니체의 ‘에케 호모’(Ecce Homo)를 통해 바라본 헤세의 『클링조어의 마지막 여름』에서 나타난 인간 자화상

Abstract

Nietzsche’s so-called ‘Ecce Homo’ is Nietzsche’s autobiography that constitutes himself and contains his own colors. Thus, ‘Ecce Homo’ can be seen as an introduction to Nietzsche’s philosophy that he wrote himself. This is because this ‘Ecce Homo’ that Nietzsche is using is a book in which his philosophical insights are recorded in his own language in his own language according to the arrangement of time. In fact, Nietzsche does not use ‘Ecce Homo’ for any philosophical proof. Rather, as a work of art called a self-portrait, he regards ‘Ecce Homo’ as an alter ego and an alter ego of the artist himself. To this end, the author intends to assert the following two thesis. First, it is emphasized that Nietzsche’s ‘autobiography’ as self-written writing and ‘self-portrait’, the language of art, act as a metaphor. Second, the true explanation of the preceding proposition is speculative, and the author intends to infer the inferential relation in Hesse’s novel Klingsors Letzter Sommer (1920) for the explanation of the figurative relationship according to this explanation. Therefore, the author attempts to explain the above two themes by adopting the meaning of what Hesse calls ‘Ecce Homo’, which he adopted from Nietzsche, and by proving it. Hesse accepts Nietzsche’s ‘Ecce Homo’ and attempts to ‘philosophical self-exploration’ of self-portraits. Hesse, like Nietzsche, draws a new self-portrait that comes alive as if the change into a smiling person who bites and affirms the snake that orments him, that is, ‘your face’ and ‘the smile that plays on your face’ is dancing in the clear flowers. And in reality, Hesse is reborn as an artist and changes into a ‘transformed person’ as an ‘Ecce Homo’, that is, into a ‘smiling person’ as a free spirit.