März Wann wurde der Brief geschrieben? Wer war Hugo von Hofmannsthal? Wer war Francis Bacon? Was beinhaltet der Brief? Wie wird die. by Aaron Steiner. “The Letter of Lord Chandos” is a fictional letter written by Hugo von Hofmannsthal. The work was published under the title “Ein Brief” (“A. Long recognized as one of the defining texts of literary Modernism, Hofmannsthal’s “Ein Brief” (“The Letter of Lord Chandos”) remains a very.

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Skip to main content. Log In Sign Up. On the Chaos in Chandos: Joel Rotenberg New York: New York Review of Books, translation modified. Camden House, What would literary knowledge look like here?

The Letter of Lord Chandos

Words are no longer vehicles, but impediments. He insists on his mastery in these situations: Neske, This is how he summarizes his intentions: He presents this change as a catastrophe, but his post-crisis situation is not all that different from his original state.

The dream of his project seems to have been partially realized, as everything has been opened up to him, but he no longer seems to be the master.

Chandos may no longer have faith in a certain kind of linguistic magic, but he still imagines another language with similar powers. Although he seems to have briff control, his tone remains that of a master: Wilhelm Fink,22— No magic, no rhetoric will allow Chandos to achieve this task or to speak in the future language that he imagines.

But there is, perhaps, another way of writing that will allow brif to approximate the lost and future languages. I would like, if it only were permitted me, to squeeze into the closing words of this, the last letter I expect I will write to Francis Bacon, all the love and gratitude, all the boundless admiration which I bear in my hpfmannsthal for the one who has done the most for my spirit—the foremost Englishman of my time—and which I will continue to bear in my heart until death makes it burst.


The Letter of Lord Chandos – Modernism Lab

If the problem that arises from his crisis is the inability hofmaannsthal reach into the depths of the world and present his findings, then such a speech act might offer a solution. For Chandos, this means showing his chansos to rats as well as his gratitude. The task of presenting a lost unity that would encompass his identity and self-difference might be accomplished by crafting a felicitous performative letter.

An introduction to a recent anthology of essays on Hofmannsthal is exemplary of this perspective: Although he had continued to produce major works of lyric poetry and drama in …, after he wrote no more lyric dramas, and only a small handful of poems.

On the Chaos in Chandos: Hofmannsthal on Modernity’s Threshold | Patrick Greaney –

There are few instances in all literature of a writer abandoning the forms that had gained him fame, but Hofmannsthal did just that. It shows how writing might already be social and a powerful form of acting.

Ellen Ritter Frankfurt am Main: Fischer,— The unnamed Semele-like figure feels that the poet is hiding part of himself, his poetic ability, from her: It would be too much to possess you completely and at all times: Train of thought in his answer: To transform myself into such a powerful force of words that you would perish before it. Ja, ich vermag mich anders hinzugeben.

Denn sieh, indem ich ausspreche: Ich und Du, so bricht schon das Chaos herein.

They make a hotmannsthal for his self-revelation, and the Semele figure finds the poet consumed by the power of his own words: For Hofmannsthal, this chaotic result is exactly what the Semele figure wants. His sketch closes, like a fable, with this apho- ristic statement: Like Semele, Bacon wants Chandos to reveal himself, if only to himself.

Chandos replies reluctantly, just as the Jovian poet does, fearing the outbreak of violence from within. In another comparative reading, Chandos would be feminine and like the Semele character in his destructive demand for complete knowledge and self-revelation. There is admittedly something Chandos-like hofjannsthal these interpreta- tions that make texts into hieroglyphs that decode other hieroglyphic texts.


And it may just slightly modify the autobiographical emphasis.

Is the insistence on performativity literary? A reading inspired by Chandos could go much farther.

Chandos Brief

Albansin order to excuse himself for his complete abandonment of literary activity [um sich…zu entschuldigen]. Who is speaking in this preface? Was the letter ever sent? Is it the end of a correspondence, as it breif to be, or the beginning of another type of relation?

Although Chandos never presents his letter as an apology or even as a successful offering of gratitude, the preface does its best to encourage an interpretation of the letter as what J. Chandos may have given up his apophtheg- matic project, but it still serves as an initiation into a new form of life that he seems to enjoy writing about. Gallimard, Oxford University Press,30, 79— If language can no longer be magic, then at least it can achieve more mundane effects, as the expression of thanks, as the offering of an excuse.

But the effects of speech acts are not always mundane. He wanted the world to open up to him, and it did, thereby taking from him the ability to speak coherently.

It might, in this letter, induce a similar crisis in Bacon.

It might be a form of potlatch, meant to drive Bacon mad and reduce him to silence. Yale University Press, On excuses, see also J. Austin, Philosophical Papers Oxford: Oxford University Press,— University of Chicago Press,34— This is not the threshold to modernity, brisf the threshold of modernity, one that appears in many modern and contemporary texts as a threat and a promise.

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