Bread (novel)

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Bread , new edition by Otto Müller, Salzburg 1986

Bread is the debut novel by the Austrian writer Karl Heinrich Waggerl , published by Insel in Leipzig in 1930 . His anti-modern tendency and statements by Waggerl himself made the peasant and settler novel, which was extremely successful at the time, open to an absorbing reception in the spirit of the blood-and-soil ideology of the National Socialists . Nevertheless, the work, which even brought its author a proposal for the Nobel Prize for Literature at the end of 1931 , is still regarded by literary criticism as Waggerl's best novel, even if it is now hardly given any importance.

Emergence

Knut Hamsun wrote the direct literary model for bread in 1917 with the blessing of the earth

Bread came into being and appeared at the time of the Great Depression . The “backward-looking utopia of rural life that celebrates courageous self-help and a just fate”, which he describes, is related to this period of origin, which was also associated with the worst crisis in Austrian agriculture and forestry in the interwar period. The time constellation is also a motivation for the enormous public success of the book.

Waggerl wrote the work in barely forty days, allegedly “with blood” and “at times with terrible physical pain”, at least that is what the author himself said in October 1929 to the later publisher of the novel, Anton Kippenberg . In addition to the obvious attempt at a Knut-Hamsun adaptation (primarily from Segen der Erde (1917)), the novel was also heavily influenced by autobiography.

The title “Bread” is taken from a central expression of the novel's protagonists: “Bread! thought Simon. Fame! thought the miller ”. At this point, the incompatibility of two attitudes towards life becomes clear. However, a dispute arose over the choice of title in the run-up to publication: the Austrian writer Georg Rendl had also offered Insel-Verlag a novel manuscript with the title Bread , which was also compared with Hamsun after it was later at published by the Deutsche Verlags-Anstalt under the title Before the Windows . Here one saw points of reference especially to Hamsun's novel Hunger . It is possible that Waggerl's title, like Rendl, had inspired the antithetical title Brot , but Rendl later referred to Waggerl's title as a loan from him. Years later, Waggerl gave information that he had been adamant in choosing the title out of youthful stubbornness.

Work description

Action framework

The plot of the novel takes place high up in the rugged mountains of the Alps on the edge of Eben. This deserted, barren place was chosen by the patented Simon Röck, a middle-aged man (according to the text of the novel, “from somewhere”) to build up a rural existence. The hostile environment to him, the sterility of the land as well as the harsh weather troubles him and bring him the ridicule of the inhabitants of the village at the foot of the mountain, but Simon wins the fight, becomes a “man in triumph, (...) King David in his glory ”. He built up a flourishing trade in wood and fodder and with the help of Regina, whom he met in the village and who moved in with him for initially obscure motives, he finally worked out a mill. In the meantime, Regina's sister has brought the child Sebastian to Simon's farm, who turns out to be Regina's illegitimate, sickly son and from now on forms a small family with the owners of the farm. A later born biological son of Simon and Regina, Peter, is developing splendidly in contrast to the half-brother, although the pregnancy was life-threatening for the mother-to-be.

In the meantime, thanks to the discovery of a healing spring, the village is transforming into a hectic, bustling city. The miller and, so to speak, owner of the settlement found the spring in his quarry. But hard-working Simon is a thorn in the side of the richest man in the village and forges intrigues against his rival. Ultimately, however, he becomes entangled in this and his miscalculations ultimately lead to the ruin of the entire village, whereupon he takes his own life.

Initially, Simon is suspected of the miller's murder and imprisoned until the evidence has been clarified. It takes six months before he can return to his family. In the meantime Peter has grown into a man who has gradually taken over all of his father's activities in the fields. The older Sebastian, on the other hand, broke off an apprenticeship as a watchmaker and ended up as a vagabond, but appears to be the wanderer-loving journeyman he is, but quite satisfied with it. At the end of the story, the aged Röcks can look back on a fulfilled life in an autumn idyll. At the same time, they are looking forward to the imminent birth of a grandson.

According to Walther Killy's literary lexicon, Simons and his family's "land grab" described in the novel is there

abstracted from social, political and economic contexts and presented a seemingly archaic, "natural" and patriarchal world, in which man knows himself to be in a seemingly eternal, unchangeable order, the continuity of which is underlined by the cycle of nature.

Structure and style

The lively, vivid style is carried by an essentially simple language in the work, which can be assigned to the mainstream of realism. There are few poetic means, but the poetic element is unmistakable in the rhythm and sound of the language as well as in the closed composition of the text. The consistent dichotomy in the structure is strictly designed down to the last detail - narrative poles such as “sedentariness” and “rootlessness”, “country” and “city”, “mountain farmers” - and “machine world”, “subsistence” and “profit orientation” are basically considered “Incompatible” contrasted. Waggerl's narrative attitude is authorial , here the author already takes on the narrative role that will later become typical of his narrative work, characterized by modesty and conservative values. An extremely sparingly used, strangely to the point literal speech underlines the mountain peasant type described in the novel. Kindler's Literatur Lexikon also notes stylistic borrowings from Hamsun.

Fabrics and motifs

In terms of the history of material and motifs, the novel is shaped by ideas such as autarkism and patriarchy, as well as a mythical approach to rural life. Archaic and anti-civilizational ideas from the time of its creation can also be found. Waggerl also takes motifs and quotations for bread from his own earlier stories and the Bible.

Symbol of a self-sufficient way of life: mountain farmers at work (1943)

At the time of the global economic crisis, a possible independence from industry and a self-sufficient existence was a moving topic. This motif runs through the entire novel. With Simon, Brot describes a person who builds his existence out of nothing and without outside help. The piece of land on which the protagonist is able to do this is described at the beginning of the novel as follows: “Perhaps no one has come to this wasteland for decades, no one since the farmers of Eben left their land, this enchanted land, so poor that no buyer could be found for it. ”On the other hand, there is the miller, who perishes in industrialization after an initial excess. Even before that, the rise of the village to the city was portrayed as a negative vision, civilization as a specter. Instead, the novel advertises a seemingly eternal, unchangeable way of life for humans in harmony with nature.

The entire fable of bread is already shaped by its main protagonists, Müller and Simon, male. While the miller is portrayed as the owner, even ruler, of an entire village from the very beginning of the text of the novel (the narrator calls him, like Simon, “a pioneer, a prophet”), Simon is the “original settler” who speaks of the “male construction and the way of reproduction “becomes the founder of a new community. That this should also remain patriarchal is shown at the end of the book: “An old tree dies, (...) in good time it has thrown out seeds, which are now growing and growing. The same tree, almost in the same place ”it says; meant is Simon's son Peter. There is also talk of the “future” as a grandson in the lap of the daughter-in-law, when the gender of the unborn child cannot yet be made clear. Stronger female figures such as the woman and Simon's daughter-in-law then of course remain firmly attached to the traditional division of roles between man and woman. And in them further patriarchal ideas also become clear; Simon's future daughter-in-law is the blacksmith's daughter almost out of natural necessity: the metalworker who makes the agricultural implements and the farmer who knows how to use them are "of the same sex".

The mythical in Waggerl's novel results on the one hand from the uncertain origin of its protagonist and his position in anti-civilization. The farmer is portrayed here as a creator at the beginning of time. Sometimes nature also becomes his opponent; setbacks are seen as punishments for arrogance. In bread is of nights of "testing" the speech brings the south, the "on the ninth day white-water into the heap" and sweeps away all the wood, wonderful same-described expressions (found in search of wood for "his last soup (...) towards the end of the day ”, Simon discovers the wooden floor on the threshing floor) and the“ future ”that the daughter-in-law in the form of a grandson carries“ in her lap ”is evoked.

The tramp motif, which is introduced into bread by the figure of Sebastian, is a fairly common one with Waggerl:

They are sensitive, mentally weak, intellectually dominated, erratic, nervous, also sick people, who are not only in dichotomous tension with the sedentary, the strong, the "homeland people", but also appear as sympathetic figures.

It is assumed that Waggerl had a tense, ambivalent relationship with these characters and that they sprang from the example of their mother, who is described as erratic and unsteady. The hands of Sebastian described as female in Waggerl's first novel also provide clear evidence of this.

Readings

In early bibliographies, bread is primarily understood as a " settler novel ", which is due to the fact that Simons settled in a strange wasteland and described the growing community around him, which is at the center of the fable. Due to the lack of a concrete prehistory of the protagonist, the novel is of course far removed from a programmatic representation as in Hans Grimm's Volk ohne Raum . According to a later study of anti-feudalism, conservatism and fascism in popular literature, the "settler novel of biblical simplicity", as an Austrian literary story put it in the 1960s, is nevertheless the "best known example" of the type of the "mythical settler novel" . This created a "new German myth " in the eyes of Nazi literary criticism, as its plot was largely removed from historical references and stylized into archaic form, and was therefore later particularly promoted, as was the programmatic-ideological settler novel.

Today the work is assigned more to the farmer's novel and can be understood both as a “conservative novel of proclamation of strong peasantry” and as a “conjuring novel of the strong and healthy as well as the stable and lasting” or as an “esoteric cleansing novel”.

Numerous fictional characters and circumstances of the narrative Waggerl has taken his own life World According to literature, so that bread also as a roman à clef may apply. The main character Simon Röck was modeled on a tension mountain farmer Waggerl knew from Wagrain, Simon's wife to his own mother, as he later described her in the memorial book Happy Poverty (1948). There are also references to acquaintances and friends, experienced financial difficulties, illness and community life during Waggerl's time in Bad Gastein and Wagrain . Even a conflict of conscience about an abortion that occurs in the novel has a real origin in the life of the poet. Waggerl brought unwanted parts of himself into the character of Sebastian (a sick child, not very assertive, later becomes a tramp), but also into Simon's opponent, the miller.

Finally, it is also justifiable to read the novel as an adaptation of Hamsun's Blessing of the Earth . The abundance of reference points from bread to Hamsun's work is already evident in the essentially same fable that carries the novel (it is also a “hymn of praise to the tenacious farmer who builds his own world on land stripped from the wilderness”) Range of individual motifs and even in style (Kindler). Ultimately, Waggerl's character Simon can be seen as a direct descendant of Isak from Hamsun's work. Both works also have in common their emphatic portrayal of sexual processes as belonging to the “realm of the natural”, but as it were defined by the “gender and power relations of [criticized] civilization”. What Hamsun seems to be an unconditional affirmation of sensual pleasures is embellished with Christianity at Waggerl: intercourse becomes subliminally a fall from grace, instinctual suppression denies the given joy. The main difference between Brot s and Segen der Erde is that Waggerl, in contrast to Hamsun, obviously did not aim for epic breadth when writing his work.

Impact history

Contemporary discourse

Contemporary literary criticism found mostly praise for the novel. It was newspapers of the most varied types that wrote enthusiastic reviews - from folkish to socialist -oriented papers. In August 1931, Radio Wien saw bread "from hard peasant earth (...) the blossom of [a] new German poetry" sprout. The newspapers for socialist education failed to recognize the “anti-socialist myth of the novel” on the “song of the peasant's work” and the social democratically oriented Wiener Arbeiter-Zeitung called Waggerl a spiritual “leader” and its protagonist the “creator of a community”. . Reviewers saw cause for criticism in the close proximity of bread to the works of Knut Hamsun. In this regard, Hart judged Karl Heinz Ruppel that Waggerl was "a sorcerer's apprentice whom the master still stands in the way" and that, in view of a work that was "furnished in every last corner" with an "inventory obtained from Hamsun", "his own art [ not yet] on track ”. According to the Germanist and Waggerl biographer Karl Müller , however, saw

“The great majority of the criticism (...) Waggerl (...) the Hamsun dependency, by pointing to the 'originally poetic' ( Herbert Scheffler ) of the language - 'clear, simple, necessary' ( Ludwig Gorm in the DAZ) and with a politicizing undertone 'of the purification of our spoiled book taste', said Kurt Münzer in the 'Neue Freie Presse' (Vienna). "

Müller's assessment of the keynote of the reviews is based on over thirty reviews in contemporary publications from the Vossische Zeitung to the London Times .

A “Viennese learned society” of over thirty, probably around Erika Spann-Rheinsch , decided in 1931 to propose Waggerl for his novel Bread for the Nobel Prize for Literature. The entry was made. A fellow writer like Hermann Hesse also showed admiration for Waggerl's linguistic style when he was quoted in 1932 in Die Literatur, among other things, with reference to bread : "The actually poetic books in our literature are becoming increasingly rare, and Waggerl's are one of them." More recent research findings, however, have to be questioned that the author Stefan Zweig , who was established at Insel before 1930 and a son of Jewish parents, spoke to his publisher of a “good impression” with regard to bread , as the then editor of the publishing house and Waggerl sponsor Hanns Arens spread after 1945. Kurt Tucholsky found the publishing activities of Insel-Verlag with regard to Waggerl's novels after the second book to be "strange" and called Waggerl in the "splinters" of the world stage an overestimating "imitator" who "re-wrote all of Hamsun's novels" write.

Appropriation in the time of National Socialism

In his secret report written in 1943 for the American foreign secret service , Carl Zuckmayer sees Waggerl's work as being accompanied by “anti-Semitic affects” and “sympathies for Austrofascism, then for National Socialism” from 1930 onwards. Although this can only be seen as a possible interpretation with regard to bread , Waggerl favored this type of interpretation through his personal behavior, especially during the “Third Reich” . At that time Waggerl was less productive in literary terms, but what he wrote could often only be described as confessional literature. He expressed himself in publications such as poets profess to return home to the kingdom even with battle slogans such as “May all sins be forgiven, only one not: to doubt or to deny now!”; He also said that peace was "only threatened by hating us Germans".

Waggerls Brot : Circulation explosion at the time of National Socialism

As a result, Waggerl's famous first novel, first published in 1930, was used ideologically. The myth of the settler novel was emphasized and its sales were promoted. Parts of Bread appeared in the cultural columns of National Socialist publications, on February 23, 1939 even an edifying love scene between Peter and his future wife under the title Susanne and Peter in the organ Das Schwarze Korps, which is considered to be a combat and advertising sheet for the SS, right next to the heading The face of war . After the Second World War , it was found that this had happened without the consent of the author. The appropriation also had an effect insofar as bread actually did not have its greatest sales success directly in the already high-turnover phase immediately after its well-known publication, but in the time of National Socialism, after all of Waggerl's other novels had been published.

Due to the proximity to the novel Segen der Erde by Hamsun, which advanced to a leading figure in Nazi literature at the time of the Third Reich , and even through the settler novel genre, Bread and its writer would also be under the spell regardless of Waggerl's expressions of sympathy for National Socialism advised of this literature. Ultimately, it was Waggerl's “anti-modern view of the world” that was expressed in his work and, by introducing “hostility to progress and [traditional] anti-intellectualism as resistance”, a poetic understanding vying for an equally attuned readership, which demonstrated its “ability to form alliances with the National Socialist Ideology ”. Above all, the treatment of the conservative blood-and-soil myth, which, racially and ethnically reinterpreted by the National Socialists, became a central component of their ideology, made bread open to reception in the Nazi sense. According to Karl Müller, Waggerl's novel didn't even have it

the relativizing aesthetic view of Hamsun on the world and its society, which were grasped and explained in the well-known categories of civilization and nature. While the Norwegian author (...) was quite skeptical of his natural utopia, Waggerl's book is a compensatory ideal - pure affirmation. That is why a dimension (the myth of blood and soil) comes into play unbroken in bread , which (...) gave rise to abuse during the Nazi era (...).

Planned film version

For a long time after its publication there were more or less concrete plans to make a film. From 1931 onwards, Hanns Arens had campaigned for the film for many years, often without consulting the publisher or author. Only within the Nazi cultural scene could the first, closer interest be aroused. After the Reich Ministry for Public Enlightenment and Propaganda had awarded a prize for the best national film , Arens dedicated a paper about Waggerl to the President of the Reich Film Chamber, Hans Friedrich Blunck , in which he described the bread material as excellently suited and "such a representative work" , as "the best basis (...) for the idea of ​​the Reich Chancellor and the demands that the Reich Food Minister makes on a (...) national peasant film"; the protagonist Simon is "almost the embodiment of the German, or if you want the people, who like him, out of dark guilt and confusion, bring themselves to a fruitful life through their own strength and at the same time lays the foundation for a future gender." a film exposé entitled Bergbauern , unauthorized by Waggerl , with which the Reichsfilmkammer's interest in the film was to be aroused. Waggerl, who wanted Werner Krauss to play Simon, entrusted official negotiations with the film chamber to his publisher Kippenberg, and in April 1934 the German press actually reported that the film adaptation of Bread had started . Waggerl's hesitant consent to the film contract and the appearance of Arens, who was known to some as a “Jew friend” ( Will Vesper ) before 1933, as the initiator of the project, later aroused suspicion, and the project was published in the leading Nazi literary magazine after Vesper's serious article against Arens The new literature stopped for now.

From 1935 onwards, through Aren's mediation, a project was created in which Luis Trenker was supposed to act as a kind of artistic director. Cinephon , Rota and Olaf Fjord came into question as film companies for the start of shooting announced for the summer of 1936 . Meanwhile Waggerl, who had already given Kowo an eight-week option to film the film in 1933 , had again made sure that the project was not free through a contract with another film company.

In 1939, the filming was initiated again by the Nazi culture industry. Richard Walther Darré wanted to use bread to "bring the townspeople closer to the great tasks that our Führer Adolf Hitler has set for the rural people as a source of blood and breadwinner for the German people". For this purpose one wanted to honor an exposé of the author. Together with Hanns Schopper , Waggerl also wrote a script. However, nothing came of a film adaptation. At that time film companies saw the lack of words of the Waggerl main character Simon, which could only have been compensated for by a suitable film composition, as a partial relapse into the silent film era and thus as a risk or lack. Luis Trenker last stated in 1940 that he wanted to push ahead with the filming. But this project also came to nothing.

post war period

The ideological appropriation of the work at the time of National Socialism did not necessarily mean that after 1945 Bread remained close to Nazi literature. For example, GDR literature soon raved about the novel's “gripping and often humorous style” and saw it no longer just from Hamsun, but also “inspired by Stifter”. In terms of content, the work could ultimately also be interpreted usefully in the sense of the “workers and peasants state”. In West Germany it was classified as an anachronism in the local art trend until the 1960s . However, the former bestseller, which was reissued almost every year until 1945 and rose sharply to a circulation of 100,000, was not reissued in German-speaking countries for years after 1945. From 1952 onwards there were new, mostly much smaller, editions at greater intervals, from the 1960s there was also a dtv and a Suhrkamp paperback edition, as well as an edition within the collective edition of Waggerl's Austrian publisher Otto Müller. The 1952 edition was the conclusion of an early edition of Müller's work, in which from 1948 onwards the ostensibly more ideological poems had been saved.

Foreign spending

Albert Helman translated bread into Dutch in 1940
Book cover of the Hungarian edition of Bread , 1941

In addition, Waggerl's work was translated into several languages ​​in the first twelve years after its publication and was also discussed by literary critics abroad, for example by Marcus Lauesen as early as August 5, 1930. In Göteborgs Handelstidning he emphasizes that bread through its “beneficial “Unreflecting,“ this free self-understanding ”, is of particular benefit to the reader.

Under the title Bread , the book was published in English in 1931 by Hopkinson in London. The literary translator was Winifred Ray . In 1940 the important Surinamese-Dutch writer Albert Helman translated bread as Brood at Kosmos in Amsterdam for Dutch readers. In 1941, Bread, transferred by Örley István, was published in Hungarian in Budapest ( Kenyér ), and in 1942 in a Belgrade publishing house in Serbian ( Хлеб ). This was the last known translation.

Classification in literary studies

Waggerl's work context

His first novel remained essentially the main work that established Karl Heinrich Waggerl's literary rank. Later, the author, whose subsequent literary work also achieved a tremendous distribution and was honored and sponsored in the authoritarian Austrian corporate state as in the Third Reich, was often ignored by serious literary criticism. Waggerl himself described bread , which is usually referred to as his best novel, as his "journeyman's piece". In fact, with him he had already found the language and style that would later characterize his entire work. Likewise, the milieu, characters and space of the plot in the overall picture can be described as typical of Waggerl's subsequent work.

Waggerl's earlier stories only appeared in newspapers and magazines. They too dealt with the “fate of outsiders”, portraying the social conditions [but still] pessimistically and ruthlessly, ”according to Killy's literary dictionary. Waggerl himself later spoke of "cold-hearted realism" in this context, as opposed to a romantic one. Bread and its successors, on the other hand, show an increasing tendency to idealize and stylize rural and working life. Zuckmayer described bread as the first result of a conscious reorientation of the author in the direction of comforting literature. According to Killy, Waggerl's second novel ( Schweres Blut , 1932) already interprets the "complex economic relationships (...) depicted in it from a naive, almost infantile perspective". The protagonist in Waggerl's second novel agrees with Simon Röck from the debut similar, at least insofar as this is also portrayed as a vigorous superman.

In the work after 1945, which became even more successful with the reading public than the early four novels in total, ideological approaches in Waggerl's work, which are still unmistakable in Bread and the almost immediately following three novels, almost entirely recede or are no longer formulated openly.

Waggerl himself gave different interpretations of bread at different times . In his autobiographical notes accompanying the publication (1930) he spoke of the mere attempt to create a “cheerful, calm, positive book” through “simple composition” and “poetry (...) only through the rhythm and sound of language”. It is actually not necessary to “underlay” a meaning for the book. If you wanted to, at most the essences could be seen in bread that “we all, like Simon, have to start again at some point”, “the deepest instinct in people is directed towards property”, towards “taking root” and that everyone forges their own happiness. At the time of National Socialism Waggerl self-interpretation was probably part of the ideological bread -Deutung Walter Hoyer in the Waggerl very flattering article from the demand of the time to the seal and by the action of the seal in time inspired (1933). In 1949, when Waggerl glanced into the workshop , he indicated that in retrospect he had not succeeded in making the desired “cheerful novel” with bread . In his late biography Ein Mensch wie ich (1963), the unchanging forces of balance between man and nature, which Waggerl traced in Bread , are at the center of his self-interpretation.

Today's meaning

Kindler's Literature Lexicon emphasizes that bread is “an extreme case of artistic reference to a literary model” and notes a subliminal agitational element in the work, which is written in a narrow model. Reclam's novel lexicon sees the book as just a clichéd farmer's novel that sings “a song of praise for personal work and life close to nature”. A woodcut-like border that runs through him and arranges his figures is particularly criticized: “Below the scheming villagers, far up in the country the grumpy, fallible, but essentially sincere people”. Its name still today as Waggerl's “best novel” is mainly due to the fact that Waggerl had already completed his generally narrow and little significant oeuvre as a novelist in 1935 with the fourth novel ( Mothers ). In a number of renowned literary encyclopedias and literary stories, bread is sometimes not even recognized with its own work article, and its author is sometimes not even mentioned. In the post-war period, the novel was sometimes cited as an important indicator of the “unbroken” continuation of Heimatkunst in German literature. The end of this literary trend can be seen today around 1910.

Bread is currently Waggerl's only novel that is available in stores as a separate edition outside of the complete edition of his writings.

literature

Individual documents and notes

  1. ^ Richard Faber: Secularization and Resacralization: On the History of the Hymn and its Reception , Königshausen & Neumann 2001; P. 177
  2. ↑ Olaf Kutzmutz: Work article "Bread" . In: Reclams Romanlexikon; Phillip Reclam Junior, CD-Rom edition Stuttgart 2002
  3. ^ German-Austrian Literature Society: The literature. Monthly for friends of literature , Deutsche Verlags-Anstalt 1932; P. 376
  4. ^ Waggerl's letter to Kippenberg dated October 10, 1929, accessible in the Goethe and Schiller Archives Weimar
  5. ↑ Author and work lexicon: Waggerl, Karl Heinrich, p. 1. Digital Library Volume 9: Killy Literature Lexicon, p. 21602 (cf. Killy Vol. 12, p. 83)
  6. ^ Karl Müller: Karl Heinrich Waggerl. A biography with pictures, texts and documents. Salzburg et al: Müller 1997, p. 144
  7. ↑ Author and work dictionary: Waggerl, Karl Heinrich, p. 1 f. Digital Library Volume 9: Killy Literature Lexicon, p. 21602 f. (cf. Killy vol. 12, p. 83)
  8. ↑ cf. Richard Faber: Secularization and Resacralization: On the History of the Hymn and its Reception , Königshausen & Neumann 2001; P. 177
  9. ^ Karl Müller: Karl Heinrich Waggerl. A biography with pictures, texts and documents. Salzburg et al .: Müller 1997, p. 150
  10. ^ Karl Müller in Friedrich Stadler (ed.): Continuity and Break 1938-1945-1955 ; LIT Verlag 2004, p. 192
  11. ↑ Werner Mahrholz et al: German literature of the present , Sieben-Stänke-Verlag 1930, p. 503
  12. ^ Adalbert Schmidt: Poetry and poets of Austria in the 19th and 20th centuries, Das Bergland-Buch 1964, p. 93
  13. ↑ Peter Zimmermann: Der Bauernroman, Metzler 1975, p. 141
  14. ^ Karl Müller: Karl Heinrich Waggerl. A biography with pictures, texts and documents. Salzburg et al .: Müller 1997, p. 149 ff.
  15. ^ Karl Müller: Karl Heinrich Waggerl. A biography with pictures, texts and documents. Salzburg et al .: Müller 1997, p. 149
  16. ^ Karl Müller: Karl Heinrich Waggerl. A biography with pictures, texts and documents. Salzburg et al .: Müller 1997, p. 151
  17. ↑ Werkartikel aufwissen.de  ( page no longer available , search in web archives )  Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice.@1@ 2Template: Toter Link / www.wissen.de  
  18. ↑ Stefan Busch: And yesterday, Germany heard us Nazi authors in the Federal Republic: Continuity and discontinuity in Friedrich Griese, Werner Beumelburg, Eberhard Wolfgang Möller and Kurt Ziesel , Königshausen & Neumann 1998, p. 62
  19. ↑ cf. Munzinger archive
  20. ^ Karl Müller: Karl Heinrich Waggerl. A biography with pictures, texts and documents. Salzburg et al .: Müller 1997, p. 154
  21. ^ Arbeiter-Zeitung (AZ) Vienna, issue of December 23, 1930
  22. ^ Karl Heinz Ruppel: German Novels December 1931 . In: Die neue Rundschau 42 (1931), Volume 2, p. 840
  23. ^ Karl Müller: Karl Heinrich Waggerl. A biography with pictures, texts and documents. Salzburg et al .: Müller 1997, p. 154
  24. ^ Karl Müller: Karl Heinrich Waggerl. A biography with pictures, texts and documents. Salzburg et al .: Müller 1997, p. 145
  25. ^ The literature: monthly for friends of literature , Deutsche Verlags-Anstalt 1932, p. 377
  26. ^ Karl Müller: Karl Heinrich Waggerl. A biography with pictures, texts and documents. Salzburg et al: Müller 1997, p. 163
  27. ↑ Kurt Tucholsky: Gesammelte Werke, Volume 10, Rowohlt 1975, page 68
  28. ^ Carl Zuckmayer, Gunther Nickel, Johanna Schrön: Secret Report , 2002, p. 284
  29. ↑ The propaganda preparation of the referendum ( memento of the original from January 18, 2016 in the Internet Archive ) Info: The archive link was inserted automatically and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. from "Anschluss" 1938 , published by the Documentation Archive of the Austrian Resistance .  @1@ 2Template: Webachiv / IABot / doewweb01.doew.at
  30. ↑ cf. The Black Corps , February 23, 1939, p. 17
  31. ^ Karl Müller: Karl Heinrich Waggerl. A biography with pictures, texts and documents. Salzburg et al: Müller 1997, p. 272
  32. ^ Richard Faber: Secularization and Resacralization: On the History of the Hymn and its Reception , Königshausen & Neumann 2001; P. 177
  33. ^ Karl Müller: Karl Heinrich Waggerl. A biography with pictures, texts and documents. Salzburg et al .: Müller 1997, p. 152
  34. ↑ Hanns Arens: Karl Heinrich Waggerl - The man and poet , Kropf & Herz 1934, p. 10
  35. ^ Karl Müller: Karl Heinrich Waggerl. A biography with pictures, texts and documents. Salzburg et al.: Müller 1997, p. 181 f.
  36. ↑ zn Karl Müller: Karl Heinrich Waggerl. A biography with pictures, texts and documents. Salzburg et al .: Müller 1997, p. 184.
  37. ^ Karl Müller: Karl Heinrich Waggerl. A biography with pictures, texts and documents. Salzburg et al .: Müller 1997, p. 184
  38. ^ Albrecht et al: Lexicon of German-language writers , VEB Bibliografisches Institut, Leipzig 1975; Volume 2, p. 411
  39. ↑ cf. Karl Müller: Karl Heinrich Waggerl. A biography with pictures, texts and documents. Salzburg et al: Müller 1997, p. 297
  40. ↑ cf. Karl Müller: Karl Heinrich Waggerl. A biography with pictures, texts and documents. Salzburg et al .: Müller 1997, p. 150
  41. ↑ Rainer Schmitz: What happened to Schiller's skull. Everything you don't know about literature ; Berlin 2006, p. 110 f.
  42. ↑ Author and work lexicon: Waggerl, Karl Heinrich, p. 3. Digital Library Volume 9: Killy Literaturlexikon, p. 21604 (cf. Killy Vol. 12, p. 84)
  43. ^ Christiane Caemmerer and Walter Delabar: Poetry in the Third Reich? On literature in Germany 1933–1945 , 1996, p. 120
  44. ↑ Author and work lexicon: Waggerl, Karl Heinrich, p. 1. Digital Library Volume 9: Killy Literature Lexicon, p. 21602 (cf. Killy Vol. 12, p. 83)
  45. ^ Carl Zuckmayer, Gunther Nickel, Johanna Schrön: Secret Report , 2002, p. 284
  46. ↑ Author and work lexicon: Waggerl, Karl Heinrich, p. 2. Digital Library Volume 9: Killy Literature Lexicon, p. 21603 (cf. Killy Vol. 12, p. 84)
  47. ↑ Rainer Schmitz: What happened to Schiller's skull. Everything you don't know about literature ; Berlin 2006, p. 110 f.
  48. ↑ Author and work dictionary: Waggerl, Karl Heinrich, p. 2 f. Digital Library Volume 9: Killy Literature Lexicon, p. 21603 f. (see Killy Vol. 12, p. 84)
  49. ^ Karl Heinrich Waggerl: Complete Works, Otto Müller Verlag 1970, p. 663
  50. ^ Karl Müller: Karl Heinrich Waggerl. A biography with pictures, texts and documents. Salzburg et al.: Müller 1997, p. 174
  51. ^ Karl Heinrich Waggerl: Complete Works, Otto Müller Verlag 1970, p. 668
  52. ^ Karl Heinrich Waggerl: Complete Works, Otto Müller Verlag 1970, p. 681
  53. ↑ Olaf Kutzmutz: Work article "Bread" . In: Reclams Romanlexikon; Phillip Reclam Junior, CD-Rom edition Stuttgart 2002
  54. ↑ cf. for example, Frenzel's standard work, Daten deutscher Dichtung from the Deutscher Taschenbuchverlag
  55. ^ Bruno Boesch : Deutsche Literaturgeschichte in Grundzügen Bern: Francke, 2nd edition 1961 (1st edition 1946), keyword Waggerl