If so, the "can be" in the line, "Without the word no thing can be," would grammatically
speaking
not be the subjunctive of "is," but a kind of imperative, a command which the poet follows, to keep it from then on.
KittlerNietzche-Incipit-Tragoedia
256 1900
circa 1800 aimed at mitigating the shock of binary opposition by con- necting lines and an attenuation of the black-white contrast, Larisch-as
a student of William Morris-gave his students the "feeling of how poorly the softening halftone fits into a printed book," in that "simple, powerful outlines and the full contrast of black and white spaces have an appearance characteristic of printed type. ""'
And yet-the implications of the tachistoscope and the economy of letters for literature and literary science become even more obscure, if possible, here on the page, for all its black and white space. One needs the whole power of one's vision to glimpse the overlooked visibility of texts. The black and white of texts seems so timeless that it never occurs to readers to think of the architects of that space. The forgotten techni- cians of 1900,however, revolutionalized the page of poetry, from the most playful verses to the most ritualized. Morgenstern's Gallows Songs enact the derivation of what the Stefan George typeface practiced in mute solemnity.
Es war einmal ein Lattenzaun
rnit Zwischenraum,hindurchzuschaun.
Ein Architekt, der dieses sah, stand eines Abends plotzlich da-
und nahm den Zwischenraumheraus und baute draus ein grosses Haus.
Der Zaun indessen stand ganz dumm, rnit Latten ohne was herum.
Ein Anblick griisslich und gernein. Drum zog ihn der Senat auch ein.
Der Architeckt jedoch entfloh nach Afri- od- Arneriko.
There used to be a picket fence
with space to gaze from hence to thence.
? THE GREAT LALUU 257 approached it suddenly one night,
removed the spaces from the fence and built of them a residence.
The picket fence stood there dumbfounded with pickets wholly unsurrounded,
a view so naked and obscene the Senate had to intervene.
The architect, however, flew to Afri- or Americoo. ""
"The Picket Fence" is the fairy tale of a new age. Where Anselmus saw the woven arabesques of handwritten letters, the cold eye of the architect sees the opposite. One evening Larisch's imperative-to look constantly BETWEEN the letters, to grasp the space outlined between them with all one's strength-is realized word for word. In so doing, the architect does not discover merely how indispensable concepts of relation are. "! Some- thing more tangible is at stake: the fact that the readability of signs is a function of their spatiality. The architect's manipulation of space demon- strates that, when the lack is lacking and no empty spaces remain, media disappear, "naked and obscene," into the chaos from which they were derived.
Consider the final stanza of "The Picket Fence" in light of the architec- ture of block letters. Whereas "the alliteration of Africa and America feigns an ending in -(i)~a,'"w~h~ich also plays with the ending of oder [the placement of "or"], a "between" appears in the realm of the graph- eme: the space designated by the dash. The words of the poem, complete autonyms in this sense, foreground their own intervals between stem and ending. Morgenstern's constructed architect does not disappear into far- off lands, but into the space between signs that he had usurped.
From this vanishing point called paper, it is only a step to "the ideal of purely abstract, absolute poetry," an ideal of such brilliance "that it also means the end of poetry; it can no longer be imitated or surpassed; it is transcended only by the empty white page. "I2' "The Picket Fence" de- scribes the binary opposition between letters or pickets [Lettemlhtten] and the space between them, but "Fish's Night Song" uniquely enacts this opposition without any description at all. "' In it, the reduction to straight line and half curve that distinguishes roman from Fraktur scripts be- comes textual event. Circumflex and dash, two signifiers that define themselves through mutual opposition and relation, are the absolute minimum economy of the signifier. Their binary opposition to each other, canceled or articulated through the shared opposition of both to paper,
An architect who saw this sight
? 258 1900
constitutes the poem that meets all the reading-psychological desiderata of its epoch. Period. For there is nothing more to write about a minimal signifier system.
Or there would be nothing more to write if the poem did not have a title composed in the very different, redundant, signifier system of the twenty-six letters. Through the title, one discourse network answers an- other across the turning point that divides them. "Fish's Night Song" is the cancellation of Goethe's "Wanderer's Night Song 11. " In the latter, a human voice outlasts the surrounding sounds of nature for one breath in order to express the promise that it, too, would find rest in the lap of Mother Nature. In the former, the text brings a mute fish not to speech, but into a typogram. It thus realizes Schleiermacher'snightmare: namely, that a real optics would render superfluous the imaginary, imaginal as- pects that meaningful words suggest to alphabetized readers. As mute and dead as any script, the fish no longer needs the phonocentric consola- tion of a seamless transition between speech and nature. The signs on the page cannot be spoken by any voice-regardless of whether one reads them as fish scales or discrete elements of the roman typeface. Man and soul, in any case, no longer apply. With all the wanderers between day and night, Spirit and Nature, male and female, Man simply died around 1900. It was a death to which the much-discussed death of God is a foomote.
Stephani wrote that written letters provide notes for the mouth instru- ment. But a mute fish demonstrates that signs can mock all speech and nonetheless still be written signs. The half curve and dash, the two mini- mal signifieds of Soennecken and of the "Night Song," can be found on every universal keyboard. The first German monograph on the typewriter
? thus celebrated the fact that "with a little inventiveness one can produce very fine borders and flourishes" on Remingtons and Olivers. 'z' It pre- sented the prototype of modernist ideal poetry years before Morgenstem.
Not only is the human voice incapable of reproducing signs prior to and beyond alphabets, but writers, by prescribing their own alphabets, can remove their texts from hermeneutic consumption. The existence of a Stefan George script in the discourse network of 1900demonstrates that "Fish's Night Song" is the signet of the whole system.
The Stefan George script, which Lechter fabricated and used through- out the first edition of George's Collected Works, was adapted from George's handwriting. But it was handwriting only in name. First, the single letters-beyond any supposed Carolingian reference-were based on a contemporary advertising grotesque. 1zhSecond, any handwriting that can be transposed into reusable typeface functions fundamentally as mechanized script.
Technology entered the scene in archaic dress. Larisch came up with "the ideal of a personal book" that would be "self-designed, -written, - ornamented, and -bound. " IL- That is exactly what George did before Lechter and Georg Bondi made him aware of the possibility of technologi- cal reproduction. Under the pressure of media competition, high literature returned to the monastic copyists whom Gutenberg had rendered unneces- sary and Anselmus had made to seem foolish. At the same time, however, the personal book (that oxymoron) was to be set in block letters that, "equal in their characteristics," have none of the redundant differences of individual handwritten letters. According to Larisch, the historic "mo- ment" was "favorable" for old-fashioned, manually made books because "precisely now the use of typewriters is becoming widespread. " "*
The ascetics of handwork art, even when they played at being medi- eval, were in competition with the modern media. As soon as there were typewriters, there were fashioners of texts like Mark Twain or Paul Lindau, who had "the production means of the printing press at their dis- posal" on their desks. According to Marshall McLuhan, the fact that "the typewriter fuses composition and publication" brought about "an en- tirely new attitude to the written and printed word. ""' Like innovation, its effects surpassed its applications. When Larisch and George stylized their handwriting until it became a typeface, they achieved what Malling
THE GREAT LALUU 259
? 260 1900
Hansen and Nietzsche had been praised for: script "as beautiful and regular as print. " ' l o "Perfect lyrical creations and perfect technical ob- jects are one and the same. ""'
The new relation to the printed word became printed reality in the layout of George's books. From the time of his break with Lechter, at the latest, his books constituted an imageless cult of letters. The cry of mate- rial equality extended from the single lyrical word to the entire alpha- betical medium. If modem, Morris-inspired publications, such as Goals of Internal Book Design, state in tautological conclusion that "paper and type make up a book," the poets of the George circle were "more or less the first to realize that a book consists of paper and type. "''z
But it is not only the fact that books of the turn of the century "looked very booklike" that places them into technological contexts. "' More im- portant, the Stefan George script (as typeface, in the form of its letters, and in its orthography and punctuation) presupposed, maximized, and exploited experimentally obtained standards. In terms of the physiology of reading, it was evident that the "letters and other elements of the type- face" and "the capital and small letter should be as similar as possible. " It follows that roman is by far "more efficient" than Fraktur, which would be "unthinkable as a typewriter typeface. '"" The Stefan George script met just these standards; in its new letter forms for e, k, and t, capital and lowercase letters were even more alike than in ordinary roman type. '" George eliminated the ascenders from two of the twenty-six letters (kand t). This might seem a minimal innovation, but in combination with Grimm's orthography (the use of small letters for nouns, the elimination of h from many th combinations, and the use of ss rather than the Eszett), it had a significant cumulative effect. Whereas the physiologist Messmer counted 270 letters above or below x-height in an ordinary text a thousand letters long, I find in George an average of only 200 extended as opposed to 800 small letters. (The same passages in Duden orthogra- phy would contain nearly one hundred more ascenders and descenders. )
Messmer could show that words such as physiological or psychologi- cal, taken simply as collections of letters containing a high percentage of ascenders and descenders, d o not convey the "unitary whole impression" that distinguishes words such as wimmem, nennen,or weinen. "" Ex- tended letters quicken the pace of tachistoscopic word recognition, but in a special script or cult of the letter intended to hinder any alphabetized skipping over of letters, material equality is everything and a gain in speed is nothing. Therefore masses of words like wimmern, nennen, and weinen fill the eighteen volumes of an oeuvre whose esotericism is phys- iologically guaranteed. In it, homologies, recognitions, and knowing smiles are exchanged between the most aristocratic of writers and the
? THE GREAT LALULA 261
modest experimenters of I900. The inventor of psychotechnology con- firmed an esotericism in the inventor of the Stefan George script that-a first in the history of writing-could be measured. "The fact that the elimination of capital letters from the beginning of nouns constitutes a strong check against rapid absorption can be easily verified, should read- ers of Stefan George find it necessary, by psychological experiment in an easily measurable procedure. " 'I'
These lines are as true as they are prophetic. Whereas readers of Nietzsche stumbled only here and there over italicized introjections, read- ers of George have trouble with every letter. A perfect experimental pro- cedure forestalls understanding in order to fix the eyes on signifiers as murky as the "Fish's Night Song. " But the readers were fascinated and forgot they were experimental subjects. In opposition to the technologi- cal media, they conjured up a secondhand old Europe. Consider Gert Mattenklott's consideration of George: "The image of Stefan George ap- pearsfinallyasthesheerallegoricalcorpse. . . . Everythingarbitraryand individual is transcribed into a meaningful universal, perhaps most clearly when George made his own handwriting resemble a typeface in- tended to replace the conventional one. "''nThese lines are as false as they are Benjarninesque. Their writer is simply unaware of the technologies of his own century. The facts that the typewriter made it inevitable that handwriting should come to resemble type, that there was the project of a "world letter" to unburden memories,'" and that the logic of the signifier explodes the "meaning" of the age of Goethe all fall victim here to an allegory of allegory. "Conventional handwriting" is a non-concept. If his- tories of the material basis of literature are to be possible, apparent con- ventions, especially in the elemental field of writing, must be dismantled and examined as feedback control loops and programs. George, whether a corpse or not, was evidence of an epochal innovation.
No appeal to timeless conventions could ever explain why a nameless artist (not George) changed his handwriting three times between 1877 and I 894, attracting the attention of psychiatrists with the third change and landing among them with the fourth. Above all, however, conven- tions cannot explain why science took precisely this patient at his word or pen and made facsimiles of his handwriting. '"' Only the assumption that the four writing experiments portray an upheaval, as if in time-lapse photography, can explain both acts of writing, that of the patient and that of the psychiatrists. Proceeding exactly as had George (who, of course, was not born writing block letters), the anonymous artist made the tran- sition from the rounded and connected handwriting ideal of Stephani or Lindhorst to the cult of the letter. One of the first studies of its kind, en- titled Handwriting of the Insane, noted that it was "in no way acciden-
? 262 1900
tal" that patients' handwriting lost "the normal connecting lines between adjacent letters. '"'' As if to demonstrate the explosive force of discursive events, the isolation of letters leads to the isolation of their writers.
I
In 1894, the Encyclopedic Review commissioned a young medical student to query writers about the recent appearance of graphology. Mallarmi's answer runs:
Yes,I think that writing is a clue; you say, like gesture and physiognomy, nothing more certain. Nevertheless, by profession or by taste, the writer recopiesor sees first in the mirror of his mind, and then transcribes in writing once and for all, as if invariable. The immediate effect of his emotions is therefore not visible in his manuscript, but there one can judge his personality as a whole. '"
This states the issue directly. While graphology was being developed to provide another type of evidence, literate people fell into two subclasses: on the one hand, those whose handwriting was a direct reflection of their unconscious and so could be evaluated psychologically or criminologi- cally; on the other, the professional writers, who were writing machines' without handwriting. Among the latter, what appears to be the produc- tion of a soul is always only the reproduction on a keyboard of invariable letters. Writers' texts therefore could not be interpreted unless graph- ology made "major modifications. " That is exactly what happened when Ludwig Klages studied an original manuscript of George (as was explic-
* Here and throughout this chapter, there is a play on the etymology of khreibmuschine ("typewriter," but literally "writing machine"). [Trans. ]
? itly noted in George's Works):'" "ornament," rather than the usual "ex- pressive marks,'' necessarily became the object of interpretation. '" Pro- fessional, intransitive writing barred the abyss of the unconscious and ruled out the techniques of gathering evidence. The remaining word spe- cialists quickly learned the lesson that the phonograph taught foolhardy Wildenbruch. MallarmP became an incomprehensible personality en bloc; George was practical enough, in his monthly dealings with the Deutsche Bank, to have his favorite disciple write the signature on his checks, Stefan George. "He said that Gundolf could sign his name in such a way that even he could not tell, at a later date, whether he or Gundolf had signed it. "14'
For all the disdain of words that made him the founding hero of Bildung, Faust still believed in and obeyed the binding power of his signa- ture. Without the bureaucratic ethos, the pact between the humane disci- plines and the state would not have come about. For all his cult of the word, George, the technician in spite of himself, played a little strategic game in his commerce with the bank. A signature that, like the graph- ologically dreaded "machinescript," avoids "every trait of intimacy" and thus can always be forged, can be found in print. '" Although the techni- cians, on their side, soon discovered George's trick, he did demonstrate
DAS WORT Wundar von feme oda mum
Bmchr ich an meines lander saum
Und home bis die gmuc nom Den namtn fond in ihrem born -
Dmuf ronnr: ichr greihn dicht und nam Nun blUhr und glann es durch die man. . . .
Einn long ich on nach parr fohn Mn einem rlcinod reich und Lon
SK sudm long und gob mir rund:
,So xhlah hier nichrs ouf riehm grundc
Womuf es meincr hand cnuann
Und nic mtin land den x h a u gewonn . . .
So Icrnr: ich murig den m k h r : Kein ding sei wo das WOK gebrichr.
THE GREAT L A L U a 263
? 264 1900
something. Only as long as people believed in their inwardness did that inwardness exist. Man stands or falls with the signature of his signature. It is impossible to give exemplary status to Man and to Language in one and the same discourse network. "-
Thus circa 1900 the universal bureaucratic ethos of the age of Goethe was replaced by professional ethics. In the competitive struggle of media everyone swears by a particular professionalism. It can mean nothing else when lyric poets after George prominently publish poems entitled "THE WORD. "
THE WORD
I carried to my country's shore
Marvels and dreams, and waited for
The tall and twilit norn to tell
The names she found within the well.
Then I could grasp them, they were mine, And here I see them bloom and shine . . .
Once I had made a happy haul And won a rich and fragile jewel.
She peered and pondered: "Nothing lies Below," she said, "to match your prize. "
At this it glided from my hand And never graced my native land.
And so I sadly came to see:
Without the word no thing can be. "*
? Rebus Untranslatability and the Transposition of Media
A medium is a medium is a medium. Therefore it cannot be translated. To transfer messages from one medium to another always involves re- shaping them to conform to new standards and materials. In a discourse network that requires an "awareness of the abysses which divide the one order of sense experience from the other,"' transposition necessarily takes the place of translation. LWhereas translation excludes all particu- larities in favor of a general equivalent, the transposition of media is ac- complished serially, at discrete points. Given Medium A, organized as a denumerable collection of discrete elements E; . . . E;, its transposition into Medium B will consist in reproducing the internal (syntagmatic and paradigmatic) relations between its elements in the collection E: . . . EL. Because the number of elements n and m and the rules of association are hardly ever identical, every transposition is to a degree arbitrary, a ma- nipulation. It can appeal to nothing universal and must, therefore, leave gaps. The elementary, unavoidable act of EXHAUSTION is an encounter with the limits of media.
The logic of media may be a truism in set theory or information the- ory, but for Poets it was the surprise of the century. Before they founded TheNew Empire, the kingdom of blank machine-written bodies of words, poets more than any other profession remained faithful to the classical discourse network. The translatability of all discourses into poetic sig- nifieds endowed poets with such privilege that only bitter experience forced them to renounce their constitutive illusion. For an entire century poets had worked with language as if it were merely a channel. ' Love and
? 266 1900
intoxication transported the author into hallucinations that he would later, as "marvels and dreams," have only to transcribe. Being the general equivalent of all the senses, the imagination guaranteed that every "jewel" would have no trouble finding a name. Because addicted masculine and feminine readers quickly read past these names, their effect was anything but equality among the various aesthetic materials: through backward- moving translation, discourses became once more a sensual Nature, one that "blooms and shines. "
In 1919the exchange broke down. The nom with whom a Poet bar- tered his imaginative visions for words is no longer a Mother, the one who, as the unarticulated beginning of articulation, guaranteed unlimited expression. The nom has only a bourn or treasury in which signifiers co- exist spatially as denumerable elements. Whatever jewels glow in other media need not necessarily have equivalents, even in Stefan George script. After a long and exhaustive search, the nom breaks this sensational news. Whereas poetic translation was led on by the constant promise of fulfill- ment, literature is a transposition of media; its structure is first revealed, in the best positivistic and consequently Dasein-analytic manner, by deficits. '
Experimenters with the tachistoscope and writers at the nom bourn agree that in every language "the number of words is limited at a particu- lar time, in a particular domain of literature, and for a particular author. " An economy of the scarcity of signs replaced universal trade in 1900. George did not limit his economizing with words to his programmatic poem. He was also the "first modern German poet whose vocabulary is contained in a complete dictionary," which, however, does not make him into an "unfathomable spring. "' It would have been better-aside from the exhaustibility of even the deepest nom bourns-to check at least once with the positivists. Poetic languages, like that of the symbo- lists, which "made it necessary to compile a special dictionary for their works (J. Plowert, Petit glossaire pour servir a l'intelligence des auteurs dkcudents et symbolistes)," thus identify themselves as "professional jargon. " '
Consequently, George's final stanza celebrates The Word as the ethic of a media professional. In what sounds like resignation, Heidegger's un- erring art of reading deciphers something quite different.
His renunciation concerns the poetic relation to the word that he had cultivated until then. Renunciation is preparedness for another relation.
If so, the "can be" in the line, "Without the word no thing can be," would grammatically speaking not be the subjunctive of "is," but a kind of imperative, a command which the poet follows, to keep it from then on. If so, the "may be" in the line, "Where word breaks of n o thing may be," would mean: do not henceforth admit any thing as being where the word breaks off. -
? An imperative issues from the realization that the transposition of media is always a manipulation and must leave gaps between one embodiment and another. This imperative does not deny that there are media other than writing; it rejects them. On the threshold of the Indian temple caves of Shiva, whose name, Elloru, George celebrates as he had the nonsense word Tzholu,are the lines:
Pilger ihr erreicht die hiirde.
Mit den triimmern eitler biirde Werft die blumen werft die floten. Rest von trostlichem geflimme!
Ton und farbe miisst ihr toten Trennen euch von licht und stimme An der schwelle von Ellora.
Pilgrims, you have reached the gate With your pack of worthless freight. Leave the garland, leave the flute, Shreds of solace, shreds of show, Tints shall fade and sound be mute, Light and voices cease to flow
On the threshold of Ellora. n
To deny the other media would be absurd, because color and sound, light and the voice have become recordable, become part of the general accel- eration, "in the sense of the technical maximization of all velocities, in whose time-space modem technology and apparatus can alone be what they are. "9 Henceforth command will conflict with command, medium with medium. High literature circa 1900became a despotic, indeed mur- derous command to limit data to what the medium of script could ex- haust. Its spirit [Geist],according to Morgenstern's very serious play on words, ought to be named ''It is called / It commands" [Heisst]. "'The spirit-or George-became a dictator giving dictation, followed by young men who killed off what was real in them and recorded by secretaries who derived a complete pedagogy from the recording threshold of Ellora.
At conferences of the art-education movement "the possibility of trans- lation in the deepest sense" was rejected precisely in a figure who pro- moted translatability and world literature. Stephan Waetzoldt, an official in the Prussian Ministry of Culture, Education, and Church Affairs, ex- perimented with native and foreign students to determine whether it was possible to translate Goethe's poem "Dedication. " His results were:
It isnomore possible for a Frenchman to become a German than it is to translate French into German or vice versa. Only where everyday matters, the banal, or the smctly mathematical are expressed, can there be any question of real translation. One can rethink or re-form something in another language, in another image of
REBUS 267
? 268 1900
the world, but one can never actually translate. How could you ever translate
Musset, and how could you ever translate Goethe! ''
The imaginary (the everyday) and the real (the mathematical) can thus be translated, but the symbolic allows only transpositions. Poems there- fore provide the greatest inner resistance to translation. To demonstrate (again in opposition to Goethe) that the poetic effect is nearly lost in prose translations, despite his own doctrine of hermeneutic understand- ing, Dilthey cited Fechner, the inventor of psychophysics. " Reference to scientific studies was the innovation here. Magical or theological un- translatability was an ancient topos that became fashionable again circa 1900,"but no appeal to magical spells could hide the fact that psycho- technical untranslatability had been experimentally and recently estab- lished rather than miraculously found.
Magical spells or incantations are isolated, foreign bodies in actual lan- guages; circa 1900,however, entire artificial languages were deliberately created. Referring to his contemporaries, Morgenstern claimed the right of "imaginative youths . . . to invent a tribe of Indians and all it entails, its language and national hymns" and, with reference to his "Lalulii," termed himself "one of the most enthusiastic Volapukists. " Around I885,there was a fashionable project to construct "Ideal-Romanic" (reminiscent of the world language of Volapiik) as an extract of the vari- ous forms of Vulgar Latin. Lott, Liptay, and Daniel Rosa contributed to this linguistically much "more solid edifice,"" as did (a little later) a stu- dent of Romance languages by the name of George, who invented his Lin- gua Romana in 1889. '"
The Lingua Romana allowed George to anticipate Waetzoldt's experi- ments with students using his own Germanic and Romance-language me- dium: he wrote translations of Ideal-Romanic poems in German and vice versa. Since Champollion, the decoding of unknown languages had rested upon the foundation of a bilingual informant. But this was not so for the languages that George constructed at the age of seven or nine for himself and his friends, shortly before Morgenstern's Indian language game. His poem "Origins" presents a childhood on the pagan-Roman Rhine, which has come under the influence of the language of the Church-until George counters the traditional incantation hosanna with one of his own making.
Auf diesen triirnrnern hob die kirche dann ihr haupr Die freien nackten leiber hat sie streng gestaupr Doch erbte sie die prachte die nur starrend schliefen Und iibergab das maass der h6hen und der tiefen Dem sinn der beirn hosiannah iiber wolken blieb Und dann zerknirscht sich an den griberplatten neb.
? Doch an dem flusse im schilfpalaste
Trieb uns der wollust erhabensterschwall: In einem sange den keiner erfasste
Waren wir heischer und herrscher vom All. S,iissurrd befeuernd wie Attikas choros Uber die hiigel und inseln klang:
CO BESOSO PASOJE PTOROS
co ES ON HAMA PASOJEBOAN.
The Church then reared her head above these stones, and she Grew stem and scourged the flesh she found too bare and free. But she was heir to pomp, aflash in death-likesleeping,
And gave the standard set for height and depths in keeping
To minds that in Hosannahs wheeled above the clouds
And on the slabs of tombs in self-abasementbowed.
But near the stream in a palace of reed
On by the tide of our lust we were swirled, Singing an anthem which no one could read, We were the masters and lords of the world. Sweet and inciting as Attica's chorus
Over the mountains and islands flung:
CO BESOSO PASOJE PTOROS
co ES ON HAMA PASOJE~ 0 ~ r ; r . l ~
The poem enacts its theme. The secret language of the IMRI triumphs because it remains a norn bourn. George would quote and allude to it many times," would even present it in conversation to a linguist and ex- pert in secret languages, who immediately confirmed that it was a rare example of wholly invented grammars and vocabularies "-but the great- est translator in the German language did not think of translating it as well. When George's disciples discovered a handwritten translation of portions of the Odyssey into the IMRI language among George's papers, it was logical and not merely pious of them to destroy the single bilingual document.
According to Nietzsche, language exists only because nature has thrown away the keys to its secrets. George's quotation from his own lan- guage, in a poem entitled "Origins," shows that the writers of 1900 would yield nothing to nature. co BESOSO PASOJE PTOROS / co ES ON HAMA PASOJE BOAN. How painhlly trivial, then, is the "suspicion" of a literary critic that "the content of those lines could be painfully trivial. "'" Precisely because the IMRI undo the act with which the Church trans- ferred the measure of heights and depths to meaning or the signified, many worse things are possible: the two lines might not have any content whatsoever.
Literature that simulates or is constructed out of secret languages and
REBUS 269
? 270 1900
that thus always stands under the suspicion of being "a kind of non- sense,"" forces interpretation to rearrange its techniques. The classical path to origins in the soul or childhood of the author is gone; a "littt- rature 5 rtbus" demands (not only with Dilthey) an objective interpre- tation on the model of cryptographic decoding techniques. The "new symbolism" employs "symbols in a completely different way" than was common in the classical-romantic lyric; it takes not "feeling itself" as its theme "but another and distant object" under the rules of the transposi- tion of media. " Thus a technical, rather than a psychological-historical, understanding retransposes or decodes the transposition. Georg Simmel demonstrated this for poetic works as well as for black-box machines.
A creation of the mind that is intended to be understood can be compared to a problem or puzzle that the inventor has constructed with a code word. If some- one attempting to solve the puzzle should find a second word, one that, objec- tively, solves the puzzle with equal logical and poetic success, the second word is as perfectly "correct" a solution as the one intended by the poet; indeed the latter has not the slightest priority over the former or over all the other, in principle unlimited, code words that might still be found. "
Interpretation is only a special instance of the general technique of transposing media. There is no psychological bridge between the en- coding author and the decoding interpreter, but a technical contest. Each has at his disposal a nom bourn, so that with luck, which nothing and no one guarantees, the elements and associative rules of Medium A can be reproduced in the elements and associative rules of Medium B. When Bettina Brentano attempted to interpret Goethe's "Charade" as a recipro- cal declaration of love, without being able to crack the Herzlieb code, she was unfortunately working in a different discourse network. Had she been able to attend Simmel'sseminars in Strasbourg, as many women did around 1900,much would have been easier. An interpretive method without an author as idol obviates not only the vain effort of deciphering, but also the threat of discovering Herzlieb in the riddle after all.
Indeed, for short periods the transposition of media can be lifesaving. In 1902Emil Strauss published a novel about a gymnasium student and born musician who is driven to suicide by the dust-covered new human- ism of his teachers and their lesson plans. After having been forbidden to play his beloved violin, Heinrich Lindner spends every afternoon doing his homework.
During the first few days it was not so bad; indeed, he thought with slight bitter- ness: Everything is turning out well! But on the fourth day he suddenly caught himself not concentratingonthe equation he was supposed to he solving but read- ing the letters as notes, and, without being aware of it, he had already hummed a whole page of the hook.
? REBUS 271
"Good God! "he cried out laughing, "what nonsense! " But he could not resist looking at the page once more and consciously attempting to see if there might be, somewhere among the boring letters, a hidden musical combination. Soon, however, he was no longer laughing; he noticed that he could no longer concen- trate on the mathematical value of the letters, and that the simplest sequence of letters would remind him of a musical phrase or suggest a motif. "
It is thus sheer mockery when the obtuse bureaucrats hermeneutically certify that their problem student, despite "very irregular reading," is ca- pable of "penetrating the spirit of an author. ''2' One who reads note val- ues rather than algebraic variables (and also letters in other places), is proceeding neither irregularly nor according to an author's psychology. His reading is conceivably a precise transposition of media and can be interpreted and legitimized by Simmel's objective interpretation. It is no less radical an act in that Lindner is not alone. His contemporary Alban Berg transposed letters into notes (as a means of erotic disguise); for the hero of the novel, the same process is an unconscious and thus lifesaving compulsion, a special instance of alexia with the purpose of evading high school alphabetizing. In fact, research into speech deficits has uncovered cases (aside from the strategic simulation of aphasia) in which patients "lose words, but retain the meaning of notes. "'"
The Trio for Piano, Violin,and Violincello by Heinrich Lindner, Opus I , is subsequently inspired by a train station. The composer manque hears the stationmaster sing commands as melodies (like the "children who while playing give rhythm and alternation to their calls"). Shortly afterwards the concourse sounds in a confusion of voices, but this does
nothing to disturb Lindner's musical dream, because all media circa 1900 presuppose white noise. The "confusion of voices, letting no single sound reach or disturb him," inspires the precocious and supposedly ungifted student to Opus I?
If the transposition of media can make musical notes out of letters and scores out of a confusion of voices, a decoding of the darkest and least translatable of texts is also possible and necessary. "The Great Lalula" has, if not meaning, at least method, and not merely as "a more or less modulatory expression of an entirely definite and to the greatest extent exscene worldcomprehensivewordchildandartview. "'* For the decoding that Morgenstern himself produced, albeit as "Jeremias Mueller, Ph. D. "- that is, with professional distance from his own wordchildandart-allows no modulation whatsoever.
THE GREAT LALULA
Too much has been attributed to this song so far. All it hides is simply- checkmate. No chess player will ever have understood it any other way. But in order to accommodatethe layman and beginner, I will outline the position here.
Kroklokwafii = K a 5 (white) king a 5. The question mark signifies some
? 272 1900
question as to whether the position of the king might be stronger in another posi- tion. But let us proceed.
Semememi! = S e I (black) knight e I . Theexclamation point signifies a strong position. ''
And so on and so forth, until all the nonsense words are exhausted and a crazy checkmate position is left. The self-commentary, far from translat- ing any life of the soul, is once again a transposition of media. The con- tents of the system of notation count only insofar as they equal a hom- onym in the second system. (Nothing in S e I explains the m and i of Semememi. ) Whether from algebraic variable to note values or from letters to chess abbreviations, every transposition leaves gaps. Most im- portantly, however, the result is never a surplus of meaning. "T' much has been attributed to this song so far"-that could be written on the gravestone of an entire literary criticism.
Attention to materials and the transposition of media are two sides of the same positivism. Only the methodologically rigorous isolation of in- dividual groups of signs or cultural technologies can make such exact connections possible. Voice and gesture, lettering and ornament, p'icture and sound, letters and notes, Stefan George script and the "oral reading of poems'' "-all of these connections presuppose technical analyses. There are odd and quite compelling indications of this.
When Morgenstern's late master invented a new type of dance, what had once been a parody of explication, as in "Lalulii," became dead se- rious. Eurythmy consisted in taking letter after letter, part of speech after part of speech, out of Goethe's poems and assigning to each particular signifier an iterable expressive gesture. Once these had been definitively established, the master, Rudolf Steiner, would simply command "faster, faster"-and the female disciples, whose "own, very wise head is some- what out of it, help the essential power of the sound gain its autonomous effect. " 'I
Whether or not such women were of flesh and blood has nothing to do with the parallel connection of media. The Edison of Villiers' novel con- structs a mechanical Eve with a phonographic vocabulary of 2 x 7 hours playing time rather than human lungs and so-called linguistic compe- tence. Because this vocabulary is denumerable, Edison is able to syn- chronize Eve's recorded speech capacity with her no less mechanical ex- pressive movement^. '^ What will and must strike the future beloved of the future woman as a coherent organism is actually technological eurythmy.
What happened in the novel also happened in reality, but with far- reaching sociohistorical effects. From the very beginning the silent film was coupled (either mechanically or through subaltern accompanists)'' with recorded sound. The two separate media, picture without sound and
? sound without picture, allowed synchronization. The progressive literati Albert Ehrenstein, Walter Hasenclever, Else Lasker-Schiiler, Kurt Pinthus, Franz Werfel, and Paul Zech were dismayed that "dismal background piano clinking" and (the scene is Dessau in 1913)"a narrator comment- ing on the action in a mighty Saxon accent" drowned out the film. " But their suggested improvements, all of which tended toward a media-true lbrt pour l'urt of the silent film, themselves coupled the movies and the professionalism of writers. The screenplays that Pinthus and his com- rades offered to the industry as their Movie Book demonstrate with every word that the untranslatability of media is essential to the possibility of their coupling and transposition.
Psychoanalysis and Its Shadow
The transposition of media could be applied from jokes to mysticism to the culture industry. Moreover, it could be grounded methodologi- cally, and so it became the paradigm of a new science. Freud's Interpreta- tion of Dreams, in the date on its title page proudly and proleptically dis- playing the zero number of a new century, inaugurated the transposition of media as science.
Before there can be any interpretation of dreams, three secular falla- cies need to be dismissed. The first is the philosophers' prejudice, which holds that dreams are without objective, reasonable connection and are unworthy of interpretation. As opposed to Hegel (whom, justifiably, he cites only indirectly),' Freud prefers to follow the lay opinion that as- sumes "a meaning, though a hidden one" in the dream. But popular dream interpretation has remained translation in two complementary ways: it makes the whole dream "symbolic" of global meanings, or it translates parts of a dream by "mechanically transferring" each part "into another sign having a known meaning, in accordance with a fixed key. "z Both techniques, the analogical and the digital, presuppose that the two media, the dream and language, are either similar or coextensive. The new science rejects these two views as naive. In a well-known com- parison, Freud defines his procedure of strict transposition of media.
The dream-thoughts and the dream-content are presented to us like two versions of the same subject-matter in two different languages. Or, more properly, the dream-content seems like a transcript of the dream-thoughts into another mode of expression, whose characters and syntactic laws it is our business to discover by comparing the original and the translation. The dream-thoughts are imme- diately comprehensible, as soon as we have learnt them. The dream-content, on the other hand, is expressed as it were in a pictographic script, the characters of which have to be transposed individually into the language of the dream thoughts. If we attempted to read these characters according to their pictoral
REBUS 273
? value instead of accordingto their symbolic relation, we should clearly be led into error. Suppose I have a picture-puzzle, a rebus, in front of me. It depicts a house with a boat on its roof, a single letter of the alphabet, the figure of a running man whose head has been conjured away, and so on. Now I might be misled into rais- ing objections and declaring that the picture as a whole and its component parts are nonsensical. A b a t has no business to beon the roof of a house, and a head- less man cannot run. Moreover, the man is bigger than the house; and if the whole picture is intended to represent a landscape, letters of the alphabet are out of place in it since such objects d o not occur in nature. But obviously we can only form a proper judgement of the rebus if we put aside criticisms such as these of the whole composition and its parts and if, instead, we try to replace each sepa- rate element by a syllable or word that can be represented by that element in some way or other. The words which are put together in this way are no longer non- sensical but may form a poetical phrase of the greatest beauty and significance. A dream is a picture-puzzle of this sort and o u r predecessors in the field of dream- interpretation have made the mistake of treating the rebus as a pictorial composi- tion: and as such it has seemed to them nonsensical and worthless. '
Interpretive techniques that treat texts as charades or dreams as pic- ture puzzles have nothing to d o with hermeneutics, because they d o not translate. The translation of a rebus fails because letters do not occur in nature, the ultimate reference of all translation. In George's poem "The Word," the poetic imagination and the treasury of language are not co- extensive, just as in Freud's comparison the picture of the landscape is not coextensive with an alphabetic sign system. Negative findings such as these necessitated a new approach. In order to transpose the manifest content of dreams into latent dream thoughts, each of the two media must first be designated as defined sets of elements with defined rules of association (laws of articulation). If Faust marked the moment in the his- tory of the sign in which there was no awareness of the paradigmatic axis, The Interpretation of Dreams conducts the analysis of signs solely ac- cording to the place values of discrete elements. . It does not establish the status of a symbol in the classical sense-in other words, a transcenden- tal signified, which previously absorbed all words, above all the word word. In its place there are now separate subsystems of signifiers, in which the parts of the rebus must be tentatively placed until they fit in a subsystem. Rebus is the instrumental case of res: things can be used like words and words like things. Interpretation has everything to learn from "the linguistic tricks of children, who sometimes actually treat words as though they were objects, and moreover invent new languages and ar- tificial syntactic forms. " Therefore every manipulation of letters and words is allowed within the framework of a determined language. Dreams, "impossible as a rule to translate into a foreign language," 'trav- erse all the associative domains of a given language. The transposition of media is thus an exact correlate of untranslatability.
? Neither similar nor coextensive, dream-content and dream-thoughts relate to one another like "Laluli" and checkmate in chess. Freud, "one of the most daring language adventurers and word mystics," is also "a brother of Morgenstem. "' The decoded dream-content is no more poetry than chess notations are poems. Dreams could pass as Poetry only as long as optical and acoustical hallucinations were counted as part of the dream. Nothing remains of the beautiful appearance when the elements of a dream-content are transposed one by one into signifiers, even if the result is a poetical phrase of the greatest significance. Freud's irony is in- tended only for those who would see in the picture puzzle the substitutive sensuousness of a drawing or landscape. As true "syllabic chemi~try"' with which the decoding method competes, the dream is already a piece of technique distant from nature and painted landscapes.
But this technique bears the stamp of its era. Bahr, for example, em- phasized that "nature," where it could "express itself freely and without restraint," namely in dreams, "proceeds punctually and exactly accord- ing to the prescription of the new school" of symbolist "rebus litera- ture. "' With Freud, dream interpretation presupposes cutting apart any continuous series of images before syllables or words can substitute for them. It is no accident that the rebus Freud describes or makes up con- tains a running figure whose head has been conjured away. Only a cripple without a head yields an unconscious, and only the dismembered phe- nomena of the dream yield readable script. The poem of the picket fence divides syllables by the space between them in exactly the same way; and in exactly the same way the film camera cuts up continuous movement. The fact that The Interpretation of Dreams ignores the phenomenon of the dream is the first step toward deciphering dreams. Transpositions liquidate the medium from which they proceed. Every syllable and word of Freud's requirement that one substitute for every image a syllable or word is to be taken literally. This is demonstrated in his treatment of hys- terics, who are "for the most part visually oriented. "
Once a picture has emerged from the patient's memory, we may hear him say that it becomes fragmentary and obscure in proportion as he proceeds with his de- scription of it. The patient is, as it were, getting rid of it by turning it into words. We go on to examine the memory picture itself in order to discover the direction in which our work is to proceed. "Look at the picture once more. Has it dis- appeared? " "Most of it, yes, but I still see this detail. " "Then this residue must still mean something. Either you will see something new in addition to it, or something will occur to you in connection with it. " When this work has been accomplished, the patient's field of vision is once more free and we can conjure up another picture. On other occasions, however, a picture of this kind will remain obstinately before the patient's inward eye, in spite of his having described it; and this is an indication to me that he still has something important to tell me about
REBUS 275
? 276 1900
the topic of the picture. As soon as this has been done the picture vanishes, like a ghost that has been laid. '"
F. L.
circa 1800 aimed at mitigating the shock of binary opposition by con- necting lines and an attenuation of the black-white contrast, Larisch-as
a student of William Morris-gave his students the "feeling of how poorly the softening halftone fits into a printed book," in that "simple, powerful outlines and the full contrast of black and white spaces have an appearance characteristic of printed type. ""'
And yet-the implications of the tachistoscope and the economy of letters for literature and literary science become even more obscure, if possible, here on the page, for all its black and white space. One needs the whole power of one's vision to glimpse the overlooked visibility of texts. The black and white of texts seems so timeless that it never occurs to readers to think of the architects of that space. The forgotten techni- cians of 1900,however, revolutionalized the page of poetry, from the most playful verses to the most ritualized. Morgenstern's Gallows Songs enact the derivation of what the Stefan George typeface practiced in mute solemnity.
Es war einmal ein Lattenzaun
rnit Zwischenraum,hindurchzuschaun.
Ein Architekt, der dieses sah, stand eines Abends plotzlich da-
und nahm den Zwischenraumheraus und baute draus ein grosses Haus.
Der Zaun indessen stand ganz dumm, rnit Latten ohne was herum.
Ein Anblick griisslich und gernein. Drum zog ihn der Senat auch ein.
Der Architeckt jedoch entfloh nach Afri- od- Arneriko.
There used to be a picket fence
with space to gaze from hence to thence.
? THE GREAT LALUU 257 approached it suddenly one night,
removed the spaces from the fence and built of them a residence.
The picket fence stood there dumbfounded with pickets wholly unsurrounded,
a view so naked and obscene the Senate had to intervene.
The architect, however, flew to Afri- or Americoo. ""
"The Picket Fence" is the fairy tale of a new age. Where Anselmus saw the woven arabesques of handwritten letters, the cold eye of the architect sees the opposite. One evening Larisch's imperative-to look constantly BETWEEN the letters, to grasp the space outlined between them with all one's strength-is realized word for word. In so doing, the architect does not discover merely how indispensable concepts of relation are. "! Some- thing more tangible is at stake: the fact that the readability of signs is a function of their spatiality. The architect's manipulation of space demon- strates that, when the lack is lacking and no empty spaces remain, media disappear, "naked and obscene," into the chaos from which they were derived.
Consider the final stanza of "The Picket Fence" in light of the architec- ture of block letters. Whereas "the alliteration of Africa and America feigns an ending in -(i)~a,'"w~h~ich also plays with the ending of oder [the placement of "or"], a "between" appears in the realm of the graph- eme: the space designated by the dash. The words of the poem, complete autonyms in this sense, foreground their own intervals between stem and ending. Morgenstern's constructed architect does not disappear into far- off lands, but into the space between signs that he had usurped.
From this vanishing point called paper, it is only a step to "the ideal of purely abstract, absolute poetry," an ideal of such brilliance "that it also means the end of poetry; it can no longer be imitated or surpassed; it is transcended only by the empty white page. "I2' "The Picket Fence" de- scribes the binary opposition between letters or pickets [Lettemlhtten] and the space between them, but "Fish's Night Song" uniquely enacts this opposition without any description at all. "' In it, the reduction to straight line and half curve that distinguishes roman from Fraktur scripts be- comes textual event. Circumflex and dash, two signifiers that define themselves through mutual opposition and relation, are the absolute minimum economy of the signifier. Their binary opposition to each other, canceled or articulated through the shared opposition of both to paper,
An architect who saw this sight
? 258 1900
constitutes the poem that meets all the reading-psychological desiderata of its epoch. Period. For there is nothing more to write about a minimal signifier system.
Or there would be nothing more to write if the poem did not have a title composed in the very different, redundant, signifier system of the twenty-six letters. Through the title, one discourse network answers an- other across the turning point that divides them. "Fish's Night Song" is the cancellation of Goethe's "Wanderer's Night Song 11. " In the latter, a human voice outlasts the surrounding sounds of nature for one breath in order to express the promise that it, too, would find rest in the lap of Mother Nature. In the former, the text brings a mute fish not to speech, but into a typogram. It thus realizes Schleiermacher'snightmare: namely, that a real optics would render superfluous the imaginary, imaginal as- pects that meaningful words suggest to alphabetized readers. As mute and dead as any script, the fish no longer needs the phonocentric consola- tion of a seamless transition between speech and nature. The signs on the page cannot be spoken by any voice-regardless of whether one reads them as fish scales or discrete elements of the roman typeface. Man and soul, in any case, no longer apply. With all the wanderers between day and night, Spirit and Nature, male and female, Man simply died around 1900. It was a death to which the much-discussed death of God is a foomote.
Stephani wrote that written letters provide notes for the mouth instru- ment. But a mute fish demonstrates that signs can mock all speech and nonetheless still be written signs. The half curve and dash, the two mini- mal signifieds of Soennecken and of the "Night Song," can be found on every universal keyboard. The first German monograph on the typewriter
? thus celebrated the fact that "with a little inventiveness one can produce very fine borders and flourishes" on Remingtons and Olivers. 'z' It pre- sented the prototype of modernist ideal poetry years before Morgenstem.
Not only is the human voice incapable of reproducing signs prior to and beyond alphabets, but writers, by prescribing their own alphabets, can remove their texts from hermeneutic consumption. The existence of a Stefan George script in the discourse network of 1900demonstrates that "Fish's Night Song" is the signet of the whole system.
The Stefan George script, which Lechter fabricated and used through- out the first edition of George's Collected Works, was adapted from George's handwriting. But it was handwriting only in name. First, the single letters-beyond any supposed Carolingian reference-were based on a contemporary advertising grotesque. 1zhSecond, any handwriting that can be transposed into reusable typeface functions fundamentally as mechanized script.
Technology entered the scene in archaic dress. Larisch came up with "the ideal of a personal book" that would be "self-designed, -written, - ornamented, and -bound. " IL- That is exactly what George did before Lechter and Georg Bondi made him aware of the possibility of technologi- cal reproduction. Under the pressure of media competition, high literature returned to the monastic copyists whom Gutenberg had rendered unneces- sary and Anselmus had made to seem foolish. At the same time, however, the personal book (that oxymoron) was to be set in block letters that, "equal in their characteristics," have none of the redundant differences of individual handwritten letters. According to Larisch, the historic "mo- ment" was "favorable" for old-fashioned, manually made books because "precisely now the use of typewriters is becoming widespread. " "*
The ascetics of handwork art, even when they played at being medi- eval, were in competition with the modern media. As soon as there were typewriters, there were fashioners of texts like Mark Twain or Paul Lindau, who had "the production means of the printing press at their dis- posal" on their desks. According to Marshall McLuhan, the fact that "the typewriter fuses composition and publication" brought about "an en- tirely new attitude to the written and printed word. ""' Like innovation, its effects surpassed its applications. When Larisch and George stylized their handwriting until it became a typeface, they achieved what Malling
THE GREAT LALUU 259
? 260 1900
Hansen and Nietzsche had been praised for: script "as beautiful and regular as print. " ' l o "Perfect lyrical creations and perfect technical ob- jects are one and the same. ""'
The new relation to the printed word became printed reality in the layout of George's books. From the time of his break with Lechter, at the latest, his books constituted an imageless cult of letters. The cry of mate- rial equality extended from the single lyrical word to the entire alpha- betical medium. If modem, Morris-inspired publications, such as Goals of Internal Book Design, state in tautological conclusion that "paper and type make up a book," the poets of the George circle were "more or less the first to realize that a book consists of paper and type. "''z
But it is not only the fact that books of the turn of the century "looked very booklike" that places them into technological contexts. "' More im- portant, the Stefan George script (as typeface, in the form of its letters, and in its orthography and punctuation) presupposed, maximized, and exploited experimentally obtained standards. In terms of the physiology of reading, it was evident that the "letters and other elements of the type- face" and "the capital and small letter should be as similar as possible. " It follows that roman is by far "more efficient" than Fraktur, which would be "unthinkable as a typewriter typeface. '"" The Stefan George script met just these standards; in its new letter forms for e, k, and t, capital and lowercase letters were even more alike than in ordinary roman type. '" George eliminated the ascenders from two of the twenty-six letters (kand t). This might seem a minimal innovation, but in combination with Grimm's orthography (the use of small letters for nouns, the elimination of h from many th combinations, and the use of ss rather than the Eszett), it had a significant cumulative effect. Whereas the physiologist Messmer counted 270 letters above or below x-height in an ordinary text a thousand letters long, I find in George an average of only 200 extended as opposed to 800 small letters. (The same passages in Duden orthogra- phy would contain nearly one hundred more ascenders and descenders. )
Messmer could show that words such as physiological or psychologi- cal, taken simply as collections of letters containing a high percentage of ascenders and descenders, d o not convey the "unitary whole impression" that distinguishes words such as wimmem, nennen,or weinen. "" Ex- tended letters quicken the pace of tachistoscopic word recognition, but in a special script or cult of the letter intended to hinder any alphabetized skipping over of letters, material equality is everything and a gain in speed is nothing. Therefore masses of words like wimmern, nennen, and weinen fill the eighteen volumes of an oeuvre whose esotericism is phys- iologically guaranteed. In it, homologies, recognitions, and knowing smiles are exchanged between the most aristocratic of writers and the
? THE GREAT LALULA 261
modest experimenters of I900. The inventor of psychotechnology con- firmed an esotericism in the inventor of the Stefan George script that-a first in the history of writing-could be measured. "The fact that the elimination of capital letters from the beginning of nouns constitutes a strong check against rapid absorption can be easily verified, should read- ers of Stefan George find it necessary, by psychological experiment in an easily measurable procedure. " 'I'
These lines are as true as they are prophetic. Whereas readers of Nietzsche stumbled only here and there over italicized introjections, read- ers of George have trouble with every letter. A perfect experimental pro- cedure forestalls understanding in order to fix the eyes on signifiers as murky as the "Fish's Night Song. " But the readers were fascinated and forgot they were experimental subjects. In opposition to the technologi- cal media, they conjured up a secondhand old Europe. Consider Gert Mattenklott's consideration of George: "The image of Stefan George ap- pearsfinallyasthesheerallegoricalcorpse. . . . Everythingarbitraryand individual is transcribed into a meaningful universal, perhaps most clearly when George made his own handwriting resemble a typeface in- tended to replace the conventional one. "''nThese lines are as false as they are Benjarninesque. Their writer is simply unaware of the technologies of his own century. The facts that the typewriter made it inevitable that handwriting should come to resemble type, that there was the project of a "world letter" to unburden memories,'" and that the logic of the signifier explodes the "meaning" of the age of Goethe all fall victim here to an allegory of allegory. "Conventional handwriting" is a non-concept. If his- tories of the material basis of literature are to be possible, apparent con- ventions, especially in the elemental field of writing, must be dismantled and examined as feedback control loops and programs. George, whether a corpse or not, was evidence of an epochal innovation.
No appeal to timeless conventions could ever explain why a nameless artist (not George) changed his handwriting three times between 1877 and I 894, attracting the attention of psychiatrists with the third change and landing among them with the fourth. Above all, however, conven- tions cannot explain why science took precisely this patient at his word or pen and made facsimiles of his handwriting. '"' Only the assumption that the four writing experiments portray an upheaval, as if in time-lapse photography, can explain both acts of writing, that of the patient and that of the psychiatrists. Proceeding exactly as had George (who, of course, was not born writing block letters), the anonymous artist made the tran- sition from the rounded and connected handwriting ideal of Stephani or Lindhorst to the cult of the letter. One of the first studies of its kind, en- titled Handwriting of the Insane, noted that it was "in no way acciden-
? 262 1900
tal" that patients' handwriting lost "the normal connecting lines between adjacent letters. '"'' As if to demonstrate the explosive force of discursive events, the isolation of letters leads to the isolation of their writers.
I
In 1894, the Encyclopedic Review commissioned a young medical student to query writers about the recent appearance of graphology. Mallarmi's answer runs:
Yes,I think that writing is a clue; you say, like gesture and physiognomy, nothing more certain. Nevertheless, by profession or by taste, the writer recopiesor sees first in the mirror of his mind, and then transcribes in writing once and for all, as if invariable. The immediate effect of his emotions is therefore not visible in his manuscript, but there one can judge his personality as a whole. '"
This states the issue directly. While graphology was being developed to provide another type of evidence, literate people fell into two subclasses: on the one hand, those whose handwriting was a direct reflection of their unconscious and so could be evaluated psychologically or criminologi- cally; on the other, the professional writers, who were writing machines' without handwriting. Among the latter, what appears to be the produc- tion of a soul is always only the reproduction on a keyboard of invariable letters. Writers' texts therefore could not be interpreted unless graph- ology made "major modifications. " That is exactly what happened when Ludwig Klages studied an original manuscript of George (as was explic-
* Here and throughout this chapter, there is a play on the etymology of khreibmuschine ("typewriter," but literally "writing machine"). [Trans. ]
? itly noted in George's Works):'" "ornament," rather than the usual "ex- pressive marks,'' necessarily became the object of interpretation. '" Pro- fessional, intransitive writing barred the abyss of the unconscious and ruled out the techniques of gathering evidence. The remaining word spe- cialists quickly learned the lesson that the phonograph taught foolhardy Wildenbruch. MallarmP became an incomprehensible personality en bloc; George was practical enough, in his monthly dealings with the Deutsche Bank, to have his favorite disciple write the signature on his checks, Stefan George. "He said that Gundolf could sign his name in such a way that even he could not tell, at a later date, whether he or Gundolf had signed it. "14'
For all the disdain of words that made him the founding hero of Bildung, Faust still believed in and obeyed the binding power of his signa- ture. Without the bureaucratic ethos, the pact between the humane disci- plines and the state would not have come about. For all his cult of the word, George, the technician in spite of himself, played a little strategic game in his commerce with the bank. A signature that, like the graph- ologically dreaded "machinescript," avoids "every trait of intimacy" and thus can always be forged, can be found in print. '" Although the techni- cians, on their side, soon discovered George's trick, he did demonstrate
DAS WORT Wundar von feme oda mum
Bmchr ich an meines lander saum
Und home bis die gmuc nom Den namtn fond in ihrem born -
Dmuf ronnr: ichr greihn dicht und nam Nun blUhr und glann es durch die man. . . .
Einn long ich on nach parr fohn Mn einem rlcinod reich und Lon
SK sudm long und gob mir rund:
,So xhlah hier nichrs ouf riehm grundc
Womuf es meincr hand cnuann
Und nic mtin land den x h a u gewonn . . .
So Icrnr: ich murig den m k h r : Kein ding sei wo das WOK gebrichr.
THE GREAT L A L U a 263
? 264 1900
something. Only as long as people believed in their inwardness did that inwardness exist. Man stands or falls with the signature of his signature. It is impossible to give exemplary status to Man and to Language in one and the same discourse network. "-
Thus circa 1900 the universal bureaucratic ethos of the age of Goethe was replaced by professional ethics. In the competitive struggle of media everyone swears by a particular professionalism. It can mean nothing else when lyric poets after George prominently publish poems entitled "THE WORD. "
THE WORD
I carried to my country's shore
Marvels and dreams, and waited for
The tall and twilit norn to tell
The names she found within the well.
Then I could grasp them, they were mine, And here I see them bloom and shine . . .
Once I had made a happy haul And won a rich and fragile jewel.
She peered and pondered: "Nothing lies Below," she said, "to match your prize. "
At this it glided from my hand And never graced my native land.
And so I sadly came to see:
Without the word no thing can be. "*
? Rebus Untranslatability and the Transposition of Media
A medium is a medium is a medium. Therefore it cannot be translated. To transfer messages from one medium to another always involves re- shaping them to conform to new standards and materials. In a discourse network that requires an "awareness of the abysses which divide the one order of sense experience from the other,"' transposition necessarily takes the place of translation. LWhereas translation excludes all particu- larities in favor of a general equivalent, the transposition of media is ac- complished serially, at discrete points. Given Medium A, organized as a denumerable collection of discrete elements E; . . . E;, its transposition into Medium B will consist in reproducing the internal (syntagmatic and paradigmatic) relations between its elements in the collection E: . . . EL. Because the number of elements n and m and the rules of association are hardly ever identical, every transposition is to a degree arbitrary, a ma- nipulation. It can appeal to nothing universal and must, therefore, leave gaps. The elementary, unavoidable act of EXHAUSTION is an encounter with the limits of media.
The logic of media may be a truism in set theory or information the- ory, but for Poets it was the surprise of the century. Before they founded TheNew Empire, the kingdom of blank machine-written bodies of words, poets more than any other profession remained faithful to the classical discourse network. The translatability of all discourses into poetic sig- nifieds endowed poets with such privilege that only bitter experience forced them to renounce their constitutive illusion. For an entire century poets had worked with language as if it were merely a channel. ' Love and
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intoxication transported the author into hallucinations that he would later, as "marvels and dreams," have only to transcribe. Being the general equivalent of all the senses, the imagination guaranteed that every "jewel" would have no trouble finding a name. Because addicted masculine and feminine readers quickly read past these names, their effect was anything but equality among the various aesthetic materials: through backward- moving translation, discourses became once more a sensual Nature, one that "blooms and shines. "
In 1919the exchange broke down. The nom with whom a Poet bar- tered his imaginative visions for words is no longer a Mother, the one who, as the unarticulated beginning of articulation, guaranteed unlimited expression. The nom has only a bourn or treasury in which signifiers co- exist spatially as denumerable elements. Whatever jewels glow in other media need not necessarily have equivalents, even in Stefan George script. After a long and exhaustive search, the nom breaks this sensational news. Whereas poetic translation was led on by the constant promise of fulfill- ment, literature is a transposition of media; its structure is first revealed, in the best positivistic and consequently Dasein-analytic manner, by deficits. '
Experimenters with the tachistoscope and writers at the nom bourn agree that in every language "the number of words is limited at a particu- lar time, in a particular domain of literature, and for a particular author. " An economy of the scarcity of signs replaced universal trade in 1900. George did not limit his economizing with words to his programmatic poem. He was also the "first modern German poet whose vocabulary is contained in a complete dictionary," which, however, does not make him into an "unfathomable spring. "' It would have been better-aside from the exhaustibility of even the deepest nom bourns-to check at least once with the positivists. Poetic languages, like that of the symbo- lists, which "made it necessary to compile a special dictionary for their works (J. Plowert, Petit glossaire pour servir a l'intelligence des auteurs dkcudents et symbolistes)," thus identify themselves as "professional jargon. " '
Consequently, George's final stanza celebrates The Word as the ethic of a media professional. In what sounds like resignation, Heidegger's un- erring art of reading deciphers something quite different.
His renunciation concerns the poetic relation to the word that he had cultivated until then. Renunciation is preparedness for another relation.
If so, the "can be" in the line, "Without the word no thing can be," would grammatically speaking not be the subjunctive of "is," but a kind of imperative, a command which the poet follows, to keep it from then on. If so, the "may be" in the line, "Where word breaks of n o thing may be," would mean: do not henceforth admit any thing as being where the word breaks off. -
? An imperative issues from the realization that the transposition of media is always a manipulation and must leave gaps between one embodiment and another. This imperative does not deny that there are media other than writing; it rejects them. On the threshold of the Indian temple caves of Shiva, whose name, Elloru, George celebrates as he had the nonsense word Tzholu,are the lines:
Pilger ihr erreicht die hiirde.
Mit den triimmern eitler biirde Werft die blumen werft die floten. Rest von trostlichem geflimme!
Ton und farbe miisst ihr toten Trennen euch von licht und stimme An der schwelle von Ellora.
Pilgrims, you have reached the gate With your pack of worthless freight. Leave the garland, leave the flute, Shreds of solace, shreds of show, Tints shall fade and sound be mute, Light and voices cease to flow
On the threshold of Ellora. n
To deny the other media would be absurd, because color and sound, light and the voice have become recordable, become part of the general accel- eration, "in the sense of the technical maximization of all velocities, in whose time-space modem technology and apparatus can alone be what they are. "9 Henceforth command will conflict with command, medium with medium. High literature circa 1900became a despotic, indeed mur- derous command to limit data to what the medium of script could ex- haust. Its spirit [Geist],according to Morgenstern's very serious play on words, ought to be named ''It is called / It commands" [Heisst]. "'The spirit-or George-became a dictator giving dictation, followed by young men who killed off what was real in them and recorded by secretaries who derived a complete pedagogy from the recording threshold of Ellora.
At conferences of the art-education movement "the possibility of trans- lation in the deepest sense" was rejected precisely in a figure who pro- moted translatability and world literature. Stephan Waetzoldt, an official in the Prussian Ministry of Culture, Education, and Church Affairs, ex- perimented with native and foreign students to determine whether it was possible to translate Goethe's poem "Dedication. " His results were:
It isnomore possible for a Frenchman to become a German than it is to translate French into German or vice versa. Only where everyday matters, the banal, or the smctly mathematical are expressed, can there be any question of real translation. One can rethink or re-form something in another language, in another image of
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the world, but one can never actually translate. How could you ever translate
Musset, and how could you ever translate Goethe! ''
The imaginary (the everyday) and the real (the mathematical) can thus be translated, but the symbolic allows only transpositions. Poems there- fore provide the greatest inner resistance to translation. To demonstrate (again in opposition to Goethe) that the poetic effect is nearly lost in prose translations, despite his own doctrine of hermeneutic understand- ing, Dilthey cited Fechner, the inventor of psychophysics. " Reference to scientific studies was the innovation here. Magical or theological un- translatability was an ancient topos that became fashionable again circa 1900,"but no appeal to magical spells could hide the fact that psycho- technical untranslatability had been experimentally and recently estab- lished rather than miraculously found.
Magical spells or incantations are isolated, foreign bodies in actual lan- guages; circa 1900,however, entire artificial languages were deliberately created. Referring to his contemporaries, Morgenstern claimed the right of "imaginative youths . . . to invent a tribe of Indians and all it entails, its language and national hymns" and, with reference to his "Lalulii," termed himself "one of the most enthusiastic Volapukists. " Around I885,there was a fashionable project to construct "Ideal-Romanic" (reminiscent of the world language of Volapiik) as an extract of the vari- ous forms of Vulgar Latin. Lott, Liptay, and Daniel Rosa contributed to this linguistically much "more solid edifice,"" as did (a little later) a stu- dent of Romance languages by the name of George, who invented his Lin- gua Romana in 1889. '"
The Lingua Romana allowed George to anticipate Waetzoldt's experi- ments with students using his own Germanic and Romance-language me- dium: he wrote translations of Ideal-Romanic poems in German and vice versa. Since Champollion, the decoding of unknown languages had rested upon the foundation of a bilingual informant. But this was not so for the languages that George constructed at the age of seven or nine for himself and his friends, shortly before Morgenstern's Indian language game. His poem "Origins" presents a childhood on the pagan-Roman Rhine, which has come under the influence of the language of the Church-until George counters the traditional incantation hosanna with one of his own making.
Auf diesen triirnrnern hob die kirche dann ihr haupr Die freien nackten leiber hat sie streng gestaupr Doch erbte sie die prachte die nur starrend schliefen Und iibergab das maass der h6hen und der tiefen Dem sinn der beirn hosiannah iiber wolken blieb Und dann zerknirscht sich an den griberplatten neb.
? Doch an dem flusse im schilfpalaste
Trieb uns der wollust erhabensterschwall: In einem sange den keiner erfasste
Waren wir heischer und herrscher vom All. S,iissurrd befeuernd wie Attikas choros Uber die hiigel und inseln klang:
CO BESOSO PASOJE PTOROS
co ES ON HAMA PASOJEBOAN.
The Church then reared her head above these stones, and she Grew stem and scourged the flesh she found too bare and free. But she was heir to pomp, aflash in death-likesleeping,
And gave the standard set for height and depths in keeping
To minds that in Hosannahs wheeled above the clouds
And on the slabs of tombs in self-abasementbowed.
But near the stream in a palace of reed
On by the tide of our lust we were swirled, Singing an anthem which no one could read, We were the masters and lords of the world. Sweet and inciting as Attica's chorus
Over the mountains and islands flung:
CO BESOSO PASOJE PTOROS
co ES ON HAMA PASOJE~ 0 ~ r ; r . l ~
The poem enacts its theme. The secret language of the IMRI triumphs because it remains a norn bourn. George would quote and allude to it many times," would even present it in conversation to a linguist and ex- pert in secret languages, who immediately confirmed that it was a rare example of wholly invented grammars and vocabularies "-but the great- est translator in the German language did not think of translating it as well. When George's disciples discovered a handwritten translation of portions of the Odyssey into the IMRI language among George's papers, it was logical and not merely pious of them to destroy the single bilingual document.
According to Nietzsche, language exists only because nature has thrown away the keys to its secrets. George's quotation from his own lan- guage, in a poem entitled "Origins," shows that the writers of 1900 would yield nothing to nature. co BESOSO PASOJE PTOROS / co ES ON HAMA PASOJE BOAN. How painhlly trivial, then, is the "suspicion" of a literary critic that "the content of those lines could be painfully trivial. "'" Precisely because the IMRI undo the act with which the Church trans- ferred the measure of heights and depths to meaning or the signified, many worse things are possible: the two lines might not have any content whatsoever.
Literature that simulates or is constructed out of secret languages and
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that thus always stands under the suspicion of being "a kind of non- sense,"" forces interpretation to rearrange its techniques. The classical path to origins in the soul or childhood of the author is gone; a "littt- rature 5 rtbus" demands (not only with Dilthey) an objective interpre- tation on the model of cryptographic decoding techniques. The "new symbolism" employs "symbols in a completely different way" than was common in the classical-romantic lyric; it takes not "feeling itself" as its theme "but another and distant object" under the rules of the transposi- tion of media. " Thus a technical, rather than a psychological-historical, understanding retransposes or decodes the transposition. Georg Simmel demonstrated this for poetic works as well as for black-box machines.
A creation of the mind that is intended to be understood can be compared to a problem or puzzle that the inventor has constructed with a code word. If some- one attempting to solve the puzzle should find a second word, one that, objec- tively, solves the puzzle with equal logical and poetic success, the second word is as perfectly "correct" a solution as the one intended by the poet; indeed the latter has not the slightest priority over the former or over all the other, in principle unlimited, code words that might still be found. "
Interpretation is only a special instance of the general technique of transposing media. There is no psychological bridge between the en- coding author and the decoding interpreter, but a technical contest. Each has at his disposal a nom bourn, so that with luck, which nothing and no one guarantees, the elements and associative rules of Medium A can be reproduced in the elements and associative rules of Medium B. When Bettina Brentano attempted to interpret Goethe's "Charade" as a recipro- cal declaration of love, without being able to crack the Herzlieb code, she was unfortunately working in a different discourse network. Had she been able to attend Simmel'sseminars in Strasbourg, as many women did around 1900,much would have been easier. An interpretive method without an author as idol obviates not only the vain effort of deciphering, but also the threat of discovering Herzlieb in the riddle after all.
Indeed, for short periods the transposition of media can be lifesaving. In 1902Emil Strauss published a novel about a gymnasium student and born musician who is driven to suicide by the dust-covered new human- ism of his teachers and their lesson plans. After having been forbidden to play his beloved violin, Heinrich Lindner spends every afternoon doing his homework.
During the first few days it was not so bad; indeed, he thought with slight bitter- ness: Everything is turning out well! But on the fourth day he suddenly caught himself not concentratingonthe equation he was supposed to he solving but read- ing the letters as notes, and, without being aware of it, he had already hummed a whole page of the hook.
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"Good God! "he cried out laughing, "what nonsense! " But he could not resist looking at the page once more and consciously attempting to see if there might be, somewhere among the boring letters, a hidden musical combination. Soon, however, he was no longer laughing; he noticed that he could no longer concen- trate on the mathematical value of the letters, and that the simplest sequence of letters would remind him of a musical phrase or suggest a motif. "
It is thus sheer mockery when the obtuse bureaucrats hermeneutically certify that their problem student, despite "very irregular reading," is ca- pable of "penetrating the spirit of an author. ''2' One who reads note val- ues rather than algebraic variables (and also letters in other places), is proceeding neither irregularly nor according to an author's psychology. His reading is conceivably a precise transposition of media and can be interpreted and legitimized by Simmel's objective interpretation. It is no less radical an act in that Lindner is not alone. His contemporary Alban Berg transposed letters into notes (as a means of erotic disguise); for the hero of the novel, the same process is an unconscious and thus lifesaving compulsion, a special instance of alexia with the purpose of evading high school alphabetizing. In fact, research into speech deficits has uncovered cases (aside from the strategic simulation of aphasia) in which patients "lose words, but retain the meaning of notes. "'"
The Trio for Piano, Violin,and Violincello by Heinrich Lindner, Opus I , is subsequently inspired by a train station. The composer manque hears the stationmaster sing commands as melodies (like the "children who while playing give rhythm and alternation to their calls"). Shortly afterwards the concourse sounds in a confusion of voices, but this does
nothing to disturb Lindner's musical dream, because all media circa 1900 presuppose white noise. The "confusion of voices, letting no single sound reach or disturb him," inspires the precocious and supposedly ungifted student to Opus I?
If the transposition of media can make musical notes out of letters and scores out of a confusion of voices, a decoding of the darkest and least translatable of texts is also possible and necessary. "The Great Lalula" has, if not meaning, at least method, and not merely as "a more or less modulatory expression of an entirely definite and to the greatest extent exscene worldcomprehensivewordchildandartview. "'* For the decoding that Morgenstern himself produced, albeit as "Jeremias Mueller, Ph. D. "- that is, with professional distance from his own wordchildandart-allows no modulation whatsoever.
THE GREAT LALULA
Too much has been attributed to this song so far. All it hides is simply- checkmate. No chess player will ever have understood it any other way. But in order to accommodatethe layman and beginner, I will outline the position here.
Kroklokwafii = K a 5 (white) king a 5. The question mark signifies some
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question as to whether the position of the king might be stronger in another posi- tion. But let us proceed.
Semememi! = S e I (black) knight e I . Theexclamation point signifies a strong position. ''
And so on and so forth, until all the nonsense words are exhausted and a crazy checkmate position is left. The self-commentary, far from translat- ing any life of the soul, is once again a transposition of media. The con- tents of the system of notation count only insofar as they equal a hom- onym in the second system. (Nothing in S e I explains the m and i of Semememi. ) Whether from algebraic variable to note values or from letters to chess abbreviations, every transposition leaves gaps. Most im- portantly, however, the result is never a surplus of meaning. "T' much has been attributed to this song so far"-that could be written on the gravestone of an entire literary criticism.
Attention to materials and the transposition of media are two sides of the same positivism. Only the methodologically rigorous isolation of in- dividual groups of signs or cultural technologies can make such exact connections possible. Voice and gesture, lettering and ornament, p'icture and sound, letters and notes, Stefan George script and the "oral reading of poems'' "-all of these connections presuppose technical analyses. There are odd and quite compelling indications of this.
When Morgenstern's late master invented a new type of dance, what had once been a parody of explication, as in "Lalulii," became dead se- rious. Eurythmy consisted in taking letter after letter, part of speech after part of speech, out of Goethe's poems and assigning to each particular signifier an iterable expressive gesture. Once these had been definitively established, the master, Rudolf Steiner, would simply command "faster, faster"-and the female disciples, whose "own, very wise head is some- what out of it, help the essential power of the sound gain its autonomous effect. " 'I
Whether or not such women were of flesh and blood has nothing to do with the parallel connection of media. The Edison of Villiers' novel con- structs a mechanical Eve with a phonographic vocabulary of 2 x 7 hours playing time rather than human lungs and so-called linguistic compe- tence. Because this vocabulary is denumerable, Edison is able to syn- chronize Eve's recorded speech capacity with her no less mechanical ex- pressive movement^. '^ What will and must strike the future beloved of the future woman as a coherent organism is actually technological eurythmy.
What happened in the novel also happened in reality, but with far- reaching sociohistorical effects. From the very beginning the silent film was coupled (either mechanically or through subaltern accompanists)'' with recorded sound. The two separate media, picture without sound and
? sound without picture, allowed synchronization. The progressive literati Albert Ehrenstein, Walter Hasenclever, Else Lasker-Schiiler, Kurt Pinthus, Franz Werfel, and Paul Zech were dismayed that "dismal background piano clinking" and (the scene is Dessau in 1913)"a narrator comment- ing on the action in a mighty Saxon accent" drowned out the film. " But their suggested improvements, all of which tended toward a media-true lbrt pour l'urt of the silent film, themselves coupled the movies and the professionalism of writers. The screenplays that Pinthus and his com- rades offered to the industry as their Movie Book demonstrate with every word that the untranslatability of media is essential to the possibility of their coupling and transposition.
Psychoanalysis and Its Shadow
The transposition of media could be applied from jokes to mysticism to the culture industry. Moreover, it could be grounded methodologi- cally, and so it became the paradigm of a new science. Freud's Interpreta- tion of Dreams, in the date on its title page proudly and proleptically dis- playing the zero number of a new century, inaugurated the transposition of media as science.
Before there can be any interpretation of dreams, three secular falla- cies need to be dismissed. The first is the philosophers' prejudice, which holds that dreams are without objective, reasonable connection and are unworthy of interpretation. As opposed to Hegel (whom, justifiably, he cites only indirectly),' Freud prefers to follow the lay opinion that as- sumes "a meaning, though a hidden one" in the dream. But popular dream interpretation has remained translation in two complementary ways: it makes the whole dream "symbolic" of global meanings, or it translates parts of a dream by "mechanically transferring" each part "into another sign having a known meaning, in accordance with a fixed key. "z Both techniques, the analogical and the digital, presuppose that the two media, the dream and language, are either similar or coextensive. The new science rejects these two views as naive. In a well-known com- parison, Freud defines his procedure of strict transposition of media.
The dream-thoughts and the dream-content are presented to us like two versions of the same subject-matter in two different languages. Or, more properly, the dream-content seems like a transcript of the dream-thoughts into another mode of expression, whose characters and syntactic laws it is our business to discover by comparing the original and the translation. The dream-thoughts are imme- diately comprehensible, as soon as we have learnt them. The dream-content, on the other hand, is expressed as it were in a pictographic script, the characters of which have to be transposed individually into the language of the dream thoughts. If we attempted to read these characters according to their pictoral
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? value instead of accordingto their symbolic relation, we should clearly be led into error. Suppose I have a picture-puzzle, a rebus, in front of me. It depicts a house with a boat on its roof, a single letter of the alphabet, the figure of a running man whose head has been conjured away, and so on. Now I might be misled into rais- ing objections and declaring that the picture as a whole and its component parts are nonsensical. A b a t has no business to beon the roof of a house, and a head- less man cannot run. Moreover, the man is bigger than the house; and if the whole picture is intended to represent a landscape, letters of the alphabet are out of place in it since such objects d o not occur in nature. But obviously we can only form a proper judgement of the rebus if we put aside criticisms such as these of the whole composition and its parts and if, instead, we try to replace each sepa- rate element by a syllable or word that can be represented by that element in some way or other. The words which are put together in this way are no longer non- sensical but may form a poetical phrase of the greatest beauty and significance. A dream is a picture-puzzle of this sort and o u r predecessors in the field of dream- interpretation have made the mistake of treating the rebus as a pictorial composi- tion: and as such it has seemed to them nonsensical and worthless. '
Interpretive techniques that treat texts as charades or dreams as pic- ture puzzles have nothing to d o with hermeneutics, because they d o not translate. The translation of a rebus fails because letters do not occur in nature, the ultimate reference of all translation. In George's poem "The Word," the poetic imagination and the treasury of language are not co- extensive, just as in Freud's comparison the picture of the landscape is not coextensive with an alphabetic sign system. Negative findings such as these necessitated a new approach. In order to transpose the manifest content of dreams into latent dream thoughts, each of the two media must first be designated as defined sets of elements with defined rules of association (laws of articulation). If Faust marked the moment in the his- tory of the sign in which there was no awareness of the paradigmatic axis, The Interpretation of Dreams conducts the analysis of signs solely ac- cording to the place values of discrete elements. . It does not establish the status of a symbol in the classical sense-in other words, a transcenden- tal signified, which previously absorbed all words, above all the word word. In its place there are now separate subsystems of signifiers, in which the parts of the rebus must be tentatively placed until they fit in a subsystem. Rebus is the instrumental case of res: things can be used like words and words like things. Interpretation has everything to learn from "the linguistic tricks of children, who sometimes actually treat words as though they were objects, and moreover invent new languages and ar- tificial syntactic forms. " Therefore every manipulation of letters and words is allowed within the framework of a determined language. Dreams, "impossible as a rule to translate into a foreign language," 'trav- erse all the associative domains of a given language. The transposition of media is thus an exact correlate of untranslatability.
? Neither similar nor coextensive, dream-content and dream-thoughts relate to one another like "Laluli" and checkmate in chess. Freud, "one of the most daring language adventurers and word mystics," is also "a brother of Morgenstem. "' The decoded dream-content is no more poetry than chess notations are poems. Dreams could pass as Poetry only as long as optical and acoustical hallucinations were counted as part of the dream. Nothing remains of the beautiful appearance when the elements of a dream-content are transposed one by one into signifiers, even if the result is a poetical phrase of the greatest significance. Freud's irony is in- tended only for those who would see in the picture puzzle the substitutive sensuousness of a drawing or landscape. As true "syllabic chemi~try"' with which the decoding method competes, the dream is already a piece of technique distant from nature and painted landscapes.
But this technique bears the stamp of its era. Bahr, for example, em- phasized that "nature," where it could "express itself freely and without restraint," namely in dreams, "proceeds punctually and exactly accord- ing to the prescription of the new school" of symbolist "rebus litera- ture. "' With Freud, dream interpretation presupposes cutting apart any continuous series of images before syllables or words can substitute for them. It is no accident that the rebus Freud describes or makes up con- tains a running figure whose head has been conjured away. Only a cripple without a head yields an unconscious, and only the dismembered phe- nomena of the dream yield readable script. The poem of the picket fence divides syllables by the space between them in exactly the same way; and in exactly the same way the film camera cuts up continuous movement. The fact that The Interpretation of Dreams ignores the phenomenon of the dream is the first step toward deciphering dreams. Transpositions liquidate the medium from which they proceed. Every syllable and word of Freud's requirement that one substitute for every image a syllable or word is to be taken literally. This is demonstrated in his treatment of hys- terics, who are "for the most part visually oriented. "
Once a picture has emerged from the patient's memory, we may hear him say that it becomes fragmentary and obscure in proportion as he proceeds with his de- scription of it. The patient is, as it were, getting rid of it by turning it into words. We go on to examine the memory picture itself in order to discover the direction in which our work is to proceed. "Look at the picture once more. Has it dis- appeared? " "Most of it, yes, but I still see this detail. " "Then this residue must still mean something. Either you will see something new in addition to it, or something will occur to you in connection with it. " When this work has been accomplished, the patient's field of vision is once more free and we can conjure up another picture. On other occasions, however, a picture of this kind will remain obstinately before the patient's inward eye, in spite of his having described it; and this is an indication to me that he still has something important to tell me about
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the topic of the picture. As soon as this has been done the picture vanishes, like a ghost that has been laid. '"
F. L.
