ABSTRACT TIME: FORMS AND FUNCTIONS A STRUCTURAL ANALYSIS OF PROSE LITERATURE By Rex Craven Dahl Our libraries conTain evidence ThaT liTerary works of arT can be inTerpreTed in a myriad of ways. OTTen individuals become involved in such a manner ThaT The work of arT communicaTes To Them based on Their pasT personal experience. This relaTionship beTween personal experience and isoIaTed areas wiThin The work causes many individuals To inTerpreT Themselves and noT The work per se. The resuIT: a personal inTerpre- TaTion. Conversely, whaT The auThor inTends in his work can be quiTe differenT. Behind any work lies The auThor's inTenT. 'Since he wriTes for The public, This inTenT musT be accepTed as being someThing usually oTher Than The individual inTerpreTaTion which any individual is also enTiTled To. This inTenT is "public." This disserTaTion describes a meThod by which one comes To undersTand The inTenT of The auThor. IT is Termed a morphological approach To liTerary analysis. The morphological approach measures ThaT which is measurable in The liTerary work. The measuremenTs allow The reader an objecTive concepTion of The gesTalT of The work of arT. When one undersTands The gesTalT and iTs parTs and Their reciprocal relaTionships, one undersTands how The auThor has creaTed his work. ‘The expression of The sTrucTure of The gesTaIT will noT conTradicT The ouTer expression of The work. Thus, when The reader comes To undersTand The hgw_of liTeraTure, iTs sTrucTure, one undersTands The ouTer expression, The whaT, or conTenT as The auThor inTends iT. Rex Craven Dahl Time is a sTrucTural elemenT and can be measured in liTeraTure. Through The measuremenT of Time This TreaTise direcTs iTself aT The following: The relaTionship of "ErzghlzeiT" (number of pages in a work) as compared To "erzShITe ZeiT" (Time depicTed wiThin The ploT of The work) indicaTes whaT periods of Time and Therefore whaT happenings in depicTed Time are imporTanT for The auThor; The preTeriTe Tense is shown To have boTh a pasT and a presenT mode of expression, depending on The arrange- menT of The Time planes wiThin The "erzgthe ZeiT." This has To do wiTh The frame of reference which The reader meeTs direchy in reading and his relaTionship To all oTher Time planes exisTenT in The work; The Time planes are discussed. ConTrasTs are drawn enabling The reader To under- sTand wheTher The auThor wanTs his work To Take on The appearance of being relaTed by a narraTor or wheTher he inTends To porTray The sTream of consciousness of The mind of The proTagonisT. On any of These planes The auThor can incorporaTe forms of reTrospecT and anTicipaTion. These are used basically To draw parallels beTween Two differenT Times, The "now" and The pasT or The "now" and The fuTure, allowing The auThor a number of alTernaTives ranging from exposiTion To saTire To "Spannung" in The reader; finally There is an analysis of Two works based on The morphological approach To liTeraTure using Time as The sTrucTural elemenT. The works are Die Judenbuche by AnneTTe von DrosTe—HUIshoff and SpiegelgeschichTe by Ilse Aichinger. The disserTaTion is prepared To achieve The following resulTs: To assisT a reader of liTeraTure To come To undersTand The "public” inTenTions of The auThor based on The sTrucTure of The work and To allow him, Through The gesTalT, To undersTand how a work of arT ls creaTed. TIME: FORMS AND FUNCTIONS A STRUCTURAL ANALYSIS OF PROSE LITERATURE By Rex Craven Dahl A THESIS SubmiTTed To Michigan STaTe UniversiTy in parTiaI fulfillmenT of The requiremenTs for The degree of DOCTOR OF PHILOSOPHY DeparTmenT of German and Russian |97l © CopyrighT by REX CRAVEN DAHL I97I To my wife, Anna, wiThouT whose encouragemenT and undersTanding This work and Those sTeps leading To iT would noT have been possible. ACKNOLLEDGEMENTS A special expression of graTiTude is due To Professor KurT Schild, my disserTaTion adviser, whose advice, direcTion and careful scruTiny of The TexT have made This final resulT possible. Above all, Thanks for his unlimiTed availabiliTy should be acknowledged here. FurTher- more, The valuable suggesTions and direcTions of The oTher members of my commiTTee are deeply appreciaTed. TABLE OF CONTENTS INTRODUCTION . . . . . . . . . . . MORPHOLOGICAL LITERARY RESEARCH. . . . . . . . . . . . . A morphological concepT of liTeraTure. . . . . . . . . . CriTicism of morphological liTerary analysis . . . . . Morphological liTerary analysis: a non—biological discipline . . . . . . . . . . . . . . . . . . . . . . . "KunsT: eine andere NaTur" . . . . . . . . . . . . . . . "Das GeisTige" . . . . . . . . . . . . . . . . . . . . The purpose of measuremenT . . . . . . . . . . . . . . . Summary. . . . . . . . . . . . . . . . . . . . . . . . . TIME: A STRUCTURAL ELEMENT IN PROSE LITERATURE. The gesTalT. . . . . . . . . . . . . . "ZeiTgesTaIT". . . . . . . . . . . . . . . . . . LiTeraTure wiThouT Time: an impossibiIiTy . CharacTerisTics of Time in liTeraTure. . . . . . . . . Tempo O O Q I O O C O O O O I O O O O O O Q 0 O O O O O H H "ErzahlzeiT" versus "erzahITe ZeiT". . . . . . . . . . H "ErzahITe ZeiT": biological or physical 2| 2| 23 "Aussparung" and "ZeiTraffung" . . . . Summary. . . . . . . . . . . . . . . . . DEPICTED TIME: PAST OR PRESENT . . . . HisToricaI view of The expression of The preTeriTe . The frame of reference . . . . . . . Prose liTeraTure's frame of reference. . Frame of reference of The "redendes SubjekT" . HisToricaIframe ofreferenee of The "redendes SubjekT" . FicTive frame of reference of The ”redendes SubjekT" . The preTeriTe: FicTive pasT and ficTive fuTure. . . . . CausaIiTy. . . . . . . . . . . . . . . InTegraTion of The ficTive pasT and The ficTive fuTure inTo The ficTive presenT . . Memory and anTicipaTion. . . . . . . . Summary: a maTTer of perspecTive. . an expression of The presenT . The preTeriTe as an expression of The pasT: PLANES OF NARRATION, FORMS OF SPEECH, AND INTEGRATION. PerspecTive. . . . . . . . . . PerspecTive of The ficTive narraTor. FuncTion of The ficTive narraTor . FicTive narraTor: perpeTuaIIy presenT. PerspecTive A. . . The idenTiTy of The narraTor and The proTagonisT . PerspecTive B.: sTream of consciousness. 24 25 27 27 28 29 30 3I 32 32 33 33 34 35 36 37 38 39 4O 40 4| VI, vi The expression of The preTeriTe Tense: perspecTive. . . . InTegraTed speech forms. . . Dialogue . . . . . PerspecTive A. and PerspecTive B. and InTerior Monologue PerspecTive B. and PerspecTive A. and "ErlebTe Rede" PerspecTive B. and PerspecTive A. and Summary. . . . . . inTegraTed inTegraTed inTegraTed inTegraTed inTegraTed inTegraTed FORMS OF RETROSPECT.-. . SynchronizaTion. . SaTire . . . . . . EmbellishmenT reTrospecT . Building reTrospecT. . . . . Fa Te 0 O O Q C O Q ReTrospecTive resquTion . InserTed reTrospecT. ReTrospecT of reTrogression. Parallel reTrospecT. DeviaTing reTrospecT . ReTrospecT of reTardaTion. . dialogue a maTTer dialogue . O 0 . inTerior inTerior "erlebTe "erlebTe of monologue . monologue . Rede" Rede" . 42 43 43 44 44 45 46 47 48 48 49 50 5| 52 52 54 54 56 56 57 57 VII. vii The flash back . . . . . . . . . . . . . . Summary. . . . . . . . . . . . . . . . . . ANTICIPATORY FORMS . . . . . . . . . . . A guide To linking and compleTing. . . . . AnTicipaTion: ”dramaTische Spannung". CausaliTy. . . . . . . . . . . . . . AnTicipaTion: ”epische DisTanz" Fixed forms. . . . . . . . . . . The TiTIe. . . . . . . . . . . . . . . . . lnTernal headings. . . . . . . . . . . . Prologues and preambles. . . . . . SublimaTed forms . . . . . . . . . . . . . "ThemaTik" . . . . . . . . . . . . . . . . "Vorgeschichfe". . . . . . . . . . . . . . TerminaTing forms. . . . . . . . . . AnTicipaTion of The final siTuaTion. AnTicipaTion of The final condiTion. . . Symbolic and didacTic sTory TerminaTion. . InserTed forms AnTicipaTion of The close of a sTory PoinT of dramaTic acTion . Formal posiTioning aT chapTer endings. CompleTing form. . . . . . . . . . . Summary. . . . . . . . . . . . 6O 6O 62 62 63 65 66 66 66 67 67 67 68 68 69 69 7O 70 7| 72 72 73 73 74 VIII. THE PRACT l CE 0 0 Q 0 O O Q 0 O I O 0 O O I 9 I 0 0 0 I DIE JUDENBUCHE . . . . . . . . . . . . . . . . . . . . Time and heriTage. . . . . . . . The ficTive presenT of The ploT: a poinT of reference. FicTive presenT of The ploT versus The ficTive presenT of The "redendes SubjekT". . . . . . . . . . . . . Time and Tense . . . . . . . . . . . . . . . . . . . Die Judenbuche: PerspecTive A. . . . . . . . . . The preamble . . . . . . . . . . . . . . . Dialogue . . . . . . . . . . . . . . Reader‘s avenue of percepTion. . . . . "Spannung" . . . . . . . . . . . . . . . . DeceleraTed Tempo: acceleraTed ”Spannung" InTerior monologue . . . . . . . . . . . . . . . . DuraTive and iTeraTive Time epxressions. . . . . . . . Judenbuche: IeiTmoTif. . . . . . . . . . . . . . . . . Change: an inTensifier of anTicipaTion . . . . . .'. . Time: one form, Two funcTions. . . . . . . . . . . . . Preliminary summary. . . . . . . . . . . . . . . . . . Time as a medium for The increase of criminal "Spannung" . . . . . . . . . ReduplicaTion of The moTif: inTensificaTion. . . . . "SchicksalsThemaTik": culminaTion faTe curve . End phase: fulfillmenT of faTe . . . . . . . . FaTe beyond Time . . . . . . . . . . . . . . . . . . AnTicipaTion of The final siTuaTion. 76 77 78 8O 80 8| 83 84 84 86 87 88 89 9O 9O 92 93 97 98 99 I62 I05 IO6 I97 XI. XII. XIII. ix ReTrospecTive resquTion: a demonsTraTion of DrosTe‘s concepT of faTe . . . . . . . . . . . . . . . . . . . . Summary . . . . . . . . . . . . SPIEGELGESCHICHTE . . . . . . . . . . . . . . . . . . . . PerspecTive A. versus PerSpecTive B. . . . . . . . . . . STream of consciousness . . . . . . . . . . . . . . . . . ExisTenTiaI poinT of reference. . . . . . . . . . . . . The poinT of reference of The‘sTreaming consciousness". Forms of grammaTicaI Tense and Their esTheTicaI funcTion. Reverse Time: chronological . . . . . . . . . . . . . . . lnTernal and exTernaI percepTion. . . . . . . . . . . . InTernal and exTernaI percepTion in The "sTreaming consciousness" projecTing The fuTure. . . . . . . . . . The exisTenTiaI presenT: exTernaI sensory percepTion and inTernal inTeIlecTuaI percepTion. . . . . . . . . DuraTion of Time in The exisTenTial poinT of reference versus duraTion of Time in The‘sTreaming consciousness" . Re-evocaTion of The pasT based upon memory. . . . . . Reverse Time causaIiTy. . . . . . . . . . . . . . . . . CausaliTy: muTaTion of an objecT Through Time . . . . RaTio of "ErzahlzeiT" and "erzgthe ZeiT" having an immediaTe esTheTic funcTion . . . . . . . . . . . Summary . . . . . . . . . . . . . . . . . . . . . . . SUMMARY . . . . . . . . . . . . . . . . . . . . FOOTNOTES . . . . . . . . . . . . . . . . . . . . . . . . BIBLIOGRAPHY. . . . . . . . . . . . . . . . . . . I07 I08 IIO IIO |I2 ||3 |l4 II5 II5 I|6 .‘II7 ll9 |I9 I2I I2I I24 l25 I27 I37 I44 I. INTRODUCTION All human experience Takes place in Time. Experiences cannoT be expressed wiThouT Time. When a wriTer of prose creaTes a work of arT, Therefore, ThaT which he expresses in The work musT also be placed info a Time sTrucTure. His Opinions and ideas musT evolve Through Time. This Thesis is an aTTempT To illusTraTe some of The imporTanT forms which Time Takes in prose liTeraTure in order ThaT The funcTions of Time in liTeraTure become more meaningful To The reader. In liTerary analysis There are various ways To inTerpreT a work. Many individuals Tend To Take individual expressions of a work inTo Their privaTe experience. The individual, in This manner, inTerpreTs "Hugwork as iTesTheTically pleases him, for iT is based on his privaTe experience. lnsTead of acTually inTerpreTing The work aT hand, The reader uses The work To inTerpreT himself. In The eye of The wriTer of This disserTaTion, There is noThing wrong wiTh such an inTerpreTaTion as long as The individual undersTands ThaT This is how The work communi- caTes To him privaTer, buT ThaT if is noT especially whaT The auThor inTended To express To his public. ThaT which The auThor wanTs To sTaTe To his public is consTanT, whereas The individual readers, when They inTerpreT a work based on Their experiences, can come To as many differenT conclusions as There are readers. YeT how does one deTermine whaT The auThor wanTs To express To all of his readers? Since each individual Tends To his own experience for h\ 1‘ personal inTerpreTaTion, The public inTerpreTaTion of The inTenT of The auThor can only be undersTood and finaily inTerpreTed by means of being able To undersTand a consTanT, or ThaT which more or less carries wiTh iT The same quaIiTy and quanTiTy in The minds of all people. Based on ThaT kind of a requisiTe, The basis for The inTerpreTaTion of The inTenT of The auThor musT be someThing which has The characTerisTic ThaT iT can be measured objecTively. One musT avoid in The beginning wig: The auThor is communicaTing, for The whaT and The how of The work will noT oppose each oTher if The work is a good one. As was alluded To, This how can be measured objecTively. This musT needs be since The how is The ouTward form of The auThor's creaTion. iT is The gesTaIT of The work iTself. In The following pages, The inTenT will be ThaT The reader should come To a comprehension which will lead him from a sTudy of The gesTalT To an undersTanding of The arrangemenTs which iTs parTs can Take and finally To an inTerpreTaTion of These arrangemenTs which will show iTself To be congruous wiTh whal_- ThaT includes The ideas - The auThor wanTs To communicaTe. The paTh will lead from a discussion of morphological liTerary analysis To The analysis of a pair of liTerary works in prose, Die Judenbuche by AnneTTe von DrosTe-HUlshoff and Ilse Aichinger's work, SpiegelgeschichTe, in order To show The universaliTy of The morphological meThod. The reader will be confronTed wiTh discussions on (I) Time as a sTrucTuraI elemenT in prose liTeraTure, (2) The grammafical preTeriTe Tense as having boTh pasT and presenT funcTions, (3) an explanaTion of The main Time planes having The abiliTy To exisT in a work of arT, and (4) The forms of reTrospecT and anTicipaTion which can be incorporaTed inTo These Time planes by The auThor. A very general discussion of These concest appears here To allow The reader a TasTe of ThaT which will follow. 3 The gesTaIT of any work of arT is measureable To a large exTenT. The measuremenT of ThaT which is measureable will lead To an undersTanding of The make—up of The work of arT iTself. UndersTanding The creaTion of The auThor in iTs parTs allows The peruser of said creaTion To come To a greaTer insighT inTo The creaTion as a whole. Each work of prose liTeraTure, since iT is composed in Time, musT have a ”ZeiTgesTalT." Basically, There are Two forms of Time which can be measured and compared, which will aIlow The reader To see The enTire gesTalT in a more radianT IighT. These Two forms are known as "Erzahlzeif," The amounT of Time iT Takes a reader To read The work, or more objecTively yeT, The number of pages which exisT in The work, and ”erzgthe ZeiT," The ficTive Time represenTed on Those pages.I An example of such Time could be The number of years describing a parTicular hero from birTh To deaTh. The auThor cannoT possibly represenT every day of all Those years To The reader. He only TreaTs Those segmenTs of Time which are imporTanT To The sTory. Each of These secTions of Time compared To The "Erzahizeif" can illusTraTe Those periods of The life of The proTagonisT which are imporTanT for The auThor and his inTenT. ln "erzgthe ZeiT" one meeTs a "redendes SubjekT" direchy in one's reading.2 If is from This perspecTive ThaT all oTher Things gain Their perspecTive. If The "redendes SubjekT" were a narraTor who exisTed on a Time plane ouTside The plane of The ploT of The sTory, Then There musT be Two evidenT planes of Time. Since The reader meeTs The narraTor direchy, ThaT which The narraTor relaTes, if iT happened earlier, musT be pasT for boTh The reader and The narraTor. Therefore This preTeriTe is an expression of The pasT. If on The oTher hand The narraTor becomes The proTagonisT, There can be only one Time plane exisTenT. As a resulT, when The preTeriTe is used as an expression of This plane of Time, iT musT be Termed as on—going and accepTed as an 4 expression of a presenT occurrence. This process is known as The sTream of consciousness. On eiTher The plane where The narraTor is separaTe from The pro- TagonisT and The ploT or where boTh are on The same plane, The narraTor becoming The proTagonisT, There can be expressions of inTernal Time of percepTion and exTernaI Time of percepTion. The inTernal Time originaTes in The mind of The proTagonisT whereas The exTernaI is perceived in The mind only Through a percepTion originaTing exTernaIly and regisTered in The mind Through The five senses. Thus The former can deal wiTh ThoughTs and presenTimenTs abouT The pasT, presenT or fuTure of The proTagonisT whereas The IaTTer can only have To do wiTh The presenT of The proTagonisT and Those Things occurring around him in his milieu. When These Times of percepTion occur in The sTream of consciousness They musT be considered TO be more direcT Than when The narraTor and The proTagonisT are separaTe, for here The percepTions of The proTagonisT are reporfed and are Therefore noT direcT. On any of The planes of Time menTioned, There can be anTicipaTory or reTrospecTive Time forms incorporaTed. When The auThor chooses To look backwards, There are Two Time planes which come TogeTher in synchro- nizaTion, Thus drawing a parallel. Through This parallel The auThor mighT inTend To achieve many Things, for example: -To clarify The presenT of The "erzgthe ZeiT," To show causaliTy, To be saTiricaI, To solve an exisTing condiTion in This presenT, To add color To The characTers or To increase The "Spannung" in The reader by a delay in The acTion of The ploT. All These synchronizaTion processes have To do wiTh The relaTionship The "now" has wiTh The pasT. When The auThor chooses To compare The "now" wiTh The anTicipaTed fuTure of The sTory, he has The opporTuniTy To iniTiaTe inTo The work a KIT number of forms of anTicipaTion. AlmosT all of Them have To do wiTh bringing abouT an aTTiTude of "Spannung" in The reader. This ”Spannung” in The reader sTrives To esTainsh The conTenTs of fuTure phases in The work and To influence The reader To rush Toward Them. These anTicipaTory forms are of Two Types: The "fixed forms of anTicipaTion" and "inserTed forms of anTicipaTion."3 The fixed varieTy come aT The beginning and The end of The work. The oThers are inserTed wherever The auThor desires Them. Of The fixed Type, The inTroducTory kind can offer "einsTimmung" in inTro- ducTions of milieu. Some have To do wiTh The "ThemaTik" of The work while oThers concern Themselves wiTh The "Handlung." The TerminaTing Types allow conclusions To be drawn abouT a sTory's end, which mighT exisT in The fuTure from The poinT where The auThor ceases To presenT "erzgthe ZeiT.” InserTed forms occur in The various phases of The work. They can be inTroducTory in naTure, inTroducing new phases, or The TerminaTing Type aT The ends of phases. They can connecT individual parTs of a work TogeTher or announce The end of a poinT. They mighT conTribuTe To The mood of The reader in oTher ways, such as giving him The indefiniTe promise of The fuTure, wheTher iT be in happiness or sorrow. All These concest are incorporaTed in This underTaking because They are inseparably connecTed wiTh Time and Therefore also wiTh The "ZeiTgesTalT" of any work of prose liTeraTure. Measuring These concest, in liTeraTure is To undersTand The gesTaIT of The liTeraTure. Under- sTanding The gesTalT is To comprehend The ”public" inTenT of The auThor. One way To obTain This resulT is Through The morphological approach To liTerary analysis: one noT only comes To experience The inTenTions of The auThor based on The sTrucTure of The work, buT one also comes To undersTand how a work of arT is creaTed as a gesTalT and whaT effecTs arise as a resulT of The posiTioning of The differenT forms of Time in relaTion To each oTher. 6 This disserTaTion is prepared wiTh The inTenTion ThaT The immediaTely foregoing poinTs be achieved. These poinTs give This work iTs sTrucTure and iTs jusTificaTion. II. MORPHOLOGICAL LITERARY RESEARCH A morphological concepT of liTeraTure As is wiTnessed by The TiTIe, The conTenT of This work deals wiTh sTrucTural forms and funcTions of Time in liTeraTure. The mere menTion of The word sTrucTure immediaTely brings To mind ThaT any objecT being examined is an enTiTy wiTh parTs and secTions and sub-parTs and sub- secTions. In any sTrucTure or enTiTy The sub-classificaTions play a role in relaTion To each oTher. Each parT influences The oThers. All of The parTs figure inTo The meaning of The whole, and The enTireTy of The sTrucTure reciprocaTes in connecTion wiTh iTs influence on each of The parTs. This phenomenon can be undersTood as a morphological inTer- relaTion. Much can be gained by a morphological sTudy in liTeraTure, for iT does help To reconsTrucT The inTenT of The auThor. The form of a liTerary work of arT and iTs creaTor's inTenT should noT conflicT. The form and conTenT of any work should mainTain a conTinuiTy ThroughouT any parTicular piece of liTeraTure. A morphological approach To The sTrucTure of liTeraTure is Therefore whaT shall ensue as The foundaTion for The following TreaTise on Time in prose liTeraTure. CriTicism of morphological liTerary analysis In Germany during The I940's Two ouTsTanding represenTaTives of The morphological approach were working To show The meriTs of Their parTicular meThod. GUnTher MUller and HorsT Oppel sTrove To open new inroads inTo meThods of liTerary research, buT from cerTain quarTers boTh Then and laTer, There came criTicism in The more negaTive sense. 8 This criTicism is menTioned here for a Two-fold purpose: firsT, a dis- cussion of The criTicism will cerTainly show ThaT such argumenTs againsT a morphological sTyle are noT sufficienle valid, and second, having esTablished iTs soundness, we may Then ascerTain The jusTificaTion of iTs use as a foundaTion for a sTrucTural sTudy of liTeraTure. An example of such criTicism appears in The work Concest gi_CriTicism by Professor Rene'Wellek. BoTh MUller and Oppel come under fire when he wriTes: The Term "organic form" has also been revived in'Germany" wiTh sTrong emphasis on iTs biological analogies by GunTher Muller and HorsT Oppel. The analogy beTween The work of arT and a living being is so sTrongly exploiTed by These Two auThors ThaT They are in consTanT danger of obliTeraTing The disTincTion beTween arT and life, beTween a work of arT made by man and an animal or Tree. Muller speaks, e.g. of The Time scheme of a novel as if iT were The skeIeTon of an a imal. LiTerary scholarship is To become a branch of biology. Wellek's suggesTion ThaT MUller's approach To liTerary science will Turn The discipline inTo a branch of biology is, as The following informaTion suggesTs, noT especially well founded. IT would appear ThaT he missed The "spiriT" if noT also The obvious inTenT of MUlIer's use of morphological concest. Morphological liTerary analysis: a non-biological discipline An excerpT from MUIIer's arTicle "GoeThes Morphologie in ihrer BedeuTung fUr die DichTskunde" will serve as a rebuTTal concerning Wellek's concepT. MUIler's explanaTion for using morphological concest in sTudying works of arT allays any suspicion ThaT he is Trying To converT liTeraTure inTo a biological discipline: Die Anwendung morphologischer Begriffe auch auf Werke der KunsT, der DichTung bedeuTeT also nichT eTwa eine bio- Iogische DeuTung der KunsT. Sie bedeuTeT vielmehr die AusweiTung des NaTurbegriffs auch auf das GeisTige Dnd die BesTimmung des NaTurbegriffs auch durch das GeisTige, wie das fur GoeThe sogar in seiner "hylozoisTischen" Phase 9 selbsTversTSndlich war. GemeinT isT die umfassende Ein- heiT des Ganzen, das nach MephisTos WorT nur fur einen GoTT gemachT isT. Die Bezeichnung des KunsTwerks als eTwas geisTig Organisches deuTeT ebenso die EinheiT wie die Abwandlung der Bereniche an. NichT um I d e n T i - T 3 T organischer und kunsTlerischer Gebilde handelT es sich, sondern um das, was GoeThe A n a l o g i e nannTe und was die heuTige NaTurwissenschafT Homologie nennT, namlich um eine gewissen EnTsprechung von STelle und Funk— Tion im Gebilde, bei aller sonsTigen VerschiedenheiT. MUIIer does noT obliTeraTe The disTincTion beTween arT and life, To make a novel or any oTher Type of liTeraTure To appear To be relegaTed To The realm of biology. The "spiriT" and inTenT of Maller's concest are To designaTe The work of arT as someThing more Than organic, an inTeIIecTual- plus creaTion. And in This enTiTy There musT be parTs which inTeracT one wiTh anoTher. The imporTanT aspecT of his wriTing in Terms of morphology, or homology, or whaTever, does noT acTually carry The negaTive connoTaTion which auThors like Wellek.imply. WhaT is imporTanT in The use of morphological nomenclaTure is The facT ThaT a definiTe analogy can be made To The work of arT. The work of arT remains apari from any biological creaTion or sTrucTure. YeT if is, in and of iTself, a creaTion and a sTrucTure wiTh parTs and funcTions which are of uTmosT imporTance if one is To undersTand The work of arT as a whole. IT is True, a nomenclaTure oTher Than The convenTional liTerary language is used To poinT ouT These relaTionships and funcTions, buT ThaT in no way changes The work of arT. On The oTher hand, however, iT helps To illuminaTe iTs purpose. AnoTher individual who sTroneg quesTions MUller's brand of morpho- logical research is Emil STaiger. He has criTicized MUller in an arTicle enTiTIed "Morphologische LiTeraTurwissenschafT"6 by arguing ThaT MUiier misTakenly uses GoeThe's concepT ThaT arT is "eine andere NaTur" as a basis for his morphological sTudies. An analysis of boTh STaiger's criTicism and The arTicle, "Die GesTalerage in der LiTeraTurwissenschafT und GoeThes Morphologie,"7 by GUnTher MUIler shows ThaT STaiger musT IO share Wellek's fear which assumes ThaT liTerary science is degenera- Ting inTo a pure science wiTh The advenT of scienTific nomenclaTure as a Tool. STaiger seems To be saying ThaT MUller's whole approach is wiThouT validiTy because of The Terminology he uses. He (STaiger) poinTs ouT cerTain elemenTs in MUller's wording in an apparenT aTTempT To discrediT The enTire meThod. STaiger overlooks The inTenT and effecT of MUIIer's chosen sTer of analysis. KunsT: eine andere NaTur In his arTicle, MUIIer reiTeraTes GoeThes concest. The imporTanT concepT is ThaT arT is anoTher naTure (KunsT: eine andere NaTur). The creaTive process in naTure is relaTed To The creaTion as iT Takes place in arT. The objecT creaTed is religiously referred To as gesTalT. The concepT gesTalT poinTs ouT ThaT iT is The weaving TogeTher of The subsTance of an acTual objecT wherein all of The parTs affecT each oTher and every oTher parT, as was menTioned before. MUIIer conTends ThaT a liTerary work of arT may be undersTood in This conTexT. BuT STaiger is disTurbed ThaT MUIIer would use Terms as "rhyThm" and "senTence" as parTs ("Teile") of a poeTic creaTion and do so supporTing if in connecTion wiTh The meaning of The word "Teil" as expressed in GoeThe's morphology. He asserTs ThaT MUller has overlooked ThaT The word "Teil" in connecTion wiTh poeTry means someThing differenT Than iTs meaning in GoeThe's morphology. A look aT STaiger's sTaTemenT will show ThaT whaT STaiger means by rhyThm, eTc. is exachy whaT MUIler means and ThaT MUller is compleTely jusTified in using The Terminology which he does. STaiger wriTes: Wenn GunTher MUlIer RhyThmus, SaTz usw. als Teile einer DichTung bezeichneT, so scheinT er zu Ubersehen, dass "Teil" hier eTwas anderes bedeuTeT als in GoeThes Mor- phologie. Die Teile einer Pflanze, STiele und BlUTe, sind nebeneinander vorhanden. Der RhyThmus aber isT kein ll Teil, der irgendwie neben dem SaTz besTehT. Die SaTze konnen nichT im VerhalTnis der "Wechselwirkung" sTehen, gerade weil RhyThmus und SaTz (sei nun der SaTzinhalT oder die SynTax gemeinT) zwei verschiedene AspekTe ein und derselben sprachlichen Aeusserung sind. Dass sie "zusammengehgren" isT klar; beide zeigen das Wesen des DichTers. Doch ihr VerhalTnis haT nichTs zu schaffen miT dem der BluTe zu STiel und BlaTT. Sie gehen nichT auseinander hervor und konnen sich, als verschiedenen kaTegorialen SchichTen angehSrig, uberhaupT in keinem PunkT berIIhren.8 STaiger argues ThaT The parTs of a planT, The sTems and The blooms, occur nexT To each oTher, buT ThaT The rhyThm of a senTence cannoT sTand nexT To or ouTside of The senTence in any way. He aTTemst To make a differenTiaTion beTween The parTs of a poem and The parTs of a planT, buT neglecTs To Think ThaT The ouTer form of a planT can have a rhyThm iTself. If a composer creaTes a symphony he musT use parTs. These parTs are designaTed as sounds. The arrangemenT of The sounds resuITs in The rhyThm. If The sounds (even The same sounds) are given anoTher arrange- menT side by side, The rhyThm changes along wiTh The new arrangemenT. The observaTion of a painTing produces like resuITs. IT has a cerTain rhyThm, jusT as a symphony, because of The arrangemenT of iTs parTs. Rearrange The parTs and The rhyThm is also rearranged. By analogy, The same holds True for any liTerary achievemenf. The rhyThm is direchy connecTed wiTh The formaTion of The words. No one advocaTing a morphological sTudy would objecT To ThaT reasoning. The imporTance of The poinT involved, Though, is ThaT The concepT holds True for boTh science and liTeraTure, and Therein lies The validiTy of employing This concepT To liTeraTure. BuT STaiger says ThaT The word "Teil" in liTeraTure is incongruous wiTh The same Term in morphology, Then he conTinues on To say ThaT rhyThm and senTence are congruous. MUller wouldn'T deny ThaT rhyThm I2 in a poeTic work and iTs senTence sTrucTure belong TogeTher as STaiger claims. He would noT claim eiTher ThaT The sTrucTure of a planT and iTs rhyThm are separaTe as STaiger apparenle does. MUIIer's following sTaTemenT abouT The formaTion of senTences, rhyThm and The arrangemenT of words as parTs of senTences has a parallel To The arrangemenT of a planT, and Too wiTh The aforemenTioned sTaTemenT by STaiger, for if resTores MUller's inTenTion To iTs True expression. MUller agrees wiTh The IaTTer parT of STaiger's sTaTemenT, and in so doing he denies The earlier confusion which STaiger's sTaTemenT generaTed: Die saTze wollen vielmehr auch, zugleich und besonders als gesTalTbildende gUge aufgefassT sein. Dazu gehSrT sehr vieles. Wir beruhren hier die 8 a T 2 f o r m u n d d e n W o r T s c h a T 2, deren Verwachsung miT dem MeTrisch-RhyThmischen verhngnismgssig leichT zu sehen isT. Die Verse ebenso wie die dichTerische Prosa bilden sich ja nichT aus einer beliebigen Abfolge von klangfghigen WSrTern, sondern aus einer saTzhafTen Abfolge von WorTern, deren BedeuTungen sich eben im SaTz zu einer neuen, einheiTlichen BedeuTung zusammenschliessen. Die STeIlung der WSrTer im SaTz nun haT gegenUber dem logischen Schema "S isT p" eine gewisse BewegungsfreiheiT - ich kann sowohl sagen "Ein RgTsel isT rein EnTsprungenes" als auch "Rein EnTsprungenes isT ein RSTsel" usw. -, und die besondere STeIlung der WorTer im SaTz einer wirklichen DichTung bildeT am RhyThmus des SaTzes miT. So gewinnT der SaTz seinen rhyThmischen CharakTer, seinen rhyThmischen GesTaszug. WeiTernsiehT man unschwer folgendes: Dieser rhyThmische SaTz fugT sich nichT nur einer VersgesTalT ein, er bildeT an der STrophe als Teil, als Glied miT, und er wird zugleich von ihr in seiner rhyThmischen GesTaIT ersT ennglTig geprggT.9 In The same way The rhyThm of a planT springs from The specific ordering of iTs parTs, The rhyThm of a senTence is co-creaTed by The special posiTioning of The words in a senTence. IT musT be clear, Therefore, ThaT MUller's concest align Themselves wiTh GoeThe's morphology yeT They do noT deparT from STaiger's concepT of rhyThm and senTence. BoTh men show ThaT rhyThm and senTence are inseparably connecTed. STaiger, however, seems To have made a raTher unfounded criTicism of morphological liTerary research. I3 Mailer published anoTher arTicle in I944 which is similar To The one jusT discussed. IT Too expresses This new approach To liTeraTure. Of his wriTings These Two arTicIes exhibiT his opinions especially well in ThaT They negaTe The assumpTion ThaT his inTenT is To Transform liTeraTure inTo a biological discipline. His was a sTudy in which The forms and sTrucTures of arT can be probed inTo, allowing The researcher To find anoTher, more reliable expression of The auThor's inTenT. IT musT be remembered ThaT The form and sTrucTure is jusT as much an expression of The auThor's inTenT, of The auThor's creaTion, as The conTenT and philosophy of his work. They d2_go hand in hand. "Das GeisTige" Up To This juncTure a discussion on HorsT Oppel's concest remained passive. Speaking of GoeThe's morphological concest Oppel poses a sTaTemenT which illuminaTes The inTenT of GoeThe in The conTexT of naTure and The inTellecT ("das GeisTige") or The inTellecTual—plus, ThaT which is noT comprehended by raTional means only: GoeT'e hafnsich zuweilen miT solchem "sTillen EinversTgndnis" begnugT, wahrend es gleichzeiTi zu den macthollsTen Denkbewegungen gehSrT, die wir berhaupT von GoeThe kennen, dass er unablassig versuchT, die ProdukTe des GeisTes und der NaTur von einer GeseTzllchkeiT her zu erhellen. Von GoeThe wird wirklich bis zu den leTzTen Konsequenzen miT der Aufgabe ernsT gemachT, nichT vom GeisTe zu handeln, ohne die NaTur "vorauszuseTzen."II GoeThe himself would noT aTTempT To desTroy The relaTionship beTween naTure and The inTellecTual world. The use of sTrucTure allows The observer a more favorable insighT. "Nur im erkennenden Anschauen des leibhafTig, d. h. aber gesTalThafT VerwirklichTen wgchsf uns eine hghere und umfassendere EinsichT zu."I2 This new insighT, in order To be more comprehensive, musT of necessiTy open someThing To view which was noT hereTofore noTiceable. The reciprocal I4 effecT of The parTs of a sTrucTure, in being viewed, gives one To undersTand where This new insighT leads: "Verschiedene und zwar sehr zahlreiche 'Teile' oder besser 'Glieder', von denen hier nur sehr wenige aufgenommen sind, ngen sich in sTandiger Wechselwirkung miT und gegeneinander zu einem G e s T a I T g a n z e n zusammen, das zur inneren MiTTe dieser DichTung fIIhrT."l3 And when one has a more comprehensive insighT inTo The inTerior of a work of liTeraTure, one also opens The channels To The inner self, To The esTheTic reacTion of The individual in response To a confronTaTion or encounTer wiTh a work of arT. "Denn die morphologische KunsTbeTrachTung isT unverkennbar um die Erfahrung jenes geheimen 'anderen' bemUhT, das weiT Uber alle 'Gedanken' und 'Empfindungen' hinaus, den 'ganzen Menschen' ergreifT."|4 The purpose of measuremenT The morphological approach does noT aTTempT To go beyond ThaT which is measurable, buT when one has measured ThaT which is measurable in a work of arT, The remainder - and There is more To arT Than ThaT which is measureable - becomes ThaT which disTinguishes arT from The sciences. IT cannoT be explained, buT iT can be communicaTed To The individual, noT Through percepTive means or raTionaliTy, buT The work is Then IefT bare To communicaTe via oTher means. The measureable porTions of The work musT be comprehended. They are a parT of The work of arT and will enable us To approach The consTanT elemenT of The work which exisTs in all arT. ThisyconsTanT elemenT is ThaT characTerisTic which ulTimaTely makes arT arT. Oppel Talks in Terms of ThaT which can be measured in liTeraTure: Das messbar Begriffliche, wie es lyrisch eTwa an Versschema und STrophenform, dramaTisch an Szenenfolge und AkTeinTei- lung, episch am Ablauf der Ereignisse oder der Reihenfolge der KapiTel hafTeT, gibT demnach doch offensicthich nur die eine, bewussTe und raTionaI erforschbare SeiTe des I5 WerkcharakTers ab. Wer sich darauf beschrankT, im Sninn der formalisTischen AesTheTik sprachlich- -meTrische Formzuge in einem GedichT, die Gruppuierung der Figuren" in einem Drama, die Oekonomie der zweckmassigen Handlungsfuhrung in einem Roman zu sTudieren, - der haT damiT noch immer nichT das geheime, aber unerhorT wirksame WerkgeseTz einer DichTung oeruhrT. Denn uber dieses messbar Begriffliche kann sich auch der DichTer selbsT hinreichend AuskunfT geben. Und TroTzdem muss er beTonen, dass das TaTsSchlich Vorhandene 'noch nichT alles' sei, - dass ein ihm selbsT Ungreifbares und Unfassliches sich durchgeseTzT haT. Und mehr noch: dass gerade dieses Unbegriffliche und Unmessbare fur WerT, BedeuTung und Wirkung seiner DichTung den Ausschlag gibT. Wenn dem so isT, dann muss sich das Werkganze in einer Dimension bewegen, in der sich eTwas gesTalTeT, was sich wohl als lebens- und _wirkungsTahig erweisT, nichT aber begrifflich ohne weiTeres festulegen isT. '5 According To This sTaTemenT, The incomprehensible porTion of The work of arT is also noT comprehended raTionally by The auThor. He cannoT communicaTe This inner meaning oTher Than Through The work iTself. If we are To near an undersTanding of iT, we musT firsT comprehend ThaT which is logical and measurable Through our raTional self. IT is, so To speak, an uncovering or demasking process which leads To The mosT compleTe undersTanding of arT which is possible. One furTher commenT from Oppel as To how This process occurs: Ausserdem bleibe sich die morphologische BeTrgchTung bewussT, miT dem messbar Begrifflichen noch lapgsT nichT an das Geheimnis der GesTalTbildung zu ruhren. Ihr isT es deshalb gerade darum zu Tun, das Ineinander- wirken einer gesTalThafTen MannigfalTigkeiT zu einer in sich lebensfahigen EinheiT anschauend zu begreifen.|6 Summary The jusTificaTion of This work lies in The facT ThaT The gesTalT is imporTanT because of The inner effecT iTs parTs have on each oTher. To measure The parTs leads To undersTanding The inner effecT beTTer. To undersTand The work of arT Through a process of measuremenT will give us a more workable relaTionship wiTh The consTanT elemenT of a liTerary work. l6 All liTeraTure wriTTen in prose has a Time sTrucTure. In Terms of The foregoing discussion, The Time sTrucTure ("ZeiTgesTalT") becomes The basis for our sTudy. IT is To be remembered whaT can be gained from such an underTaking. The planes and forms of Time can be measured, and This measuremenT Then enables The reader To observe The inTeracTion which each of The elemenTs of Time has wiTh The oThers. He recognizes more easily The inTenT of The auThor. In This sTudy of Time ThaT which is measurable will be measured. The inTenT of The auThor will be seen To align iTself wiTh The conTenT of The work and The consTanT of arT which ulTimaTely makes The work of arT a work of arT will be more comprehensible To The reader. The background and philosophy for The foundaTion of This work is based on The work done by GflnTher MUIler and HorsT Oppel. GUnTher MUller's concest conTinue To be an influence and a supporT in The discussion which follows on Time as a sTrucTuraI elemenT. III. TIME: A STRUCTURAL ELEMENT IN PROSE LITERATURE The gesTalT The poinT of deparTure in This discussion is noTed by a Term which was menTioned in The inTroducTory passages: gesTalT. This word carries wiTh iT such concest as form, shape, figure, build, frame, sTaTure, eTc. The ouTer physical IimiTs of any concreTe objecT are shown To conTain inTernaI elemenTs. Each infernal elemenT could also be considered a gesTalT. The imporTanT consideraTion is The facT ThaT all objecTs have a gesTalT. A Tree, like The human being, has a gesTalT. The same holds True for all liTerary works of arT, for The formaT wherein words and sen- Tences are conTained musT have an arrangemenT of parTs which make up The gesTalT. "ZeiTgesTalT" This chapTer enTerTains a discussion of The form or gesTalT a prose work of arT Takes in Terms of iTs Time sTrucTure ("ZeiTgesTalT"). E.M. ForsTer, in a discussion of The ”sTory" (as differenTiaTed from a "ploT") Tells us ThaT "The basis of a novel is a sTory, and a sTory is a narraTive of evenTs arranged in a Time sequence."l7 ForsTer's sTaTemenT is basic in undersTanding The sTrucTure of The gesTalT of'a novel. There are endless numbers of novels (objecTs of The same Type), yeT They are differenT one from The oTher. If iT be The case, ThaT The novel is arranged in a Time sequence, Then one of The differenTiaTing CharacTerisTics making one novel unlike anoTher, is The arrangemenT of The sequences of Time, or The Time sTrucTure. In order To resubsTanTiaTe ThaT Time is noT an insignificanT consideraTion, ForsTer's commenTs are again employed and relied upon. He relaTes: l7 l8 BuT if is never possible for a novelisT To deny Time inside The fabric of his novel: he musT cling however ligthy To The Thread of his sTory, he musT Touch The inTerminabIe Tape-worm, oTherwise he becomes uninTelli- gible, which, in his case, is a blunder.l8 The key word in The above ciTaTion is 'Tape-worm.' This Term is again placed before The reader in anoTher area of ForsTer's TreaTise. Concerning This mosT basic elemenT of The novel, he wriTes: "For The more we look aT The sTory. . . The more we disenTangIe if from The finer growTh ThaT iT supporTs, The less shall we find To admire. IT runs like a backbone - or may I say a Tape-worm, for iTs beginning and end are arbiTrary."I9 IT is noT The poinT of This discussion To explain whaT ForsTer means by "sTory" and "ploT," buT To exTracT Those perTinenT iTems concerning Time and The novel in order ThaT They may be used To describe The gesTalT of The novel or any oTher prose work for ThaT maTTer. This Thing ForsTer calls a 'sTory' or a 'Tape-worm' we have come To undersTand as a narraTive of evenTs arranged in Their Time sequence, "dinner coming afTer breakfasT, Tuesday afTer Monday, decay afTer deaTh, and so on." Even Though The "sTory" "is The lowesT and simplesT of liTerary organisms," iT is as ForsTer wriTes, "The highesT facTor common To all The very compli- caTed organisms known as novels."20 The logical conTinuaTion of ThaT sTaTemenT would be ThaT The elemenT of Time in iTs sTrucTure is also among The highesT facTors common To all The very complicaTed organisms known as novels, and oTher prose forms as well. LiTeraTure wiThouT Time: an impossibiliTy To Try To avoid or do away wiTh a consideraTion of Time in The novel is ill-conceived if noT compleTely unfaThomabIe. ForsTer Tells of GerTrude STein, a novelisT, who Tried To abolish Time in one of her works. Her failure is insTrucTive. ForsTer wriTes: l9 She fails, because as soon as ficTion is compleTely delivered from Time iT cannoT express anyThing aT all. . . . She wanTs To abolish This whole aspecT of The sTory, This sequence beTween The senTences. BuT This is noT effecfive unless The order of The words in The senTences is also abolished, which in iTs Turn enTails The aboliTion of The order of The IeTTers or sounds in The words. . . .2 FurTher on he sTaTes: "YeT The experimenT is doomed To failure. The Time- sequence cannoT be desTroyed wiThouT carrying in iTs ruin all ThaT should have Taken iTs place; The novel ThaT would express values only becomes uninTelIigibIe and Therefore valueless."22- ForsTer acTuaIly discrediTs The conveyance of meaning in a novel unless The Time sequence is also presenT. Eberhard LgmmerT in his Bauformen des Erzghlens draws a conclusion in his discussion of Time which aligns iTself wiTh ForsTer's commenTs: "So sTelIen wir als ersTes fesT: Dem DichTer isT es aufgegeben, seine Ideen und Meinungen, seine Raum- und CharakTervorsTellungen in zeiTliche Vorggnge, in Geschehen umzuseTzen oder doch einzubeTTen, wenn er sie erzghlbar machen will."23 WiTh This knowledge, ThaT The elemenT of Time cannoT be excluded from a prose work, The nexT logical sTep in The procedure is To ascerTain how Time is arranged in prose and how one can perceive The reciprocal effecT which The various Time elemenTs have on each oTher. CharacTerisTics of Time in liTeraTure Numerous auThors have discussed The novel and or oTher prose works as To Their sTrucTure and form. To invesTigaTe some of Those which readily come To mind would be profiTable To The discussion. AfTer presenTing several sTaTemenTs in This conTexT, The aTTempT will be made To fasTen upon The elemenTs which assisT in undersTanding The naTure of a "ZeiTgesTalT," or Time sTrucTure. The following sTaTemenT relaTes direcTIy To our subjecT: 20 Jeder Leser sTellT sich (und muss es Tun) so weiT auf die EigenwelT eines KunsTwerkes ein, dass er dessen ZeiTverlauf nichT exakT an dem objekTiven Verlauf missT. Wir Uber- lassen uns dem ZeiTmass, das der AuTor uns aufzwgngen will und, wenn er seln Handwerk nur richTig versTehT, auch wirk- lich aufzwgngT. Wir erlauben ihm - TroTz Lessing - einige ZeiT verbrauchende Schllderungen von ZusTgnden: Andererseifs folgen wir dem AuTor im Fluge Uber lgngere ZeiTspannen, wenn er sie zusammenrafff. Die ZeiTgesTalTung und ihre Technik isT ein zwar schwieriges aber lohhendes Feld fUr die UnTer- suchung von KunsTwerkené4 SomeTlmes poeTic Time may proceed rapidly, someTimes very slowly, even sTopping.compleTely. Then, Too, There are various degrees beTween and even ouTside The exTremes. This is The naTure of The Tempo of Time in liTeraTure. The goal here is To come To perceive a meThod which will allow The reader To recognize elemenTs of Time in relaTibnship To each oTher. Thus far if is undersTood ThaT The poeTic Time in a prose work is derived by The auThor, and The auThor alone. When he derives his gesTalT, he also creaTes a "ZeiTgesTalT." This "ZeiTgesTalT" may Take on varied forms depending on The imaginaTion of The wriTer. His imaginaTion will form The "ZeiTgesTalT," and ThaT is why, wiThin The work iTself, in poeTic Time, if is his measuremenT of Time and noT a concreTe clock measuremenT which we musT submiT ourselves To when discussing liTeraTure. Among The mosT simple ways in which a "ZeiTgesTalT" may be ordered, we find The sTyle which is known as The 'Then, and Then' meThod. GUniher Mfliier relaTes ThaT This 'and Then' meThod is The "Grundform alien Erzghlens," and ThaT This is The characTerisTic which differenTiaTes if from The lyric and drama.25 RoberT PeTsch, in his EE§22.222.52£EEE der Erzghlkunsf, supporfs The previous Two sTaTemenTs. OuTwardly iT would seem ThaT his use of 'obJecTive' Time would refuTe whaT Kayser wroTe,26 buT we musT keep in mind ThaT There is a difference beTween The objecTive clock Time by which we measure everyday occurrences and The 2| Time which occurs in The novel, which, in a sense, may also be called 'objecTive.‘ IT is objecTive in ThaT iT can also be measured by a physical means. An explanaTion of This Type of measuremenT follows. PeTsch sTaTes: Die ZeiT eanalTeT sich auch im Epos zungchsf in der Langs- richTung. Wir reden hier von "ZeiTersTreckung" oder ob- jekTiver ZeiT. Diese ZeiT isT die KeTTe, zu der die Ge- schehnisse als Teile der Handlungusich zusammenschliessen. NichT alle Glieder dieser KeTTe mussen "dargesTellT" sein; viele kgnnen einfach erwghnT werden. . . ‘ So enTwickeIT sich in der chronologischen KeTTe der naTurlichen ZeiT eT- was theres ohne RUcksichT auf Uhr und Kalender und doch nichT ohne Folge.27 This, Then, has an effecT in our undersTanding The naTure of Time as a sTrucTural elemenT in The realm of liTeraTure. Tempo NaTuraIly There are an infiniTe number of ways in which a prose work may be arranged in Terms of Time. To conTinue wiTh PeTsch, he uses The Term "Tempo" To indicaTe The manner in which Time is chronologically ordered. His explanaTion indicaTes The relaTionships beTween Time as measured objecTively by a waTch or clock and Time as if exisTs in The prose work. Die ZeiT, in die wir die erzgthen Dinge einorden, machT sich durch ihre Dauer des Vorgangs bemerkbar, deren Ein- druck durch das ZeiTmass seines Verlaufs (das "Tempo") wesenTlich minesTimmT wird. Wir schreiben im Leben einem Begebnis "lange Dauer" zu, sowohl wenn es sich einTbnig in die Lgnge ersTreckT (uns langweiIT und damiT ermUdeT) als wenn es in rascher Folge bewegTer und erfUlITer Teile sich abspieIT. . . .28 "ErzghlzeiT" versus "erzgthe.ZeiT" In life judgmenTs abouT Time experience are relaTive. We have come To feel This relaTiviTy only as a resulT of The measuremenT which is aTTached To Time, The use of a waTch or a clock To calibraTe minuTes or hours. In poeTic Time There is one basic uniT of measure relaTive To each individual work which, in relaTion To The work of arT, has The 22 same effecT in our undersTanding of if as The clock, The minuTe or The hour has on everyday occurrences. In several arTicles on aspecfs of Time in liTeraTure, GUnTher Mailer discusses This elemenT, The individual prinTed page, in connecTion wiTh oTher Terms such as "Erzghlzeif" and 29 "erzghlfe ZeiT." ThaT which is Told in a liTerary work says MUiier is a Temporal occurrence. There are references made To Three Types of Time: physical, biological and psychical.30 The poeTic Time in liTerary works is more relaTed To biological Time (Than The physical). There is, however, a near relaTionship in liTeraTure To physical Time also, because ThaT which is presenTed is a Temporal expiraTion of Time. Even where psychical occurrences are given in an aTmosphere free of Time and space, There is a relaTionship To The exTernaI measure, To The physical Time, in The sense ThaT 'all This or so liTTIe of This occurs in so few or so many minuTes or hours.‘ Of These Three Types of Time, Mailer sTaTes ThaT "dies Verhglfnis, dies ln-Beziehung-TreTen von seelischer, biologischer und physikalischer ZeiT sTelIT sich nichT nur Tangchlich ein, es machT eine HaukarafT jeder Erzghlung aus, ngmlich ihren RhyThmus."3| MUIIer's concepT of "RhyThmus" has a definiTe relaTionship wiTh The earlier menTioned "Tempo" which RoberT PeTsch described. This exTernaI measuremenT which Mailer Talks abouT is especially imporTanT in ThaT iT capTures The physical Time, and The oTher Two Types of Time have a relaTionship To iT. He says ThaT in The Telling of a sTory (noT in ForsTer's sense of The word) The auThor uses a deTermined span of physical Time. MeasuremenT wiTh The waTch is significanT for The characTerisTic of This Type of Time, for The circular movemenT of The hands of a clock makes possible a Transfer of a Temporal concepT info a spaTial one. A similar funcTion can be aTTribuTed To The Turning of pages in a book. When one removes oral sTory-Telling To a wriTTen form, 23 The characTerisTic for measuremenT changes, buT neverTheIess, iT remains physical. MUIIer speaks of The prinTed page in This conTexT. The prinTed page, he relaTes, can be Taken for The physical Time which The novelisT uses in The Telling of his sTory. Therefore, our clock, in Terms of liTeraTure, is represenTed by The prinTed page. ThaT characTerisTic of Time To which The oThers are relaTive, and by which They can be measured, has been deTermined as The prinTed page, for The prinTed page remains H consTanT as does The duraTion of a second or an hour. Muller calls This H physical Time "ErzahlzeiT." "ErzghITe ZeiT": biological or psychical The biological Time is represenTed, as is The psychical Time, wiThin The book and on The prinTed pages. If Turns ouT To be concreTe, in a sense, for if is The Time which is given duraTion in a sTory. The poeTic Time may represenT five years, a decade, a day or even an hour. All of Those Time spans could appear in any order wiThin any one work. Biological Time shows a lapse of 'objecfive' poeTic Time imporTanT To a parTicular Time span in naTure or The life of a liTerary characTer. Psychical Time, as a conTrasT, shows The definiTe 'subjecTive' aTTribuTe of poeTic Time - connecTed To a psychological or inTellecTual sTaTus of mind of a characTer - and iT comes abouT when There is a suspension of whaT has been described as biological Time. BoTh of These Types of Time have one common denomin- aTor in ThaT They are boTh given weighT, so To speak, in a novel by The amounT of physical Time ThaT iT Takes for Their poeTic consTiTuTion as well as for Their consumpTion by The reader. For a furTher caTegorizaTion of The Two Terms we shall henceforTh align biological Time wiTh The concepT "exTernaI Time of percepTion" or ThaT perceived Through The five senses. IT is on~going in The presence of a proTagonisT or The narraTor. Psychical Time is hereafTer referred To as "infernal Time of percepTion," 24 or ThaT which is a pure process of The mind: ThoughT reflecTion, anTicipaTion, presenTimenTs. BoTh infernal and exTernaI Times of per- cepTion fall under The heading "erzgthe ZeiT" and are The ToTaliTy of human experience. Concerning The biological Time wiTh respecT To The compleTe 'organism' of The work, Mailer wriTes The following: "Der GesTaITsinn einer DichTung enTsTehT nichT durch die willkUrliche Verbindungiainer beliebigen Erzghlform miT irgendeinem SToff, sondern durch fornghrenden Wechselbezug, der unverkennbare EnTsprechungen haT zu den gesTalTbildenden biologischen Vorgangen im Organismus."32 HerewiTh if is undersTood ThaT when a book Takes eighT years of biological Time inTo consideraTion, ThaT iT is impossible for The auThor To give us a minuTe by minuTe or second by second re-accounTing of everyThing which Transpires in ThaT eighT year period. Therefore, we only meeT insTances which are imporTanT in The life of a proTagonisT and To The purpose of The auThor. In Turn, These insTances have a direcT recognizable inTer-relaTionship wiTh The biological Time. "Aussparung" and "ZeiTraffung" How does an auThor bring abouT These biological, imporTanT occurrences in his work? Mgller, in connecTion wiTh This, also discusses The 'and Then' consTrucTion. IT may be alTered by "Aussparung" or "ZeiTraffung" whereby Those parTicular evenTs necessary for The purpose of The auThor are broughT TogeTher, Those noT meaningful being IefT ouT, To form The biological-psychical Time elemenT wiThin The sTory. He menTions Three Types of This "ZeiTraffung" or ommission of biological and psychical Time, which are, (l) The simple omission of spaces of Time, (2) a gaThering up of occurrences inTo large sTeps or main conclusions according To The Type veni vidi vici, and (3) The individual movemenTs of evenTs H H are gaThered inTo general CharacTerisTics of an "ubergangliche 25 ZusTa'ndlichkeiT,"33 which means ThaT There is a bridge beTween The segmenTs of represenTed Time which is expressed eiTher iTeraTively or duraTively, as when one says 'Everyday The knighT rode ouT inTo The woods' or "For weeks he lay in a coma.‘ These meThods arTicuIaTe and They can make The spaces of Time in The work of arT inTensified and charged. "ZeiTraffung" can also remove calender Time or be absorbed info if. This gaThering of Time may occur beTween biological segmenTs of Time, psychical segmenTs of Time or a combinaTion of boTh Types. (To boTh of These Types of Time MUIIer aTTribuTes The Term "erzghlfe ZeiT," or presenTed Time.) Wherein The psychical Time is concerned, he doesn'T go inTo much furTher deTail, oTher Than Those CharacTerisTics which have already been menTioned. Summary The concest of "ErzahlzeiT" and "erzgthe ZeiT" have now been developed. The inTerrelaTionship beTween Them will, if analyzed, characTerize a morphological approach To liTeraTure because we presenle have in our hands The Tools by which The measurable parTs of liTeraTure may be measured, and The measuring of Those parTs will in Turn give us insighT inTo The 'consTanT' elemenT of liTeraTure, which differenTiaTes iT from science or philosophy and characTerizes iT as arT. As will be recollecTed, The jusTificaTion of This underTaking was evidenced in iTs iniTial paragraphs. This jusTificaTion showed The reasoning why a morphological analysis of liTeraTure could be fruinul in liTerary criTicism, for The "Wechselwirkung" in a work of arT can and does illusTraTe The inTenT of The auThor as well as does The conTenT, philosophical or oTherwise, considered in a work. By This poinT in The discussion, The "Wechselwirkung" should, aT leasT basically, be undersTood in Terms of The various elemenTs of Time which have been explained here. NaTurally There are oTher aTTribuTes of Time which musT be menTioned. ‘26 Therefore, a more compleTe insighT info The "Wechselwirkung" cannoT be acquired unTiI such Time when Those aTTribuTes are unfolded in IaTer chapTers. Too, These forms of Time musT be relaTed direcTIy To individual works Themselves. Of chief concern aT This poinT is The facT ThaT one should undersTand The work To be a gesTalT wiTh inTernal enTiTies which exerT influence on each oTher in a reciprocal manner. Since The maTTer of gesTaIT focuses on The Term "ZeiTgesTalT" or Time sTrucTure, as iT has been poinTed ouT using Maller's Terms of differenTiaTion, we can now conTinue on in order ThaT we may evidence differenT levels of Time and Time relaTionships. IV. DEPICTED TIME: PAST OR PRESENT Reference has jusT been made To The relaTionships beTween "Er- zahlzeiT" (physical Time) and "erzgthe ZeiT" (exTernaI Time of per- cepTion and infernal Time of percepTion). In This chapTer The focal poinT of The discussion will be direcTed To The general elemenT of "erzgthe ZeiT." No disTincTion will be made beTween The exTernaI and infernal aspecTs. GrammaTical forms consTiTuTe a parT of boTh of These Types of "erzathe ZeiT." A discussion of The preTeriTe form in The "erzathe ZeiT" leads To a deTermining facTor: The auThor can use The preTer- iTe as eiTher an expression of someThing pasT or as an expression of The presenT. The effecT ThaT The "now" has on The "earlier" and on The "IaTer" in Terms of This grammaTical perTeriTe is imporTanT in This discussion. FurTher morphological relaTionships will be discussed. HisTorical view of The expression of The preTeriTe LiTerary analysis has led To conflicTing opinions concerning The Temporal reference poinT in prose liTeraTure. There has been a recog- niTion on The parT of many ThaT epic liTeraTure, even when wriTTen in The preTeriTe, does noT convey a pasT expression all of The Time. Schiller conTended ThaT The occurrences in epic liTeraTure were relegaTed compleTely To The pasT.34 In The early parT of The presenT cenTury, criTics were beginning To make a hazy connecTion beTween epic liTeraTure and iTs being capable of exhibiTing a presenT expression, even wiTh The use of The preTeriTe, aIThough mosT criTics held To like concest as Schiller.35 27 28 A quoTe from Wolfgang Kayser provides us wiTh The spiriT of how criTics feIT concerning This siTuaTion IaTer on in This cenTury. He wriTes: NichT nur der Epiker, sondern der Erzghler Uberhaupf und grundsaTzlich sTehT seinem GegensTand als einem vergan- gehen gegenUber. Diese Meinung isT gelegenTIich fUr Ro— mane und Erzghlungen besTriTTen worden, aber wohl kaum miT RechT. Gewiss gibT es Erzghlungen, die das PrgTeri- Tum als ErzghlzeiT aufheben und alles im Prgsens berichTen. Der Leser wird dadurch zum Zuschauer eines sich ersT ab- spielenden Dramas. During This discussion The course of evenTs and explanaTions will provide informaTion which will illusTraTe ThaT There is ample jusTi- ficaTion in ascerTaining ThaT epic liTeraTure can be considered as an expression of presenT on—going occurrences wiThouT giving up The preTeriTe form. This is noT To say ThaT The preTeriTe form cannoT also reTain iTs TradiTionaI CharacTerisTics in liTeraTure. Differen- TiaTing The phenomena which allow The same form, The preTeriTe, To become an expression of Two Time planes is The objecT of This chapTer. The frame of reference From any one individual's perspecTive, ThaT which he sees wiTh his eyes is real and presenT To him. ThaT which he enTerTains in his mind, Though iT be a pasT'memorywar a fuTure conTemplaTion, is also real and presenT. WheTher if is an exTernaI percepTion of The presenT Through The senses or an inner percepTion of The mind, if is There onTicalIy real and presenT, for if i§_in The new, iT exisTs in The flgw_as a process of The mind. Truly, aT The Time of occurrence, all ThaT The human being perceives is subjecTively real and presenT. Or as KgTe Friedemann explains, "WirklichkeiT und GegenwarT scheinen beinahe sich deckende Begriffe zu sein."37 While reading, The reader's percepTion of The novel, and of iTs conTenT as being presenT, is, Therefore, as real in his mind as if he were in The TheaTer viewing a drama. IT exisTs for him in The now. 29 In The drama The viewer perceives before him a frame of reference, The sTage, which unravels in The presenT. WiThin This frame of reference There are references made To The pasT or The fuTure in order ThaT impor- TanT consideraTions mighT be buiIT inTo The drama. While reading a liTerary work in prose, The reader is no differenT from The TheaTer- goer. He views The work and in his viewing he peers info a frame of reference from which evenTs relaTively pasT or fuTure can be relaTed. This presenT frame of reference in liTeraTure is known as a ficTive presenT. IT becomes The ggw_in The mind of The reader. From This poinT, reference can be made To The pasT or The fuTure, buT, like The viewer of The drama, The reader looks direchy inTo This presenT, or ficTive presenT only. If There is a reference To The pasT or The fuTure of This ficTive presenT iT musT come via This ficTive presenT frame of reference. Prose liTeraTure's frame of reference Regarding prose liTeraTure's frame of reference, A.A. Mendlow elucidaTes on The subjecT: There is as a rule one poinT of Time in a sTory which serves as The poinT of reference. From This poinT The ficTive pre- senT may be considered as beginning. In oTher words, The reader if he is engrossed in his reading TranslaTes all ThaT happens from This momenT of Time onwards inTo an imaginaTive presenT of his own and yields To The illusion ThaT he is himself parTicipaTing in The acTion or siTuaTion, or aT leasT is wiTnessing if as happening, noT merely as having happened.38 He commenTs furTher: The ficTive presenT consTiTuTes an imaginaTive shifT from The pasT Tense in which if is recorded. . . . The rela— Tion of The Tenses used in The novel To Those felT by The reader, ThaT is, of The chronological pasT of The acTion To The ficTive presenT felT by The reader, is ThaT of ora- Tio obliqua To oraTio recTe: The pasT of narraTion - 63—- wenT - is TranslaTed in The imaginaTion inTo I am going or I gg_; The pluperfecT - he had go on — info The presenT perfecT - I have gone - or The pasT - I wenT; and The con- diTional - he would g__- info The fuTure - I shall 92:39 30 As The reader assumes This direcT inserTion info The ficTive presenT of The work Through reading, for him The pasT or preTeriTe Transforms iTself inTo a presenT Tense. Therefore, when The preTeriTe is employed in direcT connecTion wiTh ThaT which Transpires in The ficTive presenT, if no longer reTains iTs pasT connoTaTion, buT on The oTher hand iTs mode becomes a sTaTemenT of a (ficTional) presenT. Frame of reference of The "redendes SubjekT" A review of Two arTicles by Kgfe Hamburger should furTher subsTanTiaTe whaT has already been sTaTed. In her "Das epische PraeTeriTum" The discussion evolves from a consideraTion of grammaTical definiTions of The preTeriTe.4O She says: Hermann Paul definierT das ImperfekT dadurch, dass der Be- zugspunkT nichT wie beim PerfekT, Prasens und FuTurum die GegenwarT isT, sondern in der VergangenheiT IiegT, als ein PunkT, von dem aus in der VergangenheiT weiTer vorange- schriTTen wird. Seine gewShnliche Anwendung, meinT Paul, findeT das ImperfekT darum in der Erzghlung. 4 Hamburger calls To The reader's aTTenTion ThaT, in Terms of The problem which she has underTaken, and The poinT of view used, The preTeriTe is equal To The imperfecT. She conTinues To poinT ouT ThaT Paul's definiTion lacks a very imporTanT consideraTion, and adds ThaT ChrisTian AugusT Heyse is The only one she knows of who supplemenTs The required aTTribuTe. She compares Paul and Heyse To illuminaTe her poinT: Wenn Paul . . . nur von der RelaTion der Tempora zur "Ge- genwarT" sprichT, so wird nun bei Heyse der Begriff der GegenwarT dahin verTiefT, dass hinzugefugf wird "Gegen- warT resp. der gegenwarTige Augenblick des redenden Sub- JekTs. " Heyse kommT dadurch zu viel scharferen UnTerschei- dungen der drei HaupTzeiTen Prasens, PraTeriTum, FuTurum. Diese werden als s u b j e k T i v e T e m p o r a cha- akTerisierT, weil "sie die Handlung oder den Vorgang schlechThin, d.h. ohne innere Begrenzung nach den Momen- ‘Ten ihres Verlaufes, in die GegenwarT, VergangenheiT oder ZukunfT des redenden SubjekTs seTzen."42 3| HisTorical frame of reference of The "redendes SubjekT" KaTe Hamburger esTainshes, as was done earlier, a frame of reference. She discusses This reference poinT in Terms of The real and The ficTive. In Terms of The real she Talks of The frame of reference in IighT of a reporT by an individual and a quoTe from a hisTory book. She answers The quesTion as To who The "redendes SubjekT" is in each: "Im ersTen N Fall konnen wir ohne weiTeres angeben: Ich, der ich hier und jeTzT II von Herrn X erzahle. . ." In regard To The second example she mainTains ThaT The "redendes SubjekT: is boTh The auThor and The reader. She wriTes: Es sind beide, und zwar derarT, dass fUr den Verfasser im- mer der jeweilige Leser einTriTT und dieser SaTz wie alle ubrigen Aussagen des Werkes in dem VergangenheiTsraum bzw. den verschiedenen VergangenheiTsraumen dieser verschiedenen Personen sTehT. . . In relaTion To These ”real" examples, The reporT and The hisTory book, H Hamburger uses a Term originaTed by Karl Buhler, called The "Ich-Origo," of The "JeTzTPHier-lch-SysTem." She says The following: In dem BerichT oder in dem Erfahren von Geschehen, das sich "wirklich" zugeTragen haT, also im weiTesTen Sinne "ge- schicthich" isT, isT das redende SubjekT oder, wie wir im folgenden vorzugsweise sagen wollen, die Ich-Origo des MiT- Teilenden bzw. des Erfahrenden immer anwesend. Alles wirk- lich Vergangene (im weiTesTen Sinne also Geschicthiche) be- ziehT sich, wie alles GleichzeiTige (das genau genommen idenTisch miT dem JeTzT, dem AugenblickspunkT des Erlebens isT) und alles ZukunfTige auf ”mich; " es isT vergangen von meinem JeTzT aus. FicTive frame of reference of The "redendes SubjekT" From This poinT on, Hamburger leaves The realm of The "real" and applies The "lch-Origo" (frame of reference of The "redendes SubjekT") To The realm of The "ficTive." She explains whaT genuine ficTion is: Die echTe FikTion aber isT . . . definierT, dass sie I. keine reale lch- -Origo enThalT und 2. an deren STelIe fikTive Ich- -Origines enThalTen muss, d. h. BezugssysTeme, die miT dem die FikTive in irgendeiner Weise erlebenden 32 Ich, dem Verfasser oder dem Leser, kaTegorial nichTs zu Tun haben. Und das eben bedeuTeT, dass sie nichT wirk- lich, fikTive sind.44 The preTeriTe: an expression of The presenT Finally, as was done earlier, KaTe Hamburger draws The conclusion ThaT The use of The imperfecT in prose liTeraTure mighT noT be an ex- pression of The pasT: Denn ersT das AufTreTen der fikTiven Ich-Origines, der er- dichTeTen Persones, isT der Grund fUr das Verschwinden der , ii ii realen Ich-Origo, des Erzahler-Ichs, aus der Erzahlung. Und dieses Verscbwinden isT der erkennfnisTheoreTisch- Iogische Grund fur das semanTische Phanomen, dass das Im- perfekT der Erzahlung keine VergangenheiTsaussage isT.45 In The second arTicle which was menTioned, Hamburger presenTs anoTher reference having To do wiTh The funcTion of The pasT in prose liTeraTure: Die in den Romanen miTgeTeilTen TaTsachen sind nichT als vergangene, sondern als gegenwarTige erzath - als gegen- warTige fUr den sich vorsTelIend in sie versenkenden Er- zahler und Leser, und der VergangenheiTsmodus haT heir nur die FunkTion, diese TaTsachen, die "WeIT" der Erzahlung als ein nichTwirkliche, f i k T i v e und damiT ausschliess- Iich im Modus der VorsTelIung exisTierende kennTlich zu machen. Er isT gewissermassen ein Hinweis darauf, dass wir es miT einer illusiongren WeIT zu Tun haben. FicTive pasT and ficTive fuTure From The reference poinT of The ficTive presenT of The "redendes SubjekT" Time planes relaTive To iT have To be discussed and under- sTood. To ascerTain The relaTiviTy of The "ficTive fuTure" and The "ficTive pasT" To The ficTive "Ich-Origo" frame of reference is To pinpoinT furTher funcTions which The auThor can employ To furTher his inTenTions. Roman lngarden argues ThaT a pasT cannoT exisT, and furThermore ThaT a fuTure cannoT exisT unless a presenT also exisTs. He speaks of This presenT in Terms of an "in acTu esse." This "in acTu esse" and his definiTion of iT coincide wiTh The "frame of reference" of 33 The "ich-Origo" or The onTical plane of The "redendes SubjekT." One characTerisTic of This concepT he describes as follows: "Dieses 'in H acTu esse' isT im sTrengen Sinne nur der GegenwarT und dem gegenwar- Tig Realseienden eigen."47 In Terms of an earlier and a IaTer in relaTionship To The "in acTu esse" we learn ThaT: vergangen kann nur eTwas sein, was einmal in der JeTzT hase das "in acTu esse" durchgemachT haT. Und auch das Zukunf- Tige und die ZukunfT selbsT isT nur insofern ZukunfTiges, als es einmal - wenigsTens im Prinzip — in die JeTszhase kommen und in ihr "in acTu" sein wird, zugleich aber dieses Vin acTu esse" noch nichT erreichT haT. . . . Gabe es bberhaupT keine JeTszhase und kein echTes "in acTu esse," so wurde es weder die VergangenheiT (bzw. das Vergangene) noch die ZukunfT (bzw. das ZukunfTige) uberhaupT geben. Darin besTehT eben die onTische VorzugssTellung der "Gegen- warT sowohl der VergangenheiT wie der ZukunfT gegenuber. 48 CausaliTy WiThouT The relaTionships beTween pasT and fuTure There can be no causaliTy, for causaliTy exisTs only as a resulT of ordered Time, earlier preceding IaTer. In liTeraTure There is a ficTive presenT and iT allows The auThor To creaTe a ficTive pasT and also a ficTive fuTure. When The auThor begins his sTory he mosT likely needs To draw from The ficTive pasT To add a furTher dimension To his work. Or he may poinT To The fuTure from The ficTive presenT To bring abouT furTher resulTs. lnTegraTion of The ficTive pasT and The ficTive fuTure inTo The ficTive presenT BuT if The reader of The work can never escape The ficTive presenT of The work - The frame of reference - how does The auThor casT lighT on The relaTive Time planes? Unless his work is recognized as one of The simplesT forms of prose, The "Then, and Then" consTrucTion, he musT I employ oTher Techniques. The cause and effecT elemenT of The work remains very simple unless he is able To break from The simple chronological 34 unveiling of evenTs as They happen. Hans Meyerhoff discusses a Theory advanced by ST. AugusTine which opens The avenue To The ficTive pasT and The ficTive fuTure To The auThor. He expresses ThaT: ST. AugusTine was The firsT Thinker To advance an ingenious philosophical Theory based enTirely on momenTary experience of Time combined wiTh The psychological caTegories of mem- ory and expecTaTion. WhaT happens, happens now, he argued, ThaT is, iT is always an experience, idea or Thing which is “presenT." NeverTheless we can consTrucT a meaningful Tem- poral series accounTing for pasT and fuTure in Terms of mem- ory and expecTaTion. By "pasT" we Then mean The presenT memory experience of a Thing pasT; by "fuTure", The presenT expecTaTion or anTicipaTion of a fuTure Thing. Memory and anTicipaTion Thus, when an auThor wanTs To make his work more involved, less simple, when he wanTs To casT lighT on The non—presenT, he can use eiTher forms of memory of The pasT or forms of anTicipaTion of The fuTure. This funcTion musT be carried ouT Through The memory or mind of The "redendes SubjekT," eiTher The proTagonisT, some oTher characTer in The work, or Through The memory or anTicipaTion of The "ficTive narraTor," a person placed in The ficTive presenT by The auThor. This ficTive narraTor usually narraTes or reporTs evenTs relaTiver pasT or fuTure in relaTion To his own presenT. Because of The nece- siTy of resTricTing oneself To The ficTive presenT frame of reference, The ficTive narraTor cannoT be regarded as The auThor himself. The auThor exisTs in his real presenT, The ficTive narraTor in The ficTive presenT. The IaTTer musT be held as one who gives ouT informaTion from wiThin his frame of reference as one who reporTs To his audience. Having These characTerisTics, ThaT is, reporTing abouT The pasT, The H ficTive narraTor Takes on characTerisTics noT unlike Those which KaTe Hamburger aTTribuTes To an hisTorian. If The auThor in his wriTing chooses To place words in The mouTh of The narraTor and The words are 35 expressed in The preTeriTe grammaTical form, Then The narraTor musT funcTion like Hamburger's hisTorian. The preTeriTe can be no more Than an uTTerance of ThaT which happened earlier. Here The use of The preTeriTe is indeed an expression of The pasT. Summary: The preTeriTe as an expression of The presenT: a maTTer of perspecTive WhaT Then makes The difference in The expression of The preTeriTe in prose liTeraTure? WhaT differenTiaTes iTs funcTion as signifying The presenT? ThaT depends enTirer on The fg:m_of The presenTaTion, ThaT is, wheTher The auThor chooses To allow a ficTive narraTor To exisT or wheTher ThaT which is relaTed is done so Through The memory and anTicipaTion of The one characTer who experiences The evenTs im- mediaTely wiThouT The inTerference of a narraTor. The perspecTive here will allow The reader To perceive no more Than The proTagonisT himself, for The reader observes Through The consciousness of The proTagonisT. The exisTence or non-exisTence of a narraTor becomes The subjecT of The following chapTer. V. PLANES OF NARRATION, FORMS OF SPEECH, AND INTEGRATION This chapTer will underTake To poinT To a pair of basic planes To consider some of The major speech forms and To deTermine The reciprocal effecT which The inTegraTion of The IaTTer inTo The former generaTes. The inTenT of This work is noT To aTTempT To consider all The planes and forms possible, buT To discuss The basic and evidenT planes and forms in order ThaT liTeraTure mighT achieve a new vanTage poinT from which furTher work mighT be accomplished. PerspecTive The perspecTive from which The subjecT maTTer is perceived becomes possibly The mosT imporTanT characTerisTic for an objecTive TreaTmenT of The Topic. To be perpeTually consisTenT, The poinT of view should be considered from The same relaTive poinT of perspecTive, ThaT is, no maTTer whaT The plane of narraTion, The discussion of iTs narraTional qualiTies should be seen from The same relaTive onTical poinT exisTing in each of The Time planes which will be discussed. Since prose liTeraTure is con- sidered To be narraTive, The consideraTion of The planes of narraTion will be viewed from The poinT of view of The "redendes SubjekT." Planes of narraTion from boTh ends of The specTrum of prose liTera- Ture will firsT be discussed. Following ThaT a consideraTion of several speech forms will ensue. The characTerisTics of These forms will Then be considered in view of Their inTegraTion inTo These basic planes of narraTion in order To deTermine The reciprocal effecT These forms and planes have on each oTher, and finally To anchor in The mind of The 36 37 reader The Temporal naTure of These Time planes, ThaT The informaTion discussed in following chapTers will show an abiIiTy To be inTegraTed morphologically inTo Them. PerspecTive of The ficTive narraTor MosT sTory-Telling is done by a narraTor. This narraTor has cusTom- arily sTood ouTside of The evenTs which he relaTes To his audience. Since such a narraTor relaTes or depicTs ThaT which exisTs on a plane onTically separaTe from his own, The enTire work represenTs To The reader aT leasT Two disTincT Time planes. The narraTor, who is The ficTive narraTor, exisTs in his own ficTive presenT, and ThaT which he depicTs To The reader is done so Through his own Nin acTuesse." The ficTive narraTor deTermines, on his plane, The Temporal poinT from which The re-creaTion is Told.50 His is The plane of The "redendes SubjekT" in This example. Under such circumsTances There is a definiTe onTicaI difference beTween The "Erz3hlperspekTive" and The perspecTive of ThaT which is depicTed, The "DarsTellungsperspekTive" or plane of The ploT. OfTen The narraTor would appear To be a miniaTure god, for he can, when re-creaTing a cerTain happening, appear To be all-knowing. He can speak abouT persons as if he could open up Their inferior and look inside To allow The reader an observaTion of The inTernal Time of percepTion. And This besides offering The reader objecTive exTernaI occurrences which mighT go beyond The perspecTive of The proTagonisT. Therefore, The all-knowing narraTor could relaTe a happening from his perspecTive as if he had perceived iT earlier from a posiTion high above The plane of The ploT. He is ubiquiTous. He is free, Therefore, To relaTe, whenever he wanTs To, ThaT which The proTagonisT himself could have absquTer no knowledge abouT. The reader perceives in a sorT of indirecT manner The re-creaTed or anTicipaTed happenings of a "ficTive pasT" or a "ficTive fuTure" in relaTion To The 38 ficTive presenT of The narraTor. The narraTor's ficTive presenT is pre- senTed in a direcT manner. IT is The plane of The on-going process of narraTion. ThaT which The reader perceives from The plane of The ploT is indirecT. The reader does noT acTuaIIy enTer info The presence of The proTagonisT himself, This is conveyed only, and ThaT via The omnipresenT narraTor. The funcTion of The ficTive narraTor Now and Then The ficTive narraTor will cease To look down on The plane of depicTion and commence To converse wiTh a "ficTive reader." This "ficTive reader" exisTs on The plane of The "in acTu esse" of The ficTive narraTor. IT seems To The acTual reader g§_ij The ficTive narraTor is conversing direchy wiTh him, when in acTualiTy iT is The ficTive reader, and musT needs be, for The recipienT of This direcT form of address musT be one who exisTs in The same ficTive presenT as The ficTive narraTor. The auThor usually uses This device To do several Things. DesTroying an illusion, or irony as iT is also called, could be The chief among Them. This reTurn To The narraTor's ficTive presenT, ThaT is, when he quiTs relaTing ThaT which happens on The plane of The ploT and conTinues on porTraying his own plane, gives a like effecT which one experiences when in The drama The chorus breaks in for commenT. This could be for various reasons, noT The leasT'of which would be To moralize. The narraTor could also have a didacTic purpose in mind when such an address To The ficTive reader is evidenT. He could wish To give direcTions abouT ThaT which he is narraTing, or he mighT wanT To Turn himself inTo a criTic in order ThaT he could make a judgmenT abouT some characTer or anoTher on The plane of depicTion. His inTenTion mighT be To announce a Theme or To express a general idea. This siTuaTion would also offer The opporTuniTy for The narraTor To reflecT. As is evidenT, The reasons for 39 such a wiThdrawl from The evenTs on The plane of The ploT can be many. FicTive narraTor: perpeTually presenT WiThin The course of any given sTory, The narraTor may choose noT To address a ficTive reader. The absence of The ficTive reader makes The presence of a ficTive narraTor less evidenT. For example, if a work is begun by The use of The Third person in The pasT Tense and conTinues ThaT way basically ThroughouT, ThaT which is presenTed musT eiTher exisT on iTs own onTical plane or one in which a narraTor is presenT. When The ficTive reader is non—exisTenT, one disTinguishing mark which shows The obvious presence of The narraTor is wiThheId from The reader. How Then can iT be ascerTained wheTher The depicTion is being represenTed by a ficTive narraTor or by some oTher means? If whaT is presenTed is more Than The proTagonisT can be aware of, Then There musT needs be a narraTor. AT inTervals in a work, The ficTive narraTor mighT wish To wiTh- draw and offer no more informaTion Than The proTagonisT himself could perceive. When This happens, The reader is sTilI IefT aware ThaT The narraTor exisTs in The work, buT in Those segmenTs he does noT display himself as evidenT. Once The narraTor has shown his hand, so To speak, he is exisTenT and musT be so in The enTire work wheTher evidenT or noT. WhaT The reader perceives is sTill a narraTion Through The ficTive presenT of The ficTive narraTor of a happening or evenT which is or was exisTenT on anoTher onTical plane, and by The same reasoning, aT anoTher Time.5| 4O PerspecTive A. In general summary, This perspecTive aT The one end of The specTrum where more Than one Time plane does exisT, where The ficTive presenT of The narraTor is separaTed onTicaIly from The ficTive presenT of The pro- TagonisT, where The ficTive presenT of The proTagonisT can be a ficTive pasT, ficTive fuTure or run parallel wiTh The ficTive presenT of The narraTor, which is The frame of reference or ficTive presenT of The enTire sTory, will hereafTer be referred To as PerspecTive A. BoTh The plane of The narraTor and of The ploT have an "in acTu esse" or ficTive presenT, buT The ficTive presenT plane of The ploT is relaTed Through The ficTive presenT of The "redendes SubjekT," or ficTive narraTor, causing an onTical separaTion of The planes and Therefore an onTicaI separaTion of Time. The idenTiTy of The narraTor and The proTagonisT BuT whaT happens when The opposiTe side of The specTrum is beheld in a work of prose liTeraTure? ThaT is, whaT happens when The "DarsTellung- sperspekTive" (plane of The ploT) and The "Erz3hlperspekTive" (plane of The "redendes SubjekT") exisT TogeTher as an idenTiTy on The same onTical plane? Here, The ficTive narraTor does noT exisT in The same sense as was JusT menTioned. Since prose is narraTive by naTure, The narraTor conTinues To exisT here, buT is fused TogeTher wiTh The objecT of consideraTion on The plane of depicTion, The proTagonisT. The narraTor and The proTagonisT become one and The same.52 When This comes To pass, There can be no ouTside perspecTive manifesT in The enTire sTory, oTherwise The work auTomaTically Takes on The characTerisTics which were discussed concerning PerspecTive A. If The narraTor and The proTagonisT exisT in a work on The same plane and 2:2 The same enTiTy, Then ThaT which is experienced by The acTual reader can be no more Than The processes which The proTagonisT himself perceives inTernaIly, exTernaIly or reflecTs upon. The sum of These 4| Things is a conglomeraTe called experience. The auThor inTends, There- fore, To porTray The sTream of consciousness of The proTagonisT, who Therefore usurps The characTerisTics of The narraTor. PerspecTive B.: sTream of consciousness The sTream of consciousness mighT be represenTed as The: unending and uneven flow of The mind. . . . The novelisT permiTs many seemingly irrelevanT ideas, drawn in by loose associaTion, To bob up in The main sTream of The sTory - which may seem raTher a Sargasso Sea (as in The IasT 42 pages of Ulysses, in The mind of Mrs. Bloom: one senTence wiTh one puncTuaTion mark). Such 'inTensiTy' of The consciousness of The mind need noT fill an enTire volume. Less subjecTive aTTribuTes can well become The con- sideraTion for The mind of The proTagonisT. AnyThing ThaT can enTer inTo The mind of The human being can be offered in The sTream of con- sciousness of The proTagonisT. The mind is able, in iTs conscious- ness, To perceive a greaT varieTy of Things. IT can Traverse The realm of The very objecTive and enTer inTo The subjecTive. IT does perceive boTh The inTernaI and The exTernaI. IT perceives reflecTion, and all These Things TogeTher are denoTed as experience. In The percepTions of The sTream of consciousness, The process can become so inTense ThaT The "whaT" of The Thing perceived no longer remains The main consideraTion, buT The process of The mind in iTs percepTion of The Thing perceived: whaT is in The mind of The pro- TagnoisT when he perceives, reflecTs or experiences in any way. These processes can be presenTed by The auThor in such a fashion ThaT The reader wiTnesses, as already expressed, The unending and uneven flow of The mind or a "Sargasso Sea." This degree of inTensificaTion is noT necessarily perpeTual. IT can, however, appear nowhere ouTside The plane of The sTream of consciousness. The only resTricTion which musT 42 be placed on any of These offerings is ThaT The scope of experience musT in no way be broader Than The perspecTive granTed To The proTago- nisT. This form will be called eiTher The sTream of consciousness or PerspecTive B. hereafTer. The expression of The preTeriTe Tense: a maTTer of perspecTive Since The Third person pasT Tense is widely used in narraTive liTeraTure, and even in a sTream of consciousness work as is evidenced by Joyce's Ulysses, The facT which was deTermined earlier, ThaT a work musT be enTirely wriTTen in The sTream of consciousness or noT aT all - and This because The plane of narraTion musT exisT separaTe from The plane of The proTagonisTs when a narraTor ouTside of The proTagonisT is evidenT or presenT and noT recognizable, even if This be for only segmenTs of a work — jusTifies The poinT being made ThaT The Third person pasT Tense can well be a parT of The sTream of consciousness as well as PerspecTive A. Recognizing iT as such is a maTTer of perspecTive. The Third person, for example, can be The proTagonisT, and The pasT Tense is The ficTive presenT as was ascerTained earlier in The Third chapTer,54 The poinT To be sTressed here, Then, is ThaT like grammaTical forms can very well have differenT funcTions. They may be inTegraTed inTo eiTher end of The specTrum. When This is done, The same form aT boTh ends of The specTrum is relaTed To a perspecTive which alTers iTs funcTion. The Third person pasT Tense in liTeraTure may Therefore exude differenT funcTions on differenT Time planes. The veriTable funcTion is recognizable 9211 as a resulT of an undersTanding of The perspecTive from which The sTory is narraTed. 43 InTegraTed speech forms OTher forms are generally inTegraTed inTo These Time planes. This discussion will TreaT some of The speech forms which can be inTegraTed inTo one end or The oTher of The specTrum. When They g:§_inTegraTed, The characTerisTics broughT inTo play change The funcTion of The form. Those speech forms To be considered are: dialogue, inTerior monologue, and "erlebTe Rede." lniTiaIly, in The discussion of each of The speech forms menTioned, some of The basic characTerisTics will be described, Then The consideraTion will Turn To The funcTion each plays when inTegraTed inTo eiTher The sTream of consciousness, ThaT is, PerspecTive B., or The basic narraTive consTellaTion, PerspecTive A. Dialogue One could call dialogue a represenTaTion of naTural speech. When iT appears in prose iT is eiTher a compleTe re—creaTion, by The narraTor, of earlier conversaTion or an evquTion of conversaTion in The presenT, depending on which end of The specTrum one finds oneself. No maTTer which end of The specTrum dialogue is inTegraTed inTo, iTs naTure shows Transcience, sequence and irreversibiliTy. Since iT is TranscienT, has sequence and is irreversible - noT To menTion ThaT iTs sequence is basically wiThouT pause or inTermission, aT leasT wiThin segmenTs - The naTure of dialogue is like ThaT of clock Time. In differenT Terms: if if Takes Ten seconds To read Two lines in a book and Those Two lines are dialogue, Then "erz3the ZeiT" equals "Erz3hlzeiT," or "erz3hITe ZeiT" is converTed To Ten seconds of physical Time or convenTional Time. Where dialogue appears, Therefore, The naTure of Time represenTed is 'life like' in ThaT iT represenTs a cerTain number of objecTive minuTes. Since The n dialogue represenTs a 'life like' siTuaTion, or a |:l "Erzahl- H erzathe ZeiT" raTio, The use of dialogue musT be deTermined To be very 44 dramaTic. In relaTion To oTher aspecTs of "erz3the ZeiT," iT can move much more slowly or rapidly. BuT wiThin "erz3the ZeiT" iT represenTs Time duraTion as The clock would. For The reader iT is 'life,' since iTs Transcience moves irreversibly in iTs sequence as does every human being's exTernaI life. This in relaTion To oTher apsecTs of "erz3the ZeiT" can Therefore be very direcT, and a cerTain "Spannung" can arise wiTh iTs immediacy and presenTness. PerspecTive A. and inTegraTed dialogue When dialogue is inTegraTed inTo PerspecTive A., iT may become a parT of The depicTed plane, which is relaTed by The narraTor. The dialogue indicaTes whaT The proTagonisT would say if speaking for himself. BuT here This objecTive form of characTerizaTion is reporTed by The narraTor from his pinacle. He reporTs iT as iT happened on The depicTed plane, he does noT ediTorialize or commenT on iT, Thus iT remains objecTive. BuT, since The narraTor has allowed iT To be re- produced by his evidenT presence, iT carries wiTh iT a disTancing effecT which would seem To blur The vividness and direcTness which one meeTs in The drama. The dramaTic effecT is There, for iT is sTilI a piece of ficTive life. BuT iT is a piece of ficTive life connecTed To The ficTive presenT due only To The presence of a narraTor. PerspecTive B. and inTegraTed dialogue When, on The oTher hand, dialogue enTers inTo The sTream of con- sciousness, The objecTiviTy and dramaTic "Spannung" are more direcT, for The depicTed experience is in The only exisTing ficTive presenT. The percepTion of dialogue is presenTed direcTIy Through The mind of The proTagonisT. The reader experiences each word as iT unfolds, eiTher from The proTagonisT himself in conversaTion wiTh anoTher, or beTween 45 oTher persons perceived or experienced by The proTagonisT. Here dialogue remains unaffecTed by The presence of an ouTside narraTor. In PerspecTive A. The narraTor disTances iT, diminishing iTs dramaTic naTure, no maTTer how slighT ThaT diminishmenT may be. In neiTher case is There more expressed Than The sTaTemenT of The proTagonisT. BuT in The sTream of consciousness ThaT expression is happening in a ficTive way in The poeTic here and now. In The oTher consTellaTion iT is being re-creaTed in The poeTic here and now of The ficTive narraTor. The sTream of consciousness, Therefore, Takes The immediacy of dialogue, iTs objecTiviTy, iTs "Spannung" and increased iTs inTensiTy in relaTion To iTs inTegraTion inTo PerspecTive A. In neiTher insTance does The use of dialogue move inTo The uneven flow of The mind, inTo The ”Sargasso Sea." In PerspecTive A. This would be impossible. In The sTream of consciousness iT could occur ThaT a more inTense consciousness of The mind be represenTed. Then The acTual dialogue iTself would noT be of imporT, buT The perceived experience of The dialogue. InTerior monologue VisSa-vis dialogue, inTerior monologue Takes on a definiTe sub- JecTive air. Whereas dialogue is an ouTward expression formulaTed in a spoken speech form, inTerior monologue is The rendering of ThoughTs, associaTions and presenTimenTs of persons in language which in realiTy have noT been expressed. The ouTward disTinguishing characTerisTic in Terms of language is ThaT iT is presenTed in The direcT I-Form, The firsT person presenT Tense. IT sTrives To render The momenTary impulses as They appear in The consciousness.55 The characTerisTics of inferior monologue Should like Those aTTribuTes which were earlier discussed in connecTion wiTh The sTream of consciousness. In facT, many criTics have noT been able To disTinguish The difference beTween The Two. Since inTerior monologue can be inTegraTed inTo The sTream of consciousness and Thus becomes a parT 46 of The plane, iTs characTerisTics musT be congruenT wiTh Those of The sTream of consciousness when if appears There. AT oTher Times The sTream of consciousness mighT well Take a Turn To iTs more inTensified sTaTe. If inTerior monologue can also be inTegraTed inTo The oTher side of The specTrum, Then The Theorem can be expressed ThaT The inTerior monologue mighT be sTream of consciousness, buT sTream of consciousness does noT have To be inTerior monologue. IT is, Therefore, True ThaT inTerior monologue mighT noT be sTream of consciousness, even Though iT carries The characTerisTics which will allow iT To exisT in PerspecTive B. PerspecTive B. and inTegraTed inTerior monologue The differences of inTensiTy beTween inTerior monologue when iT exisTs on The sTream of consciousness plane and The mosT exTreme inTensiTy possible in The sTream of consciousness are imporTanT for This discussion. A sTriking deducaTion formulaTed by Lawrence E. Bowling will designaTe The difference in inTensiTy beTween inTerior monologue and The exTreme form of inTensiTy which is represenTed when The sTream of consciousness approaches iTs mosT inTense sTaTe. He wriTes ThaT: The sTream of consciousness Technique may be defined as The narraTive meThod by which The auThor aTTemst To give g_direcT quoTaTion gj_:bg_mind - noT merely of The language area buT of The whole consciousness. . . . The only cri- Terion is ThaT iT inTroduce us direchy inTo The inTerior life of The characTer, wiThouT any inTervenTion by way of commenT or explanaTion on The parT of The auThor. If The auThor limiTs his direcT quoTaTion To ThaT area of con- sciousness in which The mind formulaTes iTs ThoughTs and feelings inTo language, The meThod may sTill be called by The comprehensive Term The sTream of consciousness, buT in This case iT would be more exacT TS—apply The more resTricTed Term inTerior monologue.56 WiTh The inTerior monologue comes The aTTribuTes which will allow iT To enTer The plane of The sTream of consciousness. As menTioned before, The narraTor cannoT exisT ouTside The proTagonisT. They are one. 47 InTerior monologue on The plane of The sTream of consciousness allows The reader an insighT inTo inward ThoughTs, associaTions and presenTimenTs of The proTagonisT, buT These do noT reach The inTensiTy of a "Sargasso Sea." The quoTaTion of The mind is yeT IimiTed To language. The ThoughT, associ- aTion, presenTimenT or objecT perceived is sTill represenTed as being imporTanT in and of iTself. When one enTers This "Sargasso Sea," The percepTion of The acTuaI objecT or ThoughT no longer is The main consider- aTion, buT The represenTaTion of These phenomena in The mind of The pro- TagonisT. This represenTaTion is revealed Through The inTense direcT quoTaTion of The mind. PerspecTive A. and inTegraTed inTerior monologue Where The proTagonisT exisTs separaTe from The narraTor, The inTerior monologue can also be inTegraTed. Again, These ThoughTs, associaTions and presenTimenTs musT come To The reader's aTTenTion Through The ficTive presenT of The ficTive narraTor. The possibiliTy exisTs ThaT The narraTor wanTs To appear To be non-exisTenT. When This comes To pass, The effecT would be ThaT The narraTor wanTs To aTTempT To presenT The reader wiTh The illusion of The sTream of consciousness. The narraTor will make no commenT, he will noT ediTorialize. He allows, from his ficTive presenT, only ThaT which The proTagonisT himself perceives. In This case, The ThoughT process of The mind is presenTed To The reader in as direcT a way as is possible. BuT once The narraTor has shown his hand in The work, wheTher ThaT be only once in iTs enTireTy, his presence is felT ThroughouT. Therefore, The illusion of This direcT enTrance inTo The mind of The proTagonisT in PerspecTive A. is exacTIy ThaT, an illusion. DirecT enTrance inTo The mind of The proTagonisT is prohibiTed, for one cannoT shifT from PerspecTive A. To The "single poinT of view." IT is prohibiTed because The narraTor is disTanced onTicalIy 48 and Therefore in Time from The "hero." The direcTness can no longer be feigned by The narraTor when he is osTensiny presenT. "ErlebTe Rede" The inTegraTion of "erlebTe Rede" is helpful for our undersTanding in ThaT iTs funcTion is like ThaT of inferior monologue while iTs exTerior form is differenT. MarTin Walser's definiTion of "erlebTe Rede" will illusTraTe The qualiTies which inTerior monologue has in common wiTh "erlebTe Rede": Nun wird ja die erlebTe Rede allgemein als ein MiTTel be- TrachTeT, um das WorT dem Erz3hler abzunehmen, dass heissT, . I einen Menschen der Erz3hlung selbsT sprechen zu Iassen und doch nichT in einen dramaTisierenden Monolog'zu verfallen. Die erlebTe Rede isT also eine willkommene M6glichkeiT, "den STandpunkT der PerspekTive gleichsam in die Seele der GesTalT selber" zu verlegen, dass der Leser auch einmal un- miTTelbar, und TroTzdem im Epischen verbleibend, am lnnen- Ieben des Helden Teilnehmen kann.57 The reader gains insighT inTo The inner life of The characTer involved, an aTTribuTe common To inTerior monologue, yeT The grammaTical form is differenT. lnsTead of being offered in The firsT person, The form which ”erlebTe Rede" Takes is The Third person. As a resulT, Wolfgang Kayser explains ThaT The hon—expressed ThoughTs, Threads of ThoughTs and The small presenTimenTs of The inner life are presenTed, yeT The narraTor does noT compleTely disappear.58 PerspecTive B and inTegraTed ”erlebTe Rede" For a general look aT "erlebTe Rede" Kayser's ThoughTs may be valid, buT when "erlebTe Rede" is inTegraTed inTo The sTream of consciousness, ThaT which is represenTed To The reader, funcTionally ThaT is, is no differenT Than inTerior monologue. One musT meeT The inner life of The proTagonisT head on in PerspecTive B. IT cannoT be inTercepTed by a narraTor separaTe from The proTagonisT since The proTagonisT and The 49 and The narraTor are no differenT from each oTher onTicaIIy. The pro- TagonisT's ThoughTs and presenTimenTs are, Therefore, as Walser says, direcTIy manifesT To The reader. The narraTor is presenT as Kayser sTaTes, buT a disTincTion musT be made as To wheTher he has compleTely disappeared or noT. In The sTream of consciousness, The proTagonisT usurps The powers of The narraTor and expresses no more Than he himself experiences. There- fore, in essence, The narraTor has compleTely disappeared, only The pro— TagonisT remains. The use of The Third person is a manifesTaTion of The presenT of The proTagonisT. IT musT be, as was poinTed ouT earlier, since The ficTive presenT of The "erlebTe Rede" cannoT be onTically separaTed from The ficTive presenT of The proTagonisT in PerspecTive B. Again The Time plane of The sTream of consciousness shows iTself To be a direcT manifesTaTion of The direcT quoTaTion of The mind, This being True no maTTer whaT form The grammaTical sTrucTure of The speech—form Takes. PerspecTive A. and inTegraTed "erlebTe Rede" If, on The oTher hand, This Third person form of speech, "erlebTe Rede" is inTegraTed inTo PerspecTive A., where The narraTor remains separaTe from The proTagonisT - if he (The narraTor) is To re-creaTe only The inner ThoughTs of The proTagonisT, and his aTTempT is To represenT This inner life direchy To The reader - Then Kayser is correcT in saying ThaT The narraTor does noT compleTely vanish, and This because of The Third person form. The narraTor is, in This case, represenTing The ficTive pre- senT of anoTher Time plane (ThaT of The proTagonisT). Here The "er," an obvious reference To The proTagonisT, shows a definiTe disTancing from The ficTive presenT of The narraTor. ThaT which is presenTed is no more Than was perceived by The proTagonisT when he perceived iT, buT The narraTor sTill sTands beTween. IT, Therefore, Turns ouT To be True 5O reporTing on The parT of The narraTor, and iT is evidenle his purpose To subjecT The reader To The condiTions which exisTed in The proTagonisT's mind when The proTagonisT exisTed in his own ficTive presenT. The funcTion is To aTTempT To cause The disTance beTween The Two planes of Time To disconTinue To exisT. This cannoT compleTely be arranged, for The exisTence of The narraTor aparT from ThaT which he is narraTing prohibiTs This fusion. Summary To recapiTulaTe, There are basically Two differenT Time perspec- Tives found in liTeraTure. One, where The "Erz3hlperspekTive" ("re- dendes SubjekT") is separaTe from ThaT of The "DarsTellungsperspekTive" (plane of The ploT) or, Two, when These Two planes are fused TogeTher. When This is done, The perspecTive musT be ThaT of The experience of The proTagonisT and noT one ioTa more. A discussion of The Three speech forms TreaTed in This chapTer assisTed in designaTing The forms and funcTions of These planes. In addiTion, The reader should have, by This poinT, gained The necessary insighT which would enable him To discern how The forms and funcTions of Time which were TreaTed in earlier chapTers are morphologically inTegraTed inTo These onTically separaTe Time planes. VI. FORMS OF RETROSPECT In chapTer Three iT was noTed ThaT The ficTive presenT of The "redendes SubjekT" as a frame of reference could noT be deparTed from in The reading of prose. However, many planes of Time can be repre- senTed Through The "redendes SubjekT." If he is an ubiquiTous narraTor, he may narraTe a ploT ouTside his own Time plane. This Time plane of The ploT has iTs own ficTive presenT or "in acTu esse." If The narraTor is The proTagonisT, Then The plane of The ploT is his own Time plane and The proTagonisT equals The "redendes SubjekT." EiTher way, all infor- maTion musT be disseminaTed Through The maTrix where The "redendes SubjekT” exisTs and from ThaT maTrix direcT To The reader. The plane of The ploT, wheTher The ploT unfolds wiTh The narraTor as proTagonisT or on a plane separaTe (Therefore separaTe from The "redendes SubjekT"), has lighT shed on iT also from iTs own ficTive presenT. For This chapTer, The concest and forms under discussion will relaTe To The ficTive presenT in general and noT To any one specific ficTive presenT plane. NaTuralIy These concest and forms are effecTed by whaT has been sTaTed earlier, buT in This chapTer The primary consider- aTion lies in The facT ThaT all planes have Their own ficTive presenTs and frames of reference. Therefore, The forms of reTrospecT To be discussed may exisT anywhere a ficTive presenT plane of Time exisTs in a work, wheTher iT be The ficTive presenT of The narraTor or The ficTive presenT of The proTagonisT or The ficTive presenT of a plane which is conTemplaTed or re-creaTed in The mind of a proTagonisT who exisTs in or ouT of The frame of reference of The "redendes SubjekT." 5| 52 In works which conTain more Than one Time plane iT is possible for The auThor To manipulaTe, now and Then, a differenT Time reference inTo The ficTive presenT of any of The planes. WheTher The work one reads has only one Time plane or many, The opporTuniTy exisTs for The ficTive presenT of any of The sTrands To be "filled ouT" or affecTed in one way or anoTher by ThaT which happens earlier or IaTer. The purpose of This chapTer is To explore forms of reTrospecT, again ThaT an undersTanding of The sTrucTure or gesTalT involved in implemenTing Them be achieved. SynchronizaTion I! Eberhard LammerT discusses The process of The "IaTer" being incorporaTed H inTo The ficTive presenT Through The use of The Term "Ruckwendung." He II draws a very imporTanT conclusion abouT "Ruckwendung" which becomes for some forms of reTrospecT one of iTs mosT imporTanT consideraTions: RUckwedungen sind allen, also auch einsTr3ngigen Erz3hl- werken gemein. Sie sind in der Regel unTergeordneTe Be- sTandTeile der GegenwarTshandlung bzw. eines fUr sie re- laTlv gegenw3rTigen HandlungssTranges. Der Erz3hler ver- I3ssT also hier die GegenwarT nichT,"um an zeiTlich frUher STelle einen anderen Teil seiner Erzahlung zu beginnen, sondern er fUhrT ausholend ein STuck VergangenheiT in die GegenwarT ein. Beginn einer VorzeiThandlung bedeuTeT also Wechsel der Handlungsebene, Beginn einer Ruckwendung dagegen Aus- werTung der GegenwarTshandlung durch Hineinnahme von Ver- gangenheiT - eben Synchronisierung.59 The Term synchronizing Typifies The funcTion of reTrospecT exachy. The Greek "syn" TogeTher wiTh "chronos" designaTes The chief consideraTion, for reTrospecT is exachy ThaT, iT brings Time TogeTher - iT draws The ficTive pasT TogeTher wiTh The ficTive presenT - and This Tends To creaTe a "Doppelsinn,"6o a synchronizaTion, a parallel. SaTire _RoberT PeTsch relaTes The Technique of a special auThor which indicaTes an imporTanT funcTion of The synchronizing process of reTrospecT. He wriTes: 53 UpTon Sinclair reissT in seinem ebenfalls echT amerikani— schen Tendenzbuch "Roman Holiday" das alTe Rom in die neue WelT hinein, aber er zwingT damiT nur die beiden Pole zu- sammen, zwischen denen das epische ZeiTerlebnis schwingT und beTonT zu saTirischen Zwecken den Gleichlauf der beiden Linien und ihren gleichen AbsTand von der "gew3hnlichen" GegenwarT.6| This synchronizing or bringing The Two poles of The pasT and The presenT TogeTher provides a conTrasT, and The conTrasT is one elemenT which allows saTire To exisT. One definiTion of whaT and Dgfl_The saTirisT is allowed To perform is sTaTed in The following: "The saTirisT ofTen achieves vicTory over an objecTionable ideology or a conTempTabIe individual by conTrasTing an ideal or a hero wiTh The objecT of his aTTack."62 The conTrasT evoked in saTire may be, as menTioned, a hero conTrasTed wiTh The objecT of The auThor's aTTack. IT may be, as was poinTed ouT in The reference To Sinclair, The old Rome conTrasTed wiTh The new world. No maTTer whaT, when The auThor conTrasTs The ficTive presenT and The ficTive pasT, he opens The door for himself To wriTe saTirically, COPVGY'RQ ”censorious criTicism of human frailTy. lTs prime purpose is eThically or aesTheTically correcTive."63 Of course The aim of The auThor can be very diversified. His correcTive measures may have To do wiTh numerous frailTies, such as vices, follies, sTupidiTies, abuses, and oThers. These are held up To ridicule ard conTempT. IT musT again be remembered, when Time is The consideraTion, saTire can evolve as a resulT of The conTrasT, Through The synchronizing of Time: drawing The ficTive pasT info The ficTive presenT. WiTh Time The happenings in The ficTive presenT are suddenly Thrown inTo a new lighT as a resulT of The synchronizaTion, There is an abrupT change and The con- TrasTing Times essenTailly lie side by side. The picTure of inequiTy is painTed and The auThor's ridicule and conTempT is evidenT.64 54 The use of Time To indicaTe saTire has an added dimension. Since The only way The conTrasT can be made beTween The ficTive presenT and The ficTive pasT is Through reTrospecT, reflecTion and memory, The conTrasT musT be drawn Through The mind of a proTagonisT or a ficTive narraTor. The reader, or viewer, as iT were, sees The conTrasT from The poinT of The hero or The narraTor, and The cumulaTive characTerisTics of This person influence ThaT poinT of view and Therefore The saTire. EmbellishmenT reTrospecT A furTher reason for an auThor To synchronize would be for him To exTracT from The ficTive pasT facTs and commenTs, ideas and reflecTions, observaTions and occurrences which are imporTanT for his sTory aT any given Time in The ficTive presenT, wheTher iT be To clarify an individual characTer or To casT lighT on The general process or progress of The sTory. When These Things are remembered and Talked abouT or reflecTed upon and communi- caTed, There is no way To Then again relegaTe These Things To The pasT. They become a parT of The ficTive presenT, since each of any individual's previous experiences is a parT of whaT ThaT individual presenle is. The auThor's inTenT, when The occurrence is such, Takes a sharp conTrasT To The inTenT of his saTirical Time consTellaTion. These forms of embellishmenT reTrospecT are varied, and The inTenT wiTh each individual usage is also varied.65 Building reTrospecT Basic, buT very necessary To each sTory is a form of The general informaTion Type which we can compare To The exposiTional Techniques as used in The drama. lTs funcTion is To serve as a medium for providing inTroducTory maTeriaI. Therefore, This form is designaTed as The building 55 form of reTrospecT. IT allows The auThor a chance To seize The ficTive pasT, ThaT he may build The ficTive presenT. The auThor presenTs Those occurrences and processes from The ficTive pasT which have led To The ficTive presenT siTuaTion. IT is Then, aT leasT in parT, a means by which The auThor can illusTraTe causaliTy, a concepT someTimes very imporTanT To inTroducTory passages. Many elemenTs can be employed in building an exposiTion. Thus, The Term building reTrospecT, weil der Erz3hler hier MaTerial - fakTische Vorg3nge zumeisT, aber auch seelische EnTWTEkTUngen - zusammenTr3gT, welches den isolierT vergegenw3rTigTen HandlungseinsaTz in einen versT3ndlichen Zusammenhang einngT und gleichzeiTig die EanalTung kUnfTiger Phasen unTerbauT.66 This Technique is mosT widely used in The early pages of a work. However, iT is noT relegaTed only To The inTroducTory passages. IT may be employed in IaTer sTages of The ficTive presenT beTween cerTain occurrences, buT usually where exposiTory maTerial is needed. IT will effecT iTs surroundings in a very cerTain manner, depending on whaT iTs surroudings are. Many auThors find iT apropos To use This form, aside from The beginning sTages, where The scene evolves inTo a calm afTer an enlivened secTion or when new characTers are inTroduced inTo The work. And basically, one can say ThaT The ficTive presenT siTuaTion no longer exisTs isolaTed, buT raTher sTands in a Type of sequence which picTures for us The paTh of developmenT: cause and effecT or causaliTy. L3mmerT wriTes in This connecTion: "Sowohl durch das Thema als auch durch den zeiTlichen AbsTand vollziehT die Rackwendung also den Aufbau eines EnTwicklungsganges: Die n gegenwarTige SiTuaTion isT nichT mehr isolierT, sondern sTehT in einer Folge."67 This sequence is noT acTual, buT an illusionary sequence, for 56 The ficTive pasT has Through This Technique become an acTual parT of The ficTive presenT. FaTe In The novella especially, and in The oTher prose forms as well, This conTrasT of an earlier and The now, which shows The evoluTion of Things in Time, or causaliTy, gives The auThor The prime opporTuniTy To inTroduce The elemenT of faTe. Bernhard Bruch has wriTTen abouT Time and faTe in The novella. die ZeiT selbsT isT die Form in der die Novelle sich voll- ziehT. In der Novelle wirkT die ZeiT als Schicksal, oder anders gesagT, das Schicksal erscheinT in ihr unTer der Form der ZeiT. Alle grBSSeren Novellen, die mehr sind als AnekdoTen, zeigen ein sTarkes Wirksamwerden der ZeiT, ein sT3ndiges Werden und eine Wandlung der Dinge in der ZeiT.68 ReTrospecTive resoluTion If The perspecTive changes and The reader now wiTnesses a sudden change in The ficTive presenT, ThaT is, iT is noT whaT we ThoughT iT To be, Then The auThor opens The avenue To himself of solving some of The exisTing problems and enigmas which have exisTed. NaTuralIy, The end of The work signifies The main poinT of soluTion. IT is, Therefore, ThaT This Technique of reTrospecTive resoluTion is an inTegraTed parT of mosT endings. However, This does noT communicaTe ThaT There are noT oTher places in The work where The auThor can use The reTrospecTive resoluTion. Anywhere he wanTs To cure an exisTing problem, he may do so. The fulfillmenT of such a reTrospecT occurs when The reader is able To view The ficTive pasT in a differenT lighT Than if was presenTed up To ThaT poinT. IT is To be remembered, iTs chief funcTion is To solve The problem, Thus bringing The sTory To an end or preparing The way for The end: Durch die Aufdeckung bisher ungekannTer Ereignisse oder Zusammenh3nge oder durch die Aurkl3rung eines bislang in der Erz3hlung noch r3TselhafT gebliebenen Geschehens l3sT 57 sie die KnoTen der Handlung auf, gl3TTeT die KonflikTe oder machT sie begreiflich.. Ein enTlarvender CharakTer kennzeich- neT sie zumeisT. Von sp3Ter WarTe aus erkennen die Personen der Handlung die Grande fUr glflckliche oder unglUckliche VerkeTTungen auf ihrem Wege, sie erkennen auch wohl einander in neuem Sinne: Schuldige werden enTlarvT, Familien ver— einigT, schicksalhafTe Fugungen erkannT.bg The probabiliTy ThaT The reTrospecTive resoluTion will be used in connecTion wiTh The ending is greale increased The longer The puzzle or problem is allowed To exisT. ThaT is, if The reader is nearing The end of a book and The problem or conflicT conTinues To exisT, The probabiliTy is greaT ThaT The auThor will use This form To suddenly solve The problem and end The sTory. InserTed reTrospecT Those forms of reTrospecT which have been considered To The presenT have basically had To do wiTh eiTher The opening secTions of The work or The finale. OTher forms are inserTed inTo The sTory inside These ouTer limiTs. InserTed forms of reTrospecT can, besides offering a place for exposiTory and problem-solving maTerial wiThin The work, bring To pass oTher funcTions. OTher funcTions are also broughT To pass in The work Through The use of The inserTed reTrospecT. ReTrospecT of reTrogression A reTrospecT of reTrogression, for example, allows The auThor To enTer new maTerial inTo The ficTive presenT which enables his sTory To Take a new direcTion or he may conTinue The already presenT direcTion wiTh new or differenT means. IT opens a new perspecTive for The reader. WhaT happened To a characTer up To "now," wheTher he is a newly inTroduced person or noT, is imporTanT for The furTher course of evenTs. These inserTs will mosT usually fall inTo place where There is a juncTure or a change of pace, for example, afTer a period of Tension. Here The auThor can begin his new direcTion or conTinue wiTh The old one in anoTher direcTion. 58 H LammerT offers a descripTion which allows The reader To perceive The reTrogression reTrospecT. Speaking of whaT The auThor does he wriTes: Er kann . . . zurUckgehen bis zu einem ZeHiTpunkT, der weiT vor dem Beginn der Handlung IiegT; er erz3th dann die be- sondere "GeschichTe" eines GegensTandes oder einer Person bis zu ihrem EinTriTT in die Handlung in mehr oder weniger grossen SchriTTen nach — so SToEm im "FesT auf Haderslev- huus". . . . Oder aber der Erzahuler gehT an der Linie der HaupThandlung einige SchriTTe zuruck und holT gie Ereignis- se auf einem anderen SchauplaTz bis zum gegenwarTigen STand der Dinge nach - so VolTaire am Beginn des 4. KapiTels seines "Candide". . . .70 Parallel reTrospecT There are basically Two Types of reTrogression reTrospecT: 'The parallel Type and The deviaTing Type. In The parallel forms There are only Two possible formulae, eiTher ThaT during The same Time in which A experiences This, B experiences ThaT, or A experiences This wiTh X, in The same Time as ThaT wiTh Y. lnsTead of persons, X and Y can also concern I! Themselves wiTh subjecTs. Single phases of "erzathe ZeiT" are in This manner made more exTensive, The sTream of The happenings expanded. The reader musT weave The parallels TogeTher in order To see The enTireTy of The siTuaTion. DeviaTing reTrospecT In The deviaTing form a Type of reTardaTion evolves. A pause Takes place in The main ploT. While noT compleTely aparT from The main ploT, This form of reTrogression allows The auThor To enjoin The main ploT wiTh independenT secondary consideraTions. These consideraTions give color To characTers and also rounds Them ouT. IT shapes The space in which The sTory Takes place. In shorT, iT helps To produce The epic world.7l This form is of necessiTy To The prose work if if is To be compleTe. IT serves an enTirely differenT funcTion Than The reTrospecT which is compleTely unaTTached and independenT of The main ploT. 59 ReTrospecT of reTardaTion AnoTher form of reTrospecT agreeable To The TasTe of many auThors is The concepT of reTardaTion. GoeThe was The firsT To use The Term in connecTion wiTh a moTive which arresTs The course of evenTs or which would increase iT in IengTh. CerTainIy, The oTher forms of reTrospecT have been To eiTher illusTraTe saTire or To give perTinenT informaTion and under- sTanding abouT The ficTive presenT or The ploT. The ploT unfolds in a ficTive presenT, buT There can be oTher elemenTs inserTed inTo The ficTive presenT which have noThing direchy To do wiTh The ploT. ReTardaTion exisTs wiThin The ficTive presenT buT ouTside of The ploT and can become a parT of The ficTive presenT Through The meThods already menTioned (ficTive pasT drawn inTo The ficTive presenT) or wiTh a device which allows The auThor To move To anoTher sTrand of The sTory. The earlier discussed forms seem To increase The course of evenTs in lengTh aT Times, and aT oThers To arresT iT compleTely. However, Those Techniques were used always To conTribuTe To The ficTive presenT and The ploT. The reTrospecT of reTardaTion, on The oTher hand, is noT employed for The illuminaTion of The ploT. As The name implies, iT does noT have an homogeneous relaTionship To The ploT being considered. A reTarding momenT lies wiThin The ficTive presenT, buT quiTe on The ouTside of The ploT and is only imporTanT To The ficTive presenT because if acTually arresTs The ploT, and To The "Erz3hlzeiT" because if increases if in IengTh. The momenT of reTardaTion produces, when inTroduced in an area of dramaTic exciTemenT (high poinT) The mood of faTe or suspense which brings The reader To an inTensified mood of anTicipaTion. IT keeps him looking ever forward, as iT were, To The poinT when The ficTive presenT of The ploT reTurns To his grasp. This cannoT, however, Take place where Tension 60 and exciTemenT are aT a low, lesT The effecT be impaired. The reTarding inTrusion info a "thepunkT" can inTensify The mood of faTe. The mood can become inTensified, for There has been no climax yeT and The reader will unavoidably look wiTh anTicipaTion To The reTurn of The ficTive presenT of The ploT. K3Te Friedemann explains The mechanics involved in order To bring II abouT This phenomenon: "Der Erzahler kann . . . von den Ereignissen ganz H absehen und an der STelIe, an der er einen AufenThalT wunschT, eigene BeTrachTungen einschieben."72 The flash back One furTher form of reTrospecT should be discussed here: The reTrospecT of flash back. IT is evidenced in a work when The reader is allowed insighT inTo The mind of The proTagonisT. This form of reTrospecT may consisT of only a few seconds of ficTive Time where The proTagonisT is viewed in con- TemplaTion. There is a definiTe break in The acTion. An example mighT show The proTagonisT sTaring inTo The heavens as if in deep ThoughT and The reader is given To know ThaT "his whole life passed before him in This momenT." This phenomenon probably could occur besT where The proTagonisT is broughT To a poinT of decision. As a resuIT of This Technique, The pro- TagonisT becomes aware of his faTe, and The reader wiTh him. WiTh The re-presenTaTion of The imporTanT sTages of The proTagonisT's life, gripping decisions are aroused or subdued. The ploT, Through such an occurrence, could well change direcTions. IT could even be The Turning poinT of The enTire sTory, or of a segmenT wiThin. Summary As a summary of The essence of forms of reTrospecT, a quoTe from A.A. Mendilow will be employed. He illusTraTes Through The Technique of 6| L. STerne's TrisTram Shandy whaT can be aTTained: He can Trace The fleeTing impressions and associaTions ThaT floaT in The minds of his characTers, including TrisTram him- self as a quasi-auTobiographer during The acT of wriTing. He can bring an effecT inTo high relief by arTfuIly relaTing if To some oTher conTrasTing effecT. He can build up a climax by an accumulaTion of several incidenTs, or creaTe a single emoTional impression by bringing TogeTher elemenTs selecTed from many sTages in The life-sTory of The various characTers. He can rein To his fancy for The ludicrous, or creaTe suspense by breaking off aT some crucial momenT, and swiTching over To some oTher incidenT. He can also give The equivalenT of empTy spaces, inTervaIs of waiTing and Iongueurs by his 'digressions.'73 FurThermore, iT musT be remembered, for iT is of excepTional imporTance, ThaT reTrospecT evolves from parallels or synchronizaTion. The resuIT allows The forms described To enTer The work of arT, and if ulTimaTely enables us To discover The inTenT of The auThor. VII. ANTICIPATORY FORMS The plane or frame of reference of The ficTive presenT was jusT con— sidered in lighT of iTs abiliTy To absorb and assimilaTe qualiTies and characTerisTics of an anamnesTic naTure. Now The discussion Turns To The prolepTic aspecTs of Time in prose liTeraTure. The Task of such an under— Taking will display many similariTies wiTh The forms of reTrospecT, buT on The oTher hand, a whole new concepT will evolve, leading To an enlarged perspecTive of undersTanding of The sTrucTure and arrangemenT of prose liTeraTure. EssenTial for The basic definiTion of an anTicipaTory form, no maTTer from which perspecTive iT originaTes, is The facT ThaT The anTicipaTory form assimilaTes The fuTure or an allusion To The fuTure inTo The ficTive presenT. The chief recipienT of These forms is always The reader wheTher or noT There is also an effecT on The proTagonisT. A guide To linking and compleTing This elemenTary characTerisTic is expanded by Wolfgang Kayser in ThaT he explains The direcTional orienTing capabiliTies of forms of anTici- paTion. The form of anTicipaTion exhibiTs a disTanT happening, eiTher vividly or oTherwise, and opens The way.by which The reader mighT be led To ThaT end. Kayser formulaTes his concepT in The following manner: Eine genauere UnTersuchung der VorausdeuTungsTechnik ergibT, dass die Spannung auf das "Wie" des Vollzugs und die Wege des Verlaufs gerade gesTeigerT wird. NichT selTen ersTrec- ken sich die VorausdeuTungen nur auf Phasenenden, aber nichT auf das GesamTende, so dass der Leser von AbschniTT zu Ab- schniTT gerhrT wird und die VorausdeuTungen zugleich an der Gliederung des Ganzen helfen.7 62 63 The linking of one parT To The nexT evenTually carries The reader To The final conclusion. Kayser has us undersTand ThaT This process from The inTroducTion of The anTicipaTory form To The conclusion, eiTher aT The end of a phase or finally, unveils The mosT imporTanT funcTion of forms of anTicipaTion. He pens The following: "Die wichTigsTe FunkTion aber, die die VorausdeuTungen haben, isT, dass sie ein lebendiges Geffihl far die EinheiT und GeschlossenheiT der dichTerischen WelT geben."75 Kayser proceeds To offer some imporTanT characTerisTics of The forms of anTicipaTion: Die VorausdeuTungen in der DichTung geben dem Leser die volle GewissheiT, dass die WelT des Jeweiligen Werkes nichT amorph und diffus isT und dass sich die volle see- lische Teilnahme an den GesTalTen und ihren Erlebnissen IohnT. Eine NebenfunkTion der VorausdeuTung isT schliess- lich, dass auch sie an der Beglaubigung des Erz3hlens hilfT.76 AnTicipaTion: ”dramaTische Spannung" The above noTed characTerisTics are basic and even elemenTary for an undersTanding of The forms of anTicipaTion in liTeraTure. Perhaps even more imporTanT is The facT ThaT The anTicipaTory forms are responsible for "Spannung" in The liTerary work, and probably To a greaTer degree H H Than any oTher single elemenT. GunTher Muller explains iT referring To .,,77 I! "Spannung nach vorwarTs, auf das 'Ergebnis' hin, which he esTimaTes as being as imporTanT as The Type which leads us backwards To The illuminaTion of propelling forces which, up To The presenT, were only parTially known. One arTicle concerning "Spannung" in connecTion wiTh forms of H anTicipaTion was wriTTen by TheFMngarianresearcher, Eugen GerIoTei. WhaT he has To offer is of definiTe value in a discussion of This naTure. Therefore, his arTicle, ”Die VorausdeuTung in der DichTung," will serve 64 here for informaTion necessary in building The concepT of The emergence of "Spannung" in anTicipaTory forms. IniTially iT would seem ThaT one should undersTand whaT causes The H genesis of "Spannung" in The reader. GerloTei Talks of The recipienT of a work and The concepT of "Spannung." He says: Die Spannung des Lesers oder Zuh3rers sTrebT den GehaIT der fernen Phasen im voraus zu ergrunden und eilT ihnen, an eine jede neue Phase anknupfend, immer aufs Neue zu; sie sTrebT die ToTaliT3T der DichTun zu erfassen, gleich der gesTalTenden DichTerseeIe, die wahrend der GesTalTung einer jeden neuen Phase die ganze ihr vorschwebende Dich- Tung mehr oder weniger deuTlich vor sich haT. A logical parallel To Gerl3Tei's quoTe would read someThing like The following: "Because The auThor seeks To esTablish disTanT phases in a work previous To Their occurrence, There is a cerTain sTimulaTion exerTed on The reader which produces and nurTures a 'Spannung' wiThin him. From ThaT poinT, The 'Spannung' of The reader seeks To esTablish, in advance, The conTenT of fuTure phases." H In evidenT reference To ”Spannung," LammerT offers The T'OIIOWIHQ: H "Nur der kleinere Teil der VorausdeuTungen gibT uberhaupT besTimmTe H H AuskunfTe uber die ZukunfT. . . . Je geheimnisvoller die AndeuTung, . . . . 7 um so Sicherer reizT Sle auf zu der Frage: Was wird geschehen?" 9 WiTh The esTablishmenT of This disTanT poinT or poinTs, a form is creaTed which provides cerTain opporTuniTies for The auThor and The reader: Das MiTschweben des Sinns der zuruckgelegfen Phasen und das Vorschweben Jenes der ferner folgenden erm3glichT dem DichTer an einem mehr oder minder einheiTlichen Werk zu gesTaanen und dem Leser oder H3rer, die vorgebildeTe To- TaliT3T der DichTung in ihren augenblicklich erreichTen, gleich wieder verschwindenden Phasen zu erfassen und sTeTs lebendig und innig zu erleben, desTo mehr, da die wieder— holTe Annahme der EinheiT der DichTung die uaniTTelbare Wirkung der VorausdeuTung und die dabei gegenw3rTig gehal- Tenen freien Erahnungen in eine ferne Phasen synTheTisie- rende Ueberzeugung verwande i T . 80 65 ThaT which The form of anTicipaTion makes possible To boTh The auThor and Thé recipienT has, in general been TreaTed. If one regards The maTTer from a converse poinT of view, ThaT is, whaT happens in a work when iT lacks anTicipaTory forms, one is convinced ThaT a work wiThouT such forms could be severely impaired. CausaliTy Since causaliTy in a work depends on a "before" and an "afTer," The lack of anTicipaTed poinTs of culminaTion would seriously impair The cause and effecT relaTionship in liTeraTure. Since, aT any given poinT in a prose work, ThaT poinT exisTs in The "in acTu esse" The only way causaliTy can exisT is eiTher Through reTrospecT of Things already having passed Through This frame of reference or anTicipaTion of Things which will pass Through iT. A lack of eiTher The forms of reTrospecT or The forms of anTicipaTion would, Therefore, severely injure The possibiliTies The auThor has for inTroducing cause and effecT. In general summaTion of The characTerisTics of forms of anTicipaTion insofar as They have been discussed To This poinT, we recognize ThaT The form of anTicipaTion is an imporTanT necessiTy, almosT a principle of creaTion and a peculiar parT of ficTion which changes The succession, via The immediaTe anTicipaTion, info The disTanT and final phases, inTo a co-exisTence of The differenT parTs, which grasps The ToTaliTy of ficTion. Thereby The ficTion and iTs experience is enlivened for The reader. Finally, The form of anTicipaTion is a means by which The "Spannung" is direcTed To a poinT of experience in The work and in so doing esTablished The "Spannung" . . 8 again and again. 66 AnTicipaTion: "epische DisTanz" There is yeT a form of anTicipaTion which does noT lend To The concepT of "Spannung," buT iT lends To The ToTaliTy of The work in ThaT iT assisTs in Tying up loose ends. This Type of form merely illusTraTes an evenT which follows, or iT announces The end in a sorT of slide-glance in order To puT iT aside once and for all. This Type of form of anTicipaTion also eliminaTes The curiosiTy of The reader in favor of a higher inTeresT in The presenT occurrence. BuT iT also saTisfies This inTeresT on The spoT. Therefore iT has a culminaTing characTer.82 Up To This poinT, The discussion has been IimiTed mosle To characTer- isTics of forms of anTicipaTion. LiTTIe has been said in regard To The H various forms Themselves. Again, Eberhard LammerT's work, Bauformen des H Erzahlens, conTains The mosT compleTe discussion exTanT in regard To The Types involved.83 Fixed forms L3mmerT discusses forms of anTicipaTion which are fixed in ThefuTure (die zukunfngewissen VorausdeuTungen). Under This main heading, There are sub-groupings of Two Types, The firsT being fixed forms of anTicipaTion (fesTe Formen der VorausdeuTung) and inserTed forms (eingeschobene VorausdeuTung). The inTroducTory forms of anTicipaTion (die einfUhrende VorausdeuTung) provide The consideraTion for The iniTial fixed forms of anTicipaTion. Here, The firsT consideraTion is The TiTle of The work and The foreward. These characTerisTics become a help To The auThor early in The work and serve To awaken expecTaTion. The TiTle OfTen enough The TiTle of a work serves as a direcT reference To The elucidaTion of ThaT which will occur. Through The use of a cerTain TiTIe, 67 The Theme or The sense of a work has been illuminaTed before The reader has had a chance To geT his informaTion from The TexT. Even wiTh works where a name supplies The TiTle This becomes The case. InTernal Headings Headings wiThin The work can play a role especially when They allude To a happy or a sad course of evenTs. These headings can bend The illusion of The reader in advance. There are also headings (and TiTIes Too) which hide wiThin Themselves a summary of Things To come, for example, "Ein Kampf um Rom."84 Prologues and preambles OTher Types of inTroducTory forms are The prologues and preambles. One such example is found in The firsT 2| lines of The "Odyssey." Here The reader wiTnesses a sorT of ouTIine of The "program" of The enTire work. FurThermore, The auThor mighT offer as inTroducTory maTerial a conversaTion beTween The ficTive narraTor and his audience. One is There- fore able To come To an undersTanding of The main characTers, The process or sense of ThaT which will happen before if is acTuaIly unfolded on The 85 plane of performance. SublimaTed forms NaTuraIly There are also sublimaTed forms. In place of an open announcemenT of Things To come in The process of The work, The "Ein- sTimmung" can enTer inTo The inner process. Careful inTroducTions inTo milieu and The characTers ofTen have a decisive meaning for The compleTe enjoymenT of IaTer expanded conflicTs. The inTroducTory forms of anTicipaTion are able To communicaTe The manner in which The work will evolve in iTs main momenTs. They can show 68 The principal feaTures of The characTer of The hero and communicaTe, almosT always wiTh special emphasis, The ouTcome of The happenings, wheTher iT be happy or Tragic. "ThemaTik" There is yeT a furTher group of inTroducTory forms of anTicipaTion. These have no consideraTion for The "Handlung." Here The "ThemaTik" of The work is made manifesT. All "Beispiel—Erz3hlungen" belong To This group. Here The narraTor makes known in The beginning ThaT he would, for example reporT a sTory of undeviaTing love, noTable friendship or exemplary heroism. Such inTroducTions refer direchy To The cenTral Theme of The sTory. They offer The sTory as a precidenT for a basic manifesTaTion of life. They offer a formula To The reader according To which The fuTure happenings are supposed To be elucidaTed, and They prevenT The correcT undersTanding of The enTireTy of The Thing in a peneTraTing and, now and Then, obTrusive manner. They can, however, be volunaTrily misleading, opening a VasT field for forms of irony, for example, in comedy. ”VorgeschichTe" L3mmerT conTinues his explanaTion of inTroducTory Types wiTh a secTion on "VorausdeuTung und VorgeschichTe." These forms, he relaTes, comply in funcTion To Those menTioned earlier. The form is evidenced by a paraTacTicaI JuxTaposiTioning of a "heuTe" and a "damals." This Takes place in The firsT senTences of a sTory. As a rule The "VorgeschichTe” is aTTached wiTh a descripTion of The scene in iTs earlier splendor, sTaTeliness, eTc. Or The reader is led direchy inTo a lively scene which appears in sharp conTrasT To The loneliness and uncanniness of The inTroducTory scenes: 3 very simple conTrasT scheme, Through which condiTions aT The beginning and aT The end are fasTened inTo a fixed frame. 69 TerminaTing forms The second Type of The fixed anTicipaTory forms is, according To L3mmerT, The TerminaTing Type (die abschliessende VorausdeuTung). IT sTands as a counTerbaIance To The inTroducTory Type. Here The auThor granTs his characTers and Their desTinies one IasT accomplishmenT. The idea has been advocaTed ThaT each reference To someThing beyond The IasT phase of The "Handlung" being relaTed, would bursT The self—conTainmenT of The work and would resulT in an open ending, buT There is more Than one difference beTween The view inTo The fuTure, as There is in The end of "HamleT," and an open ending. TerminaTing forms are able To reach far beyond The presenT occurrences; buT The more cerTain iTs proclamaTion is, The rounder and more resolved The end of The sTory will be. Open endings resulT due To The lack of such forms of anTicipaTion. According To This, Then, one expecTs The TerminaTing forms of anTicipaTion To be, noT of The exciTing (spannend) Type, buT raTher of The solving (I3send) Type. They geT Their TerminaTing characTer in ThaT They bring conflicTs of The pasT To a soluTion in The fuTure of The relaTed ploT. In place of "ZukunfTsspannung," which The inTroducTory Type assisTs To prominence in The sTory, The reference To Things pasT enTers inTo separaTe phases or inTo The enTire process. AnTicipaTion of The final siTuaTion Among These Types of TerminaTing forms of anTicipaTion sTands The Type: anTicipaTion of The final siTuaTion (VorausdeuTung der EndsiTuaTion). This Type of anTicipaTory form may reach beyond ThaT which The auThor has chosen To describe direchy in The sTory. IT does noT allow an open ending, since ThaT which was earlier anTicipaTed is evidenle going To Transpire even Though The auThor has noT given The acTual descripTion of such an evenT on The prinTed page. 70 Some furTher characTerisTics mighT be ThaT The end of The sTory- Telling iTself aims aT a scene, which is noT presenTed, buT which is Traced in anTicipaTion. This happens Through an amazing non-communiaTion, which is made possible only Through The careful preparaTion of This scene in specific areas in The course of The sTory iTself. OuT of This resuITs The fulfilling power of This IasT anTicipaTion. This momenT of reference To The fuTure carries wiTh iT a specific agiTaTion which one may characTerize as dramaTic. This form announces new movemenT, as, "She walked rapidly in The Thin June sunlighT Towards The worsT horror of all."86 AnTicipaTion of The final condiTion AnoTher of The TerminaTing forms of anTicipaTion is The anTicipaTion of The final condiTion (VorausdeuTung des EndzusTandes). As a basic formula The fairy Tale ending is valid: ”Von nun an lebTen sie zufrieden und gl3cklich bis an ihr Ende." This form is one of The mosT common in liTeraTure. IT carries The meaning of final ease of mind, of a definiTe soluTion and compleTe easing of Tension all aT The same Time. Symbolic and didacTic sTory TerminaTion H A Third form of The TerminaTing Type, LammerT enTiTies symbolic and didacTic sTory TerminaTion (Symbolischer und didakTischer Erz3hl- schluss). AuThors who wanT To elaboraTe on a well-rounded siTuaTion aT The end like To puT in The place of The final siTuaTion a symbolic end evenT. Therefore, They proceed To obTain The possibiliTy of a fur- Ther survey of The fuTure in as far as They wanT To open The specTrum of The fuTure. One of The besT liked moTives of This Type is The picTure of a sunrise or a hike (Wanderung), The Trip of The hero inTo a new day. One Thus prepares The formula of The "opTimisTic end" for such poinTs of TerminaTion. This breaking inTo a new epoch projecTs 7l an unlimiTed space for The fuTure in which The agiTaTion of The pasT can come To resT. Therefore, The sensiTiviTy of a rounded ending is also manifesT wiTh such a scene. InserTed forms The inserTed formsiyfanTicipaTionconTain, iniTially, phase anTici- paTion (Die PhasenvorausdeuTung). The observaTion of a TiTIe, a preface or The beginning of sTory open up many forms of anTicipaTion wiTh which an arrangemenT of The sTrands of The STOFY is broughT abouT. The span beTween The beginning and The end of The enTire sTory can be Traced or can be relaTed To The sense of The enTire work wiThouT objecTive precision. For all of These possibiliTies There is a corresponding form of anTici- paTion aT The beginning of individual sTrands of The ploT or phases of The sTory. If a sTory is arranged in iTs phases wiTh separaTe headings for iTs parTs or chapTers, Then, in general, The TiTIes carry The secTional forms of anTicipaTion in Their corresponding segmenTs. Such segmenT—headings can documenT The ordering of individual occurrences. Fielding's Igm_ ggg§§_gives The reader an example in The beginning of The work. The narraTor speaks of a general bill of fare for The whole enTerTainmenT and parTicular bills To every course which is served up in The work. Such parTial forms of inTroducTion label The individual phases of The sTory and supporT The sTrucTure of The enTire work. Forms of anTicipaTion of This Type, wheTher They (a) Thread individual éTapes of a fuTure occurrence TogeTher, (b) announce The end of a phase To The poinT, or, (c) conTribuTe To The mood of The reader Through The indefiniTe promise of fuTure sorrow OF happiness, could lead back To several basic formulae: "Die Ereignisse 72 nahmen nun den und den Verlauf (a) und schliesslich diese (b) - eine gl3ckliche bzw. Tragische (c) - Wendung. - DamiT verhieIT es sich so. . . ."87 The anTicipaTion accompanies The reader Through The explicaTion of The individual evenTs. Each evenT wiThin any given phase becomes impor- TanT in This manner Through The direcTion iT Takes To The definiTe conclu- sion. IT (The evenT) is recognized on The spoT as a sTage of developmenT or as a deviaTing, reTarding or conTrasTing elemenT wiThin The chain of evenTs. AnTicipaTion of The close of a sTory AnoTher of The inserTed forms is The form which exisTs in anTicipaTion of The close of The sTory (AusgangsvorausdeuTung). In sTories which are consisTenle direcTed Toward a goal, and in which The main accenT of The enTire happening lies in The ending of The enTire work, The phase forms of anTicipaTion are mosle accompanied or replaced Through forms of anTi- cipaTion which repeaTedly and forcibly, in cerTain places of The ploT, warn of The ending. These kinds of anTicipaTory forms especially Iable The aTTained sTage of The proceedings in ThaT They sTrike a direcT bridge from The aTTained sTage To The end. Above all They leT The sTriving To The goal become evidenT. PoinT of dramaTic acTion L3mmerT speaks of anoTher sub-heading of The inserTed forms when he discusses specific poinTs of deparTure for forms of anTicipaTion (besondere AnsaszunkTe der VorausdeuTung). FirsT among These is The poinT of dramaTic acTion or poinT of acTion-exciTemenT. Phase and final forms of anTicipaTion appear aT hinge poinTs (GelenksTellen) in The ploT and poinT Them ouT. The firsT poinT of involvemenT (Verwicklungsereignis), The acTion-exciTemenT poinT (HandIungs-Erregungspunkf) is, in This regard, 73 an especially sensiTive place. Mosle unpreTenTious, even someTimes in The background, iT is necessary To have a preview of The conflicTs developing from The acTion—exciTemenT poinT and of Their conclusions. These forms of anTicipaTion are generally coupled wiTh evenTs which generaTe or conTinue To produce conflicTs. From These evenTs iT is easy To draw a line To The conclusion. Or They follow evenTs which are exTremely anTiTheTical. Formal posiTioning aT chapTer endings NexT, L3mmerT discusses The formal posiTioning aT The chapTer ending or conclusion of a segmenT (die formale STeIlung am KapiTels-oder AbschniTTs- schluss). Like anTicipaTion of The end (EndvorausdeuTung) The anTicipaTory forms which encompass The inner phases are ofTen noT aT The beginning of a phase, buT raTher aT The end of The previous phase and This especially when The sTory is well marked wiTh chapTer and segmenT headings. This appears To be incongruenT wiTh iTs inTroducTory Task. One resulT is ThaT The Tone of The anTicipaTory form, Through iTs posiTioning before The pause, is encumbered. On The oTher hand, however, This Type of posiTioning places The concluding characTerisTic of The chapTer or segmenT in quesTion. IT hinders The flow of The sTory from coming To a sTandsTill and characTerizes ThaT The reader is only allowed To caTch his breaTh before Taking parT in new deeds and sorrows. Finally, ThaT which follows is connecTed To The preceding. In This way The auThor reaches a ThemaTic connecTion and TransiTion from one phase To The nexT. CompleTing form The final inserTed form an anTicipaTion is The compleTing Type (die H erganzende VorausdeuTung). Visj3-vis The form of anTicipaTion which describes a curve inTo The fuTure of The ploT, and accordingly affecTs 74 a more or less conTinuous co-exisTence of various phases of process, sTand Those illuminaTors of The fuTure which answer an open quesTion and in so doing finally fulfill a problem or clear up The circumsTances surrounding a person in The ploT. There are segmenT-ending-advances (VorschriTTe) and anTicipaTions of The sTory Teller which appear especially aT The end of larger phases of The sTory-Telling which lend a corresponding roundness To The ending, buT which in connecTion wiTh smaller occasions cause a break in The flow of The ploT. This, above all, when a scene is finally IefT behind or when a secondary characTer is eliminaTed from The sTory. Summary In lighT of The preceding analysis, iT musT be kepT in mind ThaT wherever anTicipaTory forms exisT, There is, as RoberT PeTsch explains, an inTerrupTion of The chronological sTring of evenTs and The sTory Teller is able To bring To fruiTion a reporT of The fuTure. This happens "immer an einer STeIIe, wo er in doppelTem Sinne damiT 'wirken' kann."88 H In like words, KaTe Friedemann offers her undersTanding on The H subjecT: "Denn naTurlich wird durch das Vorgreifen die Illusion des momenTan sich abspielenden Ereignisses gesT3rT. . . ."89 Finally, she, as PeTsch, refers To a kind of "doppelTer Sinn" in connecTion wiTh The sTory ThaT begins aT The end. In such a composiTion There evolves a "GerhIsTon" in The reader. This "Gef3hlsTon" does noT arise only when beginning wiTh The end, buT when, as Friedemann Tells us, The auThor refers To a fuTure momenT. This "Gef3hlsTon" one can equaTe wiTh "Spannung" as iT was spoken of earlier in This chapTer. Friedemann wriTes: Anl3sslich der Behandlung jener KomposiTionsform, in der der Erz3hler miT dem Ende der Ereignisse begann, war die Rede davon gewesen, dass auf diese Weise eine doppelTe VorsTelIungsreihe im Leser erzeugT werde, und dass so ein GerhlsTon in ihm miTschwinge und die augenblicklichen 75 Ereignisse be leiTe, dessen Hervorrufung dem sTreng chrono- logischen Erz hler versagT isT. Die gleiche Wirkung erzielT der DichTer auch dadurch, dass er in einem gegenw3rTigen MomenT auf eine KunfTigen hinweisT. 90 As The above quoTe again defines, The use of anTicipaTory forms in prose is basically To bring abouT a "Spannung" in The reader, or, as has also been discussed, To allow an elemenT of compleTion or solving To enTer in. The reader is eiTher ever looking forward wiTh greaT anTicipaTion To a poinT in The work which has noT yeT passed Through The "in acTu esse," or he is granTed a glimpse of ThaT which is To come which will solve an exisTing problem or curTail a segmenT or person in The work. VIII. THE PRACTICE In order To illusTraTe The approach of a morphological analysis, The PracTice will be devoTed To an applicaTion of The foregoing infor- maTion To a pair of examples of prose liTeraTure. Firsle, The work will be analyzed in Terms of iTs gesTalT. ThaT is, whaT is measureable will be measured and relaTed To iTs environmenf in order To deTermine The reciprocal effecT ThaT The parTs of The TexT have on one anoTher. Secondly, The analysis will be inTerpreTed, in order ThaT The reader will come To undersTand The auThor's inTenT, This being accomplished by means of The recogniTion of sTrucTure of The work only. For This underTaking, The Two works chosen have purposely been selecTed from hisTorical eras separaTed by a cenTury. The sTer and meThods of presenTaTion, as will be seen, are also widely varied. This selecTion is enTirely inTenTional, for iT poinTs To The universaIiTy of The morphological approach in liTeraTure. The morphological sTyle of analysis can be applied To all Types of prose liTeraTure, unresTricTed by noThing buT The sTrucTure of The work iTself. As was sTaTed earlier: a good piece of liTeraTure will noT be conTradicTory in Terms of iTs wflgl_(fhaT which The auThor wanTs iT To express, or conTenT) and The 29!. (The way The auThor arranges The work sTrucTuralIy, or form). The Two works, each one being represenTaTive of prose on The opposiTe ends of The aforemenTioned specTrum, show widely differenT forms and funcTions of H Time. They are: Die Judenbuche by AnneTTe von DrosTe-Hulshoff and a conTemporary work by Ilse Aichinger, SpiegelgeschichTe. 76 IX. DIE JUDENBUCHE In order for The reader of a work To geT The perspecTive of ThaT wiTh which he is working, he musT be able To sTand back and see The over-all dimension of The gesTaIT in quesTion. A work in prose liTera- Ture is consTrucTed or creaTed wiTh words and senTences. These are The ouTer manifesTaTion of The work of arT iTself. These are The elemenTs, concreTe and objecTive, which form The work and cause iTs sTrucTure To evolve. Since These words and senTences placed TogeTher have a chrono- logical ordering, They are like The physical Time which is measured by The clock. MeasuremenT wiTh The clock is significanT, for The circular movemenT of The hands of a clock makes possible a Transfer of The Temporal concepT info a spaTial one. A similar funcTion can be aTTribuTed To The Turning of The pages in a book. This physical Time is designaTed as "Erz3hlzeiT" by GUnTher MUIIer and is measureable in Terms of The pages involved. If iT Takes so and so many physical minuTes To read a page, Then The "Erz3hlzeiT" of any given book is ThaT amounT of Time muITiplied by The number of pages in The book. To deTermine The "Erz3hlzeiT" of a work is imporTanT, for iT is one basis by which The Time planes ("erz3the ZeiT" including Time of inTernal percepTion and Time of exTernaI percepTion) depicTed in The H work can be measured. In DrosTe-Hulshoff's Die Judenbuche,9l The ediTion being quoTed conTains approximaTely 56 pages. H WiThin The span of "Erzahlzeif‘cfi Die Judenbuche There is, wiThin w ‘7— H The "erzathe ZeiT" of The ploT, reference made To a Time span of well 77 78 over 53 years. Each page of The work would be devoTed To more Than one year of The Time indicaTed if all The years depicTed were given equal consideraTion. BuT an examinaTion of Those years represenTed in The ploT in relaTion To The exTernaI gesTalT of The work, The "Erz3hlzeiT", will show wiThouT a quesTion whaT periods of Time wiThin Those 53 plus years are imporTanT To DrosTe-HUlshoff. Too, They will assisT The reader in deTermining whaT The inTenT of The auThor is in using only Those spans of Time which she does. Time and heriTage The iniTial senTence of The TexT of The sTory begins wiTh 3 refer- ence To The daTe of Friedrich Mergel's birTh. No specific daTe prior To ThaT is ever menTioned, alThough narraTion does discuss some of The characTerisTics imporTanT To The ploT prior To ThaT. The daTe ciTed is I738 (7). LiTTle more Than Two pages IaTer, Mergel's birTh is menTioned again. The nexT menTion of a daTe falls jusT prior To The compleTion of The fifTh page. This daTe is ascerTained Through The expression: "Friedrich sTand in seinem neunTen Jahre. Es war um das FesT der heiligen drei K3nige, . . ." (II) or January I747. Reference is made wiThin These firsT five pages To a poinT earlier Than I738, as early as The bachelorhood of Friedrich's faTher. There is no way To ascerTain whaT years Those mighT have been even Though Friedrich's faTher is menTioned as being ". . . der alTe Hermann . . .”(9). The firsT five pages are almosT evenly divided beTween The siT— uaTion surrounding Friedrich's birTh and earlier happenings in connecTion wiTh his faTher which shows The inheriTance which Friedrich was To have from his faTher. This inheriTance is described in Terms of non-physical goods. The firsT five pages, or abouT one-TenTh of The 79 enTire "Erz3hlzeiT" of The book is devoTed To whaT happens before Friedrich is born. IT is a culminaTion of Those qualiTies which influence Friedrich's birTh and as a resulT, his enTire life. IT is noT a coincidence ThaT These aTTribuTes would fill ouT one—TenTh of The "Erz3hlzeiT." In This manner, even before The reader is inTroduced To The ficTive presenT of The depicTed ploT, There is a cerTain "Spannung" sTimulaTed in The reader. He has come To find ThaT Friedrich was noT born inTo well-To-do cir- cumsTances. This is significanT in ThaT iT shows a geneTic inheriTance. Thus, The acTual pasT of The faTher will be re-presenTed in Friedrich. The direcTion of Friedrich's faTe is deTermined before his acTual morTaI exisTence begins. The circumsTances surrounding Friedrich's birTh Tend To breed narrow-mindedness. FurThermore, a double~sysTem.of law prevails (8). ViolaTion of foresT and game laws were The order of The day (8). The inhabiTanTs of Dorf B., where Friedrich was born, were repuTed To be The mosT sTiff-necked, wily and spiriTed communiTy in The whole prin- cipaliTy (8). Friedrich's faTher was a drinker who drank more wiTh The years (9-IO). His firsT marriage lasTed for less Than a week (IO) before he hiT his wife. He showed a sTrong Temper (IO). The years passed away, Then he married MargreT Semmler, Friedrich's moTher, who bore Friedrich in Their second year of marriage (IO). Thus, The firsT TenTh of The book casTs lighT on Friedrich's heri- Tage. The facT ThaT These evenTs were imporTanT enough To devoTe one- TenTh of The "Erz3hlzeiT" To, shows ThaT DrosTe-HUIshoff felT ThaT This secTion of The work has greaT imporT. In This secTion of The work The pasT is broughT inTo The presenT Through The medium of narraTion. 80 The ficTive presenT of The ploT: a poinT of reference There is an expression of reTrospecT which sheds lighT on one specific daTe, Friedrich Mergel's birThday, I738. WiTh The iniTial senTence of The TexT, This poinT becomes a poinT of reference. From This poinT The narraTor uses a building form of reTrospecT which serves The same purpose as The exposiTion in The drama. Here The reader sees The occurrences and processes which have led To The presenT, Friedrich's birThday. This presenT poinT receives The acTion of The reTrospecT and serves as a poinT of reference from which The sTory develops inTo The fuTure. The daTe, I738, being a culminaTion of all of The Things which happened earlier, now becomes a poinT in Time for The reader from which he musT look forward inTo The life of Friedrich in order To see where his inheriTance will lead him. The year I738, Then, becomes The poinT from which The reader anTicipaTes The fuTure, in lighT of The pasT. FicTive presenT of The ploT versus The ficTive presenT of The uredendes SubJekT" WiThin This firsT secTion of The work, The reader has been given no insighT inTo The "Handlung" of The sTory save iT be for one shorT biT of dialogue. IT is evidenT ThaT The reader, excepT for This one shorT segmenT, has noT had The direcT view inTo The frame of reference of The ploT. During The enTire inTroducTory parT of The work, DrosTe-HUIshoff allows The reader a direcT view of The narraTor only. There is no single perspecTive from which The process of The gig: of The sTory evolves. There is commenTary and ediTorializing abouT cerTain of The condiTions spoken of in The firsT five pages. Even when The use of dialogue is employed There is no direcT conTacT wiTh The plane of The ploT being depicTed by The narraTor, for The dialogue menTioned was reporTed by one who could noT have been presenT. He sTaTes direchy ThaT MargreT 8| was repuTed To have said ThaT which is incorporaTed in The dialogue, and noT ThaT she acTually said iT: "Am Abend vor der H)chzeiT soll sie gesagT haben: 'Eine Frau, die von ihrem Manne UbellbehandelT wird, isT dumm oder TaugT nichT: wenn's mir schlechT gehT, so sagT, es liege an mir.'"(IO) The ficTive narraTor has shown his hand and The plane of The ficTive narraTor has Therefore been deTermined. The ficTive narraTor's plane musT be The frame of reference which The reader meeTs direchy. By The same Token, anyThing which is narraTed from This plane of Time musT also have a frame of reference or iTs own ficiTive presenT. The reader cannoT meeT Those planes direchy. Die Judenbuche has been consTrucTed in such a manner ThaT There is a ficTive presenT of The narraTor, which is The frame of reference which The reader perceives direchy, and There is aT leasT one oTher frame of reference which has been deTermined by The use of The dialogue (Friedrich's moTher's aT The Time of her marriage, I736) TogeTher wiTh ThaT which has been reporTed up To almosT The end of The fifTh page. Each of These Time planes has iTs own ficTive presenT, buT because There is a narraTor evidenT, The reader musT regard The plane narraTed To be disTanced from The ficTive presenT of The narraTor, who is The "redendes SubjekT," as . . .4 well as from his own direcT View.‘ Time and Tense , I The usage of The preTeriTe form evolving from The ficTive presenT of The narraTor musT Therefore be Taken To be a narraTion of a pasT happening or a reference To The narraTor's pasT which Turns ouT To be The ficTive presenT of The plane of The ploT or The plane of The proTag- onisTs, By The same Token, whenever There is an expression in The presenT Tense, iT musT be consTrued To be a direcT expression of The 82 ficTive narraTor in his ficTive presenT, unless iT appears in quoTaTion marks as dialogue in The realm of The proTagonisTs. BuT To whom does The narraTor speak when using The presenT Tense? Since he cannoT speak To anyone ouTside his own onTical sphere, The recipienT of such expressions musT also exisT on The same ficTive plane and Therefore will here be designaTed as The ficTive reader. When The expression is in The presenT Tense, The avenues are open for commenTary, moralizing and ediToralizing, usually abouT The plane of Time being narraTed. One such example occurs already in The firsT paragraph. The Tense change is exTremely evidenT and, as a resulT, The ficTive narraTor becomes ever more obvious. WiThin The firsT page DrosTe wriTes: ”und nur dem Verlierenden fiel es zuweilen ein, in alTen sTaubigTen Urkunden nachzuschlagen. - Es isT schwer, Jene 22i:_ unparTeiisch ins Auge zu fassen; sie isT seiT ihrem Verschwinden enTweder hocthTig geTadelT oder albern gelobT worden, da den, der sie erlebTe, zu H viel Teure Erinnerungen blenden und der SpaTergeborene sie nichT begreifT." (7-8)92 The narraTor is able To sTand back in such a siTuaTion and give an objecTive view abouT The siTuaTions surrounding Mergel's birTh. As The narraTor conTinues, he moralizes in references To This poinT in Time and in so doing again causes The reader To be imbibed wiTh a furTher degree of ”Spannung" for The ouTcome: "So viel darf man indessen behaupTen, dass die Form schw3cher, der Kern fesTer, Vergehen h3ufiger, GewissenlosigkeiT selTener waren. Denn wer nach seiner Ueberzeugung handelT, und sei sie noch so mangelhafT, kann nie ganz zugrunde gehen, II I! wogegen nichTs seelenToTender wirkT, als gegen das innere Rechngefuhl II das aussere RechT in Anspruch nehmen." (8).93 Here The obvious division of Time Through The expression of The narraTor, wherein he seTs himself 83 aparT from "jene ZeiT," is resubsTanTiaTed in ThaT if is separaTed from The resT of The paragraph by means of The hyphen. Die Judenbuche: PerspecTive A. In summary of The firsT secTion of The book, if musT be noTed ThaT The Time sTrucTure is ThaT of PerspecTive A., which was discussed in The chapTer, "Planes of NarraTion, Forms of Speech and lnTegraTion." A ficTive narraTor is evidenT. He makes reference To a Time plane onTicaIly separaTe from his own, The Time plane of The ploT which is siTuaTed Temporally in a pasT relaTionship To The ficTive presenT of The narraTor. This is deTermined by The obvious use of The pasT Tense in reference To ThaT which has already Transpired prior To The ficTive presenT of The narraTor who is The "redendes SubjekT.” .The use of The presenT Tense refers To The "now" of The narraTor. Since The reader views This realm direcTIy, The plane of The ploT is also pasT for The reader. The pasT Tense of The narraTor in reference To The ficTive presenT of The plane of The ploT or The proTagonisT becomes for The proTagonisT a presenT expres- sion of his ficTive presenT. The perspecTive is imporTanT. FurThermore, DrosTe-Halshoff has used The Technique of building reTrospecT in which she relaTes pasT evenTs and circumsTances To one specific daTe, Friedrich Mergel's birThdaTe, I738. This is done for exposiTional purposes. In reference To This daTe, and by using infor- maTion relaTing To The period prior To iT, The auThor has prepared The reader To look forward To The final ouTcome. Through This exposiTionaI informaTion, The auThor has also creaTed an inTroducTory form of anTicipaTion. As was earlier poinTed ouT, The inTroducTory form of anTicipaTion can, in place of an opening announcemenT of Things To come in The process of The work, allow The "EinsTimmung" To enTer info The inner process. 84 Careful inTroducTions inTo milieu and The characTers ofTen have a decisive meaning for The compleTe enjoymenT of IaTer-expanded conflicTs. One can Thereby come To an undersTanding of The main characTers, The process or sense of ThaT which will happen before iT is acTually unfolded on The Time plane of The ploT. In The firsT five pages of The work one comes To look forward To The fuTure of Friedrich Mergel wiTh anTicipaTion and "Spannung." The preamble BuT even before The TexT unfolds before The reader There is an inTro- ducTory form of anTicipaTion which is of The preamble Type. The verse (6) which is offered in The beginning cerTainly poinTs To The fuTure. In general, The reader knows ThaT There is an impending mood of faTe. This musT cenTer around The subjecT of The work. By The end of The firsT five pages one cannoT avoid The connecTion beTween The poem and The proTagonisT whose ficTive presenT and fuTure The reader has noT yeT gained an insighT inTo excepT Through forms of reTrospecT and anTicipaTion. Dialogue The nexT secTion of The work is definiTe in iTs limiTs. lniTiaIly, jusT prior To The compleTion of The fifTh page, The reader is allowed a more direcT view info The "Handlung" on The plane of The ploT. The narraTor recounTs definiTe occurrences and offers dialogue which was spoken by The proTagonisTs. The reader finally views Friedrich Mergel in a T219 direcT manner. The reader wiTnesses a re-run of whaT has Transpired aT an earlier Time. Much dialogue is employed. The use of dialogue shows a cerTain direcTness, ThaT is, The relaTion The reader has To The Time plane of The 85 proTagonisT is more direcT, even Though if is being reporTed, for when dialogue is presenTed iT musT be an exacT re—creaTion of whaT The pro- TagnoisT expressed, oTherwise iT cannoT be dialogue buT musT become indirecT discourse. Dialogue is an expression of The perspecTive of The proTagonisT, and is as a resulT more direcT. II KaTe Hamburger describes The change from mere reporTing (ThaT which is conTained In The firsT five pages of Die Judenbuche) To a place in The work where The scene is enlivened or where acTion occurs: Solange die Szenerie nichT von GesTalTen "belebT" isT, kann sie noch als nichT fikTiver, ein wirkliches Milieu schildern— der BerichT aufgefassT werden, ja selbsT auch noch dann, wenn zwar GesTalTen schon in ihr erscheinen, aber noch so- zusagen sTumm, bildhafT, sTaffagem3ssig. Dass ersT dann, wenn Iebendige" GesTalTen sprec end und handelnd aufTre— Ten, das ImperfekT des BerichTes seine urerungliche gram- maTische FunkTion ablegT und seinen eigenTumlichen "epi- schen" Sinn erh3IT, wollen wir an einem hierfUr besonderes erhellenden Beispiel zeigen, dem Anfang von STifTers "Hochwald"94 The dialogue in This secTion, which is acTion, creaTes for The reader, for The firsT Time, an acTual epic ficTive presenT of The proTagonisT, Friedrich Mergel's. From This poinT The work progresses Through 29 pages before There is ii an obvious break in The "ErzahlzeiT." AT ThaT juncTure There is a blank space of Two lines. ThaT seems To signify a break. In This 29 pages of H II "ErzahlzeiT" a liTTle less Than fourTeen years of "erzathe ZeiT" Transpires. During This period The reader finds The following breakdown: The fourTeen II years represenTs somewhaT more Than one-half of The compleTe "ErzahlzeiT." WiThin These 29 pages There are several high poinTs reached. The firsT of These is immediaTe in coming. IT consisTs of a nighT, chiefly afTer IO:OO P.M. and an early porTion of The nexT day in Jaunary I747 86 around The Time of The celebraTion of Epiphany. The year is deTermined To be I747, for as was already menTioned, Friedrich was in his ninTh year. The descripTion of This parTicular nighT consTiTuTes a liTTIe less Than Two and one-half pages. ITs mood is highly dramaTic because more Than one-Third of The "Erz3hlzeiT" is an inTegraTion of dialogue. IT is direcT because iT shows The expression of The proTagonisT, buT noT as direcT as pure drama since The dialogue is narraTed by The narraTor. The reader Thus geTs a glimpse of how Things really are for Friedrich Mergel on ThaT nighT. Because The auThor uses dialogue, The narraTor appears To be removed as mediaTor, Thus The reader appears To wiTness The ficTive presenT of The proTagonisT direchy. The prespecTive is represenTed as Friedrich's. BuT The narraTor has shown his hand. The dramaTic effecT is less Than if The manifesTaTion were someThing enTirer direcT, coming from The proTagonisT. FurThermore, The use of dialogue is highly dramaTic because The raTio of "Erz3hlzeiT" and "erz3the ZeiT" is one To one. Thus, The lengTh of Time iT Takes The reader To read The dialouge is an exacT represenTaTion in minuTes of The Time which is represenTed in dialogue and which Trans- pires on ThaT nighT. This one To one raTio applies only To The dialogue, however. In relaTion To oTher meThods which show "Handlung," dialogue is as genuine as anyThing which represenTs life in iTs normal conTexT. Reader's avenue of percepTion WiTh This dramaTic form, The mood also becomes more exciTing: old Mergel is broughT home dead. The evenTs relaTed, even wiTh The preTeriTe, are represenTed as happening in Friedrich's frame of reference and from his perspecTive. The reader knows no more in This scene Than Friedrich does. The osTensible narraTor will noT allow The preTeriTe To become, 87 for The reader, an expression of The presenT. IT is noT unfolding in The "now" for The reader. IT happened before. This nighT is an objecTive reporT, Through a narraTor, of whaT Friedrich acTually experienced. AT one poinT There is even an inTegraTed passage of "erlebTe Rede" which would well be Friedrich's perSpecTive. The aTTempT is To porTray The inner ThoughTs of Friedrich, buT This Too musT be relaTed To The reader from The exTernaI posiTion of The narraTor, for he has shown himself earlier To be osTensibly presenT. The secTion of "erlebTe Rede" is wriTTen in The Third person pasT and cannoT be consTrued To have a presenT meaning as iT would if There were no narraTor ouTside The pro- TagonisT on The plane of The ploT. Here The reader experiences The inner ThoughT of Friedrich via The narraTor: ”Friedrich dachTe an den Teufel, wie der wohl aussehen m3ge. Das mannigfache Ger3usch und GeT3se H im Hause kam ihm wunderlich vor. Er meinTe, es musse eTwas Lebendiges drinnen sein und draussen auch." (I3) "Spannung" Again, while reading This parTicular secTion, The reader is cerTainly aware of The pasT and looking forward To The fuTure. Friedrich's faTher dies seemingly as a resulT of his vices and shorTcomings, Things which have been illusTraTed in reTrospecT of This nighT in Time. These characTerisTics cause The reader To Turn To The fuTure and conTemplaTe Friedrich's possible faTe. Friedrich has received an inheriTance. Will his desTiny be The same as his faTher's? The reader cannoT help buT look To The fuTure wiTh exciTemenT for The answer. The lessTh. The curve of faTe from This poinT seems To more direcTIy POTIWT'To The end siTuaTion Than any oTher example offered up To This P0? FIT. The poinT of culminaTion appears To be inseparably connecTed WITTW The curse. The obvious parallels ThaT DrosTe has drawn beTween IO3 Friedrich and The murder Through The evenTs aT The wedding link The curse direcT y-To Friedrich. FurThermore she sTaTes: In derselben NachT noch warden die-SchuTzen aufgeboTen, um Friedrich zu verhafTen. Der Anklage bedurfTe es nichT, da Herr von S. selbsT”Zeuge=e+neSWAufTriTTs gewesen war, der den dringendsTen VerdachT auf'ihn werfen mussTe; zudem die GespensTergeschichTe von jenem Abende, das Aneinander- schlagen der ST3be-im Brederholz;~der Schrei aus der H3he. (47) The discussion of The invesTigaTion which follows is To be undersTood as a parallel moTif in relaTion To The inquesT aT Brandes“ deaTh. In The firsT insTance, Friedrich was found noT legally guilTy, buT morally involved in The murder. This siTuaTion shows The evidence To-incriminaTe him, buT The evidence was noT conclusive wiThouT a personal confession. Friedrich flees, which allows The reader To feel ThaT he is legally guilTy in connecTion wiTh The-murder of Aaron. Even wiThouT a confession, however, The reader feels him To be aT The very leasT morally guiITy again.- AnoTher-parallel funcTion in The Two phases shows This To be True.' In The firsT phase Friedrich preparing To go To confession casTs a lighT on The scene which showed him To be morally guilTy. The same resulT is achieved in This phase by The flighT of Friedrich. There‘is no ulTimaTe legal proof of his guilT, yeT he is obviously connecTed To The murder:- Again These paralleis acT as a medium for The increase of criminal "Spannung." This six monTh period shows The Jews buying The beech Tree under which They feel Aaron was killed (50). They wriTe an inscripTion on iT, which The reader cannoT undersTand unless he reads Hebrew. The reader musT again waiT for a fulfillmenT of anTicipaTion. There would cerTainly be no puzzle placed before The reader lesT iT would direcT To a fuTure poinT in Time when iTs soluTion also brings abouT‘a soluTion in The enigmaTic process being presenTed in The work. Therefore, The inscripTion I04 would seem To be one of The main poinTs of anTicipaTion which leads To The final ouTcome, for iT is The firsT Time ThaT The reader has been confronTed wiTh an obvious puzzle which he musT finally solve.” lTs soluTion will also solve much of The mysTery. Thus The reader has arrived aT one of The mosT crucial poinTs of "Spannung" and anTicipaTion in The enTire work. By now iT has become clear how many elemenTs, pasT and fuTure, are working TogeTher To deTermine The faTe of a man. A BuT The final Time-period in This phase, a few momenTs in a day in The Spring of I76I, again Tends To reduce To a high.degree The high poinT jusT reached.- The curve followed The same paThway—in The preceding phase: from background maTerial To an implicaTion of Friedrich in The murder of Brandes. This paTTern holds True here-also.v AfTer Friedrich seems To be so connecTed To The murder of Aaron, one sees The squire reading some IeTTers he has jusT received.~ V'Sonderbar, sonderbar!’ sagTe er. 'Denken Sie sich, Kapp, der Mergel isT=vielleTchT"unschuIdig an dem Morde. . ; . Wissen Sie wohl, dass Ihr lieber~GeTreuer, Friedrich Mergel, den Juden mag ebensowenig erschlagen haben, wie ich oder Sie?'"(-5l)98 Again The reader is Told ThaT proof is lacking buT ThaT someone in-a gang had killed a Jew named Aaron (52). This informaTion bringsflThe phase To a‘close‘wTTh much Tension, yeT The reader is, due To The inserTion of ThiS-enfire phase, even more inTensely involved in his anTicipaTion of The fuTure, for if acTs as a longueur holding The reader from The soluTion while giving him furTher sTimulaTion To cause him To seek The final ouTcome wiThirenewed efforT. WiThin The IasT Two pages of This phase,‘There are phase ending forms of anTicipaTion which seem To bring The murder of Aaron To a sTalemaTe; yeT There are again definiTe secondary uniTs which connecT iT wiTh The fuTure, noT The leasT of which is The inscripTion on The beech Tree. |05 The whole.legal.aspeeTbofrThe siTuaTion no longer has a bearing. The cases are'Iegaily~closed,~bdfrmoraily"fh y=a e more‘widehopen Than ever before. The curse of-The Jewess seems To have been-in vain-since The case concerning her husband, wherein Mergel was accusedi-legally finds no soluTion. -From This poinT on in The‘werk, The jusTice of faTe Takes over. There is apparenT significance in This moral jusTlce ouTside of The case of The ficTive characTer of Friedrich Mergel. lT-achieves-a general human validiTy. In summary of This phase, The evenTs follow abouT The same curve as The previous phase. “Much "Erz3hlzeiT" conTains acTually very liTTle Time on The plane of The ploT, Thus The-represenTaTion of The ploT in Those momenTs of reproducTion are more life like-Than when The Tempo is acceleraTed. AnTicipaTory and reTrospecTive-forms of Time Tend Te connecT This cenTraI phase To The phases on eiTher side;i As a resulT, The reciprocal effecT causes The-reader To look now-To-The final phase where The sTory comes To a final soluTion. End phase: fulfillmenT of faTe The final phase of The work-is made up of elevenspages of "Erz3hlzeiT." The obvious omission of Two lines of "Erz3hlzeiT" before*The beginning of This phase represenTs an omission of abouT‘TwenTy-eighT'years*of The ficTive presenT of The ploT. The inTroducTory words of This phase unfold as follows: "Eine sch3ne lange ZeiT war verflossen, achTundzwanzig Jahre, fasT die H3lfTe eines Menschlebens, . . ."'(52). 'The readeriis inTroduced almosT immediaTely To a scene on ChrisTmas Eve, I788 (52). IT is close To midnighT. There is a figure moving inTo The village. 'When The clock sTrikes Twelve a hymn is heard (53):“‘For The Third Time a parallel is IO6 drawn. The year, The season of The year, The day and The hour are all inTroduced aT The beginning-of The new phase. FaTe beyond Time Through a conversaTion which Takes place on ChrisTmas Day, I788, The fugiTive is Told ThaT Friedrich did noT kill The Jew: "Man fragTe ihn, warum Friedrich sich denn aus dem STaube gemachT,.da er-den Juden doch nichT erschlagen?" (55). The reader—wonders if iT is noT‘Friedrich who has reTurned home when-The fugiTive says: ”'Also ganz umsonsT' sagTe er nachdenkend, ganz umsonsT so viel ausgesTanden!" Er seufz e Tief und fragTe nun seinerseiTs-nach'menchem." (55). -In The conversaTion, answers To his quesTions become a form of-reTrospecT which fills The reader in on some of The pasT Time in The previous TwenTy-eighT year period. This is To be considered again The building Type of reTrOSpecT;= General informaTion is offered and The pasT TwenTy-eighT years become a reaiiTy for The reader, again Through The ficTive-presenT of The ploT relaTed by The narraTor. ThaT evening The same-Type of Thing happens.~ A major porTion of The evening is spenT relaTing The evenTs of The same TwenTy—eighT years as The fugiTive experienced Them. The TwenTy-eighT years are noT imporTanT in and of Themselves. DrosTe- H3lshoff could have lefT Them ouT wiThouT changing The ploT. The refer- ence To These years shows ThaT jusTice has iTs own conTinuinTy. IT has iTs own dimension beyond Time and space in ThaT iT sTands ouTside The influence of normal Time. "Legal jusTice was noT fulfilled in Time, yeT JusTice will fulfill iTself. ‘This will show iTself ouTside The normal influence of Time. I07 AnTicipaTion of The final siTuaTion AfTer ThaT evening, Johannes,-as The fugiTive is called, moves inTo his liTTle room in The house of a widow in The village. “The reader comes. To undersTand ThaT Johannes is avoiding The "Brederholz" in his journeys. Frau von S. quesTions him on Ths. ~"'Das isT ja ein weiTer Umweg; warum gingsT du nichT durchs Brederholz?‘ - Er sah TrUbe zu ihr auf: 'Die LeuTe sagTen mir, der Wald sei gef3lIT, und jeTzT seien so viele Kreuz- und Querwege darin, da f3rchTeTe ich, nichT wieder-hinauszukommen. Ich werde alT und duselig,‘ f3g e er langSam-hinzu. - 'SahsT du wohi,' sagTe Frau von S. nachher zu ihrem Manne;"wie wunderlich und quer er aus den Augen sah? Ich sage dir, ErnsT, das nimmT noch ein schlimmes Ende.'"(59). Again The leiTmoTifs are conjured TogeTher by DrosTe. The funcTion of The quoTe calls The readers aTTenTion To The end anTicipaTed. -Again if is noT denoTed as being posiTive. ReTrospecTive resquTion: a demonsTraTion of DrosTe's concepT of faTe The IasT secTion of Time, fourTeen days afTer The evening Johannes fails To reTurn home (SepTember I789), is devoTed-To young Brandes' finding Johannes hanging in The Jew's Beech. This Time span lasTs several lines less Than Two pages.. IT is The culminaTion poinT of The book. And The culminaTing senTence of The book is a TranslaTion of The inscripTion on The beech Tree. IT sTaTes: "'Wenn du dich diesem OrTe nahesT, so wird es dir ergehen, wie du mir geTan hasT.'"(63). ‘This final form of reTrospecT is a reTrospecTive resoluTion. ’The perspecTive changesg" ThaT is, The guilT of The proTagonisT is-finally unquesTionabIe. ‘Johannes i§_MergeI! There can be no doubT of ThaT now.' The auThor has opened The avenue To The reader which allows him To solve The exisTing problems in his mind. l08 NaTuralIy The end of The work signifies-The main-poinT of soluTion, buT now The-reader can reTrogress and come-To cerTain conclusions concerning earlier phases. -He reTurns To The Aaron-episode in The«previous phase. IT is finally manifesT ThaT The beech Tree;-The—"Brederholz," and The ghosT of Hermann Mergel all solidly implicaTe Friedrich and designaTe him, wiTh— ouT any quesTion, as The murderer of Aaron.- The-inscripTion on The Tree is a fulfillmenT of The curse-ef-The~Jewess;l ITs'conTenT is: an eye for an eye and a TooTh for a TooTh. By a maTTer of parallel reasoning in reTro- specT, The implicaTion ThaT Friedrich was The murderer of Aaron, shows him To have apparenT parallel involvemenT in The murder of Brandes. This reasoning runs congruenT y~wi h DrosTe's formulaTien of ThevgesTalT of The work. From The-end of-The sTory The anTicipaTory forms are seen in reTro- specT, and from The anTicipaTory forms all Things lead‘To The ending. These reciprocal effecTs are deTermined To be so chiefly due To The sTudy of The forms and funcTions of Time incorporaTed inTo The work. Summary In summary, The basic Time sTrucTure of Die Judenbuche, The relaTion- ship of "Erz3hlzeiT" To "erz3hl e ZeiT," illusTraTes Those areas of Time in The plane of The ploT which DrosTe-Halshoff ThoughT To be necessary and imporTanT To have her narraTor reporT. Taken as a whole, The ToTal duraTion of Time (more Than finyeThree'years)- n relaTion To ThaT which is acTually depicTedis very small. This small amounT of Time on finy-six pages in The book shows many poinTs of dramaTic acTion Through The‘use of inTegraTed dialogue, inTegraTed "erlebTe Rede,"'inTegraTed‘inTerior monologue, or plain ouTside narraTion wherein much acTion is involved. Wherever duraTive or iTeraTive expressions of Time are used, The Tempo increases and large amounTs of Time pass by in shorT spans of IO9 H ’ "ErzahlzeiT." This Type of presenTaTion of Time is in a small minoriTy in Die Judenbuche. The chief facTor of conTinuiTy leading The reader from The beginning To The end is The generousvuse of anTicipaTory forms and*forms of reTro- specT; These-conTribuTe essenTially To The-final inTerpreTaTion of The analysis. Again,'The~TimesplanesainvDie Judenbuche-should be poinTed ouT. Here one wiTnesses Two disTincT planes of Time wiThin The "erz3hl e ZeiT" of The work. There is The plane of The narraTor and-The piane”of The narraTed ploT. This consTellaTion, known as PerspecTive-As, will noT ailow The reader To enTer info The sTream of consciousness of The proTagonisT direchy, buT iT does allow The narraTor To sTand above his sTory and give The reader an objecTive represenTaTion of-ThaT which happens_on The plane of The ploT. This perspecTive allows The reader To wiTness only an exTernaI percepTion of The ploT, even Though The auThor mighT use inTerior monologue and "erlebTe Rede." Thus The infernal phenomena-are relaTed via The narraTor. This musT be The case once The narraTor has made himself manifesT as happens early in Die Judenbuche. The analysis of Time shows The desire~ef'ThesauThor’To creaTe The sTory, noT for The sake of The facTual informaTion relaTed To Friedrich himself, buT To have iTs conTenT'achieve generalrhuman'vafidify: There is, for man, a jusTice which‘exisTs ouTside"The legal channels of The courTs. IT is The jusTice of faTe. As an obvious conTrasT To.Die Judenbuche, a work having The characTer- isTics of PerspecTive B. WIII“nOW“be discussed, again ThaT’The reader will come To see The advanTages of The employmenT of The'morphological approach To analysis in liTeraTure. Thus Ilse Aichinger's Spiegelgeschichfe becomes The Topic of scruTiny. X. SPIEGELGESCHICHTE The Time span of one cenTury has broughT abouT many changes in The meThods of approach which auThors can employ in Their works. The differ— ences beTween Die Judenbuche and SplegelgeschichTe are many. The planes V‘ of Time are of such a differenT naTure ThaT These Two works seem To lie as far aparT as The cenTuries in which They were wriTTen. The following analysis, when compared To ThaT of Die Judenbuche will illusTraTe The wide separaTion of The worlds in which each of These prose works exisTs. PerspecTive A. versus PerspecTive B. In relaTion To Die Judenbuche(novella), SplegelgeschichTe (shorT II sTory) is a much shorTer work. lTs "ErzahlzeiT" consisTs of a mere nine I! and one-Third pages, or noT even one-fifTh of "ErzahlzelT" which is manifesT in Die Judenbuche. The Time plane of The ploT, like DrosTe's work, porTrays The enTire life of The proTagonisT, a similariTy which is one of The few ThaT exisTs beTween The Two works. Each of The works has a cenTral place from which The ploT is porTrayed. In Die Judenbuche This posiTion was found To be The ficTive presenT of The narraTor who exisTed ouTside The Time plane of The ploT. This frame of reference of The "redendes SubjekT" is The cenTral posiTion from which The narraTor reporTs evenTs occurring can The plane of The ploT. If There is a specific plane, recognizable by The reader, from which The narraTor relaTes ThaT which happens on The plane of The ploT, This may Il0 Ill be eiTher separaTe from or synonomous wiTh The plane of The ploT. If if is synonomous wiTh The plane of The ploT, Then The cenTral IocaTion musT be The ficTIVe presenT of The narraTion as well as The ficTive presenT of The ploT. The narraTor musT, Therefore, be one and The same wiTh The proTagonisT. As a resulT, The normal funcTion of The narraTor is, for all pracTical purposes, done away wiTh. EssenTiaIly all ThaT remains is The proTagonisT as The "redendes SubjekT." The process of The mind is open To The recipienT and The resulT is known aS'flwasTreamcfi consciousness Technique. Speigel- geschichTe99 is an example of such a Technique. STream of consciousness SpjegelgeschichTe begins wiTh The passage: Wenn einer dein BeTT aus dem Saal schiebT, wenn du siehsT, dass der Himmel grUn wird, und wenn du dem Vikar die Leichenrede ersparen willsT, so isT es ZeiT fUr dich, aufzusTehen, lelse, wie Kinder aufsTehen, wenn am Morgen LichT durch die L3den schlmmerT, heimlich, dass es die SchwesTer nichT siehT — und schnelll(9). In This iniTial paragraph (a Temporal consTrucThon,grammaTlcally) The auThor has already inTegraTed inTerior monologue inTo The work. The inner world of The person being presenTed Is manifesT To The reader. The characTerisTics of The paragraph illusTraTe The infernal ThoughT of The individual To himself. The grammaTical verb form is The presenT Tense, and This is presenTed in connecTion wiTh The "du" form of speech. If This "du" form can be subsTanTiaTed as referring To The person expressing The ThoughT, Then The person would be considered as addressing himself. The usage of The "du" form would be noThing more Then The firsT person, for he is noT addressing a second person, buT himself only. Since The verb form is in The presenT Tense, The expression of Time musT, Therefore, be in The ficTive presenT, ll2 for There are no disTinguishing puncTuaTion marks which would deTach This expression and allow iT To exisT on anoTher Time plane as puncTuaTion around dialogue ofTen does. WhaT musT basically be The case, Therefore, is ThaT here Aichinger has aTTempTed To inTroduce us direchy To The ThoughTs of her proTagonisT, who also is exisTenT on The plane of The ploT which is The planeiof narraTion. WhaT The reader perceives Then is The unveiling of The mind of The pro- TagonisT. If This is To be'sTream of consciousness, The auThor will never allow an exTernaI narraTor To relaTe informaTion To The reader. Only The ThoughTs, presenTimenTs, conTemplaTions, reflecTions and anTicipaTions of The proTagonisT are presenTed. As one reads Through The resT of This shorT work, one becomes aware ThaT ThaT which enTers one's view is no more Than whaT The proTagonisT perceives, for nowhere is There a segmenT which even hinTs or sligthy smacks of being exisTenT independenT of The percepTion, eiTher Through The senses or inTellecTually wiThin The mind of The pro- TagonisT. No ouTer commenTs, no ediTorializing, no inTroducTory elemenT relaTing To The ficTive presenT of The plane of The proTagonisT such as "she said" occur. ExisTenTiaI poinT of reference As iT Turns ouT, The iniTial paragraph becomes boTh The expression of The cenTral posiTion in The plane of The ploT, The woman in bed (we will call This The exisTenTial poinT of reference hereafTer) and also an expression of anTicipaTion of ThaT which is To come in The exisTence of The proTagonisT. Pushing The bed ouT of The room musT cerTainly have To do wiTh a scene aT The Time of deaTh. The curaTe being spared The Trouble of The funeral sermon is evidenTIy, causally relaTed To The fuTure of This scene. l|3 The nexT paragraph shows a decided Time change. The presenT perfecT verb Tense shows an on-going process. This paragraph caTches The curaTe in The midsT of The funeral. «The "du" form conTinues Info This second Time period, Therefore fixing The conTemplaTion perspecTive of The proTagonisT in view of someThing on-going in her presenT. "Aber da haT er schon begonnen, der Vikar, da h3rsT du seine STimme, jung und eifrig. . . ."(9). Since The fuTure which is conTemplaTed in The firsT paragraph now becomes an on-going presenT occurrence, The mind of The proTagonisT musT now be anTicipaTing The funeral service as if she were presenT. This could only happen Through The presenT anTicipaTion of The fuTure from The same frame of reference which inTroduced The sTory, The exisTenTial poinT of reference. The anTicipaTion in The mind could well designaTe The proTagonisT opposiTe The concepT of a presenT happening in The fuTure. From This poinT, The presenT Tense is again employed: "Dein Grab isT offen."(9). This conTemplaTion of The fuTure musT come from The mind of The proTagonisT.. The proTagonisT is, Therefore, conTemplaTing ThaT which will happen afTer being pushed from The room. The day of The funeral is The poinT of conTemplaTion of The mind of The proTagonisT. The frame of reference from which The fuTure is conTemplaTed is known as The exTenTial poinT of reference. The conTemplaTion iTself has a frame of reference. If will hereafTer be known as The poinT of reference of The "sTreaming consciousness." The poinT of reference of The "sTreaming consciousness" AnTicipaTion of The sequence of evenTs goes on: "Gleich darauf H fahrT der Wagen miT deinem Sarg die lange STrasse wieder hinauf." (9-IO). Il4 This "Gleich darauf" musT designaTe a Time previous To The sermon, for The car is Taking The caskeT back To The morTuary.- The conTemplaTion of Time in The mind of The proTagonisT is running in an opposing direcTion To The direcTion of Time manifesT exTernally from The exesTenTial frame of refer- ence. From The poinT of reference of The grave and The grave side services, The depicTed consciousness re-evokes iTs own pasT, via The facTually presenT exisTence, To The poinT of enTrance info This exisTence: birTh. Forms of grammaTical Tense and Their esTheTicaI funcTion Language becomes a magical insTrumenT To enable This reTrospecTive flow of Time of The enTire life in The consciousness. The fuTure Tense is employed To Transpose inTo The presenT The momenT preceding The wandering poinT of reference wherever iT mighT be. The evenT Transposed info The fuTure enTers inTo The presenT and dislodges The yeT presenT poinT of reference inTo The pasT. The normal-Temporal succession from The Eggpfe'Thewngp;runs backwards here from The Egg To ThaT which precedes iT. Then iT becomes necessary To depicT The realisTic fuTure aspecT - aT The poinT of The progressing pgfl_- as someThing which has already happened in The pasT. The grammaTical Time forms of The verbs assume an arTisTic funcTion and fulfill a poeTic inTenTion in order To represenT a process of consciousness, which is sTreaming in The realiTy of The dying proTagonisT, as running backwards. In The consciousness of The dying proTagonisT The conTra-normal flow is no conTradicTion. She gaThers The essenTiaI phases of her exisTence TogeTher in Temporally reverse succession and obTains insighT for herself info The dimension of her exisTence. The moTive of The dying proTagonisT in This TurnabouT is The aTTempT To revoke The faTal separaTion from life (To reverse The causal relaTionships of her deaTh and her guilT). The Il5 iniTiaTed process of reversal allows her To move pasT The poinT of Time of her guilT and does noT end unTiI The conTemplaTion of her birTh - which Then comes TogeTher wiTh The poeTic-real exTinguishmenT of The consciousness: The deaTh of The carrier of The consciousness, The proTagonisT. Reverse Time: chronological In The iniTial paragraphs, This anTicipaTion of The fuTure Time in The "sTreaming consciousness" runs basically chronological, yeT in reverse. This conTemplaTion of The fuTure in The mind of The proTagonisT Takes a IiTTle more Than one and one-half pages of "Erz3hlzeiT" To compleTe. The pro- TagonisT conTemplaTes herself To be lying in The morTuary. During This period of "Erz3hlzeiT" The reader deTermines ThaT The Time of deaTh and The funeral are in early summer. The proTagonisT, in conTemplaTing The process of Those Things happening in her mind says: "Sei geduldig. Es isT ja Fr3hsommer. Da reichT der Morgen noch lange in die NachT hinein."(l0). In order for The morning To reach inTo The nighT, The process again shows iTself as being conTemplaTed in reverse, ThaT is, The Time in The "sTreaming consciousness" frame of reference runs opposiTe The Time manifesT in The exisTenTial poinT of reference. Infernal and exTernaI percepTion The reverse chronology is comprised chiefly of inTegraTed inTerior monologue. When inTerior monologue opens The mind To The reader, per- cepTion can evolve in Two differenT ways. ‘The firsT would be ThoughT abouT someThing compleTely exTernaI or ThaT which is perceived Through The five senses. The mind is Then conTemplaTing or perceiving someThing ouTside The realm of pure inTellecTual ThoughT. This percepTion would relaTe To ll6 The exTernaI milieu of The proTagonisT as is made possible Through one's eyes, ears, mouTh, nose or Through The sense of feeling. On The oTher hand, when The five senses are noT employed, The mind is able To perceive inTernaIly, inTellecTually Through conTemplaTion, reflecTion, anTicipaTion and reTrospecT. The impeTus of The percepTion springs from wiThin. When This Type of percepTion inhabiTs The mind, The individual is noT usually aware of Things in his immediaTe environmenT, The exisTenTial poinT of reference. WiThin The "sTreaming consciousness" of The mind as well as The exisTenTial poinT of reference boTh infernal (inTellecTual) and exTernaI (sensory) percepTions can be represenTed. lnTernal and exTernaI percepTion in The "sTreaming consciousness" projecTing The fuTure InTerior monologue, conveying boTh inTernal and exTernaI conTem- plaTion of The mind in The "sTreaming consciousness," can be besT illus- TraTed by The following quoTe describing The reTurn from The cemeTery To The morTuary. This reference, is of course, a parT of The fuTure conTemplaTion of The proTagonisT in her "sTreaming consciousness": Sie Tragen deinen Sarg durch die zweiTe EinfahrT Uber den Hof in die Leichenhalle. DorT warTeT der leere Sockel schwarz und schief und erhohT, und sie seTzen den Sarg darauf und offnen ihn wieder, und einer von ihnen fluchT, wejl die Nagel zu fesT eingeschlagen sind. Diese verdammTe GrundlichkeiT!(lO) Even Though This enTire quoTe is a parT of The "sTreaming consciousness" of The proTagonisT, a purely inTellecTual conTemplaTion, The quoTe iTself shows ThaT Two disTincT planes of conTemplaTion exisT wiThin The "sTreaming consciousness." The firsT parT of The quoTe refers To Things which have To do wiTh sensory percepTion. The facT ThaT color is perceived in The mind ll7 and ThaT The base for The caskeT is crooked shows ThaT a sensory means is The influence of and basis for such a percepTion. The IasT senTence of The quoTe, because if is noT seT off by quoTaTion marks, indicaTes ThaT The proTagonisT EsconTemplaTing an inTellecTual response To The conTemplaTion which preceded. This Time There is no sensory characTerisTic involved. Thus, one can safely say ThaT wiThin The realm of The "sTreaming consciousness," There are Two disTincT planes. The firsT is a maTTer of conTemplaTion based on sensory percepTion. Color, noise, TasTe, feelings, eTc. Could be represenTed on This plane. The second is purely inTellecTuaI. The example shows a Turn To The inTernal process of The mind in order To commenT on a percepTion based on sensory percepTion. IT should be kepT in mind ThaT boTh These planes exisT wiThin The inTellecTuaI "sTreaming consciousness" of The proTagonisT. The exisTenTial presenT: exTernaI sensory percepTion and inTernal inTellecTuaI percepTion AfTer The auThor porTrays The projecTion of The "sTreaming conscious- ness" inTo The fuTure, Aichinger reTurns The reader To The exisTenTial presenT of The proTagonisT. Here she employs inTegraTed dialogue immediaTer followed by inTegraTed inTerior monologue. The dialogue deTermines The proTagonisT To be alive, for she is able To perceive The Things around her Through her senses: "'Die FieberTr3ume Iassen nach,‘ sagT eine STimme hinTer dir, 'der Todeskampf beginnTI' Ach die! Was wissen die?"(l2). Here The use of The quoTaTion marks signifies ThaT The percepTion of The mind has To do wiTh exTernaI happenings in The ficTive presenT (exisTenTial poinT of reference) of The proTagonisT. These are The words of Those in aTTendance of The proTagonisT. AT This parTicular poinT in The work, The conTemplaTion Of The fuTure in reverse and The conTemplaTion of The presenT II8 of The exisTenTial poinT of reference mesh TogeTher To deTermine once and for all ThaT The hospiTal is The poinT from which everyThing is being conTemplaTed. Thus, The iniTial paragraph of The work definiTer becomes a conTemplaTion of The poinT afTer her deaTh when They will push her bed ouT of The room. The "Ach die! Was wissen die?" shows a Turn To The inTellecTual realm of conTemplaTion. All This is shown from The poinT of reference of The exisTing proTagonisT. Again we see an inTellecTuaI inTernal expression which relaTes To an exTernaI sensory percepTion. BoTh of These evolve from The same plane, The exisTenTial poinT of reference. Thus, wiThin a few momenTs of "Erz3hlzeiT" in The work, The reader is TransporTed from The "sTreaming consciousness" of The proTagonisT conTemplaTing The fuTure, To a direcT conTemplaTion of her immediaTe surroundings To The "sTreaming consciousness" again. This reTurn To The "sTreaming consciousness" of The narraTor refers To The exisTenTial presenT of The proTagonisT. Each Time The reader noTes a reTurn To The exisTenTial poinT of reference from The "sTreaming consciousness" of The proTagonisT, The same phenomenon Takes place. A pair of examples follows: Von da ab gehT ihr viele Male den STrand hinauf, als ob ihr ihn hinabgingT, nach Hause, als ob ihr we liefT, und weg, als gingT ihr helm. Was flusTern die in ihren hellen Hauben? 'Das isT der Todeskampfl' Die lassT nur reden. Eines Tages wird der . . .-(l4) and Eines Tages wird es so weiT sein. Eines Tages isT er dir so fremd, dass du ihn auf einer finsTeren Gasse vor einem offenen Tor zu lieben beginnsT. Alles will seine ZeiT. JeTzT isT sie da. 'Es dauerT nichT mehr Iang', sagen die hinTer dir, 'es gehT zu Ende!' Was wissen die? BeginnT nichT jeTzT ersT alles? Ein Tag wird kommen, da siehsT du . . . (l6) These examples relaTe To The reflecTed pasT of The proTagonisT. ||9 DuraTion of Time in The exisTenTial poinT of reference versus duraTion of Time in The "sTreaming consciousness' The reverse conTemplaTion of The fuTure has Taken place beTween The poinT when The proTagonisT conTemplaTes Them pushing her bed from The hospiTal room and The poinT when she perceives The voices of Those in aTTendance around her. This chronology, ThaT is The "sTreaming conscious- ness," conTinues To run, Through reTrospecT of her pasT, To The poinT of deaTh. The acTual duraTion of Time needed in The exisTenTial poinT of reference for The conTemplaTion of her enTire life lasTs only a number of hours aT The mosT. IT is more likely a maTTer of only a few minuTes or momenTs. IT is a qualiTy of The mind ThaT iT can, in a few seconds, Think abouT, conTemplaTe or reflecT on myriads of Things. Because The conTemplaTion is so chronologically ordered in reverse, iT would be feasible To Think ThaT The amounT of Time expended in The exisTenTial poinT of reference is as much Time as iT Takes To read The "Erz3hlzeiT" conTained in The work, for The "Erz3hlzeiT" is a represenTaTion of The sTreaming consciousness. Re-evocaTion of The pasT based upon memory From The poinT where The proTagonisT firsT hears voices around her, she reTurns To a conTemplaTion. This Time, however, The "sTreaming consciousness" re-evokes The pasT based upon memory. Aside from reTurning To The exisTenTial poinT of reference Three more Times (Two of Those Times are represenTed in The immediaTely foregoing quoTes) To perceive iT direchy, The course of evenTs relaTing To her earlier life is. presenTed. The same criTeria for undersTanding The reverse chronology, The verb Tenses, The plans of inTellecTual and sensory percepTion wiThin The "sTreaming consciousness" and on The plane of The exisTenTial poinT of reference l20 which were explained in connecTion wiTh The earlier segmenT of anTicipaTed fuTure conTemplaTion hold True here. Whereas The firsT one-Third of The work concerns iTself wiTh The anTicipaTion of abouT Two days, The reTrospecTive reflecTion covers a period of more Than TwenTy years. These TwenTy years are given Twice The Ii number of pages of "ErzahlzeiT" for Their porTrayaI.IOO Several condiTions arising in The re-evocaTion of The pasT in The mind of The proTagonisT are well worTh discussing. For example, in The firsT paragraphs of The re—evocaTion, There are several references To Time which deTermine The day on which The proTagonisT enTers The hospiTal: Geh, eh sie wiederkommen und eh ihr FIUsTern wieder lauT wird, geh die STiegen hinunTer, an dem Pf3rTner vorbei, durch den Morgen, der NachT wird. . . . Geh nach Hause! Und leg dich in dein eigenes BeTT zurUck, . . . Da wirsT du schneller gesund! Da TobsT du nur drei Tage lang ge- gen dich und TrinksT dich saTT am grUnen Himmel, da sT3ssT du nur drei Tage lang die Suppe weg, . . . am vierTen nimmsT du sie. Und am siebenTen, der Tag der Ruhe isT, am siebenTen gehsT du weg.(l2) Thus The sevenTh day previous To The day of deaTh is deTermined To be The day of resT. Of greaT imporT To The auThor are The evenTs of This sevenTh day before The deaTh of The proTagonisT. She devoTes almosT Two and one-half H pages To The evenTs of This day, or abouT one-fourTh of The ToTaI "Erzahl- zeiT." This day is The day of The aborTion, The direcT cause of deaTh. ThaT There is an aborTion is clear. The proTagonisT's regreT aT having if done is relaTed in inTegraTed dialogue. This dialogue, an expression per- ceived sensorily and recollecTed by The proTagonisT inTellecTually runs as follows: "'Machinlrmein Kind wieder lebendig!'"(l3). Reverse Time causaliTy \ AnoTher evenT which is imporTanT for The reverse Time causaliTy of The work is porTrayed in The evenTs of The same day under discussion. The influences on The proTagonisT which lead To her aborTion and her remorse are porTrayed in a scene where The proTagonisT and The young man menTioned as being in aTTendance aT The funeral converse wiTh each oTher. The proTagonisT re—evokes The following: "Das ersTe WorT - jeTzT haT er es gesagT: es isT der Name einer Gasse. So heissT die Gasse in der die AlTe wohnT. Kann denn das seln? Bevor er weiss, dass du das Kind erwarTesT, nennT er die AlTe. Sei ruhig! Er weiss nichT, dass du bei der AlTen schon gewesen bisT, . . ."(l4). Viewed in reverse, in The normal order of Time, iT musT be accepTed ThaT he says The 1221. word, The name of The alley where The old woman lives. He Tells her This afTer he knows ThaT she is expecTing a child. He Talks abouT The old woman even afTer he Tells her he loves her. Viewed in This conTexT, one would expecT ThaT The main Thing on The young man's mind is The aborTion. IT is from him ThaT she learns of The old woman. His influence on her sends her To seek The aborTion. This scene, Then, is a main link in The chain of cause and effecT which leads The proTagonisT from her birTh To deaTh. Thus we see also, for The firsT Time in The sTory, The imporTanT role The young man plays. CausaliTy: muTaTion of an objecT Through Time In The "Erz3hlzeiT," immediaTely following The depicTion of The sevenTh day prior To her deaTh, The proTagonisT reTurns To a conTemplaTion of The exisTenTial poinT of reference. Here she sees "die in ihren hellen Hauben." lmmediaTely upon her conTemplaTion again of her pasT, her "sTreaming consciousness" conTemplaTes The followingi "Eines Tages I22 II N wird der Himmel blass genug sein, so blass, dass seine Blasse glanzen wird." (I4). This is noT The firsT Time ThaT The heaven has been menTioned. And iT is Through The lapse of chronological Time ThaT The heaven has signi— ficance. This is True because iTs characTerisTics change wiTh The passing of Time. In The iniTial paragraph of The STOFy, iT will be remembered ThaT The proTagonisT is conTemplaTing deaTh which is noT far off. The heaven (sky) is a consideraTion from The very beginning of The "Erz3hlzeiT": “Wenn einer dein BeTT aus dem Saal schiebT, wenn du siehsT, dass der Himmel gran wird, . . ." (9). The sky is green af 3 poinT in Time when deaTh is nigh aT hand. This is again obvious jusT prior To The proTagonisT's firsT percepTion of The exisTenTial poinT of reference. Here she conTem- plaTes ThaT which will occur jusT before deaTh: "Du b3umsT dich auf und schreisT nach deiner MuTTer. Wie gran der Himmel isT!" (l2). YeT aT This second poinT, jusT afTer her mind relays To The reader her percepTions of The nurses and Their whispering, when her mind in iTs "sTreaming consciousness" again re—evokes The memory of The pasT, she perceives a day ThaT is coming when The sky will be pale enough. The reader looks from This poinT furTher inTo her pasT wiTh renewed inTeresT in order To ascerTain whaT This process will lead To. WiThouT furTher insighT, The reader can only know ThaT The sky has To do wiTh circumsTances surrounding deaTh and ThaT The sky becomes paler The closer one geTs To birTh. This musT be The case, if The day is coming when The sky will be pale enough, since The chronological evenTs are relaTed in reverse of normal Time. FurTher undersTanding is offered us almosT immediaTely when Aichinger allows her proTagonisT To reflecT on a day in her life which falls closer H To The end of The "ErzahlzeiT" Than The IasT menTioned example. On This ll 3 in! l23 day "Der Himmel isT jeTzT blass genug." (IS). The sky has aTTained a significanT qualiTy, if iT were undersTood, which would help The reader To undersTand The significance of The day now under discussion. This day has To do wiTh The proTagonisT and The young man, for The second person plural familiar pronouns are used. In her reflecTion iT is sTaTed: "Und hinTer allem, was ihr TuT, IiegT gran die See. Wenn ihr das Haus verlassT, IiegT sie vor euch." (l5). Therefore, when They enTer The house (moving Toward her deaTh in Time) The ocean lies green before Them in Time. YeT This day is designaTed as being pale enough. BuT for whaT? If The day is pale enough and The paleness leads Toward birTh, Then The day is righTforlife To be conceived. Since The reader has ascerTained ThaT The proTagonisT geTs an aborTion, This day, when iT is pale enough for concepTion To Take place, musT also by analysis be The day when The acT is commiTTed which leads To pregnancy and IaTer To The aborTion. The color meTaphor, changing from green To "pale enough" ascerTains The day in quesTion To be The day of concepTion. As aT The end of The sTory, The concest of birTh and deaTh fall TogeTher here. Thus There is one page of "Erz3hlzeiT" which is insTrumenTal in supplying The reader wiTh cerTain informaTion valuable in undersTanding some of The causal relaTion— ships in The work. This is The Time of concepTion and The house is The place where The acT is commiTTed. This day and iTs consideraTions, Then, become a Turning poinT which is indirechy insTrumenTal in The cause of The proTagonisT's deaTh. This period of Time in her life is obviously imporTanT To Aichinger. AbouT one-ninTh of The work is devoTed To iT, The descripTion of The Time of concepTion and furTher evenTs in The day which lead up To iT. The reverse causaliTy proceeds from The day of concepTion of The pro- TagonisT To her own birTh (probably as much as TwenTy years). She becomes l24 less familiar wiTh The young man The closer To birTh her "sTreaming consciousness" brings her ThoughTs. The day on which she meeTs him is menTioned. Then her childhood is reflecTed upon. Finally The day of her birTh enTers The ThoughT processes of her mind. In The IasT few lines N of "ErzahlzeiT" The proTagonisT reflecTs on her birTh daTe. AfTer ThaT her mind again perceives The exisTenTial poinT of reference for The IasT Time. The IasT conTemplaTion of The "sTreaming consciousness" follows immediaTely, Then There is noThing: Es isT der Tag deiner GeburT. Du kommsT zur WelT und schlagsT die Augen auf und schliessT sie wieder vor dem sTarken LichT. Das LichT warmT dir die Glieder, du regsT dich in der Sonne, du bisT da, du lebsT. Dein VaTer beugT sich uber dich. 'Es lsT zu Ende —' sagen die hinTer dir, 'sie isT ToTI' STill! Lass sie reden!" (I8). This correlaTion of The reflecTion of her birTh and The momenT of deaTh is no coincidence. The conTenT of her ThoughTs aT The end, "du bisT da, du lebsT. . . .", shows The moTive of The dying proTagonisT To be ThaT which was designaTed earlier: her moTive is To revoke The faTal separaTion from life (To reverse The causal relaTionships of her deaTh and her guilT). The iniTiaTed process of reversal has allowed her To move Through The poinT of Time of her guilT. The process does noT end unTil The conTemplaTion of her birTh, The condiTion of innocence. 'l H RaTio of "ErzahlzeiT" and "erzathe ZeiT" having an immediaTe esTheTic funcTion ll AlmosT all of The "ErzahlzeiT" in SpjegelgeschichTe has To do wiTh The reverse "sTreaming consciousness" of The mind of The proTagonisT. If H one divides ThaT "ErzahlzeiT" beTween The anTicipaTed "sTreaming conscious- ness" and The re—evoked memory in The "sTreaming consciousness," one Ii ascerTains ThaT almosT onenThird of The "ErzahlzeiT" is devoTed To The l25 process of anTicipaTion of The fuTure and approximaTely Two—Thirds of iT has To do wiTh reTrospecT. The former amounT of "Erz3hlzeiT" has To do wiTh a period of Time based on The anTicipaTion of abouT Two days. The IaTTer deals wiTh a much longer period of Time, possibly more Than TwenTy years. Thus, The reader deTecTs ThaT The closer To deaTh The proTagonisT geTs in The exisTenTial poinT of reference, The less deTailed The ThoughTs are in The "sTreaming consciousness." The Tempo increases The closer To The end of The "Erz3hlzeiT" one geTs. The re—evoked Time begins wiTh several very shorT episodes, Then The day of The aborTion is described. IT con- sumes almosT Two and one—half pages of "Erz3hlzeiT" (l2-l4). The descripTion of The seducTion and Time prior To iT on The same day is allowed jusT more Than one page (I4-l5). The day when The proTagonisT and The young man meeT for The firsT Time consumes almosT one—half of a page (l6), and a period of Time when The proTagonisT musT be beTween The ages of Two and Three years is permiTTed almosT The same amounT of "Erz3hlzeiT." (l7—I8). The Tempo acceleraTes wiTh The passing of "Erz3hlzeiT." Thus The Tempo or The relaTion- ship beTween "Erz3hlzeiT" and "erz3the ZeiT" manifesT Through The sTrucTure of Their individual forms ThaT The proTagonisT, as she comes closer To deaTh on The plane of The exisTenTial poinT of reference, becomes more and more scanT in her abiliTy To re-evoke The pasT. The evenTs are described wiTh smaller amounTs of deTail The longer The mind sTreams in iTs consciousness. The passing of Time becomes more hecTic and increasingly blurry as if reaches The poinT when The arTisTically full effecT of The poeTic-real exTinguishmenT of The consciousness occurs. Summary No furTher inTerpreTaTion will be aTTempTed here, for The analysis of The Time forms poinTs To The funcTions and Thus To The inTenT of The auThor. I26 The analysis of This work shows ThaT an exisTenTial experience is presenTed direchy To The reader. SplegelgeschichTe shows This exisTenTial experience Through The use of The Technique of The sTream of consciousness. The reader can perceive no more Than ThaT which The proTagonisT herself does. Thus The exisTenTial experience presenTed is immediaTe and direcT. The mind of The human being is seen in operaTion, perceiving boTh inTernally and exTernally. Basically, The exTernaI percepTion has To do wiTh sensory percepTion while The inTernal percepTion is an inTellecTual process. BoTh sensory percepTion and inTellecTual percepTion can become The mode of percepTion in The exisTenTial poinT of reference. Then one's immediaTe milieu is perceived. BoTh Types of percepTion can also enTer inTo The "sTreaming consciousness" when one conTemplaTes The fuTure or The pasT. Spiegelgeschichfe shows This "sTreaming consciousness" To run chronologically in reverse. CausaliTy is seen To run in Two direcTions. The normal order of causaliTy would show The proTagonisT living her exisTence from birTh To deaTh, from innocence To guilT. On The oTher hand, The process of The "sTreaming consciousness" in reverse, shows a causaliTy running from deaTh To birTh, from guilT To innocence. This exisTenTial experience is a direcT communicaTion from The mind of The proTagonisT To The reader. The reader experiences The proTagonisT's exisTence aT The same Time ThaT The proTagonisT does. This is The sTream of consciousness. XI. SUMMARY ThroughouT The cenTuries The sTer and expression of liTeraTure has changed drasTicaIly. Moving from one era To The nexT, liTerary hisTory has evolved unTil Today, when one looks back, one is hardly able To grasp The mulTicipliciTy of iT all. The individual who reads The works of arT as his grasp comes To undersTand The works he reads in an individual manner. Much of The Time The inTerpreTaTion one gives To a specific work of arT is highly specific and individual. The individual ofTen IeTs The work "Talk" To him in a cerTain way wiThouT making any furTher efforT in The inTerpreTaTion Than To draw cerTain conclusions based on cerTain isolaTed expressions wiThin a work. As long as This process remains individual, There can be noThing said againsT iT. In This Type of a process, The inTerpreTaTion evolves as a resulT of The experiences and background of The individual reading The work. Conclusions are drawn on The conTenT of The book which are ofTen really based on The experiences The individual himself has had. The work of arT acTualIy serves The individual, in This case, as a spring board from which he inTerpreTs himself and ThaT which has become his make-up: his personal experience. On The oTher hand, iT musT be undersTood ThaT The auThor has a definiTe inTenTion when wriTing a work of arT. His inTenT probably is noT always conducive To The individual experience of each of The individuals who reads The work. The auThor is cerTainly inTenT on l27 l28 bringing abouT a cerTain reacTion in his audience which is meanT To be general or "public." Since each individual is a resulT of his own experience, an inTer— preTaTion of The auThor's "public" inTenT based upon personal experience would resulT in a perverTed expression of whaT The auThor is really Trying To accomplish. IT is noT The claim of This TreaTise ThaT The recipienT of a work should noT be allowed his privaTe esTheTic inTerpreTaTion of any given work. If is, however, The conTenTion of This work ThaT an analysis of liTeraTure on ThaT basis will lead To faulTy and disTorTed conclusions abouT whaT The auThor's inTenT is when he wriTes a work. The logical conclusion which musT be drawn, Therefore, if one wanTs To inTerpreT The inTenT of The auThor and noT himself, is ThaT one musT relegaTe himself To The work of arT iTself and noThing buT The work In order To finally undersTand whaT The auThor wanTs To Tell his audience. BuT whaT is The work of liTerary arT composed of? There is much more To iT Than jusT The expression of a philosophy or The uTTerance of a simple sTory. IT is noT jusT ideology, science or hisTory. IT is someThing more. Any work of prose liTeraTure is made up of parTs which exerT cerTain forces and influences on each oTher. These parTs exerT a differenT influence in relaTion To The oTher parTs when They are ordered in a differenT manner. Thus The arrangemenT of The parTs of a work of arT can Tell us much abouT The inTenT of The auThor, for iT is The auThor who has arranged The parTs. All The parTs of a work are puT TogeTher and as a whole They are designaTed as The gesTalT of The work. If one undersTands The gesTalT, Then one comes To undersTand much of whaT The auThor has Tried To do in his work. A good work of arT will exhibiT no disagreemenT beTween iTs ouTward expression and The make-up of iTs gesTalT. Therefore, The liTerary analysT can rely upon I29 undersTanding The gesTalT, or parTs of The work, To give him a compre- hension of The inTenT of The auThor. This undersTanding should be The chief poinT in helping The individual To inTerpreT The ouTward expression of The work as The auThor inTended iT To be. In order To undersTand The gesTalT and The reciprocal effecT which The parTs have on each oTher, The parTs musT be observed and measured. 'This is The process which is known as The morphological approach To The analysis of liTeraTure. HorsT Oppel and GUnTher Mailer were The firsT proponenTs of such a meThod. IT has come under flre from various sources. YeT iTs procedures show ThaT resulTs are achieved which supply The reader wiTh an objecTive basis for The inTerpreTaTion of The work. One really analyzes firsT, Then one inTerpreTs The analysis for an explanaTion of The 'work. A furTher advanTage ThaT The morphological approach has wiTh iTs scruTiny of The gesTalT is The resulTanT by-producT: The researcher is granTed The abiliTy To see The arrangemenTs in which The gesTalT musT be placed inTo in order To produce cerTain funcTions and effecTs. To some This mighT be The primary consideraTion. The morphological approach does noT aTTempT To go beyond ThaT which is measurable. BuT when one has measured ThaT which is measurable, The remainder, and There is more To a work of arT Than ThaT which is measurable, becomes ThaT which disTinguishes arT from The sciences. IT cannoT be explained, buT can be communicaTed To The individual, noT Through percepTive means or raTionaliTy, buT The work is lefT bare To communicaTe afTer The measurable and comprehendable porTions of The work have been measured and undersTood. ThaT which is measurable, or The variables, is a parT of arT. BuT a consTanT exisTs in arT which makes iT differenT from The sciences. I30 The morphological approach will essenTially IeT The individual undersTand The variables, and aT The same Time This measuring leaves The consTanT bare To communicaTe To The reader. Based on This undersTanding and foundaTion, This TreaTise has aTTained iTs presenT form. The forms and funcTions of Time are The underlying consideraTion for This work, for noThing exisTs wiThouT Time. And since Time is one of The mosT imporTanT elemenTs allowing liTeraTure To exisT, The "ZeiTgesTalT" has served as ThaT which was measured in order To perform The aforemenTioned funcTions. As a resulT, The inTenT of The auThor was found To be more objecTively subsTanTiaTed in The Two works analyzed, for The conclusions drawn were based on The sTrucTure of The work and noT personal opinions and personal experience. E.M. ForsTer sTaTed ThaT iT is never possible for a novelisT To deny Time inside The fabric of his novel. IT is, Therefore, impossible for an auThor To avoid placing his ideas, opinions and characTer presenTaTions in Time processes. To undersTand The Time processes is To undersTand The auThor's opinions, ideas and presenTaTions beTTer. Basically, The relaTion- ships of "Erz3hlzeiT" and "erz3the ZeiT" have served as The foundaTion or poinT of origin from which all The oTher concest have evolved in The work. "Erz3hlzeiT" is ThaT concepT of Time which is relaTed To The normal, every- day measuremenT of Time. IT is called physical by GUnTher M3ller. IT is physical since if is measured by a physical means, The clock. Thus The physical Time or ”Erz3hlzeiT" of a work is The number of hours or minuTes iT Takes for a work To be read. In order To make The concepT more objecTive ll yeT, for some persons read fasTer Than oThers, The "ErzahlzeiT" becomes The number of pages a book has wiThin iTs covers. On These pages There is l3l anoTher Type of Time presenTed. IT is ficTive, for iT is noT a True repre- senTaTion of Time in The physical everyday sense. This ficTive Time is known as "erz3the ZeiT." The relaTionship ThaT These forms of Time have wiTh each oTher Tells The reader someThing abouT The auThor, as for example, why does an auThor Take seven pages of "Erz3hlzeiT" To represenT five days of "erz3the ZeiT,N whereas in a following Time segmenT he will porTray a maTTer of Three hours of "erz3the ZeiT" on fifTeen pages of "Erz3hlzeiT." Measuring This, one can see whaT The auThor Thinks is imporTanT for his work and iTs ouTcome. On The plane of The "erz3the ZeiT" iT was furTher deTermined ThaT The preTeriTe forms of verbs were noT necessarily an expression of a pasT occurrence. The undersTanding of This pasT grammaTical form presenTs eiTher a pasT expression or a presenT expression depending on The perspecTive involved in The work. The "redendes SubjekT" can be eiTher a narraTor who relaTes a sTory from anoTher Time or iT can be The proTagonisT himself porTraying The sTory of The ploT. In The firsT, The narraTor speaks or relaTes his informaTion To a ficTive reader exisTingCNiThe same Time plane which he himself is on. Any expression using The preTeriTe musT Therefore be considered To be relaTed To his pasT. Thus one denoTes Two Time planes in The "erz3the ZeiT." There is The ficTive presenT plane of The ficTive narraTor, which is also The frame of reference which The reader meeTs direchy, when reading The work. The reader Takes These pasT Tense expressions as acTually being pasT. Those pasT Tense expressions relaTe To The Time plane of The ploT which also has iTs own ficTive presenT. Thus The proTagonisT's Time plane is denoTed Through The pasT Tense and is Taken by The reader To have happened in The pasT. From The proTagonisT's view poinT his plane is a ficTive presenT and There are Time planes which I32 are relaTively eiTher pasT, presenT, or fuTure in relaTion To iT. The auThor can porTray any of These In The "erz3the ZeiT." On eiTher The proTagonisT's plane or The narraTor's plane inTernal Time of percepTion (wiThin The mind) or exTernaI Time of percepTion (Through The senses) mighT be presenTed. This Time plane is known as PerspecTive A. OuTside PerspecTive A. There is a Time plane which lies aT The oTher end of The specTrum in which The preTeriTe verb form becomes an expression of The on—going presenT. This PerspecTive B., or The sTream of conscious- ness, allows no ouTside narraTor To enTer inTo The work. This is evidenced by The facT ThaT There is never anyThing menTioned or perceived which The proTagonisT himself cannoT percieve, eiTher inTernally or exTernally. There is no ediTorializing or moralizing by a narraTor which one ofTen meeTs in PerspecTive A. Because There is only one perspecTive, one meeTs The narraTor as The proTagonisT, The perspecTive musT be considered as The frame of reference of The "redendes SubjekT." Since boTh lnTernaI and exTernaI percepTions become a maTTer of expression of This frame of reference The perspecTive musT be considered as being The sTream of consciousness of The mind of The proTagonisT. Thus, any use of The preTeriTe musT be accepTed as on—going In The presenT, which auTomaTically gives iT a presenT expression. On This plane The percepTion of The proTagonisT can be anyThing which The human mind perceives. When The exTernaI per- cepTion is presenTed To The reader, The reader wiTnesses ThaT which The proTagonisT perceives wiTh his senses. Thus The exTernaI percepTion is a manifesTaTion of Those Things which are on—going around The proTagonisT aT The Time of his percepTion. Therefore, any use of dialogue inTegraTed inTo PerspecTive B. musT differ from ThaT in PerspecTive A. in ThaT The IaTTer is a maTTer of re—creaTing someThing said earlier while The former I33 is The percepTion of ThaT which is happening aT The presenT momenT of percepTion. OTher speech forms are inTegraTed inTo boTh perspecTives. When inTerior monologue or "erlebTe Rede" are inTegraTed, The purpose is To denoTe The process of The mind. WiTh The sTream of consciousness iT musT be direcT, whereas in PerspecTive A. if is reporTed. The inTernai process of percepTion in The sTream of consciousness mighT have To do wiTh anTicipaTion or reflecTion. IT can have To do wiTh pure inTellecTual percepTion of ThoughT or presenTimenTs. iT can have To do wiTh exTernaI happenings noT being direchy perceived aT The momenT of percepTion, buT which are reflecTed on from an earlier poinT or anTicipaTed, as being fulfilled in The fuTure. These exTernaI characTerisTics remain a parT of The inTernai Time of percepTion because They are a percepTion of ThoughT and noT someThing perceived direchy in one's milieu Through one or more of The five senses. On any of The planes menTioned, The auThorlmryemployforms of reTro- SpecT or on The oTher hand anTicipaTory forms. Each of These forms have To do wiTh The relaTionship of The "now" wiTh anoTher relaTive poinT in Time. The forms of reTrospecT Take an anamnesTic Turn To The pasT while The anTicipaTory forms reach prolepTically inTo The fuTure. ln reTrospecT There is a synchronizaTion of Time planes. As The name implies, The presenT and The pasT are broughT TogeTher To illusTraTe a parallel. The parallel has The effecT of showing eiTher The consTancy of an objecT or concepT or The variance of The same Through Time. The beech Tree in Die Judenbuche has a consTanT characTerisTic abouT iT. Thus, whenever iT is broughT inTo The presenT, The consTanT meaning which iT carries wiTh iT from The pasT is inserTed inTo The presenT. This is l34 only evidenT by The parallel drawn. On The oTher hand a year early in The life of a proTagonisT may be described. Several pages IaTer anoTher year is illusTraTed wiTh a connecTion To The previous descripTion. There is an immediaTe parallel drawn in The mind of The reader which is unavoidable. This parallel indicaTes obvious change. if ideology is presenTed in Terms of This conTrasT or change in Time, The conTrasT can well place one of The ideologies in an objecTionable lighT, Thus producing saTire. The auThor mighT well reTurn To The pasT from The presenT To embellish The presenT sTaTe of affairs. This is done for clarificaTion of The presenT. On The oTher hand, The same Thing mighT be done To add general informaTion. This building form of reTrospecT has The same effecT as exposiTional maTerial in The drama. Whenever The auThor allows The reader To perceive Those occurrences and processes from The ficTive pasT which have led To The ficTive presenT siTuaTion, Then The parallels show a causal relaTionship. CausaliTy is possible Through synchronizaTion. ReTrospecTive resoluTion is usually an inTegraTed parT of mosT endings. lT was illusTraTed in Die Judenbuche. IT allows a sudden soluTion of some of The exisTing problems and enigmas which have exisTed. The ending is noT The only place in The sTory where This is possible. Anywhere The auThor wanTs To solve a puzzle or problem he may inserT iT. A change of pace in The sTory may allow The sTory To Take a new direcTion in ThaT The auThor is able To allow new maTerial To enTer inTo The work Through a reTrospecT of reTrogression. He may also conTinue in The same direcTion wiTh This device wiTh new and differenT means. SomeTimes The auThor enjoins The main ploT wiTh independenT secondary consideraTions which add color To The characTers and round Them ouT. lT I35 shapes The space in which The sTory Takes place. This form of reTrospecT Takes place in The main ploT buT is noT direchy relaTed To iT. ReTardaTion reTrospecT is a means which arresTs The course of evenTs and increased iT (The course) in IengTh. [T is noT relaTed To The ploT. When This occurs aT a high poinT in The work The mood of faTe or suspense exhibiTed brings The reader To an inTensified sTaTe of "Spannung," for he is looking forward To The reTurn of The ploT. On The oTher hand The reader looks for Things yeT To come when an allusion is made To The fuTure Through a form of anTicipaTion. These anTicipaTory expressions Tend, chiefly, To bring an aTTiTude of "Spannung" abouT in The reader. The ouTcome of a phase of a sTory can be alluded To. From ThaT poinT on, The reader searches The work for ThaT Time To come. in This connecTion and in summary of anTicipaTed forms, iT should be noTed ThaT The "Spannung" of The reader sTrives To ascerTain The conTenT of disTanT phases in advance and hasTens Toward Them fasTening onTo each new phase. lT sTrives To realize The ToTaliTy of ficTion as well as The mind of The auThor in which The enTire piece of liTeraTure is more or less disTincT during The formaTion of each new phase.IOI AnTicipaTory forms are found in Two varieTies: The fixed Type and The inserTed Type. TiTIes, headings and prologues are some examples of Those Types which are fixed in The beginning and They are known as The inTroducTory Type. OThers of This Type allow "EinsTimmung" in inTroducTions of milieu. Some have noThing To do wiTh The "Handlung," buT deTermine The "ThemaTik" of The work. The auThor may inTroduce a "heuTe" and "damals" conTrasT aT The beginning of The work Then reTurn To The "damals" and work forward To The "heuTe." This can Take place in The firsT senTence of The sTory and serves as a poinT To draw unTo. l36 Of The TerminaTing Types There are Those which allow The anTicipaTion of The final siTuaTion. This anTicipaTion may go beyond ThaT which The auThor acTualIy describes in The work. If does noT allow for an open ending, for The ending is anTicipaTed. OTher TerminaTing Types are Those of The anTicipaTion of The final condiTion. These show The ease of mind as in "They lived happily ever afTer." The symbolic and didacTic Type shows The TerminaTion of agiTaTion which occurred in The pasT. The evenT could show The Trip of a hero inTo a new day. InserTed forms can fall inTo The work aT almosT any place. There are inTroducTory forms inTroducing new phases and TerminaTing forms aT The ends of phases. They correspond To Those already discussed. These Types of forms can Thread individual eTapes of a fuTure occurrence TogeTher, announce The end of a phase To The poinT, or conTribuTe To The mood of The reader Through The indefiniTe promise of fuTure sorrow or happiness. Of course There are oTher consideraTions of Time which could have been incorporaTed in a disserTaTion of This naTure. BuT Time is of such a broad naTure ThaT iT is impossible To exhausT all iTs concest. The Time forms which have been discussed have shown Themselves To be imporTanT. They are wiThouT a doubT a sTrong foundaTion from which oTher sTudies can evolve. The morphological approach To liTerary analysis, as has been poinTed ouT, has iTs advanTages. One noT only comes To experience The inTenTions of The auThor based on The sTrucTure of his work, buT one also comes To undersTand how a work of arT is creaTed as a gesTalT and whaT effecTs arise as a resulT of The posiTioning of The differenT forms of Time in relaTion To oTher forms. The enTire Thesis was prepared wiTh The inTenTion ThaT These poinTs be achieved. They form The basic and underlying philosophy which has given This underTaking iTs form. FOOTNOTES M ii IThe Terms and definiTions of "ErzahlzeiT" and "erzathe ZeiT" are Taken from and used in The sense of GUnTher MUller's explanaTion of Them in his arTicle, "ErzahlzeiT und erzghITe ZeiT," in Morphologische PoeTik, hrsg. von Elena MUIIer (TUbipgen: Max Niemeyer Verlag, I968) S. 269-298. HereafTer referred To as: Muller, PoeTik. 2This phenomenon will be differenTiaTed aT a laTer poinT: see pages 30-32. 3AuThor's TranslaTion of Eberhard LammerT's Terms: "fesTe Formen der VorausdeuTung" and "ein eschobene VorausdeuTung" which appear in his work, Bauformen des Erzahlens, 3. Aufl. (STuTTgarT: J.8. MeTzlersche Verlagsbuchhandlung, I968) S. I43, I63. HereafTer referred To as: LammerT, Bauformen. 4Ren‘é Wellek, Conce Ts g:_CriTicism (New Haven & London: Yale UniversiTy Press, I965) p. 64. 5GUnTher MUIIer, "Ooefhes Morphologie in ihrer BedeuTung fur die DichTskunde", Morphologische PoeTik, hrsg. von Elena MUller (TUbingen: Max Niemeyer Verlag, I968) S. 29l—292. 6Emil STaiger, "Morphologische LiTeraTurwissenschafT," Trivium II (I944), 3. S. 223-227. 7GUnTher MUIIer, "Die GesTalerage in der LiTeraTurwissenschafT und GoeThes Morphologie," Morphologische PoeTik, hrsg. von Elena MUller (TUbingen: Max Niemeyer Verlag, I968) S. I46-224. 8Emil STaiger, "Morphologische LiTeraTurwissenschafT," Trivium II (I944), 3. S. 225. 9" Muller, PoeTik, S. I62. H H IOGunTher Muller, "Morphologische PoeTik," Morphologische PoeTik, hrsg. von Elena MUIIer (TUbingen: Max Niemeyer Verlag, I968), S. 224-245. I . 'LHorsT Oppel, Morphologische LiTeraTurwissenschafT (DarmsTadT: Wissenschaleiche BuchgesellschafT, I947), S. 8. l2lbid., 3. I7. lslbid” 5. l7. l4lbid., s. 27. l37 |38 |5|bid., s. 68. I6lbid., S. 7i. l7E.M. ForsTer, AspecTs of_The Novel (New York: HarcourT, Brace and Company, I927) p. 5|. |8lbid., p. 50. l9Ibid., p. 45. 20lbid., p. 48. 2||bid., pp. 67-68. 22Ibid., p. 68. H LammerT, Bauformen. S. 2|. 24Wolfgang Kayser, Das sprachliche KunsTwerk, II. Aufl. (Bern & MUnchen: Francke Verlag, I965) S. 207-208. HereafTer referred To as Kayser, KunsTwerk. 2 . . . 5GUnTher MUIIer, "Die BedeuTung der ZeiT In der ErzahlkunsT," WissenschafT der ZeiT (Bonn: UniversiTgTs-Verlag, I947) S. IO. Here- afTer referred To as: MUIIer, "BedeuTung der ZeiT." 6See fooTnoTe No. 24. ll 27RoberT PeTsch, Wesen und Formen der ErzahlkunsT, 2. Aufl. (HalIe/Salle: Max Niemeyer Verlag, I942) S. I68, I72. HereafTer referred To as: PeTsch, Wesen und Formen. 28Ibid., 3. l72-I73. 29See fooTnoTes I and 25 for TiTIes of Two of The arTicles referred To. AnoTher is: GUnTher MUIIer, "Ueber das ZeiTgerdsT des Erzghlens" DVjs, 24 (I950) S. I-3I. 0See here also VikTor von Weizsgcker's arTicle "GesTaIT und ZeiT" Die GesTaIT, HefT 7 (I942) S. 5-42. He discusses "biological" Time. H 3IMuller, "BedeuTung der ZeiT." S. 9. H 32Muller, PoeTik. S. 27I. H 3Muller, "BedeuTung der ZeiT." S. l7. In his correSpondence wiTh GoeThe on December 26, I797, Schiller relaTes his concest on The drama and epos and Their comparison. He sTaTes: "Dass der Epiker seine BegebenheiT als vollkommen vergangen, der Trafiker seine als vollkommen gegenwErTig zu behandeln habe, I39 IeuchTeT mir sehr ein." This quoTe is found in: Johann Wolfgang von GoeThe, Gedenkausgabe der-Werke, Briefe und Gesprache, 2. Aufl., hrsg. von ErnsT BeuTler (Zurich &.STuTTgarT:. ArTemis Verlag, I964) Bd. 20, S. 476. 5One such admission comes from RgberT PeTsch when he explains in his arTicle "Epische Grundformen": "Wahrend das Drama in einer ideelen GegenwarT sich vor uns abspielT, verseTzT uns dasnEpos (auch wo es Gegenwarfiges darsTellen will) in eine phanTasiemassig gesTalTeTe VergangenheiT; die ErsTreckung der WeIT erfoIgT dorT in den imaginaren Raum, hier in die dichTerische ZeiT h&nein, die gegebene sprachliche Grundform der DarsTeIIung isT das 'PraTeriTum': 'Es war einma|.'" His admission appears beTween The parenTheses. This quoTe comes from GRM, WVl, S. 38I. 36Kayser, KunsTwerk. S. 207. 37KaTe Friedemann, Die Rolle des Erzahlers in der Epik (DarmsTadT: WissenschafTIiche BuchgesellschafT, I965) S. 99— HereafTer referred To as Friedemann, Rolle des Erzghlers. 38Adam Abraham Mendilow, Time and The Novel (London: PeTer Nevill, I952) pp. 96—97. HereafTer referred To as: Mendilow: Time and The Novel. 39Ibid., pp. 97-98. H 4OKaTe Hamburger, "Das epische PraeTeriTum," DVis, 27 (I953) S. 329— 357. The discussion of grammaTical elemenTs lies beTween pages 330-332. HereafTer referred To as: Hamburger, "Das epische PraeTeriTum." 4|lbid., S. 33l. Herman Paul's original sTaTemenT is found in his DeuTsche GrammaTik (Halle a. 8.: Max Niemeyer Verlag, I920) Bd., 4, S. 65. 42Ibid., S. 33l. Hamburger's fooTnoTe in regard To ChrisTian AugusT Heyse reads as follows: DeuTsche GrammaTik (29. A., I923), S. 3|4. 43IpId., s. 332. 44lbid., S. 334. 45Ibid., S. 334. ii 46KaTe Hamburger, "Zum STrukTurproblem der epischen und dramaTischen DichTung," DVis, 25 (l95l) S. 4. H 47Roman lngarden, Das IiTerarische KunsTwerk, 2. Aufl. (Tubingen: Max Niemeyer Verlag, I960) S. 249. 48IpId., s. 249. 49Hans Meyerhoff, Time in_LiTeraTure (Berkeley & Los Angeles: UniversiTy of California Press, I968) p. 8. I40 50MarTin Walser in his Beschreibung einer Form (Munchen: Carl Hanser Verlag, I96I) S. 4I, sTaTes ThaT if a narraTor appears, Then The Temporal poinT is deTermined, Through him, from which The sTory-Telling Takes place. HereafTer referred To as: Walser, Beschriebung. 5|There are oTher forms of narraTion where The funcTion of The narraTor changes. Like The one menTioned in The body of The Thesis, There are Two oTher forms of narraTion where The ficTive narraTor remains separaTe from The proTagonisT. The firsT of These is indi- caTed as being differenT from The example menTioned in The TexT in ThaT The narraTor appears as evidenT in The work, yeT he does noT rely on The presence of a ficTive reader To make himself osTensibIe. He mighT only represenT To The reader more Than The proTagonisT could perceive Through his own perspecTive or use The form of indirecT dis- course. The second example would show The narraTor exisTenT buT noT evidenT. This occurs when The perspecTive of The reader is The same as ThaT of The proTagonisT, buT The informaTion disseminaTed Is allowed iTs expression Through a narraTor as in a chronicle or an "Ich—Roman." 5 2For furTher commenTary on The fusion of The perspecTive of The proTagonisT and The narraTor, see: Walser, Beschreibung. S. 23-27., DorriT Cohn, "Kafka's ETernaI PresenT: NarraTive Tense in "Ein LandarzT' and oTher FirsT—Person STories," PMLA. 83 (March I968) l, S. I44-I50. WalTer Jens speaks of The same concepT in Terms of Henry James' Term, "The single poinT of view" in his DeuTsche LiTeraTure der GegenwarT, 4. Aufl. (Munchen: R. Piper & Co. Verlag, I962) S. 92—93. 53DicTionary oi_WorId LiTerary Terms, ed. Joseph T. Shipley (London: George Allen & Unwin LTd., I955) p. 75. ii 54See The arTicles by KaTe Hamburger which were ciTed earlier and The arTicle by DorriT Cohn on The "ETernal PresenT." Refer To fooTnoTes 40, 46 and 52. ii 55Ger'o von WilperT, SachworTerbuch der LiTeraTur, 4. Aufl. (STuTTgarT: Alfred Kroner Verlag, I964) S. 299. 6Lawrence Edward Bowling, "WhaT is The STream of Consciousness," PMLA, LXV (June I950) No. 4., p. 345. 57Walser, Beschreibung. S. 3|. The inner quoTe is from Das sprachliche KunsTwerk by Wolfgang Kayser. See page I47. 58Kayser, KunsTwerk. S. I47. N 9LammerT, Bauformen. S. IOI—I02. 60PeTsch, Wesen und Formen. S. I7I. Here he speaks of This conTrasT as a "Doppelsinn." He sTaTes: NDaher kommT es, dass der Erzahler, besonders in umfangreichen Werken, den Faden der Efieignisse unTerbrechen und beliebig Vergangenes nachholen oder ZukunfTsraumen berichTen darf, immer an der STelle, wo er in doppelTem Sinne damiT 'wirken' kann. l4l 6'IbId., 8. I63. 62DicTionary o:_World LiTerary Terms. Ed. Joseph T. Shipley (London: George Allen & Unwin LTd., I955) p. 359. 63 lbid., p. 359. H 64One such example appears in E. T. A. Hoffmann's Das Fraulein von Scuderi where Olivier Brusson and Madeleine de Scuderi converse in The IaTTer parT of The work. Brusson's pasT life is casT inTo The presenT which places him in a new lighT. His guilT of The murder of Cardillac is now doubeuI. 65An example of embellishmenT reTrospecT could be when The childhood of a proTagonisT is inTegraTed inTo The presenT siTuaTion in an "Erziehungs- romanN when The only inTenT is To round ouT The proTagonisT. ti 6LammerT, Bauformen. S. I04. A discussion on The forms and funcTions of Time would be Terribly incompIeTe wiThouT The specificaTions on forms of reTrospecT and anTicipaTion which are incorporaTed inTo This and The following chapTer. Since The analysis of These forms is compleTe in LammerT Bauformen, The auThor offers an inTegraTed reporT of The resulTs found in LgmmerT. See pages IOI—I38 of his work for his discussion of reTrospecT. 67I6Id., s. IO6. ll H 68Bernhard Bruch, "Novelle und Tragodie," ZeiTschrifT fur AesTheTik und allgemeine KunsTwissenschafT, XXII (I928) S. 300. N 9LammerT, Bauformen. S. I08. 7Olbid., S. ll2-II3. 7|lbid., S. II6-ll7. A paraphraze. H 72Friedemann, Rolle des Erzahlers. S. I24. 73Mendilow, Time and The Novel. pp. I76-I77. 74Kayser, KunsTwerk. S. 206 75IbId., s. 206. 76lbid., S. 206. 77 H N . ii ii . GunTher Muller, "Ueber das ZeITgerusT des Erzahlens," DVJS, 24 (I950) S. 26. H 78Eugen GerIoTei, "Die VorausdeuTung in der DichTung," Helicon, Bd. lI, Fasc. I (I939) S. 55—56. HereafTer referred To as: GerloTei, "VorausdeuTung." I42 I! LammerT, Bauformen. S. |4I H 80GerloTei, "VorausdeuTung." S. 56. 8'IpId., 8. 57-58. H LammerT, Bauformen. S. l4l. Underlining by auThor. " 83lbid., The following paragraphs are based on The conTenT of LammerT's discussion of "VorausdeuTing" beTween pages I43-l75 in his work. See also fooTnoTe n. 66 84 " Example quoTed from LammerT, Bauformen, S. I45. The TiTIe, Die verTauschTen Kgpfe,.by Thomas Mann is anoTher such example. 5Henry Fielding's Tom Jones is such an example H 86QuoTed according To LammerT's reference To Graham Green's BrighTon Rock. Bauformen, S. I56. H LammerT, Bauformen. S. I65. 88PeTsch, Wesen und Formen. S. I7I. ii 89Friedemann, Rolle des Erzahlers. S. II9. 90lbid., 8. I20. I! 9[AnneTTe von DrosTe-Hulshoff, ”Die Judenbuche," AnneTTe von DrosTe-Hulshoff, GesammelTe Werke, hrsg. von Reinhold Schneider (Vaduz: LichTensTein Verlag, l948?). All page references To Die Judenbuche will be designaTed in The TexT wiThin parenTheses.'_—— 92The underlining is ThaT of The auThor: denoTes The Time consTellaTion in one single senTence. 93The impacT of This phenomenon will be deaIT wiTh IaTer. See page 98. 94Hamburger, "Das epische PraeTeriTum." S. 334. 95The underlining is ThaT of The auThor. 96See page 98- 97The facT ThaT she chooses a clock To inTroduce The furTher complicaTions does noT seem To be'a coincidence. H 98Underlining by The auThor. DrosTe-Hulshoff is decreasing suspicion only, noT relieving Mergel of The guilT. The funcTion is The same as The "DoppelfunkTion" of The form of Time having To do wiTh The evenTs surrounding Brandes' deaTh. I43 99Ilse Aichinger, "SpiegelgeschichTe," Wo ich wohne, hrsg. von Klaus Wagenbach (FrankfurT am Main: S. ETscher Verlag, I963). All references To This work will be°denoTed'by page numbers in parenTheses in The TexT. IOO The realTionship beTween The anTicipaTed Time and The re- evoked Time in connecTion wiTh "ErzahlzeiT" and "erzathe ZeiT” re- ceives our aTTenTion laTer.‘ The-basis for The proTagonisT's life Time To have been aT leasT TwenTy years in duraTion evolves from The facT ThaT ThaT reference is made To her having learned foreign“languages (see page I7 of The work). One receives formal Training in languages when in aTTendance aT The gymnasium. This period of schooling cannoT normally be compleTed before one reaches The age of eighTeen. H IO'GerIoTei, "VorausdeuTung." S. 55-56- BIBLIOGRAPHY BIBLIOGRAPHY Primary LiTeraTure Aichinger, Ilse. "SpiegelgeschichTe." W9_ich wohne, hrsg. von Klaus Wagenbach. FrankfurT am Main: S. Fischer Verlag, I963. H H DrosTe-Hulshoff, AnneTTe von. "Judenbuche." AnneTTe von DrosTe—Hulshoff, GesammelTe Werke, hrsg. von Reinhold Schneider. Vaduz: LichTensTein Verlag, I948? Secondary LiTeraTure Auerbach, Erich. Mimesis. The RepresenTaTion 9:.Realify in_WesTern LiTeraTure, Trans. Willard Trask. Garden CTiy, N.Y.: Doubleday, I957. ii Bockmann Paul. "Die Lehre von Wesen und Formen der DichTung." Gedacthisschri T fur RoberT PeTsch, hrsg. von FriTz MarTini. Hamburg: Hoffmann und Campe, I949. Bowling, Lawrence E. "WhaT is The STream of Consciousness Technique?" PMLA, 65, No. 4 (I950) 333-345. H H Bruch, Bernhard. "Novelle und Tragodie." ZeiTschrifT fur AesTheTik und allgemeine KunsTwissenschafT, XXII (I928), 292—330. Burger, Heinz OTTo. "MeThodische Problems der lnTerpreTaTion." GRM, N.F. I (XXXII) (I950) 8l-92. Cohn, DorriT. "Kafka's ETernaI PresenT: NarraTive Tense in 'Ein LandarzT' and oTher FirsT-Person STories." PMLA, 83 (I968) no. I, I44-I50. H DiIThey, Wilhelm. Das Erlebnis und die DichTung. l4. Aufl. GoTTingen: Vandenhoeck & RuprechT, I965. ErmaTinger, Emil. Das dichTerische KunsTwerk. Leipzig & Berlin: 8.6. Tuebner, I92I. ForsTer, Edward M. AspecTs o:_The Novel. New York: HarcourT, Brace and Co., I927. H H Friedemann, KaTe. Die Rolle des Erzahlers 11 der Epik. DarmsTadT: WissenschafTIiche BuchgesellschafT, I965. I44 I45 H GerloTei, Eugen. "Die VorausdeuTung in der DichTung. Keime einer Anschauung vom Leben der DichTung." Helicon, Bd. II, Fasc. (I939), 53-73. I. GoeThe, Johann Wolfgang von. Gedenkausgabe der Werke, Briefe und Gesprgche, hrsg, von ErnsT BeuTler. 2. Aufl. ZUrich und STuTTgarT: ArTemis Verlag, I964, Vol. XX. H GunTher, Werner. ”Probleme der.RededarsTellung." Die neueren Sprachen, hrsg. von WalTer KUchIer und Theodor Zeigler. Marburg a.d. Lahn: ElwerT'sche-Verlagsbuchhandlung, I928. 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Wildpark- PoTsdam:_Akademische VerlagsgesellschafT AThenaion M.B.H., I929. II Weizsacker, VikTor von. "GesTalT und ZeiT." Die GesTalT, HefT 7 (I942), 3-42. » Wellek, René. Concest 9i_CriTicism. New Haven and London: Yale UniversiTy Press, I965. General Reference LiTeraTure Behagel, OTTo. -Von deuTscher Sprache. Lahr in Baden: MoriTz Schauenburg, I927 DicTionary g:_World LiTerary Terms. Ed. Joseph T. Shipley. London: George Allen & Unwin LTd., I965. ' Heyse, John. ChrisT. Aug. DeuTsche GrammaTik oder Lehrbuch der deuTschen Sprache. neubearbeiTeT von Dr. OTTo Lyon. 24. Aufl. Hannover: Hahnsche Buchhandlung, l886. Paul, Hermann. DeuTsche GrammaTik. HaIIe a.S.: Max Niemeyer Verlag, I920. Bd. 4. u WilperT, Gero yon. SachworTerbuch der LiTeraTur. 4. Aufl. STuTTgarT: Alfred Kroner Verlag, I964. 3 1293 O3 96 0069 Y” H I" " H H