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Mann's"PippoSpano":
Heinrich
The ProblemoftheAuraandthe
WorkofArt
A. Bennett
Timothy
Die Kunst,das ist, Sie erinnernsich,ein
jambisch funffufliges
marionettenhaftes,
istauch durchden
und-diese Eigenschaft
und sein Geschopf,
Hinweisauf Pygmalion
belegt-kinderlosesWesen.
mythologisch
Paul Celan,"Der Meridian"'
I
The anti-heroof Heinrich Mann's novella "Pippo Spano" is a collector of art. At a criticalmoment,Mario Malvolto declares to his
lover, Gemma, "Ich bin eitel auf die Bilder, die niemand empfindet,die gehoren mir ganz."2 Although Malvolto seems to insist
that he possesses these pictures,the statementis misleading,because the images seem rather to possess him. Malvolto's relationship to the paintingof the Renaissance condottierePippo Spano is
well known, and scholars agree that Andrea del Castagno's
paintingserved as a model for the paintingdepicted in the narrative. Unfortunately,however, criticalstudies have, for the most
part, neglected other works of art represented in the novella.
1 Paul Celan, "Der Meridian, Rede anlaBlich der Verleihung des GeorgZweiReden,ed. Gunther Busch (Frankfurt/
Gedichte,
Ausgewdhlte
Buichner-Preises,"
M: Suhrkamp Verlag, 1975) 133.
2 Heinrich Mann, "Pippo Spano," Novellen,Zweiter Band, 3 vols., ed. Volker
Riedel (Berlin & Weimar: Aufbau-Verlag,1978) 48. All furtherpage citationsrefer
to thisvolume.
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609
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TIMOTHYA. BENNETT
610
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M L N
611
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612
TIMOTHY A. BENNETT
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MLN
613
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TIMOTHY A. BENNETT
614
appears, makes thatlack of meaning assume the nature of significance. When Malvolto reflectsupon his eroticaffairs,forexample,
the play between meaning and its absence becomes apparent:
Oder sollensie [Malvolto'slovers]armeleereGliederpuppenseinwie
die wedersie
Mimi,und ichbehangesie imTraummitLeidenschaften,
erlebenwerdennochich?[ ...] Man wirdmide, die Sternedortoben
mitden Augen zu pflucken,einen nach dem andern,und am Ende
nichtsin den Handen zu halten... (21)
For Malvolto,writingdeprives the world of meaning. Like a figure
in one of his own plays or a character in one of his novels, he
mouths words which do not derive from his own experience but
create instead an illusion. For him,lifeand art are only equivalent
as fiction.Like the character in the play or novel, or the marionette, Malvolto fears that the writermerelyseems to act for himself.Paradoxically,he suggeststhatthe truelack of lifein the marionette,actor, or writermakes the lifelikeillusion possible.
If writingas depicted in the novella signifiesillusion,then sculpture seems to be itsopposite. When he refersto the creativesource
of art, Malvolto speaks of the sculptor'schisel: "Wohl stehthinter
jeder vollendeten Schonheit der Schmerz und hat noch den
MeiBel in der Hand" (20).11 When consideringthe role played by
the visual arts in the novella's thematic structure,the allusion
functionsas more than a mere aside. In a sense, the metaphor
implies that a perfectedwork of beauty partakes of the nature of
sculpture. Malvolto, however, as his name itselfsuggests,cannot
create such works. The name derives fromthe Italian and means
either distorted(malvolto),or to cast an evil eye (fare mal volto).12
Rather than creating true beauty, Malvolto's fate as a modern
writeris to distortit.
For Malvolto,sculptureseems to representa purer formof representationthatis less illusoryand thuscloser to livingtruth.Metaphorically,"Pippo Spano" may be read as the narrativeof an artist
who attemptsto escape the bloodless, passionless two-dimensional
surfaceof the page or canvas and to enterthe more concreterealm
of sculpture. Before examining Malvolto's peculiar relationshipto
the art of sculpture,perhaps anotheranalogy thatsheds some light
11 See: Heinrich Mann, "Gustave Flaubert und George Sand," Essays,92.
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MLN
615
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TIMOTHYA. BENNETT
616
Painting, it would seem, deceives and fails to offer the soul the
comfortto be found in sculpture. Malvolto too yearns to experience a concrete expression of human passion and anxiety.
Rilke, moreover,portraysRodin as a man made lonelyand soliwhichis, howtaryby his fame. Malvolto shares thischaracteristic,
ever, common to turn of the centurydepictions of the creative
genius and constitutesa commonplace. Beyond this,though,Rilke
draws upon a legacy shared by both Rodin and Malvoltowhen he,
in the motto to his essay, quotes froma Renaissance commentary
wirkendurch Worte, . . . die Bildon sculpture: "Die Schriftsteller
hauer aber durch Taten."16Rilke suggestsa certainsuspicion concerning the value of the writtenword when compared to the concrete work of the sculptor, tantamount to a deed. In "Pippo
Spano," Mann documents this attemptedtransitionfromword to
deed: the final chapter, in which Malvolto proves incapable of
committingsuicide aftermurderinghis lover,is entitled"Die Tat".
Malvolto, a propagator of words and thus of distorted truths,
commitsinstead a Missetat.As a doer of deeds, he is merelyculpable, not creative. The pen and the brush are the tools of the
writerand painter; their medium is a two-dimensionalpage or
canvas. Malvolto knows that his proper material is "das Blatt Papier [ ...], das ich mit Zeichen bedecke" (17). Signs, shadows of
words, constitutehis proper production, not concrete materials
whichcast shadows. Whereas the sculptorcan wield the knifeso as
to create lifelikebeauty, Malvolto wields it as he would a pen and
creates yet another shadow. Although Gemma's death will inspire
him, Malvolto uses the knife,and ultimatelyalso the pen, to destroy living meaning so that a dead letter-or dead body-assumes the statusof the livingspirit.
As he gives voice to his anguish, Malvolto also alludes both to
sculpture and to Dante's Inferno.The followingpassage foreshadowing Gemma's appearance evokes the image of Rodin's Portede
l'Enfer:
Ich will fremde Schonheitenerleben, fremdeSchmerzen.Recht
fremde.GeopferteFrauen; Vornehme,die zuvielbegehren;Meister,
die einen vollen Schmerzan einem Stuck Marmoraustoben. Sie
schlagen die Gestaltender Holle aus dem Block heraus, und ihr
der die SeelendurchpurpurneFinsternis
Schmerzistder Wirbelwind,
treibt... (25)
16
Rilke, 350.
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M L N
617
Although the desire for a woman who will sacrificeherselfforeshadows Gemma's death, the evocation of the woman whom Malvolto desires also demonstratesthat the writeruses sculpture to
symbolizelife.
Later, when the love affair has reached its climax, Malvolto
states that the awareness of his own physicalexistence has freed
him fromhis writer'snature: "Ich erdichtenichtsmehr, ich habe
nur noch lebendige Vorstellungeneiner schonen Korperlichkeit"
(46). In the version of the novella published in Flotenund Dolche,
Mann placed even greateremphasis on the contrastbetween Malvolto's awareness of physical presence and his desire to forsake
poetic fantasy:
und
Darinbestehtdas Gluck:Korperzu werden.Was michuberfeinert
entmenscht
hat,wardie Phantasie.Ich habenichtnurdie Fraumitdem
Korpergeliebt,sondernauch nochmitder Seele die Traume,die ich
aus ihrmachte.Es warjedesmaldoppelteArbeitund muBtemichaufreiben.Jetztwerdeich gesund.17
Poetic fantasy,Malvolto suggests,robs the writerof his humanity.
The sculptoris superior to the writerin Malvolto'sestimation,because sculpturepossesses the abilityto express "das GlIck: Korper
zu werden." By contrast,writingmust contentitselfwithdreams.
Rilke, too, describes a longing for physical presence, "als verlangte die menschlicheSeele immerwieder an lichtenoder bangen
Wendepunkten nach dieser Kunst, die mehr giebt als Wort und
Bild, mehr als Gleichnisund Schein: nach dieser schlichtenDingwerdung ihrerSehnsuchte und Angste,"and thus he characterizes
sculpture as an implicit disparagement of both writing and
painting.18 During this period, Mann considered the best styleof
writingto be "sculptural":
Stildes Flaubert-ichseheunterseinenWorten
Der starkesculpturale
mirimmerals sehr
sichBilderformenwieunterHammerschlagen-ist
habe ich immergeerschienen.Und am neidischsten
begehrenswert
in den harten
der Hingerissenheit
von Leidenschaften
bebtangesichts
Satzendes Stendhal.19
Meaningfulwriting,then,strivesto partake of the nature of sculp17 See Riedel's "Anmerkungen,"416.
18 Rilke, "Rodin," 355.
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TIMOTHY A. BENNETT
618
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620
TIMOTHY A. BENNETT
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622
TIMOTHY A. BENNETT
Benjamin, "Kunstwerk,"146.
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623
221.
Walter Benjamin, "Uber einige Motive bei Baudelaire," Illuminationen,
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TIMOTHY A. BENNETT
624
Historically,photographyhad, of course, raised questions concerning the future of art. In his essay on Baudelaire, Benjamin
refersto the poet's criticismof photographyin the Salon de 1859.
As Baudelaire stated it, the technologyof daguerreotypyundermined the nature of the dream thathe believed was essetialto art:
se prosternedeDe jour enjour l'artdiminuele respectde lui-meme,
et le peintredevientde plusen plusenclin'a
vantla realiteexterieure,
peindre,non pas ce qu'il reve,maisce qu'il voit.28
If art traditionallyenveloped its subject in a dream, then by doing
so it maintained an aura in the sense given the word by Benjamin,
whose definitionseems to recall Baudelaire's preference for the
dream. Benjamin's discussion of the aura's disintegrationevokes
the image of the photograph as a formof representationthatcontributesto the loss of the aura. The followingdefinitionis taken
fromBenjamin's "Kleine Geschichteder Photographie"(Benjamin
used the definitionlater in "Das Kunstwerk im Zeitalter seiner
technischenReproduzierbarkeit"):
Benjamin, 223.
Charles Baudelaire, Salon de 1859, Oeuvres,ed. Y. G. Le Dantec (Paris: Librairie
Gallimard, 1954) 772.
27
28
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625
eine genauso
die Dinge sich,vielmehrden Massen"ndherzubringen",
Neigungder Heutigen,wie die Uberwindungdes
leidenschaftliche
Tagtaglich
Einmaligenin jeder Lage durch deren Reproduzierung.
aus
das Bedurfnisgeltend,des Gegenstands
machtsichunabweisbarer
imAbbildhabhaftzu werden[... .] Die
nachsterNahe imBild,vielmehr
Entschalungdes Gegenstandsaus seinerHulle, die Zertrummerung
deren Sinn furalles
der Aura ist die SignatureinerWahrnehmung,
auf der Weltso gewachsenist,daB3sie es mittelsder ReGleichartige
auch dem Einmaligenabgewinnt.29
produktion
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TIMOTHY A. BENNETT
626
Derrida, 111.
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33Ritter-Santini, 72.
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TIMOTHYA. BENNETT
628
der Anklage
Zitierung",
die Vorstufeder "destruktiven
Verfremdung
toteForm.34
an die leergewordene,
In "Pippo Spano," the "leergewordene,tote Form," embodied in
the portrait itself,clearly dominates the narrative. As Malvolto
turnsto the portraitand exclaims,"Du bistschuld," the accusation
becomes an integralpart of the narrativethatmustbe understood
literally.
"Pippo Spano" is neither simply a transitionwork that anticipates the author's growingcommitmentto democracy,nor is it a
narrative that proclaims Mann's renunciation of his fascination
with decadence. The novella defies such facile categorizationand
stands alone as the culmination of "die erste, notwendige Verfremdung der Kunstzitate"which Ritter-Santinidiscerned in Die
which followed the writing
Gittinnen.35
The period of engagement
of "Pippo Spano" may well have been necessitatedby the insights
reached through that narrative. Like Malvolto, the reader must
confrontthe workof art and see. In thissense, the novella suggests
aspects of Kafka's novels which,according to Adorno, defeat the
reader's desire to contemplatethe text:
Geer [Kafka]dem Leserdie kontemplative
DurchSchockszerschlagt
borgenheitvormGelesenen.Seine Romane[. . .] sinddie vorwegnehderWelt,in derdie kontemplative
aufeineVerfassung
mendeAntwort
Drohungder
Haltungzum blutigenHohn ward,weildie permanente
Zuschauenund
KatastrophekeinemMenschenmehrdas unbeteiligte
Nachbildmehrerlaubt.36
nichteinmaldessenasthetisches
In the novella, the smile of the condottiereconcretizesthe bloody
scorn that resides in the contemplativeattitude.As Benjamin suggests in his studyof Baudelaire, the photograph is symptomaticof
the Chockerlebnis
that conditions modern perception.37 "Pippo
Spano", then,is a textthatincorporatesthisexperience.
as a preTo a great extent,Benjamin regards the Chockerlebnis
condition for the loss of the aura, i.e. as the loss of the cultlike
grounding of the work in a traditionthatencourages the beholder
to lose himselfin contemplation.In the "Neuen Gebote" (1926),
Mann considers the effectthatchanges in societyhave wroughtin
do4Ritter-Santini, X7D.
351
36
73.
Ritter-Santini,
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the nature of art, for "Die Literaturlebt nichtanders als ihre Zeit,
kann auch nichtmehr erreichen."38Mann argues forthe need for
a literaturethatwill address the modern reader, who differsfrom
his predecessors,it seems, because of a fundamentallychanged relationshipof the individual to past, presentand future:
Man hatteMuBe damals,jetzt wirdaber gehandeltallein schondaallenfalls
die
durch,daB manlebt.Romaneund KomodienerschlieBen
Idee des gegebenenTages. Zukunft,Ferne,und was nichtjetzt und
Sinn fur dies
jemals greifbaren
hier geschieht,bekommtschwerlich
Geschlecht.Wer begreiftUtopien?Der Gebildete,der an sie nicht
glaubt.Oder Vergangenes?
GewiBnichtder Gedachtnislose.9
In an age where past and futurehave lost theirmeaning,the possibilityof meaningfulcontemplationcannot exist,or contemplation
must become a hypocrisysimilarto the scholar'svisionof a utopia
in which he does not believe. If art is to survive,Mann suggests,it
must forsakeits contemplativeorigins.
"Pippo Spano" seems to anticipate Mann's evolving interpretation of the social conditionsin which literaturearises. The photograph in its functionas a scandalous, shocking representationis
nearly emblematic for the novella. Malvolto's bankruptcyderives
ultimatelyless fromhis immoralitythan fromhis failureto understand the changed nature of his era and of that era's art. He still
longs for the contemplativegesture and yearns to commemorate
the past throughhis reverencefor the condottiere.The snapshot,
however, does not commemorate, for it lacks the aura that encourages contemplation. Instead, it preserves the present and
places the present at the disposal of the future.
Malvolto seems to representthe reader. As the writerconfronts
the painting,the reader must confrontnot only the textbut art in
general. At the conclusion, the reader, like Malvolto, is asked to
see, not to dream, the workof art and to recognizethe "leergewordene, tote Form" and perhaps to accuse it,as Malvolto accuses the
painting. In defending himselfonce against the criticismthat he
lacked talentfor realisticdepiction,Mann statedthathe portrayed
reality "intensivergesehen, als man sie sieht."40"Pippo Spano"
demonstratesthat intensityof vision turned back to reflectupon
writingitself.Neithermerelya studyof decadence, nor simplycul38
39
40
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630
TIMOTHY A. BENNETT
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43
Werner,163.
44Jurgen Haupt, "Kunst der 'Lebensnahe', Probleme von und mit Heinrich
Mann in den ZwanzigerJahren oder: Nachdenken uber das Heinrich-Mann-Symed. Peter-Paul Schneider
posium 1981," Arbeitskreis
HeinrichMann Mitteilungsblatt,
17 (1982): 99.
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