The lentil dish

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The Linsengericht , the first book publication by the Swiss writer Rudolf Jakob Humm , was published in Freiburg im Breisgau in 1928 . The work, a novel with autobiographical features, accompanies a group of friends, relatives and acquaintances who spend two weeks skiing together in Adelboden at the turn of 1927/28 . The analyzes of a sensitive , as the work is called in the subtitle, deal primarily with group psychology and made it possible for Humm to come out as an author for the first time with a larger work. The book is largely kept in a light, ironic tone and deals with current issues at the time, such as the new building or the absolutized rationality in gender relations. In addition, numerous well-known personalities appear, although mostly under different names. All of this makes the book a work of interest beyond the private sphere.

action

At Christmas 1927, five younger people went to the Bernese Oberland . You go for two weeks to spend a ski vacation. They move into a hut in the Ausserschwand district in Adelboden. Another five people will join the friends in the next few days. Six other acquaintances are staying in a chalet called “Im Boden”. The main group in Ausserschwand consists of the following people:

No. Surname Special
1 Humm First-person narrator . Originally a mathematician , tried to gain a foothold as a writer. Does not feel fully accepted in the group and is stuck in an argument with Fredi, by whom he does not feel taken seriously.
2 Lilly Mrs. von Humm, sister of Klärli; Scottish origin, assimilated in Switzerland ; sometimes bedridden because pregnant.
3 Klärli Lilli's sister, married to Fredi, architect . Scottish origin, assimilated in Switzerland; basks in the adoration of other men, which helps her not to appear bourgeois.
4th Fredi Married to Klärli; in spite of his only 28 years of age already an established, successful architect, pioneer for the movement of new building. Likes to see himself in the center of the group and those who are not recognized by him have a hard time.
5 Lesi, actually Lizzi Dutch woman, wife of Baruch. Arouses erotic fantasies with her mysterious, exotic nature
6th Baruch Husband of Lesi, brother of Simon, chemist , Polish Jew , assimilated in Switzerland
7th Simon Baruch's brother, married to a sister of Lesi, lawyer , Polish Jew, assimilated in Switzerland
8th Ignaz Painter, married to a sister of Lesi. Is a bit older than the rest of the group, more serene, and exudes a certain natural authority. Is appreciated by everyone.
9 Eggi Has a fuss with Klärli, at least as long as her husband, who arrives a few days later, isn't there yet.
10 Werner 21 years old and already a recognized music scholar , befriended important personalities in Berlin . He published on Bach at the age of 17 and later published a book on dance. He is also an orientalist and also skilled in mathematics.

The following people live "in the ground":

No. Surname Special
11 Turgi Art historian , married to Turandot; Humm once calls him his only true friend
12 Turandot Married to Turgi, in love with Mäloni, gets into an argument with Klärli for reasons that have never been clarified
13 Köbi Artist
14th Maloni In love with Turandot
15th Sigurd Quiet, sensitive; Brother of Baldur
16 Baldur Exuberant rank, brother of Sigurd

The first days in Adelboden pass peacefully with ski hikes on the Hahnenmoos , where a mountain restaurant offers the opportunity to relax and refresh, and then descend back to the village. Eggi begins a romance with Klärli and Humm is mainly dedicated to Lesi, who is surrounded by a mysterious aura because of her reserved nature. The mood suddenly changes after a few days when Fredi arrives, who shows a dominance behavior. He punishes his rival Eggi with disregard and Humm - who is his brother-in-law after all - he tries to ostracize. Humm feels neglected and not fully recognized as a human being; Fredi and Klärli had tried earlier to keep him away from their friends, especially Ignaz and Lesi. Humm's struggle for recognition by Fredi is an essential part of the book.

With Werner's arrival, who is the last to arrive, another complication arises, because the exceptional person he is considered and treated as in Berlin cannot fit into the group of friends and provokes them with his demonstrative importance. He describes them as backward, as they do not want to know anything about a lot of things that determine intellectual discourse in Berlin. He makes himself completely impossible when he indicates his intention to write a book about skiing, he who has much less experience in it than anyone else.

There are all kinds of tensions in the group. This also includes the subliminal rivalry between those in Ausserschwand and those in “Im Boden”. But there are also pleasant and humorous things. One of the more entertaining reminiscences is the story of Eggi, who, at the New Year's Eve ball in a glamorous hotel, casts a spell over the ladies with a wild Charleston ("Solo Excentric Charleston") that he was so impressed by the British who set the tone there Fear competition, is unceremoniously and roughly pushed onto the street.

The last chapter of the book, referred to as the “addendum” and written six months apart from the first eleven chapters, lets the work end on a melancholy note. Humm has made friends with Ignaz, but the distance to everyone else has grown larger and distrust has spread. Anyway, Klärli seems to Humm more mature: she is pregnant and no longer so keen to avoid any hint of bourgeoisie.

The fate of Werner is downright tragic: he took his own life, which for Humm leads to a bitter accusation:

“You have to write stories again, not try to explain yourself to people - to hand over his people to God himself. Because that we were stuffed into these horrible individual dolls is a guilt that finds no judge here on earth, whether we also seek him, except in ourselves when we stand before God. You have to write stories to him that he will humbly deliver us, not from our guilt, but from his guilt. "

At least he has to be told by Ignaz that it is “a cheap way out. About God? We wash our hands in innocence, guilt is the Lord? A devilishly comfortable ending. ”Instead, Ignaz would like to oblige him to write Werner's novel,“ To describe Werner from the inside ”. Humm has to agree with him, but feels it is "incredibly difficult".

shape

The lentil dish has no generic name. As a matter of course, it is usually referred to as a novel . B. also by the author himself at a distance of more than 40 years. So we are dealing with a fictional text. Any similarities between characters in the book and people in the rest of the world would at best be coincidental, at least not relevant for understanding the text. At the time of writing and shortly afterwards, R. J. Humm seems to have seen it differently. In a letter from December 1928 he wrote: “The book is not a novel, but a treatise .” The first-person form and the identity of the first-person narrator, who is also the protagonist , with the author points in the direction of the autobiography. The first-person narrator uses the stereotype of every autobiography, the assertion to tell only the truth - and at the same time ironizes it: “I depict myself and everyone who appears in this story exactly as we are in life or how I see her in life. Also, I don't change anything in the events, I just restore them. ”In fact, the events described are based on real events and stand behind the characters portrayed as people from real life, as can be seen in the epilogue by Eric Streiff - who himself was a participant in Adelboden was there - can be seen. Although he does not want the book to be understood as a roman clef, he does reveal some of the characters which real people they depict. Based on his details and further information, the following picture emerges:

No. figure Person in reality
1 Humm Rudolf Jakob Humm (1895–1977), studied physics and mathematics , and later economics . Freelance writer since 1922. Married in 1923 to Lili Humm-Crawford, author of Das Linsengericht .
2 Lilly Lili Humm-Crawford (1896–1979), married to RJ Humm since 1923, artist of Scottish descent who grew up in Zurich , sister of Flora.
3 Klärli Flora Steiger-Crawford (1899–1991), sister of Lili, architect, furniture designer and sculptor ; the first qualified architect in Switzerland. Married to Rudolf Steiger since 1924
4th Fredi Rudolf Steiger (1900–1982), architect, important exponent of the New Building. Working together with his wife Flora and later in the office of Haefeli Moser Steiger . Involved in the Neubühl development in Zurich, where the Humm family lived from 1931 to 1934.
5 Lesi Henriette Louise Reichstein-Quarles van Ufford (1898–1993), called Lizzy, was born in the Netherlands. Married to Tadeus Reichstein since 1927 . Was the godfather of the character "Woly" in Hans Morgenthaler 's novel of the same name from 1924, which in turn was reflected in the lentil dish .
6th Baruch Tadeus Reichstein (1897–1996), Jewish chemist of Polish descent, living in Switzerland. Since 1927 married to Henriette Louise Reichstein-Quarles van Ufford, brother of Adam Reichstein. Received the Nobel Prize in Medicine in 1950 .
7th Simon Adam Reichstein (1899–1988), Jewish, Polish-born lawyer living in Switzerland . Brother of Tadeus, married since 1925 to Madeleine Henriette Reichstein-Quarles van Ufford (1894–1975), a sister of Henriette Louise and Maria Catarina
8th Ignaz Ignaz Epper (1892–1969), painter. Married to the painter Maria Catarina Epper-Quarles van Ufford (1901–1978), called Mischa, a sister of Henriette Louise and Madeleine Henriette. The first edition of the Linsengericht contains 20 pen drawings by Ignaz Epper.
9 Eggi Eric Streiff (1901–1988), called "Eggi"; Journalist , 1951–1968 editor at the Neue Zürcher Zeitung , author of the afterword to the lentil dish in the Ex-Libris edition.
10 Werner Wolfgang Graeser (1906–1928), musicologist and mathematician of Swiss descent, grew up partly in Italy, lives in Berlin. At the age of 17 he published an orchestral version of Bach's Die Kunst der Fuge , with which he received a lot of recognition. Published a book on modern dance in 1927.
11 Turgi Walter Hugelshofer (1899–1987), art historian. Married to Alice Reinhart since 1926. Founded R. J. Humm the publisher for Das Linsengericht.
12 Turandot Alice Hugelshofer-Reinhart, teacher. Married to Walter Hugelshofer since 1926.
13 Köbi Jakob Flach (1894–1982), writer, puppeteer and painter
14th Maloni Brothers of Eric Streiff
15th Sigurd
16 Baldur

If one compares the personal and family relationships of the characters in the book with those of the people in "Reality", one finds a broad agreement. Some names have been changed, in some cases explicitly for reasons of privacy protection, such as Simon and Baruch. With Fredi and Klärli, on the other hand, where the names have also been changed, we have the opposite claim: “[…] that my adversary is actually called Fredi. According to the truth; this is how his parents baptized him. […] His wife is called Klara, Klärli, according to the local custom. If I had wanted to write a novel, I might have called them Nora or Euryanthe or Monika, Franziska, Imogen, Iris. "So here again the appeal to the truth and the claim that I do not want to write a novel, which is typical of autobiographies - where" Roman “This may not be understood so much in the sense of the literary genre, but in the sense of the love story.

An essential formal element is the consistent meta-level on which the writer reflects on the writing - this, too, typical of autobiographical writing. This begins right at the beginning with the narrator's intention to stick to certain models in terms of style, then increases in Chapter 11, where certain content-related questions are discussed with people from the narrative, and it culminates in the "addendum" in which this The fate of some of the people, as it has developed since their stay in Adelboden, is being negotiated. Above all, Werner's shocking death lets the events described appear in a completely new, tragic light. Frivolous play has turned into bitter seriousness, casual irony into desperate accusation. The cover marks the blurring of the boundaries between writing and experiencing, between author and narrator. In his obituary for R. J. Humm, Martin Kraft pointed out the innovative character of this element:

"The formal boldness of his works - starting with the first work" Das Linsengericht "published in 1928 - especially in the avant-garde play with the position of the narrator who writes into what he has written, ultimately became common property and thus no longer recognized as such."

The book thus has clear autobiographical features, but does not have to be understood as an autobiography. You don't have to know which real personalities are behind which characters. One can the pottage as a pure work of fiction, a novel just read. In this book, the author moves along the boundary between the forms and plays with them.

style

The book begins with the statement: “Today we love a crystal clear style.” And the first-person narrator deduces from this the intention to write down “a crystal clear narrative”. “In a crystal clear style and assembled from crystal clear truth.” The inflationary use of the word “crystal clear” reveals the irony here, but without knowing what it is all about. But it soon becomes clear: The irony aims at an absolutized rationalism , which - for the book most directly - manifests itself in the approach of the "New Building", of which Fredi and Klärli are prominent representatives, and which they see as a counter-program against the despised bourgeoisie . This irony shapes the style of the book to a large extent. So it says a little later: “And I want to stick with it seriously, wipe out any humor from me, factual, clear, true, appropriate to the material. Because in the end I adopt her style [d. H. the style of the architects Fredi and Klärli]. ”Or:“ A story must have women, that is clear. Then it is clear. ”This irony can become sarcasm , especially when it comes to Fredi and Klärli and their fight against bourgeoisie:

“Of course, the Fredis and Klärlis families are very middle-class [...]. And the petty bourgeoisie of these people is an inexhaustible treasure trove of jokes. But because they are their, their own families, [...] of course there is nothing special about them when they take part in the supper, the birthday parties and the funerals of these families, because it happens out of necessity, out of fear of reprimand or out of piety or in order to inherit, and completely without prejudice to their fundamentally anti-bourgeois attitude. "

Also ironic is the use of mathematics, this most rational of all sciences, in the service of the argument against the absolutization of the ratio in the context of New Building and thus against its representatives, the architect couple Fredi and Klärli:

“I could dissolve my entire crystal-clear story into an algebra of names in which the two rational indeterminates" Fredi "and" Klärli "try in vain to approximate the great clear irrational" Ignaz ". It is well known that in mathematics the rational numbers are in the vanishing minority and have no power [...]. "

The irony is ultimately also shown in a certain understatement with which the narrative pretends a lightness that could easily hide its own seriousness. It sounds like this: “My story is about a woman. Actually at two. To many women. About lovemaking and tussle about the heart, geometry, mesh. ”Here too, as with the formal, a game with reading expectations.

criticism

RJ Humm mentions in the foreword to the new edition from 1974 that the book was "received enthusiastically by the criticism in Germany". But at first it looked bleak. In his review in the Neue Zürcher Zeitung , Eduard Korrodi complained that the characters in the book were “not reproduced as interestingly” as “as they are as general types.” What bothered him most was Werner's treatment, who was only “outwardly [...] brilliant portrayed ”, but not recognized inside - a point that is mentioned in the lentil dish itself, but as a desideratum that is extremely difficult to fulfill . In connection with Werner's treatment, Korrodi even speaks of the “ hubris of the author”. His review concludes:

“Humm is a funny reporter in some details. Wherever he touches on general conversational topics of today's intellectuals, he works hard. His style has ideas. But despite all that, do you have to give up friendship for the lentil dish of a truth that can only be half of it? A poet would have made a poem out of the court. "

For the Bernese Confederation , the lentil court is a “Zurich local affair”, even a “family affair, in which we are forced to take part against our will.” And he ends his review on a similar note as Korrodi:

“One may marvel at the responsiveness the author of the book had to put at the service of his unrestrained urge to confess. That makes the work an unadorned document. The fierce and continuous struggle against the coldness of the mind, which the lens judge senses in his companions as the pale background of their view of life, can also move the reader. But how would it have shaken us if it had become form and vivid; so it just stayed - on the best pages of the book - stammered. "

On January 18, 1929, the Basler National-Zeitung published a note from Hermann Hesse , which was kept in a more positive tone:

“I also liked the“ Linsengericht ”by RJ Humm (Urban-Verlag in Freiburg i. Br.). There are delicate, sensitive, touching notes from a youth, here and there a little youthful and precocious, here and there delightfully full of real youth, who, like real love, are sometimes shameless, sometimes shameless. It is the delicate book of a sensitive person, perhaps he is not smart enough and not stupid enough to be successful, perhaps he remains misunderstood. "

And on February 15, 1929, Hesse wrote in the Berliner Vossische Zeitung :

“During these days I had all sorts of new books with me and some made me happy, such as the little novel “ Das Linsengericht ” by R. Humm (Urban-Verlag Freiburg i. B.). This youthful, brooding and playful book by a differentiated and sensitive young intellectual gives and promises a lot; Humm is more than just a talent. "

Later references to the book make it particularly well-known as early witnesses of how important R. J. Humm is to deal with other people. Both Werner Weber in his laudation for the Zurich Literature Prize 1969 and Elsbeth Pulver in their contribution entitled "Living in people" on the 100th birthday of R. J. Humms in 1995 quote the sentence: "I live in people and don't need a house."

interpretation

The argument between the first-person narrator and the architect Fredi is at the center of the lentil dish . So the subject of irony is also the main subject of the book. Irony becomes the main tool of criticism, which not only targets the obviously difficult personality of the brother-in-law, but also the claim with which the new building is represented, the soulless rationality and the sometimes tense effort to avoid any appearance of bourgeoisie. From the point of view of Eric Streiff, who as Eggi in Adelboden had pursued his very own love adventure with Klärli, it looks like this:

“I had no idea what was going on in Humm's mind and spirit during the fortnight in Adelboden. I noticed that there were occasional taunts between him and Fredi, but I was too busy with myself and my dream of love to have seen the pressure Humm was under. Only when I had finished reading his book did I realize that behind his restrained behavior, which rarely flew into irony, there was hidden a deep insecurity: the insecurity of the weaker, who did not dare to face his adversary openly. [...]
What Humm does not dare to say openly in the face of Fredi, who is perceived as an adversary, he writes from his heart in his novel. And since he loves irony, he uses the style that he accuses his house-building opponent of using. "

Humm hadn't proven himself to be a writer at the time of the act. The inferiority that Fredi let him feel he also felt himself. The dispute is planned by Humm as a "bitter plan". The energy for this is provided by his sensitivity, which is already mentioned in the subtitle of the book. The statement “that one thing is building houses, one thing is to spin stories”, which is already on the first page, proves to be a challenge to the architect. The bitter plan leads to success. The book becomes R. J. Humm's literary breakthrough and his personality is consolidated. In the end, Humm is even grateful to his adversary for this: “But I owe it to him that I finally found myself.” This explains the title Linsengericht , alluding to the biblical story of Esau , who gave his younger twin brother Jakob his birthright has sold a lentil dish ( Gen 25, 29–34  EU ): “Of course, I sold the birthright of friendship for the lentil dish as a publicly avowed act. Because I was starving. "

As Eric Streiff notes, RJ Humm was not only interested in “freeing himself from his Fredi complex”, but “also in group psychology.” The focus is mainly on Klärli and Werner. Klärli has something artificial, fake, even façade-like in her behavior, which repeatedly stimulates Humm to challenge her, which he himself perceives as "wickedness", and which regularly ends with a violent, angry reaction with which Klärli rebukes him. This figure primarily exemplifies Humm's criticism of excessive rationality and the deliberate anti-bourgeoisie - again with a good dose of irony:

“The most angry, brightest and cleanest is my Klärli in the field of love; be it that she acts in it or negotiates about it, and woe to anyone who even remotely suggests things that are not rational in this area! For example, jealousy. Oh, how bourgeois is jealousy. How ridiculously unfashionable, inconsistent! "

Towards the end of the book, Humm leads a detailed, serious discussion with Klärli in a long conversation for two on the way from her hut to Adelboden and back. Among other things, he tries to make it clear to her what the price of rationality is:

““ You ”- and by that I meant her and Fredi -“ are people who for the sake of one thing push back everything human. [...] But do not be surprised that every person who sought a direct relationship with you and was rejected in it, finally sees you factually. Out of sheer objectivity you have just become a thing yourself. One thing and nothing more. And I cannot look at you differently in the future. "

With regard to Werner, who stood out for his extraordinarily early successes, Humm tries to fathom the nature of his productivity and comes across precarious insights:

“In all actually new creative things, he necessarily has to fail. But what then? A person who has been compromised by the notorious Berlin fame will hardly accept this self-knowledge. The cognitive faculties (in the proper sense) are poor in types like Werner, their spiritual feeling is of an aesthetic kind; they are thinkers who are only able to stimulate things that are already there, which therefore did not give them the inspiration. "

In this reflection the possibility is already indicated that Werner might die an early death. This has already been said many pages before, where a spontaneous inspiration is described, which stands there without further justification: "And on this hinge, I don't know how myself, the thought occurred to me that Werner would not live long." Probably those passages that Humm means when he asserts in the “Addendum”: “I have not changed a line, not a word on those pages of my manuscript that discussed Werner; some take on a strange meaning today. "

expenditure

  • The lentil dish. Analyzes of a Sensitive Man , with twenty pen drawings by Ignaz Epper, Urban-Verlag, Freiburg i.Br. 1928, 310 pages.
  • The lentil dish. Analyzes of a Sensitive , Werner Classen Verlag, Zurich and Stuttgart 1974, 175 pages, ISBN 3-7172-0212-X .
  • The lentil dish. Analyzes of a Sensitive , with an afterword by Eric Streiff, Book Club Ex Libris, Zurich 1981, 245 pages (in the Spring of the Present series. The Swiss novel 1890–1950 , edited by Charles Linsmayer)

literature

  • Eric Streiff, Afterword to RJ Humm: The Lentil Dish. Analyzes of a Sentient , Book Club Ex Libris, Zurich, 1981, pages 225-243.

Individual evidence

  1. ↑ The first-person narrator is called "Humm" twice in the book. On the question of the extent to which it is permissible to equate this first-person narrator with the author, cf. the chapter "Form" . In order to be able to distinguish the two systematically, “Humm” is used as the name for the figure in the text, while the author always appears with the first name (“Rudolf Jakob Humm”).
  2. ↑ "Lizzi is her name," Lesi "pronounces it." Rudolf Jakob Humm: The lentil dish. Analyzes of a Sensitive Man , with an afterword by Eric Streiff, Book Club Ex Libris, Zurich, 1981, page 16.
  3. ↑ Rudolf Jakob Humm: The lentil dish. Analyzes of a Sensitive , with an afterword by Eric Streiff, Book Club Ex Libris, Zurich, 1981, page 189.
  4. ↑ Rudolf Jakob Humm: The lentil dish. Analyzes of a Sensitive , with an afterword by Eric Streiff, Book Club Ex Libris, Zurich, 1981, page 60.
  5. ↑ a b c Rudolf Jakob Humm: The lentil dish. Analyzes of a Sensitive , with an afterword by Eric Streiff, Book Club Ex Libris, Zurich, 1981, page 218.
  6. ↑ "The novel" Das Linsengericht ", which I wrote two years later, was quite real." R. J. Humm in his acceptance speech for the literary prize of the city of Zurich, printed in the Neue Zürcher Zeitung on December 28, 1969, page 38.
  7. ↑ Reprinted by Eric Streiff in his afterword to RJ Humm, Das Linsengericht. Analyzes of a Sensitive , Book Club Ex Libris, Zurich, 1981, page 243.
  8. ↑ a b c d Rudolf Jakob Humm: The lentil dish. Analyzes of a Sensitive , with an afterword by Eric Streiff, Book Club Ex Libris, Zurich, 1981, page 8.
  9. ↑ Eric Streiff: Afterword . In: Rudolf Jakob Humm: The lentil dish. Analyzes of a Sentient , Book Club Ex Libris, Zurich, 1981, pages 225-243
  10. ↑ a b Eric Streiff: Afterword . In: Rudolf Jakob Humm: The lentil dish. Analyzes of a Sensitive , Book Club Ex Libris, Zurich, 1981, page 236.
  11. ^ East European Jews in Switzerland , edited by Tamar Lewinsky and Sandrine Mayoraz, Berlin / Boston 2013, ISBN 978-3-11-030069-7 , page 168 (English)
  12. ^ Neue Zürcher Zeitung of February 22, 1988, page 3 (obituary Eric Streiff)
  13. ↑ Rudolf Jakob Humm: The lentil dish. Analyzes of a Sensitive , with an afterword by Eric Streiff, Book Club Ex Libris, Zurich, 1981, page 213, footnote. The full title of the novel by Hans Morgenthaler is: Woly: Summer in the South , Orell Füssli, Zurich, Leipzig, 1924 (with original drawings by Mischa Epper).
  14. ↑ Wolfgang Graeser: Body Sense: Gymnastics, Dance, Sport . Munich 1927
  15. ↑ Rudolf Jakob Humm: The lentil dish. Analyzes of a Sensitive , with an afterword by Eric Streiff, Book Club Ex Libris, Zurich, 1981, page 49 f.
  16. ↑ Rudolf Jakob Humm: The lentil dish. Analyzes of a Sensitive , with an afterword by Eric Streiff, Book Club Ex Libris, Zurich, 1981, page 10.
  17. ↑ Cf. also the meaning "love adventure" given in the dictionary of the Brothers Grimm for the keyword "novel"
  18. ↑ Martin Kraft, Neue Zürcher Zeitung from 29./30. January 1977
  19. ↑ Rudolf Jakob Humm: The lentil dish. Analyzes of a Sensitive , with an afterword by Eric Streiff, Book Club Ex Libris, Zurich, 1981, page 7.
  20. ↑ Rudolf Jakob Humm: The lentil dish. Analyzes of a Sensitive , with an afterword by Eric Streiff, Book Club Ex Libris, Zurich, 1981, page 11.
  21. ↑ Rudolf Jakob Humm: The lentil dish. Analyzes of a Sensitive Man , with an afterword by Eric Streiff, Book Club Ex Libris, Zurich, 1981, page 16.
  22. ↑ Rudolf Jakob Humm: The lentil dish. Analyzes of a Sensitive , with an afterword by Eric Streiff, Book Club Ex Libris, Zurich, 1981, page 21 f.
  23. ↑ Rudolf Jakob Humm: The lentil dish. Analyzes of a Sensitive , with an afterword by Eric Streiff, Book Club Ex Libris, Zurich, 1981, page 13.
  24. ↑ Rudolf Jakob Humm: The lentil dish. Analyzes of a Sensitive , with an afterword by Eric Streiff, Book Club Ex Libris, Zurich, 1981, page 222.
  25. ^ Neue Zürcher Zeitung , December 12, 1928. Reprinted in: Eduard Korrodi: Selected feature articles . Ed .: Helen Münch-Küng. Verlag Paul Haupt, Berlin / Stuttgart / Vienna 1995, (= Swiss texts, new series , volume 4), ISBN 3-258-05030-9 , pages 121 f.
  26. ↑ Der Bund , Bern, December 17, 1928 (signed "M.")
  27. ↑ Quoted from: Hermann Hesse, RJ Humm, Briefwechsel . Eds. Ursula and Volker Michels, Suhrkamp, ​​Frankfurt am Main 1977, ISBN 3-518-03090-6 , page 271.
  28. ^ The entertainment sheet of the Vossische Zeitung , February 15, 1929, morning edition.
  29. ↑ Werner Weber: Energy of humanity. A speech on Rudolf Jakob Humm . Printed in the Neue Zürcher Zeitung on December 28, 1969.
  30. ^ Elsbeth Pulver in Neue Zürcher Zeitung of January 13, 1995.
  31. ↑ Eric Streiff: Afterword . In: Rudolf Jakob Humm: The lentil dish. Analyzes of a Sensitive , Book Club Ex Libris, Zurich, 1981, pages 230, 232.
  32. ↑ “But now I really don't have roots, and it is well known that being alone and just standing on your own is an awkward thing. Sometimes it hurts, but it may not be clear. [...] Whether pity also plays a part, it is not clear to say. ”Rudolf Jakob Humm: The lentil dish. Analyzes of the Sensitive , with an afterword by Eric Streiff, Book Club Ex Libris, Zurich, 1981, page 12.
  33. ↑ Eric Streiff: Afterword . In: Rudolf Jakob Humm: The lentil dish. Analyzes of a Sensitive , Book Club Ex Libris, Zurich, 1981, page 232.
  34. ^ A b Rudolf Jakob Humm: The lentil dish. Analyzes of a Sensitive , with an afterword by Eric Streiff, Book Club Ex Libris, Zurich, 1981, page 221.
  35. ↑ Rudolf Jakob Humm: The lentil dish. Analyzes of a Sensitive , with an afterword by Eric Streiff, Book Club Ex Libris, Zurich, 1981, page 92.
  36. ↑ Rudolf Jakob Humm: The lentil dish. Analyzes of a Sensitive , with an afterword by Eric Streiff, Book Club Ex Libris, Zurich, 1981, page 90.
  37. ↑ Rudolf Jakob Humm: The lentil dish. Analyzes of a Sensitive , with an afterword by Eric Streiff, Book Club Ex Libris, Zurich, 1981, page 177.
  38. ↑ Rudolf Jakob Humm: The lentil dish. Analyzes of a Sensitive , with an afterword by Eric Streiff, Book Club Ex Libris, Zurich, 1981, page 203.
  39. ↑ Rudolf Jakob Humm: The lentil dish. Analyzes of a Sensitive , with an afterword by Eric Streiff, Book Club Ex Libris, Zurich, 1981, page 157.
  40. ↑ Rudolf Jakob Humm: The lentil dish. Analyzes of a Sensitive , with an afterword by Eric Streiff, Book Club Ex Libris, Zurich, 1981, page 216.