‘Like many of Max's later protagonists, [Matthias] Grünewald was a loner and a melancholic, of the type that came to be known in German as a Sonderling, an eccentric solitary. According to Claudio Magris, the figure of the Sonderling recurs “time and time again in German literature ... many of the heroes of [E.T.A.] Hoffmann and Jean Paul Richter are Sonderlinge ... all inspired by lacerating nostalgia and methodical rigour.” ¹ In this instance, I believe there's an even stronger identification between Max and his protagonist. In the preceding section of the poem [‘As the Snow on the Alps’], he describes a self-portrait by Grünewald, which he had discovered in the library at Erlangen:
... Selbstbildnis eines vierzig bis fünfzigjährigen Malers. Immer dieselbe Sanftmut, dieseble Bürde der Trübsal,
dieseble Unregelmäßigkeit der
Augen, verhängt und versunken seitwärts ins Einsame hin. | ... a self-portrait ... of a painter aged forty to fifty. Always the same gentleness, the same burden of grief, the same irregularity of the eyes, veiled and sliding sideways down into loneliness. ² |
Man histerläßt sein Porträt Ohne absicht | One leaves behind one's portrait Without intent. ³’ |
¹ uit Claudio Magris' Danube
² uit ‘Wie der Schnee auf den Alpen’ / ‘As the Snow on the Alps’, deel 1 van Nach der Natur / After Nature (Engelse vertaling door Michael Hamburger) (Nederlandse titel Naar de Natuur)
³ uit ‘Giuliettas Geburtstag’ / ‘Giulietta's Birthday’ in Über das Land und das Wassen – Ausgewählte Gedichte 1964-2001 / Across the Land and the Water – Selected Poems 1964-2001 (Engelse vertaling door Iain Galbraith) (nog niet in het Nederlands verschenen)
Geen opmerkingen:
Een reactie posten