I think CP evidences a certain mild disdain toward the transcendentalists
and is not much enamored of Emerson, not to the extent that Nietzsche was
for example. I probably could reference this if it is not generally agreed
that this is the case. Cheers, S

*ShortFormContent at Blogger* <http://shortformcontent.blogspot.com/>



On Sun, Sep 18, 2011 at 3:17 PM, <ama...@euphorika.net> wrote:

> 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.
>
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