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Hermann Lauscher
Hesse’nin henüz yirmi yaşında kaleme aldığı Hermann Lauscher (Hermann Lauscher’den Kalan Yazılar ve Şiirler) bir tür “kendini arayış” olarak değerlendirilebilir. Hesse, sonrasında “gençlik günahı” diye nitelediği kitabının ilk baskısına (1900 sonu) yazdığı Önsöz’de Hermann Lauscher’de yer alan metinlerin gizemini şu sözlerle açıklar: “Hermann Lauscher ismi bu kitapla ilk kez kamuoyu önüne çıkıyor. Lauscher’in yabancı bir isimle basılan yazıları, fazla geniş sayılmayacak belli bir okur kitlesince çok iyi bilinmektedir. Ne yazık ki bu dünyadan göçüp gitmiş yazar, sırrını açıklamamı ve ölümünden önce basılmış yazılarını kendisine mal etmemi yasaklamış bulunuyor.”
“Acı kavrayış, kavrayışsızlıktan iyidir ve kim bir kez kendini gözlemleme ve itiraf etmenin tehlikeli yoluna girmişse, beklenmedik ve üzücü de olsa, sonuçlarına katlanmalıdır.”
Yıllar içinde Lauscher’e ne zaman bir göz atayım desem, çıkarıp atmak ya da değiştirmek istediğim pasajlarla karşılaştım, örneğin Günlük’ün başındaki Tolstoy üzerine kaleme alınmış, gençliğe özgü, kibirli, aptalca sözler... Ne var ki gençlik portremde geçmişe dönük tahrifat yapma hakkına sahip olduğumu sanmıyorum...
Hermann Hesse, 1933
“Acı kavrayış, kavrayışsızlıktan iyidir ve kim bir kez kendini gözlemleme ve itiraf etmenin tehlikeli yoluna girmişse, beklenmedik ve üzücü de olsa, sonuçlarına katlanmalıdır.”
Yıllar içinde Lauscher’e ne zaman bir göz atayım desem, çıkarıp atmak ya da değiştirmek istediğim pasajlarla karşılaştım, örneğin Günlük’ün başındaki Tolstoy üzerine kaleme alınmış, gençliğe özgü, kibirli, aptalca sözler... Ne var ki gençlik portremde geçmişe dönük tahrifat yapma hakkına sahip olduğumu sanmıyorum...
Hermann Hesse, 1933
120 pages, Paperback
First published January 1, 1901
14 people are currently reading
198 people want to read
About the author
Hermann Hesse
1,795 books19.5k followersMany works, including
Siddhartha
(1922) and
Steppenwolf
(1927), of German-born Swiss writer Hermann Hesse concern the struggle of the individual to find wholeness and meaning in life; he won the Nobel Prize for literature in 1946.
Other best-known works of this poet, novelist, and painter include The Glass Bead Game , which, also known as Magister Ludi, explore a search of an individual for spirituality outside society.
In his time, Hesse was a popular and influential author in the German-speaking world; worldwide fame only came later. Young Germans desiring a different and more "natural" way of life at the time of great economic and technological progress in the country, received enthusiastically Peter Camenzind , first great novel of Hesse.
Throughout Germany, people named many schools. In 1964, people founded the Calwer Hermann-Hesse-Preis, awarded biennially, alternately to a German-language literary journal or to the translator of work of Hesse to a foreign language. The city of Karlsruhe, Germany, also associates a Hermann Hesse prize.
Other best-known works of this poet, novelist, and painter include The Glass Bead Game , which, also known as Magister Ludi, explore a search of an individual for spirituality outside society.
In his time, Hesse was a popular and influential author in the German-speaking world; worldwide fame only came later. Young Germans desiring a different and more "natural" way of life at the time of great economic and technological progress in the country, received enthusiastically Peter Camenzind , first great novel of Hesse.
Throughout Germany, people named many schools. In 1964, people founded the Calwer Hermann-Hesse-Preis, awarded biennially, alternately to a German-language literary journal or to the translator of work of Hesse to a foreign language. The city of Karlsruhe, Germany, also associates a Hermann Hesse prize.
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July 23, 2018
Este libro contiene dos obras del inmortal Hermann Hesse, una de su juventud, Hermann Lauscher, y otra de sus últimos años: Viaje al Oriente. Hermann Lauscher es un libro íntimo, “de confesiones para mí y mis amigos”, es la historia de un poeta que transita el arte del verso con delicados debates filosóficos, temas que avizoran las futuras exploraciones de HH: las hondas contradicciones de las personas y la búsqueda de un sendero de liberación personal. En estas páginas encontramos a un autor primigenio, novel, con una pluma adornada, clara y universal que en ocasiones se escapa de lo real para sumergirse en las regiones de lo etéreo, en oníricos paisajes, fantasías y viajes espirituales; condiciones que desarrollaría en su trabajo posterior con sumo cuidado y elegancia.
Los escritos de Hermann Lauscher narran algunos aspectos biográficos, siendo los más interesantes los capítulos incluidos en la segunda edición (1920): “Lulú” y “Noches de Insomnio”. En Lulú, “el poeta Lauscher”, nos presenta una extravagancia, un cuento, una fábula con tintes medievales, de transmigración de tiempo y espacio, de princesas y reinos olvidados que habitan en los sueños, la poesía y las encantadoras formas femeninas. Un sólido relato que embriaga con deleite a cualquier amigo personal de Hesse. En “Noches de Insomnio” le rinde culto a la musa, la única, la eterna y compañera de los hombres, la que supera a la muerte, amiga de todos, siempre disponible, la temible, silenciosa y amante soledad.
“Viaje al Oriente” es un libro iniciático, es una ruta y un rito. Nos encontramos a un Hesse maduro, nobel y con la pericia de un maestro. Suavemente nos deslizamos por las palabras y el aroma oriental, nos dejamos conducir por una leyenda y el “Círculo”. Los discípulos que emprenden el fabuloso viaje por tierras mitológicas, cabalgando junto al quijote, con Wagner, con el pintor Klingsor, del Siglo de Oro a la Edad Media, con Goldmundo, con Longus, el Lauscher y Leo el profeta, el líder que se marchó para siempre. El propio HH será el narrador de este texto que retrata la búsqueda espiritual, la pérdida de la fe y el encuentro final con uno mismo y el universo. HH persiste en el deber de las personas de ser fieles a sí mismo, nos recuerda las cosas importantes de la existencia, aquellas que carecen de valor económico y son irracionales para el vulgo como la imaginación, la música, la lírica y el arte; cuando se pierden, la vida misma, se pierde.
HH intenta describir su “Viaje al Oriente” sin recordarlo, sin revelar los secretos del “Circulo”, ¿Cómo habar del viaje sin desvelar al Círculo? En aquel tiempo de entreguerras, de caos y desesperanza, las miradas se volcaron a lo exótico, a lo místico y esotérico: fue muy difícil diferenciar a los charlatanes de los maestros. Y Leo era uno de ellos, el “Superior de los Superiores”, el más solicito y servicial, criado al auxilio de todos, noble compañero, sabio consejero y amigo prudente. Las cosas sucumbieron cuando Leo se fue, hubo desunión, se produjo la catástrofe, los más desertaron, se cobijaron de razón. Y es que la lógica condena al alma, el razonamiento reduce a la fantasía, la inteligencia somete a la inventiva y a la magia. Leo es el niño interior que alguna vez fuimos, el que nos reclama cuando nos apartamos del camino, quien nos indica, en lo profundo, si nuestros actos fueron oportunos o nefastos. El que volverá a nos, después del quebranto, en los instantes finales almibarados de la vida.
Los escritos de Hermann Lauscher narran algunos aspectos biográficos, siendo los más interesantes los capítulos incluidos en la segunda edición (1920): “Lulú” y “Noches de Insomnio”. En Lulú, “el poeta Lauscher”, nos presenta una extravagancia, un cuento, una fábula con tintes medievales, de transmigración de tiempo y espacio, de princesas y reinos olvidados que habitan en los sueños, la poesía y las encantadoras formas femeninas. Un sólido relato que embriaga con deleite a cualquier amigo personal de Hesse. En “Noches de Insomnio” le rinde culto a la musa, la única, la eterna y compañera de los hombres, la que supera a la muerte, amiga de todos, siempre disponible, la temible, silenciosa y amante soledad.
“Viaje al Oriente” es un libro iniciático, es una ruta y un rito. Nos encontramos a un Hesse maduro, nobel y con la pericia de un maestro. Suavemente nos deslizamos por las palabras y el aroma oriental, nos dejamos conducir por una leyenda y el “Círculo”. Los discípulos que emprenden el fabuloso viaje por tierras mitológicas, cabalgando junto al quijote, con Wagner, con el pintor Klingsor, del Siglo de Oro a la Edad Media, con Goldmundo, con Longus, el Lauscher y Leo el profeta, el líder que se marchó para siempre. El propio HH será el narrador de este texto que retrata la búsqueda espiritual, la pérdida de la fe y el encuentro final con uno mismo y el universo. HH persiste en el deber de las personas de ser fieles a sí mismo, nos recuerda las cosas importantes de la existencia, aquellas que carecen de valor económico y son irracionales para el vulgo como la imaginación, la música, la lírica y el arte; cuando se pierden, la vida misma, se pierde.
HH intenta describir su “Viaje al Oriente” sin recordarlo, sin revelar los secretos del “Circulo”, ¿Cómo habar del viaje sin desvelar al Círculo? En aquel tiempo de entreguerras, de caos y desesperanza, las miradas se volcaron a lo exótico, a lo místico y esotérico: fue muy difícil diferenciar a los charlatanes de los maestros. Y Leo era uno de ellos, el “Superior de los Superiores”, el más solicito y servicial, criado al auxilio de todos, noble compañero, sabio consejero y amigo prudente. Las cosas sucumbieron cuando Leo se fue, hubo desunión, se produjo la catástrofe, los más desertaron, se cobijaron de razón. Y es que la lógica condena al alma, el razonamiento reduce a la fantasía, la inteligencia somete a la inventiva y a la magia. Leo es el niño interior que alguna vez fuimos, el que nos reclama cuando nos apartamos del camino, quien nos indica, en lo profundo, si nuestros actos fueron oportunos o nefastos. El que volverá a nos, después del quebranto, en los instantes finales almibarados de la vida.
March 23, 2023
Uno dei libri che ho amato di più per la forte carica emotiva ed introspezione del protagonista nell’essere minuziosamente descrittivo ma anche profondamente vero. Grazie ai suoi molteplici racconti, misti di magia e innocenza, si ripercorrono in prima persona varie fasi della vita umana dal punto di vista più intimo del protagonista, essendo inoltre un grande invito a ricordare la propria infanzia e a riflettere. Davvero un bel libro, lo consiglio vivamente!
December 19, 2024
Il racconto della vita di Hermann Lauscher, dalla sua infanzia a pochi giorni prima della sua morte (avvenuta per motivi sconosciuti), può essere suddiviso in 3 parti:
* riflessioni sull'infanzia e sulla crescita - parte molto riflessiva e abbastanza deprimente
* Lulù - un racconto semi fantastico che esce dagli schemi del resto del libro
* Diari degli ultimi giorni - altra parte molto riflessiva e deprimente, migliorata solamente da qualche descrizione dei paesaggi visitati dal protagonista che sono resi molto bene dall'autore.
Si tratta quindi di uno di quei libri senza una trama lineare che ti invoglia a proseguire con la lettura e quindi si salva solo per due motivi:
1) è un libro molto corto che si legge in poco tempo
2) il linguaggio poetico dell'autore, che rende però molto meglio quando descrive i paesaggi rispetto a quando fa riflessioni filosofiche sulla sua vita.
* riflessioni sull'infanzia e sulla crescita - parte molto riflessiva e abbastanza deprimente
* Lulù - un racconto semi fantastico che esce dagli schemi del resto del libro
* Diari degli ultimi giorni - altra parte molto riflessiva e deprimente, migliorata solamente da qualche descrizione dei paesaggi visitati dal protagonista che sono resi molto bene dall'autore.
Si tratta quindi di uno di quei libri senza una trama lineare che ti invoglia a proseguire con la lettura e quindi si salva solo per due motivi:
1) è un libro molto corto che si legge in poco tempo
2) il linguaggio poetico dell'autore, che rende però molto meglio quando descrive i paesaggi rispetto a quando fa riflessioni filosofiche sulla sua vita.
March 16, 2021
Un libro sicuramente non brutto, ma troppo filosofico, introspettivo e deprimente per i miei gusti. Non mi è dispiaciuto, ma non posso neanche dire di aver avuto piacere a leggerlo, visto che per la maggior parte del tempo, soprattutto con gli ultimi due racconti, mi sono annoiata. Però devo ammettere che questa lettura ha risvegliato in me un certo interesse per Hesse che mi era nato tanti anni fa, tanto da farmi aggiungere in wishlist altri suoi titoli, se non altro per togliermi questa curiosità che mi porto dietro dall’adolescenza.
http://www.naufragio.it/iltempodilegg...
http://www.naufragio.it/iltempodilegg...
November 4, 2022
Chi sono io per giudicare Hermann Hesse?
In ogni caso, non ho capito una parola di questo libro. Più leggevo, meno capivo. All'inizio ero leggermente confusa, alla fine, ora, sono confusissima. Mi sembra di non saper più come si parla. Terribile libro, ma chi sono io per giudicare Hermann Hesse?
In ogni caso, non ho capito una parola di questo libro. Più leggevo, meno capivo. All'inizio ero leggermente confusa, alla fine, ora, sono confusissima. Mi sembra di non saper più come si parla. Terribile libro, ma chi sono io per giudicare Hermann Hesse?
April 6, 2020
Hesse'ın 20 yaşında yazdığı, kendi dönemini düz yazı ve şiirler ile anlatan , anı ve günlüklerine de yer verilen bir kitap.
December 27, 2023
carino ma confusionario, si vede che Hermannuccio era ancora giovane e senza esperienza, menomale che ci sono io che sono una critica esperta e osservo la sua crescita letteraria😍
March 15, 2024
I can get so annoyed by oddly translated titles. The literal translation from Dutch to English is “The adventures of Hermann Lauscher”. The original German title, however, is ‘Hinterlassene Schriften und Gedichte von Hermann Lauscher’, which would literally translate to “Left-behind notebooks and poems of Hermann Lauscher”. That gives much more of an initiation into the content and, mainly, structure of this book.
Because it consists of four short stories and a selection of diary entries by Hermann Lauscher. It’s not about Hermann Lauscher. With the exception of one story which mentions Lauscher’s death, so how this has happened unto his notebooks and poems is a mystery.
This is quite the significant nuance, between the ‘by’ and ‘about’. If you’re reading this with an about-perspective, as the Dutch title implies, you’d expect a simple from A to B narrative-structure. That’s not what this is at all, it’s not even chronological. The text mentioning Lauscher’s death is not the last.
The by-perspective, however, which is directly apparent in the original German title, leaves open room for a narrative structure that’s non-linear. As such, you won’t as easily start this reading with the closed perspective that a linear narrative structure imposes. This is what happened to me, because I only noticed the German title two or three stories in.
Nevertheless, it’s very interesting to read Hesse’s first published work. He was only 24 when he did so, and although this is a work of fiction, it is clearly heavily autobiographical. You do not invent the kind of observations — neither those of an internal, mental nature, nor those of an external, sensitive nature — Lauscher records here.
Although it is clearly not always pleasurable to Lauscher, hardly ever so, it seems, I envy him for having been able to be drawn by the glimmers, sheens, textures and colours that natural and civic life had to offer back in 1901 and before. Especially in the way he describes his childhood in the first story, and the final segment consisting of diary entries, specifically those dealing with his solitary time spent among the Swiss lakes and mountain ranges of Vitznau, near Luzern. Every little visual sensation remains so clear to him, and even the smells have been retained long afterwards.
When I was a young child, between 1995 and about 2005, there was definitely not as much noise — of whatever nature; visual, thematic, olfactory, not just auditive — as there is now. But definitely already significantly more than in Hesse and Lauscher’s youths. I truly wonder how I would’ve experienced the world had there not been as much, if it had focussed more on the world around me, than it did on the world inside of me. After all, inside was the only place to hide from the noise, even if I’m only starting to figure that out now.
The laments of Lauscher are so similar to my own of the past five years, that it makes me think my experiences of youth might have been more like his, in similar situations.
But we did not share those situations. What have mine turned my experiences in, then, beyond a big gaping hole of forgetfulness? Oblivion?
Because it consists of four short stories and a selection of diary entries by Hermann Lauscher. It’s not about Hermann Lauscher. With the exception of one story which mentions Lauscher’s death, so how this has happened unto his notebooks and poems is a mystery.
This is quite the significant nuance, between the ‘by’ and ‘about’. If you’re reading this with an about-perspective, as the Dutch title implies, you’d expect a simple from A to B narrative-structure. That’s not what this is at all, it’s not even chronological. The text mentioning Lauscher’s death is not the last.
The by-perspective, however, which is directly apparent in the original German title, leaves open room for a narrative structure that’s non-linear. As such, you won’t as easily start this reading with the closed perspective that a linear narrative structure imposes. This is what happened to me, because I only noticed the German title two or three stories in.
Nevertheless, it’s very interesting to read Hesse’s first published work. He was only 24 when he did so, and although this is a work of fiction, it is clearly heavily autobiographical. You do not invent the kind of observations — neither those of an internal, mental nature, nor those of an external, sensitive nature — Lauscher records here.
Although it is clearly not always pleasurable to Lauscher, hardly ever so, it seems, I envy him for having been able to be drawn by the glimmers, sheens, textures and colours that natural and civic life had to offer back in 1901 and before. Especially in the way he describes his childhood in the first story, and the final segment consisting of diary entries, specifically those dealing with his solitary time spent among the Swiss lakes and mountain ranges of Vitznau, near Luzern. Every little visual sensation remains so clear to him, and even the smells have been retained long afterwards.
When I was a young child, between 1995 and about 2005, there was definitely not as much noise — of whatever nature; visual, thematic, olfactory, not just auditive — as there is now. But definitely already significantly more than in Hesse and Lauscher’s youths. I truly wonder how I would’ve experienced the world had there not been as much, if it had focussed more on the world around me, than it did on the world inside of me. After all, inside was the only place to hide from the noise, even if I’m only starting to figure that out now.
The laments of Lauscher are so similar to my own of the past five years, that it makes me think my experiences of youth might have been more like his, in similar situations.
But we did not share those situations. What have mine turned my experiences in, then, beyond a big gaping hole of forgetfulness? Oblivion?
May 6, 2023
The constant yearning for beauty in a fragile, anxious, and doubtful soul. The emergence of all the fixed points and uncertainties that will characterize Hesse's more mature writings is clearly discernible. I perceived this reading to be somewhat unripe, yet indispensable for anyone who has loved this author's later works.
February 17, 2024
Hermann Hesse’ Nin sıralamada en son okunması gereken kitaplarından. 20 li yaşlarda yazdığı ve takma bir isimle yayınladığı bu kitap baş yapıtlarının tadını vermese de, gençlik düşüncelerine ve gelişim sürecine şahit olmak çok keyifliydi.
Ustalık döneminde yazdığı kitaplar kadar akıcı olmadığından başlangıç için yanlış tercih olacak, yazarın tadı alınamayacaktır.
Ustalık döneminde yazdığı kitaplar kadar akıcı olmadığından başlangıç için yanlış tercih olacak, yazarın tadı alınamayacaktır.
March 16, 2025
Een van Hesses eerste boeken (en daardoor ook wat minder leuk dan de rest). Autobiografisch en geschreven toen hij onbekend en 23 was. Soms een beetje chaotisch en doelloos, vooral in het dagboekdeel, maar ik vond het leuk om te zien hoe zijn ideeën later evolueren in zijn andere boeken die ik heb gelezen (met name ‘De Steppewolf,’ wat esthetiek en humor betreft).
October 15, 2018
Un'acerba opera di Hesse, giovanile, come ben chiarito dalla quarta di copertina. Chi si aspettasse un romanzo, come appare scritto sulla copertina si troverà innanzi a quello che è poco più che un diario di una sorta di alter ego dell'Autore.Meglio leggere qualche opera effettiva.
August 7, 2025
ich las es auf meinem weg nach basel was ziemlich passend war. Man ahnt das es sich um ein frühes Werk handelt da der übliche Hesse stiel noch nicht ganz ausgereift scheint und das Buch etwas wirr ist. Dennoch muss ich sagen ich habe es genossen.
February 23, 2020
I have no idea what Hesse is trying to portray here.
November 26, 2022
Prettiger en minder prettige verhalen/ fragmenten.
December 9, 2015
El sentido de este libro es que lo creado perdura y el creador perece.
Lo creado es más vivo e intenso que el creador.
El creador infunde la llama a lo creado para finalmente ceder hasta el último aliento
y así desaparecer dejando un rastro,
quizá más valioso que su propia existencia.
Pero aunque la idea me parece bella e interesante
la forma no es muy disfrutable.
Es un libro correcto, agradable, (alemán,)
pero ni mucho menos tan exitante o interesante como Demian, El lobo estepario o Siddhartha.
Lo creado es más vivo e intenso que el creador.
El creador infunde la llama a lo creado para finalmente ceder hasta el último aliento
y así desaparecer dejando un rastro,
quizá más valioso que su propia existencia.
Pero aunque la idea me parece bella e interesante
la forma no es muy disfrutable.
Es un libro correcto, agradable, (alemán,)
pero ni mucho menos tan exitante o interesante como Demian, El lobo estepario o Siddhartha.
April 23, 2017
Probably the worst book I ever read.
I bet most of the manuscripts that get turned down by publishers are better than this.
Some context: I wouldn't call myself a 'fan' of Hesse, but it just sort of happened that I read quite a few of his books, and have previously always enjoyed them on some level — some I even really liked.
This one, however, was just a complete waste of my time.
And, frankly, of the paper it was printed on.
I bet most of the manuscripts that get turned down by publishers are better than this.
Some context: I wouldn't call myself a 'fan' of Hesse, but it just sort of happened that I read quite a few of his books, and have previously always enjoyed them on some level — some I even really liked.
This one, however, was just a complete waste of my time.
And, frankly, of the paper it was printed on.
October 18, 2023
'C'è ancora un certo numero di opere antiche che desidero e ciascuna delle quali, se mi venisse tra le mani, riuscirebbe a incuriosirmi e a emozionarmi; ma poi succede sempre come quando si è acchiappata una farfalla: il piacere si paga, l'esemplare raro ha avuto per un istante quello splendido fulgore e poi... Non rimane altro che un titolo di libro e un buco nell'elenco delle soddisfazioni in cui ancora sperare'
August 8, 2016
Uit. Eindelijk. Waar het lezen van Hesse vaak een weldadige uitwerking heeft op mij, was me dit toch een worsteling. Wat een zwaarmoedig en eindeloos gepraat. De eerste delen, Mijn Kindertijd, Novembernacht en Lulu vond ik goed. Bij slapeloze nachten begon het teveel te worden. Al met al was de toevoeging van dagboekfragmenten een mooie aanvulling op het geheel.
April 23, 2013
Herman Hesse experimenting with some writings. The text lacks rythm somehow.
Displaying 1 - 20 of 20 reviews