The mussel (Droste-Hülshoff)

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The shell is a poem by Annette von Droste-Hülshoff . It was published in 1844.

text

The clam

Su, susu,
O, sleep in the shimmering bath, can
you hear it splash and rustle,
my bouncing bare naiad?
Your hair silk tang
Above your shoulders pearl foam;
Listen! she sings the song of the waves,
sweet as a bird, as tender as a dream:

"Weave, wave, wave, like
West's whisper melody,
Like the swallow
chirping across the sea sweeps from the south,
Like the clouds of the sky thaw
blessings on the isle's floodplains,
As the clam crackles on the beach,
sand trickles from the dune. "

" Waves, waves, gentle, gentle, so
that Triton does not wake up.
In my hand the clumsy horn
He is slumbering at the Strudelborn.
He lies in the shell hall, he
rocks his green braids;
Ries'le, Woge, sand and gravel,
In the beard's shaggy fleece. "

" Softly, softly, wavy circle ,
As
if your lover's oar softly brushes your shining glass along
To the sweet night walk;
When the boat,
tucked into the bush, sways, sways until morning.
Light flickers in the chamber;
Quiet, pebble, doesn't

crackle ! " The song breathes like an echo on the shore,
And the naiad sways quieter, quieter,
begins to spread her flocked hair, lets
the drops slide from the coral
crest , And gently swims, like a breath,
In the beam that dawns through the fog smoke;
How shining her rainbow veil! Oh,
the sun rises, the sea begins to tremble
A silver net of myriads of tinsel!
My eyes light up where am I? Where?

I sat up
breathing deeply, the oblique sunbeam bored from the west ;
It drips and trickles from the branches,
The lark rose in the etheric hall; My eye
met
a glow from the bare ore cube, shimmering painfully,
And whispering breaths in the train
. The autograph lay on the floor.

So I dream of thunder, lightning and rain showers
, in one summer hour.

Content and form

An act of love between two sea creatures is portrayed in seven stanzas, integrated into the framework of falling asleep, dreaming and waking up the lyrical self . In the first stanza, strangely enough in the bath, the lyric self is sung to sleep by an unknown being. This in turn quotes the song of a naiad , which takes up the next three stanzas. These basically show the pair rhyme , while the first stanza still had the cross rhyme as a rhyme scheme . The naiad sings about the surging waves, which should initially do their work as quietly as possible so that the Triton slumbering in the shell hall does not wake up. But then the wave is supposed to let sand and gravel trickle into the beard of this dormant sea god, whereupon he apparently wakes up after all, because in the last verse of the naiad song the wave circle provides the soft accompanying music for a nightly rendezvous in a boat. In the fifth stanza, which has ten verses instead of the usual eight and changes from couple to embracing rhyme, the naiad makes her way home at sunrise, combing her hair while swimming, and the lyrical self awakens. It does not find its way straight away, but then finds in the sixth stanza, which is partly cross and partly embracing rhyme, that the sun is already in the west and “drills” its ray onto the earth. Other natural phenomena in this stanza are the moisture trickling and dripping from the branches, the rising lark, the flashing glare from the "ore cube" and finally a breath of air that makes an " autograph " flutter, which, one might think, during the Dreams of the lyrical self. In the last stanza, which is only two lines long and again shows the couple rhyme, the lyrical ego declares that it has dreamed a short summer thunderstorm, which has therefore transformed itself in its subconscious into an act of love by the elementary beings.

reception

Lorenz Völlmecke described Die Muschel in his dissertation as one of the most perfect poems by Droste and proved that reading Freiligrath left traces in the poem Die Muschel . Rüdiger Bernhardt assumes that this poem was in turn one of the sources of ideas on which Peter Hille's face of the lake was based. Droste-Hülshoff broke taboos and propagated free love in this poem . Bernhardt points out the similarity of the word material and the composition to underline his theory. Like Völlmecke, he treats The Shell as an independent poem. However, the text apparently belongs in a larger context as part of the Midsummer Day's Dream . Looking at this context, the elementary love experience that is portrayed in Die Muschel becomes somewhat ironic: The lyrical self lies on the sofa , surrounded by birthday gifts, including “booty from the sea”, suffering from migraines and apparently falls asleep as that oppressive weather takes a turn. In the dreams, the individual birthday presents begin to speak or sing, first an autograph, then a denarius, then an ore and finally the shell. The “Su, susu” with which The Shell begins is hummed by the shell itself, the autograph is not created subconsciously by the slumbering lyrical self, as Bernhardt seems to think, who calls it “nothing other than the description heard by the Naiad the night of love ”.

literature

  • Rüdiger Bernhardt: The secret of the »sea face« by Peter Hille . In: Peter-Hille-Blätter 1994, pp. 43-71. Available here as a pdf.

text

Individual evidence

  1. ↑ Lorenz Völlmecke, Annette von Droste-Hülshoff in her relationship with Ferdinand Freiligrath , Diss. 1924, p. 71.
  2. ^ Rüdiger Bernhardt, The Secret of the "Seegesichts" by Peter Hille . In: Peter-Hille-Blätter 1994, pp. 43-71.
  3. ↑ A summer's day dream . From: www.lwl.org ( Memento of November 17, 2015 in the Internet Archive ), accessed on November 12, 2015.
  4. ^ Rüdiger Bernhardt, The Secret of the "Seegesichts" by Peter Hille . In: Peter-Hille-Blätter 1994, pp. 43-71, p. 68.