The Logic of Literature: Second, Revised Edition [2nd Revised ed.] 0253208289, 9780253208286

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Citation preview

NU'\Jl COG'\JOSCO EX PARTE

Digitized by the Internet Archive in 2019 w1th funding from Kahle/Austin Foundation

1 HOMAS J. BATA Ll BRARY

TRFNT UNIVERSITY

https :/Iarchive. org/ detai Is/log icofl iteratu rOOOO hamb

THE LOGIC OF LITERATURE

Kate Hamburger - - - +++ - - -

THE LOGIC OF LITERATURE Second, Revised Edition

Translated by

Marilynn J. Rose

Indiana University Press Bloomington

London

CONTENTS

1.

2.

Originally published as Die Logik der Dichtung Copyright@ Ernst Klett Verlag, Stuttgart, Germany English language edition copyright© 1973 by Indiana University Press All rights reserved

No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, inc1uding photocopying and recording, or by any infonnation storage and retrieval system, without permission in writing from the publisher. The Association of American University Presses' Resolution on Permissions constitutes the only exception to this prohibition. Published in Canada hy F·itzllcnry & Whiteside L·i mited, Don Mills, Ontario Library of Congress catalog card number: 72-79906

ISBN: o-253-33605-8 1\!Al'\Ul-' ACTUREU IN TilE UNITED STATES OF AMERlCA

Author's Foreword

Vll

T1·anslator' s Preface

lX

Introduction: The Concept and Objectives of a Logic of Literatw·e

1

Foundations in Theory of Langttage

8

Definition of the Concepts "Literature" and "Reality" The Statement System of Language The concept of statement (23)-analysis of the statement-subject (31)-tbe subjectobject structure of sta tement ( 39 )-the concept of statement as reality statement

8 23

( 43 )

3· The Fictional or Mimetic Genre

55

Preliminary Remarks on the Concept of Literary Fiction Epic Fiction (or the Third-Person Narrative) Fictional Narration and Its Characteristic Features The epic preterite ( 64 )-the verbs of inner action ( 81 )-narrated monologue ( 84 )th e a-temporality of fiction ( Bg )-the historical present ( g8) -the problem of time

55 59

59

v

Contents

in the historical no\'cl ( 11 0 )-s ly li~ lic aspects ( ll?)-spatial deicti cs ( 125 ) Fictional arration- A ( Fluctuating ) Narrative Function The disappearance of the statement-s ubject and the problem of the ·'narrator" ( 134 )the probl(•m of the subjectivity and objectivity of narration ( 142 )-the dialoguesyste m ( 175 ) Dramatic Fiction The relation of dramatic to epic Bction ( 194 )-thc locus of the drama ( 199 )tlw reality of the stage and the problem of stage-present ( 208) Cinematic Fiction

1

34

Foreword

4- Th e Lyrical Genre The System of the Reahty Statement and the Locus of the Lyric Lyric Subject-Object Correlation The Constitution of the Lyric I

5· Special Forms The Ballad and Its Relation to the Picture and Role Poem The First-Person Narrative First-person narration as feigned reality statement ( 311 )-the epistolary nove l (318)-the memoir novel (322 ) -the problematic of the feint ( 327)

6. Concludi11g Remarks Notes

Index of Names vi

2 93

293 3 11

This translati.on of the second edition of my book Die Logik der Dichtung, done by Miss t>.larilynn Rose, has been critica1ly read in manuscript form by both myself and Reginald St. Leon, Associate Professor of German at the University of Sydney, Austraha. I am responsible for all deletions of words, sentences, and paragraphs which appeared unnecessary for the American edition. We have omitted the final chapter of the German edition because the problems broached there on the symbolic structure of literature are no longer directly germane to the theme of the book and require further elaboration. I would like to thank Miss Rose for her difficult and painstaking work in translating the book, Professor St. Leon for his valuable assistance, and Indiana University Press for the publication of the English edition. Kiite Hamburger STUTTGART AUGUST,

1971

342 345 347

vii

TRANSLATOR'S PREFACE

A few words are in order about the standard translation procedures that have been followed throughout this book. With regard to specific terms, the following deserve special comment: although a final consensus was not reached on the translation of the German word Sachverhalt, I have tried to render it consistently as "state of affairs/' which appears to be the standard translation in phenomenological discourse. Secondly, the term Vorstellung bas been translated as "mental representation" (a rendering I owe to Professor Kurt Ml.iller-Vollmer), since "representation" alone is ambiguous, and often it is not clear from the English context what kind of representation is intended. Third, the English term "poetological," which appears often throughout, corresponds to the Gem1an dichtungstheoretisch: "of or pertaining to the theory of literature." And, related to this, the English term "poet" has been applied also to literary artists outside the medium of lyric poetry, and th erefore is not employed as a term of generic distinction. Context will always make it clear whether the epic, the dramatic, or the lyric poet is meant. For reasons of uniformity, as well as for those of pure t extual accuracy, prose renditions are appended for all poems cited in German in the body of the text. As a reference too] incorporated into the text itself, the followix

Translator's Preface

ing procedure h as been used regarding the titles of primary and secondary works cited: in all chapters except those dealing with lyric poet1·y, the English title of a work is given 011ly in those cases where the particular work already exists in translation. Otherwise the German titles have been retained. In the chapter on the lyrical genre, as well as in that dealing with th e special forms, English renderings are given for the titles of all poems cited, regardless of whether the poem exists in translation, because in many in stances a knowledge of what the title means is pertinent to the discussion. In the footnotes, both English and German references are given for those works already in translation. Finally, I would like to express my gratitude to those people who have consulted with me throughout ilie various stages of the preparation of the translation: to Professor James S. Churchill of Purdue University for his preliminary assistance; to Dr. Liselotte Gumpel of the University of Minnesota for her willingness to discuss issues of translation in the chapter dealing with the lyrical genre, and for her translation of some of the poems appearing there; and to Professor Reginald St .Leon of the University of Sydney, Australia, for his valuable stylistic criticism of the final draft. Special thanks are extended to Professor Kurt Mi.illerVollmer of Stanford University for his continued generous support and advice on intricacies of translation, and, not least of all, to Professor Kate H amburger he1·self, for her eagerness to read and critically appraise the manuscript throughout the entire course of its preparation.

M.J.R. STANFORD, CALIFORNIA NOVEMBER,

X

1971

THE LOGIC OF LITERATURE

1 INTRODUCTION THE CONCEPT AND OBJECTIVES OF A LOGIC OF LITERATURE

What follows is an a ttempt to extrapolate from the realm of general literary aesthetics a more specific logic of literature. This undertaking must be so p articularly designated b ecause every theoretical discussion of literature, regardless of what special asp ects of the latter it might consider, can be included within the realm of literary aesthetics. lndeed, insofru· as art is the object of enquiry of aesthetics and not of logic, and insofar as its province is the processes of creative shaping and not those of thought, any talk of a logic of literature might appear to be superfluous, or even misleading. However, the fact that this differentiation can be made, that there is nevertheless a logic, or a logical system, of literature, has its foundation in the special position which literature occupies within the realm of art. In this respect the concept of a logic of 1iterature is to be under~

THE L OGIC OF LITERATURE

stood, so to speak, in an indirect sense. It is meaningful and legitimate because there existc; a logic of language, or more precisely, because there is a concept of a logic of language which has enteTed into the modern notion of the logic of thought proccsses. 1 Thus used, the term "logic of language" can express the relation of language as "one of the principal instruments or helps of thought/' as John Stuart Mill formulates it, to th e logic of thought, or even to that of its objective content. 2 It is on these grow1ds that Edmund Husser] establishes the necessity that "we should begin logic with linguistic discussions."3 In a still more comprehensive sense, one can understand the problem Ludwig \Vittgenstein deals with as that of assessing the ability of language to render thought utterly undisguised, so that in effect he traces philosophy (and not merely logic in the narrower sense) back to a ·'critique of language," which as such is, then, a logic of language. In the course of such a procedure, \Vittgenstein emphasizes, the logic of language is not to be diJ:ectly extracted from colloquial speech, since the latter obscures pure thought. 4 In a1J these instances, then, th e logic of language is conceived of as a critical analysis of language with respect to its-grammatical or linguistic-function of expression, i.e., with respect to its capacity to express "thoughts" as well as the laws of thought processes. \Verc we to speak of a linguisti c logic of literature in th is sense, then the problem of literature would doubtless be nUsconceived from the very outset. The logic of literature does, of course, intend a relation between literature and language, but it is a different relation from that meant in the theories cited ab ove. It docs not consider language in its d escriptive and expressive function, and therefore neither does it concern itself with that more or Jess banal truism that literature is linguistic art in the sense of word artistry. Insttotle notes, is not the case with all discourse, for example with requests). In general, "stating discourse" Iaussagende Recle] came to be> designated later as predicative judgment having the form S is p. This is the "simple" judgment from which then the comprehensive theory and all the various forms of judgment d eveloped. But I. \1. Bochetiski, for instance, in his book en titled Formal Logic, uses the term "statement" exclusively, and moreover in affiliation with the "vocabulary of contemporary formal logic."37 'Vitb respect to the following discussion I should like neverthc-

less to follow the older tradition and use the term "judgment" as belonging to logic, the concept "statement" as belonging to theory of language, and immediately affix and reserve the third concept to come, that of "proposition" l Satz], as belonging to grammar. My reasons for so doing are those of the unequivocalness and clarity resulting from the definitive meaning of these concepts in German usage. For although the word «judgment" ( iudicium) originated in the language of jurisprudence and only became a term of logic via its usage in the determination of the truth or falsity of a statement, it is nevertheless as such clearer and more precise than the word "statement" would be in designating the same phenomenon. 'Vhcn we usc the term predicativc (or hypothetical, apodictive, etc. ) judgment, none of the other, extra-logical meanings of the word "judgment" are suggested ; the domain of logic remains selfenclosed. However, the situation is different with the term "statement." This word carries over into grammar, where the assertion or declarative sentence [ Behauptungssatzl is also termed a statement sentence. And also as a logical term it retains a certain tinge of ambiguity in meaning. Bocher\ski must expressly stress that he understands "by statement an 'expression' ( a materially apprehended sign), and not that which this sign signifies."38 Indeed, the nuance of meaning of th e act of stating a