Bluebeard (narration)

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Bluebeard in an edition of the Suhrkamp library

Bluebeard is a short story by the Swiss writer Max Frisch from 1982. In this last major literary work, Frisch once again took up essential motifs from his work: the search for personal identity , the definition of the individual through the image of the environment of him, as well as guilt and guilt awareness of the man in his relationship with the woman.

Felix Schaad, the protagonist of the story, is a doctor charged with the murder of his divorced wife. Although he is acquitted in the court process, the trial has damaged his public image and, as a result, his self-image. Schaad cannot break away from the memories of the interrogations that continue in his thoughts and dreams after the trial. The accusation of concrete guilt for the death of his wife arouses in him the general question of how much he has become guilty in his life. In the end, Schaad makes a confession.

Formally, Bluebeard follows the principle of a progressive reduction in content and form in Frisch's late work. The prose , which many perceived as “sparse” and “bald” , led to a divided reception in literary criticism. While some voices admired the narrative as a masterly old work, other reviewers found it irritating, tiring and empty. After Bluebeard , Frisch withdrew from literary production and only published one more extensive text, the political dialogue piece Switzerland without an army? A palaver .

content

Dr. Felix Schaad, a 54-year-old doctor, is suspected of murdering his divorced wife, the prostitute Rosalinde Zogg. He visited her on the day of the murder, his tie was used as a weapon, and he repeatedly gives false alibis at the time of the crime. After ten months in custody, there is a three-week trial with a total of 61 witnesses. In the end, Schaad is acquitted, “for lack of evidence,” as he feels, although this phrase is not mentioned in the judgment.

For Felix Schaad, the unanswered questions only begin with the acquittal: What is life like with a judgment due to a lack of evidence? What is his real guilt for the death of his wife? Is a person ever completely innocent? - While Schaad has become a social outsider as a result of the indictment, his practice is empty and the sailing club is expecting his exit, he cannot suppress the memories of the trial. Escape by moving or suicide is ruled out for him because this could be interpreted as a retrospective admission of his guilt. Instead, Schaad takes refuge in a game of billiards , long hikes and a trip to Japan . But he finds no distraction from the interrogation of the prosecutor , who dominated his mind for weeks after the trial. In Schaad's memory, the long line of witnesses reappears , those who incriminate him, those who defend him, and those who say things about him that are new to him and that he would not have wanted to know in all cases.

One after the other, Schaad's divorced wives are called to the stand. His current seventh wife jokingly calls him after the fairy tale character "Knight Bluebeard" because he has already had six divorces, a name that will soon be found on the front pages of the tabloids . Schaad's excessive jealousy is confirmed by all women . But this was always directed inwards, for example by breaking his expensive pipe collection in front of one of his former wives. Several times it is said that he could not harm a fly. Schaad claims that he has overcome his jealousy since Rosalinde once allowed him to work on a video camera after her divorce.

The interrogation in Schaad's head is not limited to the past trial. The public prosecutor's voice also controls his walks, questions him about his dreams, calls his deceased parents to the witness stand and finally the victim, who only smiles like Schaad remembers them from photos, but is silent. Only now, after the trial, does Schaad suddenly remember details that he had missed during the trial: that Rosalinde often received flowers from strangers, each time the same number of five lilies . On Schaad's last visit, her phone rang incessantly, and her typewriter contained a love letter that had already started. When Schaad left Rosalinde, on a whim, he sent her flowers himself, five lilies of the kind that were later draped on the dead woman.

Schaad drives to the police station in his hometown and confesses to the murder with a sense of relief. But the police don't believe his statement. The crime was committed by a Greek student named Nikos Grammaticos. On the way back, Schaad hits a tree, but survives the accident. In his sick bed the interrogation of the public prosecutor arises again in his head, who informs him that his operation was a success and interrogates him about the course and motive of his accident. In the end, Schaad gave no more answers to the questions.

shape

Bluebeard is made in the form of a montage , a technique that determines large parts of Frisch's work and, above all, his late work. Dialogue sequences from Schaad's real and imagined process alternate with the inner monologue of the main character. According to Jürgen H. Petersen, both narrative levels do not fully grasp their subject. While the court dialogue deals with a murder that Schaad did not commit, the monologues do not portray the main character's distress. Frisch's technique in Bluebeard is to indirectly reveal a narrative object that cannot be spoken about directly: not the specific guilt for which Schaad is being charged, but a general guilt that no one can absolve him of. For Klaus Müller-Salget, the failure of communication at all levels of the narrative is reflected in the two styles of language used, in the “restricted code of court language” and Schaad's helpless, simple statements, both of which are unable to express the truth.

The principle of reduction, which already characterizes the previous stories Montauk and especially The Man Appears in the Holocene, is, in Petersen's opinion, further advanced in Bluebeard . The story has no suspense, no dramatic elements, not even a narrator who can reflect or comment. Both the inner monologue and the dialogue are presented directly and in the present tense . In addition to these characteristics typical of Frisch's late style, there is a new element in Bluebeard : the humor, which is particularly evident in the dialogues in which the interlocutors talk past one another. In an interview with Günter Kunert , Frisch himself described the style of the narrative as “a barren narrative style” that “strives for the greatest possible reduction”. He has “taken away again and again what a reader can imagine for himself. […] In the last few years it has become more and more important to me that I, as a narrator, do not share what I mean about a situation. Whether I feel sorry for the man or whether I judge him, I don't want any of that in the text: So that the reader [...] is affected by his own experience ”. He went on to explain to Volker Hage : “That fascinates me more and more: how far you can go with the omission.” Frisch was particularly taken with the comparison with the Swiss sculptor Alberto Giacometti , which an American reviewer had drawn: “This story is like a sculpture by Giacometti, the extreme slimness of the figure creates the space around it. At least that was my narrative goal. "

interpretation

Knight Bluebeard , after whom the protagonist is titled, in a woodcut by Gustave Doré from 1862

With the title of his story, Frisch ties in with the fairy tale of the knight Bluebeard by Charles Perrault from 1697. Later records come from Ludwig Tieck (1797) and Anatole France (1909) , among others . Although the story makes direct reference to Perrault, according to Cornelia Steffahn, Frisch's Bluebeard is more reminiscent of Frances Figur, an innocent, reserved lord of the castle who is betrayed by all of his seven wives. Apart from the title and a few details - the seven wives, the murder of one of them - there are few points of contact in the story of the fairy tale. In fact, Frisch ironically ironizes the original, in that the protagonist's nickname comes from his wife's naive deception about the nature of the fictional knight. For Volker Weidermann , Frisch transfers some motifs from the fairy tale to the 20th century, stating that his bluebeard is “a loving, jealous, fleeing man of the present”.

Felix Schaad is acquitted of the charge of murdering his divorced wife, but not because of proven innocence, but "in the absence of evidence - how does one live with it?" According to Lübbert R. Haneborger, the trial of Schaad throws it out of his life: “My acquittal is well known, but too much is known about my person.” Only after the trial does the actual, internal process begin for Schaad. His world shrinks to the interrogations in his head, and all attempts to break out through everyday activities fail. Schaad's “subjective feeling of guilt” deviates from the “objective concept of guilt in the case law”. Frisch commented on his protagonist: “Schaad has a latent feeling of guilt. [...] He knows [...] that he was not the culprit, but he cannot say: I am innocent. "" And so Schaad becomes an empty vessel into which the others can throw whatever they want. [...] It is determined by a collection of other people's opinions and can no longer oppose anything. That is why he is really condemned to death in spite of his acquittal [...] to the point of insanity that he finally confesses for an act he did not commit. To determine yourself. "

Haneborger sees Schaad in the court proceedings as part of the power imbalance of a " forensic - legal discourse " in the assigned role of the loser. The rules of negotiation deny the doctor the self-portrayal he is accustomed to based on his social status and make moral justification more difficult. His self-image and the assignments made from outside by testimony diverge: “There is no common memory.” Schaad's biography is cut in court, which leads to a loss of history and increasing indifference for him . Relevant in court, creating identity, are only those parts of his history that can be taken as evidence of his guilt. Although Schaad is acquitted in the end, the foreign determination through the language of the process is established in him. Even after his acquittal he remains in the learned role of the guilty. His memory produces stressful material from all phases of life. Schaad withdraws from the social environment and alienates himself from himself. His paranoid sense of guilt increases to a psychosis .

In addition to the external determination through the court proceedings, the pressure to self-justify plays an important role for Haneborger. With Schaad it leads to a “self-justice” and the need to obtain alibis for the most everyday activities. What has once been recorded in writing develops into a threat: "One shouldn't leave any notes - one day one is arrested under false suspicion and the public prosecutor will read aloud." Schaad's self-judgment penetrates into ever more intimate areas down to his subconscious and his dreams. The absence of the dead deprives him of the opportunity to make an exonerating statement. Schaad does not let himself be put off in his inner process by the realization: “In the absence of evidence - why did I hear that? That does not appear in the verdict. ”Unlike Josef K. from Franz Kafka's Der Trial , Schaad is not sure that he is completely innocent:“ Since I was fourteen I have not had the feeling of being innocent ”. It is not just about the real murder of Rosalinde, but about the metaphorical murder of all of his seven marriages, because seven times he was unable to fulfill the promise of a life together. He always looks for the cause of the love that has died in himself.

Walter Schmitz often sees the dish in Frisch's novels as an image of the relationship between the sexes. While in his debut, Jürg Reinhart. A summer journey of fate, the male protagonist still wins his process of self-discovery, in Frisch's subsequent works the “male sense of guilt” is always confirmed in court. The inability to reconcile self-image and external image, to connect private and public, is demonstrated in the failed communication between men and women. The attempted dialogue beyond the limits of life between Schaad and Rosalinde, who only smiles in photos, fails, as does the dialogues between the living. Schaad also fails in the attempt to obtain his release from guilt through a false confession. He remains "Felix without practice". In the end, language triumphs over him. The real culprit is Nikos Grammaticos, the victory of grammar . Felix Schaad, on the other hand, the supposedly lucky one , ultimately has the damage . His fight against the world and language remains in vain.

The story ends with a questioning that Schaad, who is lying in an intensive care unit, imagines, and the public prosecutor's final statement: “You are in pain.” According to Frisch, this is not just an indication “that this person as a patient is in pain, and maybe even dies. What is meant is a different pain. It is the pain of existence [...] that his whole existence was a pain [...], namely an unclear relationship to the concept of guilt. "He deliberately left open the question of whether Schaad would die:" It is more desolate, more horrific, more exciting that everything fails for this person: the confession does not apply, he makes a suicide attempt that only mutilates him, and lies there, is not the murderer, is not innocent and has to go on living. "

Background and history

Max Frisch (approx. 1974)

After completing the story, which was revised again and again over eight years, Man appears in the Holocene in 1979, Max Frisch suffered writer's block . In a letter to Uwe Johnson he confessed: “It is […] the first time that I have not written anything for weeks. I don't have a project either, at least not one that pulls me to the typewriter. What can the typewriter do to make me feel disgusted with it ”.

In this situation, Frisch became aware of a jury trial in Zurich in early 1980 against a goldsmith accused of the murder of his wife . He followed the process closely, missing only three of 68 hours of the hearing before an acquittal was finally given. Frisch later commented on this trial: “It wasn't actually the murder case itself, which immediately interested me. […] What was exciting for me was this perfect set of survey instruments, which rarely yield anything […], all under the great motto: 'The truth and nothing but the truth.' It is known that the truth can never be captured with this linguistic ritual. [...] Language as an instrument that never quite comes close to reality. "When Frisch translated the experiences he had gained into a story between October and December 1981 in which he distanced himself from the murder dealt with, he had the actual criminal case" so chosen as average as possible so that it does not take away the interest, because I was not interested in this criminal case, but in the technique of finding the truth ”.

Bluebeard was published in February and March 1982 as a preprint in the Frankfurter Allgemeine Zeitung and was subsequently published as a book by Suhrkamp Verlag . Frisch emphasized that he did not start out from the Bluebeard fairy tale when telling the story : “Schaad is rather ironicized with the word 'Bluebeard'. He's anything but a patriarch . ”Until shortly before going to press, the phrase“ The Truth and Nothing but Truth ”was the title of the story. Frisch called the changed title Bluebeard an “infamous misdirection”. Although he once had the plan to work the Bluebeard material into a play, he thought: “It's not a very good fairy tale. It has too few ambivalences . ”Nevertheless, the title was not chosen by chance, because a total of seven women are disappearing from Schaad's life, a guilt that he cannot let go. When asked whether the story had autobiographical traits, Frisch replied: "The autobiographical thing about it is that I - raised in a Christian, not a believer - feel guilty, but do not know what the guilt is."

Max Frisch and Friedrich Dürrenmatt in the Kronenhalle in Zurich 1961

Under the motto caricatured Max "Unforgettable also a friend remains" fresh in the figure of the Lord's New Burgers his in Neuchatel living and life-long connected in a mixture of friendship and rivalry colleague Friedrich Dürrenmatt and put to it by Heinz Ludwig Arnold "a questionable monument as openly egomaniacal and foolish idiots ”. The statements of Neuchâtel ("Otherwise he's a brisk guy [...] He introduced me to every woman he marries [...] That's grotesque [...] What bothers me are his untruths [...] And then that's how he is." oversensitive ”) are partly based on an interview published in Playboy in December 1980 in which Dürrenmatt talked about Frisch and other fellow writers. In retrospect, Dürrenmatt had distanced himself from the content of this interview. In the character of Schaad, Frisch commented on a phone call from Neuchâtel: “He means it warmly, I know. [...] He giggles so loudly that I have to remove the receiver a little from my ear. "Urs Bicher judged that with the parody in Bluebeard , Frisch put " an end to the long-term relationship "with Dürrenmatt. In the years that followed, isolated attempts at reconciliation by the two Swiss writers were unsuccessful. In his last letter on Frisch's 75th birthday, Dürrenmatt stated that they had "both become good friends". He expressed his admiration for Frisch one last time, who had "made his case to the world" in literature, but the letter went unanswered by Frisch.

Position in Frisch's oeuvre

Even more than was the case with Frisch's earlier texts, Bluebeard was related by literary studies to Frisch's oeuvre. Walter Schmitz saw "a large number of his well-known themes and motifs" taken up again, so that "the narrative consists of almost nothing other than reminiscences and style quotations like this". Heinz Ludwig Arnold placed Bluebeard between the two central positions of Frisch's work, the early prose text What am I? and the principle from the diary 1946–1949 : "You shouldn't make a portrait". Frisch had " hit the center of his aesthetic with Bluebeard so much that you could almost call him an epigone of himself." Arnold saw in Bluebeard "a thinner infusion of his most famous and probably best novel: Stiller ". Other voices found in the relationship of the accused to the murder victim the constellation of the platonic love of Gantenbein to the "milieu lady" Camilla Huber from Mein Name sei Gantenbein . Even Alexander Stephan recalled Bluebeard "more like the novels of the 50s and early 60s than in the playoffs the past decade." The theme was "again the desperate self-discovery attempts of bourgeois contemporaries [...] that is with the world and his own biography at odds . " Hans Mayer contradicted the assertion that" the Bluebeard is basically a late successor to the actual work ", in order to draw a comparison between the works:" Instead of the Dr. med. To put Schaad once again at the side of Messrs. Stiller and Gantenbein, one should understand him primarily as a resident of Andorra . ”The story plays out the outsider problem from Frisch's drama again.

Max Frisch (1967)

In addition to the comparisons with his main works, the thematic and formal context of Frisch's last three stories was often emphasized. For Hans Mayer , Bluebeard "with Montauk and Holocene quite obviously rounded himself into an epic triptych [...] in unadorned and unmistakable prose". For Volker Hage, too, the three stories “formed an underlying unit, not in the sense of a trilogy , [...] but in the sense of a harmonic chord . The three books complement each other and yet are independent units. […] All three books have the tenor of the balance sheet, the conclusion - right down to the form that only allows the bare essentials: tight, buttoned up. "One of Frisch's late core questions, which is addressed in his three concluding stories, is:" How do you keep everything that you have written in the course of your life under control? ”Frisch himself commented on his late prose work:“ The last three stories have only one thing in common: that they go further in the testing of the modes of representation possible for me than the work before. "

Despite the dialogue text Switzerland without an army? Published two years before his death in 1989 . Frisch nach Bluebeard had a palaver , according to Jürgen H. Petersen, "the last real literary work", largely giving up his writing activity. In his resigned speech, given at the Solothurn Literature Days in 1985, At the End of the Enlightenment stands the Golden Calf , Frisch proclaimed that he had “stopped writing. Tired, yes. Used up. ”Four years later, in a conversation with Urs Bircher, he came to the conclusion:“ I have said everything I have to say and I have tried all the forms of expression that came to my mind. Repetitions bore me ”.

reception

The response to Bluebeard was divided in German literary criticism. Martin Walser praised his colleague's story as “[a] ine trivial story […]. But a masterpiece. ”Schaad is a“ highly pathetic figure ”whose“ pathos constantly turns into comedy ”. Frisch could “ write a masterfully sad detective novel ” in which one had “more to admire than to read”. Hans Mayer, too, recognized a “[technically] good crime thriller work.” Bluebeard was “worked precisely. No Simenon and no Agatha Christie could do it better. ”With the evidence laid out beforehand, “ [t] he technique of criminal history […] is precisely respected. ”Max Frisch himself contradicted the classification as a detective novel:“ I am not a reader of crime novels, not that out of contempt, but because most of the time I don't understand them. It wasn't my ambition to finally write a thriller myself. "

Many reviewers compared Bluebeard to Frisch's earlier work and reacted differently to the narrative's withdrawn style. After reading it, Reinhard Baumgart felt “both disappointed and irritated [...]. The loss of pleasure, the clearcut are obvious. [...] The book almost only draws lines, shows no colors. "After repeated reading he saw a" very taciturn, yes silent book [...] But the not only literary quality of this author is also confirmed by the fact that he is his life theme here gray and rigorously driven into a new consequence without giving it cheaply to the zeitgeist . "In contrast, Heinz Ludwig Arnold Blaubart was unable to gain any further facets from repeated reading:" This story does not cause the reader any difficulties, he reads it down quickly, and one too second and third reading do not open up any new perspectives ”. Frisch went with Bluebeard "[about] what he once achieved literarily, [...] not beyond", but moved on "arbitrary trails" on which he could "reproduce his program once won". In contrast to his earlier work, Frisch is able to “no longer make personal concern literarily fruitful”.

Joachim Kaiser warned against underestimating Bluebeard , “a perfectly clear, seemingly transparent, concise old work. Desperation, completely unsentimental, hidden behind laconic dialogues and elegant blackouts. ”For Peter Weigel, Frisch even“ put it straight, wrote one of the best stories that have ever existed in German. ” Friedrich Luft, on the other hand, saw Max Frisch resigned“ with one so actually terribly empty book ”. He regretted “that such a vital and inventive author in his 70th year arrived at the portrayal of an artistically proven nullity.” Volker Hage summed up: “ Bluebeard freshly reined in his imagination. He no longer shone with ideas. ”In the sparse narrative, connoisseurs of the author most likely felt“ the absence of those elements that one is used to from Frisch and which he now refuses: his phenomenological excursions into many areas of everyday life. ”

One of the narrative's harshest critics was Marcel Reich-Ranicki , who previously celebrated Montauk and ignored Man Appears in the Holocene . Max Frisch had told him about his new job on a visit. Reich-Ranicki was “genuinely delighted. Here a great narrator had found the material that was appropriate and ideal for him. […] I congratulated him and thought to myself: I will never forget this hour […] in my life. ”When the book appeared, however, it did not meet Reich-Ranicki's high expectations:“ Did it disappoint me? No, this word is too weak. I was downright horrified. ”In his review in the FAZ, he called Bluebeard “ more original than interesting ”. The narrative is "[e] in bad check". Frisch's “literary manifestation of speechlessness” was “successful, but unfortunately so consistently that reading the book tires rather quickly.” Frisch later said of the critic's unfavorable judgment that “he himself is to blame for everything, he made a mistake, he should never have told [Reich-Ranicki] the contents of his book. "On the other hand, more than twenty years after Bluebeard's appearance, Reich-Ranicki still believed that the material Frisch had originally presented him" was fabulous. If there had been a tape and it had been printed [...] it would have been a brilliant book. "

Vadim Glowna , the Dr. Schaad in the film

Martin Walser's prophecy that the dialog-based narrative would be predestined for film and television and even an opera as “Max Frisch's Felix Passion” was at least partially fulfilled. Bluebeard was adapted twice in 1982 as a radio play directed by Ernst Wendt for SDR and WDR and Mario Hindermann for DRS and ORF . The 1984 film adaptation of Bluebeard by Krzysztof Zanussi on behalf of Westdeutscher Rundfunk was, apart from Richard Dindo's Journal I-III , the first film based on an epic story by Max Frisch. The main role was played by Vadim Glowna . Karin Baal , Vera Chekhova and Margarethe von Trotta could also be seen in other roles . Max Frisch was a constant observer of the filming and is captured in a short sequence in the film. For Volker Hage, the film “stayed close to the original - and that doesn't give him an advantage. It's artificial and somewhat boring. ”Max Frisch, on the other hand, was“ very happy [...] that Zanussi let this film play on their faces ”.

literature

Text output

  • Max Frisch: Bluebeard. Suhrkamp, ​​Frankfurt am Main 1982, ISBN 3-518-02844-8 (first edition)
  • Max Frisch: Bluebeard. Suhrkamp, ​​Frankfurt am Main 1985, ISBN 3-518-01882-5 (the page numbers refer to this version)
  • Michael Schmid-Ospach, Hartwig Schmidt (ed.): Max Frisch: Blaubart. A book about the film by Krzysztof Zanussi. Suhrkamp, ​​Frankfurt am Main 1985, ISBN 3-518-37691-8

Secondary literature

Individual evidence

  1. ↑ a b Jürgen H. Petersen: Max Frisch , pp. 178-179
  2. ↑ Klaus Müller-Salget: Max Frisch . Reclam, Stuttgart 1996, ISBN 3-15-015210-0 , p. 36
  3. ↑ Schmid-Ospach, Schmidt (Ed.): Max Frisch: Blaubart , pp. 149–150
  4. ↑ a b c Volker Hage: Everything invented . Rowohlt, Hamburg 1988, ISBN 3-498-02888-X , p. 82
  5. ↑ Schmid-Ospach, Schmidt (Ed.): Max Frisch: Blaubart , p. 151
  6. ↑ Frisch: Blaubart (1985), p. 121.
  7. ↑ Steffahn: Aging, dying and death in the late work of Max Frisch , pp. 189–190
  8. ↑ Volker Weidermann : Max Frisch. His life, his books . Kiepenheuer & Witsch, Cologne 2010, ISBN 978-3-462-04227-6 , p. 371
  9. ↑ Frisch: Blaubart (1985), p. 8
  10. ↑ Frisch: Blaubart (1985), p. 19
  11. ↑ See the section: Haneborger: Max Frisch - Das Prosa- Spätwerk , chapter Stigmatisierte Freiheit , pp. 80–86
  12. ↑ Schmid-Ospach, Schmidt (Ed.): Max Frisch: Blaubart , p. 139
  13. ↑ Schmid-Ospach, Schmidt (Ed.): Max Frisch: Blaubart , pp. 144–145
  14. ↑ Frisch: Blaubart (1985), p. 117
  15. ↑ See the section: Haneborger: Max Frisch - Das Prosa- Spätwerk , chapter Discourse and Psychosis , pp. 87-103
  16. ↑ Frisch: Blaubart (1985), p. 87
  17. ↑ Frisch: Blaubart (1985), p. 135
  18. ↑ Frisch: Blaubart (1985), pp. 73-74
  19. ↑ See the section: Haneborger: Max Frisch - Das Prosa- Spätwerk , Chapter Truth and Conscience , pp. 104–116
  20. ^ Frisch: Blaubart (1985), p. 148
  21. ↑ See section: Schmitz: Max Frisch: Das Spätwerk (1962–1982) , pp. 149–155
  22. ↑ Frisch: Blaubart (1985), p. 172
  23. ↑ a b changes. From a conversation between Hartwig Schmidt and Max Frisch . In: Luis Bolliger (Ed.): Now: max fresh . Suhrkamp, ​​Frankfurt am Main 2001, ISBN 3-518-39734-6 , pp. 276-277
  24. ↑ a b c Urs Bircher: With the exception of friendship: Max Frisch 1956–1991 . Limmat, Zurich 2000, ISBN 3-85791-297-9 , p. 216
  25. ↑ a b Hage: Max Frisch , p. 122
  26. ↑ Schmid-Ospach, Schmidt (Ed.): Max Frisch: Blaubart , pp. 140–141
  27. ↑ a b Schmid-Ospach, Schmidt (Ed.): Max Frisch: Blaubart , p. 149
  28. ↑ Schmid-Ospach, Schmidt (Ed.): Max Frisch: Blaubart , p. 146
  29. ↑ a b Stephan: Max Frisch , p. 141
  30. ↑ Frisch: Blaubart (1985) , p. 100
  31. ↑ Heinz Ludwig Arnold : What am I? About Max Frisch . Wallstein, Göttingen 2002, ISBN 3-89244-529-X , p. 62
  32. ↑ Frisch: Blaubart (1985), pp. 100-103
  33. ^ André Müller : Interview with Friedrich Dürrenmatt 1980 . In: Playboy 1/1981 (accessed March 24, 2009)
  34. ↑ Success in the evening . In: Der Spiegel . No. 1 , 1981, p. 150 ( online ).
  35. ^ Frisch: Blaubart (1985), p. 131
  36. ↑ Bircher: With the exception of friendship: Max Frisch 1956–1991 , pp. 222–223
  37. ^ Schmitz: Max Frisch: Das Spätwerk (1962–1982) , p. 150
  38. ↑ Max Frisch: Collected works in chronological order. First volume . Suhrkamp, ​​Frankfurt am Main 1998, ISBN 3-518-06533-5 , pp. 10-18
  39. ↑ Max Frisch: Collected works in chronological order. Second volume . Suhrkamp, ​​Frankfurt am Main 1998, ISBN 3-518-06533-5 , p. 369
  40. ↑ a b Heinz Ludwig Arnold: Failed Existences? To "Bluebeard" . In: text + kritik 47/48, 3rd expanded edition 1983, ISBN 3-88377-140-6 , pp. 112–113
  41. ↑ Haneborger: Max Frisch - Das Prosa- Spätwerk , p. 82
  42. ↑ a b c Hans Mayer : Knight Bluebeard and Andorra . In: Die Zeit vom April 23, 1982 (accessed on March 24, 2009)
  43. ↑ Hage: Max Frisch , pp. 119–120
  44. ↑ Hage: Max Frisch , p. 125
  45. ↑ Jürgen H. Petersen: Max Frisch , p. 182
  46. ↑ Bircher: With the exception of friendship: Max Frisch 1956–1991 , p. 227
  47. ↑ Bircher: With the exception of friendship: Max Frisch 1956–1991 , p. 225
  48. ↑ Hage: Max Frisch , p. 118
  49. ↑ a b Martin Walser : The human appears in the detective novel . In: Bolliger (Ed.): Now: max frisch , pp. 170–171
  50. ↑ Reinhard Baumgart : Reinhard Baumgart on Max Frisch: Blaubart . In: Der Spiegel . No. 16 , 1982 ( online ).
  51. ↑ Joachim Kaiser : From the guilt feeling of the man . In: Süddeutsche Zeitung from April 1, 1982
  52. ↑ Peter Weigel: A doctor cross-examines himself . In: Welt am Sonntag of April 4, 1982
  53. ↑ Friedrich Luft : It is difficult to live with an acquittal . In: Die Welt of April 17, 1982
  54. ↑ Hage: Max Frisch , pp. 118, 124
  55. ↑ Marcel Reich-Ranicki : Max Frisch . Ammann, Zurich 1991, ISBN 3-250-01042-1 , p. 108
  56. ^ Reich-Ranicki: Max Frisch , p. 91
  57. ^ Reich-Ranicki: Max Frisch , p. 95
  58. ^ Reich-Ranicki: Max Frisch , p. 109
  59. ↑ Marcel Reich-Ranicki: From a personal point of view. Talks 1999 to 2006 . Edited by Christiane Schmidt. DVA, Munich 2006, ISBN 3-421-04256-X , p. 322.
  60. ↑ Radio play adaptations by Blaubart in HörDat (accessed on March 24, 2009)
  61. ↑ Bluebeard in the Internet Movie Database (English)
  62. ^ Hage: Everything invented , p. 104
  63. ^ Hage: Everything invented , p. 105
This article was added to the list of excellent articles on May 16, 2009 in this version .