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Winner of the Nobel Prize
for Literature and
Author of Siddhartha
1
HERMANN E:

V ^k B i

NTROD

THOMAS MANN
WHEN HERMANN HESSE WAS WRITING
Demian in 1917, he was dealing not only with the
continuing horror of World War I, but also with the

personal crises of his father's death, his younger

son's serious illness, and his wife's mental collapse.

The book that emerged reflects both the traumas
of the time and the themes that obsessed Hesse
for much of his writing life: the nature of good and
evil, the power of human will, and the develop-
ment of the mature, independent personality from

the cocoon of youth.

The novel spans ten crucial, transformative

years in the life of Emil Sinclair, following his growth

from a frightened child of ten to an intellectually

searching university student to a war-weary soldier.

As he slowly discovers the force of his own soul,

Sinclair rejects the rigid religious teachings of his

family and, later, the conventions and constraints

of the society around him. This process is, in effect,

overseen by a number of mentor figures, most

prominently the charismatic Max Demian, just a bit

older than Sinclair but wise way beyond his years;

and Demian's mother, Frau Eva, a magnificent, pro-

tective, nurturing woman who comes to represent

all that Sinclair desires.

The book caused a sensation in Europe when

it was first published in 1919. Not only did it per-

fectly express the postwar generation's malaise

and rejection of old values, it also sparked intense

speculation about its author's identity, as it had

been published under the name of its narrator,

Emil Sinclair. Only after a year— and its first ten

printings— did Hesse reveal that he was the writer.

The first U.S. edition of Demian, in 1948, fea-

tured the brilliant introduction by Thomas Mann

(CONTINUED ON BACK FLAP)

 BY THE SAME AUTHOR
Peter Camenzind
Beneath the Wheel

Gertrude

Rosshalde

Siddhartha

Steppenwolf

Narcissus and Goldmund

Journey to the East

Maujister Ludi (The Glass Bead Game)

HERMANN HESSE

DEMIAN
THE STORY OF EM!L SINCLAIR'S YOUTH

Introduction by THOMAS MANN

Translated from the German by

Michael Roloff and Michael Lebeck

MJF BOOKS
NEW YORK
s
Published by MJF Books
Fine Communications
322 Eighth Avenue
New York, NY 10001

Demian
LC Control Number: 2010929527
ISBN-13: 978-1-60671-028-9
ISBN-10: 1-60671-028-1

Copyright © 1925 by Fischer Verlag. Copyright © 1965 by Harper & Row, Publishers,
Incorporated.

Thomas Mann's introduction to Demian: The Story of Emit Sinclair's Youth by

Hermann Hesse. Introduction copyright © 1948 by Henry Holt and Company.
Reprinted by arrangement with Henry Holt and Company, LLC.

This edition is published by MJF Books in arrangement with HarperCollins Publishers.

reserved. No part of this publication may be reproduced or transmitted in

All rights

any form or by any means, electronic or mechanical, including photocopy recording, or

any information storage and retrieval system, without the prior written permission of
the publisher.

Printed in the United States of America.

MJF Books and the MJF colophon are trademarks of Fine Creative Media, Inc.

QM 10 987654321
 Introduction

A full decade has passed since I last shook Hermann Hesse's hand.
Indeed the time seems even longer, so much has happened
meanwhile —so much has happened in the world of history
and, evenamid the stress and uproar of this convulsive age, so
much has come from the uninterrupted industry of our own
hand.The outer events, in particular the inevitable ruin of
unhappy Germany, both of us foresaw and both lived to wit-
ness —removed from each other in space, so far that at times
far

no communication was possible, yet always together, always

in each other's thoughts. Our paths in general take clearly sepa-
rate courses through the land of the spirit, at a formal distance
one from the other. And yet in some sense the course is the
same, in some sense we are indeed fellow pilgrims and broth-
ers, or perhaps I should say, a shade less intimately, confreres;

for I like to think of our relationship in the terms of the meet-

ing between his Joseph Knecht and the Benedictine friar Jaco-
bus in Glasperlenspiel which cannot take place without the
"playful and prolonged ceremony of endless bowings like the

salutations between two saints or princes of the church" —

half ironic ceremonial, Chinese in character, which Knecht
gready enjoys and of which, he remarks, Magister Ludi
Thomas von der Trave was also past master.
vi Introduction

Thus it is only natural that our names should be men-

tioned together from time to time, and even when this happens
in the strangest of ways it is agreeable to us. A well-known
elderly composer in Munich, obstinately German and bitterly
angry, in a recent letter to America called us both, Hesse and
me, "wretches" because we do not believe that we Germans
are the highest and noblest of peoples, "a canary among a flock
of sparrows." The simile itself is peculiarly weak and fatuous

quite apart from the ignorance, the incorrigible arrogance

which it expresses and which one would tliink had brought
misery enough to this ill-fated people. For my own part, I
accept with resignation this verdict of the "German soul." Very
likely in my own country I was nothing but a gray sparrow of

the intellect among a flock of emotional Harz songsters, and

so in 1933 they were heartily glad to be rid of me, though
today they make a great show of being deeply injured because
I do not return.But Hesse? What ignorance, what lack of
culture, to banish this nightingale (for, true enough, he is no
from its German grove, this lyric poet
middle-class canary)
whom Moerike would have embraced with emotion, who has
produced from our language images of purest and most deli-
cate form, who created from it songs and aphorisms of the
most profound artistic insight —to call him a 'Svretch" who
betrays his German heritage simply because he holds the idea
separate from the form which so often debases it, because
he tells the people from whom he sprang the truth which the
most dreadful experiences still cannot make them understand,
and because the misdeeds committed by this race in its self-
absorption stirred his conscience.
If today, when national individualism lies dying, when no
single problem can any longer be solved from a purely national
point of view, when everything connected with the "father-
land" has become stifling provincialism and no spirit that does
not represent the European tradition as a whole any longer
merits consideration, if today the genuinely national, the spe-
 Introduction vii

cifically popular, still has any value at all —and a picturesque

value may it retain —then certainly the essential thing is, as
always, not vociferous opinion but actual accomplishment. In
Germany especially, those who were least content with things
German were always the truest Germans. And who could fail
to see that the educational labors alone of Hesse the man of
—here am leaving the
letters I creative writer completely out of
account—the devoted universality of his activities as editor and
collector, have a specifically German quality? The concept of
"world literature," originated by Goethe, is most natural and
native to him. One of his works, which has in fact appeared in
America, "published in the public interest by authority of the
Alien Property Custodian, 1945," bears just this tide: "Library
of World Literature"; and is proof of vast and enthusiastic
reading, of especial familiarity with the temples of Eastern wis-
dom, and of a noble humanistic intimacy with the "most
ancient and holy testimonials of the human spirit." Special

studies of his are the essays on Francis of Assisi and on Boccac-

cio dated 1904, and his three papers on Dostoevski which he
called Blick ins Chaos (Glance into Chaos). Editions of medieval
stories, of novelle and tales by old Italian writers, Oriental fairy

tales, Songs of the German Poets, new editions of Jean Paul,

Novalis, and other German romantics bear his name. They rep-
resent labor, veneration, selection, editing, reissuing and the
writing of informed prefaces —
enough to fill the life of many
an erudite man With Hesse it is mere superabun-
of letters.

dance of love (and energy!), an active hobby in addition to his

personal, most extraordinarily personal, work work which —
for the many levels of thought it touches and its concern with
the problems of the world and the self is without peer among
his contemporaries.

Moreover, even as a poet he likes the role of editor and

archivist, the game of masquerade behind the guise of one who
"brings to light" other people's papers. The greatest example
of this is the sublime work of his old age, Glasperlenspiel, drawn
 —
viii & Introduction

from all sources of human culture, both East and West, with
its subtitle "Attempt at a Description of the Life of Magister
Ludi Thomas Knecht, Together with Knecht's Posthumous
Writings, Edited by Hermann Hesse." In reading it I very
strongly felt (as I wrote to him at that time) how much the
element of parody, the fiction and persiflage of a biography
based upon learned conjectures, in short the verbal playfulness,
help keep within limits this late work, with its dangerously
advanced intellectuality, and contribute to its dramatic effec-
tiveness.
German? work
Well, if that's the question, this late
together with all work is indeed German, German
the earlier
to an almost impossible degree, German in its blunt refusal to
try to please the world, a refusal that in the end will be neutral-
ized, whatever the old man may
do, by world fame: for the
simple reason that this Germanic in the old, happy, free, and
is

intellectual sense to which the name of Germany owes its best

repute, to which it owes the sympathy of mankind. This chaste

and daring work, full of fantasy and at the same time highly
intellectual, is full of tradition, loyalty, memory, secrecy

without being in the least derivative. It raises the intimate and

familiar to a new intellectual, yes, revolutionary level

revolutionary in no direct political or social sense but rather

in a psychic, poetical one: in genuine and honest fashion it is

prophetic of the future, sensitive to the future. do not know

I

how else to describe the special, ambiguous, and unique charm

it holds for me. It possesses the romantic timbre, the tenuous-
ness, the complex, hypochondriacal humor of the German
soul —organically and personally bound up with elements of a
very different and far less emotional nature, elements of Euro-
pean criticism and of psychoanalysis. The relationship of this
Swabian writer of lyrics and idyls to the erotological "depth
psychology" of Vienna, as for example it is expressed in Narziss
und Goldmund, a poetic novel unique in its purity and fascina-
tion, is a spiritual paradox of the most appealing kind. It is no
 Introduction ix

less remarkable and characteristic than this author's attraction

to the Jewish genius of Prague, Franz Kafka, whom he early

called an "uncrowned King of German prose," and to whom
he paid critical tribute at every opportunity —long before Kaf-
ka's name had become so fashionable in Paris and New York.
If he is "German," there is certainly nothing plain or
homely about him. The electrifying influence exercised on a
whole generation just after the First World War by Demian,
from the pen of a certain mysterious Sinclair, is unforgettable.
With uncanny accuracy this poetic work struck the nerve of the
times and called forth grateful rapture from a whole youthful
generation who believed that an interpreter of their innermost
life had risen from their —
own midst whereas it was a man
already forty-two years old who gave them what they sought.
And need it be stated that, as an experimental novel, Steppen-
wolf is no less daring than Ulysses and The Counterfeiters?
For me his lifework, with its roots in native German
romanticism, for all its occasional strange individualism, its

now humorously petulant and now mystically yearning

estrangement from the world and the times, belongs to the
highest and purest spiritual aspirations and labors of our
epoch. Of the literary generation to which I belong I early

chose him, who now attained the biblical age, as the one
has
nearest and dearest to me and I have followed his growth with
a sympathy that sprang as much from our differences as from
our similarities. The latter, however, have sometimes
astounded me. He has written things —why should I not avow
it? —such as Badegast and indeed much in Glasperlenspiel, espe-

cially the great introduction, which I read and feel "as though
'twere part of me."
I also love Hesse the man, his cheerfully thoughtful, rogu-

ishly kind ways, the beautiful, deep look of his, alas, ailing eyes,

whose blue illuminates the sharp-cut face of an old Swabian

was only fourteen years ago that I
peasant. It first came to
know him intimately when, suffering from the first shock of
x Introduction

losing my country, my house and my hearth, I was often with

him in his beautiful house and garden in the Ticino. How I

envied him in those days! —not alone for his security in a free
country, but most of all for the degree of hard- won spiritual
freedom by which he surpassed me, for his philosophical
detachment from all German politics. There was nothing more
comforting, more healing in those confused days than his con-
versation.
For a decade and more I have been urging that his work
be crowned with the Swedish world prize for literature. It
would not have come too soon in his sixtieth year, and the
choice of a naturalized Swiss citizen would have been a witty
way out at a time when Hider (on account of Ossietzky) had
forbidden the acceptance of the prize to all Germans forever-
more. But there is much appropriateness in the honor now,
too, when the seventy-year-old author has himself crowned his
already rich work with something sublime, his great novel of
education. This prize carries around the world a name that
hitherto has not received proper attention in all countries and
it could not fail to enhance the renown of this name in America
as well, to arouse the interest of publishers and public. It is a

delight for me to write a sympathetic foreword of warm com-

mendation to this American edition of Dernian, the stirring

prose-poem, written in his vigorous middle years. A small vol-

ume; but it is often books of small size that exert the greatest
—
dynamic power take for example Werther, to which, in regard
to its effectiveness in Germany, Demian bears a distant resem-
blance. The author must have had a very lively sense of the
suprapersonal validity of his creation as is proved by the inten-
tional ambiguity of the subtide "The Story of a Youth" which
may be taken to apply to a whole young generation as well as

to an individual. This feeling is demonstrated too by the fact

that was this particular book which Hesse did not wish to
it

have appear over his own name which was already known and
typed. Instead he had the pseudonym Sinclair — a name
 Introduction J*£ xi

selected from the Holderlin circle —printed on the jacket and

for a long time carefully concealed his authorship. I wrote at
that time to his publisher, who was also mine, S. Fischer in
Berlin, and urgently asked him for particulars about this strik-
ing book and who "Sinclair" might be. The old man lied loy-

ally: he had received the manuscript from Switzerland through

a third person. Nevertheless, the truth slowly became known,
partly through critical analysis of the style, but also through
indiscretions. The tenth edition, however, was the first to bear
Hesse's name.
Toward the end of the book (the time is 1914) Demian
says to his friend Sinclair: "There will be war. . . . But you
will see, Sinclair, that this is just the beginning. Perhaps it will

become a great war, a very great war. But even that is just the

beginning. The new is beginning and for those who cling to

"
the old the new will be horrible. What will you do! 1

The right answer would be: "Assist the new without sacri-

ficing the old." The best of the new—Hesse

servitors an is

example —may be those who know and love the old and carry
it over into the new.

Thomas Mann
April, 1947
I wanted only to try to live in accord with
the promptings which came from my true self.
Why was that so very difficult?
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