The knife in the water

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Movie
German title The knife in the water
Original title Nóż w wodzie
Country of production Poland
original language Polish
Publishing year 1962
length 90 minutes
Age rating FSK 16
Rod
Director Roman Polanski
script Roman Polański,
Jakub Goldberg,
Jerzy Skolimowski
production Stanislaw Zylewicz
music Krzysztof Komeda
camera Jerzy Lipman
cut Halina Prugar-Ketling
occupation

The Knife in the Water (Original title: Nóż w wodzie ) is a Polish film drama by Roman Polański from 1962. In this relationship drama with elements of the psychological thriller , a couple's sailing excursion becomes an ordeal for their relationship when a young drifter appears .

The knife in the water is Polański's first full-length feature film and is considered the starting point of his international career. The film won, among other things, the Critics' Prize at the Venice Film Festival and was nominated for an Oscar for Best Foreign Language Film .

action

Sailboats on a Masurian lake. "Time and again, the deserted landscape of the Masurian Lake District [...] is included in the action through photos from a wide perspective," says Kroner

Andrzej, a successful sports journalist, and his young wife Krystyna drive into the countryside to spend a weekend on their sailing boat on a lake in the Masurian Lake District . They take a young hitchhiker along and invite him to accompany them on their excursion. During the day, verbal power struggles develop between the bourgeois Andrzej and the rebellious, freedom-loving young man. The focus is always on the threatening knife with which the boy is playing. The two men, competing for Krystyna's favor, measure their strength in different ways, but neither can achieve a clear victory.

After a night at anchor, Andrzej catches his wife and the boy having a confidential conversation on deck early in the morning. In a scuffle between the men, first the young man's well-guarded knife goes overboard, then the boy himself. Since he had previously stated that he cannot swim, the couple fears that he drowned. They dive for him and Andrzej swims ashore, supposedly to inform the police. However, the young man did not drown, but instead clings to a buoy unnoticed. As soon as he finds that Krystyna is alone on board, he returns to the boat. He and Krystyna sleep together. The boy leaves the boat before Krystyna takes it ashore, where Andrzej is waiting for her. Andrzej hesitated to inform the police. Krystyna reveals to her husband that the boy is not dead and confesses to adultery, but Andrzej pretends not to believe her. The couple begin their journey home. They stop at a fork in the road, one direction home and the other to the police.

History of origin

Script and preproduction

Polański had already designed the scenario for The Knife in the Water as part of his thesis at the Lodz Film School in 1959 together with Jakub Goldberg and Jerzy Skolimowski . Orr suspects that Orson Welles ' Die Lady von Shanghai (1946) and René Cléments Plein Soleil (1960) could have served as inspiration for the dynamics of the triangle story and for the setting during the creation process. Polański reported in 1969 on how his idea for The Knife in the Water came about : “My first thoughts on this film, before there was even a story, related to the landscape, especially the water in this part of Poland, where all these lakes are . "

In 1961 Jerzy Bossak , the artistic director of the state-funded film company production group , signaled that the political climate in Poland was now suitable for realizing the project. Polański, who was in Paris to shoot his experimental shorts, traveled to Poland and received permission from a committee of the Ministry of Culture to submit a script for approval within two weeks. Together with Skolimowski, Polański developed a ready-to-film script within a very short time, whereby Skolimowski, according to Feeney "the ideal partner for finding a precise, minimal language", was responsible for working out the dialogues. After Polański had denied the committee's allegation that the script was “socially irrelevant” by inserting a “socially conscious dialogue” that he ironically built into the love scene between Krystyna and the boy, the project was given the go-ahead.

Polański originally wanted to play the boy himself, but friends advised him against on the grounds that it would look too vain if Polański were the director, screenwriter and actor in one person. Polański found his actors in the experienced film and stage actor Leon Niemczyk and the still little experienced drama student Zygmunt Malanowicz . Jolanta Umecka was a music student with no acting experience who Polański discovered in a swimming pool. For Polański she embodied the ideal contrast between inconspicuousness when clothed and a sexy sexual charisma as soon as you saw her less veiled in swimwear.

Production and post-production

The shooting took place from summer to autumn 1961 around Gizycko (Lötzen) in Masuria . The film team lived together on a houseboat. Polański calls The Knife in the Water a "devilishly difficult film". Since the film was shot on a real sailing boat that barely had enough space for the three actors, the film team had to lean over the railing and work securely with belts, whereby a generator boat always had to maneuver at the same distance from the sailing boat to supply the technical equipment. The rapidly changing light and shadow conditions as well as the rapidly changing cloudy sky gave rise to the fear of having considerable difficulties with connection errors later when editing the film .

Working with the actors was also difficult. While Niemczyk was easy to manage as a professional, Polański had to create atmospheric situations for Malanowicz that Malanowicz could step into in order to deliver convincing performances. The most difficult thing was dealing with Umecka. The predominantly passive young woman became for Polański and his team a “manifestation of a true spawn of emotional indolence” and could only be encouraged to show an acting reaction through massive means such as verbal provocations or the firing of a signal pistol. Polański also takes the view that she gained massive weight during the filming and indulged in a secret food addiction.

A visit by a reporter from the film magazine Ekran on the set also caused difficulties for the project. In his paper he denounced the supposedly extravagant life of the film team and what he saw as the lavish equipment of the film. Polański was forced to use a Peugeot instead of a Mercedes as the couple's car, and had to re-shoot a number of scenes. In addition, the director had to cope with a few blows of fate: he was injured in a car accident that took him to the hospital for three weeks. His wife Barbara Kwiatkowska telephoned him from Rome to announce the end of their marriage. In addition, Polański's friend and mentor Andrzej Munk died in a car accident.

Filming was over after ten weeks. It turned out that the recorded original sound was unusable. Only Niemczyk dubbed his character himself, while Umecka's role was performed by a professional actress. Polanski spoke to the young man himself.

reception

Publication and contemporary criticism

At a private screening of the finished film, PVAP party leader Władysław Gomułka rejected it as a “social explosive”. The film is "neither typical nor relevant for Poland as a whole". The production company Film Polski was forced not to open the film with a gala premiere, but only to start it in a few small cinemas. The film premiere was on March 9, 1962. A communist youth magazine came to a devastating conclusion: “Nothing is particularly touching. The director doesn't know what to say about contemporary people and we don't identify with any of his characters. "

The film entrepreneur Pierre Braunberger had meanwhile acquired the international publishing rights for $ 10,000 from Film Polski. In the Federal Republic of Germany the film started on June 18, 1963, whereas in the GDR it was not released until February 26, 1965. When it was released in western countries, the film was a surprise success and aroused benevolent to enthusiastic reviews. Felix Barker of the London Evening News wrote, for example, that the knife in the water was "a film of perfect brilliance". Arthur Dent of the Daily Telegraph judged the film was "staged and acted with dazzling intimacy." The Sunday Times' Dilys Powell summed it up, "The director is Roman Polanski, a name that will probably become very familiar to us considering what he achieved with his first film." Peter John Dyer of Sight & Sound drew in the winter of 1962 brought up big names for comparison: "The final picture [...] implies a kind of frozen discouragement, for which you normally need a Bergman or Antonioni to reach it on film."

Awards

Knife in the Water in 1962 won the FIPRESCI Prize at the Film Festival in Venice . He was nominated for Best Foreign Language Film at the 1964 Academy Awards, but lost 8½ to Fellini's . He was nominated for Best Picture at the British Film Academy Awards in 1964 .

Aftermath

Polanski's first work attracted attention in both Europe and the United States, where a scene from The Knife in the Water made it onto the cover of Time Magazine . For him, the film was the starting point of his international career and already outlined the themes of his great successes: the psychologically precise drawing of the characters, the investigation of social dependencies and mutual dependencies in relationships. According to Heer, this "psychological vivisection " runs through large parts of his work. In The Knife in the Water , Polański established the prototype of a psychological triangular story, which he later varied again and again. Mark Cousins ​​notes, The Knife in the Water , When Katelbach Comes ... , Bitter Moon and Death and the Maiden are "all versions of the same story, namely that of a couple who differ from each other through the presence of a third person who comes too close to them. feels uncomfortable ".

For Polish films as a whole, Das Messer im Wasser, along with films such as Kawalerowicz's mother Johanna von den Engeln (1961) or Skolimowski's Walkover (1965), was part of a turning point away from the often monumental processing of one's own history towards more private and intimate subjects. Andrzej Wajda confirms: "Polanski's 'The Knife in the Water' was the beginning of the new Polish cinema."

Film studies assessment

For Feeney, Das Messer im Wasser is a “tight, intimate and narrative thriller”, for Thompson and Bordwell an “intimate suspense drama”. Baer calls the film “a triangle of almost classic construction”. Polański is "an incorruptible realist who knows how to interpret the individual figures psychologically using the most economical means". Gregor and Patalas certify the film "the style of a psychological chamber play". Butler emphasizes the existentialist qualities of the film and states: "Polanski leads us into a sad, gray world, where all three people are equally trapped."

Werner praises the story, which is “of astonishing simplicity”, and emphasizes the “irony and cynical language”, which is reminiscent of everyday language, but is “entirely artificial and artistic”, an artificial play with words. Meikle sums up: “The knife in the water is superbly crafted, with as much attention to detail as can only be shown in the film. The film remains so vividly [...] in the memory, as if one had participated in Andrzej and Krystyna's excursion on a more intimate level than that of the pure spectator. "

The lexicon of international films judges that the film is "a first sample of Polanski's style, which fluctuates between psychological seriousness and gentle irony, but already reveals enormous talent". Bird calls The Knife in the Water “an outstanding debut” and “unique in Polanski's filmography”, because the film contains a social commitment that is typical of Skolimowski's upcoming films, but would generally no longer appear in Polanski's other films.

Film analysis

Staging

Visual style

Despite his previous stay in Paris with the Nouvelle Vague , which was flourishing at this time , Polański did not adopt its stylistic pluralism and did not cite stylistic devices from earlier artists, as was customary at the time. Thompson and Bordwell state: '"Polanski avoids the technical innovation of the new European cinema and relies [...] on vivid recordings with great depth of field, through which the characters remain in a tense confrontation." In "strict Wellescher depth ", reminiscent of films like Citizen Kane or The Shine of the House of Amberson , Polański staggered his figures deep into the space of the mise-en-scène , whereby one of the figures in the foreground is often close to the camera, while the use of wide-angle lenses also means the figures in the background do not lose depth of field . The effect of this “ritual use of depth of field” is that the viewer leaves his neutral observer position in order to perceive the action from the point of view of the protagonist who is close to the camera. Due to the fact that the foreground persons are constantly changing, the focus is not on the perspective of a single person, but Polański offers the viewer a broad basis for identification possibilities by not subjecting the film view to a single protagonist.

The director also uses the cadrage to illustrate the dynamic of the triangle story: According to Butler, the “two-inside-one-outside situation” is implemented in a cinematic way that often one of the characters is shown at a distance while the other two him Frame in close-up on the right and left edges of the image. The figures thus form scenic triangular situations, as can also be found in Citizen Kane and Laurence Olivier's Hamlet , a declared favorite film by Polański. According to Orr, they serve "to create a certain feeling of insecurity and distrust between the characters".

Is widely praised Lipman's camera work, which, as Baer points out, the contrast "between the silent expanse of beautiful countryside" and brings out "the aggressiveness leading narrowness of the boat." In the outdoor shots, Lipman delivers "great, silvery images", as Feeney notes, that make "the wonderful play of water and sky" aware. In contrast to this, the images inside the boat evoke the impression of “a narrow prison in the great outdoors”, a “perfect 'lieu clos' Sartrian provenance”. According to Feeney, “the visual elegance of a psychological dimension” is depicted. According to Goscilo, Polanski and his light-setting cameraman Lipman ensure “purely visual solutions to cinematic problems, a transformation of claustrophobic settings into psychological space”, especially in the scenes below deck .

dramaturgy

Polański explains about his goals of the production that he wanted to make the film “highly intellectual, technically precise, almost formalistic ”. Characteristic for The Knife in Water is a dramatic minimalism, a reduction to three people, a fixed location, sparse dialogues and the time frame of exactly 24 hours. Butler explains: “The film begins as it ends on a long, gray, boring road; a commentary on the long, gray and boring life of the couple they are driving along […] The whole opening sequence is characteristic of the tightly knit […] elliptical quality of what follows: a minimum of dialogue, a minimum of external action, a strict limitation on characters and setting. ”In 1966, Polański explained to the French film magazine Les Cahiers du cinéma how he dramaturgically expanded this barely realistic approach:“ What I like is the extremely realistic setting, but in which there is something related to the Reality does not seem compatible. […] In 'Das Messer im Wasser' everything is based on ambiguities, on small ironic sprinkles, on a kind of cynicism between the lines ”. The film used "a holiday atmosphere tinted with a lot of irony".

The end of the film leaves a possible course of action open for the viewer. It became, as Thompson and Bordwell state, "the hallmark of the lack of plot conclusions in the cinema of the 1960s". Butler adds that the film ends “like ' disgust ', ' When Katelbach comes ... ' and ' Rosemary's baby ' with a question mark ”.

Sound and music

In Das Messer im Wasser, the sound is mostly used in the form of naturally generated sounds - "long moments of almost complete silence, rustling waves, cracking wood, fluttering sails" - "unobtrusively" according to Butler, in order to serve the purpose of the respective scene. Polański used sound "to create atmosphere, to increase or break tension, to shock or to evoke a latent feeling of violence".

Butler goes on to say that Komeda's jazzy soundtrack complements “the virtuoso combination of natural sounds that Polański has put together so cleverly” and that “comments on the story with a sharp tongue”. Werner describes the film music as "relatively economical", but criticizes the fact that in some places it tends to "emphasize too clearly between fighting excitement and harmonious sailing pleasure". The 25-year-old Swede Bernt Rosengren , whom Komeda had brought to Poland despite some problems with the bureaucracy, plays the tenor saxophone on the soundtrack.

Themes and motifs

Social criticism

Polański makes it clear that The Knife in the Water is, among other things, an “attack on privileges”. Andrzej adorns himself with, according to Baer, ​​"the achievements of a fitter". These material things, which Andrzej achieved through his social status - his car, the yacht, his pipe, his compass, his patent bottle opener and more - are in stark contrast to the boy's property, in whose duffel bag his knife is the most important Owned. Thompson and Bordwell elaborate on the film's political motivation: “The knife in the water could be described as politically accurate by attacking the ' red bourgeoisie ' who live in Western luxury. But the young man can hardly be a hero with positive connotations, since he is at best naively confused and at worst somehow cynical. "

While the boy's game with his knife initially looks like an act of rebellion towards Andrzej, it gradually turns out, according to Bird, that it is merely "the concentration exercise of a mind scattered in the aimlessness of everyday life", the expression of "youthful nihilism " . The boy is therefore only initially a positive alternative to the philistine Andrzej, but, as it turns out later, also only a part of a society that is powerless to act and lacks justice. Werner sums up, for Polański “the boy's nonconformism is just as senseless, hollow attitudes as Andrzej's conformism”. Ostrowska describes the effect of the boy's character on the audience as follows: “It's not just the characters who play a game with one another. Polański also plays with the viewer's expectations and guesses as to where the story will lead. An idealized image of youth is brutally destroyed later in the film, but not simply turned into its demonic opposite, but presented in all its banality and flatness, which is all the more unsettling to the viewer. "

Butler states that the contrast that emerges in The Knife in the Water is a largely neutral and observational “conflict between […] old age and youth […], between conformity and the refusal to conform, between narrow-mindedness material success […] and the rejection of the standards of that success ”. For Meikle, Krystyna's position is “an interesting metaphor ”. She is at the center of this dispute in her unapproachable, sphinx- like manner "for society itself, not averse to flirting with rebellious youth, but ultimately returning to the status quo ".

Relationship Psychology

Polański addresses not only the social conflict but also the conflicting personal relationships of the trio. While Andrzej believes he is in a secure position of power, which he tries to maintain, his wife, according to Baer, ​​has long seen through him in his “presumptuous overestimation of herself”. Polański uses the figure of the boy to make the marriage conflict between the two tangible. He explains, “The third person is just a pretext, not just for the scriptwriter but also for the couple in their marriage. [...] The conflict affects the couple. "

But the relationship between Andrzej and the boy is also worth considering: Krystyna realizes that the young man is “an image of her husband - albeit still unfinished”, as Baer explains. Each of the two is reflected in the image of the other. Werner states: “Andrzej embodies the boy's future, just as the boy embodies Andrzej's past.” Therefore, according to Butler, the relationship between the two men includes “warring aspects of jealousy, admiration, fear, contempt and a clear but not admitted element sincere affection, paternal rather than homosexual ”.

It is Krystyna who takes advantage of this situation and plays the two off against each other at the end of the film. She remains the victor in a men's fight, which Kroner describes as follows: “The fight between Andrzej and the boy was also an attempt to come into contact with each other, to put your strength to the test and to decide who rules whom or who submits to whom . In the end, both of them have to realize that such a contact cannot be established, any more than a final clarification of power and powerlessness. "

Psychoanalytic interpretive approaches

Butler and Werner in particular base their film analyzes on possible psychoanalytic interpretations . Butler emphasizes the “ phallic significance” of the knife and calls it a “ Freudian sex symbol” that stands for the boy's potency and becomes dangerous for the older man. Ironically, however, Andrzej only enables the boy to commit adultery by removing the knife. Werner also discovers symbols with a clear sexual connotation: The shoe that Krystyna presents to the boy as a deposit for a lost game of Mikado is "one of the clearest symbols for the vagina ", with the belt with the swanky buckle that the boy gives as a deposit must also be a symbol of sexual potency.

The triangular relationship is “the representation of an oedipal relationship”, with Andrzej as “father” assuming the teaching and punishing position and Krystyna the protective mother role, but at the same time being the object of the boy's desire. Werner continues in his argument that there are motifs in the film that remind one of castration and castration fears. For example, the boy and Andrzej play the well-known game of sticking a knife into the space between the fingers of a spread hand without injuring the fingers. According to Werner, other clues include the boy climbing the boat mast twice, the felled trees prominently staged towards the end of the film, and the fact that the windshield wipers were stolen when Andrzej and Krystyna return to their car.

Christian symbolism

Christian symbolism is referenced in some of the film's most unusual takes . For example, an overhead shot from the top of the mast shows the boy resting on deck with his arms outstretched in a crucifixion pose , his head resting on a pulley reminiscent of a halo . Another shot shows the boy hanging over the railing and "walking on the water" with his feet. When the boy burns his hands on a hot pot, the injuries can be interpreted in the context of these references as representatives of the wounds of Christ . Ultimately, the boy lived through his "death" and his "resurrection" in the course of the story.

Werner interprets these allusions to the symbolism of salvation as "purely ironic". Feeney notes that Polański has always denied intent, claiming that the allusions to Christianity were pure coincidence. Feeney adds that he also considers them to be ironic breaks and contributions to the ambivalence of the film: “Of course the young man is not a figure of Christ in the traditional sense, but rather the one who leads into temptation, an angel who wants evil, a snake in the garden of paradise . "

literature

  • Daniel Bird: Roman Polanski. Pocket Essentials Film, Harpenden 2002, ISBN 1-903047-89-7 .
  • Ivan Butler: The Cinema of Roman Polanski . The International Film Guide Series, Barnes & Co, New York, Zwemmer Ltd., London 1970, ISBN 0-302-02061-6 (UK).
  • Paul Cronin (Ed.): Roman Polanski - Interviews . University Press of Mississippi, Jackson 2005, ISBN 1-57806-800-2 .
  • FX Feeney, Paul Duncan (Eds.): Roman Polanski . Taschen Verlag, Cologne 2005, ISBN 3-8228-2541-7 .
  • Andreas jacket: Roman Polanski - Traumatic soul landscapes. Psychosozial-Verlag, Giessen 2010, ISBN 978-3-8379-2037-6 .
  • Thomas Koebner (Ed.): Film classics Volume 2 1946–1962 . 5th edition, Philipp Reclam jun., Stuttgart 2006, ISBN 3-15-030033-9 .
  • Marion Kroner: Roman Polanski - His films and his world . Program Roloff & Seeßlen Film Studies No. 6. B. Roloff Verlag, Schondorf 1981, ISBN 3-88144-219-7 .
  • Denis Meikle: Roman Polanski - Odd Man Out . Reynolds & Hearn, London 2006, ISBN 1-905287-21-6 .
  • John Orr, Elzbieta Ostrowska (Ed.): The Cinema of Roman Polanski - Dark Spaces of the World . Wallflower Press, London / New York 2006, ISBN 1-904764-75-4 .
  • Roman Polanski: Roman Polanski . Heyne Verlag, 1985, ISBN 3-453-02203-3 .
  • Anke Steinborn: The knife in the water. Nóz w wodz. In: Kampkötter et al. (Ed.): Classics of Polish film. Marburg 2015, ISBN 978-3-89472-886-1
  • Kristin Thompson, David Bordwell: Film History - An Introduction . Second edition. University of Wisconsin, Madison 2003, ISBN 0-07-038429-0 .
  • Paul Werner: Roman Polanski . Fischer Taschenbuch Verlag, 1981, ISBN 3-596-23671-1 .

Web links

Individual evidence

  1. ↑ Kroner, p. 133
  2. ↑ a b Volker Baer: The knife in the water . In: Koebner, p. 545
  3. ^ John Orr: Polanski: The Art of Perceiving . In: Orr / Ostrowska, p. 10
  4. ↑ Interview in the Cahiers du cinéma , 1969, quoted in: Cronin, p. 13
  5. ↑ a b Feeney, p. 33
  6. ↑ Werner, p. 36
  7. ↑ a b Polanski, p. 146
  8. ↑ a b c Polanski, p. 148
  9. ↑ a b Polanski, p. 147
  10. ↑ Polanski, p. 150
  11. ↑ a b Polanski, p. 152
  12. ↑ quoted in: Feeney, p. 37
  13. ↑ quoted in: Polanski, p. 153
  14. ↑ a b c d quoted in: Meikle, p. 61
  15. ↑ Burckhardt Heer: Tendencies in Polish Film - A Documentation for a Working Conference Easter 1976 in Vlotho . Working group for youth film work and media education - Bundesarbeitsgemeinschaft der Jugendfilmclubs e. V. Aachen 1976, p. 13
  16. ↑ Mark Cousins: Polanski's Fourth Wall Aesthetic . In: Orr / Ostrowska, p. 3
  17. ↑ Marek Hendrykwoski: changes in Central Europe . In: Geoffrey Nowell-Smith: History of International Film . J. B. Metzler, Stuttgart / Weimar 2006, ISBN 3-476-02164-5 , p. 595
  18. ↑ quoted in: Meikle, p. 64
  19. ↑ a b c d Thompson / Bordwell, p. 461
  20. ^ Ulrich Gregor, Enno Patalas: History of modern film. Dms - the modern non-fiction book Volume 36.Sigbert Mohn Verlag, Gütersloh 1965, p. 301.
  21. ↑ a b c Butler, p. 43
  22. ↑ Werner, p. 37
  23. ↑ a b Werner, p. 38
  24. ↑ Meikle, p. 62
  25. ↑ The knife in the water. In: Lexicon of International Films . Film service , accessed March 2, 2017 .Template: LdiF / Maintenance / Access used 
  26. ↑ Bird, p. 32
  27. ↑ a b Meikle, p. 54
  28. ↑ a b Butler, p. 47
  29. ^ John Orr: Polanski: The Art of Perceiving . In: Orr / Ostrowska, p. 8
  30. ↑ a b c d Volker Baer: The knife in the water . In: Koebner, p. 547
  31. ↑ a b Feeney, p. 35
  32. ↑ Werner, p. 45
  33. ↑ Helena Goscilo: Polanski's Existential Body - A Somebody, Nobody and Anybody . In: Orr / Ostrowska, p. 23
  34. ↑ quoted in: Herbert J. Eagle: Power and the Visual Semantics of Polanski's Films . In: Orr / Ostrowska, p. 43
  35. ^ Butler, p. 35
  36. ↑ quoted in: Meikle, p. 51
  37. ↑ Interview in Les Lettres françaises 1966, quoted in: Cronin, p. 8
  38. ^ Butler, p. 48
  39. ↑ Werner, p. 51
  40. ↑ Polanski, p. 153
  41. ^ Butler, p. 36
  42. ↑ Bird, p. 31
  43. ↑ Werner, p. 43
  44. ^ Elzbieta Ostrowska: Knife in the Water: Polanski's Nomadic Discourse Begins . In: Orr / Ostrowska, p. 73
  45. ↑ a b Butler, p. 41
  46. ↑ quoted in: Butler, p. 40
  47. ↑ Polanski later relativized this statement and declared in 1969 in Positif that it had related to the position of the narrator in Rainer Maria Rilke's The Notes of Malte Laurids Brigge , who realizes that the relationship drama he wrote is worthless through the inclusion of a third person. Cronin, p. 42
  48. ↑ Werner, p. 42
  49. ↑ Kroner, p. 140
  50. ↑ a b Butler, p. 38
  51. ^ Butler, p. 39
  52. ↑ a b Werner, p. 48
  53. ↑ a b Werner, p. 49
  54. ↑ Feeney, p. 37
This article was added to the list of excellent articles on September 16, 2007 in this version .