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Steppenwolf - 'Treatise' Insight v.s. Mozart's Insight

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Just read Steppenwolf, and I have many questions, but one in particular I was wondering if anyone can lend some thots on.

It seems that Hesse is trying to offer insight and then a solution to the suffering of the Steppenwolf. The story of Harry/steppenwolf, is interrupted twice by instruction intended to provide insight into this "answer" once with the "treatise on the steppenwolf" and then again (after return the story which sees the introduction of Hermine, Pablo, and the Magic Theatre) by the final piece of instruction by Mozart.

I also am particularly curious about whether there is continuity between the "treatise on the steppenwolf" and its statements/insights & Mozart's statements/insights at the end of the book? Are they in the same vein or are they another example of opposing ideas?

This is confusing me, because I cannot determine if they are redundant, and why (if they are NOT to be understood as redundant) Hesse didn't just present his answer/insight as in a single piece instead of interspersing those two bits (treatise and then Mozart) with the intervening addition of Hermine/Magical Theatre stuff to the story.

What are your thots on this?
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>>9249499
It's been a while since I read it. But I took the treatise as the "guide, and the Mozart part as the way Harry's brain "interprets" it. So in my mind they say the same thing, but the Mozart part shows how he can still seek out the intelectual while living in the moment and enjoying the everyday.
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>>9249499

OP here, I guess I will say that it is my guess that 'Treatise' was intended provide insight into the Steppenwolf's nature, and the nature of enlightmenment (as a continuum extending from bourgeois, who know a single identity, through steppenwolf, who knows two, and ultimately the Immportals, who recognize the many indentities present everywhere).

Whereas Mozart's insight (that the three major lessons to be learned by the Steppenwolf are:

1. to learn the willingness to live in order to learn from mistakes, rather than die/suffer eternally in order to atone for mistakes;

2. the responsibility for shaping one's future (bc Henry gave up all locus of control in the Theatre and didn't understand it was actually he who determined Hermine must be killed)

3. to listen to radio music (in this, Mozart is pulling from two separate analogies he has defined earlier, where "music" is a means of reconciling opposing ideas which are eternal by decronstucting elements into indentities which can be seen in everything, just organized and presented differently (elements shared in Jazz and the music of mozart) and then "Radio" which is the distortion of these beautiful divine/spiritual ideas and into their actual manifestation in our lives (distorted by the crude machinations of speakers, grammaphone recordings, etc). Rather than get angry or despondent at the distortions of the divine that we encounter in reality, to learn to revere the divine ideas coming from the radio and have a sense of gallows humor at the distorted component of them.

------

Wat u think? Sorry Mozart's third proscription to address Steppenwolf's suffering is the most difficult to describe hopefully my understanding of it will make sense to you guys?
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>>9249544

okay, cool i think we may roughly interpret their separate functions similarly then ( my thots >>9249581 )
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>>9249581

Also, more broadly speaking, this is my understanding of what Hesse intended to convey with this book.

I say this bc Hesse has complained that apparently many readers "violently misunderstand" the book by focusing too much on Harry and his suffering as an individual rather than his major intention of revealing a solution to this. So i guess the above post was my understand of his "solution."

Also eager to discuss your thots on whether this is the solution as you saw it.
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>>9249613
You explained it much more thoroughly , but yes, I think we are saying sort of the same thing.
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