Zusammenfassung
Gottfried Benn (1889–1956) ranks among the few German twentieth-century poets who gained international recognition. His poetic oeuvre spans a period of more than four decades (1910-55). While his early poems share certain stylistic and thematic features with German expressionism and while, in later years, he still considered himself a heir of that literary school, he never embraced the idealism and utopian optimism of many expressionist writers, in particular, their belief in the coming of a „new man“ who would rise above a society tarnished by positivism, an all-too utilitarian pragmatism, commercialism, and the dehumanizing effect of modern industry, technology, and war. Benn based his writing on a highly personal philosophy which can be detected in many of his early poems and which — in spite of certain thematic shifts — continues to be present in his later works.
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Notes
Cf. Theo Meyer, „Gottfried Benn und der Expressionismus: Unter besonderer Berücksichtigung der Lyrik,“ in Gottfried Benn, ed., Bruno Hillebrand (Darmstadt: Wissenschaftliche Buchgesellschaft, 1979), pp. 379–408.
Translated by Michael Hamburger in Modern German Poetry 1910–1960, ed. Michael Hamburger and Christopher Middleton (New York: Grove Press, 1962), p. 72.
As to the notion of „cipher“ and the question of „absolute“ poetry cf. Klaus Gerth, „Absolute Dichtung? Zu einem Begriff in der Poetik Gottfried Benns,“ Der Deutschunterricht 20 (1968): 69–85.
Translated by J. M. Ritchie in Gottfried Benn: The Unreconstructed Expressionist (London: Oswald Wolff, 1972), pp. 109f.
Cf. Friedrich Nietzsche, Werke in drei Bänden, vol. 2, ed. Karl Schlechta (Munich: Hanser, 1966), pp. 862, 899.
My translation. Cf. the original German poem in Gottfried Benn’s Gesammelte Werke in vier Bänden, ed. Dieter Wellershoff, vol. 3, Gedichte (Wiesbaden: Limes, 1960), p. 433.
Gottfried Benn, Gesammelte Werke in vier Bänden, ed. Dieter Wellershoff, vol. 1, Essays, Reden, Vorträge (Wiesbaden: Limes, 1959), p. 80; my translation.
Cf. Christoph Eykman, Die Funktion des Hässlichen in der Lyrik Georg Heyms, Georg Trakls und Gottfried Benns: Zur Krise der Wirklichkeitserfahrung im deutschen Expressionismus, 2nd ed. (Bonn: Bouvier, 1969), pp. 152–241.
Gottfried Benn, Gesammelte Werke in vier Bänden, ed. Dieter Wellershoff, vol. 2, Prosa und Szenen (Wiesbaden: Limes, 1962), p. 40; my translation.
Cf. Christoph Eykman, Geschichtspessimismus in der deutschen Literatur des zwanzigsten Jahrhunderts (Bern: Francke, 1970 ), „Spiel, Peristaltik und Mutation: Gottfried Benns Verhältnis zur Geschichte,“ pp. 95–111.
Cf. Robert Leroy and Eckart Pastor, „Kairos: Zu Gottfried Benns `Welle der Nacht,’ “ Colloquia Germanica 11 (1978):53–63.
Leroy/Pastor ignore the passage from Benn’s essay „Art and the State“ and interpret the poem as „ein Gedicht über Kunst“ (p. 59). In my view, they overemphasize the role of the mythical Hyacinthus and read too much into the images of the shells and the pearl. For a detailed interpretation of this poem see also Franz Forster, „Gottfried Benns Gedicht `Welle der Nacht,’“ Sprachkunst 7, no. 1 (1976):72–89.
Cf. Friedrich Nietzsche, Werke in drei Bänden, ed. Karl Schlechta, vol. 1 ( Munich: Hanser, 1966 ), p. 20.
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Eykman, C. (1985). Thalassic Regression: The Cipher of the Ocean in Gottfried Benn’s Poetry. In: Tymieniecka, AT. (eds) Poetics of the Elements in the Human Condition: The Sea. Analecta Husserliana, vol 19. Springer, Dordrecht. https://doi.org/10.1007/978-94-015-3960-9_25
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