The golden mountains

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The golden mountains is a novel by the German writer Clara Viebig , which was preprinted in 1927 in the cultural magazine Velhagen & Klasings MONTHS and was published in 1928 by the Deutsche Verlags-Anstalt , Stuttgart, as a bound edition.

The theme of the novel is the poverty of the Moselle winemakers in some villages on the Central Moselle in the 1930s, which culminated in social protests and the storming of the Bernkastel tax office .

action

In her novel, Clara Viebig describes the poverty of the Moselle winemakers in the period after the First World War . The economic situation of the winegrowers is continuously deteriorating as a result of inflation and currency devaluation ; this development will not be stopped by the introduction of the Rentenmark . The wine trade with the German Reich is virtually stopped by the occupation, at the same time no new market for the local Moselle wines is emerging in France. In addition, cheap imported wines from abroad flood the market, and the winegrowers are burdened with high tax or credit debts. In previous years, bad harvests and sales difficulties made it necessary to go into debt. Poverty becomes unbearable after a flood that destroys a lot and, in particular, leaves many wines unusable.

The winemakers are at a loss and are desperately looking for ways and means to get rid of their tax debts. At a rally in front of the tax office in Bernkastel , there were riots in which the demolition of individual offices led to the arrest of individual winegrowers. Ultimately, the winemakers are released again and the action is actually followed by a waiver of the taxes that have accrued.

The scenes are set in the two Moselle villages of Porten and Munden. The beauty of the landscape is reflected in the "Moselle song", which is played several times:

"O Moselle country, oh blessed country,

You green mountains, you river in the valley - "

Despite an initially idyllic depiction of the Moselle landscape, there is no missing reference to a coming disaster from the start:

“'The river' winds through a land in which walnuts and sweet chestnuts grow in groves, in which the finest fruit ripens, sweet almonds thrive in protected gardens, [...] the scent of wild gold lacquer and roses on the rocks the cemeteries still overflow at All Souls Day. A country that with the shine of its sun makes you forget that here too, as once in the garden of paradise, the snake is hidden that stings in the heel. '"

During the floods in particular, the otherwise gentle Moselle becomes a “lioness”, “gray-yellow, who hunts around furiously, reaches around with angry paws, snatches whatever gets in her way and devours it.” But also the daily working conditions in the vineyard, with poisonous spray liquor in scorching heat, illustrate the plague from which the winemakers suffer. Such conditions prevail especially in the steep slope of the Warmenberg:

“There was only a short piece of brittle rock face left, and then air, pure air, above that sky. The space for the uppermost floors was small [...] The planted cliff, which the same mountain stretches out like a plate, seemed like a garden of mountain spirits. It went down vertically, but there were good sticks up here, the sun came here first and stayed the longest, ... "

The narrative framework is filled with the fate of individual families from Porten and Munden, whereby their paths and the fate of the village community are interwoven in different storylines. The focus is on Maria, the beautiful young daughter of the winemaker couple Simon and Anna Bremm. Maria has a long-term admirer, the level-headed young winemaker Kaspar Dreis, for whom she only has friendly feelings. This has to do with the fact that Maria does not want to become a winemaker, because she knows the hard work of parents and is critical of the traditional attitude of her parents. Simon Bremm refrains from modernization, but works antiquated and unprofitable:

“He stepped close to the wine press, his gaze rested lovingly on it. There were some that were easier to handle - the newfangled ones were even operated electrically - his here was difficult, the oak winepress tree creaked, and you almost went off the rails, but they had already served your father and grandfather. A good, a good old wine press. His fingers felt the winepress tree almost tenderly. "

Some strokes of fate and the loss of his best wine barrel during the Moselle floods made Simon Bremm desperate. Ultimately, he takes refuge in alcohol and can hardly fulfill his function as head of the family. Simon becomes more and more a tragic figure who is saved several times by his wife Anna:

“He hurriedly climbed into the cellar. Immediately a strong smell enveloped him, it literally hit him hard. And there was a rumbling in the darkness, a gurgling, a rumbling, a constant dull roar. [...] Was that the new guy who acted like that? All the spirits of wine seemed to come to life, like the animals that speak on holy nights. Bremm suddenly heard it ring: who was pulling the bell so far? Storm? Fire? Midnight? Jesus, what did he think of ?! The half-stunned man shook himself: [...] He staggered like a drunken man, swayed, grabbed, looking for a hold, and fell, both arms outstretched over his barrel. - "

Maria initially leaves the family environment and looks for happiness as a maid in the nearby district town. The urbane former Rhine boatman Jean-Claude Dousemont takes them into their household. In addition to the beautiful Moselle landscape, he enjoys his retirement to the fullest, and he is also happy to be friendly with the beautiful girl. Maria quickly made contact in the small town. While trying on a dress, she befriends Nettchen Schmitz, a self-employed seamstress who is quite lonely because of her appearance - she has a hump.

Maria continues to meet Kaspar Dreis, but ultimately she cannot escape the charm of Heinrich, the son of the Dousemont family, and she becomes pregnant. She quits her job out of shame about her situation. Maria returns to her parents' house and breaks off contact with Kaspar Dreis. She contemplates how she could get rid of the unborn child, but ultimately finds herself in her future role as mother-to-be. Maria helps the weakened father with the work in the vineyard. Because of their indispensability in the family business and not least because of the encouraging words of Nettchen Schmitz, who is also hopeful and can hardly contain herself because of the sheer happiness about her pregnancy, Maria and her child are accepted both in her family and by Kaspar Dreis.

Maria's brother Joseph doesn't want to eke out his life as a winemaker either. Half out of a thirst for adventure, half out of enthusiasm, he joined the separatist movement of the Rhenish Republic , which was proclaimed by Hans Adam Dorten in 1919 . Joseph and his father argue about this. In spite of the state's negligence towards the winegrowers, the latter remains firmly connected to traditional imperial politics and sees Joseph's rejection as treason:

“Didn't you belong to the kingdom in good and bad days? Now even more in the bad. He's a bad person who abandons his master. "

When the argument between Simon and Joseph escalates, Joseph leaves home forever. The violent smashing of the separatist leagues moved him to allow himself to be recruited into the Foreign Legion by the French . On the night of his parting, he happened to meet Nettchen Schmitz, and the lonely young woman decided to follow the hint of fate and come to the longed-for child over a get-together with Joseph.

A key scene of the novel is the storming of the tax office by the angry vintners. While the individual delegations from the wine villages initially meet peacefully and carry the black winegrowers flag with the inscription “The winegrowers must mourn”, this slogan is soon replaced by the aggressive “Give us hand grenades for the tax office!”. Only a few keep a cool head, including Kaspar Dreis, who is literally overrun by the sudden riots:

“And suddenly a jumble around him - arms, legs, heads. Bodies, everything in motion - huge push from behind, everything flies ahead. No more stopping. [...] Everything was soon mixed up and on top of each other: tables, desks, chairs. Windows, mirrors and pictures smashed, the filing cabinets broken. Files, tax assessments, mortgage Pfandbriefe, dunning notes - all cursed paper that says what you want to take from the winemaker, how to do it, to get him begging, mine, to which he has already been brought - papers, papers, damned smear, infect it, let it burn! "

Spring brings hope and gives vintners hope for an improvement in their situation, especially since those arrested are released and the wine tax waived. Maria also gives Kaspar Dreis, who assures her that he will be there for her and the child, a marriage promise that she will keep for the year.

To round off the drawing of the village, tradition and faith and panorama, the secondary and contrasting figures are Jakob Bremm, the stingy uncle of the family, who does not bequeath his fortune to the family but to the church, his domestic help, old Schommer, who works in the Notzeit also dies and her mentally retarded son Pittchen, as well as other winemaking families from Porten.

swell

Stork house

Clara Viebig apparently got the inspiration for writing the “Golden Mountains” through personal visits to the villages of Bremm and Neef . The exact description of individual houses, such as the “Storchenhaus”, refers to a precise local knowledge that she may have acquired during her stays in the nearby spa town of Bad Bertrich .

Furthermore, Clara Viebig has worked through an abundance of existing source material on the winegrowing unrest of those years on the Moselle, on which she essentially bases her action. In doing so, she nevertheless takes the freedom to adapt figures to their artistic intentions, to change them or to insert additional, non-historical figures.

Interpretative approaches

Classification in literary history

Within Clara Viebig's oeuvre, “The Golden Mountains” can be assigned to the later phase of her work, in which she increasingly turned to historical subjects. The present novel can be seen as a hybrid between a contemporary and a historical novel, as the author depicts the storm of the Bernkastel tax office one year after the winegrowing riots, but integrates it overall into the political, economic and social panorama of that time.

The idyllic representation of the Moselle landscape suggests a classification in the series of wine and sun-drunk Moselle and wine literature, which begins with the " Mosella " (371) by Ausonius . It continues in numerous literary works, of which only a few should be mentioned: the " Moselle song " by Joseph Schmitt and Theodor Reck (1845), the wine-blissful vertrilogy " Brixiade " by Joseph Lauff (1915, 1918, 1920), Rudolf G Binding Novelle Moselfahrt aus Liebeskummer (1938), or the Weinpilgerbuch " Rhein-Ahrisches Saar-Pfalz-Mosel-Lahnisches Weinpilgerbuch " (1951) by Stefan Andres . Shortly before Viebig's publication, the portrayal of blissful wine moods gained stage-effective attention through Carl Zuckmayer's folk piece “ The happy vineyard ” (1925), which is a monument to the winegrowers in Rhine-Hesse who are hungry for drinking, partying and rowdy.

Viebig's novel, however, goes beyond such a positive drawing and produces “a gloomy painting of vintners distress and desperation on the Moselle.” The river course, in which the Moselle is initially depicted as friendly and familiar, grows into “the main character”, which is used by Clara Viebig to present "the course of everyday life under [...] special circumstances".

The novel is particularly in the tradition of those who draw attention to the social problems of a backward region and its poverty, for example from Clemens Brentano's poem “ Das Mosel-Eisgangs-Lied ” from 1830, which addresses the misery caused by ice, frost and floods reminds of Karl Marx , who in 1841 drew attention to precarious economic conditions and stated that the complaints of the Moselle winemakers were by no means “cheeky screeching”. In particular, Georg Weerth , the poet of Junge Deutschland , who died young , formulates in his poem Die Rheinischen Weinbauern the plagues to which the winegrowers “on the Aar and Moselle” will be exposed: First, the “traders” take “a third of the harvest” for their “ borrowed money ", then" the officials [...] collect the second third [...] of taxes and customs duties ", finally God destroys the rest in" hail and weather ".

With her portrayal of the storming of the Bernkastel tax office, Clara Viebig joins the series of literary design of mass revolts in the epoch of naturalism, of which Emile Zola's novel " Germinal " 1885, or Gerhart Hauptmann's play " Die Weber " 1892, should be mentioned in particular are. In these social dramas “the interaction between the individual and the masses”, namely “unpredictability, instinctuality and irrationality”, is put on display. A whole social class is made the protagonist, whereby the individual actors differ: with the naturalistic writers, the excesses are also supported by women, with Viebig this is purely a male affair. In all three representations, people perish; it is also questionable whether people's situation will actually improve. Viebig's novel ends more conciliatory than the other two works, but its idyll is only apparent, as death tore many gaps and some livelihoods failed.

The "Golden Mountains" are sometimes assigned to the genre of the "homeland political novel". The milieu of a village community on the Middle Moselle at the beginning of the 20th century, which is considered to be “simple, traditional and pious”, initially seems to confirm such a classification. Clara Viebig makes use of such clichés, but she lets the characters she endows with such attributes fail in her private and professional life. Such a classification also disregards the often-used ironic undertone of the novel. Clara Viebig's socially critical approach often "turns into a biting, ironic tone", and the title "The Golden Mountains" is a mockery of a landscape that all too often presents itself as gray and overcast.

Another characteristic of typical homeland novels is missing that order is restored in the provincial idyll after a disruptive factor has been removed. At the end of the novel, people's lives are seriously clouded by the death of close relatives. At the time of its creation, the work was apparently intended to be appropriated for the genre of the homeland novel, as Heinrich Zerkaulen's review would like to believe. If, according to him, “the warm breath of happy homeland love blows through this novel”, the problem-oriented nature of the events remains completely ignored.

Analytical approaches

With the depiction of the winemaking misery, Clara Viebig has done the winemakers on the Moselle and in other wine-growing regions of Germany "a service that should not be underestimated," because this novel was "more effective than all the petitions and demonstrations" with the sensation it caused.

The drawing of numerous contrasting figures indicates a changing society. This is particularly embodied in the father-son conflict between Simon and Joseph Bremm. Here a "gap between two deeply opposing forms of life becomes apparent", namely the traditional but hopeless clinging to the tradition of the fathers, which is opposed to the political ideas of a Rhenish republic, which, however, must also fail under the given conditions.

The construction of numerous figures gives Clara Viebig the opportunity to use a variety of voices in order to prevent a one-sided representation. Outcasts like old Schommer and her little Pittchen, Joseph, the revolutionary of the Bremm family, and also people from higher social classes like father and son Dousemont or the village pastor should be mentioned here. The drawing of these minor characters, who are given a moderate dialect by Clara Viebig, depending on their social position, gives the novel depth and insights into the social structure of a Moselle village of over 100 years.

The typical strong Viebig female figures are also not missing, the problems of which are shaped in a love story, dealing with illegitimate pregnancy and thoughts on infanticide. Nettchen Schmitz plays a central role here. Dealing with a pregnancy out of wedlock, which the hunchbacked seamstress wanted and received extremely positively, is also a support for Maria during this time. Maria's position as a single mother, however, benefits in particular from the social upheaval, in which Simon can no longer exercise the function of the head of the family and Maria's help is urgently needed for economic reasons alone.

Even if, in Viebig's novel, the politically motivated struggle for winegrowing tax does not belong to the domain of women's duties, women know how to adapt to the changed circumstances in times of need and upheaval much better than men, as they adapt to traditional ideas from the patriarchal-oriented imperial era can hardly escape. So it turns out that “the man is consistently less able to cope with the changed situation and, to his personal disadvantage, cannot emancipate himself from his own role expectations.” Simon Bremm in particular is incapable of his work and social behavior, both professionally and privately to change. Anna Bremm, who is initially shown as a faithfully obeying wife, gains more and more initiative in the course of the plot and makes far more sensible decisions to maintain the family than her husband.

In this respect, the novel not only reflects the misery of the winegrowers in their village community in the 1930s, but also gives a deep insight into the harrowing social upheavals that affected society as a whole at the political and social level at that time.

reception

The preprint in "Velhagen and Klasings MONTHS" in 1927 was followed by a total of 22 editions (22,000 copies) in book form from 1927 to 1930. In 1928 there were translations into English and Russian. In addition, the novel was included in the eight-volume work edition published in 1930. After that, interest in this novel died out for almost 50 years.

Excerpts were only included again in 1979 in an anthology on the Cochem-Zell district . These are significant in that they bear witness to a renewed interest in Clara Viebig and her works. In the following years an excerpt from this novel was included in almost every Moselle anthology.

In 1983, in the wake of the dawning Clara-Viebig renaissance, the novel was reissued by Edition Ausonius in Trittenheim / Mosel in a slight reduction, and from 1988 to 1994 three editions were published in quick succession by Moewig. In addition, the novel was published in 1994 by Rhein-Mosel-Verlag as the first volume of a "Clara-Viebig-Werkausgabe". However, this edition of the work was not continued.

In 2007 a recording was published as an audio book, followed by a second edition by Rhein-Mosel-Verlag in 2012. Particularly in the Moselle region around the Bremmer Calmont , the novel enjoys lively regional interest in the presence of this.

expenditure

Print media

  • Clara Viebig: The golden mountains. Pre-printed in Velhagen & Klasings MONTHS, Volume 41, 1926/1927, Volume 2, Part I, Volume 11, July 1927 (449–486), Part II, Volume 12, August 1927 (561–586) .
  • Clara Viebig: The golden mountains. 1st - 22nd Ed., Stuttgart, Deutsche Verlags-Anstalt 1927–1930 [350 pages].
  • Clara Viebig:: Selected works (8 vols.). Vol. 4: The golden mountains , 21. – 22. Tsd., Stuttgart, Deutsche Verlags-Anstalt 1930, [350 pages].
  • Clara Viebig: The golden mountains. Trittenheim, Edition Ausonius published by Verlag Heinen 1983 [214 pages].
  • Clara Viebig: The golden mountains. 1st - 3rd Ed., Rastatt, Moewig 1988-1994 [286 pages].
  • Clara Viebig: Clara-Viebig-Werkausgabe , Vol. 1: The golden mountains. ed. v. Knowledge Advisory board of the Clara-Viebig-Gesellschaft Bad Bertrich, with an afterword by Ursula Graf, Briedel, Rhein-Mosel-Verlag Houben & Radermacher 1994 [257 pp.].
  • Clara Viebig: The golden mountains. 2nd edition (paperback edition), Zell, Rhein-Mosel-Verlag 2012 [238 pages].

Sound carrier

  • Clara Viebig: The golden mountains. Daun, Radioropa audio book, spoken by Stefanie Otten, 2007.

Translations

  • Clara Viebig: Золотая гора; Zolotye Gory (Russian ›The Golden Mountains‹), trans. v. R. Gordon, Moscow, Kniga 1928 [221 pp.].
  • Clara Viebig: The golden hills (English ›The golden mountains‹), trans. v. Graham Rawson, London, The Bodley Head 1928 [312 pp.].

Web links

Individual evidence

  1. ↑ Porten and Munden are easily recognizable as the municipalities of Bremm (Porten) and Neef (Munden), especially since the “Warmenberg” mentioned must be Bremmer Calmont . Compare with "The golden mountains." Backgrounds and scenes of the Moselle and winegrowers novel by Clara Viebig, in Hermann Verlag : Literarian Schauplätze an der Mosel, Husum 1990, pp. 69–76; see. also the website of Bremm , http://www.bremm.info/fl_xga.htm?/viebig.htm
  2. ^ Viebig, Clara: The golden mountains, Stuttgart: DVA 1927, p. 35. About this song: The casino in Traben-Trarbach had announced a competition in 1846 for the best Moselle song. Initially, "Des Deutschen Rheines Braut" was selected, but since it did not gain popularity, attention was drawn to the second winner a year later. The "Moselle song" comes from the Trier cathedral organist Georg Schmitt ; The Protestant pastor Theodor Reck , who was born in Neuwied , wrote the verses. The breakthrough came when the song was rehearsed by the men's choir "Liederkranz Trier" and distributed on the Moselle. Cf. The emergence of the Moselle song, in: Joseph Groben: Mosella. Historical-cultural monograph, Trier: Weyand 2011 (272-276).
  3. ^ Viebig, Clara: The golden mountains, Stuttgart: DVA 1927, pp. 7–8.
  4. ^ Viebig, Clara: The golden mountains, Stuttgart: DVA 1927, p. 35.
  5. ^ Viebig, Clara: The golden mountains, Stuttgart: DVA 1927, p. 9.
  6. ^ Viebig, Clara: The golden mountains, Stuttgart: DVA 1927, p. 23.
  7. ^ Viebig, Clara: The golden mountains, Stuttgart: DVA 1927, p. 62.
  8. ↑ Clara Viebig vehemently opposed Dorten when he contributed a preface to the French translation of her novels Töchter der Hekuba and Das Rote Meer : “It is sad enough that I am completely powerless against my name and his for even a moment called together to find “. Clara Viebig: “More than two years ago…” letter, distancing from Dortens foreword to ›Mothers and Sons‹, in: Die Literatur, bi-monthly publication for literary friends, 26th year, August 10, 1924 (637).
  9. ^ Viebig, Clara: The golden mountains, Stuttgart: DVA 1927, p. 13.
  10. ^ Viebig, Clara: The golden mountains, Stuttgart: DVA 1927, p. 316.
  11. ^ Viebig, Clara: The golden mountains, Stuttgart: DVA 1927, p. 320.
  12. ^ Viebig, Clara: The golden mountains, Stuttgart: DVA 1927, pp. 321–323.
  13. ↑ See Hermann Erens: Literarian Schauplätze an der Mosel, Husum 1990
  14. ↑ The vintner unrest is historically guaranteed, s. http://www.finanzamt-bernkastel-wittlich.de/wir_ueber_uns/chro_fa_bk.htm ; also Stefan Kritten: Winegrowers' unrest on the Middle Moselle and storming of the tax office in Bernkastel - the echo in literature, politics, jurisprudence and press, in: Bernkastel-Kues in history and present, ed. vd City of Bernkastel-Kues, Bernkastel-Kues 1991 (369-387). Ursula Graf also shows that Clara Viebig adheres closely to the historical models. Cf. Ursula Graf: Afterword, in: Clara Viebig: The Golden Mountains, Zell 2008.
  15. ↑ According to Urszula Michalska, the “scenic and social milieu” is first introduced, then the novel unfolds the quality of a “descriptive report compiled from sociological complexes of facts”. Urszula Michalska: Clara Viebig. Attempt a monograph, Poznań, o.V., 1968, p. 133 and p. 132.
  16. ↑ Josef Zierden: Vintner distress and vintner uprising on the Moselle. Clara Viebig's novel "The Golden Mountains", in: Literary Travel Guide Rhineland-Palatinate, ed. v. Josef Zierden, Frankfurt / Main: Brandes and Apsel 2001 (138-139), here p. 138.
  17. ↑ Simone Orzechowski: The water in Clara Viebig's Zeitromanen, in: Pierre Béhar u. a. (Ed.): Méditation et conviction. Melanges offerts à Michel Grunewald, Paris: L'Harmattan 2007 (437-450), here pp. 437 and 438.
  18. ^ Karl Marx: Justification of the ++ correspondent from the Mosel, in: Rheinische Zeitung No. 15 v, January 15, 1841; see. http://mlwerke.de/me/me01/me01_172.htm
  19. ↑ Georg Weerth : Die Rheinischen Weinbauern , in: Selected works, ed. v. Bruno Kaiser, Frankfurt / Main: Insel 1966, p. 39.
  20. ^ Helmut Lissmann : Liesbet Dill, Munich: Buch & Media 2009, p. 182.
  21. ↑ According to Sascha Wingenroth, the design of the crowd scenes shows people in their "dependence on the forces of nature," whatever this assessment is meant. Sascha Wingenroth: Clara Viebig and the women's novel of German naturalism, Freiburg im Breisgau 1936, p. 65.
  22. ↑ Johannes Dohler: A political homeland novel. "The golden mountains" by Clara Viebig, in: Heimat between Hunsrück and Eifel, No. 6/1975, 22nd year, p. 3.
  23. ↑ Trudi Klar: The Moselle landscape in the literature of the 20th century, in: Mosel Eifel Hunsrück. The district of Cochem-Zell, ed. v. District of Cochem-Zell, Cochem 1979 (27-32), here p. 28.
  24. ↑ The interpretations by Barbara Krauss-Theim are also written in this sense . For her, Simon Bremm in particular is the “prototype of the peasant people supported by the clod ideology.” Barbara Krauss-Theim: Naturalism and Heimatkunst bei Clara Viebig, Frankfurt a. M .: Peter Lang 1992, p. 230. In such a view, the multiple refraction of this figure through irony, the portrayal of his nonsensical behavior and his failure, which ultimately reaches its low point in attempting suicide, is neglected.
  25. ↑ Claudia Schmitt: Winzernot on the Moselle in the 20s based on the novel "The Golden Mountains" by Clara Viebig, in: Yearbook Bernkastel-Wittlich 1991, ed. v. District of Bernkastel-Wittlich, Wittlich 1991 (336-341), here p. 336.
  26. ↑ Helmut Lissmann states accordingly: "The golden mountains are only an unclouded natural idyll to the eye of the uninvolved observer." Helmut Lissmann : Liesbet Dill , Munich: Buch & Media 2009, pp. 182-183.
  27. ↑ Even before the novel began, Anna Bremm's parents died. Two of Bremm's sons died in World War I, and Jakob Bremm died during the action; the loss of Mothers Loesenich and Schommer and Heinrich Dousemont weighed heavily; Heinrich's death also causes the death of old Dousemont.
  28. ↑ Heinrich Zerkaulen: Clara Viebig's new novel, in: Das literäre Echo, 30. Jg., 1927, p. 76 f.
  29. ↑ Doris Rigaud: The country around the Moselle and Eifel in the work of Clara Viebig, in: Trierisches Jahrbuch 1956, Trier: Stadtbibliothek Trier und Verein Trierisch (ed.), 1956 (47-54), here p. 51.
  30. ↑ Sascha Wingenroth: Clara Viebig and the women's novel of German naturalism, Freiburg im Breisgau 1936, p. 66. Wingenroth, however, draws a gap between a life rooted in the earth and a life constructed in thought, cf. ibid.
  31. ↑ The identity of the name of the protagonist "Nettchen" in Gottfried Keller's novella Clothes Make People may be intended; after all, there are two strong female characters who successfully take their lives into their own hands.
  32. ↑ Simone Orzechowski: Illness and Affliction in Clara Viebig's Zeitromanen, in: Volker Neuhaus and Michel Durand (ed.): The province of the feminine. On the narrative work of Clara Viebig, Bern: Peter Lang 2004 (39-75), here pp. 58–59 and p. 67. In addition, the figure of Nettchen is used to "deal with the disease from different, both social and psychological perspectives" illuminated. Ibid, here p. 41.
  33. ↑ See Doris Smith Dedner: From Infanticide to single Motherhood: The evolution of a literary theme as reflected in the works of Clara Viebig, Diss., Indiana University 1979, pp. 69-105; in particular: "The deeper reason for the happy ending is [...] to be found in the Bremm family structure. [...] Simon is no longer an effective breadwinner ”, p. 78 and p. 80.
  34. ↑ Klaus A. Sebastian: The Golden Mountains - An Analysis of Selected Thematic Focuses, on: http://www.clara-viebig-gesellschaft.de/index.php/interpretationen , May 2012. Sebastian's extensive analysis offers numerous revealing aspects of the individual figures.
  35. ↑ See excerpts in Trudi Klar: The Moselle Landscape in 20th Century Literature using the example of the novel ›The Golden Mountains‹ v. C. Viebig, in: Mosel Eifel Hunsrück - Der Landkreis Cochem-Zell, Cochem: Landkreis Cochem-Zell (Ed.), 1979 (27-32).
  36. ↑ The following should be mentioned: Claudia Schmitt: Winzernot an der Mosel in the 20s, in: Yearbook Bernkastel-Wittlich 1991, Wittlich, ed. v. District of Bernkastel-Wittlich, 1991 (336-341), youth on a cult tour: literary reports, Bad Bertrich, state working group of literary societies in Rhineland-Palatinate, 1998 (48-54), literary travel guide Rhineland-Palatinate, ed. v. Josef Zierden, Frankfurt a. M., Brandes & Apsel, 2001 (138-140), Mosella. Historical-cultural monograph, ed. v. Joseph Groben, Trier, Weyand 2011 (151 and 248) and Das Moseltal, ed. v. Joseph Groben, Trier, Weyand 2015 (146-147).
  37. ↑ Furthermore, some prints are to be named as serial novels in daily newspapers as well as the facsimile of a handwritten working manuscript, in: Clara Viebig reading book, compiled. v. Bernd Kortländer , Cologne, Nyland 2015 (116-117).