Kabbalah and Romantic Literature: Between Magic and Trope
Journal name: Archives De Sciences Sociales Des Religions
Original article title: GOODMAN-THAU (Eveline), MATTENKLOTT (Gert), SCHULTE (Christoph), hrsg., Kabbala und die Literatur der Romantik. Zwischen Magie und Trope
The journal “Archives of Social Sciences of Religions” publishes advanced research on religion in French, English, and Spanish. It studies the sociology of religions and religious traditions or theologies. It is supported by the INSHS-CNRS (“Institut des Sciences Humaines et Sociales”)
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Subtitle: Tübingen, Max Niemeyer Verlag, 266 p. (coll. « Conditio Judaica »)
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Archives De Sciences Sociales Des Religions:
(Founded in 1956 and published quarterly”)
Full text available for: GOODMAN-THAU (Eveline), MATTENKLOTT (Gert), SCHULTE (Christoph), hrsg., Kabbala und die Literatur der Romantik. Zwischen Magie und Trope
Year: 2000 | Doi: 10.4000/assr.20302
Copyright (license): © Archives de sciences sociales des religions
Summary of article contents:
Introduction
The collection of essays titled "Kabbala und die Literatur der Romantik. Zwischen Magie und Trope," edited by Eveline Goodman-Thau, Gert Mattenklott, and Christoph Schulte, explores the reception of Kabbalah within the context of early 19th-century German Romanticism. It examines how Romantic writers such as Friedrich Schlegel, Novalis, Achim von Arnim, and Clemens Brentano engaged with Kabbalistic ideas, primarily sourced from the so-called "Christian Kabbalah." This Jewish mystical tradition was instrumental in shaping the aesthetic and philosophical outlook of these writers, intertwining their literary works with themes of magic and the creative power of language.
The Concept of the "Creative Misunderstanding"
One significant concept discussed in the essays is Gershom Scholem's idea of the "productive misunderstanding" between Christian Kabbalah and Jewish Kabbalah. This notion applies to the early German Romantics who aesthetically transformed Kabbalistic ideas, as reflected in Friedrich Schlegel's equation: "Poetry = Magic = Kabbalah + Alchemy." Despite their fascination with Kabbalistic mystique, some Romantic authors exhibited a profound ambivalence and even hostility towards Jews, exemplified by themes of anti-Jewish stereotypes in the works of Achim von Arnim. The Kabbalah was perceived by these writers as a linguistic magic rooted in the boundless creative power of words, resonating with their own poetic aspirations. However, their interpretation often stripped Kabbalah of its cultural and religious roots, resulting in a syncretic approach that rendered it a mere tool for Romantic literary expression.
Conclusion
In conclusion, "Kabbala und die Literatur der Romantik" provides a nuanced examination of how Kabbalistic thought influenced German Romantic literature while also highlighting a complex relationship marked by attraction and repulsion. The essays collectively reveal that while the Romantics sought to incorporate Kabbalah into their aesthetic project of imaginative creation, they did so through a lens that transformed and often distorted its original meanings. This interplay between fascination and misunderstanding serves to illustrate the broader cultural dynamics at play in the Romantic era, suggesting a layer of sécularisation and aestheticization of Jewish mystical traditions within the contemporary cultural landscape.
FAQ section (important questions/answers):
What is the main focus of the book on Kabbalah?
The book examines various aspects of the reception of Kabbalah by the early 19th-century German Romanticism, highlighting the influences and interpretations by Romantic writers such as Friedrich Schlegel, Novalis, and Achim von Arnim.
How did Romantic writers use Kabbalah in their works?
Romantic writers incorporated Kabbalistic concepts, often viewing it as a form of magical language. They sought to connect Kabbalah's ideas with their own perceptions of poetic imagination and creation, despite a simultaneous hostility toward Jewish culture.
What was Gershom Scholem's view on Kabbalah's interpretation?
Gershom Scholem described the relationship of 'Christian Kabbalah' to Jewish Kabbalah as a 'productive misunderstanding.' This concept also applies to early German Romantics who aesthetically transformed Kabbalistic ideas while detaching them from their Jewish cultural context.
Glossary definitions and references:
Theological and religious glossary list for “Kabbalah and Romantic Literature: Between Magic and Trope”. The list explains important keywords that occur in this and other scholarly articles. It is also linked to the glossary for understanding that concept in the context of History, Religion, Philosophy, Theology, Sociology etc.
1) Magic:
In the context of the German Romantic reception of Kabbalah, 'magic' represents the perceived creative power derived from Kabbalistic ideas. This understanding of magic intertwines with the Romantic notion of 'Poetry' as an imaginative force, suggesting a close relationship between artistic expression and mystical practices. Kabbalah is seen as a source of magical significance that influences literary works.
2) Literature:
The exploration of Kabbalah within Romantic 'Literature' highlights its profound influence on the thematic and stylistic elements of German writers. The synthesis of Kabbalistic concepts with literary creativity illustrates how 'Literature' became a medium for expressing philosophical and mystical ideas, transforming the way narratives are constructed, thus showcasing the interplay between Kabbalah and imaginative expression.
3) Religion:
The intersection of Kabbalah and 'Religion' is crucial, as Romantic writers often reinterpreted Kabbalistic beliefs disconnected from their Jewish origins. This reappropriation reflects a broader trend within Romanticism to view 'Religion' as a fertile ground for artistic inspiration, resulting in an aestheticization that alters the original religious significance of Kabbalistic thought.
4) Anti (Amti):
'Anti' represents the complex attitudes towards Judaism present in some Romantic works. Writers like Achim von Arnim exhibited 'anti' Jewish sentiments while concurrently being fascinated by Kabbalistic mysticism. This duality reveals the tensions within Romanticism, where fascination with Kabbalistic magic coexists with underlying prejudices, demonstrating the 'anti' sentiments that can complicate appreciation of Jewish traditions.
5) Transformation (Transform, Transforming):
The 'transformation' of Kabbalah within German Romanticism illustrates the shift from its specific Jewish context to a broader cultural and artistic application. Romantic writers 'transformed' Kabbalistic ideas into literary devices that serve their imaginative needs, ultimately reframing spiritual doctrines into aesthetic forms, reinforcing the notion that 'transformation' can involve a significant cultural reinterpretation.
6) Mysticism:
In German Romanticism, Kabbalah is celebrated for its 'mysticism,' which represents a profound engagement with spiritual and esoteric traditions. This 'mysticism' informs the Romantic ideal of the sublime, as writers explore themes of the unknown and the divine, reflecting an intrinsic fascination with the metaphysical aspects of Jewish Kabbalistic thought and its implications for creative expression in 'Literature.'
7) Creation:
'Creation' is pivotal in understanding the Romantic reverence for Kabbalah, as it embodies the link between language, magic, and artistic imagination. The Kabbalistic concept of creative 'power' through speech reinforces the idea that 'Creation' is not merely a physical act but an imaginative endeavor central to both mystical practices and literary expression, reflecting a desire to shape new realities.
8) Doctrine:
The term 'doctrine' pertains to the Kabbalistic principles explored in the Romantic narratives. The 'doctrine' of Kabbalah serves as a foundation for understanding the mystical dimensions of the world, and its incorporation into Romantic 'Literature' reflects a yearning for deeper philosophical truths that transcend mere storytelling, showcasing how 'doctrine' can enrich artistic expression.
9) Power:
In the exploration of Kabbalah, 'power' refers to the mystical influence attributed to language and writing, as seen in the notion of Kabbalistic hermeneutics. The 'power' of words to create and transform reality is echoed in Romantic works, where authors draw on Kabbalistic themes, recognizing that language possesses immense potential to evoke emotions and construct imaginary worlds.
10) Enlightenment:
'Enlightenment' denotes the intellectual backdrop against which Romantic authors grappled with Kabbalah. For some, the rationalist ethos of the Enlightenment posed challenges to the mystical elements of Kabbalistic thought. This interplay reflects tensions between 'Enlightenment' ideals of reason and the Romantic attraction to the irrational, further complicating the reception of Kabbalistic ideas.
11) Imaginary:
The concept of the 'imaginary' is central to understanding how Kabbalah influenced Romantic creativity. Writers utilized Kabbalistic themes to enrich their 'imaginary' landscapes, creating narratives that blend the mystical with everyday reality. This interplay highlights the role of 'imaginary' constructs in shaping cultural and artistic expressions, making Kabbalah a vital component of Romantic imagination.
12) Language:
'Language' plays a critical role in the Romantic understanding of Kabbalah, particularly regarding its capacity to convey mystical truths and creative potential. The Kabbalistic idea that 'Language' has intrinsic 'power' to affect reality deeply resonates with Romantic writers, who utilize poetic and magical elements of 'Language' to explore themes of creation and transformation in their works.
13) Universe:
'Universe' reflects the broader metaphysical implications of Kabbalah within Romantic thought. Through Kabbalistic principles, writers sought to explore the 'Universe' as a symbol of interconnectedness and spiritual depth, forging a link between the tangible and the mystical. This pursuit contributes to the Romantic quest for meaning and understanding within a vast, complex 'Universe.'
14) Speech:
'Speech' is integral to Kabbalistic thought, connecting the act of verbal expression with the creative process. In Romantic literature, 'Speech' is imbued with the belief that it can manifest reality, representing a bridge between the mystical and the imaginative. This highlights the understanding that the power of 'Speech' is central to both Kabbalistic mysticism and literary artistry.
15) Gold (Golden):
'Golden' could refer to the 'Golden' Vase in E.T.A. Hoffmann's tale, symbolizing the inherent value placed on artistic creations inspired by Kabbalistic thought. The 'Golden' connection suggests a reverent engagement with themes of beauty, imagination, and the transcendental, linking the richness of Romantic literature with the mystical allure of Kabbalistic philosophy.
16) Poetry (Poetic, Poetical):
'Poetry' is seen as a magical expression of profound truths within Romanticism, characterized by its connections to Kabbalistic thought. The alignment of 'Poetry' with Kabbalistic principles reflects the belief that creativity can channel deeper, mystical insights. Writers viewed 'Poetry' as a transformative process, paralleling Kabbalistic practices where art and spirituality converge.
17) Egypt:
'Egypt,' particularly in reference to Arnim's novella Isabelle of Egypt, embodies the fascination with ancient civilizations as sources of mystical knowledge. The connection to 'Egypt' symbolizes an exploration of cultural roots and spiritual legacies, where Kabbalistic themes intersect with broader narratives of history and myth found in Romantic literature.
18) Realm:
'Realm' indicates the conceptual space where Kabbalistic ideas are received and interpreted within Romanticism. This 'Realm' encompasses both the literary and mystical interpretations of Kabbalah, highlighting how Romantic writers traverse this domain, transforming Kabbalistic doctrines into poetic language that resonates deeply within their cultural context.
19) Soul:
The notion of 'Soul' reflects the deeper spiritual inquiries embedded in Kabbalistic thought as interpreted by Romantic writers. The exploration of the 'Soul' parallels the quest for understanding the very essence of existence, suggesting that Kabbalah offers pathways to spiritual insights that resonate with the Romantic ideal of profound connection to the self and the universe.
20) Fear:
'Fear' encapsulates the ambivalence Romantic writers felt towards Kabbalah and its associations with mysticism. While drawn to Kabbalistic concepts, they often experienced 'fear' of the unknown and the alien, illustrating the tension between attraction and apprehension in relation to a tradition they simultaneously revered and misunderstood.
21) Book:
'Book' signifies the textual nature of Kabbalistic wisdom and its transmission into the realm of literature. The Kabbalistic 'Book' contains profound doctrines that inspire Romantic writers to create narratives infused with mystical meaning. This interrelation underscores the importance of the 'Book' as a vessel of knowledge and imagination in both Kabbalistic and literary traditions.