Die Orphische Weltanschauung der Antike und ihr Erbe bei den Dichtern Nietzsche, Hölderlin ...

215 Pages·2005·4.25 MB·German

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 ..............................................................................4 7
.............................................................................
111. Friedrich Holderlin .9 1
.........................................................................................
IV. Novalis 128
V. Rainer Maria Rilke ............................................................................1 60
...................................................................................
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 von den
deutschen Dichtern Nietzsche, Holderlin, Novalis und Rilke. Das erste Kapitel der Arbeit
behandelt daher die Orphik, wahrend die folgenden vier Kapitel die orphischen Werke der
vier genannten Dichter zum Inhalt haben.
Die Anordnung der Reihenfolge der Kapitel, die sich mit dern Dichtenverk befassen,
ist nach der Chronologie des Bekanntwerdens des orphischen Themas auf Grund der
Arbeiten der betreffenden Dichter entschieden worden. Nach dern einfiihrenden Kapitel
"Die Orphik" erscheint das Kapitel "Nietzsche", da Nietzsche als Erster den Wettstreit
zwischen dern Apollinischen und Dionysischen als kunstgebarenden - orphischen -
Ausgleich in einem Literaturwerk diskutiert hat. Weil Nietzsche die Wiederentdeckung
Holderlins ebnete, also Holderlins Werk erst nach Nietzsches Tode einem breiteren
Leserkreis zuganglich gemacht wurde, wird Holderlins Werk im dritten Kapitel unter dern
Titel "Holderlin" diskutiert. Dem orphischen Werk seines Zeitgenossen Novalis, der
unabhangig von den obigen Einflussen wirkte, wird das vierte Kapitel "Novalis"
gewidmet. Im letzten Kapitel unter dern Titel "Rilke" werden dessen Sonette an Orpheus
auf ihre orphischen Aspekte untersucht. Die SchluSfolgerung beinhaltet die erarbeiteten
Ergebnisse und mogliche Anregungen fur eine weitere Forschung.
Die Forschungsarbeit zu dern ausgefuhrten Thema war faszinierend, wenn auch recht
miihselig. Auf diesem steinigen Wege begegnete der Verfasserin manch seltenes
Pflanzchen, das bei naherer Untersuchung rnit tiefen Wurzeln behafte t war, schliel3lich in
eine wuchernde Blute ausbrach und sogar Friichte trug. Manche Samen fielen auf anderen