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Comparative Literary Studies: Lermontov, Turgenev, Goncharov, Tolstoj, Blok - Lavater, Lessing, Schiller, Grillparzer

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Comparative Literary Studies: Lermontov, Turgenev, Goncharov, Tolstoj, Blok - Lavater, Lessing, Schiller, Grillparzer Vorträge und Abhandlungen zur Slavistik ∙ Band 39 (eBook - Digi20-Retro) Edmund Heier Comparative Literary Studies: Lermontov, Turgenev, Goncharov, Tolstoj, Blok - Lavater, Lessing, Schiller, Grillparzer Verlag Otto Sagner München ∙ Berlin ∙ Washington D.C. Digitalisiert im Rahmen der Kooperation mit dem DFG-Projekt „Digi20“ der Bayerischen Staatsbibliothek, München. OCR-Bearbeitung und Erstellung des eBooks durch den Verlag Otto Sagner: http://verlag.kubon-sagner.de © bei Verlag Otto Sagner. Eine Verwertung oder Weitergabe der Texte und Abbildungen, insbesondere durch Vervielfältigung, ist ohne vorherige schriftliche Genehmigung des Verlages unzulässig. «Verlag Otto Sagner» ist ein Imprint der Kubon & Sagner GmbH. Edmund Heier - 9783954794140 Downloaded from PubFactory at 01/10/2019 02:35:26AM via free access ISBN 3-87690-791-8 © by Verlag Otto Sagner, München 2000. Abteilung der Firma Kubon & Sagner, Buchexport/import GmbH, München Offsetdruck: Kurt Urlaub, Bamberg Edmund Heier - 9783954794140 Downloaded from PubFactory at 01/10/2019 02:35:26AM via free access 00051990 Vorträge und Abhandlungen zur Slavistik herausgegeben von Peter Thiergen (Bamberg) Band 39 2000 VERLAG OTTO SAGNER * MÜNCHEN Edmund Heier - 9783954794140 Downloaded from PubFactory at 01/10/2019 02:35:26AM via free access Il Edmund Heier - 9783954794140 Downloaded from PubFactory at 01/10/2019 02:35:26AM via free access ־ Edmund Heier Comparative Literary Studies: Lermontov, Turgenev, Goncharov, Tolstoj, Blok - Lavater, Lessing, Schiller, Grillparzer Edmund Heier - 9783954794140 Downloaded from PubFactory at 01/10/2019 02:35:26AM via free access PVA 2001. 3458 Bâvsrtsch• 8taat8blbiloth#É Edmund Heier - 9783954794140 Downloaded from PubFactory at 01/10/2019 02:35:26AM via free access 00051990 TABLE OF CONTENTS PREFACE I. The Literary Portrait as a Mode of Characterization 1 П. Physiognomy in Lermontov’s Prose 17 Ш . The Second Hero of Our Time 36 ГѴ. Principles of Lessing’s Laokoon and Some of its Exponents in Russia. 47 V. Zu A. I. Gončarovs Humanitätsideal in Hinsicht auf die Gesellschaftsprobleme Rußlands 64 VI. Duty and Inclination in I. S. Turgenev’s Faust 92 ѴП. The Function of Music in I. S. Turgenev’s Aesthetics 103 ѴШ. Impressionism in the Aesthetics of I. S. Turgenev 121 IX. Schiller’s Die Räuber in the Light of Tolstoj’s Concept of Art 140 X. Tolstoj and the Evangelical Revival Among Russian Aristocracy 156 XI. Grillparzers Ahnfrau in Rußland: A. Blok 179 IN D EX 197 Edmund Heier - 9783954794140 Downloaded from PubFactory at 01/10/2019 02:35:26AM via free access ו ו ״ ־ ך <Kt ■f׳- й: гід л т le «и å.rt Я $ V ё *Г J Ю* &־ЛйЛ &ШЙК6$ .ג».' і ^№ _ т . _ :й tv S *. ļp r 4 - ïvיļj״4ם I А ЙЙШ^.^ВДййчГ ?Л וו: л' ז י * * ^ ־-í » JUV KJ. J t я к т i ו רУ; Jr י* I .־15 > л ♦ :A ' fïji 1(7-Mi Edmund Heier - 9783954794140 ו — Downloaded from PubFactory at 01/10/2019 02:35:26AM »׳• ז via free access ОООS1990 PREFACE The bulk of this publication appeared earlier in somewhat different format as articles in various books and periodicals. I am most grateful to the copyright holders (editors and publishers) for kindly granting permission to reproduce in this collection the following studies: 1. "The Literary Portrait as a Device of Characterization," Neophilologus 60 (The Hague, 1976), pp. 321-333 (Kluwer Academic Publishers). 2. "Lavater’s System of Physiognomy as a Mode of Characterization in Lermontov’s Prose," Arcadia , VI (Bonn, 1971), pp. 267-282 (Walter de Gruyter GMBH+CO.KG). 3. "The Second Hero o f Our Time” The Slavic and East European Journal, XI, No. 1 (Madison, 1967), pp. 35-43 (AATSEEL). 4. "Principles of Lessing’s Laokoon and some of its Exponents in Russia," Festschrift ß r Erwin Wedel (München, 1991), 93-110 (Hieronymus Buchreproduktion GmbH). 5. "Zu I. A. Gončarovs Humanitätsideal in Hinsicht auf die Gesellschaftsprobleme Russlands," Ivan A. Gončarov - Leben, Werk, Wirkung, Hrsg. Peter Thiergen. Bausteine zur Slavischen Philologie... Reihe A: Slavische Forschungen. Neue Folge Band 12 (72). Böhlau Verlag, Köln, 1994, pp. 45-71 (Böhlau Verlag GmbH+Cie). 6. "Duty and Inclination in Turgenev’s ’Faust’," Crisis and Commitment: Studies in Honour o f J. W. Dyck. Ed. J. Whiton and H. Loewen. Waterloo: University of Waterloo Press, 1983, pp. 78-86 (U. of Waterloo Press). 7. "The Function of Music in Turgenev’s Aesthetics," Anzeiger für Slavische Philologie, XIX (1989), 109-26 (Akademische Druck- u. Verlagsanstalt, Graz). 8. "Principles of Impressionism in the Aesthetics of I. S. Turgenev," Poetica Edmund Heier - 9783954794140 Downloaded from PubFactory at 01/10/2019 02:35:26AM via free access 00051990 Slavica. Studies in Honour o f Zbigniew Folejemki (Ottawa, 1981), pp. 53- 69 (University of Ottawa Press). 9. "Schiller’s Die Räuber in the Light of Tolstoj’s Concept of Art," Canadian Review o f Comparative Literature (Dec. 1986), 585-599 (Canadian Comparative Literature Association). 10. "Tolstoj and the Evangelical Revival among Russian Aristocracy," Russian Literature, 1 (The Hague, 1971), pp. 28-48 (Subsidiary Rights Dpt. Elsevier Science, Oxford). 11. "Grillparzers ’Ahnfrau’ in Rußland: A. Blok," Comparative Literature, XXXIII, No. 3 (Oregon, 1971), pp. 193-208 (American Comparative Literature Association). I also wish to thank the University o f Waterloo and Humanities Research Council of Canada for their grants in aid which made the original publication of these studies possible. I am deeply indebted to Dr. Maren Kasulke for her editorial skills and for her patience in preparing these essays for publication. My profound appreciation and gratitude go to Professor Dr. Peter Thiergen fo r accepting these studies in his series Vorträge und Abhandlungen zur Slavistik. Edmund Heier Waterloo November 2000 Edmund Heier - 9783954794140 Downloaded from PubFactory at 01/10/2019 02:35:26AM via free access 00051990 I. The Literary Portrait as a Mode of Characterization The term "literary portrait" or "portrait littéraire" has come to mean different things to different people. Indeed, it has assumed such a variety of meanings, dependent upon fluctuating literary orientations and styles, that it is practically impossible to justify all the concepts which it has come to embody. The essence of portraiture is to point out the major features which characterize a personality as is indicated from its derivation: Latin "protrahere" and old French "pourtraire" — to draw forth. The realization, however, of the drawing forth of the characteristic features of a literary figure can be accomplished in a variety of manners. Small wonder then, that the lack of a well-defined formal concept of the literary portrait as a device of characterization has frequently led to misconceptions. Although the literary portrait aimed at delineating character has been employed as early as Homer, the cultivation of the literary portrait in modern times is customarily ascribed to seventeenth-century France. It suffices to refer to the collection of the Divers Portraits (1659), G. de Scudery’ s Le grand Cyrus (1649-1653) featuring an entire gallery of portraits. Here each portrait encompasses a full-length biography. This form of the literary portrait was so assiduously cultivated that it emerged as a literary genre in itself.1 Apart from these full-length biographies, the term "literary portrait" is used to denote a character’s psychological entity, a practice which has triumphed in modern times. Henry James’ novel The portrait of a Lady (1884) and James Joyce’ s A Portrait o f the Artist as a Young Man (1916) are two striking examples. Also the term "literary portrait" is applied to collections of literary critical essays on various writers as we find them in Gorkij’s Literatumye portrety or in Saint-Beuve’s Portraits littéraires (1862-64). Consequently one ought not to be surprised when one looks for a definition of the "literary portrait" in a dictionary of literary terms to encounter instead simply a reference to Saint-Beuve’s Portraits littéraires.2 A comparable incompleteness and confusion is the identification of the literary portrait with the Theophrastian or the La Bruyèrian character-sketch so popular in sixteenth and seventeenth century France and England.3 The literary portrait of our concern is a device of characterization within a literary work the function of which is to delineate character via external appearance. It is a portrait drawn in words — one in which the w riter consciously introduces his characters by way of exterior description in order to suggest or reveal inner qualities. The presentation o f the bodily appearance of a character, particularly if it is accompanied by an interpretation, becomes 1 Edmund Heier - 9783954794140 Downloaded from PubFactory at 01/10/2019 02:35:26AM via free access then the application of physiognomy, the art of revealing character traits via the physical features. As in a successful portrait painting, the physical features in the literary portrait must reveal definite character traits for otherwise what is the purpose o f the exterior description? Since the countenance is that part o f man’ s appearance by which he reveals himself to others and most clearly shows his character traits, the face receives particular attention in the portrait. By isolating a personality and so to say framing him momentarily within a novel, a writer allows his reader to obtain a clearer picture of the object portrayed. The definite impression which is thereby created, aided possibly by commentary of interpretation, leads the reader to envision the character as he, the author, wishes him to be conceived. Goethe’s words on this point are memorable: "the important person whom we otherwise conceive in the midst of his environ presents himself here [in the portrait] singularly or as detached as before a mirror. "4 Because of the great affinity of the literary portrait and portrait painting one should theoretically be able to establish a parallel evolution.
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