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[ Pobierz całość w formacie PDF ]//-->Fate in the Past: Peter Szondi's Readingof German Romantic Genre TheoryTimothy BahtiPaul de Man once remarked that what most interested him inPeter Szondi'sTraktat"Uber philologische Erkenntnis"—thatmethodological position paper that remains, in my opinion, his mosteloquent and capacious statement—was not the general argumentabout the place of hermeneutics in contemporary German literarystudies, but rather the more specific question Szondi raised ofwhether a passage in Holderljn was metaphorical or not, suggestingthat this question was the most important one, in Hoideriin or withany other literary text. Years after it was written, Szondi confirmedthis interest when he cited theTraktatwhile asking whether "the am-biguity is one of the matter itself{einer der Sache selbst)."'^I wouldlike my essay to stand under the sign of this question of metaphorics,of the metaphorics in Szondi's work as well as in literary textsthemselves, for I believe it will appear to be a crucial aspect; just as Iwould like to direct toward Szondi's studies of German romanticgenre theory' the same relating of what weknowfrom and of his work{Wissen)back to specificacts of knowing (Erkenntnisse)that he ad-vocated, in theTraktat,for literary studies in general.'What we know of Szondi's interpretations of German romanticgenre theory is certainly less here in the United States than in Europe,for they are scarcely known at all. They can be summarized as arguingfor a progressive development of the poetics of genre, from their111beginnings m Plato and Aristotle to German idealism, and thenspecifically from Kant to Hegel, toward a dialectical philosophy ofhistory oppositions between formal systems and historical changes,and between past examples and present praxis, are increasinglymediated in a speculative philosophy that is finally said to combinedialectically history and system. This dialectical history of theory canbe traced across Szondi's entire career, from his earliest essay,"Freidnch Schlegel und die romantische Ironie," written at twenty-three, to the very late, posthumously-published "Das Naive ist dasSentimentalische. Zur Begriffsdialektil^ in Schillers Abhandlung," viahisHolderlin-Studienand the now-published lectures onPoetik undGeschichtsphilosophie(for which we all owe a debt to Jean Bollack).Within the domain of German idealism, this dialectic takes the form ofa "crisis" in non-historicist Kantian genre poetics that is eventually"overcome" in the "triumph" and "completion"{Vollendung)represented by Hegel'sAsthetik.*Kant's thirdKritikalready begins a"sublation-of-itself"{Sichselbstaufhebung)of eighteenth-century nor-mativeWirkungscisthetik,^and the mediation of classicism andhistoricism occurs across the individual theoretical projects ofGoethe and Schiller, of Schlegel, Holderlin and Schellmg above all(but also those of Winckelmann, Herder, and Moritz), as "historicalnecessity" enters, most often against the authors' own intentions,into the thinking of formal systems and dynamizes them to the pointwhere, in Hegel and, to some extent, m Holderlin, this dynamic is iden-tical with the historical process itself.'This very brief outline of Szondi's argument cannot conveyadequately its combination of historical range and interpretativepower While one may want to dispute individual analyses—mostespecially perhaps in the case of Friedrich Schlegel, where Schlegel'sironyis understood as a mode of dialectic (and here we have the re-cent work of Philippe Lacoue-Labarthe and Jean-Luc Nancy on theone hand, of Paul de Man on the other, to help us')—they are alwaysknowledgeable, informative, and highly persuasive. In the Americantradition of such works as Ren6 Wellek'sHistory of Modern Criticismor M.H Abrams' study of romantic literary theory.The Mirror and theLamp,there is nothing like Szondi's exegetical finesse and his rigor ofargumentation. But in surveying his interpretation of the history ofgenre poetics, his history of theories of poetics, one notes the recur-rence of certain structural terms that thereby mvite a more-than-localinterrogation.This history of a dialectical progression fromWirk-ungsSsthetikthrough the tensions within and between various formsof classicism and historicism to dialectical aesthetics themselves iscontinually written as If it were an instance where history acted itselfout in accord with a structure of prefiguration and fulfillment—itselfone of our culture's most fundamental and enduring structures formaking sense of events and their relations, especially those eventscalled texts. Already m the early essay on Schlegel Szondi could writethat "seen from the perspective ofGelstesgeschichte,[the youngSchlegel's triadicGeschichtsphilosophie]prepares for the Hegelian112dialectic "' Throughout the lectures on the history ofPoetik undGeschichtsphilosophiein German idealism, the position of one oranother theoretical text is said to be a first step(Vorstufe)toward oran anticipation(Vorwegnahme)of Hegel's aesthetics, as Hegel isregularly announced as the fulfillment(Erfullung)of the earlier trajec-tories When in the late essay on Schiller Szondi finds a "cor-respondence" between the developments of Holderlin's andSchlegel's poetological conceptions, and adds that "the analogyfollows from the historical logic of the matter itself"(sich aus derhistorischen Logik der Sache selbst ergibt),"a critical perception of"correspondence" and "analogy" is grounded in the "logic of thething Itself," andhistoryseems to mean little more than that Szondistands at the end of itslogicalstory The extent to which history issubsumed within logic—when, as here with Holderlin and Schlegel,and at many other points in Szondi's history,'° the chronologicaldevelopment has little or no historical causality behind it, leaving onewith sheer logical temporality, withchronosas time rather than ashistory—this is even more evident at the end of the same essay,where Szondi concludes that the relationship between Kant'scategories in his table of categories m the firstKritik(alluded to bySchiller m a crucial note to hisNaive und Sentimentalische Dichtung)"predestines them to be applied to a dialecticalGeschichts-philosophie,to Its logical foundation " " The development from Kan-tian formalism to a HegelianGeschichtsphilosophieis itself a purelyformal and logicalpredestiny,residing already in the "logic of thematter itself" and needing history only as the fulfillment of thislogical predestination.Noting Szondi's predilection for the use of prefiguralterms—Vorbereitung,Vorstufe, Vorwegnahme,predestination—onemight ask whether his "dialectic" of the history of German romanticgenre theory is not rather more like Schellmg's than Hegel's When hecites Schelling asserting in the introduction to thePhilosophie derKunstthat the history of art manifests "its immediate relations to thatabsolute identity wherein they are predetermined(vorherbestimmt),""Szondi immediately follows with a remark that summarizes his cri-tique of Schelling when measured against Hegel.The presentation of this predetermination of historyIS the task of Schellmg'sGeschichtsphilosophie,mwhich history is "sublated"[aufgehoben]to the sameextent that his philosophy accomplishes its task."History m Scheiling'sGeschichtsphilosophieis cancelled, accordingto Szondi, to the extent that it merely manifests what is "predeter-mined" in his absoluteIdentit^tsphilosophie.I would suggest that,whatever his intentions or "task," Szondi's history of German idealistaesthetics similarly construes history as\\s predeterminationtowardan absolute, toward the absolute of Hegel'sAsthetikif not Schellmg's"absolute identity of theuniversum" History's complexities and in-trinsic character are cancelled to the extent that Szondi fulfills his113historico-cntical task of displaying its predetermination toward theHegelian fulfillment of its trajectory In another context, Szondi con-cludes an argument by asserting that "Wmckelmann [appears] to an-ticipate a dialectical conception of the ideal of art that fulfills itselflater with Hoideriin and Hegel "'• This structure of prefiguration andfulfillment—is it Schelling's or Hegel's'' Dialectical, and if so, aHegelianRealdialektik,or of a different kind of structure and opera-tion"? Szondi hints that our question has to do with the question ofSchein("appears,"scheint),of theappearanceof history, which shiftsmy interrogation of Szondi's "dialectical" history toward a question ofIts aesthetic appearance, forScheinis in German idealismpreeminently a crucial feature of the aesthetic realm and experience,from Kant to HegelSzondi could admit several times that his history was an"ordering" of German romantic poetics "along a path," "so that oneunderstands them from [the perspective of] the synthesis in whichthey are all to be sublated, namely in Hegel's aesthetics," citing withapproval Helmut Kuhn's earlier effort in hisDie Vollendung derklassischen deutschen Asthetik durch Hegel'= While conceding thatthere was "no obligatory model," "according to which" the aestheticsystems of German idealism were "constructed," he nonethelessasserted.But the last great aesthetic system of Germanidealism which also represents a synthesis of all theinsights and perspectives of the theory of art duringthe age of Goethe, namely Hegel's aesthetics, thissystem offers a view into the blueprint that—con-sidered and realized to a greater or lesser extent—founds the different aesthetics of the age."If the perspective offered from thelastsuch system is understood asa "synthesis" ofallpreceding ones, yielding historical insight into the"blueprint" underlying their progression, and yet this perspectivedenies that it is of an "obligatory model" "according to which" thehistory "constructed" itself, then Szondi is here displaying hisowncritical constructionof the architectionics of German idealism and ofIts historical fulfillment of this predetermination or predestination.This methodological construction takes on its own aestheticcharacteristics as Szondi portrays the history of German romanticgenre poetics very much like a single literary work of art with its tex-tualEntstehungsgeschichte.m this method of literary study, whichSzondi raised to a fine art, earlier versions of a text are understood"as its genesis that finds itself sublated[aufgehoben],m the Hegeliansense of the word, on the level of its completion " " Similarly, in theEntstehungsgeschichteof German idealist poetics, earlier versions ofthe aesthetic system—those of Goethe or Schiller, Schlegel orHoideriin—are the genesis of a single work and are "sublated" in the"completion" offered by Hegel'sAsthetik.Furthermore, the structureand operation of this historical development, of this dialectical pro-114duction of work or system, appear very much within a conception ofGermanclassicalaesthetics, as Szondi said apropos of Schlegel'sUber das Studium der griechischen Poesie,the "historical develop-ment" across the particular texts is "as it were a growing system ofpoetic genres " " Indeed, one can cite a passage from this work ofSchlegel's that Szondi himself quotes, to describe Szondi's ownhistory( .) I have sought to determine for each striking ap-pearance the right place m the great whole of the for-mation of art ( ) the whole of ancient and modernart history surprises [one] by its intrinsic coherence,and It satisfies [one] totally through its perfect pur-posiveness{Zweckmassigkeif)"Each "appearance" of German idealist aesthetics finds its "rightplace" in the "great whole" of its history leading to Hegel, and if its"intrinsic coherence"—what Szondi calls the "predestination" orpredetermination" of its "founding blueprint"—surprises us, its"perfect purposiveness" may satisfy us But—as the Kantianlanguage ofZweckmassigkeitindicates—our satisfaction with thishistory will be aesthetic, and to that extent ought to invite ourepistemological suspicion. Szondi said, apropos of Schiller but with abroader orientation as well, that "decisive for the judgment of apoetics should be only the extent to which it is successful in relatingessence and outer form to one another, and presenting their dialec-tical unity"'°In his analysis of the poetics of German romanticism,"essence" and "outer form"—or the character of a system and itshistorical manifestation—are continually related to one another untiltheir "dialectical unity" is displayed in Hegel And this unity ofessence and form is of course the hallmark of a classical aestheticsSzondi could only give his interpretation of the history of Ger-man Idealist aesthetics—which I am insisting is not only a history ofprefiguration and fulfillment, but also an aesthetic construction ofform and content, of historical or material appearance and systematicessence—to the extent that, like the work of art in a classicalunderstanding, it displays a final architectonics. In other words, thehistory must be understood as closed, finished,over,m the closure ofthe fulfillment offered by Hegel'sAsthetikIt is from this perspectivethat he can speak of the "historical logic of the matter itself," andunderstand the "logic," or the aesthetic structure, of the history ashaving a dialectical story-line within it. But what this closure denies,or forgets, or at least obscures, is the characteristic of this dialecticas something that occurs or happens, as a historical activity before itIShistory.Szondi described this aspect eloquently when he said ofthe ostensibly "dialectical nature" of Schlegel's "relativizing of thepresent toward the future," that it isnegativeinsofar as the present isgrasped "as a prepatory exercise(Vorubung),as a purely provisionalthing," but that itbecomes positiveas the present is determined "as aprogressive moment."*' Or again, when describing the "mediation of115 [ Pobierz całość w formacie PDF ]
