Literature and Psychoanalysis

By Edith Kurzweil; William Phillips | Go to book overview

ity's fundamental dualism, but is also potentially charged with all the attempts to solve it, so that his personal development no longer provides any parallels with the development of the race.


Notes
1.
Das Inzest-Motiv in Dichtung und Sage (chs. 3, 16). I found the same conception later in Simmel Goethe.
2.
This applies not only to most artists, but also, as Wilhelm Ostwald for one has convincingly proved, to the scientific creative type (Grosse Münner).
3.
A characteristic instance of how, in avoiding the Scylla of Lombroso, one may fall victim to the Charybdis of analytical psychology is afforded by Victor Jonesco book, La Personnalité du génie artiste, which I read only after the completion of my work. A praiseworthy exception is Bernard Grasset original essay, Psychologie de l'immortalité.
4.
How this feeling of guilt can hinder or, on the other hand, further productivity I have shown in my book Wahrheit und Wirklichkeit ( 1929)[ Truth and Reality: A Life History of the Human Will ( New York: Knopf, 1936)] in the section on the sense of guilt in creation.
5.
E. von Sydow distinguished these polar opposites, from the standpoint of esthetic, as "eros-dominated" and "eros-dominating."
6.
See Seelenglaube und Psychologie ( 1930)[ Psychology and the Soul ( New York: A. S. Barnes, 1961.)]
7.
What interests us today in Byron, for instance, is his romantic life, and not his out-of-date poetry.
8.
See W. Dilthey book, Erlebnis und Dichtung. The artist personalities examined there in relation to this problem are, as is natural, chiefly romantic types ( Lessing, Goethe, Novalis, Hölderlin).
9.
This is a point of view which I endeavored to present in my last technical work: Die Analyse des Analytikers und seine Rolle in der Gesamtsituation ( 1931).
10.
These types, evolved from a study of psychological dynamics (see my Die Analyse des Analytikers), are, as I have since discovered, accepted as the essential key concepts of all polar contrasts of style by P. Frankl in his Entwicklungsphasen der neuren Baukunst. True, Frankl's work is not limited merely to architecture, but more narrowly still to the contrast in style between Renaissance and Baroque. We shall presently see, however (" Schönbeit und Wahrheit"), that this contrast between totality and partiality is a general spiritual distinction between the Classical-naturalistic and the primitive-abstract styles.
11.
Shakespeare Hamlet and Mozart Don Juan are familiar examples of the reaction after a father's death, while Wagner Lohengrin followed on the death of the composer's mother. These works are supreme examples of artists negotiating with the problem of the Beyond. To these instances may be added Ibsen epilogue When We Dead Awaken; here the death is that of the artist himself.

-54-

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