Theodor Fontanes Verständnis des Prinzips „Verklärung“ (German Edition)

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In Siegfried, on the other hand, Wotan, linking the forging of the sword with the acquisition of fear and embedding both motifs in a riddle, prophesies: That is the next step, for once Siegfried has done the seemingly impossible by forging Notung, there can be no doubt as to who will kill him. Yet, on second thought he realizes that he is now caught on the horns of a dilemma: How do I hide my anxious head?

It is forfeited to the bold youth unless Fafner teaches him fear. But woe, poor me! How would I attain the ring? Since the scenario that would suit Mime best — Siegfried killing Fafner and, in turn, being killed by him — is unlikely to be enacted, the resourceful dwarf literally concocts an alternate plan: The plan backfires, and Siegfried emerges unscathed but without having learnt to fear. Still uncertain of his calling but acting on another hint from the Woodbird, he embarks on a new adventure 21 Wagner deliberately couched the farcical passages of Siegfried in the colloquial language of low comedy.

In her realm he is to acquire his sentimental education. What he is to learn now is a kind of fear that is in no way physical. Rather he, the loner, who has until now met only animals, dwarfs, giants and gods, is to become a thinking and feeling member of the human race. Approaching the sleeping Valkyrie, he reflects: How do I, coward, feel? Is this what fear is? To awake myself I must awaken the maiden. Fear it is, but of an entirely different order. Although the two seem to be equated in the drama — they are in no way differentiated in the text — the story simply does not make sense if there is no distinction drawn between them.

This different type of fear is the first step in his experience of human love, which in turn gives him back the confidence to forget self-doubt. Indeed, as soon as he has discovered what it feels like to be afraid in an emotional sense he also learns that another new experience, that of human love, enables him to overcome it. Educating Siegfried As the fire in the blood is kindled, as we pierce each other with our glances, as we burn in ardent embraces, my keen courage returns to me, and the fear, ah!

Love, united with knowledge and free of anguish, is about to conquer the world and, in the process, topple the mythological edifice erected in the earlier portions of The Ring. In gaining this insight, they have learned their lesson, and no further schooling is needed. Pariser Farce oder wienerische Maskerade? Richard Strauss1 Sein wir in Frankreich?

Sein wir unter die Kurutzen? Oder in Kaiserlicher Hauptstadt? Ochs von Lerchenau2 I. Dramen V Operndichtungen Frankfurt: Fischer, , S. Von hier an durchgehend als Dramen V zitiert. Bibliographie des Schrifttums Berlin: Bibliographie Freiburg i. Was den Rosenkavalier selbst anbetrifft, so liegen zwar zahllose Arbeiten, Rezensionen usw. Es bleibt abzuwarten, was in dieser Hinsicht der inzwischen erschienene, von Dirk O.

Agora Verlag, , S. Modern Languages 39 , S. Wie der Name dieser Figur andeutet, handelt es sich bei ihr um einen ausgesprochenen Typencharakter. Literarisches Echo 14 , Sp. Wenn die Marschallin im Rosenkavalier zu Oktavian sagt: Die Briefe, in denen diese Frage behandelt wird, finden sich in dem von Hilde Burger herausgegebenen Briefwechsel Frankfurt: Insel-Verlag, der beiden.

Siehe vor allem S. Fassungen, Filmszenarium, Briefe, hsg. Fischer, 2 , S. Gilbert erkannt, die freilich in ihrer Argumentation zu weit geht Hanser , III , S. Modern Language Review 64 , S. Fassungen, Filmszenarium, Briefe, S. Van Oest, , Ill.

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Die Regiebemerkungen hierzu lauten: Neue Freie Presse, wiederabgedruckt in: Ein Briefwechsel , hsg. Deutsches Literaturarchiv, , S. Februar an seine Schwester. Und Hofmannsthal teilte Strauss am Atlantis, , S. Die Skizze, die Kessler und Hofmannsthal zwischen dem 8. Abgedruckt in Dramen V, S.

Und Kesslers Bemerkung in einem Brief vom Sie freut sich auf die Ehe [ So verlegte er die Begegnung kurzerhand in den Salon Gilbert Anmerkung 24 , S. Niveau der Opernhandlung stark angehoben wird. Pourceaugnac ist pathetisch im komischen Sinn, weil er eine Zielscheibe des Spottes ist. Im Rosenkavalier dehnte er dieses Versteckspiel auch auf manche Nebenfiguren aus.

So grob will Er sein? Gilbert Anmerkung 24, S. Bei Hofmannsthal, dessen lyrische Ader und psychologische Finesse von jeher Bewunderung erregten, erwer52 Ebd. Geronte kompromittiert vor der Hofgesellschaft. Faublas im Travesti meldet sich. Journal of the American Psychoanalytic Association 14 , S. Marschallin durchschaut die Situation.

Sophie ab zum Vater. To begin with the beginning: A droite, premier plan, une autre porte. Faublas, qui vient de sortir du lit, est dans sa petite culotte et chemisette de cavalier. Sa robe de nuit est sur un meuble. Das Schlafzimmer der Feldmarschallin. Neben dem Bett ein dreiteiliger chinesischer Wandschirm, hinter dem Kleider liegen. Auf einem kleinen Sofa links liegt ein Degen in der Scheide. Je me souviens de ma Sophie. Je la vis si belle! Ich will nicht den Tag! Da haben Dich alle! Wie der folgende Passus aus einem Brief des Dichters an den Komponisten vom Juli beweist, beugte sich Hofmannsthal der Stimme des Volkes: Die Zeit, die ist ein sonderbar Ding.

Wenn man so hinlebt, ist sie rein gar nichts. Aber dann auf einmal. Sie ist um uns herum, sie ist auch in uns drinnen. In den Gesichtern rieselt sie, im Spiegel da rieselt sie. Et il continua sans regarder sa femme. Hier sehen sich Germanistik und Komparatistik vor eine gemeinsame Aufgabe gestellt. La Renaissance du Livre, [o. Ihre Gnade wird bereuen. Euer Gnaden werden sich schaden [ Juli an den Dichter schrieb. Sophie mit einem neuen Knix: Faninal mit gleichem Spiel zwischen ihr und Oktavian, der immer einen Schritt gegen den Ausgang tut, aber von Sophie in diesem Augenblick nicht loskann: Ah, springst noch aus dem Wagen.

Ah, gibst Nein statt Ja zur Antwort. Wie sich bald herausstellte, war das gar nicht so einfach. Oktavian hat sich gesetzt, sie stehen vor ihm. Zu Euer Exzellenz Befehl. Mit Leib und Leben. Schmerzen leidend, auf Quinquin fluchend, die Braut glossierend September konnte er Strauss mitteilen: Im Hintergrund links ein Alkoven, darin ein Bett. Calder, wiedergegebenen Text der Oper.

August und Straussens Antwort vom Das gilt es zu beweisen. Beginnen wir mit dem Ingenu libertin. Als er sie sieht, erhebt sich Faublas, wohl mit schuldiger Miene, und entfernt sich ein wenig von Sophie. Doch sobald ihn die Marquise ruft, trennen sich die beiden, und einen Augenblick lang steht Faublas genau in der Mitte zwischen ihnen M F S So hat sich der Kreis geschlossen: Sophie macht der Marschallin einen verlegenen Knix.

Der Baron, zwischen Sophie und der Marschallin stehend: Oktavian zwischen beiden hin- und herpendeln Aber die letzte Entscheidung ist noch nicht gefallen. Erst als sie den Raum verlassen hat, steht das junge Paar in intimer Pose beisammen: Dann gehen sie und versetzen Oktavian und Sophie in den siebenten Himmel: So geriet das ganze Libretto in unser Blickfeld. So schrieb Kessler am Oktober an Hofmannsthal: Warum nicht Die galanten Abenteuer des Barons von Lerchenau?

Hofmannsthal erwiderte am Das eigentliche Publikum verlangt [ There are surely more than thirteen ways of looking at opera, and any scholar or critic worth his salt is well advised to make up his mind early on as to the kind of approach he wishes to take in a given case. Up to this point in the history of interdisciplinary studies involving the musical drama, theoretical and methodological reflections have been few and far between, and no latter-day Aristotle has come to the rescue to unfold a cogent systematic Poetics of Opera3.

Egon Voss, 2nd enlarged edition Munich: Schriften, Aufzeichnungen, Briefe, ed. Insel-Verlag, , p. The Free Press, It will therefore behoove me to preface my paper with a few observations on the various choices open to the practitioner of Opernforschung in general and its subdivision, librettology, in particular. Needless to say, both Musik- and Literaturwissenschaft err when assuming that either the libretto or the score of an opera can be meaningfully viewed in isolation.

An interaction between the two disciplines is absolutely necessary, and an emphasis on one or the other collaborative art at the expense, or to the exclusion, of the other is merely a matter of convenience or professional competence. Let us illustrate this tripartite and, in the original sense of the word, trivial scheme with a few examples drawn from the literature on Tristan und Isolde. Oxford University Press, , which lacks both a method and a sense of direction. But insofar as chromaticism also subserves a dramatic purpose, even here the literary dimension is not lacking.

In short, Wagner, too, seems to treat Tristan und Isolde more or less as a symphonic poem Given the fact that Wagner was an artistic Doppelbegabung of the first order who believed that language and music — the male and female principles — were destined to join hands in marriage, it is hardly surprising that most of the devices he uses, and often introduces, pertain somehow to both spheres of artistic activity and should ideally be judged by those endowed with scholarly Doppelbegabung.

In the 6 The letter was addressed to Franz Brendel and published on 9 September, ; it is reproduced in the Dokumentarbiographie, pp. Knopf, , p. Richard Wagner an Mathilde Wesendonck: Duncker, , p. Zur musikalischen Analyse, ed. Wissenschaftliche Buchgesellschaft, , pp. Among the features that enjoy what might be called dual citizenship in the land of opera, the most obvious, and obsessively treated, is the leitmotif. Indeed, in some of its applications it must be regarded as a quasi-literary device transferable to literature Thomas Mann.

Bosse, , pp. Since it was intended for performance in the theater, Tristan und Isolde shares certain basic structural features with all plays; hence the option of treating it within a dramaturgical framework, following the examples set by Francis Fergusson14 and Kerman, whose analysis of the paroxysmal cycle experienced by Tristan in Act III is primarily, though not exclusively, structural In fact, thematology as practiced by a long string of critics from Wolfgang Golther to Michael S.

Batts and Egon Voss has long been a staple of Tristan und Isolde criticism Princeton University Press, The fifth chapter of Michael S. The few efforts that have been made to assess the work from this point of view have been largely polemical. Ich verkenne nicht, dass im Text [ The piece known to Wagner, appeared in the Programmheft of the Bayerische Staatsoper issued in conjunction with a production of the opera. Texte, Materialien, Kommentare, ed.

Rowohlt, includes several of the essays previously mentioned. Georg Reimer, , p. Tristan und Isolde as Verbal Construct concludes with an attack on Weltrich: In an unpublished title page for his treatise Die Kunst und die Revolution , for example, he stated: Thus, speaking of Tristan and Die Sieger, he unburdens himself to Liszt: On the lexical level, Wagner, who prided himself on being a perceptive etymologist, excels or, in the eyes of his severest critics, sins in proliferating neologisms, some of which form part of a carefully designed pattern. Syntax is another subject warranting closer scrutiny than has so far been accorded it, for simply to affirm that the text is muddled throughout and an early example of willed unintelligibility is an act of critical cowardice.

A whole 22 Reprinted from Nachge1assene Schriften und Dichtungen in the Dokumentarbiographie, p. Breitkopf und Hartel, , II, p. In fact, in dealing with rhetorical figures, I have already arrived at the level of Gehalt, which must now occupy us for a moment. Seeking to discover an integral meaning in Tristan and to determine its underlying Weltanschauung has been the occupation of many Wagnerites, often indulged in with a passion rarely encountered in scholarly pursuits. Since I shall face the philosophical issue head-on in the course of analyzing a central passage from Act II, the only kind of approach I need to deal with at this juncture focuses on the sexual issue.

With respect to the role of sex in Tristan und Isolde, two scholarly factions are at loggerheads with each other, the one upgrading, the other downplaying its importance. All textual references will be to this edition. Except in one potentially significant case, the discrepancies between this version and the one found in vol.

Stage directors, take care! Reynal, , p. Plon, , p.

Whatever the merits of this assessment, the analysis fails to take into account that the text is not strictly Christian and that Tristan und Isolde aims not at renunciation but at fulfillment. Depending on the mood of the moment and, one guesses, his readings of the day, he planned at different times to end his drama in different ways. Braziller, , p. Ils sont ensemble et pourtant ils sont deux. With two mutually exclusive endings, contradictions abound, but may be resolved with reference to Die Sieger, the Buddhist drama about renunciation of carnal love as a precondition for the release from earthly fetters and for rejoining the God in his Nirvana.

This work was to have formed a diptych with Tristan und Isolde. Wagner never proceeded beyond a brief prose sketch39; but the work, pondered for many years, entered the mainstream of his art by way of Parsifal. Two letters to Liszt written within the space of three months indicate how Wagner hoped to extricate himself from the dilemma caused by the conflicting views. The relevant passage in the first letter, which includes the allusion to the black and white flags, reads: It is dated 16 May, Tristan und Isolde as Verbal Construct And on a Sunday morning in the fall of date unspecified he expostulates, dwelling on the concordia discors of the pair: We must look, first of all, at the sequence of events relating to the genesis of Tristan und Isolde, in order to ascertain whether the words came before the music prima le parole e dopo la musica As it turns out, the matter is more complicated, and the answer less decisive, than one would wish it to be.

The documents at our disposal indicate that Wagner began to think about writing Tristan und Isolde in late As he puts it in a letter to Liszt of 16 December of that year: The direct impulse for that enterprise was his response to another dramatic 41 Briefwechsel zwischen Wagner und Liszt, p. Unfortunately, this sketch has not survived. After a two-year period of gestation, Wagner decided in mid to carry out the project. The first musical sketches for Tristan, most likely based on the early outline, were made in December, However, the systematic, sequential Vertonung did not begin until after the libretto was finished.

Wagner completed the full score of Act I on 3 April, , in 44 Schumann himself was planning a Tristan und Isolde, for which Robert Reinick prepared a scenario, first published in Zu manchem werde ich wohl auch eher die Musik als die Verse machen. In January , the score in its entirety was published, but five years elapsed before the premiere of the opera on 10 June, , at the Munich Hof- und Nationaltheater These are the ascertainable facts and the raw chronological data.

They do not offer a satisfactory answer to our question as to what came first, the text or the music. What 48 The so-called Wesendonck-Lieder, which Wagner considered to be studies for Tristan und Isolde, were composed between late November, and early May, Carefully weighing the slender and fairly ambiguous evidence, he arrives at the following preliminary conclusion: Und vor allem steht nicht fest, wie die musikalischen Ideen, die in die dichterisch-szenische Konzeption eingriffen, beschaffen waren.

According to Dahlhaus, these Formideen were vague and yet firmly embedded in the text. This raises the question as to the exact point at which, in the genesis of the work, the embedding took place. Bosse, , p. In other words, Tristan und Isolde progressively ceased to be a literary product. I do not wish to prolong the argument unduly, which was broached mainly in order to show that there is no easy solution to the problem and that, with all due respect to Wagner the musician, we do have a right to treat Tristan und Isolde as a verbal construct — a better right, at any rate, than can be claimed by those who choose to treat it as a symphonic poem.

If as a literary scholar I venture occasionally onto territory that is more essentially musical, I do so in full awareness of the pitfalls and quicksands that are in store for me. The evidence I am prepared to offer is so forthright and cumulative that it is strange, even shocking, that it has never been marshalled before.

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Once again Peckham, shrewd but purblind observer that he is, will serve as our whipping boy. Realizing full well that Tristan und Isolde is all about the principium individuationis, he once again completely misses the mark. There are many ways of looking at Tristan und Isolde conceived as a poem, a symphony or a mixture of both, but also as possible models of or analogues to its underlying world view, that is, the realization that Non-Being is preferable to Being Various religious and philosophical systems advocating the dissolution of self preceded by abdication of the will and its re-absorption into a larger, depersonalized or disembodied, stream may have gone into the making of this music drama, whether directly or indirectly.

It is a noun frequently used in Tristan und Isolde. The model that the creator of Tristan und Isolde selected was provided by Indian, specifically Buddhist thought, in which he had steeped himself since It is described at length in a letter to Liszt of 7 June, , whose central for our purposes passage reads: Die Bramanen-Lehre stellt [ This sounds like a slightly foreshortened plot outline for Die Sieger, of which Tristan und Isolde is a secular mirror image, Heilige having here been replaced by Liebende.

Both men were profoundly interested in Buddhism at the time of writing their masterpieces. This mingling of the divine element with the earthly was the Fall from heaven. Logically, then, the act of creation occurs in the Prelude, that is, before the curtain rises, the dramatis personae appear and the action gets under way. As Wagner puts it in a letter to Mathilde: Doch Nirwana wird mir schnel1 wieder Tristan.

Sie kennen die buddhistische Weltentstehungstheorie. In Act I the wind — objective correlative of the WeltAtem — is still seen as a hostile and destructive force with entirely negative connotations. Zeigt ihm die Beute, die ich ihm biete! The quotation comes from p. Den Winden Segel und Mast! In analyzing the process by which the world constructed in the Prelude is slowly but surely deconstructed, I shall focus on that portion of the dialogue between hero and heroine in Act II, Scene Two, in which the Ent-Ichung is thematic.

It is hardly coincidental, for instance, that it is Isolde, rather than Tristan, who stresses the und, 62 I have omitted the stage directions. The passage in question: Ich kann nicht mehr sagen, meine Liebe oder deine Liebe; beide sind sich gleich und vollkommen Eins, so viel Liebe als Gegenliebe. The strategical blueprint to be used for our subsequent analysis specifies that each stage in the unfolding process of disintegration in Tristan und Isolde be marked and justified. However, since Wagner was an artist rather than a logician, he had to take musico-esthetic factors into account and was not, or was not primarily, concerned with fashioning solid causal links within the chain I shall construct here, rearranging the order in which the steps are presented in the opera so as to lay bare the ideal sequence, or rather sequences, for there are actually two series which run parallel to each other: Texte, Materialien, Kommentare, pp.

Pinpointing the stage at which consciousness vanishes, these words terminate the series, whose parts, scattered over the three acts of the opera, make up a pattern that correlates with the inner action. The second, longer, and much more intricate series focuses in its first, phenomenal phase on the way in which the names of the two 64 Leo Spitzer, A Method of Interpreting Literature, pp.

Tristan und Isolde as Verbal Construct protagonists are juxtaposed in the text. In the first stage, marked by that portion of Act I which precedes the drinking of the love potion, Tristan and Isolde are kept apart inasmuch as their names are not permitted to occur in one and the same line or without intervening text.

With the sudden intrusion of external reality, no further progress toward the perfect union of the lovers is made in Act I. At this point, then, no und is in sight, at least not in the finished libretto. Curiously enough, in the prose sketch Wagner introduces it just before the curtains are torn open: Stages two to eight in our schematic presentation are all encompassed within the passage from Act II, Scene Two. We might call the second stage of the irreversible sequence possessive, that is, a condition in which the lovers, still very much themselves, seek to appropriate each other in preparation for the actual exchange of identities that is to follow.

In this case, for instance, anticipatory overlappings occur on the musical plane. The third stage, foreshadowed in the title of the opera and fully thematized in our excerpt, is that in which a perfect balance is struck, but not yet at the cost of lost identities. The und which plays so weighty a role in the central portion of the interchange is used like an anchor to show that, while it is still in place, all is well with the phenomenal world. This manoeuver is neatly executed, near the end of our key passage in the following verbal exchange: Tristan du, ich Isolde, nicht mehr Tristan!

Du Isolde, Tristan ich, nicht mehr Isolde! This metamorphic act has taken us to the very brink of the world of phenomena which, if Tristan is to have his way, must be thrown over for that of noumena. On the fringes, linking the physical with the metaphysical realm, lies the domain of myth, for which Wagner, throughout his career, displayed a very special affinity. Whereas mythical figures are embodiments of concrete natural or, as the case may be, abstract supernatural forces, the figures of legend, as Tristan and Isolde, are fictional counterparts of historical or pseudohistorical personages that may ultimately rise to the level of myth.

In both cases, it is the names which, firmly affixed to their bearers, offer stability and give permanence. For that reason, the loss of names, resulting in anonymity, entails the destruction of the very fabric of which myths and legends are made, a return to a chaotic sphere in which the principium individuationis has ceased to function and where individuals are, at best, reduced to qualities Tristan and Isolde reach and — given the inverse perspective which here prevails — celebrate this condition, which constitutes the sixth rung of the ladder: It would lead too far to ponder the implications of this substitution here.

Herz an Herz dir, Mund an Mund; Tristan: Like so much else in the opera, this may seem preposterous at first glance; yet it fits perfectly into the pattern that I am here attempting to trace. Sung in unison in the last line, the phrase lifts us to a level of abstraction which transcends the world as Vorstellung or Erscheinung, except for the Ich which stubbornly resists the force of the universal will. Tristan und Isolde as Verbal Construct As the world was created by mistake or as a consequence of sin, so, according to Wagner, must it be destroyed.

Symptomatically, Isolde remains attached to the world even as she is about to leave it. More specifically, in her case the desired erasure of consciousness is effected in a setting that is truly sensuous, namely through the medium of synesthesia. As a psycho-physical phenomenon, synesthesia, which denotes the fusion or confusion of the senses, entails the breakdown of the highly differentiated human sensorium and a return, quite appropriate in this context, to a more primitive form of multiple perception.

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Isolde experiences this deprivation which for her is an enrichment in a state of complete euphoria. Er sinkt in Isoldens Armen langsam leblos zu Boden. There will be no reconstitution of identity, no subsequent recourse to consciousness, no restoration of the sensory apparatus. Language will fail; and how long can music, of which Nietzsche maintains that it antedates the principium individuationis, survive?

If empathy has carried the day, listeners and viewers will feel deprived of the chance to follow the pair into the Schopenhauerian Nirvana. Wagner agonized over the risk he thought he was taking. Dieser Tristan wird was furchtbares! Von hier an zitiert als Teatro. Im Frankreich des achtzehnten Jahrhunderts galt bekanntlich die Oper als eine Unterart des Dramas, d. Was das Opernwesen bzw.

Valvasense, , II, S. Von hier an zitiert als Einstein. Opere di Francesco Algarotti e di Saverio Bettinelli, hrsg. Von hier an zitiert als Saggio. Zitiert bei Reinhard G. Vita e Opere Mailand: Zu den wahren Urhebern des dramma per musica — dem Dichter und dem Komponisten, die E. Fabrizio e detti [Ali, der Agent Nibio und der Dichter Maccaro], poi tutte quelle persone che da Nibio vengono nominate. Mio signore ad Ali Ali: Venite innanzi, signori verso la scena.

Ecco i pittori ed i lavoranti. Eco qui il capo delle comparse con trentadue compagni, bella gente e pratica del teatro. Questi sono i tre portinari. Questi sono i due paggi da sostener la colla alle donne. Ecco un bravo suggeritore, capace di suggerire le parole e la musica.

Ecco due uomini per dispensare i biglietti. Ecco quei che devono assistere ai palchetti, per dare e ricuperare le chiavi. Questo sa far da orso. Condur Smirne tutta questa canaglia? Mangiar impresa e impresario.

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Tu voler Ali precipitar. Mondadori, , Band VII. Siehe hierzu die entsprechenden Hinweise in meinem in Anm. Norton, [wiederabgedruckt in diesem Band]. Testimonianza dei contemporanei Turin: Thema Der Stunde by Stefanie Coslar - - 28 pages. Thematicity and the passive construction in English by Young-Wha Kim - - pages. Workbook by Heiko Bock - - pages.

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