ABSTRACT

When Hugo von Hofmannsthal published his aphoristic collection, Buch der Freunde (1922), he borrowed the title from Goethe’s West-östlicher Divan. A mix of original maxims and excerpted quotations, it departs from his famous poems, plays and essays. Reading it alongside Hofmannsthal’s Divan essay, I analyse it as a response to a creative crisis that re-enacts world literature in the spirit of the Divan poet. The lesser-known book intimately unveils Hofmannsthal’s process of regenerative compilation. Yet in paying tribute to late Goethean poetics, Buch der Freunde paradoxically retreats into the modernist private collection and the world-literary past.

摘要

雨果·冯·霍夫曼施塔尔（Hugo von Hofmannsthal）出版了他的格言作品集《布赫·德·弗劳德（Buch der Freunde）》（1922年）时，他从歌德的西斯特里彻歌剧院（West-östlicherDivan）借了头衔。原始格言和摘录语录混合在一起，与他著名的诗歌，戏剧和散文不同。我将其与霍夫曼施塔尔（Hofmannsthal）的《Divan散文》一并阅读，将其分析为对创造性危机的回应，这种危机重新激发了Divan诗人精神下的世界文学。鲜为人知的书直接揭示了霍夫曼施塔尔的再生编译过程。然而，为了向晚期的哥特式诗学致敬，布赫·德·弗劳德（Buch der Freunde）自相矛盾地撤退到了现代主义私人收藏和世界文学的过去。