Sahitya Akademi

AN ANALYSIS OF INDIC TRADITION IN HERMANN HESSE'S SIDDHARTHA

Author(s): BHABAGRAHI MISRA
Source: Indian Literature, Vol. 11, No. 2 (April-July 1968), pp. 111-123
Published by: Sahitya Akademi
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 AN ANALYSIS OF INDIC
TRADITION IN HERMANN
HESSE'S SIDDHARTHA

BHABAGRAHI MISRA

In discussing the Indie tradition, its nature, use and

function in Hermann Hesse's novel Siddhartha, one has
to look into the background of German literature in its
Romantic era and Hesse's biography in particular. Hesse
attracted the imagination of the popular mind after Siddhartha
was selected as the Nobel winning novel in 1946. Originally
published in German under the title Siddhartha: Eine Indische

Dichtung (An Indie Poem) in 1922, it was translated into

English in 1951 by Hilda Rosner, the eminent translator of

Hesse's novels. In pursuing the study of this novel, it seems
worthwhile to notice Hesse's conception about the East, which
is the sole basis of most of his art. In his autobio
literary
graphical novel The Journey to the East Hesse states :
For our goal was not only the East, or rather the
East was not only a country and something geogra
phical, but it was the home and of the
youth soul,
it was everywhere and nowhere, it was the union

of all times.1

This conception of the East was not built in a It

day.
had its root in the earliest childhood of Hesse. Besides his
family background, he inherited a lot from the Romantic
tradition. The Romanticists of the nineteenth had
century

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 INDIAN LITERATURE

already paved the ground in creating an interest in the Orient.

The mythical image of India2 was an ideal picture sought

by the Romanticists in order to foresee the unification of

the cultures of the West and the East. To mention a lew

characteristic examples, this mythical image created scholarly

quest in the writings of Friedrich Schlegel, Friedrich Majer

and Hammer-Purgstall.
For the burning metaphysical quest of the time, the

Romanticists plunged deep into Indie philosophy, religion,

myth and mysticism. To interpret human experience they
used Indie themes for literary creations. 'A restatement of

Western values embossed with the stamp of the mythical im

age, in the symbolism of a new mythology, meant a deeper

understanding of man's place in the cosmos.'3 Thus the ideal

in the imaginative world of the Romanticists centered round

Indie materials.

The beginning of the nineteenth century was the brilliant

period of the use of Indie material. In 1857 Friedrich

Ruckert published the translation of Gita-Govinda, a lyrical
Sanskrit verse and Die Weisheit des Bramnen, a collection of

and tales in Indie tradition. In 1845

aphorisms, parables
46 appeared Adolf Holtzmann's Indische Sagen, which proved
as a source book for future writers. During a century prior
to the of Siddhartha, interest in Indie materials can
publication
be seen in the publication of Karl Gutzkow's novel Mahaguna

(1852), J.V. Widmann's epic poem Buddha (1869), Karl

Bleibtrae's drama Karma (1901), Eugfene Burnouf's Introdu

tion a Vhistorie du Bouddhisme (1844), Carl Friedrich Koppen's

Die Religion des Buddha und ihre Entstehung (1857), Fritz Mauth
ner's Der Letzte Tod des Gautama Buddha (1912), Max Albert

Scheiber's Kunala (1910), Max Dauthendey's collection of

stories in Lingam (1909), Waldemar Bonsel's Die Beina Maja
(1912) and travel narrative Indienfahrt (1916), 'The pre
ferred German Romantic literary vehiclethough not the

most perfectwas the novel, a form ignored by the repre

sentative English Romanticists : Byron, Shelley, Keats, Blake

and Coleridge.'4 This romantic longing for India was to

find out a synthesis between art, philosophy and religion

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 INDIA IN HESSE

Svhich has been sundered in the civilisation of the West' and

to pave the way for a bright future.

During this period also Hegelian philosophy contradict

ing the Hindu concept of morality based on suppression of

desires through a ritualistic pattern of life received much

attention. Hegel envisaged the Hindu way as not a goal of

moral freedom but destruction of the individual.

Nurtured in this tradition Hesse inherited much interest

in India from his childhood. His maternal grandfather Dr.

Gundert was a missionary in India and was a famous Indie

scholar and linguist. His parents were also missionaries in

India. Due to the poor health of his father the family re

turned and settled with Dr. Gundert at Calw. Dr Gundert's

huge library of Indian and Chinese books and many objects

of art and artifacts of the East attracted Hesse. During his

childhood he used to listen to the frequent discussions about

India amongst the visiting missionaries and scholars at Dr.

Gundert's place. 'A hypersensitive, imaginative, lively and

extremely headstrong child, Hesse was to prove a problem

and a constant source of despair both at home and at school.'5

During his youth he rebelled against the strict school system

in Germany which offered no independence to students.
So Hesse ran away from home to seek real education through
travel. 'Self-education has been for centuries a very favourite:
theme in German literature and men like Luther, Goethe,,
Kant and many other leading writers and philosophers were
the inspirers of German youth in their for
longing
independence.'6
1907 to 1919 was the most crucial period in Hesse's life..

During this period due to his son's illness, father's death and
wife's derangement, Hesse sought relief in psychoanalysis.
To relieve his mental tension and seek relief, he fled to India
in 1911. He has recorded his impressions about India in the
journal Aus Indien (1913). 'Hesse's attitude towards the
East is at this time not one of enthusiastic but
affirmation,
rather of critical assessment.'7 This attitude can be seen in
Hesse's account :

We come to the South and East full of longing*

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 INDIAN LITERATURE

driven by a dark and grateful premonition at home,

and we find here a paradise, the abundance and rich

voluptuousness of all natural gifts. We find the

pure, simple, childlike people of paradise. But

we ourselves are different; we are alien here and

without' any rights of citizenship; we lost our

paradise long ago, and the new one that we wish to

build is not to be found along the equator and on

the warm seas of the East. It lies within us and

in our own northern future.8

During this period Hesse was undergoing a truly Germanic

revolution of the soul. Before discussing the plot, narrative

and his indebtedness to Indie materials in creation

technique
of characters, incidents, one may like to quote Hesse's own

words which show his source materials in constructing

Siddhartha and other writings on India. In 1920 Hesse
writes:

My preoccupation with India, which has been going

on for almost twenty years and has passed through

stages, now seems to me to have reached a

many
new point of development. Previously my reading,

searching and sympathies were restricted exclusive

the of Indiathe
ly to philosophical aspect purely
intellectual, Vedantic and Buddhistic aspect. The

Upanishads, the sayings of Buddha and the Bhagavad

Gita were the focal point of this world. Only re

have I been approaching the actual religious

cently
India of the Gods, of Vishnu and Indra, Brahma
and Krishna. And now Buddhism appears to me

more and more as a kind of very pure, highly bred

reformationa purification and spiritualisation

that has no flaw but its great zealousness, with

which it destroys image-worlds for which it can

offer no replacement.9
Thus Siddhartha is a product of a special religious aware

ness in its ritualistic and philosophic pattern, revaluing

and the primitive elements in human nature. Some
humanity
critics10 have tried to evaluate Siddhartha in the light of the

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 INDIA IN HESSE

Four Noble Truths and Eightfold path of Buddha. But this

approach seems to be fallacious, since, in essence, Siddhartha
is a revolt against the Buddhist way.11 Siddhartha is a con

stant oscillation between life's opposite poles, reaching a con

clusion, unlike Buddha:

If they are illusions, then I am also illusion, and so

they are always of the same nature as myself. It

is that which makes them so lovable and venerable.

That is why I can love them. And here is a

doctrine at which you will laugh. It seems to me,

Govinda, that love is the most important thing in

the world. It may be important to great thinkers

to examine the world, to explain and despise it.

But I think it is only important to love the world,

not to despise it, not for us to hate each other, but

to be able to regard the world and ourselves and

all things with love, admiration and respect.12

In conflict with his age and modernism in particular,
Hesse engrossed himself in exploiting Indie tradition to seek

'Unity or Oneness', in finding the meaning of life. Siddhartha

is an attempt to find out this 'Oneness' and to restore faith in

humanity, as a psychological release from his mental tension.

This quest of Hesse is reflected in his statement before his

voyage to India 'to see the sacred tree and snake (of Buddha)
and to go back to that source of life where everything had

begun and which signified the oneness (Einheit) of all

phenomena'.13
For achieving this 'timeless reality', Hesse utilised the

legendary tale of Buddha14 as the frame-work of his novel, and

has 'transplanted various motifs from the life of Buddha to the
life of Siddharthanot as typological prefiguration, but in
order to sustain the legendary quality of the narrative.'15
Siddhartha is therefore, a story with its origin in a historic time,
but transcending to 'timeless reality', expounding all levels of
human experiences.
The creation of Siddhartha as a separate character from
the historic Buddha seems to be based on the etymological
meaning of the word 'Siddhartha'. Siddhartha means, 'one

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 INDIAN LITERATURE

who has attained his goal'. Hesse attempts to establish that

Siddhartha could find all solace in life and peace, even being
opposed to the Buddhist way; thus proving the etymological
meaning of his name to be true.

The story starts with the traditional conflict between the

Brahmanical and Buddhist way. Buddha was the most

eloquent expression of protest against the traditional theology,

Bramhanical priesthood and sacredotal ritualism, establish

ing a more rationalistic, liberal and subjective thinking.

Siddhartha, therefore, is introduced in the first chapter of the

novel as a Bramhin's son, rigorously observing all the hieratic,

externalistic and ritualistic pattern in daily life, but still linger
ing at heart to comprehend the 'Bramhan', Learning the art
of practising contemplation, offering sacrifices, listening to

religious discourses, and reciting hymns from Veda and

could not him. He decides
Upanishads satisfy to try the path
of the Samanas (ascetics). This attitude in itself shows, how

Hesse tries to expound the conflict in the tradition

religious
of India. This is reflected in his statement about Siddhartha :
Govinda knew that he would not become an ordinary

Brahmin, a lazy sacrificial official, an avaricious

dealer in magic sayings, a conceited worthless

orator, a wicked sly priest or just a good stupid

sheep amongst a large herd.16
But at the time of leaving his father's house, Siddhartha
waits for the permission of his father in the traditional Indian

way, and succeeds in getting his permission for the devotion

to his aim in life.17 In the first chapter itself, Siddhartha
rejects the Brahmanical way of ritualistic life. In the second

chapter he joins the Samanas. But he realizes that the

asceticism does not lead him on the proper path. Through
self-denial, and following the ascetic rules he 'killed his senses,
he killed his memory, he slipped out of his Self in a thousand
different forms. He was animal, carcass, stone, wood, water,
and each time he reawakened',18 thus at a con
reaching
clusion :

Govinda, I believe that among all the Samanas,

probably not even one will attain Nirvana. We

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 INDIA IN HESSE

find consolations, we learn tricks with which we

deceive ourselves, but the essential thingthe way

we do not find.19

He hypnotises the eldest Samana and gets his permission

to leave. Before leaving, Govinda suggests:
Siddhartha, you have learned more from the

Samanas than I was aware. It is difficult, very

difficult to hypnotise an old Samana. In truth,
if you had stayed there, you would have soon

learned how to walk on water.20

Siddhartha rejects the suggession of Govinda, and pro

ceeds to listen to the teachings of Gautama the Buddha with

Govinda, leaving behind the old samanas to 'satisfy them

selves with such arts', as walking on waters.

In the next two chapters Hesse introduces Gautama

Buddha and his followers in a legendary setting in the 'Jetavana

grove, which the rich merchant Anathapindika' had present

ed to Buddha and his followers. Siddhartha and Govinda

listened to the teachings of Buddha. Govinda joins the

teacher, but Siddhartha departs from him in search of the

'unity of time', 'overwhelmed by a feeling of icy despair'.

He now finds that the world from which he has so far tried to
flee is attractive. As Hesse puts it:

That was the last shudder of his awakening, the last

pains of birth. Immediately he moved on again

and began to walk quickly and impatiently, no

longer homewards, no longer to his father, no

longer looking backwards.21

In the next four chapters known as Kamala episode,

Siddhartha has been exposed to the pleasures and pain of the

worldly man. On his way to the city he meets for the first

time the longing for sex. Here Hesse is presenting a picture

from the classical Indie 'Art of Love'.22 But the village set

ting and its detailed description is unsuitable for this presenta

tion. Perhaps Hesse feels that the classical learning of the

art of love had even permeated to the rural folk. As soon

as Siddhartha sees a young woman on the way she greets him.

She then placed her left foot on his right and made a gesture,

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 INDIAN LITERATURE

such as a woman makes when she invites a man to that kind

of enjoyment of love which the holy books call 'ascending the

tree.'23 Next he proceeds to the city, meets Kamala, a

courtesan, learns the art of love from her, discards his beggar's
cloth and becomes a successful merchant. In course of his

conversations with Kamala in their first meeting, Siddhartha

explains that resolution is the key to success in each sphere.

Siddhartha explains to her :
That is what Siddhartha learned from the Samanas.

It is what fools call magic and what they think is

caused by demons. Nothing is caused by demons;
there are no demons. Everyone can perform magic,

everyone can reach his goal, if he can think, wait

and fast.24

This is how Hesse tries to explain the nature of magic as

an art. Here comes a breaking pointin the construction of the

stry. Hesse finds himself unable to move further in shaping

Siddhartha. He states:

My Indie poem got along splendidly as long as I was

writing what I had experienced : the feelings of

Siddhartha, the young Brahman, who seeks the

truth, who scourges and torments himself, who

has learned reverence, and must now acknowledge
this as an impediment to the Highest Goal. When
I had finished with Siddhartha the sufferer and

ascetic, with the struggling and suffering Siddhartha

and now wished to portray Siddhartha the victor,

the affirmer, the subjugatorI could not go on.26

He devotes himself in studying thoroughly Indian philosophy

and religion. After a break of about one and half years he picks

up new strength and vigour to lead Siddhartha to a conclusion

that not by teaching or any specific action one can find peace.
To equate the divine principle in the universe with the self,
one has to look deep into oneself, and the world around.

The whole of the plot is swayed by a feeling to

emphasis

explain the supernatural element which motivates and guides

all human actions. It seems that Hesse, from the study of

'the actual religious India of the Gods'26, perceived that only

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 INDIA IN HESSE

through faith and not by following any particular teaching

can man find peace in life.
In the following chapters Siddhartha's is
self-analysis
the main theme of Hesse's description. Siddhartha meets

Vasudeva, a ferryman, and spends the rest of his life with him.

Here Siddhartha learns the 'timeless unity' from the river.

At the bank of this river he meets Kamala, Govinda and his

son. This is how Hesse reunites the plot. Thus Siddhartha

in his own way achieves eternal bliss.

Comparing the legendary tale of Buddha and the plot

construction of Siddhartha, it is found that there is a strong
sense of parallelism. Buddha left his wife and child to be
come an ascetic. Similarly, Siddhartha leaves his wife
Kamala and his still unborn child to seek truth. Both of
them have spent some time of their lives with the

Samanas and have practised yoga. Revelation came to

Buddha under the sacred Bodhi tree, whereas Siddhartha

takes important decision under the mango tree. River
is the final place in both of their lives where they
realise the ultimate truth. These parallel incidents to
prove
a certain degree that Hesse imitated the life of
legandary
Buddha in
constructing the moral allegory of Siddhartha.
But the incidents in the life of Siddhartha have been rearranged
in an opposite direction than that of Buddha to meet his pur
pose, in creating Siddhartha as a protest against Buddhist

way. Another important character in the novel is Vasudeva,

who plays a dominant role in the life of Siddhartha. Though
Vasudeva is portrayed as a unconcerned, lone
simple, ferry
man, many of his statements lead the reader to believe that
Hesse created Vasudeva on the model of Krishna's role in the

Bhagavad-Gita. After Siddhartha's revelation, Vasudeva

leaves him for ever. Before leaving he says :
I have waited for this hour, my friend. Now it has

arrived, let me go. I have been Vasudeva, the

ferryman, for a long time. ow it is over. Fare

well hut, farewell river, farewell Siddhartha.27
Hesse had felt in his heart that Buddhism was a
though
very pure form of religion, its only is the 'des
shortcoming

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 INDIAN LITERATURE

traction of the image-worlds'28. As such, Siddhartha realises

the truth, being in communication with a number of gods of

the Hindu pantheon, on the mental plane. Vasudeva

through his words and deeds commands a reverence from

Siddhartha.
The function of the Indie tradition in Hesse's novel,

therefore, aims at comprehending 'chaos and cosmos', which

'exist within man, not in the world outside; and the selection

(or creation) of an adequate deity is based upon man's re

action to those inner impulses'29. In his essay 'My Faith',

he says 'that my Siddhartha puts no cognition, but love at

first place: that it disdains dogma and makes the experience

of unity the central point'.30 The struggle of the principle of

existence is inevitably bound up with the rise and fall, births

and deaths. In other words, life is maintained through a sort

of birth and death at each and every step. Hesse tries to point

out this, in the life of Siddhartha. At each step, Siddhartha

reawakens to face the world outside. In the first chapter he

rejects the Brahmanical way, next the Buddhist way and the

worldly way. Finally, he reaches such a point in life when

realisation comes of itself.

In seeking to assess and convey the reactions of his

time, Hesse draws examples, incidents and characters from

the legendary history of India. Through a well-knit story

he presents a biographical account of Gautama Buddha,

descriptions of gods, religious faiths and even the

symbols,
natural setting of India, from scattered sources to represent
an organic cultural whole of India. Perhaps he felt that

a knowledge of the past in myths and legends provides ade

evidence of man's continual struggle. This struggle

quate
alone leads to perfection. As he puts it through Siddhartha:

The world, Govinda, is not imperfect or slowly

evolving along a long path to perfection. No,

it is perfect at every moment; every sin already
carries grace within it, all small children are

potential old men, all suckling have death within

them, all eternal life. It is not

dying people

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 INDIA IN HESSE

possible for one person to see how far another

is on the way; the Buddha exists in the robber
and dice player; the robber exists in the Brahmin.

During deep meditation it is possible to dispel

time, to see simultaneously all the past, present
and future, and then everything is good, every

thing is perfect, everything is Brahman.31

Through the analysis of Siddhartha he tries to present

his view about the eternal value of culture and religion.
To him, 'as far as the eternal in man is concerned, the tea

chings of Jesus, LaoTse, Veda, Goethe are the same. There

is only one teaching and there is one religion'32. To
only
establish this one religion, Hesse has tried to use a variety
of psychological functions, incantations, rites, sacred for

mulae, mythology, theology, magic, charms, emotional

reaction in Siddhartha's life. The supernatural power and
its relationship to human beings is an essential on
point
which Hesse seems to be working. The conflict about
this relationship does not lie in the external world, but in
one's own self.

As Townsend observes,'. .Hesse considers art, music,

poetry, meditation, and humour as eternal values, i.e.,
phases of the absolute the awareness of which makes man's

striving worthwhile.'33 For making 'man's striving

worthwhile', Hesse chooses traditional materials and even

form, for the creation of his art. about

literary Speaking
his literary career Hesse states:

As a writer, I believe, I have been a tra

always
ditionalist. With few exceptions I was always
satisfied with the traditional form, a standard
pattern, a model. It was never to
important
me to offer novelty of form, or to be an avant

gardist or pioneer.34

In Siddhartha too, he the traditional

adapted legendary form,
but reshaped the legendary tale of Buddha to create Siddhartha

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 INDIAN LITERATURE

as an imaginative non-conformist. In his attempt to find

out the meaning of life in Siddhartha, his attitude is existen

tialistic. In a continuum of 'Romantic tradition' at one end

and 'Existentialistic attitude' at the other, Siddhartha encom

passes a variety of materials from classical Indie tradition.

NOTES
1. Hesse, Hermann. The Journey to the East, Trans. Hilda

Rosner, 1933, pp. 24.

2. For details see : A. Leslie Wilson's A Mythical Image:
The Ideal of India in German Romanticism, 1964.
3. Wilson, A. Leslie: A Mythological Image: The Ideal of
India in German Romanticism, 1964, pp.9.
4. Ibid. Pp. 11. Perhaps with the exception of Scott,
who has extensively used it.

5. Mileck, Joseph : Hermann Hesse and His critics, 1958, pp.S

6. Malthaner, Johannes: 'Hermann Hesse's Siddhartha.'r
German Quarterly, Vol. 25, pp. 105.
7. Ziolkowski, Theodore: The Novels of Hermann Hesse,
A study in Theme and Structure, 1965, pp.149.
8. Ibid. pp. 148. (quoted and translated from Aus Indien;

reprinted extensively in Bilderbuch (GD, III, 786-862;

here pp. 845).
9. 'Aus inem Tagebuch des Jahres 1920', Corona, 3(1932),
201-02, as quoted in Ziolkowski, op.cit., pp.150.
10. Shaw, Leroy R. : 'Time and Structure of Hermann

Hesse's Siddhartha', Symposium, (Fall 1957). Vol. XI

11. Ziolkowski, Op. Cit., pp.154.
12. Hesse, Hermann, Siddhartha, Trans. Hilda Rosner, 1951,
pp. 148-49.
13. Shaw, Leroy R.: 'Time and the Structure of Hermann

Hesse's Siddhartha1, Symposium, Vol XI, No.2, pp.204

(Trans, from Gesammelte Dichtungen, Berlin, 111,1952,
pp.806).
14. Buddha is a historical figure. But a number of le

gendary tales were created after his death by his

followers as to be found in Jataka Tales or Birth Stories

of Buddha.
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 INDIA IN HESSE

15. Ziolkowski, Op. Cit., pp.156.

16. Siddhartha, p.4.
17. Siddhartha, p. 12.
18. Siddhartha, p. 16.
19. Siddhartha, p.20.
20. Siddhartha, p.26.
21. Siddhartha, p.44
22. Here the author undoubtedly refers to Vatsyayna's
classic book on the art of love, Kama Sutra.

23. Siddhartha, pp.52.

24. Siddhartha, pp.63-64.
25. 'Aus einem Tagebuch des Jahres 1920', p.193, Trans.
& quoted in Ziolkowski, Op.Cit., pp. 150-51.
26. Hesse's statement quoted earlier may be referred to

comprehend the development of plot (footnote 9)

27. Siddhartha, pp.139.
28. Reference may again be made to Hesse's statement

quoted earlier (footnote 9).

29. Ziolkowski, Op.Cit., pp.20.
30. GS, vii, 372, Trans, and quoted in Ziolkowski, Op.Cit.,.
pp.170.
31. iSiddhartha,pp.145.
32. As quoted in Johannes Malthaner, 'Hermann Hesse's

Siddhartha', German Quarterly, Vol.25, pp.106, from

Krieg und Frieden (Translated by me).

33. Townsend, S.R., 'The German Humanist Hermann

Hesse', Modern Language Forum, Vol.32 (1947), pp.11.

34. GS,vii, 683, as quoted in Ziolkowski, Op.Cit., pp.83.

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