Das Gedicht "Der rechte Weg," welches im Jahre 1911 von Franz Werfel verfasst und veroeffentlich wurde, hat die eine Form des Sonnets und beschreibt die mit der Grossstadt verbundene Ueberfuellung und Hektik.
Da es sich bei dem Werk um ein Gedicht handelt, besitzt es 15 Verse, unterteilt in 4 Strophen, die sich wiederum aus zwei Quartetten und Terzetten bilden. Zum Reimschema des Gedichts ist zusagen, dass in den ersten beiden Strophen ein umarmder Reim und in den letzten beiden Strophen ein verschraenkten Reim zu finden ist.
Das lyrische Ich in dem Gedicht "Der rechte Weg" stellt einen denkende Person dar, die vom Durcheinander der Grossstadt offensichtlich ueberfoerdert zu sein scheint. In der ersten Strophe erfaerht der/die Leser/in die Aktivitaeten des lyrischen Ichs. Neben Strassen und Sehenwuerdigkeiten ist dabei ausserdem beispielsweise von der Rundfahrt die Rede.
Ab Vers 6 wechseln die Eindruecke. Das lyrische Ich geraet in Hektik, aufgrund der Tatsache, dass es noch seinen Zug zu kriegen hat. Es macht nun vor allem das Chaos, welches im staedtischen Vehrkehr herrschte.
Die Verschiedenen Strophen schmueckt Franz Werfel mit einenigen sprachlichen Mitteln aus. Bereits in Vers 2 arbeitet er mit Uebertreibungen (Riesenbahnhof), die schon frueh den Standpunkt des lyrischen Ichs verdeutlicht. Die Metapher Strassenstrom mit dem verbundenen Verb herabgeschwommen, zeigt die Wahrnehmug des lyrischen Ichs auf die Stadt.
In Vers 7 aendert sich der Satzbau rapide. Aus den zuvor verschahelten und langen saetzen werden kurze Saetze, oftmals Ausrufe, welche den Uebergang von Ruhe zu Panik veranschaulichen. Die Adjektive gespenstisch oder endlos sind eher negativ konnotiert, waehrend Adjektive wie reizend eher froehlich klingen.
Der Autor Franz Werfel moechte zusammenfassend aussagen, wie ueberwaeltigend und erdrueckend die Stadt sein kann. Ich denke dass Leute aus sehr bevoelkten Regionen sich gut mit dem Inhalt des Gedichts identifizieren koennen.
Es existiert eine gekΓΌrzte Version, gelesen von Christian BrΓΌckner von 2008. https://open.spotify.com/album/1M57USOuHFEXfZad5XX3en?si=6LH-1eNiRQu2AA8_afXjow&utm_source=copy-link Die Frage ist ob mir jemand erklΓ€ren kann wo sich die gekΓΌrzten Stellen befinden und ob sie die Geschichte beeinflussen und wenn ja wie stark. Vielen Dank im voraus.
So, I've been writing essays on r/lingling40hrs about some composers in order to introduce their works to new listeners, so far including Tchaikovsky, Shostakovich, and Mahler. The series has been going great and has been receiving some positive feedback, but ever since I wrote the Mahler essay, I couldn't stop thinking about Alma and how she should be represented in history.
If you don't know who Alma was, Alma Mahler Gropius Werfel (1879-1964) was a composer, pianist, socialite, and wife to Gustav Mahler from 1902 to Gustav's death in 1911. However, she is most known for the multiple affairs with famous intellectuals and artists that she carried on throughout her life. A few notable lovers include architect Walter Gropius, who she began an affair with while married to Mahler, and would marry later on after having many other sexual relationships with other men, including painter Oskar Kokoschka. And while married to to Gropius, Alma began a relationship with writer Franz Werfel. She was so infamous for her whirlwind romances, Tom Lehrer, one of my favourite comedian-songwriters, even wrote a song about them in 1965 after reading her shockingly racy obituary in the New York Times, which detailed all three of her romances.
However, when we listen to Alma's work, it's abundantly clear that she was a very talented composer as well. She composed mainly before she was married to Mahler, who discouraged her from writing music. Mahler was a very demanding conductor who tried to micromanage everything that went on in the concert hall, and this trait extended into his personal life as well. He would write long letters to his friends and siblings about how he expected them to behave according to his high standards, and he treated Alma no differently. Believing there could only be one composer in the family, Mahler would not allow Alma to write music. However, he had a change of heart in 1910, when he found out about Alma's affair with Gropius. Realizing he needed to be a better husband, Mahler allowed for five of Alma's songs to be published and made sure they were performed exactly the way Alma intended them to be. However, at this point, the damage had been done, and Alma had given up composing for good.
This is an anecdote that makes me- as well as many other music lovers- pity Alma. As a female musician and a creative person as well, I couldn't imagine what would ha
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Unlike many writers associated with Theosophy, Franz Werfel was a part of the mainstream literary establishment. He was one of many German writers living in Los Angeles during World War II (including Thomas Mann and Bertold Brecht). He's known for the novels "The Forty Days of Musa Dagh" and "The Song of Bernadette". He was famously married to the widow of composer Gustav Mahler, for whom he was considered a strange match (she'd been known for holding anti-Semitic views). Wikipedia only briefly mentions Theosophy as an influence for Werfel.
"Star of the Unborn" is a work of love. It was apparently Werfel's first novel in the fantasy genre (if it should be read as a novel at all, rather than a dream journal - more commentary on that below). Werfel was dying when he wrote it, and he died before it was published. Maybe that was for the best: his final work was poorly received, if misunderstood. It's a colossal, perplexing work that has yet to be re-assessed, although there was an attempt by the New Yorker earlier this year. In fact, I'd never even heard of Werfel or his work until reading their article ("Exodus" by Alex Ross, 3/9/2020), but this brief description was appealing enough:
Werfel, having prophesied Nazi terror in βMusa Dagh,β shied away from a head-on confrontation with it. At the start of his final novel, a bizarre and fascinating experiment called βStar of the Unbornβ (1946), Werfel confesses his inability to address the βmonstrous realityβ of the day. In a sly way, the novel speaks to that reality all the same. The narrator, F.W., is transported to a peaceful utopia in the distant future, which collapses into chaos. The tone is mainly playful, even zany, but a chill descends when F.W. visits a facility known as Wintergarden, in which those who have tired of life undergo a βretrovolutionβ into infancy and then death. The process sometimes goes awry, producing ghastly mutations. It is a conjuring of the Holocaust written just as reports of the German death camps were appearing.
My own view of "Star of the Unborn" is rooted in an interest in the creative process. This book has almost nothing in common with the sort of daydreams and brainstorms that spawn most works in the fantasy genre. Each of the peculiarities described by Werfel defies fictional tradition. Normally, world-building relies heavily on lateral thinking, but Werfel seemed to be laterally not-thinking, laterally existing, weaving imp
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https://www.mturk.com/mturk/preview?groupId=3L4EWVFWBYVWKB9FHYQUGMBRUT6O9D
[Article] Enumerative Style and Its Significance in Whitman, Rilke, Werfel
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DOI/PMID/ISBN: 10.1215/00267929-3-2-171
I had no luck with sci-hub despite the DOI.
Preview: https://www.mturk.com/mturk/preview?groupId=3NCF7G1XJIPS79J88P4HXSM7FYDNA7
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Uh I don't know about T.O. but ya
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I don't know much about this requester, but you gotta risk it for the biscuit.
MC
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