Playing with Genre: Erleuchtung Roman

Siddhartha chronicles the journey of the title character from his adolescence into old age. The novel functions as a Bildungsroman, or a novel of formation.
Novels like The Catcher in the Rye and Great Expectations are examples of Bildungsromans, which all share a common layout in which the protagonist leaves his home, struggles to understand the world, and finally comes to terms with society, or the way the world works. The genre shares a lot of similarities across different literary traditions, but there are significant deviations as well. Siddhartha, then, follows the basics of the genre, but Hesse successfully wields it to reflect a different set of values.
The basic components of the Bildungsroman seem to be the path the young narrator takes from home (usually in the country) out into the world (arriving in a city), the people he encounters, including a mentor and a sexual partner, a realization that this new world is still flawed, and finally a return to the home, either understanding something new about the world, or learning to accept it.
In Siddhartha, Hesse plays with the conventions of the genre in order to show that importance of defining one's self over conforming to society. In the novel, Siddhartha follows the path of formation by leaving home, eventually getting to the city and living a different life there with Kamala and Kamaswami before understanding that he is no longer on the path he sought. By highlighting from the beginning Siddhartha's quest for personal enlightenment, rather than a confusion about society or the world as a whole, Hesse tells us that he sees this as the more important journey for people to take.
The conventions that he alters or eliminates are, importantly, a repressive home environment and family, and then the ultimate return home. Because the family is not emphasized, we see that Siddhartha is driven to leave more by his own desires, not just because he's a rebellious teenager. Finally reaching enlightenment, though, Siddhartha has no desire to cross the river and return home again. He realizes that life is over, even a completely different one. Hesse does not send Siddhartha back home because it's not important to his sense of Nirvana. Traditional Bildungsroman protagonists will arrive at home and fit more comfortably into society. Siddhartha, however, stays by the river, continuing to be a ferryman, helping others reach enlightenment as he has. Society is of no concern for him because he has transcended it and has learned to live beyond the life he had before.

Polarity

Ultimately, Siddhartha learns that the path to enlightenment is intrinsic. However, throughout the story, Siddhartha's journey helps the materialization of his realization.
In the beginning, Siddhartha expresses his restlessness at home as his spiritual curiosity peaks, and he no longer takes what his father presents him at face value. He begins questioning a structured, scheduled lifestyle as the way to enlightenment. He follows the Samanas, and the Vasudeva and tries to learn from them, and on in this way until he reaches satisfaction. He never is told an answer he is quite satisfied with, although at times he is pointed in the right direction, and furthermore, he learns from his mistakes (or rather the mistakes of others). He learns what doesn't work in a sort of process of elimination manner. But in this logic, in a way, he is taking evidence and information from the outside world.
In fact, he is told by his mentor that he must incorporate the surroundings of the world into his pursuit for enlightenment. He discovers the answer in The River. While the answer comes from within, all the relations and parallels and lessons he draws from the river outward manifestations of the truth. Govinda learns in the same way that Siddhartha learns.
This binary between internal and external knowledge works as the path to enlightenment, and it is a balance between the two that help the protagonist achieve success. In similar fashion, we see Siddhartha battle many polarities. In addition to the one mentioned, we specific examples (and applications of the logic-internal vs. external) of him fighting for answers that help in reach his goal, in time and timelessness, love and detachment, etc.

Siddhartha's Anti-Authoritarianism

           Siddhartha’s anti-authoritarian notions and his quest for autonomy serve to reject typical Western notions of devotion and piety; at the same time, however, Hesse is able to merge East and West by pulling on both Jungian and Buddhist practices. Throughout the novel Siddhartha either resists traditional authoritarian principles or remains suspicious of authority figures, and seeks autonomous knowledge rather than defer to guided practices.

            Siddhartha first resists his father when he stands defiantly, all night, against his father’s decision to not allow him to join the samanas; Siddhartha claims that he will always obey his father (10), but continues to stand firmly until his father gives into his request. This act of defiance is not only against Siddhartha’s father, but the authority that his father represents as well. Hesse writes, “Siddhartha knew many venerable Brahmins, above all his father, the pure, the learned the supremely venerable man” (6); what renders the father not only an authoritarian figure in the sense that he is Siddhartha’s father, but also as a symbol of Western ecclesiastical authority as well is the use of the word “venerable.” Venerable not only means to command respect because of age or dignity, but it is also a title for someone in the Roman Catholic Church having attained the first degree of sanctity. The resistance to the father, “the supremely venerable man,” (6) is also a resistance to traditional Western notions of ecclesiastical authority.

            Siddhartha is also critical of the renowned Gautama, and of teachers in general. He tells Govinda, “I have become weary and distrustful of teaching and learning…I have little faith in words that come to us from teachers” (21). Despite all he has learned from previous teachers Siddhartha still feels a void, and he is convinced at this point that there is no teacher that would be able to fill that void. What Siddhartha was longing for had to be found within the self:

Was Atman not in him, did not the primal source flow in his own heart? One had to find it, the primal source in one’s own self, one had to make it one’s own! Everything else was seeking, was detour, was confusion. (7)

This sentiment can also be seen as a rejection of the practices of the Roman Catholic Church; instead of seeking salvation through the church itself—through the rituals, the priests, and the Pope—one should seek salvation through the inner self.

            While Hesse seems to be subverting traditional Western notions through Siddhartha’s anti-authoritarian views, he uses Buddhist and Jungian experiences to merge East and West. Carl Jung himself pulled from both Eastern and Western philosophies, so it would make sense that both traditions resonate throughout Siddhartha. Siddhartha refers to his ego several times; he seeks to pierce its innermost core (34), rid himself of it (35), and finally embrace it and attempt to know his self (36); Carl Jung refers to the conscious mind as the ego which must be integrated with the personal and collective unconscious to achieve the transformative process of individuation—which seems to be Siddhartha’s goal.  

Another aspect of Jung’s philosophy is the “shadow,” which Wikipedia defines as “an unconscious complex defined as the repressed, suppressed, or disowned qualities of the conscious self.” Govinda is referred to as Siddhartha’s shadow and perhaps represents Siddhartha’s own repressed qualities of his conscious self. Govidna is subservient, following Siddhartha when he joins the sammanas and then becomes a disciple of Gautama; Siddhartha attempts to reject subservience, but Govinda can be read as Siddhartha’s subservient shadow—which Siddhartha seeks to repress because he does not want to accept that he is anything but autonomous. Govidna seems to be a physical manifestation of Siddhartha’s suppressed qualities. 

Religion as Literature

            Text is often the backbone of religion.  This can range from an ethical or moral written code, to fables and myths—which may be written or shared orally.  Often times, when others (who are not within the religion) read these texts they interpret them and examine them as if it were literature. While Siddhartha by Hermann Hesse is not a religious text, it is a text that is very much about religion. It shows the journey of the young man, Siddhartha and his friend Govinda. They align themselves with different spiritual groups such as the Samanas and then learn the teachings of Gotama. But what is important about this text is that it focuses on the oral aspect of Buddhism because all of the education comes from oral teachings. The other crucial part of this novel is the focus on Siddhartha’s questioning of Gotama’s teaching.

             But as important a comment on the oral tradition of religion this novel is, it also sheds light on the fluctuation that happens in religion. Throughout the course of the novel (and therefore the course of Siddhartha’s life) as Siddhartha matures and questions, his morals don’t exactly flip, but they shift. This is true for religion as well because as times change, religion must shift to fit the needs and the capabilities of the individuals that follow it.

            This can be applied to how we read literature on both an individual and cultural level. When we return to books we have loved in the past, our perception of these books change. We pick up on different details and understand the motivations of characters differently. Additionally, books have different political implications. This is an interesting parallel to religion because our understanding of it changes—just as it did for Siddhartha. 

The Importance of Govinda

            Other than being Siddhartha’s friend, the character of Govinda is rather important. He represents the people that follow others. First, he is content studying religion in the place they grew up with Siddhartha. He meditates with Siddhartha and has debates with him. They “practice the art of contemplation,” which is an intimate, serious act not to be taken lightly each time it is performed (3). Govinda needs very little prompting when Siddhartha tells Govinda that he is leaving to join the Samanas. In the beginning, the narrator explains how much Govinda loves Siddhartha, that Govinda “loved him more than anybody else,” (4). By the description, it seems Govinda already practically worships Siddhartha. He admires his physical presence and handsomeness, even including, “the way he walked, his complete grace of movement,” (4). Most importantly, and looking back perhaps it is foreshadowing that although Govinda admired Siddhartha’s physical features and the way he carries himself, “above all, he loved his intellect, his fine ardent thoughts, his strong will, his high vocation” (4). Taking all of this into consideration, the reader should not be surprised when Govinda joins Siddhartha on his adventure with the Samanas. Govinda is representative of followers in life because a follower typically does not question the person or group that they are following. Govinda’s only question for Siddhartha after discovering he planned to join the Samanas is, “Will your father permit it?” (9). After spending a few years with the Samanas, wandering and being homeless, Siddhartha decides it is time for him to leave. Again, Govinda is practically horrified that Siddhartha is dissatisfied with their lives. He exclaims, “Truly, your words trouble me,” (19). Govinda, like a follower in general, does not want to hear Siddhartha question the idea of learning from people of supposed higher spiritual knowledge. Govinda takes it for granted that the elder Samanas know what they are talking about and trusts that he will reach enlightenment from them if he is patient and does what he is told. Following Siddhartha to find the Buddha, Govinda is again dragged on Siddhartha’s adventure. Shockingly, Govinda chooses to stay with the Buddha and follow the others that are already following him and living his lifestyle. However, he is taken aback that Siddhartha is not staying with the group as well. While he is not following Siddhartha’s lead, for the moment, he still only leaves his friend to follow another.

Oh the Irony

Oh the Irony

One of my favorite elements of Hesse’s Siddhartha is the elements of irony that occur throughout the story.  Decisions that Siddhartha makes at the start of the novel seem to change as the story progresses. One example of this is Siddhartha’s whole purpose of wandering.  Siddhartha leaves his home to join the samanas because he wishes to find deliverance from his ego.  When Siddhartha and Govinda go to find Gautama, the Sublime one, Govinda gets taken in by his teaching and decides to stay with him.  Siddhartha, however, leaves stating that if he were to stay, “I fear that my ego would actually live on and grow big” (33).  Therefore, Siddhartha leaves his “shadow” (Govinda) in order to maintain his own path to free himself from his ego.  The irony occurs later in the novel when Siddhartha’s ego begins to overtake him.  In his quest to free himself of his ego, Siddhartha has an epiphany that he has not taken the time to get to know himself and that is the problem.  However, in doing this, he becomes the very thing that he laughed at; a wealthy merchant that is controlled by his ego.  He states, “Property, ownership, and wealth had also finally captured him” (70).  Despite his determination find deliverance from ego, Siddhartha’s quest led him straight to the opposite.

            The second ironic element in the novel is what Siddhartha expects of his son versus what he expected of his father.  When Siddhartha leaves home initially, he does receive the blessing of his father.  However, this is only after much stubborn actions on Siddhartha’s part.  His father’s initial reaction is, “I do not wish to hear that second request a second time from you lips” (9).  It is clear from this reaction that Siddhartha’s father wishes him to remain home and become a prince among the Brahmins.  Siddhartha does not wish this and leaves to pursue his own interests and dreams.  Siddhartha’s mentality changes greatly, however, once this situation occurs with his own son.  Siddhartha’s son is used to a wealthy life style with servants, extravagant clothes, and plentiful food.  He is not fit to live in a hut on the side of a river.  Siddhartha acknowledges this and realizes the best thing for his son would be to bring him back to the town.  Unfortunately, Siddhartha does not do this because of his own selfish intentions.  Siddhartha does not want his son to be consumed by the ego and be submerged in samsara but would rather him live the life of a samana.  This is not what his son would like to become as is illustrated by his words to his father, “I’d rather be a highwayman and murderer and go to hell than become like you” (108).  In keeping his son at the river against his wishes, Siddhartha is doing the very thing that he fought his father against.   I think it is interesting that both elements of irony seem to occur between what Siddhartha wishes when he was younger, and his actions as he becomes older.  The things that Siddhartha is against as a young boy seem to be the characteristics of his actions as an adult.  

Arrogance ---> Confidence

One of Siddhartha’s greatest triumphs as a character is the way that he overcomes his own arrogance. Over and over again, Siddhartha thinks he has it, thinks he is superior to others, only to realize his own humanity and flaw once again.

When Siddhartha first becomes a samana his first reaction upon walking through a town and seeing people at their daily tasks is that, “none of it was worth the trouble of a glance, it was all a lie, it all stank, it all stank of lies, it all gave the illusion of meaning and happiness and beauty, and it was all unacknowledged decay. The world had a bitter taste” (7). Yet for all the talk of how worthless this is, Siddhartha can’t stop looking around him, taking it all in. He is immediately failing at his one goal: “to become empty, empty of thirst, empty of wishes, empty of dreams, empty of joy and sorrow” (7).

Though Siddhartha recognizes flaws in doctrine and formal teaching (in that they are only instructional and not experiential), he begins to realize the misdirection and arrogance of the samana life, concluding when the head samana berates him and Govinda for leaving. It is at this point that he and Govinda leave to see the Sublime One, Gotama. This pattern of thinking you have something, to not having it, persists throughout the novel. As Siddhartha leaves Gotama’s grove he thinks, “he felt that in that grove his precious life, too, had remained behind him and had separated itself from him” (20). This idea of rebirth becomes central to the pattern of perceived reincarnation. For as Siddhartha phases from Brahman to a samana, to an enlightened traveler, to a wealthy business-man and lover, to a traveler again, to a ferryman, to being a father and finally ending up as the enlightened that has been his been his goal, at every stage he believes he has found his enlightenment until he realizes that he has again deceived himself.

Siddhartha’s vanity is a large part of his quest, serving as both a catalyst and as an obstacle; it becomes not only a strength as it propels him to continue his exploration but at other times his pride makes him stagnant as it does when he works with Kamaswami and becomes one of the ‘child-people’. When Siddhartha first encounters the ferryman it is his arrogance that causes him to ignore the ferryman’s words—“’I did not expect any payment from you, nor a guest’s gift. You will give me the gift another time’… I have learned from the river: everything returns. You, too, samana, will return” (27). Yet Siddhartha’s reaction is to dismiss the ferryman, “He is like Govinda…everyone I meet on my journey is like Govinda. They are all grateful even though they are the ones who deserve the thanks. They are all ready to serve me, they would all like to be my friends, to obey me without thinking hard about it. People are like children” (27).

This lack of humility is something that Siddhartha misses often throughout the novel. For the ferryman and the river he rows across will come to serve as Siddhartha’s most important, humbling teacher. Once Siddhartha finds his son, finds that his son has his own arrogance and disrespect he becomes the humbled, almost as his son’s servant—recognizing the cycle, the mirror of his son, to him, from himself to his father. Yet it is letting go of this son, whom he loves, as his own father had to let go of him, that marks an important change in Siddhartha: “Deeply he felt love for the runaway in his heart, like a wound, and at the same time he felt that this wound had not been given to him so that he should keep reopening it, but that it must become a blossom and emit radiance” (68).  

One gets the sense that Siddhartha before this would try to convert a wound by making a process and a goal out of it. When Govinda and Siddhartha meet for the last time, we understand that Siddhartha has found his enlightenment. Govinda asks Siddhartha about his seeking and what advice he has. Siddhartha’s answer seems to serve as a conclusion to this idea about journey’s and converting arrogance into confidence:

“When someone seeks,” Siddhartha said, “it is all too easy for his eyes to see nothing but the thing he seeks, so that he is unable to find anything or absorb anything because he is always thinking exclusively about what he seeks…Seeking means have a goal. But finding means being free, remaining accessible, having no goal…pressing after your goal, you fail to see many a thing that is right before your eyes.” (75)