Marsmans 'Verzen' (onder de naam Hannemieke Postma)

Toetsing van een ergocentrisch interpretatiemodel

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Summary

Most books about the interpretation of poetic texts proceed from a basic theory and choose their material accordingly: only those texts relevant to the theory are interpreted.

In this book the method is reversed: the starting-point consists of a connected series of poetic texts, from which the theory is developed. In this way I have aimed at constructing a theory of interpretation based on the problems arising from and presented by the specific text, thus enabling us to reconsider the limits and possibilities adherent to the so-called ‘ergocentric’ model of poetic interpretation.

The first part of this book consists, thus, of interpretations of the twenty-seven poems from the volume Verzen (Poems), a collection of poems by the Dutch poet Hendrik Marsman, which appeared in 1923.

These poems have been chosen because they show traditional poetic elements as well as literary innovations. In this way, Verzen represents a range of literary devices, and conclusions based upon interpretations of these poems will have a certain general validity.

These interpretations, then, are followed by three comparative chapters, studying respectively the development within the volume (Chapter I); the historical relationship of several poetic devices employed in Verzen (Chapter II); and the influences which have been exercised on these poems (Chapter III).

The last three chapters are devoted to somewhat theoretical problems, consisting of resp. the function of the word-material (Chapter IV); the nature and function of several structural elements in poetry (Chapter V); and evaluation (Chapter VI).

As a result of this method, my investigations have produced two different sets of conclusions: conclusions specifically applicable to Verzen itself; and conclusions of a more general nature, related to the ergocentric model and the theory of the poetic text.

It seems more practical, therefore, to present these conclusions in two sections, in order to arrange the diversity of results in as convenient and comprehensible a way as possible.

1 Verzen

Marsman divided the poems in the volume in three sections, which in later editions are called ‘Ruimteschemer’ (‘Twilight of space’), ‘Droomkristal’ (‘Dream-crystal’) and ‘Seinen’ (‘Signals’) The poems in each of these sections show a thematic coherence, treating resp. (generally speaking) cosmic consciousness, woman, and city-portraits. The order in which the poems are presented differs slightly from the order in which they were written. Those in the

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first section (‘Ruimteschemer’) date from 1919-1921, with two exceptions from 1922: Vlam and Wacht (Flame and Guard).

Those in ‘Droomkristal’ were written in 1921 and 1922, and ‘Seinen’ dates from 1922.

Within the volume, a distinct ‘evolution’ can be shown to take place (Chapter I). Several differences between the sections in the treatment of metaphor and poetic and structural devices were established, and these differences were confirmed by three comparative investigations of pairs of poems from different sections.

In Chapter II I have demonstrated the fact that Marsman used the poetic material in vogue in his period, particularly a number of distinguishing features we come across in the work of several German expressionist poets. These features should not be considered characteristic of expressionism in general, because they were selected from the starting-point of Verzen. For that matter, nobody has yet succeeded in defining Expressionism in a satisfying way (see Chapter II. 1. 2). Examination of the work by those expressionist poets collected in the anthologies Menschheitsdämmerung and Expressionismus. Lyrik resulted in a list of eight distinguishing features, commonly employed by both Marsman and expressionist poets (Chapter II. 2).

Comparison of Marsman's use of the present participle as adjective with that of Werfel's, showed Marsman, especially in ‘Droomkristal’, to be well-versed in the expressionist technique of constructing a complex and often metaphorical relationship between adjective and noun. Marsman's noun-compositions exhibited, next to those in German expressionist poetry, an equally complex structure, combining several poetic functions in one word.

The expressionist type of derivation however, does not abound in Verzen, although those derivations present are similar to those used by the Sturm-poets. Moreover, many direct parallels in words and images were found in expressionist poems. Marsman's metaphorical technique in using ‘plus-values’ and ‘chiffren’^1. revealed his relationship with poets like Heynicke, Trakl, Heym, Stadler and Van Hoddis. Also, certain grammatical ‘deviations’, especially in ‘Droomkristal’, such as the intensified relation created between verb and object by prepositions, strongly suggest Heynicke's work. In ‘Seinen’ we find an affinity to the Sturm-poets and Marinetti in the use of poetic devices. Yet, simultaneity as a principle of composition in ‘Seinen’ also reminds us of Van Hoddis and Lichtenstein, while the typical conglomeration of images in ‘Droomkristal’ echoes Trakl's and Heym's technique. Thematic parallels were also found. Although the egocentric cosmic consciousness in ‘Ruimteschemer’ is different from the credo of encompassing humanity in Heynicke and Werfel, still Becher, Heym, Kasack and Lichtenstein provide parallel instances. Also, the characterization of the woman in ‘Droomkristal’, by images relating her to landscape and nature in general, has its counterpart in expressionist poetry. Lastly, even the technique in which cities are portrayed in ‘Seinen’ reminds us of expressionist poems about the city, although, of course, many differences can be shown.

In the third chapter of this book I have analysed several influences exercised on Verzen. Marsman was not influenced by individual poems, but rather by the work of several poets in general, so that it was not possible to compare poem with poem intrinsically. This circumstance necessitated a rigid choice of material, revealing one aspect of each influence only.

Not only was Marsman influenced by different poets in different ways, also the integration of the influenced material in Verzen differs widely.

In the work of the Dutch poet A. Roland Holst, Marsman found the source of

1. By the ‘value’ of a word I mean the complexity of aspects of meaning, generated by and relevant to its specific context in the poem. The value of a word is never identical to its lexical meaning.
A word has ‘plus-value’ when its value is not only determined by lexical meaning and contextual relationships, but also by contextual convergence. Marsman uses, for example, the words ‘stromen’ (‘to stream’) and ‘boot’ (‘boat’) with an erotic plus-value.
A word has chiffre-value when its value is not determined by its lexical meaning, but by contextual convergence only. So, for instance, the word ‘blauw’ (‘blue’) is used with a chiffre-value of ‘pure ecstatic happiness’.

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his ‘schemer’ (‘twilight’) which he uses with a typical chiffre-value paraphrased as ‘softness, earthiness, silence, femininity’. ‘Schemer’ in Holst's work is not used as a chiffre, but the word as it is used by both poets shows a striking relationship. From Trakl's work I isolated the combination colour-adjective plus noun - although Trakl, as well as Holst, influenced Marsman in many more respects. Marsman uses his colours with a similar emotional value as Trakl does, although the value of the colour-word in Marsman's poems is rather more fixed. In both poets, the value of the colour in the specific text is removed from the designation of the word itself, but in Trakl's work the colour can more often be applied to another word within the context of the poem. Both poets show a marked preference for the colour ‘blue’, although Marsman's ‘blue’ is more ecstatic in value than Trakl's. ‘Brown’ and ‘green’, however, are used in exactly the same way: Marsman even uses ‘green’ with the same two different ‘plus-values’ the colour has in Trakl's work.

Else Lasker-Schüler certainly influenced Marsman, but investigation of parallels showed that this influence cannot, in Verzen at least, be strictly proven.

Stramm influenced Marsman in the way he constructed his ‘Seinen’.

This influence is the most integrated one, for Marsman used Stramm's techniques of repetition, elliptical sentences, stressing of words by putting them singly in a line, for a different purpose. Marsman's enjambments are more functional than those of Stramm's, and ‘Seinen’ makes a less repetitive impression than does Stramm's poetry.

In Herman van den Bergh's work, lastly, a large number of strikingly exclusive literal parallels can be found. Marsman's poems from 1919-1920 show combinations of these parallels, next to resemblances in the use of colours and in tone. In these poems, especially Verhevene, Vrouw and Stroom (The elevated, Woman and Stream), one can almost speak of imitation. In Marsman's later poems Van den Bergh's expressions are used in isolated instances, and in a totally different context, leading to the conclusion that Marsman must have used these expressions subconsciously, not remembering that he had read them in Van den Bergh's work.

In the fourth chapter (Chapter IV. 2) I have tried to classify Marsman's metaphors. A proportionally large number of metaphors, a hundred and twenty-four, have a vitalising effect (concretisation, animation, personification, intensification). A grammatical classification showed two different uses of the preposition ‘van’ (‘of’) in constructing metaphor. ‘Van’ can cause a subordination between the metaphorically used word and the subject of the metaphor,^2. but also ‘van’ can cause an identity between metaphor and subject. This identity is even more explicit in the metaphors with the verb ‘to be’ which are used in ‘Seinen’. The hypallage in Verzen shows a metaphorical character, rather than a metonymic.

In this same chapter (IV. 3) I have investigated certain word-fields formed by words with plus- and chiffre-value, prominent in ‘Droomkristal’. Three different groups of mutually related words, mostly used as metaphors, should be distinguished.

The first of these groups consists of words such as ‘bloeien’ (‘to flower’) and ‘stromen’ (‘to stream’), which are used with a specific plus-value which may be paraphrased as ‘passion’. Secondly there is a word-field around the chiffre ‘schemer’ which is, as I remarked above, used to characterize the specific qualities of the (loved) woman exclusively. Thirdly I have recognized a group of words as ‘wind’ and ‘blauw’ (‘blue’), used to underline, specify and even summon up words from the two other groups. These three groups of words form a

2. In, for instance, Vlam 1 Schuimende morgen (Flame 1 Foaming morning) I call Schuimende the metaphorically used word, and morgen the subject of the metaphor.

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word-complex which is rooted in the relationship with the woman. In opposition to this complex a rather more loosely related cosmic egocentric complex is evident in ‘Ruimteschemer’, although this complex does not manifest itself in the use of plus-values and chiffren, because Marsman's use of this metaphorical device dates from 1921.

The structural particularities in Verzen were studied in chapter V. The way in which lyrical situation, time, and space are used in structuring the poems can be better explained in the theoretical section of this summary, below. ‘Ruimteschemer’ showed both first- and third-person presentation, ‘Droomkristal’ first-person presentation only - often a ‘U’ (‘you’) is addressed here -, while ‘Seinen’ is mostly presented by an implicit observer. Words designating time and space, like ‘centuries’, ‘day’, ‘night’ and ‘space’, are made concrete in metaphorical processes, in ‘Ruimteschemer’ and ‘Droomkristal’, while space in ‘Seinen’ has mostly an anecdotal function.

The poems themselves have been interpreted and evaluated as they are presented in the volume. It is clearly not feasible to summarize the results of the interpretation and evaluation of each poem here. Still, the evaluation of Verzen in chapter VI posed a peculiar problem. Verzen was rather enthusiastically received in 1923, and Marsman's reputation as a poet has been considerable even up to the present day. Indeed, many poems in Verzen can be shown to be valuable, especially Bloei, Wacht, Virgo, Robijn, Berlijn, Amsterdam, Weimar and Delft (Bloom, Guard, Virgo, Ruby, Berlin, Amsterdam, Weimar and Delft). Yet a large proportion is demonstrably structurally deficient: Verhevene, Stroom, Einde, Gang, Schaduw, Madonna and Val (The elevated, Stream, End, Stride, Shadow, Madonna and Fall).

In constructing his poems Marsman worked in a rather slipshod way. Nevertheless it is understandable why his reputation as a poet has been maintained among many until now. His appeal can be explained from his catching élan and his adolescent themes.

Still, viewed from present-day perspective he turns out a lesser poet than many of his contemporaries thought him to be.

2 The model

The central position in my investigation has been taken by the texts themselves. If one wants to know the specific meaning and function of the text, one has primarily to study the text itself. In the poetic text, all components contribute in various ways to the complexly-structured unity.

This axiomatic starting-point has proved to be especially useful in interpreting structurally deficient texts that do not operate in this poly-functional way.

Although the text is the central object of investigation, it cannot be the only one. All the elements that make up the poetic text also appear outside the text. Words as bearers of meaning, human attitudes and situations, reality, and even historical poetic devices used in other texts, form the background from which the text cannot be separated or independently understood.

The specific way in which all these heterogeneous elements are combined in the text, is the structure of that text, in which all the elements perform these unique functions I called ‘values’. The value of a specific element, say a word, consists partly of the meaning of that element outside the text, i.e. the lexical meaning of the word; but also in the unrepeatable contextual functions this element performs within the text.

The meaning of the word controls the value of that word in the text in some

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measure, but does not predict that value. The same word, used several times in the same text, will have a different value each time it is used.

The sum of the values of all the elements equals the structure of the text, and this structure is part of the ‘meaning’ of the text. This implies that an analysis of the structure of the text must lead to investigation of the text as a whole. The literary text is intentional, it must be realised by a reader, and in this realisation the way the text is structured plays an important part, because the structure controls the way in which the meaning can be realised as adequately as possible.

The interpretations in this book have been organised according to these aforementioned principles. Firstly, I made an ‘atomistic’ interpretation, in which the word-elements were examined, and their values as contextually conditioned were established. This was done by listing, word for word, all possible relationships, and determining which one(s) of these relationships contributed most adequately to the text as a whole.

Secondly, I executed a structural analysis, in which the totality of the text was examinated. Three structural components were analysed: lyrical situation (anecdote and presentation), time, and space. Based on the textual and structural analyses I tried, thirdly, in a summary, to give an account of as adequate a realisation of the text as possible.

No interpretation is absolutely true, but some interpretations are more probable than others. The way these interpretations are controllably presented guarantees at least some scientific intersubjectivity.

Knowledge of the historical poetical devices of their period is essential in interpretation and evaluation of literary texts. In Chapter II I have surveyed the problems inherent in periodization. Wellek defines a period as a time-section of relative unity, dominated by a system of literary norms, whose introduction, spread, deviations, integration and disappearance can be traced. Although no literary work realises these norms in full, and although the norms that dominate a period are not interdependently related in a closed system of literary norms - it must nevertheless be possible to determine the characteristics of (part of a) period based on literary devices in the texts of that period. Historical literary norms in themselves are neutral when used in evaluation. The fact that they are used does not determine the quality of the next.

In Chapter IV. 1 I have tried to account for the way the word-material functions in the text. I have chosen the metaphor as representative of this word-material and studied the effect of metaphor in the poetic text. This effect is complex:

1. Firstly, only part of the meaning of the metaphorical word can be applied to the subject of the metaphor (disjunct): there is a tension between subject and metaphor which controls our recognition of the metaphor as such. 2. Secondly, the total meaning of the metaphorical word must be applied in the text. This total meaning is effective in two ways: a) direct effect, the metaphorical word influences the value of the subject of the metaphor (interaction); b) indirect effect, the total meaning has a function in the text as a whole (repetition of metaphor, adducing concreteness, etc.) This indirect effect is an ad-hoc function, depending on the specific text alone.

In this way I have tried to reconcile monistic theories of metaphor (Reichling, Beardsley) with dualistic theories (Richards, Black, Henle, Mooij).

In Chapter V I have tried to establish a beginning of a basic theory of the structural elements in poetic texts.

1. In the lyrical situation I distinguished a number of structurally effective aspects, some of which have typical character, others of which are only employed with an ad-hoc effect.

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These typical aspects could be organized into a typology of the four possible ways in which a poetic text can be presented.

The point-of-view can be: a. ‘third-person telling’; b. ‘third-person showing’^3.; c. ‘first-person presentation’ and d. presentation by an ‘implicit observer’. The first and the last type present from the outside, mostly with a certain degree of distance; while ‘first-person presentation’ and ‘third-person showing’ happens from the inside. Of course, the borderlines of these four types are not strict, several degrees and transitions are possible.

Not typical are several other aspects of the lyrical situation. The degree of objectivity in presentation can differ even inside a text. Absolute objectivity, of course, never occurs, because a point-of-view is always present - but the degree of subjectivity in most cases provides insight into the way the text is presented. Equally, the directness in which the point-of-view presents himself (‘I’ resp. ‘me, mine’) differs and contributes to the lyrical situation. Lastly, the fact that a ‘You’ can be (implicitly or explicitly spoken to, is a relevant aspect regarding the structure of the text.

2. Time is an ad-hoc structural element in poetry, that, as far as I was able to determine, shows no typical features. Still, questions can be asked about tense and its function (momentary, general, epic, durative, explicative), and its relation to the development of the theme (static, dynamic)^4. or the presentation of the anecdote. Also, words naming time (‘day, night’) may contribute to time as a structural element by the specific values they have in the text.

3. Space as a structural element can be related to time, theme, or anecdote. If the space presented in the poem is three-dimensional, questions can be asked about dimensions and specificity of this space (large, small; open, closed; specified or not). In other poems, space is presented two-dimensionally, which may lead to a specific pictorial effect, in which the way the scene is presented to the reader is controlled by the presentation (by use of colours, by use of adverbs like ‘above’, ‘below’, ‘next to’). Thirdly, space may not be explicitly part of the presentation, but rather function as a suggestion of space in projections^5. and subjectively presented enlargements of figures. In this use, space is not visualized and the images in the poem are often disconnected. Enlargements^6. may, of course, be objectively presented as part of the anecdote (e.g. cosmic self-enlargement) - in this case space will be three-dimensional. These findings, although often inconclusive and various in nature, lead to the conclusion that much can still be done and has to be done in the theory of the structure of poetry. In the last chapter (chapter VI) I have investigated the necessary and possible means and ways of evaluation.

1. All material in poetry should be regarded as evaluatively neutral. Historical poetic devices, ambiguity, chiffren, conglomeration of images, influences from other poems or the work of other poets: all these must be judged in the same way other materials are evaluated, that is to say in the way they contribute to the whole of the specific text. It follows that we must distinguish between an ergocentric model (in which the text takes the central position) and the immanent model (in which only the exclusive text is studied). Knowledge of many things outside the text is necessary in interpreting and evaluating the text correctly. Although the degree of similarity to reality is not relevant to the value of the text, knowledge of reality is necessary, if only to judge correctly why and how a certain ‘new reality’ is presented.

Still, judgment of historical texts presents us with the difficulty that the originality of the work has, for our taste, palled somewhat. On the other hand, contemporary literature cannot be adequately judged simply because we cannot realise it

3. In ‘third-person telling’ the poem is presented by an implied author who is not the protagonist himself; in ‘third-person showing’ the reader is limited to the mind of the protagonist.
Of this last type I found only one instance, e.g. part of the poem Gang (Stride).

4. A dynamic theme involves lapse of time within the poem; a static theme does not.

5. Projection happens when feelings belonging to a subject are attributed to an object, for instance Vrouw 4 hijgende nacht (Woman 4 panting night), where anecdotically the lovers, not the night, are panting.

6. ‘Enlargement’ is an (often metaphorical) process in which a human person is presented with exceptional proportions. In ‘Ruimteschemer’ we often find the protagonist with cosmic proportions (‘earth revolving inside his skull’in Stream). This type of enlargement is, in most cases, not metaphorically but objectively presented. In ‘Droomkristal’ we find the woman enlarged with earthly proportions (‘the dream of her lashes stretched along the skies’ in Blossom). These enlargements are mostly presented metaphorically.

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adequately: we tend to overevaluate the new elements - whilst all aspects, new and traditional, contribute to the whole and must be judged equally.

2. Judgment following interpretations can only be based on structural grounds. Imaginative and emotive values can be judged in so far as they are controlled by the structure of the text, but they cannot be judged in an absolutely objective way. Although the literary text has a plurality of values, only esthetic values can be adequately (though not totally) judged. Esthetic (i.e. structural) values can not be described as such - but the way they function in the network of the text can be made explicit and acceptable in an interpretation. Only in cases where the network is defective can we show that several elements are not integrated - but as soon as an element is integrated in the complex network of the text, the degree of integration defies measurement. The balance of the text as a whole relies on the unity and complexity of the network, but taken apart, these criteria are not qualities as such, and the assertion that they are present in a text is not sufficient to judge that text correctly - only by showing how the various elements in the text contribute to unity and complexity can we aim at an account of the value of the text as a whole.

Ultimate evaluation seems impossible, nevertheless we can come closer to the secret of poetry by looking at poetry itself.