The trick trickster with the large mothers
Over Arno Schmidts telling sample
"... always this passingnesses! "
1 repetition obligations
" must you you more uebm to see ' series ' ". With this
reminder to the family Jacobi wants to make Daniel Pagenstecher attentive
on certain speaking and repetitions of motive in the factory Edgar Allan
Poes. Similar ' series ', in its Metaphorik as in its figure arsenal, are
also with Arno Schmidt, how probably its reader admits to everyone is,
and ' plagiarism ' - the fraudulent version of the quotation - is called
one of it; from the almost literal quotations from Poes " Heureka " in
Schmidts " Leviathan " and the radio essay over the literary " master thieves
" up to " Zettel's dream " and the portions over plagiarism reproaches
of and at Poe is present the topic in the complete work. The larger ' series
', into which it belongs, is version-rich handling of its Protagonisten
with truth and reality, on a scale from the sincere to the zynischen lie,
from the desire magic to the sublimation - two quotations than starting
points: " now ' the PLAGIARISM 'is a unglaublich=weites, (und ergo
still not at all well gewuerdichtes), field - from idiotisch=nakktn the
theft ehrgeizijn however of the geistig=Armen on; up to the Selbst=Copiren
of the Grossmeisters;(bei such ' repetition ' of a sehr=merkwuerdijen message
will have to be equated)... ". In addition still Freuds discovery is mentioned
" more kryptomnetischer ", more originating from unconscious memory, plagiarisms.
This series formation, that itself 'Selbst=Copiren ' from a constant repertoire
(not only moon metaphors!) is to be followed in the following. My thesis
is the fact that the origin of all these (even)Plagiats series, particularly
to their first form, as she is described in the " master thieves ", in
a certain myth to find is, or in a universal structure, which is the basis
for several myths; Schmidts stories tell the always-same ritual. And: This
ritual structure is appropriate for all its factories to reason, from the
romantisierenden youth narrations over the hauptwerke of the 50's up to
the Typoskriptromanen. Further: This essential structure is the author
first ' kryptomnetisch ' unconsciously remained, only the argument with
the
Psychoanalyse has to beginnings of reflection of its topic led, also
in the form of displacement and projection, and to the Remythisierung of
a science, which is however the myth very near or even one, that the civil
family to the example - which is view thus first contentwise oriented,
leads however across the topics ' lie ' and Metaphorik at least ansatzweise
also to the core of Schmidts factory, its literature or better perception
theory and - practice.
As concrete name of Schmidts myth may be considered
provisionally to " Orpheus ". Its statement only at the beginning of the
60's by pictures Eberhard Schlotters on the incident to " Caliban over
Setebos " to have come is doubtful: It always told underworld journeys.
Appropriate allusions are from the outset, the Protagonist of the " black
mirrors " about call Orpheus under his " colleague shadow traveler ". -
this narration may be even a more original result of its " work on the
myth " than the something over-instrumented " Caliban ": Orpheus remains
in the underworld, anyhow on its threshold, Eurydike pulls - one quoted
evenly nevertheless that however from this surrounding field, seems further
the statement of the kryptomnetischen reproduction of the sample to contradict.
Schmidt quoted however only concrete details, names of underworld travelers
about in addition, or also similar stories, not the sample actually, into
which underworld journeys belong, and which did not mention a special,
from it anywhere, names carries. Such associations (rather as calculated
quotations) in a certain aura, without calling or know their core, will
be still more frequent to observe. Schmidt thus wanted to tell underworld
journeys, but without the consciousness of its meaning, i.e. the connection,
into which they belong. The items of the maintained myth are to be clarified
now on the basis the " historical " novel " the stone heart "; with the
in such a way won check list, in view of the scope certainly excursively,
course is then tried by the complete work, which general-gene-wait the
sample to make descriptive is.
2 " the stone heart" as paradigm
At first sight even this novel reflects apparently nothing
as the German-German smallcivil reality of the 50's and would be in accordance
with its - at that time like today certainly ambiguous - sub-title rather
the " historical " world to add as, as here stated, the mythischen. The
action, as far as it plays in the external world, is plentifully trivial,
and is called also collective, like all myths: A type travel history like
almost always with Arno Schmidt, here even a Collage out equivalent three
journeys, after Ahlden, Berlin and to Hanover. An isolated loner, occupation
and an origin indefinable, almost without past or other personal background,
find the apparently idyllischen " port " of a menage to doubtful means
with the help of the coincidence and some after civil yardsticks à
quatre, - " however changed! ". ***
TRANSLATION ENDS HERE ***
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