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Er hat sich vorgenommen, sich aktiv f r eine positive Ver nderung des realen Sozialismus einzusetzen. Seine diesbez glichen Erfolge bleiben jedoch gering. Als sich im Sommer Wauers Sohn Lothar seinerseits mit Freunden der unaufhaltsamen Ausreisewelle nach dem Westen anschlie en will, treffen die beiden ein Abkommen: Schlie lich kommt er auf Grund seines Engagements in die neue, erstmals frei gew hlte, Volkskammer und von da in den Deutschen Bundestag nach Bonn. Aber der bundes deutsche Politikbetrieb st t ihn immer mehr ab und schlie lich kehrt er dem neuen, demokratischen Parlament desillusioniert und entt uscht von den Ergebnissen der friedlichen Revolution den R cken.
Der Insider Schultze, Kenner der wichtigsten B rgeraktivisten und Ereignisse der Wende, schildert in Morgenrosa, wie schon in ersten Band Nachtmahre bis der geplanten Trilogie seiner Geschichte der noch Kriegsgeborenen in Mitteldeutschland, mit Ironie und Abstand das Leben eines DDR-Opportunisten in der Zeit von bis , der sich einmal in seinem Leben bem hte, aus seiner passiven Haltung heraus zu treten und dabei pers nlich politischen Schiffbruch erleidet.
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Shop with an easy mind and be rest assured that your online shopping experience with SapnaOnline will be the best at all times. Our website is secured by bit SSL encryption issued by Verisign Inc , making your shopping at Sapnaonline as secure as possible. Hello World, this is a test. Login Please enter your login details. It happens, just reset it in a minute. Please enter your User Name, email ID and a password to register. In letters she would later express her admiration for Lindegren. The apocalyptic feeling has to do with the last days of autumn , when Lindegren, in a poetic frenzy, wrote the last 35 sonnets of the collection.
This was because of his disappointment with the Soviet-German treatise that allowed the Soviet Union to declare war against Finland.
In an act of solidarity Lindegren volunteered as a soldier in the Finnish army as did many other Swedes and wrote most of the poems while waiting to be shipped out. This, however, never happened, since a truce between the two countries was subsequently negotiated. This radical step did change Lindegren in a profound way. The poems were written by a man who did not know whether he would return or not. Due to his conceitedness, he is punished by the gods and falls in love with his reflection. The result of this love is death by starvation.
Sitting enthroned on his pillar of despair, Narcissus is the only person in the poem, but he is not alone, read: All that seems to be left of mankind are fragments, feelings without bodies: The word commits suicide and language is lost. There are explosions and the landscape that Lindegren paints reminds us of an anonymous waste land.
Lindegren has stated that he wanted to compete with Eliot in his critique of our culture. The first and second sonnets are within a parenthesis, as if they were stage directions for further reading of the collection. Moreover, the stage that both Lindegren and Sachs seem to perceive is one where only shadows and whispers of actors are present, and only the leftovers of humanity remain. Nelly Sachs probably bought the collection in This is a time when she begun to grasp the full consequences of the Nazi persecutions of the Jews. Let us therefore quickly follow Sachs during her first two years in exile, leading up to this encounter.
The first lines of the fifth verse read:. It is quite remarkable that this was written by a woman who had just been forced to flee for her life. It is also important to remember that the scale of persecution of the Jews was not fully known by this time, and what we know as the Holocaust had not fully begun in We know that Sachs read about the concentration camps and the mass murders in , and she also got news that her childhood love, who would later become the dead groom in In den Wohnungen des Todes In the apartments of death , had been murdered around this time.
Therefore, it seems reasonable to assume that the apocalyptic atmosphere that Lindegren voiced was shared by her. In her debut the music was played by death and the bones are turned into flutes. Rather a different picture than the one in the poems above. Earlier, she had broken with her native country, but kept her mother tongue. So in the years and there weretwo important moments for Sachs. Secondly, her confrontation with modern poetry, having been freed from lyrical and formal conventions, opens up a completely new way of writing.
The desperate need to find a new lyrical form to once again write poetry and, more importantly, to write poetry in German, drives her to abandon and dismiss her earlier works. New times required new modes of expression. It is of course almost impossible to pinpoint the exact moment when Sachs started experimenting.
It is thus important to differ how the form and the content change. The earlier longing for a loved one in religious terms, uncertain exactly who, is directed to the murdered. The question of continuation and break is central. She keeps some lyrical figures but their meanings are radically changed through the historical context. The copy in Sachs library is full of notations and underlining. One of the ideas in Sohar that had a particular impact on her was the idea of a once divine language that had been scattered, a language spoken before paradise was lost.
The idea that human language was a once a divine language broken into pieces made her want to translate, or re-translate, the world and in this process, give back, or give back again, some of the divine origins and dimensions to language. This religious idea seems to coincide with the lyrical dictum presented by Lindegren: This is something quite different than natural disaster or accident — it is man who has to create a language to capture this.
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Sachs had started to reflect on her own, but the impulse by Lindegren made her realise that ravaged times required ravaged poetry. Torn poems, but a whole language. Through Nazi lies, the German language had been soiled and only reinstating a poetic dimension could purify the language although the word purify has some nasty connotations in this context. Sachs seems to see the German language as a battleground. Therefore, it seems possible for her to see the Romantic longing, the Jenseitssehnsucht , as a complement to Jewish mysticism.
She also writes Grabschriften Epitaphs for people she knew and who were murdered by the Nazis. Another fact that shows how Sachs pays tribute to Lindegren, long before they were personally acquainted, is that she included him in her volume Von Welle und Granit From Waves and Granite , published in , the same year as he had debuted, and in a volume where Sachs has translated 12 Swedish poets from the 20th century.
This collection is perhaps a list of the poets and themes that inspired her.
But that is only one aspect of it: Many of them were probably chosen due to their importance and power; a few of them were already members of the Swedish Academy, while others were seen as more experimental. One could say that this latter group was the bravest choice, given that their importance had not yet been proved.
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The most surprising choice was Erik Lindegren since he was a poet with only two published collections of poetry. And, as we indicated earlier, the second collection was only published after a struggle. The singing birds that were present in Sachs early poetry had here been transformed into representatives for a flight; it is only in movement that one can find a home. In the final section of this brief article, I would like to return to poetry and focus on three poems. The first is by Lindegren, which I will quickly compare and contrast with two poems by Sachs that show how she changed over the late s.
It has been said that the translator is the most attentive reader, and although Sachs never publicly commented on her relationship with Lindegren, one can see that she writes about him in her private letters, almost giving him the status of a prophet. It was probably an influence that stretched over several dimensions: Lindegren said about his sonnets that they had been torn apart. He phrases it like this: It is not a fragment or an interrupted poem; it is an active act and it has been torn apart by somebody. Words as murderer, blood and death are present, and through this Sachs also somehow admits that acts and horrors have human agents: I have chosen this poem because it is a good example how she broke with the sonnet, but nonetheless keeps in rhyme:.
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Nacht , mein Augentrost du, ich habe meinen Geliebten verloren! It is the poetic subject who has lost its loved ones that enters the poem. The sun has turned into a planet which carries the blood. The previously unreachable planets have a direct link to the world and to humanity. The religious theme is present through the reference to Job.