The parishioner
The novel Das Gemeindekind , published in 1887, is considered to be the main work of the Austrian writer Marie von Ebner-Eschenbach (1830–1916). The aristocratic author gained fame through her psychological stories with socially critical content, combined with the demand for emancipation .
The title Das Gemeindekind refers to the protagonist Pavel Holub, who is on the pocket of a village community because his father was hanged and his mother is in dungeon. The theme of the story is the influence of upbringing and milieu on the development of an individual and his will in shaping his or her life. Despite several setbacks, Pavel manages to rise from an unloved parishioner to a respected parishioner. This career refutes the notion that negative traits and behaviors are inherited. With the novel, Marie von Ebner-Eschenbach criticizes the social attitude towards children from problem families, the prejudicesthat are met with them and their rejection or deportation. In doing so, she does not exclude the church, the nobility or the village community from her criticism.
Reviewers see great storytelling in the work, linked to humanitarian thinking and the poet's educational intentions. The novel is counted towards the epoch of late realism . This is particularly evident in the authentic portrayal of social circumstances, a subdued transfiguration and the final portrayal of a freely developing personality.
content
The story begins in 1860 with the trial of the father and alcoholic Martin Holub, who is supposed to be hanged for robbery and murder . He accuses his wife Barbara of the act, but she refuses to testify against her husband out of fear and because of the marriage vows. It is punishable by ten years in prison, against her husband, however, the death sentence is by the train enforced. Their children Pavel and Milada then become community children: They fall into the custody of the community, whereupon the mayor tries to impose the children of the old baroness on them. While she takes pity on the little, trustworthy girl and takes it in, she bumps into Pavel's less aesthetic appearance. As the son of a murderer and because of a cherry theft, his future criminal career seems already predetermined. The baroness leaves him to the community, who do not want to burden themselves with the boy and deport him to a married couple, the pastoral family, who are not well known in the town. Once Pavel tries to free his sister in the baroness's castle, but the castle dog thwarts the attempt. During the interrogation that follows, Pavel remains silent and defies him, which increases the distrust that has been shown towards him. Soon after, Milada was taken to a municipal convent school and educated there.
Virgil, Shepherd and alcoholics, and Virgilova, herbalist and quack , are paid by the municipality of grain for their acceptance to the unpleasant boy. In this environment, Pavel's prerequisites are particularly poor. The shepherd family sends him to work instead of school and takes the money he has earned. Under the influence of the daughter of the shepherd family, Vinska, he committed theft. Pavel's reputation is deteriorating. He feels strengthened by the hatred and defiance that grows in him as a result of constant hunger and the beatings and insults from the village community. In addition, he is accused of offenses that he did not commit and he becomes a common scapegoat . Pavel accepts his status in society. On the one hand he despises the stupidity of those who wrongly accuse him of wrongdoing, on the other hand he finds pleasure in turning the narrow-minded people against them anew at every opportunity.
Only after Pavel is allowed to visit his sister in the monastery and she begs Pavel to improve himself does he try to lead a righteous life. He turns to the teacher Habrecht, a "sickly, nervous man" and notorious as a sorcerer, asks him for help and begins to work on the community property. Over time, Pavel becomes more talkative and tries to improve his social position. After Pavel is suspected of poisoning the sick mayor, he has to prove his innocence, which he succeeds. Then he made himself independent of Virgil and his wife and despite numerous sabotages by his fellow citizens, he built a house on a property that had been bought overpriced. His consistency ultimately also finds admirers who become his friends: Arnost, the blacksmith Anton and the forester.
Despite Pavel's best efforts to improve his behavior, pay attention to his reputation and even save a human life, the majority of the villagers do not show any insight, which in turn provokes aggression in Pavel and ends in a fight in which he gets along with Anton and Arnost claimed against the rest of the village. Ten years after Pavel became a parishioner, he is the owner of a self-built house and a field that the baroness gave him. This is how he can take in his mother who has been released from prison. Before Barbara arrives, however, Milada dies due to excessive asceticism in the monastery.
Form and language
construction
Ebner-Eschenbach himself and the publisher officially always referred to the work as a narrative . Several reviewers but arranged Municipal Child diverse genera: Mostly it was described as novel, in some cases as a coming of age novel , Bildungsroman or peasant novel , besides also as a novella or village history . Ebner-Eschenbach himself once used the latter term in a letter to Rodenbach. Today the work is known as a novel.
The novel is divided into nineteen chapters and extends in content from 1860 to 1870 - the narrated time is ten years. The novel was originally published in two volumes. The formal cut through the second volume was between the tenth and eleventh chapter. The division was supported by the high point of tension in pre-trial detention in Chapter 10 and the start of Chapter 11, independent of the previous chapters, which at the same time directs our gaze into the future: “Outside the village, at the foot of a slope, the long- cleared peasant forest years ago had covered, there was an abandoned sand pit. "
The novel begins by describing the general condition of Kunovic . The individualized act only begins with the murder of the pastor; only with this act committed by Martin does the family move into the center of interest of the village community and the novel. The mother's silence during the negotiation reveals a first important element in the conduct of the action: the misunderstanding between the characters' ideals and their environment. In the court scene, there is a misunderstanding between Barbara, who is guided by the marriage vows and does not want to betray her husband, and the court, which interprets the silence as a confession of guilt. Added to this is the supposed defiance that she has already portrayed, a subsequent characteristic of Pavel. Another guiding principle is already hidden in the exposition . It can be seen in the grammatical form of the sentences "Barbara Holub immediately started her sentence" and "Martin Holub [...] was sentenced": Those who accept their fate can act actively; on the other hand, he who surrenders to passivity is annihilated.
Further leitmotifs are the call motif, illustrated by the teacher Habrecht by means of accusations of witchcraft and to Pavel about the accusations of theft, as well as the "new life" that begins after visiting the monastery.
structure of the parish
1st stage of life (shepherd's hut)
2nd stage of life (schoolmaster's room)
3rd stage of life (house)
End
Pavel's stages of life and individual events
(from left to right)
Pavel's development forms the main strand in the parish , accompanied by the two secondary strands Barbaras and Miladas. This is supported by the fact that the secondary lines run independently of the main line and have their own influences, i.e. are not influenced by Pavel's village world. Furthermore, the mother's storyline has the function of a frame, which at the end of the exposition breaks away from Pavel's storyline and only returns to it at the end of the novel. Milada's development, on the other hand, no longer connects to the main strand and thus does not form a second closed strand. Letters from her mother and Pavel's uncertain judgments about her remind the reader again and again of the framework story.
After the far-reaching cut of the condemnation, which divides the framework and main plot, the actual fable begins and the plot changes from the capital B., which stands for Brno , to the fictional village of Soleschau. The next chapter differs fundamentally from the prehistory through the change of location and the dialog-dominated narrative style that runs through the following chapters. The following events are logically derived from the initial situation. Flashbacks in the second chapter draw attention to Pavel's concern for Milada.
Pavel's stages of life are accompanied by spatial conditions. As long as he is a rebellious boy, he lives in Virgil's hut. The second section, which shows Pavel as a learner, takes place in the teacher's room. Pavel spends his last stage of development, which he experienced as a self-employed, in his house in the sand pit. These milieus have their own influences on the characters. The status of the characters is also supported by means of geographical differentiations. The shepherd's “chaluppe” faces the baroness's castle area, which towers above the village. The same goes for the sand pit, which is higher than the teacher's room, which Pavel moves to a symbolically higher level with each move.
The climax in the tenth chapter serves as the focus: it sets motivically corresponding events - measured in chapters - in symmetry with one another. This is the case with the exposition and the end, the secondary highlights of the castle court scene and the pub brawl, or with the boot gift and the field gift. The meaning of the scenes is contrary. For example, the boot gift is an incentive, but the field is a reward. The second section (Schulmeisterstube) is the transition and an exception.
The narrator
As a novel belonging to the epic , Das Gemeindekind is written in prose throughout . The work is mainly written in standard German. Dialects are occasionally used in direct speeches in order to differentiate between social classes. The narrative is adapted to the development and the individual events of the plot. In the first chapter, a reporting style predominates: the exact location and time including the real communities mentioned as well as a short, factual and concise description of the Holubs' living conditions create a realistic appearance. When describing the discovery of the pastor's murder, present tense forms are used for the first time in order to increase the drama. This means of increasing tension or meaning is used in other important scenes.
During Pavel's first phase of life, dialogues determine the plot, and the description of the characters' facial expressions and gestures speaks for itself. This means that explanations by the narrator are mostly unnecessary. In the second part of the novel, the sentences become longer. The broader narrative style and its complexity are intended to accompany and underline Pavel's maturation and development.
The narrative perspective changes from the authorial form to the personal form that dominates above all from the second section. In order to do justice to Pavel's psychological development, the narrator continues to step back through an experienced speech . At the beginning of its development, the experienced speech is limited to positive experiences, as in the case of intuitive thoughts when Pavel thought about Barbara's letter.
Overall, the objective description of the fictional world outweighs the subjective perception of the protagonist. The narrator does not deal too much with misery description and avoids sentimentality generating statements. The narrator even distances himself from details with phrases such as “worthy of a realist's brush”. or "how to paint him or better not to paint" The realist was understood at the time of publication as a naturalist in today's sense. In addition, detailed descriptions and narrator comments recede more and more into the background from Pavel's second stage of life in order to give the protagonist an expanded narrative perspective. Marie von Ebner-Eschenbach mainly uses a broad, upscale common language in the parish in order to achieve closeness to reality and comprehensibility. For this purpose, the sentences are also mostly simply constructed. She also holds back with pictorial representations. Ebner-Eschenbach went through a style development in which she took back the poetic elements in her works. This can be seen in the comparison of the parish with Božena , one of her first stories (1876). Nevertheless, comparisons with animals or objects can be found more often. For example, metaphors with "cat", "bear", "snake" or "like an armful of grain", "resembled the sound of a working saw" and "how Vinska's new Sunday skirt threw it".
What is also striking is the unequal distribution of judgmental adjectives and participles, which appear only sparsely in the first half in the positive sense, but increase in the second, which means that the narrator is more and more detached from the purely descriptive narrative. Aside from the narrator, the characters, mostly the morally stable lower social ranks, judge positively. This is accompanied by a shift from the factual, material aspect to a moral insight: For example, with a “good meal” for a “cloudy soup” with “half-raw potatoes” or “the big, the beautiful, the good field” for a really “ bad field ".
In the novel, alliterations are used to emphasize individual passages , for example in "the ugly shepherd's pretty daughter"; “Neither praise nor reward” or “cheeky children”. Furthermore, over the whole story, regardless of the content, duplications of parts of the sentence can be made out, a haunting quality in the style of Marie Ebner and at the same time a main stylistic device in the community . Double predicates such as “scurried and wobbled” or “rushed and roared” create a vivid, detailed description. Double forms with adjectives and predicative additions such as "dark and grim", "fresh and healthy" or "good and honest" also contribute effectively to the visual design, but can, especially in the last example, have a tautological effect and give what is described an ironic value . The stylistic device is also used with nouns: "Storm and fall", "damnation and rejection" or "arrogance and boastfulness".
interpretation
Rainer Baasner sees the characters' moral decline as justified by their existential need. The criticism of the church can be derived from this: The poet would accuse the clergy of failing to recognize the connection between need and livelihood security. This can already be seen in the introduction, when the pastor reprimands the Holub family for working on Sundays, and follows even more strongly in the unyielding attitude of the nuns when visiting the monastery. The climax is expressed in Milada's death. Even the pastor of the village of Soleschau does not help Pavel and religion is left out of village life, which is evident from the festival mass that is not described. The pastor's belief in Pavel's guilt for having poisoned the mayor further exacerbated the criticism. The pastor gets further negative traits from the intolerant rejection of the teacher's reading, de rerum natura . The lay sister also fails to understand who takes Milada's declaration “He is my brother” just a religious metaphor. In addition to the institution of the church, the aristocracy was criticized: when she first met Milada and Pavel, the baroness wore glasses as a sign of myopia, because of which she did not recognize Pavel's good manner and left him to the community. She even does this with knowledge of the poor care of the community children: She “knows everything”: “The children for whom the community has to pay the school fees cannot distinguish the A from the Z at twelve” and “the children for which the community has to pay for the shoes, they all walk barefoot. "The mouthpiece for criticism of society is above all teacher Habrecht, who, for example, when looking at Pavel's" benevolent intentions of nature ", was" put to shame "by" neglect of all kinds " sees.
The Austrian literary historian Moritz Necker, a contemporary of Ebner-Eschenbach, sees in Habrecht's teachings the worldview of the poet herself, the figure is Ebner's mouthpiece and “poetic pathos ”. The moral content of all Ebner's poetry can be seen in the figure of Habrecht, and in him lies the ethical enthusiasm of the poet herself.
Karlheinz Rossbacher is convinced that Ebner-Eschenbach turns against determination and does not let the main character of the novel persist in grievances, but rather let it unfold independently of the surroundings. Pavel is influenced by his milieu , but at the same time he is also directly dependent on helping people. The individual stands between determination, personal strength and help from outside or between milieu, education and own will . A reviewer of the Wiener Zeitung in 1887 already saw that the protagonist is dependent on affection and help, which is countered by destructive prejudices. He therefore also noted the “lack of moral character” communicated in the novel, with which the author refers to this very thing address contemporary problem.
Enno Lohmeyer shows a similar view: He sees the protagonist as a “model of social development opportunities”, similar to the protagonists of the novel Božena and the story The incomprehensible in the village . The poet is also generally known for her intention to shape people and to be pedagogically active herself.
Epigraph and its interpretation
The novel is preceded by an epigraph :
«Tout est l'histoire. »
"Everything is history."
George Sand (1804–1876) was a French writer who, in addition to novels, short stories and plays, also wrote socially critical and political texts in which, among other things, she called for the emancipation of women. Histoire de ma vie (1855) is her autobiography.
“Tout est l'histoire”, in German “Everything is history”, means that everything is egalitarian. Ebner-Eschenbach also refers in this sense to the demand for equality. With the epigraph, the author applied the requirement to the entire novel and thus again underlined her sense of social responsibility. On the other hand, the sentence wants to say that everything and everyone participates in histography . This is also reflected in a statement by Habrecht: "You little ones, you are the important ones, nothing great can happen without your cooperation". In this sense, the epigraph is also interpreted as the poet's claim to have written a piece of contemporary history herself.
background
The church child was created in the tradition of late realism or ideal realism. The development of the protagonist points in this direction, which, contrary to determinism in the emerging naturalism , takes place according to ideal values. In the late stage of the industrial revolution , progress also has significance for the time being told and the protagonists of the novel, for example with the search for work or the steam locomobile . In contrast, however, the social question is marginalized.
The basic relief patent and communal autonomy were already a fact, but the nobility continued to exert influence over the village. The October diploma was proclaimed in Brno in October 1860 (starting point of the novel) . It also seems that Ebner-Eschenbach alludes to this strengthening of the nobility in the second chapter when the mayor turns to the baroness.
The philosophical content is mainly conveyed by the figure Habrecht, whose attitude is based on the ideas of the Enlightenment , what his reason, the role as a teacher and his preference for Lucretius stand for. In the context of the ethical movement , Habrecht's teaching received a current reference to the zeitgeist of the time. His remark that the new era is "preferably instructive" affirms the topicality and importance of the socio-ethical efforts. The aim of the ethical movement was to propagate moral ideas and, moreover, to detach ethics from religion. The movement started in North America, among others the writer William Mackintire Salter was important with his work The Religion of Morality . Ebner-Eschenbach had already praised the work in the year it was created. Moritz Necker noted in a review from 1890 that the most important finding that Ebner-Eschenbach has made since her drama Marie Roland (1867) is that ethics and metaphysics , belief and morality are not necessarily interdependent.
Before and alongside the ethical movement, beginning with the time of Josephinism , numerous philosophers, above all Bernard Bolzano (1781–1848), dealt with social ethics as well as religion and its relationship to reason. His works have had an impact for decades and parallels can be seen in comparisons with the community child. Bolzano already called for a sensible discussion of religion and, furthermore, adequate schooling for everyone. He also addressed the problem of abandoned children and tried to find appropriate solutions.
Origin and text history
The triggering event and inspiration for the novel should be a personal experience Ebner-Eschenbach with children. Her own notes in her diary reflect the incident as follows:
“The mayor and the jury came in the afternoon with the children, who have to be supported by the community because their parents are in the crime scene. […] Three children, a boy of 6, one of 4 and a girl of 3 years. The eldest squints, looks miserable and so sad, as if he already knew what to expect from life. "
The novel was preceded by some not very successful dramas. Ebner-Eschenbach never reached her destination, the stage of the Hof-Burgtheater . As a writer in the narrative genre, she showed more talent. The decisive success came with the publication of the story Lotti, the watchmaker in the Deutsche Rundschau in 1880. With the aphorisms in the same year, Ebner-Eschenbach became one of the most famous German-speaking authors in the years to come. In those and following works she concentrated more on her social ideas, allowed demands for emancipation, equality and political change to flow into her works and sought active changes in the zeitgeist.
None of the manuscripts of the parish church has survived. The novel was written in the course of 1886. The time it was written must have been short, because in December 1885 Julius Rodenberg , editor of the Deutsche Rundschau , asked for a contribution, which Marie von Ebner-Eschenbach had to refuse due to lack of time. But as early as August 1886 Ebner-Eschenbach sent Rodenberg a letter with the first nine chapters written and at the same time informed him that she would finish the sixteenth on the same day. In her letter, the poet called her “work” a “ village story ”. Rodenberg praised the text as follows:
“Dear friend, this is not just the most beautiful thing you have written, it is also one of the most beautiful thing that has been written for a long time. The plot, as far as I can judge so far, wonderfully structured, the composition transparent, clear, the drawing of the characters firm, the style noble and over the whole a touch of majesty and mildness - [...] "
With the next letter from Ebner-Eschenbach to Rodenberg on October 24, 1886, she sent him the last chapter. The first print of the parish appeared in the Deutsche Rundschau in the February issue of 1887 (50th volume); but only chapters one to ten. The continuation to the end of the novel followed in the next issue (May; 51st volume). The reaction to the first publication exceeded even Rodenberg's optimistic expectations.
The first book edition appeared in the same year: Das Gemeindekind . Story by Marie von Ebner-Eschenbach. Volume 1-2. Verlag der Gebrüder Paetel , Berlin 1887. The version largely matched the newspaper copy and was also published in two volumes. The publisher announced the third edition of the parish on October 1, 1891 , in order to prepare for the 1892 Christmas business. With this version he also had the novel redesigned for the cover and adapted to the appearance after the issue of Unsühnbar .
The fourth version that followed formed the fifth volume in the collected writings published in 1893 . In the fifth edition, Ebner-Eschenbach made numerous changes in punctuation and sentence structure. For example, she converted large sentences into more reader-friendly, smaller parts of the sentence, as is usually the case with her style. The author also took the trouble to replace words of elevated language with more colloquial ones, for example by rewriting “become aware” or “one day” as “see” and “once”. The seventh edition from 1901 is the last in which Ebner-Eschenbach had a personal influence. Only a few stylistic changes were made, otherwise the focus was on standardizing the punctuation. The main motive was to improve the fluency of reading by replacing the frequently used three points ("...") with simple points and semicolons with commas. In this way, the style could be unified overall and it becomes clear how satisfied Marie von Ebner-Eschenbach was originally and subsequently with the main structure of the novel. This can also be seen in the fact that the double ratings, attributes and objectives that make up Ebner-Eschenbach's style remained unaffected. From then on, the artist concentrated on other works, her interest in the community subsided and she left further improvements to the community to the editors .
reception
Reviews
It is believed that the review adapted to reader expectations as the parish prepress enjoyed great popularity. Therefore, there was a willingness to make stylistic and scientific concessions in line with audience expectations, and negative criticism is accordingly rare. In addition, publications were closely interdependent and influenced each other. As a result of the generally positive criticism of the community child and the economic success compared to other Ebner stories, negative reviews of the community child were increasingly rare; there was positive feedback.
The later Ebner connoisseur Anton Bettelheim described Das Gemeindekind in Die Nation 1887 as a work of great storytelling with educational intent and saw in it a proof of the poet's humanity. The main elements of his review became the standard repertoire of all subsequent parish reviewers. Bettelheim also paid tribute to the figure of Habrechts, whose words are truly beneficial in “these days of misery and sedition ”.
"Mrs. v. Ebner-Eschenbach is one of the best storytellers today, ”said a review in the press . "Their descriptions, their characteristics and their design of the plot" are "masterful".
In another review on the occasion of the collected writings , the literary scholar Erich Schmidt praised Das Gemeindekind as a successful combination of psychological empathy and appropriate artistic representation.
Arthur Eloesser criticizes the pedagogical elements of the work insofar as they missed the literary development in Europe. Rainer Baasner replies that the argument goes beyond Ebner-Eschenbach's tradition, that the criticism does not go hand in hand with the intention of the author and the tradition of realism.
"But the social novel in Europe has developed beyond this beautiful belief in the good to the harder recognition of the regularity and fate of our living conditions."
When Ebner-Eschenbach was awarded an honorary doctorate from the Philosophical Faculty of the University of Vienna on June 25, 1900 , the opinion of the speaker J. Minors, who described the community as the “main work” of the honored, was generally agreed. From then on, reviews about Ebner-Eschenbach without mentioning the parish became increasingly rare. Julius Kehlheim, meanwhile, named Das Gemeindekind as early as 1893 in a review of the collected writings as the main work of Marie von Ebner-Eschenbach.
Impact history
In 1888 a Dutch edition appeared on the market in Arnhem, and in 1893 in New York the American edition The Child of the Parish by R. Bonner's Sons Verlag. The Czech translation was published in Prague in 1901. In contrast to Unsühnbar , Božena and Neue Dorf- und Schloßgeschichten, French publishers were not interested in a translation of the parish . In 2008, Das Gemeindekind was turned into a radio play. Götz Fritsch took over the direction , the composition Otto Lechner and the production by ORF / MDR. Among others, Elisabeth Orth as the narrator, Wolfram Berger as Virgil and Birgit Minichmayr in the role of Vinska were involved.
Text output
- Marie von Ebner-Eschenbach: The community child. Reclam Verlag, Stuttgart 1985, ISBN 3-15-008056-8 - as notes: [txt] .
- The parishioner at Zeno.org . (with chapter overview).
- The parish in the Gutenberg-DE project
literature
- Carsten Kretschmann: Marie von Ebner-Eschenbach. A bibliography. Max Niemeyer Verlag, Tübingen 1999, ISBN 3-484-10797-9 .
- Rainer Baasner : Marie von Ebner-Eschenbach. The parishioner. Critical ed. and interpreted by Rainer Baasner. Bouvier Verlag, Bonn 1983, ISBN 3-416-01680-7 - as notes: [Ba] .
See also
Individual evidence
- Marie von Ebner-Eschenbach: The community child. Reclam, Stuttgart 1985, ISBN 3-15-008056-8 - as notes: [txt] .
- ↑ p. 16 (chapter 3).
- ↑ pp. 77, 79, 80, 165 (chap. 8, 16).
- ↑ p. 43 (chapter 6).
- ↑ p. 12 (chapter 2).
- ↑ p. 3 (chapter 1).
- ↑ p. 166 (chapter 16).
- ↑ p. 178 (chap. 17).
- ↑ p. 13 (chapter 2).
- ↑ p. 110 (chap. 11).
- ↑ p. 133 (chapter 13).
- ↑ p. 336.
- ↑ p. 135 (chapter 13).
- ↑ p. 9 (chapter 2).
- ↑ p. 19 (chapter 3).
- ↑ p. 273.
- ↑ p. 172 (chapter 16).
- ↑ p. 219.
- ↑ p. 170 (chap. 16).
- Rainer Baasner: Marie von Ebner-Eschenbach. The parishioner. Critical ed. and interpreted by Rainer Baasner. Bouvier, Bonn 1983, ISBN 3-416-01680-7 - as notes: [Ba] .
- ↑ p. 246.
- ↑ p. 262.
- ↑ p. 324.
- ↑ p. 328.
- ↑ p. 331.
- ↑ p. 202.
- ↑ p. 333.
- ↑ p. 335.
- ↑ p. 337.
- ↑ p. 265.
- ↑ p. 293.
- ↑ p. 282.
- ↑ p. 270.
- ↑ p. 349.
- ↑ p. 266.
- ↑ p. 338.
- ↑ p. 342.
- ↑ p. 347.
- ↑ p. 187.
- ↑ p. 195.
- ↑ p. 204.
- ↑ p. 205.
- ↑ p. 210.
- ↑ pp. 216-222.
- ↑ p. 232.
- ↑ p. 215.
- Karlheinz Rossbacher in the afterword of the edition: Marie von Ebner-Eschenbach: Das Gemeindekind. Reclam, Stuttgart 1985, ISBN 3-15-008056-8 - as notes: [Ro] .
- Albert Bettex in the epilogue: Marie von Ebner-Eschenbach. Master tales. Manesse Verlag, Zurich [1953], DNB 451035151 - as notes: [Be] .
- Further individual evidence:
- ^ Anton Bettelheim: Marie von Ebner-Eschenbach. Work and Legacy, p. 186; quoted n. Rainer Baasner: Marie von Ebner-Eschenbach. The parishioner. Critical ed. and interpreted by Rainer Baasner. Bouvier, Bonn 1983, ISBN 3-416-01680-7 , p. 197.
- ↑ a b Götz Fritsch in an interview with Thomas Fritz: “Gemeindekind” by Marie von Ebner-Eschenbach ( memento from December 25, 2008 in the Internet Archive ). In: mdr.de, December 15, 2008, accessed on May 1, 2010.
- ^ A b Moritz Necker: Marie von Ebner-Eschenbach. A literary character image. In: Deutsche Rundschau. Volume 64, July – September 1890, pp. 338–357, here p. 345 ( Scan - Internet Archive ).
- ^ Marie von Ebner-Eschenbach. "The community child". In: Wiener Zeitung , Feuilleton, October 23, 1887, p. 2 f., Here p. 2, column 2 (online at ANNO ).
- ↑ Jürgen Egyptien : The design of an anti-terministic image of man. On Enno Lohmeyer: "Marie von Ebner-Eschenbach as a social reformer". In: literaturkritik.de, April 1, 2003, last updated on November 21, 2016, accessed on May 3, 2010 (review).
- ↑ Kerstin Wiedemann: Between irritation and fascination. George Sand and its German Readership in the 19th Century . Narr, Tübingen 2003, ISBN 3-8233-5653-4 ( limited preview in the Google book search).
- ^ Anton Bettelheim: Biografische Blätter, p. 140; quoted n. Marie von Ebner-Eschenbach. The parishioner. Critical ed. and interpreted by Rainer Baasner, p. 187.
- ^ Anton Bettelheim: Legacy, p. 186; quoted n. Rainer Baasner: Marie von Ebner-Eschenbach. The parishioner. Critical ed. and interpreted by Rainer Baasner. Bouvier Verlag, Bonn 1983, ISBN 3-416-01680-7 , p. 189.
- ^ Marie von Ebner-Eschenbach: The community child. In: Deutsche Rundschau. Volume 50, January – March 1887, chap. I – VI, pp. 161–194 ( Scan - Internet Archive ; PDF; 29 MB); Cape. VII-X, pp. 321-354 ( Scan - Internet Archive ).
- ^ Marie von Ebner-Eschenbach: The community child. In: Deutsche Rundschau. Volume 51, April – June 1887, chap. XII [sic!] - XV, pp. 5–37 ( Scan - Internet Archive ; PDF; 35 MB), chap. XVI-XX, pp. 161-196 ( Scan - Internet Archive ).
- ^ Carsten Kretschmann: Marie von Ebner-Eschenbach. A bibliography. Max Niemeyer Verlag, Tübingen 1999, ISBN 3-484-10797-9 , p. 20.
- ^ Marie von Ebner-Eschenbach: Collected writings. Fifth volume. Verlag Gebrüder Paetel, Berlin 1893 ( Scan - Internet Archive ).
- ^ Anton Bettelheim: Das Gemeindekind, pp. 26-27; quoted n. Rainer Baasner: Marie von Ebner-Eschenbach. The parishioner. Critical ed. and interpreted by Rainer Baasner. Bouvier, Bonn 1983, ISBN 3-416-01680-7 , p. 197.
- ↑ Literary. - The parishioner. In: Die Presse , supplement, December 14, 1887, p. 9, column 2 (online at ANNO ).
- ↑ Erich Schmidt : Literary Review. Collected writings of Marie von Ebner-Eschenbach. In: Deutsche Rundschau. Volume 77, October-December 1893, pp. 155-157, p. 156 ( Scan - Internet Archive ).
- ^ Anton Bettelheim: Biografische Blätter, p. 246; quoted n. Rainer Baasner: Marie von Ebner-Eschenbach. The parishioner. Critical ed. and interpreted by Rainer Baasner. Bouvier, Bonn 1983, ISBN 3-416-01680-7 , p. 223.
- ^ Julius Kehlheim in Bohemia . No. 71, [1898?], ZDB -ID 820916-9 , p. 25 f .; quoted n. Rainer Baasner: Marie von Ebner-Eschenbach. The parishioner. Critical ed. and interpreted by Rainer Baasner. Bouvier, Bonn 1983, ISBN 3-416-01680-7 , p. 219.
