A doppelganger

Theodor Storm

A doppelganger is the title of a late novella by Theodor Storm . It appeared in sequels between October 1 and December 15, 1886 in the first six issues of the magazine Deutsche Dichtung , which was founded by Karl Emil Franzos in the same year and published until his death. In 1887 it was published by Gebrüder Paetel Verlag in the anthology In Small People together with the short story Bötjer Basch in a slightly revised version.

It is one of his socially critical works, is subdivided into a framework and an internal plot and tells the fate of a former prisoner named John Hansen, who after his release has difficulties to gain a foothold in society and fails due to social exclusion and his own personality problems.

By circling the individual and societal problems of released prisoners, Storm anticipated issues of rehabilitation that were later dealt with many times. The hopelessness of Hansen's life situation aroused the sympathy of many contemporaries and led, among other things, to the establishment of a foundation for needy workers in Husum . The novella served as a template for the film John Glückstadt by Ulf Miehe .

Form and content

The story about John Hansen arises from a chance encounter between the nameless narrator and a chief forester in Jena , whose wife comes from Husum and was taken in by his parents after the miserable death of her father.

The work is located on three time levels. It begins with the briefly hinted presence of the chronicler, who remembers a trip that took him to Jena “a few years ago”. At the end of the novel, this level is reached again when he decides to visit the friends he made there. The painted memory of the forester couple forms the idyllic framework for the extensive internal narrative about John Hansen, which takes place about 30 to 40 years before the narrative.

Frame narration

Fox tower around 1900

The traveler, a lawyer, has quartered himself in the "Gastwirtschaft zum Bären" in Jena, like Martin Luther once did . Tired of a long tour of the city and climbing the Fuchsturm , he makes himself comfortable in an armchair in a cozy corner of the guest room and falls asleep . When he wakes up, he hears a sonorous male voice and sees an elderly gentleman whom he classifies as head forester "according to his clothes" . The latter is talking to a young man and is critical of poetry , which the narrator later takes up. After the other has left the inn, the two start a conversation, and soon the likeable man invites him to his forestry shop .

The next morning the lawyer set out and, according to the forester's precise description, reached a forest path that led him under shady treetops to the man's beautiful property, where he was greeted by the barking of several hunting dogs who had just come out of the house at a whistle Give Förster's rest. He does not appear alone, but in the company of his delicate, "almost girlish" wife Christine. After a walk in the surrounding forest and lunch, he is assigned a quiet room on the first floor. He takes a long nap , goes downstairs and talks to the "noble woman" whose husband had to leave the estate for a short time. It turns out that both of them come from the same city in which she, child of the worker John Hansen, lived , albeit in poor conditions, and which she left almost 30 years ago. She describes her father fragmentarily and sometimes contradictingly as a loving person with "beautiful big eyes", in whose arms she felt comfortable, then again as violent, beating her and her mother. When the lawyer cannot remember the man's name, she exclaims: "You should have known him ... You would have taken those who are called the little people even deeper into your heart!" wild young fellow ”, although it had a different name. A little later the concerned head forester asks him to avoid the subject and explains that the father of his wife John Glückstadt was named "after the place where he served a prison sentence as a young person". Christine did not know anything about this name and should not find out because she adored it childlike and the truth would shock her.

When the narrator looks out into the summer night from his window after dinner, he thinks back to his hometown and imagines what happened 30 years ago. He remembers an abandoned well and a tiny cottage in a wide field, from which he heard a cursing male voice, "booming blows, the shattering of vessels", in between "the whimper of a woman's voice."

Internal narration

John Hansen is a strong, quick-tempered person from a neighboring village who, as a "capable soldier", almost stabbed a superior who had insulted him "with the short side gun ". He couldn't find a job and met the drunkard rascal Wenzel, with whom he idly spends his time. More out of cockiness than criminal energy - "It should be fun" - he lets himself be tempted into an "incredibly cheeky burglary" in which the ex-senator Quanzberger, a gaunt, toothless gentleman, is gagged and his servant almost slain. Soon he is caught and to six years in prison sentenced, which shows that some of dignitaries expressed their regret at the descent of the lads.

Fountain

After serving his sentence, Hansen, who is now called "John Glückstadt" after the location of the detention center, does not find a job at first, despite the good credentials, as he is avoided and one is afraid of the dangerous-looking man with the dark eyes. Finally he is hired as a chicory cultivation supervisor , where he is responsible for "fifty or sixty women" who have to pull the weeds under his stern gaze . He falls in love with the passionate seventeen-year-old Hanna, whom the narrator can remember well. One day when Hansen saved her from falling into an unsecured well, she said yes. He moves into her hut where she lives with her mother.

The humble marital happiness is exposed to hostility and prejudice from fellow human beings. At a company party for the chicory factory , others cut and ridicule him. Only the mayor stands up for the stigmatized couple, but does not believe in future happiness because Hansen is brooding over an unsolvable puzzle . When the unmarried sister-in-law of the manufacturer throws in that he should stop brooding, he replies, the riddle is “... how do I find my lost honor again? - He will never solve it. ”Soon the couple will have a daughter, Christine, under difficult circumstances - the wet nurse takes her time, since she can only expect a few shillings. Tensions increase, and more and more arguments arise, in which Hanna also has her part with loose phrases. Hansen senses that society cannot forget and laughs at him. At some point he begins to hit his wife and even the child, always regrets this and asks for forgiveness, which Hanna regularly grants him when she implores him to spare the child. When Hanna provocatively reminds him of his time in prison one day after the death of her mother, he pushes her away so violently that she falls into the stove and dies. With her last breath, she forgives him. He hides death, lovingly cares for his daughter and takes in the caring beggar "Küster-Mariken", who supervises Christine and finally teaches the hardworking girl so that she learns to write earlier than other children. During one terrible winter, when the birds fell dead from the sky, he thought of the wooden fence that he had put up around the dangerous well to protect Hanna. "If the boards had once protected his wife, they could now warm his child."

One day he meets Wenceslaus. He wants to avoid any contact and send him to the devil, but the village policeman Lorenzen comes by, considers the encounter suspicious and reports it to the mayor. But he still values ​​Hansen as a "reputable" person who tries to "get himself and his little one through" and does not want to jeopardize his work, but he cannot convince the official. Angry about the rejection of his conclusions, the gendarme spreads the story to workers and craftsmen, who passed it on, so that soon the whole city knows the incident and is speculating about dangerous plans. Although Wenzel is no longer seen, he leaves “the devil's trail” - Hansen is fired and later only finds poorly paid field work for a short time.

The situation becomes so oppressive that he asks his daughter if she would beg, but shrinks when she begins to cry. During the night he desperately thinks about who could help him until he thinks of the potato field next to the well, which is now hidden by a high field of wheat . He sneaks out of the hut, goes to the field in almost impenetrable darkness and gathered some potatoes together. Overwhelmed by feelings of guilt, he is about to pour everything back, but then says: “I can't, dear God! My child! It is to be nailed to the cross; let me save it, I'm only human! ”He gropes his way back and feels how the high ears touch his face. Here Hanna fell into his arms ten years ago. Then he stumbles and falls into the depths.

After a police search for him remains unsuccessful, opinions differ. While some believe he fled to meet Wenzel, others speculate that he looked for death on the dike and was driven out by the ebb . The mayor is asked for his opinion: “After this John had served his sentence by law, he was left, as usual, to be hunted down by the people around him. And she has now hounded him to death, because she is merciless ... he now belongs to another judge. "

Frame narration

The narrator realizes that he is still standing at the open window and has seen a human life in a "semi-visionary" state. In his mind's eye he sees the crouching figure of the dead man in the depths of the well and remembers the testimony of a frightened boy who claimed to have heard a hollow voice from the cornfield.

The day before his departure, he tells the forester what he saw during the night. At first he thought it was poetry, but a fortnight later he confessed in a letter that he had told his wife everything according to his story, since such a secret between the spouses would be bad. After the correspondence has continued over the years, the narrator wants to go to his friends tomorrow.

Origin and title

Storm wrote the work in the summer months of 1886 and interrupted his work on the novellas Der Schimmelreiter and A Confession from July to December 1886.

Erich Schmidt

Initially, he had rejected Karl Emil Franzos' request of June 25, 1886 for an article for his magazine. The fact that the novella should be published serially appeared to the author, who was suffering from health problems and who had been stressed by other novella projects, like a "hunted down" because he always corrected texts and therefore feared that the whole thing would no longer be subject to a "revision", so that "errors" could arise. would sneak in. As he wrote to Franzos on July 5 and Erich Schmidt on September 16, 1886, statements by his sister-in-law Charlotte Storm about a “somewhat scary death of a Husum man” had impressed him very much, and almost overnight - “How I get up next morning is the story finished in my head ”- he got an idea of ​​the structure and content of the work that was still ahead of him. Since Storm had the beginning of a novella printed for the first and only time while he was still writing it, the work occupies a special position in his oeuvre. His novella was initially intended to have the title “The Fountain” and thus indicate the central symbol used as a leitmotif . In the letter accompanying a 48-page manuscript to the editor, Storm wrote on August 11, 1886: “The title is almost impossible to find; I will call it for the time being: A doppelganger. ”With this title he was able to visualize the past and organically link the levels of the narrative with one another, even if he found it a bit“ screwed ”, as he told his nephew Ernst Esmarch in a letter dated 19th May 1887 announced.

In order to design a certain subject, Storm apparently outlined the content of a work and also sketched the sequence of the scenes. The draft of the doppelganger begins with a woodcut-like synopsis, which contains the beginnings of many atmospheric scenes: “An eerie, desolate person, convict, hoarse voice, marries and the like. lives near Husum, there are no children, mistreats the woman, pale and degenerate, heard their screams in passing, is feared and avoided; we children, when he met us in the twilight, ran as we could into the next alleys. A child, a girl, is born to the couple, fine, delicate, not unhealthy ... ”These scenes gradually merge into the narrative in the course of further work. In the concept paper of the novella there are parts that Storm took almost literally in notebook , fair copy and print.

Storm occasionally had copies made of his manuscripts, fearing that they might get lost in the mail. Because the distance from Hanerau-Hademarschen to Vienna seemed too long for him, he asked his daughters Gertrud and Friederike to copy his late novella. He corrected the copy, which is now in the Husum Storm archive, himself, gave it the title and signed it. Examination of the notebooks and fair copies of Storms revealed that he often rigorously condensed his manuscripts and removed long passages. For example, Franzos reported that he had deleted a “long, painstakingly detailed description of the garden at the forester's house, which was beautiful in its own way, at the last moment” because, according to his “fine feeling”, it had inhibited the development of the event. Storm described the novella as a "sister of drama" and wanted to avoid the dramatic flow being dammed up by elongated characterizations and landscape descriptions, such as those found in Adalbert Stifter's work .

Ferdinand Tönnies

The opening scene is based on the “old pub zum Bären”, in which Storm stayed on his return journey from Weimar in 1886. In the dining room he looked at a painting by Otto Schwerdgeburth , which Martin Luther's stay during the trip from the Wartburg to Wittenberg on March 3rd / 4th. March 1522 shows and can still be seen there today.

In May 1886, two years before his death and already ailing, he had embarked on a long journey with his friend Ferdinand Tönnies and his daughter Elsabe. The route led her from his home in Hademarschen via Hamburg to Braunschweig , where he spent hours in the house of the publisher Westermann and met Wilhelm Raabe . Via Nordhausen and Erfurt it went on to Weimar, where Elsabe began studying at the music school.

There Storm took part in the first general assembly of the Goethe Society , met his friend Erich Schmidt, with whom he had corresponded for years, and visited Goethe's house on Frauenplan, which was about to open as a museum . During a dinner with Grand Duke Carl Alexander von Sachsen-Weimar-Eisenach, he met Heinrich von Eggeling , curator of the Friedrich Schiller University in Jena, and was invited by him. At the audience he did not appear with cylinder , but was wearing a floppy hat to get through this "revolution dummy" to show his rejection of feudalism.

Tönnies later confided in his memory book "Gedenkblätter" that he had "then met Storm again in the 'mythological' Jena, with the then university curator Eggeling" and dined with the "excellent Professor Berthold Delbrück and his clever daughters". Storm is again "with fresh strength, so that in the evening he could still make the way with us to the lovely viewpoints of the forester's house, which took an hour to climb." From this it can be concluded that from the stay in the city Impulses for the frame story ran out.

Individual questions

The Hansen tragedy appears as a phenomenon of poetic memory. The forester's explanation stimulates the imagination of the narrator, who heard about a John Glückstadt as a child, but initially cannot remember. It is noticeable that the couple give him only a few details from Hansen's life, but encourage him to paint the event in a “semi-visionary state” poetically down to the smallest details. In contrast to Christine's vague childhood impressions, his imaginary images have poetic potential and can even illuminate the circumstances of death about which nothing was known until his visit to his new friends and which as a lawyer he can explain credibly.

In Storm's story, the family is not a harmonious place of retreat and is haunted by dangerous instincts, whose destructive power is only dispelled by death. With the conspicuously contradicting and fragmentary memories of Christines, an ambivalent picture of John Hansen emerges. If she describes him on the one hand as a caring father who takes her in his arms so that she can fall asleep on "the warm chest of the mighty man" in spite of strong feelings of hunger , on the other hand, fearful images of a brutal, cursing being who beats her and her mother rise up from which she fears and hides. Since she cannot rationally grasp the "terrible picture", she wants to suppress it , but can not escape the " double " shadow.

Annette von Droste-Hülshoff

The eerie motif of the doppelganger, which is used in works such as ETA Hoffmann's novel The Elixirs of the Devil , Edgar Allan Poe's story William Wilson and Oscar Wilde's novel The Portrait of Dorian Gray , echoes in the title of the novella and is implemented here idiosyncratically. Research examined it with regard to Droste-Hülshoff's novella Die Judenbuche mainly because both works work with symbols of things - the beech, the fountain - that combine questions of individual guilt and the problems of the milieu. Storm varied the romantic theme by not dealing with two confusingly similar or identical people, but with different images of a man as reckless John Hansen and ex-prisoner John Glückstadt in his daughter's memory. For Walter Zimorski, John Hansen also becomes a doppelganger because the intolerance of the citizens destroys his social self and an identity with the social norms of society is not possible because of his uncontrolled affects. Only through the synthesis of the framework and the internal narrative can the reader understand the “whole person” John Hansen.

The figure of the first-person narrator, which has received little attention in research, is characterized rather superficially, but is recognizable by its tendency to rest and to be sleepy . Already in the first scene of the frame story, the “summer weary” lawyer sits down in a cozy corner of the guest room and falls asleep. The next day, after a walk in the woods and lunch, he falls into an unusually long sleep. According to Gideon Haut, this state has poetic potential and unfolds the taboo story about Christine's father, triggering the extensive internal plot as a quasi-memory in the narrator's inner eye. After the afternoon nap, he speaks to Christine and the forester and confesses that he is occasionally carried away "by a sudden thought until the present is forgotten". At home, his brother said he shouldn't be disturbed because "his mouse jumped out of his mouth", reminding him of the popular belief that the soul leaves the body in the form of a mouse. Storm already hints at the relationship between sleep and poetry in the entrance scene in the dining room, when the forester speaks to his friend and tells him that he is a dreamer and has already written a poem .

Background and interpretation

A doppelganger is one of Storms late socially critical works and was established in 1887 by his friend Alfred piping in the Prussian yearbooks with Zola's novel Germinal compared.

In contrast to the framework story with the cozy inn and the beautiful forestry department, John Hansen's world is portrayed darkly and realistically. He is the "gloomy John" who stabs his superiors by a hair's breadth with the bayonet, has to supervise the chicory cultivation, where the ex-senator breaks in, kills his wife in a rage and finally plunges into the deep "flapper well". In addition to the dark facilities, Storm also describes the father's human core and shows him as a reliable worker who cares for his daughter and rejects his former companion Wenzel.

Storm was often prevented from writing poetry by his judicial work, but on the other hand she was inspired by her in terms of ideas and material , which is evident in this novella or in Out in the Heidedorf . As Tönnies reported, the two talked "about democracy and ... socialism", with Storm speaking with the "sympathy of a philanthropist" who "did not want to be a politician". With all his understanding for the situation of the workers, he did not represent any class struggle views. The hope seemed to him to lie not in the "liberation of the working class", but in their bourgeoisisation, which is indicated in the novella, in which John Glückstadt's daughter rises to the middle class through her marriage . After the 1878 assassinations of Kaiser Wilhelm I , which Otto von Bismarck took as an opportunity to enforce the socialist laws, he wrote to Gottfried Keller that it was "extraordinary how the rabble of the dozen can throw dirt at one's natural participation and turn it into disgust." He confessed to his nephew Ernst Esmarch that in the doppelganger as in the "Geschwisternovelle Bötjer Basch" the gospel of love is hidden.

The plant gave an impulse to found the “Storm Foundation for the Well-Being of Workers”, which existed until the First World War . The idea for this came from Karl Heinrich Keck , director of the Royal High School in Husum, who expressly referred to Storm to this novella, which depicts the social misery of a worker. On the occasion of his 70th birthday on September 14, 1887, many people from Husum gathered in the auditorium of the grammar school, where a celebratory lecture was given and five songs were performed. In the hall of the “Stadt Hamburg” hotel, there was then a “big celebratory meeting”. The proceeds from both celebrations formed the basis for the foundation, which Storm had approved and whose interest should benefit a needy working-class couple once a year.

Johannes Wedde

The actual birthday party took place in Storm's retirement villa and later in "Thiessens Gasthof" in Hademarschen, where the jubilarian, who preferred natural simplicity, appeared in tails and "with medals around his neck and on his chest".

While Storm was still alive, Johannes Wedde , a member of the Social Democratic Workers' Party , paid tribute to Theodor Storm in his short book . Some features of his picture are the novella as a “dashing protest” against the conditions of the time. For him the story was a “time picture executed with classic mastery” from which “the whole misery of the reality of 1887 and 1888” cries out. The novella introduces an outcast and delinquent , a “man of the present”, on whom the “society of rich solvent morals” - represented by the sister-in-law of the chicory manufacturer - looks down with “virtuous contempt” like a morally depraved being.

According to Rüdiger Frommholz, this approach is already evident in the novella Auf dem Staatshof , published in 1859 , in which Storm dealt with problems of traditional values ​​of the nobility and, in the form of the unfit protagonist, indicated the end of the feudal era. With John Hansen, he is now for the first time moving a proletarian into the center of a work who becomes criminal less from criminal inclination than from situational constraints such as lack of control, seduction and unemployment , and who carries the stigma of the outcast until his miserable end . The clear contrast between the idyllically toned frame narrative and the relentlessly gloomy, unmasking internal story already bears naturalistic features. The seemingly parodic set pieces in the introduction suggest for him that Storm has gradually lost faith in the security of the bourgeoisie . Storm shows a subtle sense of justice and addresses issues of the 20th century with questions such as the possible rehabilitation of prisoners and the right to work . The threatening well is a symbol of the ongoing existential danger of disenfranchised people.

literature

• Gideon Haut: a doppelganger. In: Storm-Handbuch, Metzler, Stuttgart 2017, ISBN 978-3-476-02623-1 , pp. 240–243
• Gideon Haut: Theodor Storms “A Doppelganger” and the criminal law or why John Hansen risks his neck. In: (Ed.) Yvonne Nilges poet lawyers. Studies on the poetry of law from the 16th to the 21st centuries. Würzburg 2014, pp. 163–177
• Rüdiger Frommholz: A doppelganger. In: Kindlers New Literature Lexicon. Volume 16, Munich 1991, pp. 27-28
• Karl Ernst Laage : Jena and Husum: Two contrasting scenes from the convict novella "A double". In: Karl Ernst Laage: Theodor Storm for his 200th birthday. Articles, studies , documents. Boyens, Heide 2017, ISBN 978-3-8042-1460-6 , pp. 118-122

Web links

Commons : Ein Doppelgaenger (Storm)  - collection of images, videos and audio files

Wikisource: A doppelganger  - sources and full texts

Individual evidence

1. ^ Rüdiger Frommholz: A double. In: Kindlers New Literature Lexicon. Volume 16, Munich 1991, p. 27
2. ↑ Gideon Haut: A doppelganger. In: Storm-Handbuch, Metzler, Stuttgart 2017, p. 240
3. ↑ Theodor Storm: A doppelganger. In: All works in three volumes. Volume 2, Phaidon, Essen, p. 701
4. ↑ Theodor Storm: A doppelganger. In: All works in three volumes. Volume 2, Phaidon, Essen, p. 708
5. ↑ Theodor Storm: A doppelganger. In: All works in three volumes. Volume 2, Phaidon, Essen, p. 711
6. ↑ Theodor Storm: A doppelganger. In: All works in three volumes. Volume 2, Phaidon, Essen, p. 713
7. ↑ Theodor Storm: A doppelganger. In: All works in three volumes. Volume 2, Phaidon, Essen, p. 714
8. ↑ Theodor Storm: A doppelganger. In: All works in three volumes. Volume 2, Phaidon, Essen, p. 715
9. ↑ Theodor Storm: A doppelganger. In: All works in three volumes. Volume 2, Phaidon, Essen, p. 722
10. ↑ Theodor Storm: A doppelganger. In: All works in three volumes. Volume 2, Phaidon, Essen, p. 741
11. ↑ Theodor Storm: A doppelganger. In: All works in three volumes. Volume 2, Phaidon, Essen, pp. 744-745
12. ↑ Theodor Storm: A doppelganger. In: All works in three volumes. Volume 2, Phaidon, Essen, p. 748
13. ↑ Theodor Storm: A doppelganger. In: All works in three volumes. Volume 2, Phaidon, Essen, p. 749
14. ↑ Gideon Haut: A doppelganger. In: Storm-Handbuch, Metzler, Stuttgart 2017, p. 240
15. ^ Karl Ernst Laage : Theodor Storm. Boyens, Heide 1999, p. 67
16. ↑ Quoted from Gideon Haut: A double. In: Storm-Handbuch, Metzler, Stuttgart 2017, p. 240
17. ↑ Walter Zimorski: Scandalous social conflict: The case of John Hansen alias John Glückstadt, workers misery and citizen happiness in Storm's socially dramatic "doppelganger" novella. In: Ein doppelganger, Legal Contemporary History, Section 6, Law in Art - Art in Law. De Gruyter, Berlin 2013, p. 100
18. ↑ Quotation from: Walter Zimorski: Scandalous social conflict: The case of John Hansen alias John Glückstadt, Arbeiterlend und Bürgerglück in Storm's socio-dramatic "doppelganger" novella. In: Ein doppelganger, Legal Contemporary History, Section 6, Law in Art - Art in Law. De Gruyter, Berlin 2013, p. 100
19. ↑ Gideon Haut: A doppelganger. In: Storm-Handbuch, Metzler, Stuttgart 2017, p. 242
20. ^ Karl Ernst Laage: Theodor Storm. Boyens, Heide 1999, p. 73
21. ↑ Quoted from: Karl Ernst Laage: Theodor Storm. Boyens, Heide 1999, p. 75
22. ^ Karl Ernst Laage: Theodor Storm. Boyens, Heide 1999, p. 76
23. ^ Karl Ernst Laage: Theodor Storm. Boyens, Heide 1999, p. 73
24. ↑ Quoted from: Karl Ernst Laage: Theodor Storm. Boyens, Heide 1999, p. 80
25. ^ Karl Ernst Laage: Jena and Husum: Two contrary scenes of the convict novella "A double". In: Karl Ernst Laage: Theodor Storm for his 200th birthday. Articles, studies, documents. Boyens, Heide 2017, p. 118
26. ^ Hartmut Vinçon: Theodor Storm. In self-testimonials and picture documents. Rowohlt, Reinbek bei Hamburg 1972, p. 148
27. ^ Karl Ernst Laage: Jena and Husum: Two contrary scenes of the convict novella "A double". In: Karl Ernst Laage: Theodor Storm for his 200th birthday. Articles, studies, documents. Boyens, Heide 2017, p. 118
28. ^ Hartmut Vinçon: Theodor Storm. In self-testimonials and picture documents. Rowohlt, Reinbek bei Hamburg 1972, p. 148
29. ↑ Quoted from: Karl Ernst Laage: Jena und Husum: Two contrary scenes from the convict novella "A double". In: Karl Ernst Laage: Theodor Storm for his 200th birthday. Articles, studies, documents. Boyens, Heide 2017, p. 119
30. ↑ So Gideon Haut: A doppelganger. In: Storm-Handbuch, Metzler, Stuttgart 2017, p. 242
31. ↑ So Gideon Haut: A doppelganger. In: Storm-Handbuch, Metzler, Stuttgart 2017, p. 241
32. ^ Rein A. Zondergeld: Doppelganger . In: Lexikon der phantastischen Literatur , Suhrkamp, ​​Fantastische Bibliothek, Frankfurt 1983, p. 273
33. ↑ So Gideon Haut: A doppelganger. In: Storm-Handbuch, Metzler, Stuttgart 2017, pp. 241–242
34. ↑ Walter Zimorski: Scandalous social conflict: The case of John Hansen alias John Glückstadt, workers misery and citizen happiness in Storm's socially dramatic "doppelganger" novella. In: Ein doppelganger, Legal Contemporary History, Section 6, Law in Art - Art in Law. De Gruyter, Berlin 2013, p. 108
35. ↑ Theodor Storm: A doppelganger. In: All works in three volumes. Volume 2, Phaidon, Essen, p. 711
36. ↑ Theodor Storm: Complete works in three volumes. Volume 2, Appendix, Explanations of Words, A Doppelganger , Phaidon, Essen, p. 872
37. ^ Karl Ernst Laage: Theodor Storm. Boyens, Heide 1999, p. 234
38. ^ Karl Ernst Laage: Jena and Husum: Two contrary scenes of the convict novella "A double". In: Karl Ernst Laage: Theodor Storm for his 200th birthday. Articles, studies, documents. Boyens, Heide 2017, p. 118
39. ^ Karl Ernst Laage: Theodor Storm. Boyens, Heide 1999, p. 188
40. ↑ Quoted from: Hartmut Vinçon: Theodor Storm. In self-testimonials and picture documents. Rowohlt, Reinbek bei Hamburg 1972, p. 150
41. ↑ Quoted from: Hartmut Vinçon: Theodor Storm. In self-testimonials and picture documents. Rowohlt, Reinbek bei Hamburg 1972, p. 152
42. ^ Karl Ernst Laage: Theodor Storm. Boyens, Heide 1999, p. 234
43. ↑ Quoted from: Karl Ernst Laage: Theodor Storm. Boyens, Heide 1999, p. 241
44. ^ Karl Ernst Laage: Theodor Storm. Boyens, Heide 1999, p. 122
45. ↑ Quoted from: Rüdiger Frommholz: Ein doppelganger. In: Kindlers New Literature Lexicon. Volume 16, Munich 1991, p. 27
46. ↑ Quoted from: Hartmut Vinçon: Theodor Storm. In self-testimonials and picture documents. Rowohlt, Reinbek bei Hamburg 1972, p. 151
47. ^ Rüdiger Frommholz: A double. In: Kindlers New Literature Lexicon. Volume 16, Munich 1991, p. 27