Greetings! I haven't any forensic evidence of formative influence, Hölderlin—>Peirce, sorry; but since you also touch on the question of a semeiotic link, I'd like to suggest a couple of leads towards a grander, evolutive and collateral view.
P—>Jakobson<—Heidegger<—H. Jakobson and Lübbe-Grothues, Ein Blick auf Die Aussicht von Hölderlin. Heidegger's 1942/3? lectures around Hölderlin's poem, Der Ister. P<—>Emerson<—H. I seem to recall Peirce mentioning Emerson. Were the two acquainted? I see they were both members of the Saturday Club in Boston. Not much generally familiar with Emerson, but I have read an essay of his, entitled Prudence, in which he describes 3 classes of attitudes to life, roughly 1. utilitarian, 2. aesthetic, 3. truthful, which bear comparison with Peirce's notions of 1stness, 2ndness, and 3rdness. Emerson remarks that few people comprehend the full the full gamut. One or two curious points worth mentioning about Hölderlin. He was a radically literalist translator of Ancient Greek poetry, which is to say that he understood/felt individual words to be highly complex/rich signs. Related is a rather abstract phase in Hölderlin's approach to poetic composition, which somewhat resembles Peirce's morphological arrangement of triads. There are notes surviving in which Hölderlin works out poem compositions in the following way: WISTFULNESS WISTFULNESS PLAYFULNESS PLAYFULNESS WISTFULNESS SORROW SORROW WISTFULNESS LONGING WISTFULNESS WISTFULNESS LONGING ... And so on. In fact, I can't recall any particular composition; this is a 25 year old memory from my early student days. Now, if you put the two points together, in perspective of the finished poetry and other writing, the ordering of moods turns up a logic of semantic morphism, however casual/intuitive. Good luck. I'd be very curious about any explicit links you turn up. Cheers! Ozan On Aug 31, 2011, at 1:46 AM, Cassiano Terra Rodrigues wrote: > Hello list: > > Does anyone know whether Peirce knew anything by Friedrich Hölderlin? > I'm thinking specifically about Hölderlins poem called Mnemosyne, where the > image of man as sign appears. I found this link to the poem: > > http://publish.uwo.ca/~rparke3/documents/mnemosynedrafttrans.pdf > > And also this quote from Hegel's Phenomenology of Spirit (I couldn't make > sure yet whether or not it's from "The Death of Empedocles"/ "Der Tod des > Empedokles", by Hölderlin): > "Der Pathos des Sängers ist nicht die betäubende Naturmacht, sondern die > Mnemosyne, die Besinnung und gewordeneInnerlichkeit, die Erinnerung des > unmittelbaren Wesens." (sorry, I can't translate that into English and > couldn't find the translation online, but it's from the Phenomenology of > Spirit, VII.B.c: The Spiritual Work of Art). This quote seems to indicate to > the same general philosophical point as CSP does in his 1868 papers on > cognition: the impossibility of an imediate knowledge. Anyway, just a point > of historical curiosity; but the Hölderlin case seems more interesting, to me > at least. > All the very best to all, > cass. > --------------------------------------------------------------------------------- > You are receiving this message because you are subscribed to the PEIRCE-L > listserv. To remove yourself from this list, send a message to > lists...@listserv.iupui.edu with the line "SIGNOFF PEIRCE-L" in the body of > the message. To post a message to the list, send it to > PEIRCE-L@LISTSERV.IUPUI.EDU --------------------------------------------------------------------------------- You are receiving this message because you are subscribed to the PEIRCE-L listserv. To remove yourself from this list, send a message to lists...@listserv.iupui.edu with the line "SIGNOFF PEIRCE-L" in the body of the message. To post a message to the list, send it to PEIRCE-L@LISTSERV.IUPUI.EDU
