Caliban over Setebos

from Wikipedia, the free encyclopedia
Arno Schmidt with "Kows in Halbtrauer", which gave the volume of stories the title. Etching by Jens Rusch

Caliban about Setebos is a story by Arno Schmidt . It first appeared in 1964 as the conclusion of the ten stories in the volume Cows in Half Mourning . It tells how the poet Georg Düsterhenn travels to his home village in Lower Saxony to see his childhood sweetheart again. But he feels repulsed by her, observes lesbian group sex when he leaves at night and barely escapes the angry women who discovered him. This burlesque adventures are depicted on the slide of the ancient Orpheus - myth . There are numerous other allusions to ancient myths as well as to works by Robert Burns , Robert Browning , James Joyce and others. The text is an application example of Schmidt's recently developed, psychoanalytically oriented Etym theory . He is considered "the literary masterpiece" among Schmidt's shorter works.

Emergence

Schmidt got the idea for the story on March 26, 1963, when he got to know his friend Eberhard Schlotter's picture cycle "Orpheus" . The working title was "Orfeus". Schlotter himself had been inspired to the cycle by a disillusioning encounter with a former lover who had aged greatly. He told Schmidt about it. The Orpheus story occurred to them in a joint conversation.

Schmidt wrote the text from April to May 1963 in the heath village of Bargfeld , where he had lived since 1958. For the text of 63 to 90 printed pages, he used over 1,000 pieces of paper on which he had noted ideas, formulations and quotations.

content

First-person narrator

As in every narrative work by Schmidt, the focus of Caliban on Setebos is a dominant first-person narrator who represents an alter ego of his author. Here it is the poet Georg Düsterhenn, who, like Schmidt, comes from Hamburg-Hamm , has Lower Silesian - Lusatian roots, is an atheist and spent the Second World War as a clerk in Norway . Düsterhenn is attributed to Schmidt's youthful works (a poem about the Persian explorer Sataspes as well as the preserved Pharos or about the power of the poets ), and like Schmidt, even in his mature man years, Düsterhenn cannot get a woman out of his head, for whom he raved as a high school student but he never dared to speak: In Caliban via Setebos her name is Fiete Methe, for Schmidt it was the Görlitz student Hanne Wulff who modeled numerous girls and women in Schmidt's work. The Germanist Sabine Kyora therefore believes that the first-person narrator in Caliban about Setebos is virtually identical to his author. As Wolfgang Albrecht shows, there are striking differences between the two: unlike all of Schmidt's other protagonists, Düsterhenn is short and skinny, he is wealthy, despises the Enlightenment and, as a hit writer, is not a serious author but an "opportunistic trivial writer ". Jörg Drews points out that Schmidt wrote himself in the third person in the text: Düsterhenn remembers a fellow writer "‹ Against = SCHMIDT ›", who "drew his meager living from the character role of the‹ Good Left Man ›", but because he refuses to meet the demands of his audience, it will never prosper. Gloomy hen is the result of a lengthy mental game, which would probably be if he gave up his literary claims and wrote more marketable.

action

Georg Düsterhenn travels by bus to the village of Schadewalde, which is said to be in the border area of Lower Saxony . There he wants to see his youthful crush Fiete Methe again, in order to "vote himself decisive & irresistibly cheesy" for a volume of poetry that is supposed to be an economic failure and so reduce his taxable income. During an evening stroll, he observes children running lanterns , gets to know the Holocaust survivor H. Levy, who is out in his car to fill the condom machines in the area, and observes the sexual intercourse between the innkeeper, Rieke, and the farm servant. In the inn in the village he discovers an old jug which he buys from the landlord O. Tulp with Swiss gold francs. Then he gives out a local round of whiskey . Düsterhenn realizes that Rieke is really the Fiete he is looking for and lets her show him his room. However, he does not dare to reveal himself to her, and since he has problems with potency , masturbation also fails afterwards . Düsterhenn escapes from the inn at night and observes lesbian group sex in the barn between four "hunters" who he had met before at the bus stop and in the dining room. He betrays himself through a sneeze and is followed by the four women and the host's dog until the Jewish condom seller rescues him with his car.

shape

structure

The story is divided into nine parts, each with the name of one of the nine muses as a title . These fit in one way or another with the content of the story: for example, the evening stroll through the village is under the heading Urania , the muse of stargazing, and Melpomene , the muse of tragedy , is about Düsterhenn's disappointing and renouncing encounter with Fiete-Rieke . Often the area of ​​responsibility of the muse mentioned is also ironically related to what is happening: The lesbian orgy can be found in the chapter Terpsichore , the muse of round dance ; the burlesque escape at the end of the chapter Thalia , the muse of comedy , which in ancient terms is defined by its happy ending ; the rough sex act between Fiete-Rieke and the house servant in the chapter Erato , which was responsible for rather delicate love poetry . The text is preceded by a motto that parodies an epigram from the Anthologia Graeca dedicated to Herodotus in phonetic English , the history of which is divided into nine books named after the muses.

style

The text largely reproduces Düsterhenn's inner monologue , his reasoning, his memories and associations with what he sees, hears and experiences. In doing so, he usually comments more lovingly than his fellow men, for whom he often only finds disillusioning, teasing or even resentment-laden words. Schmidt consistently ignores the rules of orthography : Not only is the respective dialect of the people imitated, but the chosen spelling exploits the sound and meaning of a word. Quotations , some of which come from Middle High German , English or the ancient languages, are often interspersed in the text , sometimes openly, sometimes hidden . This results in numerous opportunities for puns , punch lines and surprising secondary meanings. Schmidt himself wrote on September 23, 1964 to the literary scholar Jörg Drews :

“Did you notice that the 'Setebos' is an 'orfeus'? I took the liberty of singing in two voices. With 3,000 fioritures & impact trills that required considerable art and effort. "

The intentional polysemy of his language has its basis in Schmidt's Etym theory , which was nourished from the encounter with Sigmund Freud's psychoanalysis . According to this, the unconscious expresses itself linguistically in ambiguities, puns, assonances , etc. in order to simultaneously convey - mostly sexual - meanings in addition to the manifest level of meaning. In order to master this language, however, the speaker must have acquired a certain age impotence, which allows him to be at least partially free from the instinctual claims of the id, which he can neither suppress nor sublimate , but let play in a controlled manner : “So you can join in now Understanding this Caliban, ”Schmidt later put in Zettel's dream . The stories in the volume cows in half mourning, and among them especially Caliban about Setebos , can thus be understood as attempts to apply this theory to one's own literary work.

Reference texts

As the literary scholar Friedhelm Rathjen notes, Caliban appears disintegrated through Setebos : the reader does not immediately realize what sense the various elements of the plot make. This is due to the fact that the narrative is intertextually linked with several other texts without this link being explicitly found in the text. Only when you discover these links and make them explicit can the levels of meaning of Caliban be deciphered via Setebos .

Robert Browning

The title of the story quotes Caliban upon Setebos. Or, Natural Theology in the Island , the heading of a poem by the English poet Robert Browning , published in 1864. In it Browning lets the wild, ugly Caliban from Shakespeare's drama The Tempest reflect on Setebos, his god , also mentioned in Shakespeare . He imagines this to be arbitrary, malicious and vengeful, projecting these qualities of himself onto the deity . This poem is alluded to in the text of the narrative when Dark Hen reflects what he considers to be the inferior quality of the universe : “but most of it was pretty stupid. Of course there was also a successful place in the universe; but the majority of sete Boss products were Fusch = work. ”In this sense, the title stands for a radical denial of theodicy . Schmidt also uses the figure of the setebo in two essays that were written at about the same time to allude to the flawedness of creation . He already addressed an evil god who does not care about the suffering of his creatures in his story Leviathan from 1949 and in the title Nobodaddy's Children , under which his short novels Brand’s Haide , From the Life of a Faun and Black Mirror were published as a trilogy in 1963 . Nobodaddy , a suitcase word from English. nobody - "nobody" and daddy - "papa", was the name of the poet William Blake for God. The fact that Duskhenn accuses his parents of “having brought such a moon calf into the world” can be understood as an implied identification with Caliban, because Caliban is apostrophized as the moon calf in Shakespeare's Storm . Schmidt took the concept of an evil demiurge from the gnosis of late antiquity , to which Düsterhenn's disgust, especially corporeal, and his refusal to reproduce, refer.

Orpheus

Orpheus leads Eurydice from the underworld (oil painting by Jean-Baptiste Camille Corot ; 1861)

Caliban over Setebos is a replica of the ancient myth of Orpheus. He travels to the underworld to bring his wife Eurydice, who died young, back to life, Düsterhenn travels to Schadewalde - the actually Silesian place name alludes to the "shadows" when the dead lived on in ancient imaginations, as well as to the classical philologists and Homer - Translator Wolfgang Schadewaldt (1900–1974). Instead of a lyre , he, a poet-singer, always carries with him the Peregrinus Syntax , a rhyming dictionary of the 19th century.

"Green pale his ‹H› of the face"

The fact that the journey means a trip to Hades is hinted at on the first pages of the story: the place name Schadewalde contains Hades anagrammatically . In the sign of the bus stop , Düsterhenn notices “green pale his ‹H› of the face”, the fare is an obolus - this coin was given to the dead so that they paid the ferryman Charon for his crossing over the Styx - the Kötelbeck , a small stream at the entrance to the village, looks “stiff” and “‹ Der Erste Schiffer ›” appears in the form of a man who urinates on the side of the road. In this way the narrative is densely interspersed with allusions to myth.

The names of the characters also refer to the Orpheus saga: Düsterhenn's first name alludes to Virgil's Georgica , in whose fourth book it is told. The fact that the gloomy hen, who despises the farmers, bears the first name Georg ( ancient Greek for "farmer") is a secondary point; the short form "orje" is homonymous to the orgy as it was celebrated by the maenads, the murderesses of Orpheus. "Orje" also refers to this phonetically, as does Rieke to Eurydice. The relationship between the two is changed by Schmidt, however, because in Caliban via Setebos it is not the man who leads the woman, but the other way around (namely via a narrow staircase to Düsterhenn's room in the inn), and not he looks around at her, but she looks around after him. If you read the name of the host O. Tulp backwards, the god of the dead Pluto comes out; At the same time he also stands for the god Dionysus , because he pours intoxicating drinks and is addressed by the "hunters" with " Liber pater " (the Interpretatio Romana of Dionysus). His wife, who corresponds to the ancient Persephone , he calls "Olsche": By rearranging the syllables one gets " Scheol ", the term used in the Tanach for the underworld. Tulp's dog is called Kirby, which sounds like a pet form for Kerberos , the hellhound. Herakles appears as a groom (since he mucked out the Augean stable ), and the "very large egg" that he puts on the dung heap during post- coital defecation is reminiscent of the world egg of the Orphic hymn . The lesbians who hunt Dark Hen have their counterpart in the maenads , which Orpheus is supposed to have literally torn to pieces. Schmidt describes the dildo used in her orgy as a thyrsos . At the same time they are represented as Erinyes , which is evident from the names Alex (Alekto) and Meg (Megaira) as well as from the suitcase word "Jägerynnien". H. Levy, the Dark Hen on his escape from the village, is portrayed as a Jew ; Bernd Rauschenbach recognizes in him a portrait of Schmidt's Jewish brother-in-law Rudy Kiesler, who fled the Nazis to the USA with his wife in 1933. Ralf Georg Czapla interprets the figure through the associations Hebrews and Hebron as an allusion to Hebros , the river into which the maenads threw Orpheus' head. While still singing, he was driven to the beach on the island of Lesbos , which is why the story ends with Düsterhenn's reflection: "With a decent person, in the end only the head lives!"

Schmidt uses not only the ancient Orpheus myth, but also its receptions in the 19th and 20th centuries: The condom salesman H. Levy recalls Ludovic Halévy , the librettist of Jacques Offenbach's operetta Orpheus in der Unterwelt from 1858. Rainer Maria Rilke's solemn sonnets to Orpheus , written in 1922, are quoted and comically reinterpreted primarily in faecal or obscene passages, for example in the description of the sexual act between Rieke-Fiete and the house servant: there the sonnets 2 / IV (the " unicorn ") are quoted , 2 / VII ( "sentient between the streaming poles finger") and 1 / XVII ( "See that machine as rolls and revenge and disfigured us and weakens" - Schmidt: " him disfigured 'and weakened").

Stefan Jurczyk also recognizes references in the story to the ancient myths of Pentheus and Actaion , which were torn apart by maenads and dogs after they observed scenes that were forbidden to the male eye.

James Joyce

Schmidt adopted the poetological principle of basing a present-day story on an ancient myth, which is contrasted and satirized by the sometimes profane or burlesque content, from his role model James Joyce . In his Ulysses , published in 1922, a single day of the Dublin advertising agent Leopold Bloom is depicted on the slide of Homer's Odyssey . Joyce himself is mentioned by name twice in Caliban about Setebos - once for his alleged ability to reconstruct the story of a family from their dirty laundry, then Düsterhenn imagines an encounter with the deceased in 1941 and thus describes the thought of his own death. The thought of being allowed to serve posthumously in a kind of poet's Olympus as the host of the great Irishman reappears in the final scene of the escape, only instead of Joyce there is - similar to the Jewish ban on pronouncing the name of God - "The High Name". According to Jörg Drews, this does not mean Joyce, but Sigmund Freud , whom Schmidt discovered shortly before . In Caliban he is shown respect for Setebos, among other things, with a memory of a reader of Friedrich Rückert's supposedly erotic poem The Adulterer : In truth, the poem is called The Cup of Honor and contains no sexual content - a classic Freudian mistake ; on the other hand, the narrative teems with allusions to Freud's 1908 essay Character and Anal Erotik , which Schmidt read shortly before it was written.

There are echoes of Ulysses himself in two or three places: the Cyclops chapter , in which Bloom escapes a violent nationalist with little need, is reminiscent of Düsterhenn's flight from the lesbians, as does Bloom's escape from the brothel in the Circe chapter . Bloom's masturbation in the Nausicaa chapter has parallels to Gloomhenn's voyeurism in the barn.

The text references to Finnegans Wake and its reference texts are clearer , especially to the opening chapter of the second book, The Mime of Mick, Nick and the Maggies , from which Schmidt takes several allusions and word games. On the plot level, the chapter is about two boys who play puzzles with girls in front of their parents' pub in the evening and are called in, motifs that can be found in Schmidt's inn and the children running lanterns in the evening. Joyce uses the biblical myth of Jakob and Esau as a reference text, to which Schmidt also refers: As " a pig in her fur", through the continuous hunting motif that refers to Esau, and through the characterization of Düsterhenn as a trickster who makes him with the biblical Jacob makes it comparable. The reference is even clearer in the ballad Tam o 'Shanter by Robert Burns from 1791, to which Joyce is based and to which Schmidt also alludes. In it, the protagonist observes a Sabbath , in which particularly a witch him in too short petticoat notice, the proverbial become " Cutty Sark ". The witches discover him, and he barely manages to escape them, although his horse Meg loses its tail. The girls participating in the game ("the maggies") and the "widow Megrievy" mentioned in the same chapter bear the same name for Joyce, for Schmidt one of the four lesbians is called that. In the prose version of the legend, Burns points out Tam's mistake of turning around after the light of the witch's festival - the motif of turning around, returning, and failing repetition is also central for Orpheus and for Caliban via Setebos .

Further reference levels

Egyptian mythology

Werner Schwarze discovers in Caliban about Setebos not only allusions to classical ancient mythology, but also to that of the Egyptians : Hathor , the goddess of death , can be recognized as well as Isis , who already plays a role in the story Kundisches Crockery, which is also included in the volume Cows in Halftone played, or the creator god Ptah . This interpretation is doubted by Stefan Jurczyk, who does not consider Schwarzes evidence - often only word components or assonances - to be sustainable.

Karl May

Karl May , on whose texts Schmidt had tried out his etym theory ( Sitara and the way there , published in the year Caliban was written about Setebos in 1963), receives a covert quotation when Düsterhenn's kitschy amateurish poetry is presented in the Urania chapter. Here the poet sits in the moonlight at the roadside and writes, struggling with the meter, verses that fit his situation: “It was in the forest. The trees all slept ”. In truth, it is the beginning of May's 1900 poem Des Waldes Seele . Jörg Drews believes that this cryptomnetic theft of intellectual property should also identify Düsterhenn as Hermes , the god of thieves.

Wilhelm Busch

Rieke Mistelfink and her friend, the servant Krischan, abuse the poet. Wilhelm Busch : Balduin Bählamm, the poet who was prevented

Caliban on Setebos also has echoes of Wilhelm Busch's picture story Balduin Bählamm, the poet who was unable to work in 1883: Here, too, a poet in the country is looking for inspiration for further work, and here, too, an approach to a "Rieke" with a servant fails is in a relationship, here too the poet fails in a burlesque manner both erotically and poetically.

Thorne Smith

Friedhelm Rathjen recognizes several allusions in Caliban through Setebos to the novel The Night Life of the Gods by the American popular writer Thorne Smith . In this novel, published in 1931, the protagonist befriends the megara , who not only petrifies living beings, but can also bring statues to life. Together they bring the images of the Roman gods to life in the New York Metropolitan Museum of Art and experience some adventures with them. According to Rathjen, not only the name Meg / Megäre speaks for a use by Schmidt, but also the subject of the inanimate, quasi petrified people that Düsterhenn encounters in Schadewalde, not least Rieke, whose broad face he describes as lifeless, "cast iron".

Politician of the Federal Republic

After the Germanist Rudi Schweikert , the name Düsterhenn refers to the conservative Catholic CDU politician Adolf Süsterhenn from Rhineland-Palatinate . Schmidt moved from this federal state to the more liberal Hesse in 1955 after his short novel Seelandschaft with Pocahontas had entered him into criminal proceedings for blasphemy and dissemination of lewd writings . During this time, Süsterhenn was President of the Higher Administrative Court of Rhineland-Palatinate and was also considered a “strict moral apostle and guardian of morals” in the years that followed. The fact that the protagonist of a story teeming with crude descriptions of sexual acts is almost as hot appears to be "extreme resistance to the sting, according to the motto 'now (after the" Pocahontas "affair) even more so'". Further comments on the day-to-day politics of the Federal Republic of Germany can be found in connection with the television program that runs in Tulp's restaurant. This is about the current debate about the Adenauer successor at the time of writing :

“Our Chancellor loves roses.” […] If only you knew what the Foreign Minister loves. Or BRENTANO . Because EHRHARDT didn't get it anyway; we don't want to do anything. "

The question of what Brentano, highlighted in small caps, probably loves is an allusion to the rumors of homosexuality of the CDU politician - fitting the themes of the story, in which not only female homosexuality plays a role, but also in the relationship between Düsterhenn and H. Levy (“the main thing he's not directly gay”) latently male too, for example when Dark Hen dives into the open rear of Levy's car at the end.

Interpretations

Robert Wohlleben assumes that Schmidt wrote Caliban about Setebos as a sample for his readers to make it clear how his multi-referential Etym texts should be read. In KAFF also Mare Crisium from 1960 he first worked with text transparencies in Joyce manner, namely with the Nibelungen saga and the myth of El Cid : "The non-participation of the readership exceeded the boldest expectations". By basing his Dark Hen story so clearly on the Orpheus myth, Schmidt wanted to educate his readers to read multidimensionally - as a preliminary exercise for Zettel's dream .

Jörg Drews sees the story as paradigmatic for Schmidt's turn to a pessimistic worldview in which sex and greed rule the world unchangeably. It went hand in hand with “work on myth” in the sense of Hans Blumenberg , that is, with an ever new telling of the same thing. The aspect with which Schmidt makes this mythical narration current and relevant to the present is Freud's psychoanalysis. On the plot level of the mythical tale Caliban about Setebos , the protagonist frees himself from at least one bond, namely sexuality, by fleeing from Schadewalde.

Stefan Jurczyk also interprets the story as “working on the myth”. In ever new reflections, basic anthropological problems such as the relationship between eros and death or the male fear of women are allegorically circled. This polysemantic procedure collides with Schmidt's depth psychological etym theory, which tries to bring everything to a single meaning, namely the sex drive . In the story, however, this turns out to be just one more “symbolic world” among many, with which the individual illustrates the otherwise mute, senseless and unreasonable reality.

Schmidt's biographer Wolfgang Martynkewicz assumes that Schmidt's Caliban on Setebos was about the fun of "juggling with the findings of a popular science-focused psychoanalysis and with set pieces of mythological material". On January 19, 1964, Schmidt explained in a letter to his editor Ernst Krawehl why he no longer wanted to emphasize the mythological parts of the story typographically, as originally planned: “Fucking myth! People should have fun! "

Ralf Georg Czapla understands Caliban through Setebos and the other nine prose pieces from the volume Kühe in Halbtrauer as attempts of the newly developed prose form Traum , which Schmidt announced in 1956 in his Calculations II but did not carry out. In the figure of the impotent, trivial and greedy (psychoanalytically interpreted: anal fixated ) gloomy hen, the writer Schmidt and his attitude to his bread-making is reflected in sharp self-criticism. In the dream logic of the narrative, Dark Hen as id is to be equated with the wild, ugly Caliban, who rants on Setebos, his super-ego, which appears in the narrative in the form of a European high culture shaped by antiquity . It is de-idealized, trivialized, vulgarized and ridiculed at every opportunity. Joyce is presented as the new ideal, as his cupbearer and servant imagine the dreaming self.

Marius Fränzel moves the underlying Orpheus myth into the center of his interpretation: According to this, the story is about a “monomaniacal loner” on a “journey into the past”, the deeper motivation of which he is not clear to himself: Gloomy hen is a deluded man.

Peter Habermehl, on the other hand, sees Caliban about Setebos as the story of a liberation, both sexually and poetologically. The apparent impotence allowed Dark Hen in the sense of the Etym theory to adopt a distant, observant attitude to sexuality (this is the meaning of voyeurism in the Terpsichore chapter); he is no longer at the mercy of his instincts: at the end of the act he describes himself as " ä sädder änd a veiser Männ “(this is a quote from Samuel Coleridge's ballad The Rime of the Ancient Mariner ). At the same time, Düsterhenn freed himself from the poetry - on his escape he lost his rhyming lexicon - that in future he could present in prose what had hitherto been repressed, and describe the world realistically and without kitsch as what he believed it was: a “uni = sive Perverse ", senseless" Fusch = work ". As a prose writer, he will then be able to “create a world that is superior because it is ordered and saved in its humor ”.

expenditure

The following works contain Caliban about Setebos :

  • Arno Schmidt: cows in half mourning . Stahlberg Verlag, Karlsruhe 1964, pp. 226-316 DNB 454389159 (reprint in S. Fischer Verlag, Frankfurt am Main 1985, ISBN 3-10-070615-3 ).
  • Arno Schmidt: Orpheus. Five stories. (= Fischer TB 1133). S. Fischer Verlag, Frankfurt am Main 1970, ISBN 3-436-01283-1 .
  • Arno Schmidt: Rural narratives. (= Bargfeld edition. Work group 1. Novels, stories, poems, Juvenilia. Volume 3/2). An edition by the Arno Schmidt Foundation published by Haffmans Verlag, Zurich 1987, ISBN 3-251-80010-8 , pp. 475-538.
  • Arno Schmidt: Stories . S. Fischer Verlag, Frankfurt am Main 1994, pp. 467-544.
  • Arno Schmidt: About immortality. Stories and essays . Edited by Jan Philipp Reemtsma. Suhrkamp, ​​Frankfurt am Main 2009, pp. 193-261 ISBN 3-518-42123-9

literature

  • Ralf Georg Czapla: Myth, Sex and Dream Game. Arno Schmidt's prose cycle »Cows in Half Mourning« . Igel Verlag, Paderborn 1993, ISBN 3-927104-35-3 .
  • Jörg Drews : Caliban Casts Out Ariel. On the relationship between myth and psychoanalysis in Arno Schmidt's story ›Caliban over Setebos‹ . In: Derselbe (Ed.): Mountain landscape with Arno Schmidt. The Graz Symposium 1980 . edition text + kritik, Munich 1982, pp. 45–65.
  • Peter Habermehl : Orfeus in Lower Saxony. Arno Schmidt's story “Caliban over Setebos” . In: Antiquity and the Occident . Volume 53, 2007, pp. 190-205.
  • Stefan Jurczyk: Worlds of Symbols. Studies on "Caliban over Setebos" by Arno Schmidt . 2nd Edition. Igel Verlag, Hamburg 2010, ISBN 978-3-89621-228-3 .
  • Friedhelm Rathjen: Smithereens. For Nach (t) Leben by James Joyce, Robert Burns and Thorne Smith in "Caliban over Setebos". In: Robert Weninger (ed.): Repeated reflections. Eleven essays on the work of Arno Schmidt . (= Bargfeld messenger, special delivery). edition text & kritik, Richard Boorberg Verlag, Stuttgart 2003, ISBN 3-88377-737-4 , pp. 129–154.
  • Robert Wohlleben : Gods and Heroes in Lower Saxony. About the mythological substratum of the staff in "Caliban over Setebos" . In: Bargfelder Bote , Liefer 3 (1973), pp. 3-14 ( online ).

Individual evidence

  1. ^ Peter Habermehl: Orfeus in Niedersaxn. Arno Schmidt's story “Caliban over Setebos” . In: Antike und Abendland 53 (2007), p. 191.
  2. ↑ Ralf Georg Czapla : Myth, Sexus and Dream Game. Arno Schmidt's prose cycle »Cows in Half Mourning« . Igel Verlag, Paderborn 1993, p. 273.
  3. ↑ Marius Fränzel: "This miraculous mixture". An introduction to the narrative work of Arno Schmidt . Ludwig, Kiel 2002, p. 220.
  4. ^ Arno Schmidt: Rural stories. Bargfeld edition. Work group 1. Novels, short stories, poems, juvenilia. Study edition volume 3/2 . An edition by the Arno Schmidt Foundation published by Haffmans Verlag, Zurich 1987, p. 554.
  5. ↑ The note on “Caliban over Setebos” (PDF; 235 kB) on the Arno Schmidt Foundation's website, accessed on October 3, 2012.
  6. ^ Peter Habermehl: Orfeus in Niedersaxn. Arno Schmidt's story “Caliban over Setebos” . In: Antike und Abendland 53 (2007), p. 191.
  7. ↑ Also on the following Stefan Jurczyk: Symbolwelten. Studies on "Caliban over Setebos" by Arno Schmidt. Igel Verlag, Hamburg 1991, pp. 70-79.
  8. ↑ Rudi Schweikert: Arno Schmidts Lauban. The city and the district. Images and data. (= Bargfelder Bote. Materials on Arno Schmidt's work), edition text + kritik, Munich 1990, p. 44.
  9. ↑ Sabine Kyora: Psychoanalysis and Prose in the 20th Century . JB Metzler, Stuttgart and Weimar 1992, p. 261.
  10. ^ Wolfgang Albrecht: Arno Schmidt . JB Metzler, Stuttgart / Weimar 1998, p. 69.
  11. ^ Bargfeld edition. Work group 1. Study edition Volume 3/2 . P. 499; Jörg Drews: Caliban Casts Out Ariel. On the relationship between myth and psychoanalysis in Arno Schmidt's story ›Caliban over Setebos‹ . In: Derselbe (Ed.): Mountain landscape with Arno Schmidt. The Graz Symposium 1980 . edition text + kritik, Munich 1982, p. 51 f.
  12. ^ Bargfeld edition. Work group 1. Study edition Volume 3/2 . P. 479.
  13. ↑ Ralf Georg Czapla: Myth, Sexus and Dream Game. Arno Schmidt's prose cycle »Cows in Half Mourning« . Igel Verlag, Paderborn 1993, p. 281.
  14. ^ Peter Habermehl: Orfeus in Niedersaxn. Arno Schmidt's story “Caliban over Setebos” . In: Antike und Abendland 53 (2007), pp. 190 f.
  15. ^ Jörg Drews : cows in half mourning . In: Kindlers Literature Lexicon . Paperback edition, dtv, Munich 1986, vol. 7, p. 5410.
  16. ↑ a b Bernd Rauschenbach (Ed.): Fiorituren & Pralltriller. Arno Schmidt's marginal notes on the first draft of 'Caliban on Setebos' . An edition of the Arno Schmidt Foundation published by Haffmans Verlag, Zurich 1988 (unpaginated).
  17. ^ Arno Schmidt: Zettel's dream. Bargfeld edition. Work group IV. Study edition Volume 1 , p. 989; Jörg Drews : Caliban Casts Out Ariel. On the relationship between myth and psychoanalysis in Arno Schmidt's story ›Caliban over Setebos‹ . In: Derselbe (Ed.): Mountain landscape with Arno Schmidt. The Graz Symposium 1980 . edition text + kritik, Munich 1982, p. 60.
  18. ↑ Ralf Georg Czapla: Myth, Sexus and Dream Game. Arno Schmidt's prose cycle »Cows in Half Mourning« . Igel Verlag, Paderborn 1993, pp. 35-46; Marius Fränzel: »This miraculous mixture«. An introduction to the narrative work of Arno Schmidt . Ludwig, Kiel 2002, pp. 202-209.
  19. ^ Friedhelm Rathjen: Smithereens. For Nach (t) Leben by James Joyce, Robert Burns and Thorne Smith in "Caliban over Setebos". In: Robert Weninger (ed.): Repeated reflections. Eleven essays on the work of Arno Schmidt . (= Bargfelder Bote, special delivery) edition text & kritik, Richard Boorberg Verlag, Stuttgart 2003, p. 129.
  20. ↑ Caliban upon Setebos. Complete Text and Commentary on SparkNotes, accessed October 18, 2012.
  21. ^ Bargfeld edition. Work group 1. Study edition Volume 3/2 . P. 534 f.
  22. ^ Arno Schmidt: Alas, poor Yorick . In: specifically from July 7, 1963; ders: And the stars flashed ... In: Die Zeit of March 27, 1964 ( online , accessed April 7, 2013); both in the other: Drummers at the Tsar , Stahlberg, Karlsruhe 1966, p. 234 and 295.
  23. ↑ Hartwig Suhrbier: On the prose theory by Arno Schmidt . Special delivery Bargfelder Bote , Edition Text and Criticism, Munich 1980, p. 25 f.
  24. ^ Bargfeld edition. Work group 1. Study edition Volume 3/2 . P. 486 (here the quote); William Shakespeare: The Storm , Act 3, Scene 2 ( online at Zeno.org , accessed Nov. 4, 2012); Ralf Georg Czapla: Myth, Sex and Dream Game. Arno Schmidt's prose cycle »Cows in Half Mourning« . Igel Verlag, Paderborn 1993, p. 301.
  25. ^ Stefan Jurczyk: Worlds of Symbols. Studies on "Caliban over Setebos" by Arno Schmidt. Igel Verlag, Hamburg 1991, pp. 107-109.
  26. ↑ Also on the following Ralf Georg Czapla: Myth, Sexus and Dream Game. Arno Schmidt's prose cycle »Cows in Half Mourning« . Igel Verlag, Paderborn 1993, pp. 272-299.
  27. ^ Peter Habermehl: Orfeus in Niedersaxn. Arno Schmidt's story “Caliban over Setebos” . In: Antike und Abendland 53 (2007), p. 192 f.
  28. ^ Bargfeld edition. Work group 1. Study edition Volume 3/2 , pp. 478–480.
  29. ↑ Rudi Schweikert: Düsterhenn, an anti-Süsterhenn About some historical echoes in "Caliban about Setebos" . In: Bargfelder Bote 359 (2012), p. 3.
  30. ^ Peter Habermehl: Orfeus in Niedersaxn. Arno Schmidt's story “Caliban over Setebos” . In: Antike und Abendland 53 (2007), p. 198.
  31. ^ Bargfeld edition. Group of works 1st study edition Volume 3/2 , p. 487.
  32. ^ Bargfeld edition. Work group 1. Study edition Volume 3/2 . P. 507.
  33. ^ Bernd Rauschenbach: Brother-in-law Levy . In: Robert Weninger (ed.): Repeated reflections. Eleven essays on the work of Arno Schmidt . (= Bargfelder Bote, special delivery) edition text & kritik, Richard Boorberg Verlag, Stuttgart 2003, pp. 8-19.
  34. ^ Stefan Jurczyk: Worlds of Symbols. Studies on "Caliban over Setebos" by Arno Schmidt. Igel Verlag, Hamburg 1991, p. 115; Emphasis not in the original; in summary Robert Wohlleben: Rilke's “Sonnets to Orpheus” quoted by Arno Schmidt (Caliban on Setebos) . In: Bargfelder Bote , Lfg. 5-6 (1973) ( online , accessed November 25, 2012).
  35. ^ Stefan Jurczyk: Worlds of Symbols. Studies on "Caliban over Setebos" by Arno Schmidt. Igel Verlag, Hamburg 1991, pp. 165-186.
  36. ^ Peter Habermehl: Orfeus in Niedersaxn. Arno Schmidt's story “Caliban over Setebos” . In: Antike und Abendland 53 (2007), p. 204.
  37. ^ Bargfeld edition. Work group 1. Study edition Volume 3/2 . Pp. 508, 510 and 536.
  38. ^ Bargfeld edition. Work group 1. Study edition Volume 3/2 . P. 521.
  39. ^ Sigmund Freud: Character and Analerotik (1908) ( online , accessed March 26, 2013); Jörg Drews: Caliban Casts Out Ariel. On the relationship between myth and psychoanalysis in Arno Schmidt's story ›Caliban over Setebos‹ . In: Derselbe (Ed.): Mountain landscape with Arno Schmidt. The Graz Symposium 1980 . edition text + kritik, Munich 1982, p. 54 ff.
  40. ↑ Ralf Georg Czapla: Myth, Sexus and Dream Game. Arno Schmidt's prose cycle »Cows in Half Mourning« . Igel Verlag, Paderborn 1993, p. 307 f .; Friedhelm Rathjen: Smithereens. For Nach (t) Leben by James Joyce, Robert Burns and Thorne Smith in "Caliban over Setebos". In: Robert Weninger (ed.): Repeated reflections. Eleven essays on the work of Arno Schmidt . (= Bargfelder Bote, special delivery) edition text & kritik, Richard Boorberg Verlag, Stuttgart 2003, p. 130.
  41. ↑ Tam o 'Shanter in the original Scots and in English translation on robertburns.org.uk; German translation on Wikisource , accessed on November 25, 2012.
  42. ^ Friedhelm Rathjen: Smithereens. For Nach (t) Leben by James Joyce, Robert Burns and Thorne Smith in "Caliban over Setebos". In: Robert Weninger (ed.): Repeated reflections. Eleven essays on the work of Arno Schmidt . (= Bargfelder Bote, special delivery) edition text & kritik, Richard Boorberg Verlag, Stuttgart 2003, pp. 132–140.
  43. ↑ Werner Schwarze: Egyptology in "Caliban over Setebos". An attempt at interpretation . edition text + kritik, Munich 1980.
  44. ^ Stefan Jurczyk: Worlds of Symbols. Studies on "Caliban over Setebos" by Arno Schmidt. Igel Verlag, Hamburg 1991, pp. 116-163.
  45. ^ Bargfeld edition. Work group 1. Study edition Volume 3/2 , p. 513 f.
  46. ↑ Online at zeno.org, accessed on March 10, 2013.
  47. ^ Jörg Drews: Caliban Casts Out Ariel. On the relationship between myth and psychoanalysis in Arno Schmidt's story ›Caliban over Setebos‹ . In: Jörg Drews (Hrsg.): Mountain landscape with Arno Schmidt. The Graz Symposium 1980 . edition text + kritik, Munich 1982, p. 48.
  48. ^ Stefan Jurczyk: Worlds of Symbols. Studies on "Caliban over Setebos" by Arno Schmidt. Igel Verlag, Hamburg 1991, p. 86 ff .; Peter Habermehl: Orfeus in Lower Saxony. Arno Schmidt's story “Caliban over Setebos” . In: Antike und Abendland 53 (2007), pp. 194 and 200.
  49. ↑ Thorne Smith: The Night Life of the Gods . Amereon Limited, Bel Air 1931 ( online at gutenberg.net, accessed March 10, 2013).
  50. ^ Bargfeld edition. Group of works 1st study edition Volume 3/2 , p. 522; Friedhelm Rathjen: Smithereens. For Nach (t) Leben by James Joyce, Robert Burns and Thorne Smith in "Caliban over Setebos". In: Robert Weninger (ed.): Repeated reflections. Eleven essays on the work of Arno Schmidt . (= Bargfelder Bote, special delivery) edition text & kritik, Richard Boorberg Verlag, Stuttgart 2003, pp. 144–153.
  51. ↑ Rudi Schweikert: Düsterhenn, an anti-Süsterhenn. About some historical echoes in »Caliban over Setebos« . In: Bargfelder Bote 359 (December 2012), pp. 3–7, the quotations on pp. 5 and 7.
  52. ↑ Bargfelder Edition I / 3.2, p. 500; in fact, Adolf Süsterhenn was a declared opponent of Ludwig Erhard's chancellorship. Rudi Schweikert: Gloomy hen, an anti-suer hen. About some historical echoes in »Caliban over Setebos« . In: Bargfelder Bote 359 (December 2012), p. 7.
  53. ^ Bargfeld edition. Group of works 1st study edition Volume 3/2 , p. 515.
  54. ^ Peter Habermehl: Orfeus in Niedersaxn. Arno Schmidt's story “Caliban over Setebos” . In: Antike und Abendland 53 (2007), p. 196 f .; Rudi Schweikert: Gloomy hen, an anti-suer hen. About some historical echoes in »Caliban over Setebos« . In: Bargfelder Bote 359 (2012), p. 7 ff.
  55. ↑ Robert Wohlleben : Gods and Heroes in Lower Saxony. About the mythological substratum of the staff in "Caliban over Setebos" . In: Bargfelder Bote, Lfg. 3 (1973), p. 14 ( online ).
  56. ^ Jörg Drews: Caliban Casts Out Ariel. On the relationship between myth and psychoanalysis in Arno Schmidt's story ›Caliban over Setebos‹ . In: Derselbe (Ed.): Mountain landscape with Arno Schmidt. The Graz Symposium 1980 . edition text + kritik, Munich 1982, pp. 57–62.
  57. ^ Stefan Jurczyk: Worlds of Symbols. Studies on "Caliban over Setebos" by Arno Schmidt. Igel Verlag, Hamburg 1991, pp. 187-195.
  58. ↑ Wolfgang Martynkewicz: Arno Schmidt with self-testimonies and photo documents . Rowohlt, Reinbek 1992, p. 107.
  59. ↑ Bargfelder Edition III / 1, p. 284. That Caliban is a dream text about Setebos is denied by Marius Fränzel: "This miraculous mixture". An introduction to the narrative work of Arno Schmidt . Ludwig, Kiel 2002, p. 209.
  60. ↑ Ralf Georg Czapla: Myth, Sexus and Dream Game. Arno Schmidt's prose cycle »Cows in Half Mourning« . Igel Verlag, Paderborn 1993, pp. 306-309.
  61. ↑ Marius Fränzel: "This miraculous mixture". An introduction to the narrative work of Arno Schmidt . Ludwig, Kiel 2002, p. 223.
  62. ^ Bargfeld edition. Work group 1. Study edition Volume 3/2 . P. 527.
  63. ^ Bargfeld edition. Work group 1. Study edition Volume 3/2 . Pp. 528 and 534 f.
  64. ^ Peter Habermehl: Orfeus in Niedersaxn. Arno Schmidt's story “Caliban over Setebos” . In: Antike und Abendland 53 (2007), pp. 197–203 (here the quote); similar to Stefan Jurczyk: worlds of symbols. Studies on "Caliban over Setebos" by Arno Schmidt. Igel Verlag, Hamburg 1991, pp. 116-119.
This article was added to the list of excellent articles on April 20, 2013 in this version .