Hastenbeck (Wilhelm Raabe)

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Hastenbeck , a historical story, is the last completed prose work by Wilhelm Raabe , which was written from August 1895 to September 1898 and published by Otto Janke in Berlin at the end of 1898 .

The story is told by the invalid “Swiss captain Balthasar Uttenberger” and by the aged “Wackerhahnschen”. The two veterans from the Seven Years' War save the life of the deserter Pold Wille and clear the way for the happy ending: the “porcelain painter” Pold marries the young Immeke.

history

In the Seven Years War not only Prussia and Austria fight for possession of Silesia, but also Great Britain, allied with Prussia, against France for supremacy in Canada . The armed conflicts between the two western great powers take place not only in North America , but also in the Hanoverian homeland of the English royal family. The son of King George II , Prince Wilhelm August , Duke of Cumberland , is the commander of the British troops on Lower Saxony soil. He was defeated by Marshal of France Louis-Charles-César Le Tellier in the battle of Hastenbeck in 1757 on the German theater of war and fell behind the Aller . The French occupy large parts of Lower Saxony. The status quo is enshrined in the Zeven Convention , which, however, is revoked by Great Britain in the same year.

content

After the battle of Hastenbeck, the old Reisläufer, Uttenberger, was attacked by a fever in the war summer of 1757 and left terminally ill in the house of Boffzen pastor Gottlieb Holtnicker. The captain comes from the Canton of Zurich and had fought in the service of His Majesty, the King of France , in the Swiss Regiment Lochmann. "The German Franzmann" Uttenberger survived.

Pastor Holtnicker has to act when Hans Leopold Wille, known as Pold Wille, looks in through the window. Pold is the dearest of the pastor's daughter Hannchen, Immeke or also known as the bee. Pold, flower painter in the neighboring porcelain factory Fürstenberg , was wounded during the battle and deserted from the ranks of Duke Karl . Can the pastor trust his wife and the opposing captain billeted? The Wackerhahnsche - that is the widow of Frau Wackerhahn, formerly a Sollings forester  - helps him. The aged brandedenter, who used to be the most beautiful girl in Boffzen, has become the Weser witch over time, hides the feverish flower painter close by in her “last quarter of life”, a late medieval defense tower on the banks of the Weser, under her straw.

The pastor's wife, Johanne Holtnicker, née Troublemaker, had picked up her little bee in 1741 when she was about three years old on the road. Serenessimus Herzog Karl, founder of the porcelain manufactory, had agreed to the adoption. Later, the beautiful foster daughter of the Boffzen pastor couple had become the preferred model of the Fürstenberg figure, portrait and flower painters. In the spring and midsummer of 1756 the pastor's wife caught her little bee together with the shy, blond Pold Wille in the arbor and in the "nut bushes". On the run from the maddened pastor's wife, Pold Wille ran into the arms of the Duke of Cumberland's first recruiter in Dassel "in his fiery love" and then swore allegiance to the Duke until his death. As a deserter from the Duke's army, the “musketeer will” is now being hunted by both the French and the “English countries” in accordance with the Zeven Convention. Everyone wants to “grab him in his English rag outfit”, “hang him or send him between the gauntlets ”.

The bee secretly looks for his treasure in the tower hiding place and fears for the life of the deserter. The Mamsellchen is soothed by the Wackerhahnchen: "No, no, girl, life is not yet on his mind, and what I can do to put him in your marriage bed will be done."

In November 1757, the only slowly convalescent was taken into the Boffzen rectory and reluctantly looked after by his worst enemy, the pastor's wife. The deserter's new whereabouts are not hidden. Even Emanuel Störenfreden, pastor of Derenthal im Solling - a relative of the pastor's wife - knows about it. The Derenthal clergyman had figured out chances with Immeke. When a patrol of the French occupiers from Höxter searched the parsonage for Pold Wille on December 23, 1757 , the Souslieutnant also entered the captain's room and quickly withdrew, with an embarrassed greeting with “Ah pardon, mon capitaine”. Uttenberger is sitting on his bed and has hidden the deserter under it. After this dubious event, the Wackerhahnsche kidnapped the lovers on the spur of the moment. The "dear foster daughter" Immeke leaves "father and mother for the sake of the loved one." The three refugees' path leads through deep snow to Blankenburg Castle in the Harz Mountains. Duke Karl and his court in Brunswick have found asylum in neutral Blankenburg . The Wackerhahnsche wants to ask for mercy for the porcelain painter at court. On the way, the three hikers pass by the pastor Störenfreden, half frozen to death. The clergyman houses the rival Pold Wille and his company for one night under his roof.

In Blankenburg, the duke shakes his head "alarmingly and sullenly" at the main criminal's desertion, but pardons his best flower painter, the master painter Musketeer Wille, and makes him the master of drawings for the younger princesses. Pold and Immeke get married. The captain dies in the rectory. In spring 1758 the French are chased across the Rhine.

Immeke and her children call Wackerhahn's mother. The former brandedenter, who died in 1768, stayed in her tower and did not "want to and - cannot live according to the human way" with other people.

shape

In the story, the flower painter Pold Wille and his Immeke are, contrary to the readers' expectations, secondary characters. Mainly the Wackerhahnsche acts. When the old woman in Grimm firmly pricks open her walking stick, the reader, who was able to undauntedly penetrate the curly thicket of tales at the beginning of the story, immediately knows who is coming. After all - the narrator offers "a true story". In his “faithful report” from 1757, written in 1898, he uses repetition as a stylistic device, for example in the following three cases.

  • The cry of woe "Woe, Lower Saxony, woe!" Is the name of the theater of war where the rulers of France, England and Germany hold their blood-soaked conflicts.
  • “God's miracle chariot” is quoted from a worn leather strap. The author is the "sincere cabinet preacher Gottlieb Cober from Altenburg ". The protagonists are thrown from the divine vehicle throughout the story.
  • Readings are still being made from the idylls of the young Zurich native Salomon Geßner . Captain Uttenberger had picked up the little book in the field near Hastenbeck. The compatriot Uttenberger sings in the booklet into the thunder of cannons about the golden age, Arcadia , milk and honey and above all about Daphnis and Chloe . Daphnis is with Raabe Pold Wille and Chloe is the bee Immeke.

Testimonials

  • On September 15, 1898, Raabe wrote in a letter to Paul Gerber that he had struggled for three years "with the beast" [the manuscript "Hastenbeck"].
  • Concerning poetry, Raabe puts his light under the bushel in a letter of November 15, 1898 to Sigmund Schott . His poetic sun is about to set.
  • Raabe thanks for a well-meaning discussion: “That your kind wish: 'May the meeting work!' I want to ... doubt that the crowd will come true. "

reception

Archenholz : History of the Seven Years' War in Germany , Berlin 1793
Havemann : History of the Lands of Braunschweig and Lüneburg , Lüneburg 1837
Mauvillon : History of Ferdinand , Duke of Braunschweig-Lüneburg , Leipzig 1794.
  • Sprengel points to the contradiction between “pacifist indictment and national historical perspectives”.
  • Oppermann discusses Raabe's high art of citation , referring to Herman Meyer's "The Quotation in the Art of Storytelling" (Stuttgart 1967, p. 186). According to “Hastenbeck”, Raabe “writer a. D. “named. He wrote “Altershausen” “basically for himself”.
  • Zeller refers to Herman Meyer and Karl-Jürgen Ringel, among others, when he emphasizes Geßner's idylls mentioned above in the “Form” section as the structural builders of “Hastenbeck”.
  • Money worries would have forced Raabe to finish the manuscript.
  • Oppermann (Barker Fairley (1961), Ingrid von Heiseler (1967), Karl Hoppe (1967), Werner Schultz (1966) and Karl-Jürgen Ringel (Bern 1970)) and von Studnitz (Gabriele Ruhl-Anglade (1983 )). Meyen lists 19 reviews from the years 1898 to 1971.

Web links

literature

  • Hans Oppermann : Wilhelm Raabe. rowohlt's monographs. Rowohlt, Reinbek 1970, ISBN 3-499-50165-1 .
  • Fritz Meyen : Wilhelm Raabe. Bibliography. 2nd edition Vandenhoeck & Ruprecht, Göttingen 1973, supplementary volume. 1, ISBN 3-525-20144-3 . In: Karl Hoppe (Ed.): Wilhelm Raabe. Complete Works. Braunschweig edition . 24 vols.
  • Cecilia von Studnitz : Wilhelm Raabe. Writer. A biography. Droste, Düsseldorf 1989, ISBN 3-7700-0778-6 .
  • Eberhard Rohse : Abbot Jerusalem as a literary figure. Representation and image of JFW Jerusalem in historical novels Hermann Klenckes and Wilhelm Raabes. In: Klaus Erich Pollmann (ed.): Abbot Johann Friedrich Wilhelm Jerusalem (1709–1789). Contribution to a colloquium on the occasion of the 200th anniversary of his death. City archive and city library Braunschweig, Waisenhaus-Druckerei, Braunschweig 1991 (= Braunschweiger Werkstücke 81), pp. 127–171, esp. Pp. 153–163
  • Werner Fuld : Wilhelm Raabe. A biography. Hanser, Munich 1993, ISBN 3-423-34324-9 . (Edition dtv in July 2006)
  • Peter Sprengel : History of German-Language Literature 1870–1900. From the founding of the empire to the turn of the century . CH Beck, Munich 1998, ISBN 3-406-44104-1 .
  • Christoph Zeller: Allegories of storytelling. Wilhelm Raabe's Jean-Paul reading. Metzler, Stuttgart 1999, ISBN 3-476-45218-2 .
  • Thomas Krueger (Ed.): Hastenbeck. The Wackerhahnsche, Fürstenberg and Wilhelm Raabe. Verlag Jörg Mitzkat, Holzminden 2006, ISBN 3-931656-88-8 .
  • Hans-Jürgen Schrader : The clunky earthenware and the delicacy of porcelain. A hundred years ago: "Hastenbeck" (1898). In: Hans-Jürgen Schrader: Wilhelm Raabe. Studies on his advanced, realistic storytelling. Wallstein, Göttingen 2018, pp. 295–327.

First edition

  • Wilhelm Raabe: Hastenbeck. A story. Published by Otto Janke, Berlin 1899.

Used edition

  • Wilhelm Raabe: Hastenbeck. A story. 1st edition. Union Verlag, Berlin 1974. (Afterword: Siegfried Rentzsch, Illustrations: Jutta Hellgrewe)

expenditure

  • Wilhelm Raabe: Hastenbeck. A story. Verlag von Otto Janke, Berlin 1909 (3rd edition)
  • Hastenbeck . Pp. 5–200 With an appendix, written by Karl Hoppe , pp. 417–474. In: Karl Hoppe (arr.): Hastenbeck. Retirement home . Poems. 2nd Edition. Vandenhoeck & Ruprecht, Göttingen 2001, Vol. 20, ISBN 3-525-20144-3 . In: Karl Hoppe (Hrsg.), Jost Schillemeit (Hrsg.), Hans Oppermann (Hrsg.), Kurt Schreinert (Hrsg.): Wilhelm Raabe. Complete Works. Braunschweig edition . 24 vols.
  • Wilhelm Raabe: Wilhelm Raabe's miracle car. The Odfeld and Hastenbeck. 2 vols. Verlag highufer.com, Hanover 2010, ISBN 978-3-941513-10-5 .
  • Wilhelm Raabe: Hastenbeck. A story. Publishing house hochufer.com, Hannover 2010, ISBN 978-3-941513-09-9 .

Remarks

  1. ↑ The Frenchman must hand over his command to the Duke of Richelieu .
  2. ↑ In the year of the Battle of Mollwitz (edition used, p. 25, 12. Zvo)
  3. ↑ The march leads from Boffzen via Derenthal, Einbeck , Osterode , Scharzfeld , Sachsa , Walkenried , Ellrich , Ilfeld , Stolberg , Pansfelde and Gernrode to the neutral Blankenburg.
  4. ↑ After Raabe had extensively accused Duke Karl of how he was selling his “country children” as cannon fodder to the British and General Washington , he stopped and wrote: “But what is that to us? Serenissima, our dear reader, has been asking for a long time: 'This is supposed to be a love story? I wanted to give myself the Daphnis and the Chloe, the boring Arcadian Greeks, but one would gradually like to find out a little more precisely about the main thing. "(Edition used, p. 49, 3rd Zvu)

Individual evidence

  1. ↑ Hoppe in the Braunschweiger edition, vol. 20, p. 419 middle and p. 427 above as well as Rentzsch in the edition used, p. 237, 6. Zvo
  2. ↑ Hoppe in the Braunschweiger edition, vol. 20, p. 438, entries Z and B1 as well as von Studnitz, p. 272, 11. Zvu
  3. ↑ von Studnitz, p. 315, entry 67
  4. ↑ Edition used, p. 229, 10th Zvu
  5. ↑ Edition used, p. 50, 6. Zvo
  6. ↑ Edition used, p. 130, 16. Zvu
  7. ↑ Edition used, pp. 141, 19. Zvo
  8. ↑ see also Oppermann, p. 120, 1. Zvo
  9. ↑ Gottlieb Cober: “The honest cabinet preacher”, Altenburg 1711; in addition: Jakob Franck:  Cober, Gottlieb . In: Allgemeine Deutsche Biographie (ADB). Volume 4, Duncker & Humblot, Leipzig 1876, pp. 369-371.
  10. ^ Salomon Geßner: Idyllen . Zurich 1756, Gutenberg-DE project . See also at Zeno.org
  11. ↑ in Hoppe in the Braunschweiger edition, vol. 20, p. 436, 2nd Zvu
  12. ↑ in Hoppe in the Braunschweiger edition, vol. 20, p. 437, 3rd Zvo
  13. ↑ quoted in von Studnitz, p. 273, 5. Zvo
  14. ↑ Hoppe in the Braunschweiger edition, vol. 20, pp. 427–437
  15. ↑ Hoppe in the Braunschweig edition, vol. 20, p. 420
  16. ↑ Sprengel, p. 341, 11. Zvo
  17. ↑ Oppermann, p. 120 above
  18. ↑ Zeller, pp. 74-89
  19. ↑ Zeller, pp. 74, 12. Zvo and p. 74, footnote 1
  20. ↑ Fuld, p. 338, 5. Zvo
  21. ↑ Oppermann, p. 153, middle and p. 157, 24. Zvu
  22. ↑ von Studnitz, p. 320, 18. Zvu
  23. ↑ Meyen, pp. 341-343