Master Oelze

Meister Oelze is a drama in three acts written by Johannes Schlaf in 1892 , which is considered a model work of consistent naturalism .

The German playwright, narrator and translator Johannes Schlaf created many literary works of naturalism together with Arno Holz . This “consistent naturalism” can also be found in Master Oelze. The work was once considered the “most controversial work of naturalism” and is still considered the “summit of consistently naturalistic drama”.

In Master Oelze, Schlaf made use of the hitherto unknown seconds style , with which he tried to give his works more realism and authenticity. One of his main goals was the exact reproduction of reality. In addition, there is hardly any authorial narrative style , but mainly personal narrative style and dialogues. Schlaf attached great importance to the exact representation of the dialogues with all words, word fragments, pauses, dialect, etc. The result is an almost time-covering narration ( narration time corresponds to narrated time) up to the slow motion effect ( narration time longer than narrated time).

Sleep itself testifies to the importance that Maurice Maeterlinck and his earlier plays, in particular his one-act play Intérieur , had for him and on which he himself published a work in 1906. In addition to the Selicke family, he also places Master Oelze in a direct connection with Maeterlinck's dramas, although Maeterlinck never belonged to the naturalistic school.

After a few private performances, the first public performance of the work, which had already appeared in print in 1892, took place in Magdeburg on Easter Sunday, 1900 , but met with little response from the public. A performance planned in 1892 at the Munich Theater on Gärtnerplatz by the Reicher'sche Gastspielgesellschaft was prevented by administrative objection.

Samuel Lublinski placed Master Oelze as the “second summit next to the 'Weber'”, and he reproaches Brahm for blocking the work's way to the stage. “In general, it is the specific scandal of the last decade of German literature that the theater directors kept the“ Selicke family ”and“ Meister Oelze ”away from the stage instead of, as it would have been their duty, the audience and actors with tireless patience Work to educate. "

people

• Franz Oelze, master carpenter
• Rese, his wife
• Emil, her son
• The old Frau Oelze
• Pauline, Oelze's stepsister
• Mariechen, her daughter
• Mrs. Weidenhammer
• Patschke, the journeyman

construction

The structure of the drama is largely based on the classic model. The action takes place exclusively in the living room of the Oelze family. The plot is closed and one strand. The first two lifts take place on the same evening and the third and final lift takes place a few days later. This results in the unity of place, action and, in a broader sense, time. However, none of the figures are aristocratic and thus the class clause is repealed. The whole drama is written in the Thuringian-Saxon dialect, which corresponds to the typical naturalistic drama. All the people who appear speak this dialect, which means that no person or group of people can stand out from the others on a linguistic level. In addition, the drama is under the influence of Zola's Thérèse Raquin (1878).

content

Plot overview

The naturalistic drama Meister Oelze, which takes place in the present, shows the tragedy of a family in three acts. What is happening is determined by a crime twenty years ago; Master carpenter Oelze, who lives in a small town in Thuringia, has a visit from his stepsister Pauline and her seven-year-old daughter Mariechen.

Pauline suspects that Franz Oelze robbed her and her brother of their inheritance years ago by poisoning the father together with his mother, the second wife of their father, shortly before Pauline's wedding. Pauline, who, it seems, lives under poor conditions in a big city and is married to a drinker, wants to get Oelze to confess to the father during her visit. Because she wants certainty and insists that her brother finally takes responsibility for his actions. Franz, like his mother, is seriously ill and tries to defend himself against a confession by all means. His spiteful and cynical way with which he tries to defend himself is always noticed. The focus of the event is the verbal arguments between the two siblings. But despite Pauline's efforts, she misses her target. Franz Oelze succumbs to his serious illness and dies in the presence of his family - without having made a confession.

Contents of the three elevators

1st elevator

(In the living room of the Oelze family's house)

The first act begins with a description of the milieu typical of naturalism using the stage directions. He wrote much of a classic exposition that introduces the development of the drama, reported on the prehistory, introduced and characterized the characters and also built up the tension for the following scenes. The living space of the Oelze family is described in great detail.

Franz Oelze's step-sister Pauline and her daughter Mariechen are visiting the Oelze house because Mariechen is sick and needs to recover and regain her strength. Pauline, who fell asleep in her armchair while doing sewing, and Mariechen, who is busy knitting, are sitting in the living room of the house. Suddenly Pauline is woken up by the loud screams of the grandmother and has to comfort her daughter, because she has become afraid. The two talk about the situation in the house Oelze and Mariechen makes it clear that she feels uncomfortable and wants to go back home as soon as possible, even if this would mean worse living conditions. She complains that her uncle is always sick and that the old grandmother also scares her with her screams. But the mother fends off this. Mariechen admits that she would be jealous of her cousin Emil, because he could play the piano so beautifully and she would like to be able to do so too. The mother then indicates that she could do this if they hadn't been robbed, because everything would have been taken from them. However, she does not want to elaborate on it. A few minutes later, Mrs. Weidenhammer, who is an early classmate of Pauline's, appears. Rese, Franz Oelzes' wife, also joins them and complains about the amount of work she has with her grandmother and Franz's poor health. This had gotten worse and worse in the last few weeks and Franz was only coughing and also spitting blood. She thanks Pauline for her help with the household and says that she is happy about her visit because she would not make it otherwise. Franz was too stingy to hire her a housekeeper. Pauline is very happy about these words, but indicates that Franz is anything but happy about her long stay. When Rese leaves the room to do her work, Ms. Weidenhammer speaks about the sudden death of the father of Pauline and Franz. Pauline becomes furious and doubts her father's natural death because he was healthy and wanted to come to the wedding of Pauline and her husband. She speculates that it must have something to do with the inheritance, since the whole fortune went to Franz and the grandmother and she got nothing. Then Mrs. Weidenhammer tells her about Franz's bad reputation in the village. People also talked about sudden death and inheritance and wondered. Nobody could prove anything bad to Franz Oelze, but nevertheless he struck them as strange and they avoided him. This leads to his carpentry going badly. Ms. Weidenhammer is surprised that Pauline has been with the Oelze family for so long, even though she feels so uncomfortable and Pauline indicates that she still has intentions, but does not go into detail.

Mrs. Weidenhammer leaves the house and Franz Oelze joins them. He immediately got into an argument with Pauline and accused her that her husband would drink up and smoke all her money. Pauline takes up the subject of her father's death again and makes it very clear that she has doubts about the whole thing. Franz, on the other hand, does not respond to her at all, just laughs at her and asks her why she has still not been able to talk about anything else for 20 years. He wants to know from her when she will finally leave. He makes no secret of the fact that her presence makes him uncomfortable and bothers him very much. Pauline fends off this and tells him that she can do well at home without her and that this house is also her parents' house and that she has not been here for years. When the conversation turns to the inheritance again, Pauline tells that the grandmother said in her madness that they poisoned the grandfather. Franz gets angry and says that it is too late now anyway and that what belongs to him stays with him and that nobody can take anything away from him. Pauline notes that she doesn't mind. After all, in comparison to him, she has a clear conscience. Franz has a coughing fit and Pauline wants to help him, but he pushes her away and doesn't want her help. It becomes clear that there is no good relationship between the two.

Franz's son Emil enters the room and reports about a storm that is raging outside and his pranks. Meanwhile, with the help of Mrs. Kramer, Rese brings the grandmother into the room. This makes Franz very angry and he quickly leaves the house, despite the storm.

It becomes clear that the people, and especially Franz Oelze, find it difficult to work in a confined space. You have no way of getting out of your way and this results in helplessness and aggressiveness. The only information that penetrates the house from outside is brought by the visitors. In the first act, Pauline's old school friend Mrs. Weidenhammer (11 ff.) And the 15-year-old son Emil (31) who is coming home take on this task. Otherwise the outside world is only present through its noises (43), such as wind, storm and the fire bell . This outside world is made clear through a “whistling in the chimney” (6), storm (12, 24), and “black sky” (31). “Just as if the world should end!” (31). Franz Oelze in particular suffers from this narrowness, which can be seen in the fact that he keeps opening the windows and doors (45, 62, 65) and even escapes outside at the end of the first act.

2nd elevator

(In the living room of the Oelze family's house)

The second act, which within a three-act drama is the place of escalation and the development of conflict, also fulfills this function here. However, one cannot speak of a progressive action. Even if the drama is by no means over, the action in the last two acts is neglected and the typically naturalistic can be recognized. The impressions from the first act are reinforced at the beginning of the second act.

The wind can still be heard loud and clear as it whistles around the house (35, 38) and scares Mariechen (35 f.). The second act begins with Emil and Mariechen, who are alone with their grandmother in the living room. Emil scares Mariechen by leaving her alone with her grandmother. They steal pears and eat them. Some fall on the grandmother's head, but she shows no reaction. Rese and Pauline join them and bring grandmother out of the room. Rese keeps mentioning that she's worried about Franz because he just left and the storm outside is getting worse and worse. “I hawwe such a restlessness ?!” (42).

Suddenly they hear the fire bell ringing (43). Rese worries more and more about her husband. But then he turns up suddenly and completely drunk. He says that he was in the pub and had a beer there too. Rese reacted very grumpily, as the doctor advised Franz not to drink alcohol. Franz enthusiastically talks about his experiences in the economy and asks his wife to bring him a glass of wine. He drinks half of this and gives the second part to his son Emil. He then tells everyone that Emil is a very smart boy and always belongs to the top of his class and that he is even learning Greek. He wants Emil to study one day and then become a pastor. Because that is how most of the money can be earned and that is ultimately the most important thing in society. When Pauline objects to this, Franz reacts angrily and rejects her. He insults the women present as being stupid. Again and again he imagines that there has been a knock on the door and that someone is outside.

Pauline says that the night before her wedding she foresaw her father's death and saw ghosts that night (51). She reports that she was lying in bed alone at home and all the doors were locked when she suddenly heard noises and a loud clang from the living room. Then she went into the room and saw broken dishes lying on the floor. It would have been the dishes that her father gave her back then. But this was so far back on the shelf that it couldn't possibly have fallen down on its own. Fearful, she went through the house and checked the locks on the doors. But all doors were locked and there was no one else in the house. She went back to bed and after lying in it for a few minutes, she saw a white figure in the room. She hid herself under the covers in fear and took a long time to look out again. Then she saw a white figure in front of her, with a nose, arms, legs and a white beard: her father. She heard a loud sigh and it was gone. That night she got the news of her father's death. But Franz only makes fun of that.

They come back to talk about the fire and speculate whether it might be arson. Mr. Hecht, who is on fire, is a very bad man and even beat up his squire a few days ago. Pauline wants to test this with a magic trick (56 f.). To do this, she needs a beer bottle, a Bible and the old house key. She positioned the Bible on the neck of the bottle and made circular motions over the Bible with the key. She mumbled a few words and the name of the suspect. When she says his name, the Bible falls down, which is supposed to be evidence that he is guilty. Everyone present is impressed, but Franz does not believe in this hocus-pocus and gets angry. But Pauline insists that this method is the right way to prove someone guilty. Because in this way all kinds of thieves and even murderers have been discovered, which is probably an indication of Franz.

Again she puts the Bible on the bottle and mumbles a name. The Bible falls down. When Franz sees this, he becomes pale and nervous. Pauline bets him that he no longer dares to go out. Franz gets angry and wants to prove her wrong. Nervous and frightened, he leaves the house for the shed. The others are waiting eagerly at the window when suddenly a loud scream can be heard and Franz returns completely frightened. He enters the house with blood in the corner of his mouth and can only stutter. Rese wants to call the doctor immediately and Pauline only mumbles: “Silence! Silence!"

The storm that is raging outside reflects the situation inside. Everything starts with a small storm, but it gets worse and worse and a storm of the worst kind is brewing. The worse the argument between the siblings, the more unpredictable the weather becomes.

3rd elevator

(In the living room of the Oelze family, a few days later)

The third and last act consistently focuses on the two siblings. Rese and Pauline take care of Franz, who is in bed with a high fever and fantasizes. It's already the middle of the night, almost tomorrow again, and Pauline wants to send the worried Rese to bed because she'll have to get up again soon and needs some rest.

However, Rese is too worried at first and wants to stay with her husband. She remarks, “And the sky is so clear! - 'there is a glorious day! ”(62), which gives the viewer hope for a good ending with Pauline. After a while, however, she leaves the room to go to sleep. Franz continues to have bad fantasies. In a clear moment he wants to know from Pauline what is wrong with him and whether a doctor has been with him. Pauline explains to him that it was the middle of the night and that there was no doctor there, but that he would soon die. He accuses Pauline that she is to blame for his situation because she ruined him. Then she wants to go, but Franz holds her back and calls her over. Pauline thinks that he wants to admit the murder of his father and goes to him. But then he fantasizes again. He begs God to forgive his sins. He is so absent and delusional that even the picture of his father on the wall scares him (65). The narrowness and the "stuffy" air torment him again (65). When he calls Pauline to him again, he scratches her and says that he would have stabbed her with the knife if he had the strength. In his feverish delusion he sees a person in front of the window and Pauline persuades him that it is her dead father. When he calls Pauline to him again to confide something to her and she then rejects her again, she gets angry. Franz wants his son Emil to come to him.

Rese and Emil come into the room. Franz demands that Emil bring his certificate so that he can sign it. When he brings it, Emil has to read it out. Emil is ashamed of his bad mark in religion. But Franz still insists that Emil become a pastor one day. He even tells him that on his deathbed. When the two women talk about his condition, Franz suspects a conspiracy and accuses them of having poisoned him. But then he succumbs to his suffering and dies. Rese and Emil are crying and very sad. Rese tells Pauline that even she is sad about her brother's death. But she can only laugh bitterly.

As a result, there is no solution in one piece. Franz Oelze died without having previously confessed to what he had committed. So Pauline failed. Neither of them won or learned anything from the whole thing. The people involved are no smarter than before.

Individual observation of the figures

Franz Oelze

Franz Oelze, who gives the drama its name, is one of the main characters in the story and, among other things, the trigger for the existing conflicts. He is married to Rese Oelze and together they have a son named Emil. He also has a half-sister, Pauline, who emerged from a relationship between his father and another woman. However, he has a very great dislike of Pauline and her daughter Mariechen. He does not manage to talk to them or deal with them normally because there is a deep hatred between the two and they do not manage to overcome it.

He works as a master carpenter. However, business is not going too well as he does not have a good reputation in his home village and most of the local people do not like him. Oelze is seriously ill. He finds it very difficult to breathe and has a constant cough. It goes so far that at times he even coughs up blood and ultimately succumbs to his illness and dies.

He “steps into the room, coughing. Bent over, narrow-chested, emaciated. Sunken, yellow, beardless face [...]. He walks towards the armchair, breathing heavily. ”(23). This negative representation of his appearance is also reflected in his being. He seems short-tempered, irascible and very bitter. He does not get involved in discussions, but always yells around or leaves the scene. He doesn't seem to have a conscience. Because all that counts for him is money and the resulting power that is then brought towards you.

Pauline

Pauline is the half sister of Franz Oelze. She has another brother, is married and this marriage has a daughter, Mariechen. She appears to have a bad relationship with her husband and there is evidence that he is a drinker. It also seems that she does not feel the need to go home to her husband.

She is visiting her brother and his wife. She cites her daughter's state of health as the reason for her visit, but it quickly becomes clear that the reason is completely different; she wants to prove that her half-brother is guilty of her father's death, because she feels he has robbed her (10). Oelze is said to have withheld the entire inheritance from her and her brother (18f.). She does not have a good relationship with Franz and insults him again and again, for example as "You dog!" (9) and describes him as "Merder" (22). In addition, she sees in her brother the "incarnate Satan" (19).

Pauline is described as "a strong woman in her mid-forties with pretty tough, energetic facial features" (1). “Hair parted straight on both sides” (2) She also wears a “simple, broken housedress” (2).

Mariechen

She is the daughter of Pauline. Mariechen is seven years old and is also visiting the Oelze family. But she feels very uncomfortable in their house. She is afraid of Franz Oelze and his mother. When her mother asked if she didn't like the Oelzes, she replied with “oh no, not at all” (3). The conversations, which the grandmother often maddened, frighten Mariechen.

Emil

Emil is the son of Franz and Rese Oelze. He is 15 years old and a very good student. He has good grades in all subjects except religion, where he only has a 4. Nevertheless, his father plans for him to become a pastor one day. Emil is very disrespectful to the women who appear and makes fun of his mother, among other things. He gets this behavior exemplified by his father and no one prevents him from being so disrespectful to his fellow human beings. He also makes fun of frightening Mariechen and then teases her with it. He knows that he is older and therefore superior to her and uses this for his amusement. Emil is a cold-hearted child who neither radiates love nor accepts the love of others.

Rese

Rese is the wife of Franz Oelze. She is “tall, square and healthy” (6). She spends her day looking after her grandmother, looking after Emil and her husband, and running the household. However, she feels overwhelmed with all the tasks and is very happy that Pauline is visiting and supporting her. Nor can she offer her son Emil any contradictions and is often made fun of by him. However, it does nothing about it.

The old Frau Oelze

She is the mother of Franz Oelze. She is very old and has nervous disorders. She often speaks madly and it also happens that she cannot be approached for hours and only has her last few weeks to live. It was she who, together with Franz, committed the murder of her husband.

Mrs. Weidenhammer

She is a neighbor of the Oelze family and an old school friend of Pauline's. It quickly becomes clear that she has an aversion to Franz Oelze and blames him for the death of his father. She tells about the bad image the other villagers have of him.

Patschke

He is Oelze's journeyman and only plays a minor role in the play. He also doesn't make a particularly intelligent impression. It only serves to bring information from outside into the house of the Oelze family.

Motifs

Reduction of human relationships / disintegration of ties

As the first and best example, the murder of Franz Oelze's father or the husband of the old woman Oelze can be cited. Master Oelze and his mother are so obsessed with the inheritance that they show no scruples about maliciously poisoning their father or husband in order to get hold of the inheritance at an early stage. They forget all their virtues and work together to commit a deceitful murder. They kill the person who should be most important to them. Your husband or father. It's horrifying that neither of them shows remorse during the drama. The old Mrs. Oelze is insane and her life is almost over. So no more regrets can be expected from her. Franz Oelze, however, is in his right mind and should be aware of how serious his act is. He killed his father. And that for a very low reason; namely out of greed. Money has a higher status for him than the relationship with his father and the morality, which apparently does not exist with him. This shows that the importance of human relationships is becoming more and more of a secondary importance and that material values ​​are gaining in importance.

Master Oelze also has no remorse when he deprives his half-sister and half-brother of their inheritance and they have to live in poverty while he is doing well financially. Because when the father is dead, the entire fortune goes to Franz Oelze and his mother. This allows you to maintain a good standard of living and Franz Oelze can guarantee his son Emil a good education. However, he does not think about his half-sister and her brother. From a purely legal point of view, these two would also be entitled to a certain part of the inheritance. But Franz Oelze does not give them anything. Even though he knows that his half-sister is not doing very well financially. He even makes fun of this condition and teases her with it. Here, too, a clear breakdown of bond can be seen. Franz Oelze cheats his own sister out of her inheritance. Once again he acts unscrupulously and without regard for losses.

The prospect of money makes the main actor forget his virtues and moral obligations and this even leads to his becoming a murderer!

Demoralization of the petty bourgeoisie

Neither Master Oelze nor the old woman Oelze show remorse for what she did. It even seems as if they are happy that no one has caught on to them so far and no one has been able to prove what they did. Master Oelze even jokes about the crime and the resulting bad relationship with his half-sister. Again and again he makes fun of her and reminds her how well he and his family are and how bad life is for Pauline with her husband and daughter Mariechen. He is also not ready to confess what he has done to his sister. Again and again she asks him about it and demands that he finally admit what a terrible deed he and his mother committed. But Oelze blocks again and again and makes fun of Pauline or gets angry and yells at her. He is also of the opinion that the act was so long ago that you no longer have to talk about it or even worry about how it happened exactly.

In addition, Master Oelze forces his son to learn the profession of pastor later. However, he only wants this because he thinks this is the best job for making a lot of money. “Ambition had to be! You see: the gang here, the whole sleazy people, they have to stand under you sometime! ”And“ Uf zweerlee had to see: on the money and that you have more power; that de Leite dance to your tune and you don't dance to hers! ”(50) Here an attitude of the father is defended, which led him into the misery of his own life. The murder detached him from his environment and made him a murderer. He is not interested in the interests and strengths of his son. He also ignores the fact that the otherwise good student does not have a good grade in religion and that this seems to be unsuitable for the profession of pastor. The only thing that is important to the father is that his son earns a lot of money once. Because, in his opinion, this is the only thing that still matters in society. The more money you have, the more prestige you get.

Loss of male rule

Master Oelze does not represent an equal opponent compared to his strong and well-built sister ("strong woman"; 6). He is only a shadow of himself. In the third act you can feel that he is afraid of his half-sister. He even accuses her of poisoning him. Again and again he has claustrophobia and feels cornered in the living room, opens the windows or fled the house entirely.

Pauline seems to be physically superior to him. By depicting a weak man and a physically superior woman, the dominance of the man is replaced by a dominance of the woman.

Reviews and performances

At the time of its publication, Meister Oelze was regarded as the “pinnacle of consistently naturalistic drama” and many other naturalists shared the opinion of Paul Ernst and described Meister Oelze as the “most important work of the genre”, but it was never particularly well received by the audience. The first edition copies were sold as antiquarian for 20 pfennigs as early as 1894. The Munich naturalist Conrad even spoke of a “product of the most desperate dramatic impotence”.

Master Oelze remained largely a reading drama and hardly saw any performances. Usually there were only performances in the context of stage associations and whose performances were only for their members. So on February 4, 1894 from the "Neue Freie Volksbühne", on February 4 and 5, 1899 from the "Literary Society" in Munich, on Easter Day 1900 in Magdeburg. On February 2, 1901, the drama was given in Berlin in a one-time performance. For the poet's 60th birthday in 1922, friends arranged performances for him in Osnabrück and Weimar.

The concentration on the detail, the thoroughly sober description and the lengthy plot due to the seconds style prevented the development of the plot or the dramatic connection of the individual scenes, which is necessary for a stage performance. Completely new expectations were placed on the audience. There was no longer a solution in the play, the viewer should think about a possible solution and analyze the mistakes. So it came about that performances remained a rarity and Master Oelze did not achieve the fame in society that some naturalists attributed to him.

literature

• Heinz-Georg Brands: Theory and style of the so-called “Consistent Naturalism” by Arno Holz and Johannes Schlaf . Bouvier Verlag Herbert Grundmann, Bonn 1978 (= treatises on art, music and literary studies; Volume 277).
• Sigfrid Hoefert: The Drama of Naturalism . 4th, revised and expanded edition. JB Metzler, Stuttgart-Weimar 1993.
• Dieter Kafitz: Naturalism as a worldview. On Johannes Schlaf's conception of art . In: Robert Leroy, Eckart Pastor (ed.): German poetry around 1890. Contributions to a literature in transition . Bern, Frankfurt / Main, New York a. a. 1991, pp. 75-93.
• Dieter Kafitz: Johannes Schlaf - ideological totality and reality blindness. A contribution to the redefinition of the concept of naturalism and to the derivation of totalitarian forms of thought . Tübingen 1992 (= studies on German literature; volume 120).
• Samuel Lublinski : Wood and Sleep. A dubious chapter of literary history . Stuttgart 1905.
• Hanno Möbius. The naturalism. Epoch presentation and work analysis . Quelle & Meyer, Heidelberg 1982.
• Volker Meid : Reclam's Lexicon of German-Speaking Authors . 2nd, updated and expanded edition. Reclam, Stuttgart 2006.
• Manfred Brauneck , Christine Müller (ed.): Naturalism. Manifestos and documents on German literature 1880–1900 . JB Metzler, Stuttgart 1987.
• Helmut Praschek: On the disintegration of the naturalistic style. A comparison of two versions of "Meister Oelze" by Johannes Schlaf . In: words and values. Festschrift for Bruno Markwardt . Berlin 1961, pp. 315-321.
• Ernst Sander: Johannes Schlaf and the naturalistic drama . Leipzig 1922. [At the same time: Diss. Rostock 1922]
• Helmut Scheuer: Johannes Schlaf: "Master Oelze" . In: Dramas of Naturalism. Interpretations . Reclam, Stuttgart 1988, pp. 147-177 (= Reclams Universal-Bibliothek . Volume 8412).
• Hauke ​​Stroszeck: The "seeming over and over" of the dialogue. Johannes Schlafs “Master Oelze” . In: Robert Leroy, Eckart Pastor (ed.): German poetry around 1890. Contributions to a literature in transition . Bern, Frankfurt / Main, New York a. a. 1991. pp. 417-451.

Individual evidence

1. ↑ Johannes Schlaf: Maurice Maeterlinck. Bard, Marquardt & Co, 1906.
2. ↑ Dirk Strohmann: The Reception of Maurice Maeterlinck in the German-speaking Countries, 1891-1914 p. 673/4
3. ↑ Dirk Strohmann: The reception of Maurice Maeterlinck in the German-speaking countries, 1891-1914. Volume 1926 of European University Writings: German Language and Literature. Volume 1926 of Europäische Hochschulschriften / 1. Verlag Peter Lang, 2006. ISBN 3-0391-0855-7 . P. 302
4. ^ Samuel Lublinski: The balance of modernity. Berlin 1904, p. 99f