Animal steppe wolf: description, pictures, photos and videos of the life of a wild steppe animal. The plot of the novel by Hermann Hesse “Steppenwolf Steppenwolf plot

A certain young man finds Harry Haller's papers in a room at his aunt's house and publishes them, writing a preamble to them. In the prologue, he tries to reveal the lifestyle of a man who calls himself Steppenwolf. His life proceeded separately, secretly and independently. When you meet him, you feel the gaze of an alien who is carefully trying to get out of the thickets of civilization and limitations. Therefore, the narrator speaks about him with a certain degree of wariness, even notes of unfavorability slip through. Considers Harry to be completely opposite to everyone

To those around you. Time passes and the narrator begins to sympathize with him, as he understands that this man was not able to fully open up in reality, which suppresses will and individuality.

Steppenwolf is a lover of books; any useful ideas are alien to him. Surrounded by collections, immersed in the world created by the authors, he reads a lot and reflects on what he read. The personal library consists of works by writers of different nations and eras.

It happens that he picks up watercolor paints and the created works once again prove that the artist is in his own little world, sharply different from the surrounding philistinism. This happens due to the feeling within oneself of two wholes - a man and a wolf. Unfortunately, the two antipodes do not get along, but are at enmity, which leads to a catastrophe in life.

Harry tries his best to get close to people, but to no avail. Even people like him turn out to be philistines and bigots. This happened when he visited a professor he knew, where he felt completely alienated from the atmosphere and spirit of the abode of an intellectual philistine. All night he wanders the deserted streets, analyzing what happened. In the end, Haller comes to understand the complete victory of the steppe wolf over the chaste, educated world and says goodbye to him. If not for the fear of death, he would have taken his own life. Quite by accident, on the way home, he enters the Black Eagle restaurant, where he meets Hermine, a practical but equally lonely girl. She does everything possible to streamline the guy's existence. They visit restaurants, go to nightclubs, listen to jazz with her friends. However, once again he understands his undeniable dependence on false evidence. After all, while campaigning against the war with its cruelty and inhumanity, he himself adapted to the military situation and avoided execution. Considering himself an opponent of exploitative power, he holds shares in various enterprises in the bank. And without any hesitation, he lives on the interest from these savings.

Listening to classical music and analyzing its role in a person’s fate, Harry also makes his own conclusion. Considers the German intelligentsia to be far from reality. Hiding behind the beauty of a piece of music, she plunges into the sphere of mysterious, pleasant and cloudless sounds and states of mind, which, unfortunately, will never become reality. And, realizing this, he concludes that the role of intelligence in life, politics, and history remains pitiful and inconspicuous. And the real government is concentrated in the hands of moneybags - generals, politicians, industrialists. Reflecting, both the hero and the author come to a common answer to the question that torments them - how did it happen that a cultural, educated, intelligent nation stood at the origins of two world wars that destroyed humanity?

Arriving at another party filled with jazz and erotic surroundings, in search of Hermine, he goes down to the basement and finds himself in a real hell with devils - musicians. The entire surrounding action resembles a scene from “Faust” (Walpurgis Night) and Hoffmann’s fairy-tale worldview. It is difficult to distinguish between evil and good, day and night, virtue and sin. There is a split personality of the hero, in which a dreamy painter with a keen sense of music and a murderer merge into one. The reproduction of nature is revealed in the theater of a magic performance, where the hero is brought by Hermine’s friend Pablo, a saxophonist and connoisseur of intoxicating weed. This is where reality and fantasy merge. Impressed by the overwhelming efficiency, Harry takes the life of his girlfriend, without ever figuring out who she is - his muse or a harlot. The great Mozart, who was right there, is trying to reveal to him the essence of life, which, according to the composer, consists in one thing - it cannot be taken too seriously, you just need to live and just laugh, listening to the hated melody of existence, smile at its inaction. Only humor can help protect a person from despair in an imperfect world and remain an individual.

The novel ends with the unexpected transformation of Mozart into the image of Pablo, who convinces Haller that life is a game. And in the game you must follow the rules. For the hero, the thought of being able to play again becomes a consolation.

The novel consists of Harry Haller's notes, found in the room where he lived, and published by the nephew of the owner of the house in which he rented a room. The foreword to these notes was also written on behalf of the hostess’s nephew. It describes Haller's lifestyle and gives his psychological portrait. He lived very quietly and secludedly, looked like a stranger among people, wild and timid at the same time, in a word, he seemed like a creature from another world and called himself the Steppenwolf, lost in the wilds of civilization and philistinism. At first, the narrator is wary, even hostile, towards him, since he feels in Haller a very unusual person, sharply different from everyone around him. Over time, wariness gives way to sympathy, based on great sympathy for this suffering person, who was unable to reveal the full wealth of his powers in a world where everything is based on the suppression of the will of the individual.

Haller is a bookish person by nature, far from practical interests. He doesn’t work anywhere, lies in bed, often gets up almost at noon and spends time among books. The overwhelming majority of them are works by writers of all times and peoples, from Goethe to Dostoevsky. Sometimes he paints with watercolors, but he is always in one way or another in his own world, not wanting to have anything to do with the surrounding philistinism, which successfully survived the First World War. Like Haller himself, the narrator also calls him the Steppenwolf, who wandered “into the cities, into herd life - no other image more accurately depicts this man, his timid loneliness, his savagery, his anxiety, his longing for his homeland and his rootlessness.” The hero feels two natures in himself - man and wolf, but unlike other people who have tamed the beast within themselves and are accustomed to obey, “the man and the wolf in him did not get along and certainly did not help each other, but were always in mortal enmity, and one only tormented the other, and when two sworn enemies meet in the same soul and in the same blood, life is no good.”

Harry Haller tries to find a common language with people, but fails when communicating even with intellectuals like himself, who turn out to be the same as everyone else, respectable ordinary people. Having met a professor he knows on the street and being his guest, he cannot stand the spirit of intellectual philistinism that permeates the entire environment, starting with the sleek portrait of Goethe, “able to decorate any philistine house,” and ending with the owner’s loyal reasoning about the Kaiser. The enraged hero wanders around the city at night and realizes that this episode was for him “a farewell to the bourgeois, moral, learned world, filled with the victory of the steppe wolf” in his mind. He wants to leave this world, but is afraid of death. He accidentally wanders into the Black Eagle restaurant, where he meets a girl named Hermine. They begin something like a romance, although it is more likely a kinship between two lonely souls. Hermine, as a more practical person, helps Harry adapt to life, introducing him to night cafes and restaurants, jazz and her friends. All this helps the hero to understand even more clearly his dependence on the “philistine, deceitful nature”: he stands for reason and humanity, protests against the cruelty of war, however, during the war he did not allow himself to be shot, but managed to adapt to the situation, found a compromise, he is an opponent power and exploitation, but in the bank he has many shares of industrial enterprises, on the interest from which he lives without a twinge of conscience.

Reflecting on the role of classical music, Haller sees in his reverent attitude towards it “the fate of the entire German intelligentsia”: instead of learning about life, the German intellectual submits to the “hegemony of music”, dreams of a language without words, “capable of expressing the inexpressible”, longs to escape into a world of wondrous and blissful sounds and moods that “never translate into reality,” and as a result, “the German mind missed most of its true tasks... intelligent people, they all completely did not know reality, were alien to it and hostile, and therefore in our German reality, in our history, in our politics, in our public opinion, the role of the intellect was so pathetic.” Reality is determined by generals and industrialists, who consider intellectuals “an unnecessary, divorced from reality, irresponsible company of witty talkers.” In these reflections of the hero and the author, apparently, lies the answer to many “damned” questions of German reality and, in particular, to the question of why one of the most cultured nations in the world started two world wars that almost destroyed humanity.

At the end of the novel, the hero finds himself at a masquerade ball, where he is immersed in the elements of eroticism and jazz. In search of Hermine, disguised as a young man and conquering women with “lesbian magic,” Harry ends up in the basement of the restaurant - “hell”, where devil musicians play. The atmosphere of the masquerade reminds the hero of Walpurgis Night in Goethe’s “Faust” (masks of devils, wizards, time of day - midnight) and Hoffmann’s fairy-tale visions, which are already perceived as a parody of Hoffmannian, where good and evil, sin and virtue are indistinguishable: “...the drunken round dance of masks has become gradually, like some kind of crazy, fantastic paradise, one after another the petals seduced me with their aroma […] snakes looked seductively at me from the green shadow of the foliage, a lotus flower hovered over a black swamp, firebirds on the branches beckoned me...” A hero fleeing from the world German romantic tradition demonstrates a split or multiplication of personality: in it, a philosopher and a dreamer, a music lover, gets along with a murderer. This takes place in a “magic theater” (“entrance only for crazy people”), where Haller gets into with the help of Hermine’s friend, saxophonist Pablo, an expert in narcotic herbs. Fantasy and reality merge. Haller kills Hermine - either a harlot or his muse, meets the great Mozart, who reveals to him the meaning of life - it should not be taken too seriously: “You must live and you must learn to laugh... you must learn to listen to the damned radio music of life... and laugh at it turmoil." Humor is necessary in this world - it should keep you from despair, help maintain your sanity and faith in a person. Then Mozart turns into Pablo, and he convinces the hero that life is identical to a game, the rules of which must be strictly observed. The hero is consoled by the fact that someday he will be able to play again.

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Hermann Hesse
The work “Steppenwolf”

At first, the narrator is wary, even hostile, towards him, since he feels in Haller a very unusual person, sharply different from everyone around him. Over time, wariness gives way to sympathy, based on great sympathy for this suffering person, who was unable to reveal the full wealth of his powers in a world where everything is based on the suppression of the will of the individual.
Haller is a bookish person by nature, far from practical interests. He doesn’t work anywhere, lies in bed, often gets up almost at noon and spends time among books. The overwhelming majority of them are works by writers of all times and peoples, from Goethe to Dostoevsky. Sometimes he paints with watercolors, but he is always in one way or another in his own world, not wanting to have anything to do with the surrounding philistinism, which successfully survived the First World War. Like Haller himself, the narrator also calls him the Steppenwolf, who wandered “into the cities, into herd life - no other image more accurately depicts this man, his timid loneliness, his savagery, his anxiety, his longing for his homeland and his rootlessness.” The hero feels two natures in himself - man and wolf, but unlike other people who have tamed the beast within themselves and are accustomed to obey, “the man and the wolf in him did not get along and certainly did not help each other, but were always in mortal enmity, and one only tormented the other, and when

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