Dialectical literature

Bertolt Brecht considered using the term "dialectical theatre" for what has later become known - more appropriately - as "epic theatre". Such lax usage of the term dialectics is not particular to Brecht, Benjamin also made quite inappropriate references to dialectics. If we were to seek a properly dialectical piece of literature we would have to look at Hölderlin's magnificent elegy Hyperion. That the novel is dialectical is no coincidence since Hölderlin was a good friend of Hegel and they shared ideas and ideals: Lukacs describes - not without irony - how Hegel, Hölderlin and Schelling had in their youth planted a tree in honour of the French revolution and danced around it. Lukacs interprets Hyperion as an elegy for the heroic phase of the bourgeois revolution, for the time the bourgeoisie glistened in the light of a grandiose self-deception, as Marx noted: "Its gladiators found in the rigorous classical legacy of the Roman republic the ideals and artistic forms, the self-deceptions it needed to conceal from itself the limited bourgeois character of its struggles and to raise its passion to the height of a great historical tragedy." If reactionary interpreters of Hölderlin (among which Lukacs forgets to mention Heidegger) tried to cleanse him of all historical content (class struggle), Lukacs commits the fault to interpret motifs and characters from Hyperion with a direct recourse to historical circumstances. The path I would prefer - and it is the path I also take with philosophical systems - is to treat the text as a coherent whole in which every element is first of all to be interpreted in context of the work and only then can the work as a whole be put into historical context. In the case of Hyperion the task therefore starts with uncovering the dialectical structure of the work.

The dialectical structure can be found on two levels: 1. the fabula, 2. explicit reflection by the characters. If we first turn to the fabula, we could read the three main characters as a dialectical whole. On one side we have the warrior Alabanda, the fiery youth who inflames Hyperion and moves him to action. On the other we have Diotima, Hyperion's great love, representing nature in its harmony, who has a rather passivizing effect on him. It is these two forces that are fighting inside the protagonist and which determine the state he finds himself in. Upon meeting Alabanda we can find Hyperion speaking these words in revolutionary fervour (first is the original, followed by my less then perfect translation):

Ich will, sagt ich, die Schaufel nehmen und den Kot in eine Grube werfen. Ein Volk, wo Geist und Größe keinen Geist und keine Größe mehr erzeugt, hat nichts mehr gemein, mit andern, die noch Menschen sind, hat keine Rechte mehr, und es ist ein leeres Possenspiel, ein Aberglauben, wenn man solche willenlose Leichname noch ehren will, als wär ein Römerherz in ihnen. Weg mit ihnen! Er darf nicht stehen, wo er steht, der dürre faule Baum, er stiehlt ja Licht und Luft dem jungen Leben, das für eine neue Welt heranreift.

I want to, I said, take a shovel and hurl the manure into a pit. A people, where spirit and greatness do not spur spirit and greatness, has nothing in common with others, who are still human. It has no rights, and it is mere farce, a superstition, to believe such corpses can be honoured like a roman heart were beating in their chest. Away with them! The rotten tree can not stand where it stands, it is obscuring the young life, the ripening new world.

But alas! upon meeting Diotima, we find the same Hyperion speaking these words:

Was kümmert mich der Schiffbruch der Welt, ich weiß von nichts, als meiner seligen Insel.

What do I care for the shipwreck of the world, I know of nothing but my blissful island.

We find the protagonist being subject to the balance of two moments, on one the warrior principle, a disharmonious activating force, on the other love, a harmonious passivizing force. The second level where we come across dialectics are reflections by characters. The way Hyperion envisions the perfect order of the world is fundamentally dialectical. He wants to bring society in harmony with nature once again, and at the core of nature he finds the principle of beauty. How does Hyperion envision this principle? As a balance of contrasting forces, or - may I be so bold to say - of dialectic moments. When describing the ideal people, the Athenians, he says:

Kein außerordentlich Schicksal erzeugt den Menschen. Groß und kollosalisch sind die Söhne einer solchen Mutter, aber schöne Wesen, oder, was dasselbe ist, Menschen werden sie nie, oder spät erst, wenn die Kontraste sich zu har bekämpfen, um nicht endlich Frieden zu
machen.

Man is not created by an extraordinary destiny. Great and colossal are the sons of such a mother, but they never or only late become beautiful beings, or, what is the same, human, if the contrasts are in too sharp an opposition to come to peace.

Continuing, he discovers dialectics as the essence of philosophy (something else Hegel agreed on with Hölderlin):

Das große Wort, das εν διαφερον εαυτω (das Eine in sich selber unterschiedne) des Heraklit, das konnte nur ein Grieche finden, denn es ist das Wesen der Schönheit, und ehe das gefunden war, gabs keine Philosophie.

Only a Greek could find the great word, the εν διαφερον εαυτω (The one that is differentiated in itself) of Heraclitus. It is the essence of beauty and before it was found there could be no philosophy.

For dialectical thinkers from Heraclitus onwards the internal forces of the contrasting moments are the driving force of change - as the dialectics of Spirit was the driving force of history for Hegel, so class struggle was the driving force of history for Marx. Heraclitus had thus avoided a problem all prima philosphia had been stuck with - the problem of the prime mover. Heraclitus answered simply that movement had no prime mover, because there is no initial static state that needed to be moved. Change is the perpetual order of the world and this change does not result from a first cause, but from the dialectics of nature, from intrinsic properties of each and every object existing in nature. Compare now Alabanda's opinion on the matter:

Ich fühl' in mir ein Leben, das kein Gott geschaffen, und kein sterblicher gezeugt. Ich glaube, daß wir durch uns selber sind, und nur aus freier Lust so innig mit dem All verbunden.

In me I feel a life that no god has spawned and no mortal created. I believe that we exist through ourselves, and that we are so deeply connected to existence merely by free will.

Other examples of dialectical thought can easily be found, but I will take that I have provided sufficient examples to convince the reader of my point that dialectics are the fundamental structuring principle of the novel. Now we can move one step further, and see at what point Hölderlin surpassed his friend Hegel. I will attempt to prove that Hölderlin's dialectics are not merely subjective as Hegel's, but that it represents a first step towards materialism (of course - historically speaking - it was a step into a blind alley since Marx found the path to a materialist dialectics through Feuerbach). The element that transcends mere idealism is destiny. If for the conservative Hegel the march of spirit towards self-realization is determined only by its own inner dialectics (Hegel had found the decadent protocapitalims of Germany quite comfortable) for Hölderlin it is destiny that opposes the self-realization of the harmonious society. Destiny - of which Hölderlin has but a vague understanding - is the force that opposes the harmony towards which humanity is striving. It is the material force which prevents the subjective dialectics, the self-realization of spirit, to take its course. As opposed to Hegel and the bourgeoisie as a whole, Hölderlin was not prepared to shed the great ideals that propelled the bourgeoisie to power like a worn-out coat. But for him destiny was an arbitrary foreign force, he did not yet understand society as Marx did: for whom the failure of great bourgeois ideals was the natural order of things since they were a tool the bourgeoisie used and that it discarded as soon as it ceased to fulfil its function. Hölderlin can be compared to Kafka and Euripides: for all of them destiny is a foreign element that crushes the individual, but none of them had a full understanding of the material basis of destiny, none of them understood, as Brecht did, that people make their own destiny, that - as Marx had put it: "Men make their own history, but they do not make it as they please, not under circumstances of their own choosing, but under given and inherited circumstances. The tradition of all dead societies burdens the minds of the living like a nightmare." If they did, they could have said as Brecht did in the closing lines of the Threepenny opera:

Verfolgt das Unrecht nicht zu sehr, in Bälde
Erfriert es schon von selbst, denn es ist kalt.
Bedenkt das Dunkel und die große Kälte
In diesem Tale, das von Jammer Schallt.

Do not persecute injustice too harshly,
outside it will soon freeze by itself.
Think of the darkness and the great cold
in this valley that echoes with wailing.