Karl May's illustration texts and Hobble Frank contributions

Karl May's illustration texts and Hobble-Frank articles are short stories and essays that Karl May wrote on given illustrations or under the pseudonym Hobble-Frank . While he wrote the majority for the boys' magazine Der Gute Kamerad , most of the remaining texts were written for other papers overseen by Joseph Kürschner .

Emergence

background

Joseph furrier

In Karl May's time it was common for editors to commission authors to write texts for the illustrations. Such illustrations were mostly made for another text. But since they were very expensive and had to pay off, they were recycled several times. Editorial offices bought such images and new texts had to be written for their recycling. The authors were free to interpret the images, but the texts had to match the original images. Often the authors were also sent the original text for inspiration, from which they could not, however, take over anything verifiably.

A significant proportion of the emergence of Mayschen Illustration texts had the eminent publicist Joseph Kürschner , who since 1881 the magazine from Rocky to the sea in the publishing of Wilhelm Spemann edited. Kürschner or the publisher had already become aware of May through his youth books Im ferne Westen and Der Waldläufer (both 1879) or at the latest through his travel stories in Deutsch Hausschatz in word and picture ( Verlag Friedrich Pustet ). While Andreas Graf thinks, "Kürschner (may) have valued the same qualities [Mays]: imagination, variety and recognizable heroes", Jürgen Wehnert suspects that Kürschner was interested in May purely for business and not literary. In any case, Kürschner later wrote: "Personally, like Lindner [illustrator of the May story Et in terra pax (1901)], I don't belong to May's admirers, nor do I read his books." Presumably in 1882, Kürschner invited May to collaborate. First the travel stories Christi Blood and Justice (1882) and Saiwa tjalem (1883) for Vom Fels zum Meer and Ein Oelbrand (1883) for a youth series by Spemann Verlag were created. This work left such a positive impression that Kürschner kept asking for contributions and Spemann tried to tie May to the publisher. At that time, however, May was busy with his work for Deutscher Hausschatz and especially with his colportage novels in the Münchmeyer publishing house . Since he was well aware of the importance of Kürschner and his paper, he held him up with various excuses, especially with alleged trips. A request from Kürschner for an illustration text is documented for the first time in 1886, to which May agreed, but which he did not get to write.

The lyrics for The Good Comrade

Title page of the first edition of the boys' magazine Der Gute Kamerad , 1887

In November 1886, Kürschner took over the editing of a new project at Spemann Verlag, the boys' magazine Der Gute Kamerad , and asked May for cooperation, which he agreed. As a result, the youth story The Son of the Bear Hunter (1887) appeared in the first issue and seven other main stories followed. In the same issue, May's first known illustration text appeared: Ibn el 'amm , which was initially followed by at least two more. “In addition to writing the 'Bear Hunter' (which in turn took place between the colportage novels German Hearts - German Heroes and The Way to Happiness ) May even found time to provide smaller illustration texts for the 'Good Comrade' [...]; Since May repeatedly put the corresponding orders from Kürschner on the back burner, the conclusion is permissible that May regarded the 'good comrades' - unlike the 'rock' - as a kind of mission to which he intended to devote himself to the best of his ability. " , says Wehnert. May had started his professional career as a teacher who had been certified as having "no bad teaching skills", but who, under unfortunate circumstances, had been removed from the list of candidate teachers . Even during his time as an editor , May had repeatedly placed instructive information in the papers he was responsible for, and his early works testified to an instructive attitude. He made this educational claim not only in his main stories, but even in the short illustration texts. The pictures inspired May to write stories, the content of which often did not result from the pictures themselves. In addition to the image material, May used other sources, presumably incorporated what he had experienced himself and rearranged the specified sequence of images. However, the texts had to appear anonymously or pseudonymously in order not to let the May part of the text in Good Comrade , which was already considerable due to the respective main narrative, emerge further.

One of the most popular characters in the main stories was the Saxon Westman Hobble-Frank . Inquiries from readers about the stories and their characters were forwarded by the editors to the authors concerned with a request to deal with them, and the answers were then printed in the letters to the editor. May himself answered a few letters to the editor under the pseudonym Hobble-Frank . However, it was the editorial staff who first brought Hobble-Frank into play in the letters to the editor. The Saxon that they put in his mouth is clearly different from the Mays. Spemann himself encouraged May to continue acting as Hobble Frank . Most of these Hobble Frank articles appeared in those years in which this character did not appear in the respective main narrative. One of these texts: The contortionist (1890), was created as an illustration text .

In January 1887, Kürschner gave up the editorial office of the Good Comrade because of excessive work. So it was Spemann who ordered eight more illustration texts in May 1889 (from Wasserrast auf dem Marsche to Der Schlangenmensch ). At that time, May was in dire need of fees. When he signed the contract for Carl May's Gesammelte Reiseromanen with the publisher Friedrich Ernst Fehsenfeld in 1891 , his financial hardship ended and he was no longer dependent on this additional income. In 1888, Spemann succeeded in binding May to himself through an exclusive contract that obliged May to offer all of his works to the Spemann Verlag first. However, May didn't stick to it; so he wrote u. a. continue for the German house treasure . But since May objected to Spemann's payment behavior and needed his strength for the collected travel novels , he wanted to break away from Spemann. For these reasons, no further illustration texts were created for the good comrade . May's collaboration ended entirely with his last main story The Black Mustang (1896/97).

The illustration texts for Joseph Kürschner

Illustration by George Montbard, for which Karl May Am Kai-p'a (1890) wrote

After Kürschner had handed over the editing of the Good Comrade , he continued to ask May for contributions to Vom Fels zum Meer . Thereupon May wrote the article Maghreb-el-aksa (1887). With the following essays on illustrations, May was able to build on his earlier work from his editorial days. May also repeatedly incorporated cultural-historical - geographical sketches into his works in order to create authenticity. As a result, he had made himself known as a connoisseur of foreign cultures and was asked about such texts. May left it with a few such essays, however, since he had only read the contents himself and was presumably “aware of the thinness of the ice”.

In April 1889, Kürschner left Spemann Verlag and switched to the Deutsche Verlagsanstalt . Since he knew nothing of May's exclusive contract with Spemann, he asked him again for cooperation. This was followed by Im Mistake-Cannon and at least four other illustration texts followed. A special feature here is the story The First Elk (1893). Kürschner had sent the story The Ranchman's Rifle on Crag and Prairie by Theodore Roosevelt with illustrations by Frederic Remington . The vignette The Texas Type of Cowboy went directly into May's description of his famous character Old Wabble . For unknown reasons, however, the text was printed without an illustration. In contrast to the illustration texts for the Good Comrade , May probably wrote not out of literary ambition or for the sake of money, but rather to keep contact with Kürschner. Because of the exclusive contract, the texts had to appear anonymously or pseudonymously, especially since there was meanwhile an upset between Kürschner and Spemann and they were now competitors. When May had to reveal his contractual relationship with Spemann Kürschner, he said goodbye to his staff and no further illustration texts were created for Kürschner. After he had left the Deutsche Verlagsanstalt in 1892, he suggested a new collaboration in 1896, but it was not until 1901 that a final joint project, the travel story Et in terra pax, was to be launched. will be realized.

The last illustration text

The only known illustration text that was not commissioned by Kürschner or Spemann is also the most recently published. May wrote the essay The Death Caravan (1894) with recourse to his travel story From Baghdad to Stambul (1892). Details of the background to the origin are not known.

content

Tales to illustrations

Those stories that appeared in Guten Kameraden are mainly set in the Orient and in Germany , while those for the Deutsche Verlagsanstalt are based in the Wild West . In addition to these scenes, which are already known from his main works, May also treads unfamiliar ground for the only time. B. Back India . The action time ranges from around the 1880s to the end of the 19th century. There are both first-person and first-person narrators . The latter are presented or remain anonymous, but are not identical to the well-known first-person narrator Kara Ben Nemsi / Old Shatterhand / Charley . A number of well-known figures and personalities appear (see table), some of which are a. the Mahdi Muhammad Ahmad and Old Wabble first appeared in a May work. As in his extensive ones , May endeavors to have a didactic and instructive effect in the short stories for the good comrade . Typical May motifs such as superstition, fire, hunting, revenge and theft of a watch appear. May also expresses his ideals of humanity and takes a stand against slavery and seal brawling . Some texts contain popular humor; For example, the military is “glossed over with love and irony”. In connection with the Hobble Frank contributions is The Contortionist . The texts were written for both individual images and series of images. The following table provides more information on the individual stories.

title	Location	action	Narrative perspective	Well-known characters & personalities	Illustration / s
A phi-phob	Back india	Theft of a pocket watch	He-narrator		1 wood engraving by Dosso
The two Kulledschi	Orient	Intrigue with false clay jugs	He-narrator		1 wood engraving
The hamaïl	Orient	Raid by a robbery caravan	He-narrator		1 wood engraving by Ivan Pranishnikoff
Ibn el 'amm	Orient	Lions attack Muslims while praying	He-narrator	the Mahdi; only mentioned: Jules Gérard , Gordon Cumming	1 wood engraving by Ivan Pranishnikoff
Slave vengeance	Orient	Friendship of a slave-owner boy with a slave boy	He-narrator		1 wood engraving
"Buried spoon"	Germany	Ritual end of a maneuver	He-narrator		1 wood engraving by Richard Knötel
The contortionist	Germany	Train ride with a contortionist	First-person narrator	Hobble Frank	9 autotypes and 8 wood engravings
The Somal Ostrich Riding	Germany	Visit to a meadow of people	First-person narrator		1 wood engraving
Water rest on the march	Germany	Soldiers take a drink break	He-narrator	only mentioned: Boulanger , Moltke	1 wood engraving
For the first time on board	North American east coast	Ship passengers struggle with rough seas	He-narrator		8 wood engravings by Joseph Nash
At the "Kai-p'a"	wild West	A western man rescues tourists in Yellowstone Park	He-narrator		1 wood engraving by George Montbard
The first elk	wild West	First greenhorn hunting trip	First-person narrator	Old Wabble, Sam Parker
In the mistake cannon	wild West	Accidental killing of a native American friend	First-person narrator		1 wood engraving by George Montbard
Prairie fire in Texas	wild West	Rescue a flock of sheep	He-narrator		1 wood engraving
The Mormon's Revenge	wild West	Revenge on an Indian village for death penalty on a Mormon	He-narrator	only mentioned: Brigham Young , Joe Smith	1 wood engraving by George Montbard
A seal hunt	Arctic Pacific	A boy takes part in a seal hunt	First-person narrator		9 wood engravings by Jose Beerd

Essays on illustrations

Of the three essays, two deal with oriental and one with a wild west theme. In Maghreb-el-aksa , May deals with Moroccan society based on the British diplomatic mission in April 1887. The latter was accompanied by Richard Caton Woodville , the draftsman of the four associated wood engravings. May mentions the Sultan of Morocco and criticizes the imperialism of the European powers, which (are) ready to leap to protect their "interests lying at the foot of the Atlas" - as the diplomatic expression goes. The second oriental essay: The Caravan of Death. first deals with the division of the Mohammedans into Shiites and Sunnis . He mentions Muhammad's son-in-law Ali and his sons Hassan and Hussein as well as the first three caliphs Abubekr , Omar and Osman . Then May goes into the funeral procession of the Shiites to Karbala and Meshhed Ali , as shown in the wood engraving by Albert Richter . In the shortest of his illustration texts: Hunt for wild turkeys in Texas. May describes the colonial and contemporary turkey hunt for a wood engraving by Rufus Fairchild Zogbaum .

Hobble Frank Contributions

The contributions of the Hobble-Frank im Guten Kameraden are often reactions to letters from readers and therefore play in the period of their publication (1887-1896), with the texts ranging from reply letters to O. Erdmann zu Hofgeismar near Kassel to the earliest “Villa Bärenfett” between the events the two main narratives The Treasure in Silbersee (1890/1891) and The Oelprinz (1893/1894) are to be settled. The place of action is Germany. Hobble-Frank writes in his Saxon dialect, which is already known from the main stories, in which his typical twisted foreign words also appear. He mentions the (fictional) typesetting apprentice of the good comrade (Peter Schnäuzchen), the author of his stories Karl May or Old Shatterhand , Tamerlan / Timur Lenk ( twisted as Dammarlack ), Gottfried von Bouillon (as Gottfried von Oleum ), Winnetou and Aunt Droll .

Hobble-Frank's autograph (1887)

In his first appearance as a colleague of the Good Comrade , Hobble-Frank addresses the question of the reader O. Erdmann how to make a lasso . In this letter of reply , Hobble-Frank takes the opportunity to complain about the author of the stories in which it appears. May would not represent it with the desirable aqueduct [twist of words for adequate] accuracy ; he is still much smarter than can be read in the stories. When the last story with him as a character appears in the last issue of the second year, Hobble-Frank appears in a public broadcast pistel. very sad about it, but promises: [...] to want to smuggle sparks into the "good comrades" and begins with a price puzzle. Later he announces the solution and the winners, expressing his displeasure with the small number of correct solutions proposed. After the reader H. Grombacher complained about the twisted words in the prize puzzle, which led to the confusion in finding the solution, and made the claim that Hobble-Frank would portray himself as Gottfried von Bouillon, a character from the current May story Kong-Kheou, the Ehrenwort (1888/1889), issue, Hobble-Frank feels compelled to clarify. Already in reply Hobble-Frank mentions his Byzantine [...] summer Logis villa that [he] had gekooft of [a] gold nugget , and are in the Public [n] Sendepistel as the address Villa "bear grease" on the Elbe at . After corresponding inquiries from the readership, Hobble-Frank describes his two-storey villa including its garden, which (is) only a stone's throw from Moritzburg [his alleged place of birth] , in the story "Villa Bärenfett". On the ground floor he lives as an inconspicuous private man and a modest, alleged layman for [his] health and for [his] friends. But science and learning live upstairs on the Bel-Etage . The villa contains all sorts of oddities, including a. rear portraits of Old Shatterhand and Winnetou. When the readership announces a visit, he must hereby kindly announce that he has been called to the Sultan of Zschanzibar in East Africa and that he has cunningly removed the bell and also removed [his] company sign . When Hobble-Frank (in the text now Hobblefrank) returns to Germany, he meets a contortionist on the train. He shows him all kinds of tricks that Hobble-Frank describes in the only illustration text of these articles. The artist gave him the accompanying illustrations especially for this purpose. After there were no May stories in the 9th and 10th years, Hobble-Frank announced in the last of the poems that Old Shatterhand had written down the latest adventure and that it would be read in the following year.

criticism

From today's perspective, May's dealings with the Mormons are particularly negative. The Somal belong to slaves revenge mostly the bad ones, while in the ostrich riding the Somal be represented amiable, and the only Chinese in the illustration texts is indeed a villain, but later appeared in two vintages main narrative Kong Kheou, word of honor take a positive drawn Chinese. Mormons, on the other hand, play the role of villains in all of May's works, and in Revenge of the Mormon (1890) they are portrayed most negatively, according to Cameron Blair McMurtrey . May used Mormons to portray two types of characters in the North American setting, the hypocritical bigot and the religious fanatic . With the negative portrayal he was on the one hand in the tradition of other contemporary works; on the other hand, there were also numerous negative assessments and messages that reported about Mormon crimes. In essence, the time had practiced polygamy ensured the visibility of the Mormons in Europe. May, however, did not exhaust the sources of information available to him and never grew beyond the opinions typical of the 19th century and Germany. Hermann Wiedenroth sums up: The Mormons at May "were part of the equipment, were masks and jewelry, but remained strange and were at best sketched out in their excesses: Karl May did not describe the core of Mormonism of his time, life in Utah - not recorded? "

Some of the texts have weaknesses and errors. In relation to the illustration texts in Guten Kameraden , Erich Heinemann says that "The author [...] does not make the locations of the plot sufficiently clear what is to be noted as a deficiency from a didactic point of view." There is poor English in Ein Phi-Phob , an "obvious [...] extensive [...] ignorance [Mays] about the actual ethno - linguistic conditions in the Maghreb " and ethnological errors in Die Rache des Mormons . In A Seal Hunt, the narrator turns out to be contradictory. The appearance of a swordfish there far from its natural occurrence is due to the illustrations. For the first time on board Ekkehard Bartsch judges : “While he [May] usually manages brilliantly to carry out such often obscure commissioned work, this time his art failed. The references to the pictures seem cramped, and the comedy of the situation in the individual plot elements is not remotely close to similar scenes in the early humoresques . The style proves the routine of a skilled author, but hardly any more, and for the first time one of the weakest texts Karl May ever put on paper is on board . ”According to Wehnert, the same applies to the text Hunt for wild turkeys in Texas , who “belongs to the weakest thing that ever flowed from his pen. In particular, the erratic composition [...] one can hardly trust May ”and therefore Wehnert suspects editorial interventions. Although May's prize puzzle was "extremely fun" for the readers, it also provoked displeasure several times. On the one hand, Hobble-Frank's twisting of words was criticized, which had lured readers on the wrong track; On the other hand, the portrait of Hobble-Frank promised as one of the prizes probably did not exist, which surprised the winners. According to Joachim Biermann , May reacted to such criticism as well as to announced visits to the Villa Bärenfett in a “clever way” and “original”. In addition to these reactions, other texts are also highlighted positively. Bartsch praises the skillful structure of a seal hunt . Roland Schmid described the two Kulledschi as a “fairy tale”, “which, in terms of style and content, could well have come from an old oriental fairy tale collection” and was characterized as exciting both Prairiebrand in Texas and Am “Kai-p'a” . The first Elk and Im Mistake-Cannon, however, gain weight when they are later reused in Old Surehand I (1894) as episodes within the novel, with the former being considered the best contribution May wrote for the Deutsche Verlagsanstalt.

Overall, the value of May's illustration texts and Hobble Frank contributions is not rated high: Compared to the main stories in the Good Comrade, "the texts (as a whole) [...] cannot make too high demands," says Heinemann. For both these and Die Todeskaravane , Christoph F. Lorenz says: “Most of those short and short texts […] are not of great literary value.” Hermann Wohlgeschaft also thinks of the works specially written for Kürschner : “They are biographical and literary Mini-texts probably of little importance. ”In contrast to the value, the conversion from illustration to text is rated positively: May's texts“ demonstrate the great extent to which he [May] was able to be inspired by illustrations to poetic creation. “, Attests Lorenz. According to Bartsch, “you are surprised to see how exactly May looked at the picture and how many, even minor, details have flowed into the story.” Michael Petzel and Wehnert judge accordingly : “May was a perfect master of the genre that was widely used in magazines of all kinds. “In addition,“ [May] knew how to skillfully combine the knowledge he had read through source study with vivid descriptions, ”says Heinemann. Finally, Claus Roxin explains May's illustration texts to "testimonies to his improvisational art and his narrative talent."

bibliography

Most of the texts appeared anonymously or pseudonymously and only occasionally ( Maghreb-el-aksa , Die Todeskaravane ) under May's name. In addition to the frequently used Hobble Frank, May also used P. van der Löwen ( Ibn el 'amm ) and D. Jam ( The Mormon's Revenge ) once as a pseudonym .

The following tables contain the current numbers of the volume and the story from Karl May's Gesammelte Werken (titles can differ here and the associated illustrations are often missing), the title of the corresponding reprint of the Karl May Society and the department and volume number of the historical-critical Edition of Karl May's works (if already published) indicated.

Illustration texts in The Good Comrade

title	year	Remarks	Karl May’s Collected Works	Reprints of the Karl May Society	Historical-critical edition
Ibn el 'amm	1887		71 , 11	The black mustang	III.7
The hamaïl	1887		48 , 05	The black mustang	III.7
A phi-phob	1887		48.02	The black mustang	III.7
Water rest on the march	1889		79 , 12	The Black Mustang ( Kong-Kheou, the word of honor )	III.7
"Buried spoon"	1889		79.13	The Black Mustang ( Kong-Kheou, the word of honor )	III.7
Slave vengeance	1889		71.12	The black mustang	III.7
Prairie fire in Texas	1889		79.14	Communications from the Karl May Society No. 102/1994	III.7
The Somal Ostrich Riding	1889		79.15	The black mustang	III.7
For the first time on board	1890		79.16	The black mustang	III.7
A seal hunt	1891		79.18	The treasure in Silbersee ( The Black Mustang )	III.7
The two Kulledschi	1891		71.14	The treasure in Silbersee The black mustang	III.7

May's authorship of these anonymous or pseudonymous texts results from Spemann's order or an invoice. Since this does not apply to The Two Kulledschi , for which May's studies and working methods have been proven, there is a possibility that further May texts have remained undetected.

May's authorship of the geographical and historical sketch Ein Prairiebrand (1887, printed in 79.11 and the reprint Der Schwarze Mustang ) is controversial . Until Prairiebrand was discovered in Texas , it was mistaken for May's Prairiebrand text, as this title is on that statement. The fee, however, corresponds to that of the Texas version. Instead of a prairie fire, the illustration shows an African bush fire, a faux pas that May is not believed to be capable of . Some authors nevertheless attribute both Prairiebrand texts to May with a reference to the otherwise exact information about Ein Prairiebrand on the statement. The text, which consists of approx. 80% quotations from the works of Karl Müller von Halle , Charles Sealsfield and John Treat Irving , in this case presumably did not originate with the other illustration texts, but rather originate from the time of the early essays and first by May - despite the discrepancy - have been used in connection with the bushfire picture.

In addition to the reprints of the Karl May Society, the illustration texts of the Good Comrade were also printed in the Union reprints of the Karl May Verlag : The majority including Ein Prairiebrand in Die Sklavenkarawane (1975) and the remaining texts ( Prairiebrand in Texas , Zum first time on board , A Seal Hunt ) in The Bear Hunter's Son (1995).

The Good Comrade - Posts under the pseudonym Hobble-Frank

title	year	Remarks	Karl May’s Collected Works	Reprints of the Karl May Society	Historical-critical edition
[Autograph]	1887	Hobble-Frank's signature		The bear hunter's son - The spirit of the Llano estakata	III.7
Reply to O. Erdmann zu Hofgeismar near Kassel	1888	Letter to the editor reply			III.7
Public dispatch to my dear, little comrades	1888	Competition			III.7
My dear comrades!	1888	refers to the competition		Kong-Kheou, the word of honor	III.7
To H. Grombacher in Heilbronn	1888	Letter to the editor reply		Kong-Kheou, the word of honor	III.7
"Villa Bärenfett"	1889		79.11	Kong-Kheou, the word of honor The Black Mustang	III.7
Herewith the kind announcement	1889	Letter to the editor reply		Kong-Kheou, the word of honor	III.7
The contortionist	1890	Illustration text	79.17	The Black Mustang ( The Treasure in Silver Lake )	III.7
My dear little comrade	1896	poem		Communications from the Karl May Society No. 158/2008	III.7

For the reply to O. Erdmann zu Hofgeismar near Kassel, there are two drafts with alternative beginnings (printed in the historical-critical edition). The content and style of other letters to the editor replies to May as the author. a. a poem attributed to Hobble-Frank The Saxon Language is the Scheenste (1891). All texts with reference to May from the letters to the editor of the Good Comrade were printed with comments in the communications of the Karl May Society No. 156 / 2008–170 / 2011.

Besides hereby the kind introduction and my dear, small comrade , the Hobble Frank articles also appeared in the Union reprint The Son of the Bear Hunter .

Illustration texts in Vom Fels zum Meer and in the Deutsche Verlagsanstalt

title	year	Remarks	Karl May’s Collected Works	Reprints of the Karl May Society	Historical-critical edition
Maghreb-el-aqsa	1887	Essay	71.13	The Krumir
In the mistake cannon	1889	later in Old Surehand I integrated	84 , 09	The Krumir	IV.27
At the "Kai-p'a"	1890		48.03	The Krumir	IV.27
Wild turkey hunting in Texas	1890	Essay	84.05
The Mormon's Revenge	1890		48.04	The Krumir	IV.27
The first elk	1893	printed without illustration; later in Old Surehand I integrated	84.08	The Krumir	IV.27

It is possible that other anonymous illustration texts by May appeared in the Deutsche Verlagsanstalt between mid-1890 and mid-1893. Such candidates are Sattler in Kairo (1891), Am Steppenbrunnen (1892) and A Settlement in the North American Rock Mountains (1893) (printed in the yearbook of Karl -May Society 1988 ) because they share the same storytelling technique as hunting wild turkeys in Texas .

Of all the illustrated and Hobble Frank texts, only Im Mistake-Cannon and The First Elk appeared in book form during May's lifetime, since May integrated them as internal narratives in the novel Old Surehand I (1894). The figure of the Old Wabble in The First Elk already largely corresponds to that of the novel, the beginning of which could even have been developed on the basis of this narrative. In fact, May pursued the integration of both texts from the first pages of the novel and adopted them almost unchanged.

Further illustration text

title	year	Remarks	Karl May’s Collected Works	Reprint of the Karl May Society	Historical-critical edition
The death caravan	1894	Essay	79.19	( Communications from the Karl May Society No. 24/1975)

Reprints, translations and audio book versions are available for some of these texts.

literature

• Joachim Biermann: Editorial report. In: Karl May: The Black Mustang and other stories and texts for young people . (= Karl May's works, historical-critical edition for the Karl May Foundation, Volume III.7). Karl-May-Verlag, Bamberg / Radebeul 2008, ISBN 978-3-7802-2050-9 , pp. 465-523.
• Erich Heinemann: Introduction. In: Karl May: The Black Mustang. Reprint of the Karl May Society, Hamburg 1991, pp. 236–240.
• Karl May: Correspondence with Joseph Kürschner . With letters from and to Wilhelm Spemann u. a. (= Karl May's Collected Works and Letters, Volume 94). Karl-May-Verlag, Bamberg / Radebeul 2013, ISBN 978-3-7802-0094-5 .
• Herbert Meier (Ed.): Karl May. The Krumir. Rare original texts. Volume 1, Reprint of the Karl May Society, Hamburg 1985, OCLC 249049415 .
• Hainer Plaul: Illustrated Karl May Bibliography . With the participation of Gerhard Klußmeier . Saur, Munich / London / New York / Paris 1989, ISBN 3-598-07258-9 .
• Lothar Schmid , Siegfried Augustin , Wilhelm Vinzenz: Afterword. In: Karl May: The Bear Hunter's Son . Reprint of the first book edition. Karl-May-Verlag, Bamberg 1995, ISBN 3-7802-0234-4 , pp. A42-A67.
• Gert Ueding (Ed.): Karl May Handbook. 2nd Edition. Königshausen & Neumann, Würzburg 2001, ISBN 3-8260-1813-3 .
• Jürgen Wehnert: Joseph Kürschner and Karl May. Fragments of a correspondence from the years 1880 to 1892. In: Claus Roxin, Heinz Stolte, Hans Wollschläger (eds.): Yearbook of the Karl May Society 1988. Hansa Verlag, Husum 1988, ISBN 3-920421-54-X , pp. 341-389. ( Online version )
• Frank Werder, Ulf Debelius: editorial report. In: Karl May: In the "wild west" of North America. Travel and other stories from America. (= Karl May's works, historical-critical edition for the Karl May Foundation, Volume IV.27). Karl-May-Verlag, Bamberg / Radebeul 2011, ISBN 978-3-7802-2082-0 , pp. 609-667.

Web links

• Digital reprints on the Karl May Society website
• Digital reprints of the questions and answers section from The Good Comrade in the communications of the Karl May Society
• Entry in the Karl May Wiki about the illustration texts
• Entry in the Karl May Wiki about the Hobble Frank contributions

Individual evidence

1. ^ E. Heinemann: Introduction. Mustang-Reprint, 1991, p. 236.
2. ↑ Wolfgang Hermesmeier, Stefan Schmatz: The death caravan - previously unknown May imprint discovered. In: KARL MAY & Co. No. 91/2003, p. 17 f.
3. ^ E. Heinemann: Introduction. Mustang-Reprint, 1991, p. 236.
4. ↑ Hartmut Vollmer: Foreword. In: Karl May: Correspondence. 2013, p. 40.
5. ↑ J. Wehnert: Joseph Kürschner and Karl May. 1988, p. 341 f.
6. ↑ J. Wehnert: Joseph Kürschner and Karl May. 1988, p. 342.
7. ^ H. Vollmer: Foreword. 2013, p. 10.
8. ^ Andreas Graf: "Returning from a month-long journey". New fragments from Karl May's correspondence with Joseph Kürschner and Wilhelm Spemann (1882–1897). In: Claus Roxin, Heinz Stolte, Hans Wollschläger (eds.): Yearbook of the Karl May Society 1992. Hansa Verlag, Husum 1992, ISBN 3-920421-64-7 , pp. 109–161 (153 f). ( Online version )
9. ↑ Jürgen Wehnert: Karl May, Joseph Kürschner and the Deutsche Verlags-Anstalt. In: H. Meier: The Krumir. 1985, pp. 110-112.
10. ↑ Kürschner's letter to Hugo Fritsche of July 11, 1901. Quoted from H. Vollmer: Foreword. 2013, p. 41.
11. ^ H. Vollmer: Foreword. 2013, p. 10.
12. ↑ J. Wehnert: Joseph Kürschner and Karl May. 1988, p. 343.
13. ↑ J. Wehnert: Joseph Kürschner and Karl May. 1988, p. 342 f.
14. ↑ Jürgen Wehnert: Karl May, Joseph Kürschner and the Deutsche Verlags-Anstalt. In: H. Meier: The Krumir. 1985, p. 110.
15. ^ H. Vollmer: Foreword. 2013, p. 11.
16. ↑ J. Wehnert: Joseph Kürschner and Karl May. 1988, p. 348 ff.
17. ^ Karl May: Correspondence. 2013, p. 97 ff.
18. ↑ J. Wehnert: Joseph Kürschner and Karl May. 1988, p. 352.
19. ^ J. Biermann: Editorial report. 2008, p. 487.
20. ↑ J. Wehnert: Joseph Kürschner and Karl May. 1988, p. 353.
21. ^ Hans-Dieter Steinmetz, Dieter Barth: Lesson book and school revision report. On two documents from Karl May's work as a factory school teacher. In: Claus Roxin, Helmut Schmiedt, Hans Wollschläger (eds.): Yearbook of the Karl May Society 1999. Hansa Verlag, Husum 1999, ISBN 3-920421-75-2 , pp. 11–43 (23 f.). ( Online version )
22. ↑ Dieter Sudhoff , Hans-Dieter Steinmetz: Karl May Chronicle I . Karl May-Verlag, Bamberg / Radebeul 2005, ISBN 3-7802-0171-2 , pp. 110-120.
23. ^ 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. 40.
24. ^ E. Heinemann: Introduction. Mustang-Reprint, 1991, p. 236.
25. ↑ Florian Schleburg: ›Ostrich-riding of the Somali‹. A previously unknown case of transatlantic text recycling. In: Communications from the Karl May Society. No. 175/2013, p. 41. ( online version )
26. ^ Roland Schmid: Foreword by the editor. In: Karl May: The slave caravan and other stories. Reprint of the first book edition. Karl-May-Verlag, Bamberg & Verlag A. Graff, Braunschweig 1975, p. 497.
27. ↑ Helmut Lieblang: "... a Lao-pung-khao and a Lao-pung-dam ..." A source for Karl May's "Ein Phi-Phob". In: Communications from the Karl May Society. No. 115/1998, pp. 18-22. ( Online version )
28. ^ Wilhelm Vinzenz: About our facsimile copy: Karl May: The ostrich riding of the Somal. In: Communications from the Karl May Society. No. 25/1975, p. 2. ( online version )
29. ^ J. Biermann: Editorial report. 2008, p. 497 ff.
30. ↑ Jürgen Wehnert: ... and I the only living being in this wilderness. On the innovation of the first-person hero in Karl May. In: Heinz Ludwig Arnold (Hrsg.): Text + criticism Special volume Karl May . edition text + kritik, Munich 1987, ISBN 3-88377-180-5 , p. 15.
31. ↑ Erich Heinemann: Introduction. In: Karl May: The bear hunter's son - The spirit of the Llano estakata . Reprint of the Karl May Society, Hamburg 1983, p. 5. ( online version )
32. ↑ L. Schmid et al.: Afterword. 1995, p. A55.
33. ↑ Joachim Biermann: 'Questions and Answers'. From the letters to the editor in 'Good Comrade' (IV). In: Communications from the Karl May Society. No. 160/2009, p. 28. ( online version )
34. ^ Letter from Wilhelm Spemann to May from November 1, 1888. In: Karl May: Correspondence. 2013, p. 137 f.
35. ^ J. Biermann: Editorial report. 2008, p. 505.
36. ^ J. Biermann: Editorial report. 2008, p. 487 ff.
37. ^ J. Biermann: Editorial report. 2008, p. 483 ff.
38. ↑ L. Schmid et al.: Afterword. 1995, p. A55.
39. ^ J. Biermann: Editorial report. 2008, p. 483.
40. ↑ L. Schmid et al.: Afterword. 1995, p. A60 ff.
41. ↑ Letter Mays Friedrich Ernst Fehsenfeld of 4 June 1892. Reprinted in: Karl May: correspondence with Friedrich Ernst Fehsenfeld I . (= Karl May's Collected Works, Volume 91). Karl-May-Verlag, Bamberg / Radebeul 2007, ISBN 978-3-7802-0091-4 . P. 207 ff.
42. ^ Schmid: Foreword by the editor. P. 500.
43. ↑ J. Wehnert: Joseph Kürschner and Karl May. 1988, p. 356 ff.
44. ^ Siegfried Augustin: [article on] Maghreb-el-aksa. In: H. Meier: The Krumir. 1985, p. 83.
45. ^ Augustine: Maghreb-el-aksa. P. 83 f.
46. ^ Augustine: Maghreb-el-aksa. P. 84.
47. ^ H. Vollmer: Foreword. 2013, p. 18.
48. ↑ J. Wehnert: Joseph Kürschner and Karl May. 1988, p. 360.
49. ↑ J. Wehnert: Joseph Kürschner and Karl May. 1988, p. 363 ff.
50. ↑ Jürgen Wehnert: The revenge of the Mormon. Story by D. Jam. In: Communications from the Karl May Society. No. 55/1983, p. 14. ( online version )
51. ^ J. Wehnert: Karl May, Joseph Kürschner and the Deutsche Verlags-Anstalt. 1985, p. 110.
52. ↑ J. Wehnert: Joseph Kürschner and Karl May. 1988, p. 372 f.
53. ↑ J. Wehnert: Joseph Kürschner and Karl May. 1988, p. 384.
54. ↑ Kürschner's letter to May of February 8, 1896. In: Karl May: Briefwechsel. 2013, p. 242 f.
55. ↑ Erich Heinemann: "The death caravan". Discovery of an unknown May text. In: Communications from the Karl May Society. No. 24/1975, p. 2. ( online version )
56. ↑ W. Hermesmeier, S. Schmatz: The death caravan. 2003, p. 16 ff.
57. ^ E. Heinemann: Introduction. Mustang-Reprint, 1991, p. 237.
58. ^ E. Heinemann: Introduction. Mustang-Reprint, 1991, p. 236.
59. ↑ Erich Heinemann: [article on] Am "Kai-p'a". In: G. Ueding: Karl May Handbook. 2001, p. 417.
60. ↑ This can not be completely excluded for The Somal Ostrich Riding .
61. ^ E. Heinemann: Introduction. Mustang-Reprint, 1991, p. 236.
62. ^ E. Heinemann: Introduction. Mustang-Reprint, 1991, p. 236.
63. ↑ Ekkehard Bartsch: [article on] Ein Phi-Phob. In: G. Ueding: Karl May Handbook. 2001, p. 413.
64. ^ E. Heinemann: Introduction. Mustang-Reprint, 1991, p. 236.
65. ↑ Ekkehard Bartsch: "Man and Animal" and Karl May's thoughts on nature and landscape protection . In: Claus Roxin, Heinz Stolte, Hans Wollschläger (eds.): Yearbook of the Karl May Society 1975. Hansa Verlag, Hamburg 1975, ISBN 3-920421-29-9 , pp. 90-98 (91). ( Online version )
66. ^ E. Heinemann: Introduction. Mustang-Reprint, 1991, p. 236.
67. ↑ Wolfgang Hermesmeier, Stefan Schmatz: Traumwelten - Pictures of the work of Karl May. Volume I. Illustrators and their work until 1912. Karl-May-Verlag, Bamberg / Radebeul 2004, ISBN 3-7802-0166-6 , p. 473 f.
68. ↑ J. Wehnert: Joseph Kürschner and Karl May. 1988, p. 355.
69. ↑ Karl May: Maghreb-el-aksa . In From Rock to Sea. Spemann's Illustrirte magazine for the German House. VII year, (1887/1888), Volume 1, p. 964.
70. ↑ W. Hermesmeier, S. Schmatz: Traumwelten. 2004, p. 239 ff.
71. ↑ W. Hermesmeier, S. Schmatz: Traumwelten. 2004, p. 474.
72. ↑ Erich Heinemann: [article on] Villa Bärenfett. In: G. Ueding: Karl May Handbook. 2001, p. 416.
73. ^ Hobble-Frank (d. I. Karl May): Reply to O. Erdmann at Hofgeismar near Kassel. In: The good comrade. Volume 2, No. 40, p. 638.
74. ^ Hobble-Frank (d. I. Karl May): Public dispatch pistel to my dear, little comrades. In: The good comrade. Volume 2, No. 52, p. 827.
75. ^ Karl May: Reply letter. P. 638.
76. ↑ Karl May: Public Sendepistel. S 827.
77. ^ Hobble-Frank (d. I. Karl May): "Villa Bärenfett". In: The good comrade. 3rd volume, No. 25, p. 397.
78. ↑ Karl May: "Villa Bärenfett". P. 398.
79. ↑ Hobble-Frank (d. I. Karl May): Herewith the kind introduction. In: The good comrade. 3rd volume, No. 45, p. 720.
80. ^ E. Heinemann: Introduction. Mustang-Reprint, 1991, p. 238.
81. ↑ Cameron Blair McMurtrey: Balduin Möllhausen, Karl May and the Mormons: The portrayal of members of The Church of Jesus Christ of Latter-day Saints in 19th century German literature . ProQuest LLC, Ann Arbor 2008, ISBN 978-0-549-69799-2 , p. 50.
82. ↑ CB McMurtrey: Balduin Möllhausen, Karl May and the Mormons. 2008, p. 35.
83. ↑ Siegfried Augustin: [article on] Die Rache des Mormonen. In: H. Meier: The Krumir. 1985, p. 139.
84. ↑ S. Augustin: The Mormon's Revenge. 1985, p. 138 f.
85. ↑ S. Augustin: The Mormon's Revenge. 1985, p. 143, note 15.
86. ↑ Horst Friedrich : The Mormons with Karl May and Sir Arthur Conan Doyle. In: Communications from the Karl May Society. No. 97/1993, p. 53. ( online version )
87. ^ Hermann Wiedenroth: The incidental role of the "Jüngstentag saints" in Karl May's narrative work. In: Claus Roxin, Heinz Stolte, Hans Wollschläger (eds.): Yearbook of the Karl May Society 1980. Hansa Verlag, Hamburg 1980, ISBN 3-920421-37-X , pp. 125-136 (126 f.) . ( Online version )
88. ^ H. Wiedenroth: The incidental role of the "Jüngstentag saints". 1980, p. 127.
89. ^ H. Wiedenroth: The incidental role of the "Jüngstentag saints". 1980, p. 131.
90. ^ H. Wiedenroth: The incidental role of the "Jüngstentag saints". 1980, p. 134.
91. ^ E. Heinemann: Introduction. Mustang-Reprint, 1991, p. 236.
92. ^ E. Heinemann: Introduction. Mustang-Reprint, 1991, p. 237.
93. ↑ Horst Friedrich: The Sihdi from Wadi Draa: Karl May and the Maghreb. In: Communications from the Karl May Society No. 90/1991, pp. 54–56. ( Online version )
94. ↑ S. Augustin: The Mormon's Revenge. 1985, p. 142.
95. ↑ Ulrich von Thüna: [Work article on] A seal hunt. In: G. Ueding: Karl May Handbook. 2001, p. 421.
96. ↑ Ekkehard Bartsch: [article on] For the first time on board. In: G. Ueding: Karl May Handbook. 2001, p. 418.
97. ↑ J. Wehnert: Joseph Kürschner and Karl May. 1988, p. 368.
98. ^ Letter from Wilhelm Spemann to May from November 1, 1888. In: Karl May: Correspondence. 2013, p. 137 f.
99. ↑ Joachim Biermann: ›Questions and Answers‹. From the letters to the editor in ›Good Comrade‹ (VI). In: Communications from the Karl May Society. No. 162/2009, p. 18. ( online version )
100. ^ XYZ (di Hermann Grombacher): Open chapter to send to Mr. Hobble-Frank. In: The good comrade. 1888, 3rd year, no.12.
101. ↑ J. Biermann: ›Questions and Answers‹ (VI). 2009, p. 18.
102. ↑ Joachim Biermann: ›Questions and Answers‹. From the letters to the editor in ›Good Comrade‹ (VII). In: Communications from the Karl May Society. No. 163/2010, p. 9. ( online version )
103. ↑ J. Biermann: ›Questions and Answers‹ (VI). 2009, p. 16.
104. ↑ Joachim Biermann: ›Questions and Answers‹. From the letters to the editor in ›Good Comrade‹ (VIII). In: Communications from the Karl May Society. No. 164/2010, p. 5. ( online version )
105. ↑ E. Bartsch: "Man and Animal". 1975, p. 91.
106. ^ Roland Schmid: Afterword. In: Karl May: Old Firehand . (= Karl May's Collected Works, Volume 71). Karl-May-Verlag, Bamberg 1967, ISBN 3-7802-0071-6 , p. 422.
107. ^ Wilhelm Vinzenz, Jürgen Wehnert: Karl May and the "Prairiebrand" texts in the good comrade. In: Michael Petzel, Jürgen Wehnert (Eds.): Karl-May-Welten IV . Karl-May-Verlag, Bamberg / Radebeul 2013, ISBN 978-3-7802-3028-7 , p. 62.
108. ↑ Erich Heinemann: [article on] Am "Kai-p'a". In: G. Ueding: Karl May Handbook. 2001, p. 417.
109. ^ Hermann Wohlgschaft: Karl May - Life and Work. 3 volumes. Bücherhaus, Bargfeld 2005, ISBN 3-930713-93-4 , p. 840.
110. ↑ J. Wehnert: Joseph Kürschner and Karl May. 1988, p. 366.
111. ^ E. Heinemann: Introduction. Mustang-Reprint, 1991, p. 236.
112. ^ Christoph F. Lorenz: In the service of the editors. Short texts from Karl May's periodicals. In: Karl May: Old Shatterhand in the home . (= Karl May's Collected Works, Volume 79). Karl-May-Verlag, Bamberg / Radebeul 1997, ISBN 3-7802-0079-1 , p. 454.
113. ^ H. Wohlgschaft: Karl May. 2005, p. 680.
114. ^ CF Lorenz: In the service of the editors. 1997, p. 454.
115. ↑ Ekkehard Bartsch: [article on] Das Hamaïl. In: G. Ueding: Karl May Handbook. 2001, p. 413.
116. ↑ Michael Petzel, Jürgen Wehnert: The new lexicon around Karl May . Lexikon Imprint Verlag, Berlin 2002, ISBN 3-89602-509-0 , p. 195.
117. ^ E. Heinemann: Introduction. Mustang-Reprint, 1991, p. 236.
118. ↑ letter Claus Roxins to Erich Heinemann of 19 May 1990. Quoted in E. Heinemann: Introduction. Mustang-Reprint, 1991, p. 236.
119. ↑ H. Plaul: Karl May Bibliography . 1989.
120. ↑ No illustration.
121. ↑ No illustration.
122. ↑ The first two pictures are missing.
123. ↑ Figure in the Karl May Wiki.
124. ^ J. Biermann: Editorial report. 2008, p. 502 ff.
125. ↑ Rudi Schweikert: The Nile, its water, the rafts and the jugs. A contribution to the source puzzle of Karl May's first Mahdi volume and to his short story The Two Kulledschi. In: Communications from the Karl May Society. No. 176/2013, pp. 27-39. ( Online version )
126. ↑ L. Schmid et al.: Afterword. 1995, p. A55.
127. ^ J. Biermann: Editorial report. 2008, p. 495 ff.
128. ↑ J. Wehnert: ... and I the only living being in this wilderness. 1987, p. 15.
129. ^ W. Vinzenz, J. Wehnert: Karl May and the "Prairiebrand" texts. 2013, pp. 55–67.
130. ↑ J. Wehnert: ... and I the only living being in this wilderness. 1987, pp. 14-33.
131. ^ W. Vinzenz, J. Wehnert: Karl May and the "Prairiebrand" texts. 2013, p. 62 ff.
132. ↑ May's authorship can be assumed “with some certainty”, but not proven, see: J. Biermann: ›Questions and Answers‹ (IV). 2009, p. 34 f.
133. ↑ The fifth and sixth images are missing.
134. ↑ May's authorship can be assumed “with a fair degree of certainty”, but not proven, see: Joachim Biermann: ›Questions and Answers‹. From the letters to the editor in ›Good Comrade‹ (III). In: Communications from the Karl May Society. No. 158/2008, p. 18. ( online version )
135. ↑ J. Wehnert: Joseph Kürschner and Karl May. 1988, p. 374 ff.
136. ↑ J. Wehnert: Joseph Kürschner and Karl May. 1988, p. 375.
137. ^ Roland Schmid: Epilogue to the reprint edition. In: Karl May: Old Surehand I . Reprint of the first book edition from 1894. Karl-May-Verlag, Bamberg 1983, ISBN 3-7802-0214-X , p. N7 f.
138. ↑ Jürgen Wehnert: [article on] Im Mistake-Cannon. In: H. Meier: The Krumir. 1985, p. 113.
139. ↑ Not to be confused with the similar travel story The Death Caravan . 1882.
140. ↑ This is a reprint. An older version that was only discovered later can be found in KARL MAY & Co. No. 91/2003.
141. ^ F. Schleburg: ›Ostrich-riding of the Somali‹. 2013, pp. 36–49.
142. ↑ Christoph Blau: Transatlantic text recycling on a larger scale. Some additions to Florian Schleburg's ›Ostrich-riding of the Somali‹. In: Communications from the Karl May Society. No. 176/2013, pp. 46-54. ( Online version )
143. ↑ Audio play database , accessed on June 28, 2015.