Der Moses des Michelangelo
Kapitel 4
Im Jahre 1863 hat ein Engländer W. W a t k i s s L l o y d dem Moses von
M i c h e l a n g e l o ein kleines Büchlein gewidmet[11]. Als es mir gelang, dieser
Schrift von 46 Seiten habhaft zu werden, nahm ich ihren Inhalt mit gemischten
Empfindungen zur Kenntnis. Es war eine Gelegenheit, wieder an der eigenen
Person zu erfahren, was für unwürdige infantile Motive zu unserer Arbeit im
Dienste einer großen Sache beizutragen pflegen. Ich bedauerte, daß L l o y d so
vieles vorweg genommen hatte, was mir als Ergebnis meiner eigenen Bemühung
wertvoll war, und erst in zweiter Instanz konnte ich mich über die unerwartete
Bestätigung freuen. An einem entscheidenden Punkte trennen sich allerdings
unsere Wege.
L l o y d hat zuerst bemerkt, daß die gewöhnlichen Beschreibungen der Figur
unrichtig sind, daß Moses nicht im Begriffe ist, aufzustehen[12], daß die rechte
Hand nicht in den Bart greift, daß nur deren Zeigefinger noch auf dem Barte
ruht[13]. Er hat auch, was weit mehr besagen will, eingesehen, daß die dargestellte
Haltung der Gestalt nur durch die Rückbeziehung auf einen früheren, nicht
dargestellten, Moment aufgeklärt werden kann, und daß das Herüberziehen der
linken Bartstränge nach rechts andeuten solle, die rechte Hand und die linke
Hälfte des Bartes seien vorher in inniger, natürlich vermittelter Beziehung
gewesen. Aber er schlägt einen anderen Weg ein, um diese mit Notwendigkeit
erschlossene Nachbarschaft wieder herzustellen, er läßt nicht die Hand in den
Bart gefahren, sondern den Bart bei der Hand gewesen sein. Er erklärt, man
müsse sich vorstellen, »der Kopf der Statue sei einen Moment vor der
plötzlichen Störung voll nach rechts gewendet gewesen über der Hand, welche
damals wie jetzt die Gesetztafeln hält«. Der Druck auf die Hohlhand (durch die
Tafeln) läßt deren Finger sich natürlich unter den herabwallenden Locken
öffnen, und die plötzliche Wendung des Kopfes nach der anderen Seite hat zur
Folge, daß ein Teil der Haarstränge für einen Augenblick von der nicht bewegten
Hand zurückgehalten wird und jene Haarguirlande bildet, die als Wegspur
(»wake«) verstanden werden soll.
Von der anderen Möglichkeit einer früheren Annäherung von rechter Hand und
linker Barthälfte läßt sich L l o y d durch eine Erwägung zurückhalten, welche
beweist, wie nahe er an unserer Deutung vorbeigegangen ist. Es sei nicht
möglich, daß der Prophet, selbst nicht in höchster Erregung, die Hand
vorgestreckt haben könne, um seinen Bart so beiseite zu ziehen. In dem Falle wäre die Haltung der Finger eine ganz andere geworden, und überdies hätten
infolge dieser Bewegung die Tafeln herabfallen müssen, welche nur vom Druck
der rechten Hand gehalten werden, es sei denn, man mute der Gestalt, um die
Tafeln auch dann noch zu erhalten, eine sehr ungeschickte Bewegung zu, deren
Vorstellung eigentlich eine Entwürdigung enthalte. (»Unless clutched by a
gesture so awkward, that to imagine it is profanation.«)
Es ist leicht zu sehen, worin die Versäumnis des Autors liegt. Er hat die
Auffälligkeiten des Bartes richtig als Anzeichen einer abgelaufenen Bewegung
gedeutet, es aber dann unterlassen, denselben Schluß auf die nicht weniger
gezwungenen Einzelheiten in der Stellung der Tafeln anzuwenden. Er verwertet
nur die Anzeichen vom Bart, nicht auch die von den Tafeln, deren Stellung er als
die ursprüngliche hinnimmt. So verlegt er sich den Weg zu einer Auffassung wie
die unsrige, welche durch die Wertung gewisser unscheinbarer Details zu einer
überraschenden Deutung der ganzen Figur und ihrer Absichten gelangt.
Wie nun aber, wenn wir uns beide auf einem Irrwege befänden? Wenn wir
Einzelheiten schwer und bedeutungsvoll aufnehmen würden, die dem Künstler
gleichgiltig waren, die er rein willkürlich oder auf gewisse formale Anlässe hin
nur eben so gestaltet hätte, wie sie sind, ohne etwas Geheimes in sie
hineinzulegen? Wenn wir dem Los so vieler Interpreten verfallen wären, die
deutlich zu sehen glauben, was der Künstler weder bewußt noch unbewußt
schaffen gewollt hat? Darüber kann ich nicht entscheiden. Ich weiß nicht zu
sagen, ob es angeht, einem Künstler wie M i c h e l a n g e l o, in dessen Werken
soviel Gedankeninhalt nach Ausdruck ringt, eine solche naive Unbestimmtheit
zuzutrauen, und ob dies gerade für die auffälligen und sonderbaren Züge der
Mosesstatue annehmbar ist. Endlich darf man noch in aller Schüchternheit
hinzufügen, daß sich in die Verschuldung dieser Unsicherheit der Künstler mit
dem Interpreten zu teilen habe. M i c h e l a n g e l o ist oft genug in seinen
Schöpfungen bis an die äußerste Grenze dessen, was die Kunst ausdrücken kann,
gegangen; vielleicht ist es ihm auch beim Moses nicht völlig geglückt, wenn es
seine Absicht war, den Sturm heftiger Erregung aus den Anzeichen erraten zu
lassen, die nach seinem Ablauf in der Ruhe zurückbleiben.
[1] Die Redaktion hat diesem, strenge genommen nicht
programmgerechten, Beitrage die Aufnahme nicht versagt, weil der ihr
bekannte Verfasser analytischen Kreisen nahe steht, und weil seine
Denkweise immerhin eine gewisse Ähnlichkeit mit der Methodik der
Psychoanalyse zeigt.
[2] Vielleicht 1602 zuerst gespielt.
[3] Nach Henry T h o d e ist die Statue in den Jahren 1512 bis 1516
ausgeführt worden.
[4] Henry T h o d e, Michelangelo, Kritische Untersuchungen über seine
Werke, I. Bd., 1908.
[5] T h o d e, l. c., p. 197.
[6] Vom Grabdenkmal des Papstes nämlich.
[7] Es ist zu bemerken, daß die sorgfältige Anordnung des Mantels um
die Beine der sitzenden Gestalt dieses erste Stück der Auslegung
J u s t i s unhaltbar macht. Man müßte vielmehr annehmen, es sei
dargestellt, wie Moses im ruhigen erwartungslosen Dasitzen durch eine
plötzliche Wahrnehmung aufgeschreckt werde.
[8] Obwohl der linke Fuß des ruhig sitzenden Giuliano in der
Medicikapelle ähnlich abgehoben ist.
[9] Siehe die Beilage.
[10] Siehe das Detail Figur D.
[11] W. W a t k i s s L l o y d, The Moses of M i c h e l a n g e l o. London,
Williams and Norgate, 1863.
[12] »But he is not rising or preparing to rise; the bust is fully upright, not
thrown forward for the alteration of balance preparatory for such a
movement; ...« (p. 10).
[13] »Such a description is altogether erroneous; the fillets of the beard
are detained by the right hand, but they are not held, nor grasped,
enclosed or taken hold of. They are even detained but momentarily –
momentarily engaged, they are on the point of being free for
disengagement.« (p. 11).
End of Project Gutenberg's Der Moses des Michelangelo, by Sigmund Freud
Sie haben Der Moses des Michelangelo zu Ende gelesen
Sigmund Freud
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