Karl May's Erzgebirge village stories

Karl May's Erzgebirge village stories are a series of stories from Karl May's early work. A selection appeared in 1903 for strategic reasons together with two stories from the late work in an anthology under the title Erzgebirgische Dorfgeschichten . These works belong to the genre of village stories and are set in May's Ore Mountains homeland .

Emergence

Village stories of the early work

Karl May at the time of his early work

Since 1840 and again increasingly from 1860, village stories were widespread and very popular. The works of Berthold Auerbach , with which Karl May presumably came into contact during his second imprisonment (1865–1868), had contributed to their success . Evidence of this period is a study of the village story author Wilhelm Oertel von Horn , which he lists in his repertory C. May (approx. 1867) and whose character descriptions were later included in Die Rose von Ernstthal (1874 or 1875). At the latest during his first editorial activity (1875/76) May dealt more closely with village stories when he edited the short story “Fundgrube 'Vater Abraham'” by Elfried von Taura (d. August Peters ) for his paper Schacht und Hütte . Since May tried different directions in entertainment literature during his early work until he finally found his profession as an author of travel stories, various authors see Peters as an inspiration for writing village stories. On the other hand, May had started to observe the literary market early on and therefore probably followed the development of the village stories of that time, so that an economic aspect also comes into consideration. However, May did not see himself as a village story writer and that is why he is rather unconsciously part of the village story tradition. This leads to the problem that not all of the so-called Erzgebirge village stories can be unconditionally described as village stories and some are more in the tradition of adventure literature . According to Pitt Herrmann, "they defy any conventional literary classification ."

May was convinced of the educational influence of literature and had already pursued educational goals with the papers he founded . However, he was aware that teaching should not be exaggerated, and that is why he used trivial means to imitate high literature . Accordingly, May's village stories can be assigned to the mission-conscious trivial literature . According to Hermann Wohlgschaft , May wanted to “admonish and warn the reader (and the author), to frighten and arouse him”, “to educate himself and his readers to be good.” These texts also served self-therapeutic purposes after his time in prison (1864–1874 ). According to Rudolf Mahler “the village stories take on an order function by emphasizing the legal element, namely the human as well as the divine” and Helmut Schmiedt states: “The thorough formulation of an ultimately just social condition [...] stabilizes the ability to adapt and should make May immune to further dangerous irritations. ”Almost all of May's works contain allusions to his biography; however, in these stories he also processed the authentic impressions of his home in the Ore Mountains and the social milieu. In contrast to most of May's other works (and the two late village stories) there is no humor because, according to Michael Zaremba, “the numerous tragic episodes in the early› Erzgebirge village stories ‹experienced a spatial and temporal proximity [to May's] [m ] Trauma that made it difficult to achieve a cheerful tone. "

If one follows May's published information, he began to write the Erzgebirge village stories shortly after 1873. In fact, the oldest known story, Die Rose von Ernstthal , appeared in 1874 or 1875. However, this text can only be assigned to the genre of village history to a limited extent, but is rather shaped by the small town and soldier milieu, is also a historical story and forms a link to May's stories about the "Old Dessauer" . May then dealt with a central theme in village stories, the pair of opposites city and country, in a chapter of the same name in his Geographical Sermons (1875/76). It was not until 1877 that the next village story appeared with Der Dukatenhof . In this all the essential motifs of the following stories were already present. Nine more Erzgebirge village stories followed by 1879 and, according to Roland Schmid, "a comparative view reveals an unmistakable development in literary dexterity."

From 1880 onwards there were no more village stories, but they had an impact on the following works. Because the characters, plot elements and scenes were already pre-formed here - just as in other early works - which May now transferred to foreign countries in his colportage novels and travel stories and further elaborated there. In addition, the village stories played a part in the development of the primal ego in May's early adventure stories into a savior in travel stories .

Late work and book edition

Karl May one year after the publication of the late works village stories (with his wife Klara)

During his trip to the Orient (1899/1900), May began to change his mind and from then on he began to write more literary and to compose complex allegorical texts. At the same time, his Kolportage novels, which were mainly published pseudonymously in the 1880s by Verlag H. G. Münchmeyer , were re-edited by the new owner Adalbert Fischer under May's real name and without his authorization. May was heavily criticized because of this old commissioned work, for example Hermann Cardauns even described it as "abysmally immoral". On the one hand May wanted to put his early work, which had been affected by the press dispute, in a positive light and on the other hand "the literary reorientation or reorientation - retrospectively - also apply to his previous Œvre , thus making his entire work appear as a continuum " . May had already listed his Erzgebirge village stories in court in 1878 as proof of his moral integrity and in a 1902 defensive letter he had identified them with the late travel stories “Christmas!” (1897) and Am Jenseits (1899). In order to prove both that he had written morally and decently in the early days and to prove the continuity of his work, May conceived a book edition: Erzgebirge Village Stories , which is subtitled by Karl May's debut works . In addition to four early texts, the volume also contains two stories written especially for this book ( Sonnenscheinchen and Das Geldmännle ) in which May psychologically processed and encrypted the disputes about the Kolportage novels . Not only are these two in first and last position, thus bracketing the early works, but May also declared the two new texts as first works elsewhere. May changed the old texts slightly by translating dialect dialogues into High German , clarifying some passages more and rewriting some passages.

In the dispute between May and Fischer in 1903, a provisional settlement was reached , because Fischer on the one hand let it be known that he knew of May's previous convictions, on the other hand, because May wanted to win him over to another legal dispute. In this context, May gave him the Erzgebirge Village Stories in Verlag, the publication of which his main publisher Friedrich Ernst Fehsenfeld had declined. However, May set the condition that the book could not appear under the old publisher's name, whereupon Fischer founded the "Belletristische Verlag", an imprint publisher , especially for this purpose . In the two new village stories, in which May read proofreading very carefully, he had, as mentioned, presented the background of his public disputes and trials , in which Fischer was also involved, in encrypted form. Thus, without noticing it, Fischer had misplaced his own negative image and had thus become the victim of May's secret revenge. In contrast to May's works, which are set in distant countries, the band did not sell very well. The reasons for this included the fact that May was expected to be an adventure story, the literary market was now saturated with village stories and the local literature had taken a new, ideological direction since around 1890 . Nevertheless, a new edition was published by Fehsenfeld in 1907 after May had regained the publishing rights after Fischer's sudden death. Although both editions were declared as Volume I , a sequel never appeared due to a lack of public interest.

content

Basics of the village stories

The Ore Mountains around 1895

The Ore Mountains today

May's village stories represent a mixture of village, love and crime stories , whereby the crime story mostly dominates and determines the structure, the love story forms a counterbalance and the village history provides the milieu. According to Jürgen Hein , village stories generally deal with peasant themes and the motifs can be divided into the following main complexes: “(1) the problems surrounding the farm between tradition , property and inheritance ; (2) the connection between home, landscape, village and village community; the cohesion of the villagers in the event of accidents and illness; the question of the right of home and the often hostile attitude towards the "foreigner" in the village; (3) the contrast between town and country; (4) moral criticism of village life; (5) the importance of church festivals for the rural world. ”In May's stories, the village story motifs are represented to different degrees, often only serve as a background and therefore often take a back seat to the crime story. During the investigation of the crime, May often uses mystifications and partial resolutions and also uses flashbacks for this. The crimes that often took place in the past are highlighted by motifs of mystery and horror . Motifs from the adventure novel or biographical motifs can also overlay the character of the village story. While the biographical motifs in the early village stories belong to May's youth, vagrancy and imprisonment, those in the two later ones belong to the editor's time, the smear campaigns and trials.

A frequent motif is the love of two peasants for the same girl, who is often the lover of the hero and daughter of the opponent and who is supposed to be paired up for money or to strengthen criminal friendships. The motivations for the crimes are either revenge out of spurned love, greed or the removal of an opponent. The causes therefore never lie in the social circumstances, but in the negative character of the perpetrator. May-typical motifs are drunkenness and poaching , which are not practiced out of necessity, but out of greed or passion. Accordingly, the villains are embodied only by the wealthy, while the common people are among the good and virtuous. Other crimes include fraud, forgery, counterfeiting , burglary, arson, kidnapping, mutilation, attempted murder, and murder, without even shrinking from family members.

The characters are clearly characterized as good or bad. The heroes often include outsiders, temporarily ostracized or returnees from abroad who have superior abilities that correspond to those of the later first-person heroes Kara Ben Nemsi or Old Shatterhand . The opponents master these skills almost as well and can therefore often escape initially only to ultimately succumb to their weaknesses. Often there is reconciliation between the conflicting parties. It is the hero and not the state organs of order that catches the criminal and thereby gives him the opportunity to confront himself. An inner reversal of the villains only takes place when their physical or social existence is endangered. In the case of serious crimes, however, the villain is punished by "force majeure" - in the tradition of village history this is only typical for May - the punishment often occurs at the crime scene and reflects the fate of the victims. At the end, the good guys are rewarded with a court or the girl they love. May's village stories are among the examples (example stories ), ie "short stories that represent positive [or] negative behavioral examples and combine teaching with an entertaining folk narrative style". The entertaining elements act as a counterbalance to the moralizing ones.

Specifics of the late work

The late work is introduced with a foreword (missing in the Fehsenfeld edition) in which May explains the continuity of his work: Since readers only wanted to be entertained without understanding the deeper meaning of his village stories, he began to put his motifs in To relocate foreign countries, so to write travel stories. Since one has now learned to descend to meaning, he now begins again with village stories. With this, May indicates, somewhat covertly, that there are definitely new texts among the first works , and keywords are used to indicate an allegorical character of Sonnenscheinchen and Das Geldmännle . The exemplary character of May's village stories is implemented here allegorically and the dualistic principle of good and evil is replaced by the development of the violent to the noble man. Instead of punishment, there is redemption and forgiveness. This turnaround is accompanied by a stronger emphasis and influence on female figures. Both texts are conscious key narratives in contrast to the unconscious encodings in the early work. On the one hand, the characters, actions and locations can be assigned to people, events and stations from May's biography. His ego splits up May and transfers characteristics or stages of development of his personality to different characters, for example the guilty May and his wish-ego or the earlier, cocky May and the mature author of the late work. On the other hand, the figures, actions and locations are also allegorical carriers of meaning. Three reading levels can thus be identified: action level, autobiographical level and philosophical - religious level, which can contain further sub-levels. However, the complexity of the texts is obscured by the character of the village story. Some authors also attribute a fairytale character to the two village stories , which is not undisputed. Another feature that distinguishes the two late works from the rest of May's village stories is the use of humor.

The central theme in Sonnenscheinchen on a biographical reading level is May's literary change, while Das Geldmännle primarily deals with Münchmeyer-Verlag and May's marriage problems. The latter text also begins with a mythological representation of the origins of the Ore Mountains, which symbolizes May's own literary work. In addition, Das Geldmännle contains a clear social criticism of the weavers' misery .

authenticity

Thomas Schumann states: “The detailed painting brings out realistic features, so that the reader feels put into the situation of someone involved and experiences the following events. It is precisely this narrative style that is responsible for ensuring that the reading public can easily identify with what is told in the text. ”Apart from the mythological narrative style, the history of the origins of the Erzgebirge in the opening chapter of Das Geldmännle corresponds to the actual geological development. The descriptions of the landscapes as well as smaller excerpts testify to good geographical knowledge and small-town milieu is also reproduced realistically. The poverty of the Erzgebirge people in their forms and effects, as well as the reasons for their occurrence and their maintenance, May describes from his own experience, as well as the description of the prison conditions in the story Des Kind Ruf .

The foreword of the book edition suggests to readers that May began to write travel stories because the deeper meaning of his village stories would not have been understood. However, the early travel stories appeared parallel to or even before the village stories. The continuity of his work, which May suggests with the book edition, is also incorrect. It is true that all of May's works can also be understood symbolically in the broadest sense , but he did not write his early texts in such a highly literary and deliberately symbolic way.

criticism

For the early village stories, Otto Forst-Battaglia states that “the plot [is] coarse-grained, applied thickly, devoid of any hint of a psychology of the figures.” Herrmann also recognizes in the figures “superficial […], woodcut-like […] clichés […] ] with very few exceptions ”and Wohlgschaft criticizes the“ exaggerated contrast between 'bad' and 'good' characters ”. “The hero is endowed with all physical (strength, youth, beauty, etc.) and spiritual (courage, dignity, pride, self-discipline, generosity , tolerance, logical thinking, etc.) qualities. […] Like the hero with all positive things, the opponent is endowed with all imaginable negative qualities of the body (age, ugliness, weakness etc.) and the mind (cowardice, vanity, greed, cruelty, cunning, viciousness etc.) . "According to Mahler, the heroes' achievements are" sometimes so exaggerated that the situation is distorted into the grotesque. "Another aspect of the characters is the relationship between men and women. With a few exceptions, women always occupy a subordinate position; they are based on the man and therefore make no contribution of their own to the action. In addition, the women are either idealistically glorified or portrayed with character flaws. Another problem concerns the crime story character of the village stories, because “reading [...] as an intellectual exercise, as it is practically challenged in some crime stories, is immediately prevented with MAY; because you know who the criminal is after the first few pages. "

There are many reasons for the weaknesses of May's village stories. May was still a literary novice when the early stories were written; Hans Wollschläger even considers them "hardly [...] more than talent tests". According to Mahler, May “wrote village stories in order to earn money; he cannot worry about aesthetic questions if he wanted to. Because the criterion of reproducibility and consumability for the reader is decisive ”and the main readers of the early village stories belonged to the lower, less educated classes. Nonetheless, “sparks flash up (every now and then)”, as Forst-Battaglia puts it and Engelbert Botschen writes, “he succeeds in creating good colors, real details, sensitive scenes”. The simplicity of the figures is also due to the fact that some of them fulfill a function rather than depicting real people, since they are only characterized by actions, physiognomy , clothing and language. The clear good-versus-bad scheme is derived from the (self-) educational will. "The dualistic structure [...] almost automatically leads to the reader's identification with the positive protagonists." Martin Lowsky attests that May succeeded in principle in the didactic attitude to which he attached great importance in the village stories . Bettina Wild emphasizes "how skillfully he [May] always manages to summarize the themes, spaces and characters of the village's history in a single short narrative". Christoph F. Lorenz describes the stories of the late work as “prime examples of a sophisticated encryption technique” and Ekkehard Bartsch praises her “really successful fairy tale tone, which was carried out to the end”.

With regard to the early village stories, Lowsky states: "May's pieces do not bring new impulses to the series of village stories in which they play a third-class role." However, within May's early work they are among the better works. Here, the Dukatenhof , Child's reputation and the poison Heiner among the best. However, the village stories of the late work are considered to be of higher order and of these, Das Geldmännle is particularly emphasized. In spite of his own negative criticism of the village stories, Forst-Battaglia says: "I couldn't think of any better reading for people and youth than [...] some Erzgebirge village stories". While Mahler is of the opinion, "For the modern reader, they [May's village stories] have become completely irrelevant, both in terms of their structure and their ethos.", She considers Walther Ilmer to be "permanently worth reading".

bibliography

Several of the village stories appeared under the pseudonyms Karl Hohenthal and Emma Pollmer . The following table shows the current numbers of the volume and the story from Karl May's Gesammelte Werken (titles can differ here) as well as the title of the corresponding reprint of the Karl May Society .

title	year	Remarks	Karl May’s Collected Works	Reprints of the Karl May Society
The rose of Ernstthal	1874 or 1875	at the same time a historical narrative	Karl May on Saxon paths , 02 ( 43 , 08)	Among the advertisers ( The Forest King )
The Dukatenhof	1877	in Erzgebirgische village stories included	44 , 01	Among the advertisers
The "Samiel"	1877/78	later chapter of the same name with similar motifs in the novel The Road to Happiness (1886–1888)	43.09	Old Firehand
The imperial builder	1877		43.05	Among the advertisers
The devil's farmer	1878	in Erzgebirgische Dorfgeschichten ud title The Einsiedel included	43.04	Old Firehand
The Lord God Angel	1878		44.02	Old Firehand
The child's reputation	1878	in Erzgebirgische village stories included	43.02	Old Firehand
The forest king	1879	in Erzgebirgische Dorfgeschichten ud title retaliation included	44.03	The Forest King ( The Goliaths - The Rose of Kahira )
The Gichtmüller	1879		43.07	Old Firehand
The poison heiner	1879		43.06	The forest king
In the sundew	1879		43.03	Among the advertisers
Preface [to the book edition]	1903	first appeared in Erzgebirge village stories	44, afterword
Sunshine			43.01
The money man			44.04
The lost Son		Estate, fragment	90 , 08
The Lord God Angel [fragment]		Discount, different start d. publication of the same name	90.10

The Karl-May-Verlag also lists Vengeance or The awakened conscience (around 1873/74) under the title “The Conscience” as a further village story, although its authorship is not certain.

Some of the stories (especially the story The Forest King , which was sold to the Berlin Literary Institute F. C. Entrich ) was reprinted several times, sometimes with changing titles and author information. While Der Waldkönig was published in book form under the title The Secret of Stollen (1902) as the 38th volume in “Weber's Modern Library” before May's compilation, Der Dukatenhof published an independent book as No. 215/216 in the “Volksbücherei” of the publishing house “Styria” only in 1909. Only the early versions are available as reprints from the Karl May Society, whereas reprints of May's book edition were published in 1977 by Olms Presse and in 1996 by Karl May Verlag. Some of the stories have been translated and adapted for the stage or as an audio book .

The second section ( Die Slaves der Arbeit ) of the novel The Prodigal Son (1884–1886) is very similar to the Erzgebirge Village Stories . Other works related to his home country include Karl May's humoresques , the deleted chapter ( In der Heimath ) from Krüger Bei (1894) and the first chapter ( introduction ) in “Christmas!” (1897).

literature

• Ekkehard Bartsch: Foreword. In: May, Karl: Erzgebirge village stories . Reprint: Olms Presse, Hildesheim, New York, 1977, ISBN 3-487-08123-7 , pp. V-XIX.
• Ralf Georg Czapla : Established and outsiders. Social figurations and their narrative staging in “village stories” by Karl May, Ludwig Ganghofer and Kuni Tremel-Eggert , in: Jb-KMG 2016, pp. 213–240.
• Jürgen Hein: The »Erzgebirge Village Stories«. On the narrative type "village history" in Karl May's early work. In: Claus Roxin, Heinz Stolte, Hans Wollschläger (eds.): Yearbook of the Karl May Society 1976. Hansa Verlag, Hamburg 1976, ISBN 3-920421-31-0 , pp. 47-68. ( Online version )
• Pitt Herrmann: Karl May's "Erzgebirge Village Stories" under the aspect of the village history tradition. Term paper for the first state examination for teaching at the grammar school, Bochum, 1980.
• Christoph F. Lorenz: The conscience of the model host. Karl May's »Village History« ›Das Geldmännle‹. In: Claus Roxin, Heinz Stolte, Hans Wollschläger (eds.): Yearbook of the Karl May Society 1985. Hansa Verlag, Husum 1985, ISBN 3-920421-48-5 , pp. 182-217. ( Online version )
• Christoph F. Lorenz: Afterword. In: May, Karl: Erzgebirge village stories . Reprint. Karl-May-Verlag, Bamberg, 1996, ISBN 978-3-7802-0244-4 , pp. I-XIV.
• Rudolf Mahler: The position of Karl May's 'Erzgebirgische Dorfgeschichten' in the local literature of the 19th century. A contribution to trivial literature research. Scientific work on admission to the first state examination for teaching in high schools, Tübingen, 1981.
• Hainer Plaul: Illustrated Karl May Bibliography . With the participation of Gerhard Klußmeier . Saur, Munich, London, New York, Paris, 1989, ISBN 3-598-07258-9 .
• Roland Schmid: Afterword by the editor. In: May, Karl: Der Waldschlackze . Karl-May-Verlag, Bamberg, 1971, ISBN 3-7802-0044-9 , pp. 461-479.
• Gert Ueding (Ed.): Karl May Handbook . 2nd expanded and revised edition. Königshausen & Neumann, Würzburg, 2001, ISBN 3-8260-1813-3 .
• Willi Vocke: The 'double spirit' of the Neubert farmer. Notes on the allegorical interpretation of the two late Erzgebirge village stories, Sonnenscheinchen and Das Geldmännle. In: Communications from the Karl May Society. No. 171/2012, pp. 5-17. ( Online version )
• Hartmut Vollmer: Karl May's ›Little Sunshine‹. Interpretation of a late »Erzgebirge village history«. In: Claus Roxin, Heinz Stolte, Hans Wollschläger (eds.): Yearbook of the Karl May Society 1985. Hansa Verlag, Husum 1985, ISBN 3-920421-48-5 , pp. 160-181. ( Online version )
• Hartmut Wörner: In the dark house: the child's reputation. In: Communications from the Karl May Society. 65/1985, pp. 3-7. ( Online version )
• In the under bibliography mentioned reprints of Karl May society more work items found.

Web links

• Full texts on the Karl May Society website
• Entry in the Karl-May-Wiki on the Erzgebirge village stories in general
• Entry in the Karl May Wiki for the book edition

Individual evidence

1. ^ Mahler, The position of Karl May's 'Erzgebirgischen Dorfgeschichten'. P. 23.
2. ^ Herrmann, The "Erzgebirgische Dorfgeschichten" Karl Mays under the aspect of the village history tradition. P. 26 f.
3. ↑ Hein, The "Erzgebirge Village Stories". P. 53 f.
4. ^ Herrmann, The "Erzgebirgische Dorfgeschichten" Karl Mays under the aspect of the village history tradition. P. 60.
5. ↑ May, Karl: Old Shatterhand in the home . Karl-May-Verlag, Bamberg / Radebeul 1997, ISBN 3-7802-0079-1 , p. 277.
6. ↑ ^{a b} Dating is currently being discussed anew.
7. ↑ Kehl, Wolfgang: The secrets of the spinning room - a source sketch. In: Communications from the Karl May Society. No. 32/1977, p. 10 f. ( Online version )
8. ^ Kühne, Hartmut: Karl May and E. v. T. In: Claus Roxin (Ed.): Yearbook of the Karl May Society 1970. Hansa-Verlag, Hamburg 1970, pp. 198-220 (215-218). ( Online version )
9. ↑ Martin Lowsky: Karl May (= Realien zur Literatur, Volume 231). J. B. Metzlersche Verlagsbuchhandlung and Carl Ernst Poeschel Verlag, Stuttgart 1987, ISBN 3-476-10231-9 , p. 38 ff.
10. ^ Schmid, epilogue. P. 467.
11. ↑ ^{a b} Hein, The "Erzgebirge Village Stories". P.56.
12. ↑ Lorenz, Christoph F .: '' May on the trail of the Gospel '' In: May, Karl: '' Conspiracy in Vienna ''. Karl-May-Verlag, Bamberg / Radebeul 2014, ISBN 978-3-7802-0090-7 , p. 537.
13. ↑ Scheinhammer-Schmid, Ulrich: [Article about] The Scheerenschleifer. In: Ueding: Karl May Handbook. P. 365.
14. ↑ Hein, The "Erzgebirge Village Stories". P. 53.
15. ^ Mahler, The position of Karl May's 'Erzgebirgischen Dorfgeschichten'. P. 33.
16. ^ Mahler, The position of Karl May's 'Erzgebirgischen Dorfgeschichten'. P. 31.
17. ↑ Hein, The "Erzgebirge Village Stories". P. 57.
18. ↑ ^{a b} Hein, The "Erzgebirge Village Stories". P. 51.
19. ^ Herrmann, The "Erzgebirgische Dorfgeschichten" Karl Mays under the aspect of the village history tradition. P. 114.
20. ↑ Hein, The "Erzgebirge Village Stories". P. 55 f.
21. ^ Mahler, The position of Karl May's 'Erzgebirgischen Dorfgeschichten'. P. 35 f.
22. ↑ Hein, The "Erzgebirge Village Stories". P. 64 f.
23. ^ Wohlgschaft, Hermann: Karl May - life and work. 3 volumes . Buchhaus, Bargfeld, 2005, ISBN 3-930713-93-4 , p. 435 f. Original brackets.
24. ^ Mahler, The position of Karl May's 'Erzgebirgischen Dorfgeschichten'. P. 38.
25. ^ Schmiedt, Helmut: Karl May. Studies on the life, work and impact of a successful writer. 2nd, completely revised and expanded edition. Athenäus Verlag GmbH, Frankfurt am Main, 1987, ISBN 3-610-08902-4 , p. 44.
26. ^ Wohlgschaft, Karl May. P. 355.
27. ^ Petzel, Michael, Wehnert, Jürgen: The new lexicon around Karl May . Lexikon Imprint Verlag, Berlin, 2002, ISBN 3-89602-509-0 , p. 108.
28. ↑ ^{a b c} Schmid, afterword. P. 473.
29. ^ Zaremba, Michael: structures of humor in Karl May. In: Claus Roxin, Helmut Schmiedt, Hans Wollschläger (ed.): Yearbook of the Karl May Society 1998. Hansa Verlag, Husum 1998, ISBN 3-920421-72-8 , Pp. 164-176 (173). ( Online version )
30. ^ Schmid, epilogue. P. 475. According to a private, undated note, May wrote Erzgebirgische ... from 1866 ; printed in: Karl May: Also »over the waters«. With comments by Hansotto Hatzig and Ekkehard Bartsch. In: Claus Roxin, Heinz Stolte, Hans Wollschläger (eds.): Yearbook of the Karl May Society 1976. Hansa-Verlag, Hamburg 1976, ISBN 3-920421-31-0 , pp. 230-272 (271, ed. 59). ( Online version )
31. ↑ Hein, Jürgen: [article on] Die Rose von Ernstthal. In: Ueding, Karl May Handbook. Pp. 371-373.
32. ^ Schmid, epilogue. P. 469.
33. ^ Schmid, epilogue. P. 468.
34. ↑ Botschen, Engelbert: The anticipation of the work using the example of humoresques and village stories. In: Meier, Herbert (Ed.): Karl May. Among the advertisers. Rare original texts, Volume II. Reprint of the Karl May Society, p. 182 f. ( Online version )
35. ^ Schmid, epilogue. P. 466.
36. ↑ Rainer Jeglin: God angels rebel and missionary. Notes on the rescue style in Karl May. Special issue of the Karl May Society No. 24/1980. Pp. 1-56. ( Online version )
37. ↑ Sudhoff, Dieter, & Steinmetz, Hans-Dieter: Karl-May-Chronik II . Karl-May-Verlag, Bamberg, Radebeul, 2005, ISBN 3-7802-0172-0 , p. 331.
38. ↑ Quoted from May, Karl: Mein Leben und Streben. Volume I. Verlag by Friedrich Ernst Fehsenfeld, Freiburg i. Br., 1910, p. 233. ( Online version ; PDF; 16.9 MB)
39. ↑ Bartsch, foreword , p. V.
40. ^ Vollmer, Karl Mays ›Sunshine‹. P. 160.
41. ↑ May, Karl: Submission to the Stollberg District Court on June 20, 1878. (Stollberg District Court, Investigation Files No. 129, pages 14-15.) Quoted from: Maschke, Fritz: Karl May and Emma Pollmer , Die Geschichte einer Ehe . Karl-May-Verlag, Bamberg, 1973, ISBN 3-7802-3068-2 , p. 152.
42. ↑ Anonymous (ie Karl May): "Karl May als Erzieher" and "The truth about Karl May" or The opponents of Karl May in their own light by a grateful May reader . Published by Friedrich Ernst Fehsenfeld, Freiburg i. Br., 1902, p. 14 f. ( Online version )
43. ↑ Bartsch, foreword , p. VI.
44. ^ Mahler, The position of Karl May's 'Erzgebirgischen Dorfgeschichten'. P. 38.
45. ↑ May, Karl: The trash literature and the fruit hunger. In: Claus Roxin, Heinz Stolte, Hans Wollschläger (eds.): Yearbook of the Karl May Society 1983 , Hansa Verlag, Husum 1983, ISBN 3-920421-44-2 , pp. 50-55. ( Online version )
46. ↑ Hermann, The "Erzgebirge Village Stories" Karl Mays under the aspect of the village history tradition. P. 60 f.
47. ↑ Seul, Jürgen: Old Shatterhand in court. The 100 Trials of the Writer Karl May.Karl May Verlag, Bamberg, Radebeul, 2009, ISBN 978-3-7802-0186-7 , p. 260.
48. ^ Wollschläger, Hans: Karl May. Outline of a broken life - interpretation of personality and work - criticism. VEB Verlag der Kunst, Dresden, 1990, ISBN 3-364-00168-5 , p. 101 f.
49. ↑ Bartsch, foreword , p. IX.
50. ↑ Wollschläger, Hans: First approach to the "Silver Lion". On the symbolism and creation. In: Claus Roxin, Heinz Stolte, Hans Wollschläger (eds.): Yearbook of the Karl May Society 1979. Hansa-Verlag, Hamburg 1979, ISBN 3-920421-34-5 , pp. 99-136 (135, annot. 110). ( Online version )
51. ↑ Lorenz, conscience of the model host. P. 185.
52. ^ Mahler, The position of Karl May's 'Erzgebirgischen Dorfgeschichten'. P. 15.
53. ↑ Bartsch, foreword , p. XVI.
54. ↑ Lorenz, epilogue , p. I.
55. ^ Mahler, The position of Karl May's 'Erzgebirgischen Dorfgeschichten'. P. 59.
56. ↑ Hein, The "Erzgebirge Village Stories". Pp. 58-62.
57. ^ Herrmann, The "Erzgebirgische Dorfgeschichten" Karl Mays under the aspect of the village history tradition. Pp. 70-106.
58. ^ Mahler, The position of Karl May's 'Erzgebirgischen Dorfgeschichten'. P. 54.
59. ^ Herrmann, The "Erzgebirgische Dorfgeschichten" Karl Mays under the aspect of the village history tradition. Pp. 70-106.
60. ^ Mahler, The position of Karl May's 'Erzgebirgischen Dorfgeschichten'. P. 83.
61. ↑ Hein, The "Erzgebirge Village Stories". P. 59.
62. ^ Mahler, The position of Karl May's 'Erzgebirgischen Dorfgeschichten'. P. 43.
63. ^ Mahler, The position of Karl May's 'Erzgebirgischen Dorfgeschichten'. P. 48.
64. ^ Mahler, The position of Karl May's 'Erzgebirgischen Dorfgeschichten'. P.56.
65. ↑ Hein, The "Erzgebirge Village Stories". P. 61.
66. ↑ Plaul, Hainer: Editor on time. About Karl May's stay and activity from May 1874 to December 1877. In: Claus Roxin, Heinz Stolte, Hans Wollschläger (eds.): Yearbook of the Karl May Society 1977. Hansa-Verlag, Hamburg 1977, ISBN 3-920421-32 -9 , pp. 114-217 (135).
67. ^ Mahler, The position of Karl May's 'Erzgebirgischen Dorfgeschichten'. P. 54.
68. ↑ Hein, The "Erzgebirge Village Stories". P. 63.
69. ^ Herrmann, The "Erzgebirgische Dorfgeschichten" Karl Mays under the aspect of the village history tradition. P. 108.
70. ^ Mahler, The position of Karl May's 'Erzgebirgischen Dorfgeschichten'. P. 42 f.
71. ↑ Hein, The "Erzgebirge Village Stories". P. 63.
72. ^ Mahler, The position of Karl May's 'Erzgebirgischen Dorfgeschichten'. P. 57.
73. ↑ Plaul, temporary editor. P. 134.
74. ↑ Hein, The "Erzgebirge Village Stories". P. 60.
75. ↑ Hein, The "Erzgebirge Village Stories". P. 63.
76. ^ Mahler, The position of Karl May's 'Erzgebirgischen Dorfgeschichten'. P. 58.
77. ^ Mahler, The position of Karl May's 'Erzgebirgischen Dorfgeschichten'. P. 63.
78. ^ Mahler, The position of Karl May's 'Erzgebirgischen Dorfgeschichten'. P. 65.
79. ^ Schmid, epilogue. P. 475.
80. ^ Mahler, The position of Karl May's 'Erzgebirgischen Dorfgeschichten'. P. 67.
81. ^ Mahler, The position of Karl May's 'Erzgebirgischen Dorfgeschichten'. P. 70.
82. ^ Mahler, The position of Karl May's 'Erzgebirgischen Dorfgeschichten'. P. 73 f.
83. ^ Vollmer, Karl Mays ›Sunshine‹. P. 173.
84. ↑ Botschen, Engelbert: The Banda Oriental - a detour to redemption. In: Claus Roxin, Heinz Stolte, Hans Wollschläger (eds.): Yearbook of the Karl May Society 1979. Hansa Verlag, Hamburg 1979, ISBN 3-920421-34-5 , pp. 186-212 (207). ( Online version )
85. ^ Mahler, The position of Karl May's 'Erzgebirgischen Dorfgeschichten'. P. 68 f.
86. ^ Vollmer, Karl Mays ›Sunshine‹. P. 165.
87. ↑ Lorenz, The conscience of the model host. P. 193 ff.
88. ^ Vollmer, Karl Mays ›Sunshine‹. P. 165 ff.
89. ^ Vollmer, Karl Mays ›Sunshine‹. P. 165.
90. ^ Vollmer, Karl Mays ›Sunshine‹. P. 178.
91. ^ Vollmer, Karl Mays ›Sunshine‹. P. 177.
92. ^ Vollmer, Karl Mays ›Sunshine‹. P. 177.
93. ↑ Lorenz, The conscience of the model host. P. 212.
94. ↑ Vocke, Der ›doppelte Geist‹ , p. 16 f.
95. ^ Vollmer, Karl Mays ›Sunshine‹. P. 173.
96. ↑ Lorenz, The conscience of the model host. P. 198.
97. ^ Mahler, The position of Karl May's 'Erzgebirgischen Dorfgeschichten'. P. 39 ff.
98. ↑ Lorenz, The conscience of the model host. P. 211 f.
99. ↑ Schumann, Thomas: The representation of the Erzgebirge world with Karl May. Housework in the context of the first state examination for the teaching post for the secondary level II, Brühl, 1983, p. 104.
100. ↑ Schumann, representation of the Erzgebirge world. P. 13.
101. ↑ Schumann, representation of the Erzgebirge world. P. 102 f.
102. ↑ Plaul, temporary editor. P. 189.
103. ↑ Schumann, representation of the Erzgebirge world. P. 102.
104. ↑ Wörner, In the dark house. Pp. 3-7.
105. ↑ Lorenz, conscience of the model host. P. 186.
106. ↑ Vollmer Karl May's ›Little Sunshine‹. P. 160.
107. ↑ Forst-Battaglia, Otto: Karl May. Dream of a life - life of a dreamer. Karl-May-Verlag, Bamberg, 1966, p. 92 f.
108. ^ Herrmann, The "Erzgebirgische Dorfgeschichten" Karl Mays under the aspect of the village history tradition. P. 20.
109. ^ Wohlgschaft, Karl May. P. 435.
110. ^ Mahler, The position of Karl May's 'Erzgebirgischen Dorfgeschichten'. P. 42.
111. ^ Mahler, The position of Karl May's 'Erzgebirgischen Dorfgeschichten'. P. 42.
112. ↑ Hein, The "Erzgebirge Village Stories". P. 63.
113. ^ Mahler, The position of Karl May's 'Erzgebirgischen Dorfgeschichten'. P. 51.
114. ^ Mahler, The position of Karl May's 'Erzgebirgischen Dorfgeschichten'. P. 52 f.
115. ^ Mahler, The position of Karl May's 'Erzgebirgischen Dorfgeschichten'. P. 90.
116. ↑ Botschen, Engelbert: [Foreword to] Der Kaiserbauer. In: Meier, Among the Advertisers. P. 244.
117. ↑ Wollschläger, Outline of a Broken Life. P. 46.
118. ^ Mahler, The position of Karl May's 'Erzgebirgischen Dorfgeschichten'. P. 61.
119. ^ Mahler, The position of Karl May's 'Erzgebirgischen Dorfgeschichten'. P. 90.
120. ↑ Forst-Battaglia, dream of a life. P. 93.
121. ↑ Embassies, Kaiserbauer. P. 245.
122. ^ Mahler, The position of Karl May's 'Erzgebirgischen Dorfgeschichten'. P. 43 f.
123. ↑ Wehnert, Jürgen: Old Shatterhand on Christian paths. In: Lorenz, Christoph F. (Ed.): Between heaven and hell. Karl May and religion. Second, revised and expanded edition. Karl-May-Verlag, Bamberg, Radebeul, 2013, ISBN 978-3-7802-0165-2 , p. 57 f.
124. ↑ Lowsky, Karl May. P. 40.
125. ↑ Wild, Bettina: Topology of the rural area. Berthold Auerbach's ›Black Forest Village Stories‹ and their significance for the literature of realism. With excursions to English literature. Königshausen & Neumann, Würzburg, 2011, ISBN 978-3-8260-4500-4 , p. 337.
126. ↑ Lorenz, The conscience of the model host. P. 185.
127. ↑ Bartsch, foreword , p. XIV. A more critical consideration of the fairytale tone can be found in Vocke, Der ›doppelte Geist‹. P. 8.
128. ↑ Lowsky, Karl May. P. 40.
129. ↑ Forst-Battaglia, dream of a life. P. 93.
130. ^ Schmid, epilogue. P. 461.
131. ↑ Ilmer, Walther: Karl May before the threshold. In: Karl May's first major novel. Scepter and Hammer - The Jewel Island. Special issue of the Karl May Society No. 23/1980, p. 44. ( online version )
132. ^ Wohlgschaft, Karl May. P. 454.
133. ↑ Hein, Jürgen: [article on] Des child's call. In: Ueding, Karl May Handbook. Pp. 383-385.
134. ^ Lorenz, Christoph F .: sovereign and smuggler prince. A review treatise on the stories of Karl May in the magazine “For all the world” (= “All-Germany”) in the years 1879 and 1880. In: Claus Roxin, Heinz Stolte, Hans Wollschläger (ed.): Year book of Karl-May -Gesellschaft 1981. Hansa-Verlag, Hamburg 1981, ISBN 3-920421-38-8 , pp. 360-374 (371). ( Online version )
135. ↑ Bartsch, foreword , p. XIV.
136. ^ Vollmer, Karl Mays ›Sunshine‹. P. 163.
137. ^ Schmid, epilogue. P. 477.
138. ↑ Lorenz, conscience of the model host. P. 214 f.
139. ^ Wohlgschaft, Karl May. S. 1448.
140. ↑ Vocke, The ›double spirit‹. P. 8.
141. ↑ Forst-Battaglia, dream of a life. P. 178.
142. ^ Mahler, The position of Karl May's 'Erzgebirgischen Dorfgeschichten'. P. 91.
143. ↑ Ilmer, Karl May before the threshold. P. 44.
144. ^ Plaul, Karl May Bibliography.
145. ↑ Not to be confused with the similarly-sounding novel The Lost Son
146. ↑ Counter arguments from Plaul, temporary editor. Pp. 132-137.
147. ↑ Bartsch, Ekkehard: [article on] Der Waldkönig. In: Ueding, Karl May Handbook. P. 385.
148. ^ Plaul, Karl May Bibliography.
149. ↑ Audio play database , accessed on January 28, 2017.