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Lyric Orientations: Holderlin, Rilke, and the Poetics of Community

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Lyric Orientations: Holderlin, Rilke, and the Poetics of Community Lyric Orientations Series editor: Peter Uwe Hohendahl, Cornell University Signale: Modern German Letters, Cultures, and Thought publishes new English- language books in literary studies, criticism, cultural studies, and intellectual history pertaining to the German-speaking world, as well as translations of im- portant German-language works. Signale construes “modern” in the broadest terms: the series covers topics ranging from the early modern period to the present. Signale books are published under a joint imprint of Cornell University Press and Cornell University Library in electronic and print formats. Please see http://signale.cornell.edu/. Lyric Orientations Hölderlin, Rilke, and the Poetics of Community Hannah Vandegrift Eldridge A Signale Book Cornell University Press and Cornell University Library Ithaca, New York Cornell University Press and Cornell University Library gratefully acknowledge the College of Arts & Sciences, Cornell University, for support of the Signale series. Copyright © 2015 by Cornell University All rights reserved. Except for brief quotations in a review, this book, or parts thereof, must not be reproduced in any form without permission in writing from the publisher. For information, address Cornell University Press, Sage House, 512 East State Street, Ithaca, New York 14850. First published 2015 by Cornell University Press and Cornell University Library Printed in the United States of America Library of Congress Cataloging-in-Publication Data Names: Eldridge, Hannah Vandegrift, author. Title: Lyric orientations : Hölderlin, Rilke, and the poetics of community / Hannah Vandegrift Eldridge. Other titles: Signale (Ithaca, N.Y.). Description: Ithaca, NY : Cornell University Press and Cornell University Library, 2015. | 2015 | Series: Signale | “A Signale Book”. | Includes bibliographical references and index. Identifiers: LCCN 2015039290 | ISBN 9780801456954 (cloth : alk. paper) | ISBN 9780801479328 (pbk. : alk. paper) Subjects: LCSH: Hölderlin, Friedrich, 1770–1843—Criticism and interpretation. | Rilke, Rainer Maria, 1875–1926—Criticism and interpretation. | German poetry—History and criticism. Classification: LCC PT2359.H2 E43 2014 | DDC 831/.6—dc23 LC record available at http://lccn.loc.gov/2015039290 Cornell University Press strives to use environmentally responsible suppliers and materials to the fullest extent possible in the publishing of its books. Such materials include vegetable-based, low-VOC inks and acid-free papers that are recycled, totally chlorine-free, or partly composed of nonwood fibers. For further information, visit our website at www.cornellpress.cornell.edu. Cloth printing 10 9 8 7 6 5 4 3 2 1 Paperback printing 10 9 8 7 6 5 4 3 2 1 Contents A Note on Translations vii Acknowledgments ix Introduction: On Orientation 1 1. Skepticism and the Struggle over Finitude: Stanley Cavell 16 2. The Anxiety of Theory: Hölderlin’s Poetology as Skeptical Syndrome 43 Friedrich Hölderlin, “Blödigkeit,” “Das Nächste Beste,” “Andenken” 71 3. Calls for Communion: Hölderlin’s Late Poetry 84 4. Malevolent Intimacies: Rilke and Skeptical Vulnerability 118 Rainer Maria Rilke, Sonette an Orpheus (Excerpts) 147 5. Figuring Finitude: Rilke’s Sonnets to Orpheus 156 Epilogue: “Desperate Conversation”—Poetic Finitude in Paul Celan and After 193 Selected Bibliography 205 Index 215 A Note on Translations In attempting to make this volume accessible to non-German-speaking readers, I have endeavored to balance consistency, brevity, and common sense in the use of original and translated quotations. All prose sources are cited in English transla- tion, with the original given when necessary for clarification. Whenever possible I have used published translations; I have identified the few places where transla- tions are my own. The poems of Hölderlin and Rilke with which I work are repro- duced in full in both German and English preceding chapters 3 and 5, respectively. When citing the poems within each chapter, I give both German and English for shorter quotations, but dual-language, multiline citations would quickly become unwieldy. I therefore ask for the forbearance of readers without German and refer them to the full translations, which I cite by line number within the chapters. Acknowledgments In a project that discusses acknowledgment as a central strategy for placing one- self in the world, it is a particular pleasure to acknowledge those without whom the project could not have taken place. At the University of Chicago, David Wellbery and Eric Santner guided the project through its first stages; their mentoring and teaching have shaped my thinking probably more than I know and surely more than is evident in one monograph. Christopher Wild and Robert Buch provided essential additional perspectives and support, both of the project and of my profes- sional development in general. Finally, the Department of Germanic Studies as a whole, and in particular the members of its student working groups, are the likely origin and certainly the proof of my conviction that intellectual work is not a mo- nologic but a dialogic process. Such dialogue has continued with colleagues in the Department of German and beyond at the University of Wisconsin-Madison. In March 2014 the proj- ect was the subject of a workshop designed to support junior faculty in writing their first books run by the Center for the Humanities. To the participants of this workshop— Sabine Groß, Sara Guyer, Brian Hyer, Mario Ortiz-Robles, Andrew Reynolds, Marc Silberman, and especially Michel Chaouli and John Lysaker, who braved travel to Madison in a snowy March—and to the Center itself I am deeply indebted. Without their input, the project would be less rich and considerably more narrow. x Acknowledgments It is, further, a pleasure and a privilege when colleagues are also family members: my father, Richard, and sister, Sarah, read many drafts and discussed many poems and ideas from the beginning of this project and also shared their own work with me. Along with my mother, Joan Vandegrift, they patiently reminded me not to interrupt dependent clauses with further dependent clauses and generally insisted on intelligibility (wherever I miss that goal, it is of course my shortcoming and not theirs). My brother, Jonathan, provided perspective, humor, and reminders that there is life outside academia. Finally, my wife, Marina Sharifi, has supported me in innumerable ways from the very beginning of this project—she is my assurance that in our relations to other minds we live our best-case scenario. This book is dedicated to her with love and gratitude. I gratefully acknowledge the following rights holders and thank them for their permission to reprint the poems of Celan, Hölderlin, and Rilke: Anvil Press Poetry, London “Timidness” and “Remembrance,” in Michael Hamburger, Friedrich Hölderlin, Poems and Fragments, trans. Michael Hamburger, 4th ed. (London: Anvil Press Poetry, 2004) Hanser Verlag, Munich “Blödigkeit,” “Das Nächste Beste,” and “Andenken,” in Friedrich Hölder- lin, Sämtliche Werke und Briefe, ed. Michael Knaupp, 3 vols. (Munich: Hanser Verlag, 1992) Insel Verlag, Frankfurt a.M. Rainer Maria Rilke, Sonette an Orpheus I.6, 8, 9, 11, 12, II.12, 18, and 28, in Rainer Maria Rilke: Gedichte 1910–1926, vol. 2 of Kommentierte Ausgabe, ed. Manfred Engel and Ulrich Fülleborn (Frankfurt a.M.: Insel Ver- lag, 1996) Omnidawn Press, Richmond, CA Friedrich Hölderlin, “What Is Nearest” and “Beginning at the Abyss,” in Friedrich Hölderlin, Selected Poems of Friedrich Hölderlin, trans. Maxine Chernoff and Paul Hoover (Richmond, CA: Omnidawn Press, 2008) S. Fischer Verlag, Frankfurt a.M. Paul Celan, “Die Silbe Schmerz,” in Paul Celan, Die Niemandsrose, © S. Fischer Verlag GmbH, Frankfurt am Main, 1963 Acknowledgments xi University of California Press, Berkeley Paul Celan, “The Syllable Pain,” in Paul Celan, Selections, ed. and intro. Pierre Joris (Berkeley: University of California Press, 2005) Rainer Maria Rilke, Sonnets to Orpheus I.6, 8, 9, 11, 12, II.12, 18, and 28, in Rainer Maria Rilke, Sonnets to Orpheus, with English translations and notes by C. F. MacIntyre (Berkeley: University of California Press, 1960) Lyric Orientations Introduction On Orientation I tried, during those years and the years after, to write poems: in order to speak, to orient myself, to find out where I was, where things were going, to sketch for myself a reality. —Paul Celan, “Speech on the Occasion of Receiving the Literature Prize of the Free Hanseatic City of Bremen” This book is an investigation of the powers of lyric poetry with regard to prob- lems peculiar to human subjects in a broadly defined modernity. In exploring these powers, I turn to the poetry of Friedrich Hölderlin (1770–1843) and Rainer Maria Rilke (1875–1926), both of whom—despite the inevitable differences of style and epoch—take poetry to be capable of creating communities of speaking subjects within the context of modern alienation. This alienation appears in different ways in each poet (to put it another way, each has his own modernity story), and thus the proposed communities called together through lyric language likewise look differ- ent. But Hölderlin and Rilke share the conviction that modern alienation cannot be overcome, nor communities created, once and for all in any universal event. And both argue that to deny the uncertainty created by the absence of any such event (or to deny the alienation itself) is likewise to deny the particularly human condition of uncertainty and mortality—that is, our finitude. To show how it is that lyric language can undertake the task of calling com- munities together, I look outside the German context to the work of the Ameri- can philosopher Stanley Cavell (b. 1926). In drawing on Cavell, I challenge the idea—perhaps most prevalent in poststructuralist scholarship, but not exclusive thereto—that the uncertainty of any relation between language and world neces- sarily means that language fails to engage the world. I use Cavell’s interlocking 2 Lyric Orientations discussions of language and subjectivity to investigate how language in and through its formal aspects enables us to engage meaningfully with the world and the other subjects in it.
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