Abstract
The prose style of Van Ostaijen generally encounters either critical praise or condemnation, with hardly any nuances between these two extremes. He is either lauded as a master of language with the poet’s sensitivity for word and phrase, or he is dismissed as an unimpressive charlatan whose verbal inventiveness degenerates into tasteless puns. In both views the common denominator is that the style shows a highly cognizant employment of language. An examination of the stylistic and narrative characteristics will support the contention that this style is not a gratuitous acrostic diversion, but that the tales constitute, in fact, a subtle linguistic construction. They are examples of what Wolfgang Kayser called das sprachliche Kunstwerk. Kayser defines the verbal work of art as “[eine] in sich geschlossenes sprachliches Gefüge.” The discussion may, perhaps, demonstrate how tightly knit these tales are and how the technical expertise proceeds to negate its own carefully constructed artifice.
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References
This essay, “Un debat littéraire,” is not included in the collected works, but was published previously in book form. Paul van Ostaijen, Krities proza II ( Antwerpen, Utrecht, 1931 ), p. 152.
This theory was primarily developed in an essay on Pasternak: Roman Jakobson, “Randbemerkungen zur Prosa des Dichters Pasternak,” Slavische Rundschau, VII, No. 6, 357–374. If not otherwise indicated, the quotations from Jakobson are from this essay. See also Roman Jakobson and Morris Halle, Fundamentals of Language (’s-Gravenhage, 1956 ), pp. 76–82.
Ostaijen, Krities proza II, p. 149.
Kayser, Das Groteske, p 132.
Albert Gleizes and Jean Metzinger, Du Cubisme (Paris, 1912), p. 6.
The quotation is from a catalogue for an exposition of this group’s work in Amsterdam’s Stedelijk Museum, 6 July to 25 September 1951. de stijl: cat. 81 (Amsterdam, 1951), pp. 24–25.
Vassily Kandinsky, Ober das Geistige in der Kunst (München 1912), p. 36.
Paul van Ostaijen, “Lambrecht Lambrechts: kleine keuze onuitgegeven gedichten. Henri Bruning: De sirkel. Verzen. Gerard van Duyn: De verlaten stad. Roel Houwink: •ovellen,” Het Overzicht, Nos. 22–24 (February 1925).
Paul van Ostaijen, “Beeldende Kunst Marten Nelsen,” Ons Land,IV (28 January 1917). See also his essay “Schoone Kunsten. Oscar en Floris Jespers,” Ons Land, IV (10 March 1917). In a letter from Berlin to Boris Jespers, Van Ostaijen writes quite seriously about the problematic nature of the caricature, even alluding to what he calls a “classical caricature.” This letter is in the possession of Floris Jespers’ grandson, Henri-Floris Jespers, who showed it to me and allowed me to quote from it.
Baudelaire in a projected preface to his Fleurs du Mal; included in Charles Baudelaire, Fleurs du Mal,ed. Antoine Adam (Paris, 1961), p. 249. This is the passage which was singled out by Hugo Friedrich as being especially significant and apocalyptic for modern poetry in Die Struktur der modernen Lyrik (Hamburg, 1956), p. 43.
Salomon Friedlaender, Logik; Die Lehre vom Denken (Berlin, Leipzig, n.d.), p. 73.
Roger Shattuck, The Banquet Years (New York, 1961), pp. 334–335.
Paul Rodenko, “De andere Paul van Ostaijen,” Nieuwe Rotterdamsche Courant, April 9, 1955.
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Beekman, E.M. (1970). The Style of the Grotesques a Description of Linguistic Subversion. In: Homeopathy of the Absurd. Bibliotheca Neerlandica Extra Muros, vol 1. Springer, Dordrecht. https://doi.org/10.1007/978-94-015-7580-5_3
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DOI: https://doi.org/10.1007/978-94-015-7580-5_3
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