Hans Henny Jahnn

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Hans Henny Jahnn (born December 17, 1894 in Stellingen as Hans Henny August Jahn ; † November 29, 1959 in Hamburg ) was a German writer and political publicist . In the musical field he worked as an organ builder , organ reformer and music publisher . During his exile (1934–1946) on the Danish island of Bornholm, he also worked as a farmer and horse breeder.

Jahnn was particularly controversial because of his drastically cross-border literary depictions of sexuality and violence . With his literary work, according to the social history of German literature (1981), he is one of the “great productive outsiders of the 20th century”. He saw himself as an “ anti-militarist ”, opposed any “ doctrine ” including “racial hatred and the death penalty” and rejected violence, including against animals.


Memorial plaque at the location of Jahnn's birthplace in Högenstrasse , Hamburg- Stellingen

Early years

Hans Henny Jahnn, son of a shipbuilder , was born in Stellingen and attended the secondary school in St. Pauli from 1904 . There he met the later music publisher Gottlieb Harms (1893-1931) know. From 1911 Jahnn went to the Kaiser-Friedrich-Ufer secondary school in Hamburg-Eimsbüttel , where he graduated from high school in 1914.

Jahnn emigrated to Norway together with Harms in 1915 to avoid military service in World War I. Both lived in Aurland on the Aurlandsfjord . Jahnn said at that time: “During this time I learned to live, I saw through the world and saw everything that life consists of. It was a tough school. ”At the end of 1918 they first returned to Hamburg.

Ugrino - the utopia

A little later, Jahnn moved to the country near Eckel for a short time . Here he lived with Gottlieb Harms and Franz Buse (1900–1971, then a sculptor). During this time he and his friends designed the large-scale project of an artist and living community, which they called Ugrino . This community arose - like many similar groups in the Weimar Republic - out of the need for a new sense of meaning and as an alternative to the situation after the First World War, which many perceived as disappointing . The Ugrino community wanted to preserve works of art of all kinds and create new ones. Jahnn planned and drew monumental cult buildings in the tradition of medieval construction huts . He acquired several large contiguous lots with the support of wealthy friends and patrons. The project failed because of the gigantic land purchase costs and the utopian plans for a “ life reform draft ” typical of the time . Architectural plans and very precise guidelines for shaping the cultic and authoritarian way of life are contained in the Ugrino statute in Jahnn's estate. Traces of the utopian design can be found in the two great novels Perrudja and Fluß ohne Ufer .

Ugrino - the publisher

The Ugrino publishing house outlived the visionary joint project of the same name by two decades. First, Harms and Jahnn published historical organ literature and several theoretical writings by Jahnn ("Kleine Schriften"). From 1928 to 1930, the musicologist Hilmar Trede (1902–1947) was lecturer at the publishing house in addition to his work as director of the “Hamburger Volksmusikschule”.


His future wife Ellinor, b. Philips (1893-1970) joined the Ugrino circle and lived at times in Klecken with friends in a modest country house. Jahnn and Philips married in 1926. Their daughter Signe Jahnn was born in 1929 and died in 2018. The extraordinary open marriage without taboos, characterized by closeness and distance, but also care for one another, lasted 33 years until the death of Hans Henny Jahnn. This emerges from Jahnn's letters to his wife. The marriage between Ellinor Jahnn's sister Sibylle, called Monna, and Jahnn's friend Gottlieb Harms took place in 1928. Ellinor also had a friendly to intimate relationship with Gottlieb Harms and made several trips with him. During the years on Bornholm, Jahnn had an intimate relationship with the Hungarian photographer Judit Kárász .

Hilmar Trede's son from his second marriage, Yngve Jan Trede , was Jahnn's godchild and was supported by him after Hilmar Trede's early death. Jahnn thought he was a musical genius. On December 17, 1963, four years after the death of his godfather, Yngve Jan Trede married Jahnn's daughter Signe (* June 28, 1929, † March 18, 2018).

Although Jahnn never publicly admitted to it - homosexuality was forbidden by law in accordance with Section 175 of the Criminal Code - it is mostly said in the literature that he had had homosexual relationships from his youth, including with Harms, who is considered his great love. Later he became friends with the much younger Hubert Fichte .

Between the wars and exile on Bornholm

In 1919 Jahnn published the drama Pastor Ephraim Magnus , for which he was awarded the Kleist Prize in 1920 (first performance in 1923). In 1925 he wrote his tragedy Medea , which was staged for the first time in 1926 and is still performed today. More dramas followed. Some press organs rejected Jahnn's plays because they often portrayed extreme emotional states and actions (e.g. incest , homosexuality, mutilation, sodomy ). The dramas were sometimes heavily criticized, but sometimes also - for example by Thomas Mann  - very praised.

Jahnn was president of the Hamburger Künstlerverband Kartell , which was founded on February 20, 1929. The cartel was an amalgamation of all free artists in Hamburg to form an umbrella organization. Members of the association were the Hamburg Artists 'Association , the Hamburg Secession , the Hamburg Artists' Association , the Writers 'Protection Association in Northwestgau , the Association of Hamburg Composers , the Reich Economic Association of Visual Artists and the Altona Artists' Association .

Jahnn's expressionist novel Perrudja (vol. 1) was published in 1929 after he had revised the first, formally more conventional version after reading James Joyce's Ulysses . This work was judged positively by Alfred Döblin and Heinrich Mann , for example , and also vehemently rejected by the media. Fragments of the second volume have been published from the estate.

Although Jahnn had warned against the NSDAP since the early 1930s and had joined the Radical Democratic Party (RDP), a split from the DDP , he did not want to emigrate permanently so as not to lose contact with Germany. He was convinced that he could only make a living as a writer in Germany. That is why he remained a member of the Reichsschrifttumskammer . The National Socialists were hostile to him (because of his plays he was referred to in the press as a “communist and pornographer”) and searched his apartment in Hamburg several times.

That is why Jahnn left Germany shortly after the transfer of power in the spring of 1933 and spent most of the time abroad during the National Socialist dictatorship , but kept returning to Germany for a short time. Since 1934 he lived on Bornholm in Denmark, where his sister-in-law had bought a farm on Jahnn's advice, which he initially managed himself, later the farm was leased and then sold. Jahnn moved into a small cottage ("Granly") in the immediate vicinity, wrote and lived there with his lover Judith Karasz, a Jewish-Hungarian emigrant. After returning to Hamburg, Jahnn used the cottage as an occasional summer house.

On Bornholm he wrote most of his main work Fluß ohne Ufer , a novel trilogy of over 2000 pages: Volume 1 Das Holzschiff (first published in 1949), Volume 2 The transcript of Gustav Anias Horn after he was 49 years old (published 1949/1950) and the uncompleted epilogue that appeared in 1961 from the estate.

The first version of Poverty, Wealth, Humans and Animals was written in Switzerland as early as 1933 . Jahnn revised the drama from 1935 to 1945 in Denmark; only after the war could it be performed in the theater in 1948. While still on Bornholm he began to write his tragedy Thomas Chatterton , excerpts were published in 1954, the work was published as a book in 1955, and it was premiered in 1956.

Godson Yngve Jan Trede wrote the music for his dramas Spur des Dunkel Engels (1952) and New Lübecker Totentanz (1931), first performed in the theater in 1954.

In 1950 Jahnn returned to Hamburg and lived in the Kavaliershaus in Hirschpark , which is now an inn, until his death . As a pacifist , he primarily campaigned against the development of nuclear weapons , the rearmament of the Federal Republic and against animal experiments . He also rejected the civil use of nuclear energy because he considered the storage of nuclear waste to be irresponsible even then. Jahnn was co-founder and first president of the Free Academy of the Arts in Hamburg . In 1956 he traveled to Moscow .


On November 29, 1959, he died of a heart condition in Tabea Hospital in Blankenese . His friend Erich Nossack gave the funeral speech .

Gravesite of Hans Henny Jahnn and Ellinor Jahnn

His grave is in the Nienstedten cemetery . Jahnn designed the tomb in accordance with the specifications of the Ugrino statutes . He had also had his wax-sealed, metal-lined coffin made of thick wood constructed according to the Ugrino statutes during his lifetime . Due to the great weight of the coffin, the porters had to set down the coffin every three steps on the way to the grave.

In the old churchyard of the Christian Church in Hamburg-Ottensen there is a grave monument in honor of Hans Henny Jahnn, which he designed for his family in 1919/1920. It was (re) erected there in 1994 together with an information stele by the Foundation for the Preservation of Cultural Monuments of the Free and Hanseatic City of Hamburg .

His last, again unfinished novel, Everybody overtakes it, was published posthumously in 1968; the story Die Nacht aus Blei , an excerpt from it, was published in 1956.

The estate of Hans Henny Jahnn, which also includes unpublished letters, is in the Hamburg State and University Library .

Between 1963 and 1965, the writer Werner Helwig wrote fictional memories of his friend Jahnn in The Parable of Disturbed Crystal .

Jahnn's literary work has not yet been widely received, defies common classifications and was heavily controversial, highly praised or critically examined throughout his life.

Literary work

Jahnn described humans as a "creation defect". In his novels, essays, and speeches, he described the level of cruelty and destructiveness that humans are capable of. He sought salvation in nature, whose “beauty and harmony” he expressed in depictions of landscapes (for example in his romantic trilogy River without Bank ), at the same time he traced the cruelty of nature. Art alone can bring about reconciliation , especially music. This view is what drives his writing.

The central idea of ​​an antichristian creation mythology, which is influenced by the ancient Babylonian Epic of Gilgamesh and "is ontogenetically to be regarded as preoedipal", says the social history of German literature (1981), determines "the whole of Jahnn's work [is] the central idea of ​​an anti-Christian creation myth ." A “strictly anti-civilizational position” manifests itself in it by means of the following complex of motifs: anarchic, natural religious myths (versus Christian tradition), ancient Egyptian death mythologems (versus German tradition of Hellenism ), “elementary bondage of man to his carnality, in which instinct, sacredness and barbarism merged become ”(versus the humanistic image of man), archaic, timeless landscapes in which humans, animals and nature live in undivided unity (versus progress-oriented civilization based on bourgeois enlightenment ). Jahnn's “erotic radicalism” is evident in the recurrent motif of sodomy and in the “ incest taboo broken in almost all works ”, in the sadisms and in the “diverse homosexual relationships and motives”.

Linguistically, Jahnn succeeds for the first time in the Perrudja fragment "the epic integration of his contradicting ideological orientations, as he also gains connection to important innovations of the modern novel": "Safe handling of the inner monologue , the symbol and motif technique", inclusion of the newly discovered unconscious .

Ulrich Greiner describes 1994 in TIME for the 100th anniversary of the author under the ironical title The Seven Deadly Sins of Hans Henny Jahnn structural features of his literary work:

It is based on a “reduction of the human being” to the biological. Jahnn sees humans as part of nature, who are not above animals, but rather how they feel pain. For Jahnn, life is a “universal and permanent pain” that animals endured impotently, “while man deliberately inflicts pain on himself and his kind, animals and all of nature. The slaughterhouse and war are the two sides of an incomprehensible will to destroy life. ”For Greiner, Jahnn's work is a“ protest against the anthropocentric worldview ”.

Second, Jahnn denied any morality. A cruel deed described in detail without a motive in Das Holzschiff (created during the National Socialist era , published in 1949) is not assessed, guilt is "sudden" and "rushes ahead of outrageous decisions," says Jahnn's character Alfred Tutein. According to Greiner, Jahnn reveals the “instinctual level” below the “secondary system of morality”. There is “guilt”, but as Jahnn expresses it and Greiner quotes, humans are only the opaque “scene of events”. Jahnn tries to "penetrate this darkness, to understand the incomprehensible".

Greiner also states Jahnn's “refusal of sublimation ”. Drive, greed and aggression are immediate, human conflicts, but also insights are always associated with “hurt”. Everything is presented with "medical accuracy". The wound, the hole in the body, means the opening of the individual (man) to the world, for example in the late prose piece The Night of Lead . Jahnn also refuses to use metaphysics (especially Christian) with regard to life and death.

According to Greiner, Jahnn's “omnipotent visions” are “in contradiction”. The protagonist Perrudja in the novel of the same name initially planned “world domination to save humanity”, even with war and selection, “but then, recognizing his hubris , turned inward”. In his main work, River Without Banks, Jahnn developed a different “redemption fantasy”: a symphony by the fictional character Gustav Horn with the title The inevitable should express the “tragedy of creation” musically. The origin lies in nature again. Horn sees traces of a " hieroglyphic writing " on birch bark , which Jahnn, translated into notes, included in detail in the novel.

Greiner then writes about the "excess of aporia " in Jahnn. Horn is murdered, redemption thwarted, without consolation from God, the enlightenment or the hope of progress . The hopelessness is "not resolvable, the novel cannot be locked, the artistic effort a failure".

An important point for Greiner at Jahnn is the "repeal of literary laws". The novel River Without Banks, composed between 1935 and 1947, does not follow literary, but musical laws. It was composed like a symphony. Greiner sees the first part of the trilogy Das Holzschiff as a feverishly overexcited "overture" at high speed, in which themes and motifs are echoed that the author takes up and vividly clarifies in the second part, the one of the writing , also through long impressive descriptions of nature, including the People. Jahnn is about a largo larghissimo in which the motifs fade to the point of inaudibility. "Jahnn is not interested in narrative probability or psychological plausibility."

Greiner names the “exhaustion of language” as the seventh “deadly sin” of Jahnn. Jahnn's language lags "behind the claim to knowledge in such a way that one becomes aware of the inaccessibility, the incomprehensibility of what is aimed at."

Organ building and harmonics

Even as a teenager, Jahnn was involved in organ building . During his stay in Norway (1915–1919) he acquired the knowledge to do this through an extensive study of classical textbooks and manuals for organ building, but without completing any technical training. After returning to Hamburg, he campaigned for the restoration of north German baroque organs (e.g. the Arp Schnitger organs of the main church Sankt Jacobi (Hamburg) and the Ludgerikirche (north) ) and called for a reorientation of the organ construction taking into account harmonic principles, as already described by Schnitger. Although Albert Schweitzer , with whom Hans Henny Jahnn corresponded, made similar demands, Jahnn found it difficult to get a response, because the harmonic laws met with rejection in many cases; His reputation as an author of controversial plays also made it difficult for him to find clients at times. Nevertheless, he was involved in almost one hundred organ projects as a consultant, planner and designer: over a thousand scale sheets (curve scale) and drawings in the estate are evidence of this.

The Hans-Henny-Jahnn organ of the Heinrich Hertz School in Hamburg (the former Lichtwark School ), built by Karl Kemper in 1931 and restored by master organ builder G. Christian Lobback in 1991 , can now be heard regularly in concerts. Most of the Jahnn organs, however, are no longer in playable condition. The organ of the Ansgar Church in Hamburg-Langenhorn , which was also built in 1931 and built by the company P. Furtwängler & Hammer not true to Jahnn's plans, was restored in 2008 and inaugurated on September 20 of the same year.

The already mentioned preoccupation with the harmonic worldview was added to Jahnn's concern with organ and organ building. Organ builder and organ reformer Jahnn owed decisive suggestions to the German private scholar Hans Kayser , the founder of basic harmonic research in the 20th century - but also to the writer: Perrudja and the river without banks show Kayser's influence.

Jahnn was also active as a composer. The first evidence can be found in one of his diaries from 1914. Jahnn collected his attempts at composition, most of which were handed down at the sketching stage, in a drawing pad for secondary schools and later added the inscription sheet music manuscript booklet Henny Jahnn . For many years the old Babylonian Epic of Gilgamesh attracted Jahnn's attention. Excerpts from this form the basis of two canons from 1924.


Despite Jahnn's affinity for music, his texts have only rarely been set to music by contemporary composers. Exceptions are the Jahnn-Lieder for counter-tenor and piano by André Werner (1999/2000), which were performed by David Cordier (counter-tenor) and Axel Bauni (piano) at EXPO 2000 . In 2010 the opera Das Holzschiff (based on Hans Henny Jahnn) by the composer Detlev Glanert premiered at the Nuremberg Opera House . When the Hamburg Elbphilharmonie opened with a gala concert in January 2017, the premiere was Reminiszenz , a triptych for tenor and orchestra by Wolfgang Rihm (2016). The basis of the composition is a short passage from Hans Henny Jahnn's unfinished novel trilogy River without Bank .



Work editions

  • Works and diaries in seven volumes. With an introduction by Hans Mayer . Edited by Th. Freeman and Th. Scheuffelen. Hamburg 1974.
  • Works in individual volumes (Hamburg edition). Edited by Uwe Schweikert. Hamburg 1985 ff.
  • One-time anniversary edition in eight volumes. Edited by Ulrich Bitz and Uwe Schweikert, Hamburg 1994.


  • Perrudja . Novel. 1st part 1929, 2nd part unfinished
  • River without banks. Novel trilogy.
    • The wooden ship . 1949, revised version 1959.
    • The writing of Gustav Anias Horn after he was 49 years old. 1949/1950.
    • Epilogue. Published from the estate in 1961.
  • The lead night . Story, 1956
  • Ugrino and Ingrabania. Novel fragment. Published from the estate, 1968.
  • It overtakes everyone. Novel. Fragment from the estate, 1968.


Selected volumes

  • Thirteen unbelievable stories. Stories. Hamburg 1954.
  • A selection from the factory. With an introduction by W. Muschg. Freiburg i. Br. 1959.
  • The Hans Henny Jahnn reading book. Edited by U. Schweikert. Hamburg 1984.
  • Love is nonsense. Letters to Ellinor. Edited by Jan Bürger and Sandra Hiemer. Hoffmann and Campe, Hamburg 2014.


  • Contributions to the cultural magazine Der Kreis
  • The watchmaker. In memory of my great-grandfather Matthias Jahnn (from transcript), in: Westfalen-Spiegel, Ardey Verlag, Dortmund, April 1953 (2nd year, edition B) pp. 11–1.
  • The right of animals. Christmas roll call 1956.
  • Werner Helwig , Hans Henny Jahnn: Letters about a work. European Publishing House, Frankfurt 1959.
  • Hamburg address 1946. In: Sinn und Form , issue 4/2015. With a preliminary remark by Sandra Hiemer, p. 437.


Appreciation, encounter, memory

Exhibitions, conferences

  • Contemporary Hans Henny Jahnn: Can Man Be Saved? Hamburger Literaturtage 1984, documentation of the Hamburg Hans-Henny-Jahnn-Weeks, organized by the Free Academy of the Arts in Hamburg with the support of the cultural authority of the Free and Hanseatic City of Hamburg on the occasion of the 90th birthday and 25th anniversary of the death of Hans Henny Jahnn (1985). ISBN 3-937038-19-1 (10), ISBN 978-3-937038-19-3 (13)
  • Jochen Hengst, Heinrich Lewinski: Hans Henny Jahnn. Ugrino. The story of an artist and religious community. With a biography by Arne Drews. Revonnah Verlag, Hannover 1991, ISBN 978-3-927715-08-0 . (Illustrated catalog for the exhibition "Hans Henny Jahnn / Ugrino. An artist and religious community of the twenties" in the Hanover State Library from September 27 to November 9, 1991.)

Biographies, overviews

Single topics

  • Daniel Hoffmann: Saving cruelty. (Meta-) physical violence in Hans Henny Jahnn's fragment of the novel Everybody is overtaken. In: Sentimentality and Cruelty. Ambivalent feelings in Scandinavian and German modern literature. Edited by Sophie Wennerscheid. Münster u. a. 2011, ISBN 3-643-11229-7 , pp. 201-212.
  • Jürgen Heizmann: man machine death. Tradition and modernity in Hans Henny Jahnn's mystery play "New Lübeck Dance of Death". In: L'art macabre. Yearbook of the European Dance of Death Association 5 (2004), pp. 41–56.
  • Thomas P. Freeman: The Case of Hans Henny Jahnn. Criticism and the Literary Outsider. Camden House, Rochester NY Boydell & Brewer, Suffolk, UK, 2001, ISBN 1-57113-206-6 .
  • Toni Bernhart: "Adfection of their bodies". Empirical study of the colors in prose by Hans Henny Jahnn. Deutscher Universitäts-Verlag, Wiesbaden 2003, ISBN 3-8244-4547-6 .
  • Nanna Hucke: "The Order of the Underworld". On the relationship between author, text and reader using the example of Hans Henny Jahnn's “River without Banks” and the interpretations of his interpreters. Münster 2009, ISBN 978-3-86582-943-6 , as well as open access as full text in the library of the University of Konstanz
  • Diethelm Zuckmantel: Tradition and Utopia. To understand the musical fantasies in Hans Henny Jahnn's “Fluß ohne Ufer”. Verlag Peter Lang, Frankfurt am Main 2004, ISBN 3-631-53007-2 .
  • Daniel Hoffmann: The cavity for justification. Hans Henny Jahnn's “wooden ship” and Protestant teaching. In: literature for readers, 1/2000, pp. 46–60. ISSN  0343-1657
  • Michael Walitschke: Hans Henny Jahnn's New Lübeck Dance of Death . Stuttgart 1994.
  • Adolf Meuer: Jahnn's left behind play “The dusty rainbow”. Piscator staged the world premiere in Frankfurt. In: Culture and Society. Notification u. Ausspracheblatt for members and friends of the Democratic Cultural Association of Germany, Frankfurt am Main 1961 (No. 5), p. 13.
  • Theater of the Free Hanseatic City of Bremen (Hrsg.): HHJ .: The coronation of Richard III . Bremen, season 1978/79 (premiere December 9, 1978). A heavy-duty program booklet with a lot of archival material, especially from the Hamburg State Library, primarily from the time it was made. 127 pp.

Organ building, reform and harmonics

  • Rüdiger Wagner : The organ reformer HHJ. Edited by Hans Heinrich Eggebrecht . Musicological Publishing Society, Stuttgart 1970.
  • Rüdiger Wagner: Hans Henny Jahnn. The revolutionary of repentance, organ, poetry, myth, harmony. Edited by Hans Heinrich Eggebrecht. Murrhardt 1989.
  • G. Christian Lobback: The organ builder HHJ and the harmonic law. In: Uwe Schweikert (Ed.): “I am an organ builder too”. Hans Henny Jahnn and the music. Igel, Paderborn 1994. ISBN 3-927104-89-2 , pp. 11-18.
  • G. Christian Lobback: HHJ and his picture of the organ. In: Musik und Kirche , 6/1994, Bärenreiter-Verlag, pp. 323–328.
  • Thomas Lipski: Hans Henny Jahnn's influence on organ building. Phil.-Diss. Münster 1995, Hildesheim 1997, ISBN 3-487-10321-4 .
  • Lotti Sandt: Hans Henny Jahnn. On the literature, harmony and worldview of the writer and organ builder. Circle of friends around Hans Kayser Bern / Walter Ammann, Bern 1997, ISBN 3-906643-16-6 .
  • G. Christian Lobback: Sound polarity and sound weighting of the organ with Hans Henny Jahnn. Lecture on June 2, 2004 (workshop of the Association of Organ Experts in Germany, Elsa-Brändström-Haus, Hamburg-Blankenese)
  • Jan Bürger: The sounds of planets. The composer Dietrich Buxtehude in the worldview of the writer Hans Henny Jahnn . In: Neue Zürcher Zeitung , January 5, 2008, Int. Issue p. 32 (also on Jahnn as organ restorer in Hamburg)


  • "A man without a bank" Germany / NDR 1975, 45 min. By Paul Kersten and Peter Rühmkorf. Fragment: youtube [1]
  • Hans Henny Jahnn. Germany / NDR 1984, 30 min. A documentation by Reinhold Jaretzky and Lucian Neitzel

Web links

Commons : Hans Henny Jahnn  - Collection of images, videos and audio files

Individual evidence

  1. ^ A b Social history of German literature. 1981, p. 341.
  2. ^ Entry by Hans Henny Jahnn. In: Munzinger Online / Personen - Internationales Biographisches Archiv, available free of charge from membership in libraries, including city libraries. Article created: 1960, bibliography: supplemented in 2003, here: Paraphrase of Jahnn's own statement.
  3. ^ Raimund Wolfert: Hard School Norway. (About Hans Henny Jahnn's years in Norway.) In: Nordeuropaforum. No. 1/1994, pp. 45-47.
  4. ^ Gertrud Trede in: Lexicon of persecuted musicians from the Nazi era.
  5. Signe Jahnn at allegro.sub.uni.hamburg.de, accessed on April 2, 2018.
  6. Hans Henny Jahnn: "Love is nonsense". Letters to Ellinor. Correspondence between Hans Henny Jahnn and Ellinor Philips from the estate. Advance notice from Hoffmann and Campe publishers for November 2014.
  7. Reiner Niehoff: Hans Henny Jahnn in the Black Forest: Hinterzarten terminus (=  tracks . Volume 62 ). German Schiller Society, Marbach am Neckar 2003, ISBN 978-3-933679-82-6 , p. 13 .
  8. The boy becomes a second brook. In: FAZ of November 3, 2014, p. 12.
  9. Brief biographical data on Signe Jahnn
  10. Michael Rutschky: Review of Jan Bürger: The stranded whale. The immoderate life of Hans Henny Jahnn. Construction publishing house, 2003; Broadcast: book market . Deutschlandfunk , April 13, 2003.
  11. Gottlieb Harms died in 1931. Jahnn chose his own grave next to that of his friend.
  12. Kartell Hamburger Künstlerverband at the University Library Hamburg .
  13. on Jahnn's RDP membership, see: Stephan Reinhardt (Hrsg.): The writers and the Weimar Republic. A reader. Berlin 1982, p. 202.
  14. for content and form see: Roland Rall: Jahnn, Hans Henny: River without banks. Munzinger Online / Kindlers Literature Lexicon in 18 volumes, 3rd, completely revised edition 2009. Updated with articles from the Kindler editorial team; available free of charge through membership in libraries, including city libraries.
  15. together with Werner Helwig
  16. Hirschpark on the website of the city of Hamburg.
  17. Ulrich Greiner: The seven deadly sins of Hans Henny Jahnn. For the 100th birthday on December 17, 1994 . Published in: The time of November 11, 1994.
  18. The human being Hans Henny Jahnn. Hans-Henny-Jahnn working group , 2010
  19. B. Leisner, N. Fischer: Burial with obstacles - the Nienstedten cemetery. In: dies .: Der Friedhofsführer - walks to known and unknown graves in Hamburg and the surrounding area.
  20. Images of the Jahnn family grave memorial, Christianskirche Ottensen cemetery at genealogy.net
  21. ^ Heinrich Oehmsen: Hans Henny Jahnn: "Denmark is a dead pancake". In: Hamburger Abendblatt online, April 7, 2013; Announcement of a reading from Jahnn's unpublished letters.
  22. Reiner Niehoff: Jahnn, Hans Henny. Dramatic work. Munzinger Online / Kindlers Literature Lexicon in 18 volumes, 3rd, completely revised edition 2009. Updated with articles from the Kindler editorial team; available free of charge through membership in libraries, including city libraries.
  23. ^ Social history of German literature , 1981, p. 253
  24. ^ Social history , p. 342
  25. ^ Social history , p. 341.
  26. a b Ulrich Greiner: The seven deadly sins of Hans Henny Jahnn. For the 100th birthday on December 17, 1994 . In: Die Zeit, November 11, 1994.
  27. Volume I of River without Bank
  28. Nanna Hucke: The order of the underworld. On the relationship between author, text and reader using the example of Hans Henny Jahnn's “River Without Banks” and the interpretations of his interpreters . Münster 2009, ISBN 978-3-86582-943-6 , also online
  29. Cf. on this: Uwe Schweikert: I had a precise idea of ​​my music. In: I'm also an organ builder - Hans Henny Jahnn and music. Igel Verlag Wissenschaft, Paderborn 1994.
  30. A recording of the performance was published on CD LiedStrahl 2 by Edition Zeitklang. In addition (only a part of it) on: Music in Germany 1950–2000 (ed. Deutscher Musikrat)
  31. ^ Entry by Hans Henny Jahnn. In: Munzinger Online / Personen - Internationales Biographisches Archiv, available free of charge from membership in libraries, including city libraries. Article created: 1960, bibliography: 2003 added.