The Renunciation of the Muse in THE INN OF GHOSTS: Late Style and Intratextuality in Nathan Alterman's Old Age Play (Hebrew)

• In Event: Memoir, Biography, and Biographical Interpretations

Abstract

My presentation delves into the biographical-literary significance of Nathan Alterman's (1910-1970) dramatic plays, particularly focusing on his "late style" period that emerged in the late fifties following the tepid reception of his book IR HAYONA (1957). A pivotal work in this transition is the play THE INN OF GHOSTS (1962). I will argue that this marks Alterman's shift from lyrical poetry to drama, symbolizing a broader withdrawal from his established poetic identity, evident in his subsequent transition to prose for publicist columns.
I will begin my presentation by contextualizing Alterman's life and work within the framework of late style theory and the intergenerational struggles prevalent in Hebrew poetry during the 1950s. A tension that also affected other poets of Alterman's generation, including, for example, Leah Goldberg. Employing the tools of late style theory, I will analyze THE INN OF GHOSTS, positioning it as Alterman's first response to the crisis of IR HAYONA, and consequently also as the point where his late style emerged.
The second part of my presentation interprets THE INN OF GHOSTS as a work of old age, critiquing the world of Hebrew poetry. It explores the tension between art and life, portraying the artist's separation from the muse through the character of the magical and mysterious innkeeper who finally grows old and disappears – a symbolic renunciation echoing Alterman's personal and poetic crises.
In addition, I will emphasize the Intratextual links within Alterman's body of work, especially with KOHAVIM BAHUTZ (1938). Contrary to the prevailing trend in research, I argue that the play should be viewed not merely as a text akin to others but as a product of Intratextual transformations between Alterman's previous works and the play itself. By revealing connections between different texts, I assert that Alterman's Intratextual choices are grounded in his literary biography and the poetic crisis, reflecting a deliberate return to and transformation of his early work – a form of "self-parody". This claim shed light on the broader experiences of an aging poet, specifically Alterman, grappling with the perceived diminishing relevance of his oeuvre, signaling a poignant farewell to poetry and the muse.

Author

• Ido Nitzan, Hebrew University of Jerusalem