Die Orphische Weltanschauung Der Antike Und Ihr Erbe Bei Den
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DIE ORPHISCHE WELTANSCHAUUNG DER ANTIKE UND IHR ERBE BE1 DEN DICHTERN NIETZSCHE, HOLDERLIN, NOVALIS UND RILKE JOHANNA JANINA S. AULICH THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS Under Special Arrangements g Johanna Janina S. Aulich 1990 SIMON FRASER UNIVERSITY December 1990 All rights reserved. This work may not be reproduced in whole or in part, by photocopy or other means, without permission of the abhor. ABSTRACT The objective of the Thesis is to establish the definition of the Orphic Weltanschauung from classical Greek and Roman sources as well as to analyze the adaptation of Orphic themes and ideas in German literature by the poets Nietzsche, Holderlin, Novalis and Rilke. No exact, thorough, synthetic analyses of the Orphic in German literature, especially in the works of the four poets examined here, exist. This study attempts both to fill the gap as well as to offer an explicit, comprehensive definition of the Orphic, its elements and symbolism. Chapter One, "Die Orphik", resumes the discussion with the surfacing of Orphic themes in German literature in the latter part of the 18th century. A brief retrospective view of developments in the treatment of Orphic subjects from the early Renaissance informs about the gradual revival of interest in Orphism in European culture; this is illustrated by the poets Dante and Marsilio Ficino as well as by the composers Cacci, Peri, Monteverdi and Gluck. Klopstock's poem, "To the Poet's Friends," is considered as the beginning of the Orphic interest in German literature. The subsequent inquiry into Orphism by Johann Gottfried Herder receives special mention because of its importance in establishing a scholarly basis for the subject. Following this preliminary illumination, the discussion moves to develop a definition of Orphism by examining available information about its existence and activity in antiquity. Subsequently, Orphic myth and mysteries, the mention of Orpheus and Orphism by ancient historians and philosophers and their treatment as a subject of ancient poetry and documentation in visual art are discussed. Literature attributed to Orpheus and the Orphic lyre receives special attention. Further, the influence of Orphic ideas on early Christianity and their significance for Western culture are stressed. Chapters Two to Five deal with four German poets who were instrumental in reviving an interest in Orpheus and Orphism and who continued the Orphic dialogue in modem German literature, i.e. Nietzsche, Holderlin, Novalis and Rilke. Although different stimuli led these poets to the subject in question, their eventual aim was closely related. The choice of poets for this research was determined by the importance of the Orphic Weltanschauung within their work. The inquiry illustrates each poet's development and traces how it initiated his interest in the Orphic theme. Further, the investigation analyzes Orphic aspects in the pertinent works of these poets and concludes by summarizing the importance of the inquiry's findings. The particular chronology of the chapters followed here was chosen because it was Nietzsche who first unearthed and presented the Orphic ideas of Holderlin to the reading public. Chapter Two, "Nietzsche", discusses the Orphic work of Friedrich Nietzsche: The Birth of Tragedy, Thus spake Zarathustra and three poems: "Man, Take Care!", "The Word" and "The Sun is Sinking". Following their interpretation, a discussion of the reception of Nietzsche's poetry and the influence of his language and ideas on German writers is presented. Chapter Three, "Holderlin", discusses the Orphic aspects of the major works of Friedrich Holderlin: the novel Hyperion, the tragedy Empedocles, the essays "Reason for Empedocles", "Becoming and Vanishing", followed by the interpretation of seven poems: "Bread and Wine", "When I was a Lad", "To Aether", "Hymn to the Genius of Greece", "As if it were on a Holiday", "Peace Festival" and "Nature and Art or Saturnus and Jupiter". Chapter Four moves to the illumination of the Orphic works of the poet Novalis (Friedrich Hardenberg), a contemporary of Holderlin. Analysis of the poems "Orpheus", "Music" and an adaptation of Virgil's "Quo me, Bacche ...", are followed by an interpretation of the novel Henry of Ofterdingen and of the important cycle of poems Songs to the Night. The fifth Chapter, "Rilke", analyzes Rainer Maria Rilke's Sonnets to Orpheus in order to establish their relationship to the ancient Orphic Weltanschauung and to the three poets examined earlier in this study. Because of Rilke's differing treatment of the Orphic subject, it was decided that a description of his cycle as "Paramythie", i.e. deriving from myth but not totally based on myth, was suitable. Finally, the ideas of the poets Nietzsche, Holderlin, Novalis and Rilke are juxtaposed with the aim of establishing the essence of their quest. This pursuit is brought to a common denominator in the interpretation of Rilke's poem "Age-old Wafting from the Sea". The "Conclusion" summarizes the findings of the Thesis and indicates possible directions for future research. The fifth Chapter, "Rilke", analyzes Rainer Maria Rilke's Sonnets to Orpheus in order to establish their relationship to the ancient Orphic Weltanschauung and to the three poets examined earlier in this study. Because of Rilke's differing treatment of the Orphic subject, it was decided that a description of his cycle as "Paramythie", i.e. deriving from myth but not totally based on myth, was suitable. Finally, the ideas of the poets Nietzsche, Holderlin, Novalis and Rilke are juxtaposed with the aim of establishing the essence of their quest. This pursuit is brought to a common denominator in the interpretation of Rilke's poem "Age-old Wafting from the Sea". The "Conclusion" summarizes the findings of the Thesis and indicates possible directions for future research. DANKSAGUNG Mein ganz besonderer Dank fur die Unterstutzung bei der Durchfiihrung meines Magister-Prograrnms und der Fertigstellung der Arbeiten an der These gilt dem Leiter meines Magister-Komitees, Hem Dr. Laurence Kitching, dessen Ansporn, Fiihrung, Hilfsbereitschaft und nicht zuletzt Geduld ich die Vollendung des Projekts zu verdanken habe. Ebenfalls bin ich den Beisitzern meines Magisterkomitees, Frau Dr. Marketa Goetz- Stankiewicz, Institut fur Germanistik der University of British Columbia, Vancouver, B.C., und Hem Dr. Jeny Zaslove, Institut fur Anglistik der Simon Fraser University, Burnaby, B.C., fur ihre freundliche Unterstutzung und Anregungen zu grol3em Dank verpflichtet. Henn Dr. Graham Good, Institut fur Anglistik und Komparatistik der University of British Columbia, Vancouver, B. C., darf ich gleichfalls fur sein Wohlwollen und seine Ratschlage meinen herzlichen Dank aussprechen. Dem Dekan fiir fortgeschrittene Studien (Dean of Graduate Studies) der Simon Fraser University, Burnaby, B.C., habe ich fiir zwei Forschungsstipendien zu danken, die eine betrachtliche Stiitze bei der Finanzierung meiner Forschungsarbeit bedeutet haben. Den folgenden auswwgen Bibliotheken und Institutionen schulde ich eine dankbare Anerkennung fur die Erlaubnis, aus ihren Bestanden geschopft und dort gearbeitet zu haben: osterreichische Nationalbibliothek, Wien, ~sterreich; Dokumentationsstelle f~ neuere osterreichische Literatur, Wien, ~sterreich; Lauriacum (Museum), Enns, ~steneich; Deutsches Literaturarchiv, Marbach/Neckar, Deutschland; Fernleihe des Deutschen Literaturarchivs, MarbachlNeckar, Deutschland. Main Library, University of British Columbia, Vancouver, B.C. Interlibrary Loans' Department, Simon Fraser University, Burnaby. B.C. INHALTSANGABE Approval.. ...............................................................................................ii ... Abstract.. ................................................................................................u Danksagung (Acknowledgments) ....................................................................vi Inhaltsangabe ...........................................................................................vii ... Einleitung ................................................................................................VUI Illustration: Der Emser Orpheus .....................................................................x I. Die Orphik ......................................................................................... 1 11. Friedrich Nietzsche ..............................................................................47 111. Friedrich Holderlin ..............................................................................9 1 IV. Novalis .........................................................................................128 V. Rainer Maria Rilke ............................................................................160 SchluBfolgerung.. ...................................................................................190 Zeittafel ............................................................................................. 194 Bibliographie ...................................................................................... 196 EINLEITUNG Die hier vorgelegte Arbeit hat sich zur Aufgabe gemacht, die orphische Weltanschauung der Antike aus ihren klassischen griechischen und romischen Quellen zu isolieren sowie ihren Ursprung und ihre Entwicklung von der Antike bis zur Verschmelzung im Christentum zu verfolgen. Das auf dieser Einleitung aufgebaute weitere Ziel der Arbeit ist die Untersuchung der Verwendung der antiken Symbolik