (Konstanz: Universitätsverlag), 1972. 5 Hans Robert Jauß, Wege des Verstehens, 7. 6 Ibid. 7 Ibid., 8. philological encountersDownloaded from 2 Brill.com09/26/2021(2017) 388-402 12:36:12PM via free access “Tout comprendre, c’est tout pardonner?” 391 as Provocation”), it is here no longer a matter of the “detractors”8 of literary history or philology tout court, but rather, of the detractors of that literary hermeneutics that had long since become an enkratic discourse beleaguered “by orthodoxists and fundamentalists of every camp.”9 The paratextual embed- ding in the foreword, and in the choices of titles in Part A, make it unmistak- ably clear from the start: Jauss is armed and taking action against adversaries among whom there are at times educated persons, who are clearly not in a po- sition to grasp, to understand, literary hermeneutics. To understand, it is made clear from the start, is solely the business of the hermeneutics propagated by Jauss, and not of any other position in the field. Nevertheless, the attraction of this book lies in the fact that, behind the roar of battle introduced by Jauss—who in his “first life” before 1945 was known to his superiors and subordinates for his highly controlled fearlessness and capacity for rigorous action, and who was decorated several times for his courage10—there are also many passages where quieter tones are struck that are not infrequently associated with the self-involvement and the autorefer- entiality of both writing and concealment. The polemical fire and aggressive- ness can easily blaze up again at any point, but in between, one finds long passages containing highly sensitive interpretations that are both well-versed and erudite, and which make the volume, on the level of content, a thoroughly worthwhile read. Hans Robert Jauss understood something of cryptography, since he had not only used a variety of secret codes during his service with the Waffen-SS, but had also arranged with his father, in 1945, a specific security- code that he made use of in his postcards from the internment enclosure at Recklinghausen.11 If Jauss, in the second part of his title, claims to be promoting an open un- derstanding that demands new envisionings, in the first element of the title (that of paths) he points to a sentence that stands at the center of the work of Marcel Proust: “On ne reçoit pas la sagesse, il faut la découvrir soi-même, après un trajet que personne ne peut faire pour nous, ne peut nous épargner, 8 Hans Robert Jauß, Literaturgeschichte als Provokation (Frankfurt am Main: Suhrkamp 1970), 7. 9 Hans Robert Jauß, Wege des Verstehens, 7.
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