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Der Spaziergang

Der Spaziergang

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Der Spaziergang

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4/5 (5 Bewertungen)
Länge:
97 Seiten
1 Stunde
Herausgeber:
Freigegeben:
15. Juni 1992
Format:
Buch

Herausgeber:
Freigegeben:
15. Juni 1992
Format:
Buch

Über den Autor

ROBERT WALSER is a professor of music at Case Western Reserve University, author of Running with the Devil: Power, Gender, and Madness in Heavy Metal Music, and editor of Keeping Time: Readings in Jazz History.


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Buchvorschau

Der Spaziergang - Robert Walser

dunkel.

Von Robert Walser sind erschienen:

Fritz Kochers

Aufsätze / Inselverlag.

Geschwister Tanner, Roman / Bruno Cassirer, Berlin.

Der Gehülfe

, Roman / Bruno Cassirer, Berlin.

Jakob v. Gunten, Roman / Bruno Cassirer, Berlin.

Gedichte / Bruno Cassirer, Berlin.

Aufsätze / Kurt Wolff, Leipzig.

Geschichten / Kurt Wolff, Leipzig.

Schweizerische Erzähler

Die zeitgenössische Novellendichtung der Schweiz in Einzelausgaben

Jedes Werkchen in Pappband mit Farbschnitt 80 Rappen

Zwei Urteile:

Diese Sammlung, die Wohlfeilheit, Anmut der Ausstattung und Erlesenheit des Inhalts vereinigt, ist ein Zeugnis der zum Bewußtsein erwachten nationalschweizerischen Literatur.

Frankfurter Ztg.

Die sechs allerliebsten Oktavbändchen sind eine solche Augenwonne, daß man um Worte des Lobes vom Morgen- bis zum Abendstern nicht verlegen wäre. Manche meisterliche Gabe hält sie zusammen, sodaß man gleich so unbescheiden ist, sich alle sechs zu wünschen, als Anfang einer zierlichen kleinen Schweizerbibliothek, die sich ihr Programm und ihre weitern Ueberraschungen offen hält.

Neue Zürcher Zeitung

Die erste Gruppe

Titel und Deckelzeichnung sind den besten Rahmentiteln des 18. Jahrhunderts nachgeahmt, der Zeit, die das Gewand des Buches mit größter Innigkeit behandelte, in der das Buch das bevorzugte Angebinde zwischen Liebenden war.

Inhalt:

1. Band: Maria Thurnheer von Paul Ilg.

2. Band: Drei altmodische Liebesgeschichten von Meinrad Lienert.

3. Band: Daniel Pfund von Alfred Huggenberger.

4. Band: Schalkhafte Geschichten von Felix Möschlin.

5. Band: In der Glücksschaukel. Drei Novellen von Olga Amberger.

6. Band: Bauz. Zwei Erzählungen von Albert Steffen.

Die zweite Gruppe

Ihre Ausstattung legt vom Buchgeschmack der jüngsten Gegenwart Zeugnis ab. Die bedeutendsten Buchkünstler Deutschlands (Ehmke, Preetorius, Tiemann, Walser) und der Schweiz (Baumberger, Cardinaux) sind hier in einen hochinteressanten Wettbewerb getreten: jeder hat die Deckelzeichnung eines andern Bändchens übernommen.

Inhalt:

7. Band: Der Lästerer von Ernst Zahn.

8. Band: Das verlassene Dorf. Zwei Geschichten aus dem Wallis von Johannes Jegerlehner.

9. Band: Der Spaziergang von Robert Walser.

10. Band: Füsilier Wipf. Eine Geschichte aus dem Grenzdienst von Robert Faesi.

11. Band: Leiden. Erzählungen von Ruth Waldstetter.

12. Band: Odil. Zwei Erzählungen von Max Pulver.

Verlag: Huber & Co. / Frauenfeld und Leipzig

Anmerkungen zur Transkription:

Im folgenden werden alle geänderten Textstellen angeführt, wobei jeweils zuerst die Stelle wie im Original, danach die geänderte Stelle steht.

Seite 5:

Die morgenliche Welt, die sich vor meinen

Die morgendliche Welt, die sich vor meinen

Seite 16:

ist das, die Kriegsgefahr Tod, Elend, Haß

ist das, die Kriegsgefahr, Tod, Elend, Haß

Seite 40:

imdem sie sagte, daß sie auf jederlei Unterhaltung mit

indem sie sagte, daß sie auf jederlei Unterhaltung mit

Seite 52:

die schlichte, nakte Wahrheit zu sagen, und diese lautet

die schlichte, nackte Wahrheit zu sagen, und diese lautet

Seite 56:

und das ist nichts wert, Er muß jederzeit des Mitleides,

und das ist nichts wert. Er muß jederzeit des Mitleides,

Werbung:

Fritz Kochlers Aufsätze / Inselverlag.

Fritz Kochers Aufsätze / Inselverlag.

Werbung:

Der Gehilfe, Roman / Bruno Cassirer, Berlin.

Der Gehülfe, Roman / Bruno Cassirer, Berlin.

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  • (3/5)
    Het verhaal ?De Wandeling? doet misleidend eenvoudig aan: een schrijver (Walser?) wandelt in opperbeste stemming door de stad, doet verslag van wat hij onderweg ziet, becommentarieert dat uitgebreid en door een aantal confrontaties met anderen verandert zijn opgewekte stemming in weemoedigheid en neerslachtigheid. De toon is bijwijlen verheven, maar met een ironische ondertoon die geregeld in sarcasme overgaat; vooral de koortsige monologen en felle ruzies met derden doen erg aan Gogol denken (zoals W.G. Sebald in het toegevoegde essay over Walser opmerkt). Geen realistische vertelling dus, maar een opeenvolging van bizarre beschouwingen en ontmoetingen in een soms surre?le sfeer. Het is duidelijk dat Walser De Wandeling als een allegorie heeft opgevat, als een verhaal in kort bestek van een mensenleven, van geboorte tot dood; een armzalig mensenleven, met accent op de eigen zwakheden van de verteller en de tekorten van zijn menselijke conditie (vooral in zijn verhouding tot anderen), en geregeld ook verwijzingen naar het moeilijke bestaan van een schrijver. Tegelijk levert Walser een kritische reflectie op wat civilisatie heet te zijn: voortdurend wordt de gewichtigheid en protserigheid van de passerende mensen gehekeld, zelfs de authentiek lijkende esthetische en ethische ervaringen van de verteller (daarbij valt vooral een ecologische reflex op) worden in korte zinnetjes doorprikt. Wat op het einde blijft is een heel ontmoedigende, tragikomische indruk van het leven, niet toevallig zijn de slotwoorden: ?alles was donker? . Echt een ontdekking, die Walser!
  • (3/5)
    Het verhaal “De Wandeling” doet misleidend eenvoudig aan: een schrijver (Walser?) wandelt in opperbeste stemming door de stad, doet verslag van wat hij onderweg ziet, becommentarieert dat uitgebreid en door een aantal confrontaties met anderen verandert zijn opgewekte stemming in weemoedigheid en neerslachtigheid. De toon is bijwijlen verheven, maar met een ironische ondertoon die geregeld in sarcasme overgaat; vooral de koortsige monologen en felle ruzies met derden doen erg aan Gogol denken (zoals W.G. Sebald in het toegevoegde essay over Walser opmerkt). Geen realistische vertelling dus, maar een opeenvolging van bizarre beschouwingen en ontmoetingen in een soms surreële sfeer. Het is duidelijk dat Walser De Wandeling als een allegorie heeft opgevat, als een verhaal in kort bestek van een mensenleven, van geboorte tot dood; een armzalig mensenleven, met accent op de eigen zwakheden van de verteller en de tekorten van zijn menselijke conditie (vooral in zijn verhouding tot anderen), en geregeld ook verwijzingen naar het moeilijke bestaan van een schrijver. Tegelijk levert Walser een kritische reflectie op wat civilisatie heet te zijn: voortdurend wordt de gewichtigheid en protserigheid van de passerende mensen gehekeld, zelfs de authentiek lijkende esthetische en ethische ervaringen van de verteller (daarbij valt vooral een ecologische reflex op) worden in korte zinnetjes doorprikt. Wat op het einde blijft is een heel ontmoedigende, tragikomische indruk van het leven, niet toevallig zijn de slotwoorden: “alles was donker” . Echt een ontdekking, die Walser!
  • (4/5)
    Der Spaziergang is a dark, sombre piece of prose. It was written at a time when Robert Walser felt himself cut off from the cultural scene in Berlin, where in the decade before he had written his great novels.Between 1913–1921, Robert Walser lived in Switzerland. The transition from Berlin to the quiet and rural Swiss countryside and smaller towns marks a change in the work of Walser. Since 1913, his work consists mainly of short prose compositions. However, Walser found descriptions of nature of less interest, and preferred to write about people. It was also at this time that Walser started making long walks in the countryside, sometimes by night.A walk is a type of activity that leads to encounters with people, but of a fleeting nature. In Der Spaziergang the "I" leaves his home spurred by the desire to go for a walk. The author's mood is described as romantic and adventurous as he gets away from his writing room "dem Schreib- oder Geisterzimmer" in which he had been brooding over a blank sheet of paper filled with "Trauer, Schmerz und alle schweren gedanken", --mourning, pain and heavy thoughts. Nonetheless, the author knows that despite the elevating effect of the walk, he remains serious, and appearing to be happy, he will try to keep his true feelings hidden from other people.The first part of the walk goes through his familiar neighbourhood, in which he greets and knows the people, however, further down the road, familiarity disappears, and the author is described as standing out in his bright yellow suit. In this "hellgelben (...) Engländer-Anzug" he thinks he look like an English Lord, a Grandseigneur or a Marquis trotting around in a park, whereas in fact he is walking on a rural road through an impoverished suburb.In his yellow suit, Walser reminds us a little of Goethe's Werther, and in his romantic mood he revels in the sight of the countryside, despite the fact that in reality the suburb is polluted and crowded with factories.No longer in familiar territory, moving as a stranger among strangers, Walser's throughts and ruminations become increasingly laden with imagery and language of war, and his ideas about people swing from friendly to suspicion and agression. In his dealings with a tailor, he muses that he should be prepared for a dangerous offensive war:{Ich} rüstete mich für diesen höchst gefährlichen Angriffskrieg mit Eigenschaften, wie Mut, Trotz, Zorn, Entrüstung, Verachtung oder gar Todesverachtung aus, mit welchen ohne Zweifel sehr schätzenswerten Waffen ich der beißenden Ironie und dem Spott hinter erheuchelter Treuherzigkeit erfolgreich und siegreich entgegentreten zu können hoffte. (p. 44)While Walser goes for a walk to set his mind free, depressing thoughts about war are never far off, and even in his most optimistic mood he still sees himself as a soldier at the front , "dem wackeren, dienstbereiten und aufopferungsfreudigen erprobten Feldsoldaten." The walker cannot escape his dark thoughts, so that sometimes, unexpectedly Heaven and Earth clash together, breaking up all order into chaos, and the author asks himself: "Where am I?"Erde und Himmel fließen und stürzen mit einmal in ein blitzendes, schimmerndes, übereinanderwogendes, undeutliches Nebelgebilde zusammen; das Chaos beginnt, und die Ordnungen verschwinden. Der Kopf will ihm abfallen, und die sonst so lebendigen Arme und Beine sind ihm wie erstarrt. Land und Leute, Töne und Farben, Gesichter und Gestalten, Wolken und Sonnenschein drehen sich wie Schemen rund um ihn herum, und er muß sich fragen: »Wo bin ich?«. (p.58).In his mind, the walk through the peaceful countryside becomes an ordeal, and each interaction with people is rewritten in terms of war. Gradually, the war also invades the walkers' reality. Waiting to cross a railroad track, a train passes full of soldiers and he observes a group of children with wooden rifles playing war.Getting up to go home, Walser wonders why he picked a bunch of flowers. Was it to place them upon his unhappiness, he asks himself, as it drops from his hand.Der Spaziergang was published in 1917. Between 1914 and 1917 Robert Walser had served in the army several times, enough to be haunted by the spectre of the Great War.
  • (4/5)
    ... the inward self is the only self which really exists.Walser’s The Walk is anything but a light, jolly stroll: it’s a trek uphill through spiraling landscapes, before the reader realizes that Walser has begun an abrupt, downward descent. The closing pages of The Walk are utterly heart-rending.



    This is a novella about everything and nothing. The narrator, a writer, leaves his “writing room, or room of phantoms” to take a walk through the town and the countryside. Along the way, he meets many different people from various walks of life: a postal worker; a tailor; a bookseller; a young woman singing; dogs; children; “the giant” Tomzack; a woman with whom he dines; and several others. It’s no wonder that W. G. Sebald has called Walser “a clairvoyant of the small” as each of these interactions—and the bizarre, often archaic, speech acts we witness (e.g., after seeing a sign for lodgings, the narrator goes on for three pages to give the reader the sign’s strange subtext)—tells us more about both the narrator’s psychological state of mind as well as the world in which he feels so displaced.

    

In many ways, The Walk can be read as a parable of a changing world where natural scenes are giving way to increasingly industrialized ones; it can also be read as a commentary on how insular a writer’s world is, and how the sense of sequestration and loneliness carry over into social interactions and also inform prejudices rooted in aesthetic judgments rather than firsthand observations. One can see how Walser’s prose is indebted to pastoral influence of the nineteenth century while also forging new ground stylistically in his modernist musings, causing a strange chorus of dissonant tones to run throughout The Walk—a dissonance that works quite well here, if the reader is patient, knowing he or she is in masterful hands. As Walser’s narrator/alter ego exlaims here: “I am a solid technician!” And so he is.
  • (5/5)
    This is a superb book and very much fun to read. I was surprised at how similar the new Bernofsky translation was to the original Middleton. Upon receiving the book in the mail I discovered that she left much of what Middleton did intact. And there is nothing wrong with that at all. She explains the changes she made to the text in her introduction which is quite helpful.

    I think, eventually, I will need to write something more about this short book. As many other "new" writers attempt to use walking as novel exercise, it is important to note that this concept is not novel, but has been done skillfully many times already throughout the past. Thomas Bernhard, Samuel Beckett, and Max Sebald are three writers who come immediately to mind. Still, there is nothing so pleasing as a good walking tale. But that is where the trouble starts. All these accounts are not all interesting. And some are too staged, too propped, and too made-up. I am reading one now having been translated from the Spanish. The beginning was promising but has since fallen into a pretentious and disjointed mass of drivel. But it has been blessed by certain important others and so it is enjoying no little success. But there is not much in it that rings true. In contrast, this book, The Walk, by Walser must be true. There is hardly anything I have read by Walser that isn't. Or hard pressed to prove otherwise. Unless Walser is describing some love conquest he had over some gorgeous woman, which the thought of it being so ludicrous it is funny.

    More needs to be said about this fine work, newly translated by Susan Bernofsky who always does justice to his work. In the meantime, there will be others who attempt to emulate him and it is I who wishes them success. I just don't want to be lied to.