The most beautiful sagas of classical antiquity

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Title page of the first edition, Volume 2: "The sagas of Troy" (1839)
The three volumes of the first edition 1838–1840 (binding probably mid-19th century)

The most beautiful sagas of classical antiquity are a collection of ancient myths that the German writer Gustav Schwab published in three volumes between 1838 and 1840. Schwab's goal was to retell "the most beautiful and meaningful legends of classical antiquity" in simple prose , which should come as close as possible to the wording of ancient writers (especially poets). Its target audience were "children and women" who wanted to get to know the ancient world of legends without knowing the ancient languages. The collection is considered a classic of children's and youth literature. It is the best known and most widespread work of this type in the German-speaking world and has been translated into 17 languages. Joachim Kaiser took it on as the "until today ... only German-language standard work on Greek mythology" in The Book of 1000 Books .

History of origin

The collection and publication of the most beautiful sagas of classical antiquity was initiated by the Stuttgart publisher Samuel Gottlieb Liesching (1786–1864), on whose behalf Schwab published the book of the most beautiful stories and sagas as early as 1834 (published 1835/36, also known as German folk books ). In addition to his literary experience, Schwab also had a comprehensive knowledge of ancient literature , since he taught as a professor of ancient languages at the Stuttgart grammar school from December 1817 to the summer of 1837 and, since 1826, together with Christian Nathanael Osiander and Gottlieb Lukas Friedrich Tafel, translations of Greek and Roman poets and Prosaiker published by Metzler-Verlag . In addition, Schwab had written two volumes in Viktor August Jäger's library for female youth in 1835 , in which he presented the poets of ancient Greece with literary and biographical introductions in excerpts. Some of these excerpts, which were taken from contemporary translations into German, were almost literally taken over by Schwab in his sagas of classical antiquity .

In Castle Gomaringen , 1813-1993 rectory of the church, Gustav Schwab lived from 1837 to 1841

From the letters from Schwab's daughter Sophie (1819–1888) to her fiancé at the time, Karl August Klüpfel (1810–1894), some details about the origins of the legends of classical antiquity are known. Schwab began in the winter of 1836/37 (still in Stuttgart) with the writing of the manuscript that he gave his wife Sophie geb. Gmelin (1795-1865) dictated. Although he wanted to surprise his children with this work, his daughter Sophie soon found out about it and took part in the paperwork. The second part was created after the family moved to the community of Gomaringen , where Schwab was pastor from autumn 1837. For his research, he occasionally undertook foot trips to Tübingen to use the university library there.

Schwab's correspondence with his publishers provided information about the development of the work, especially after the move from Stuttgart to Gomaringen, because the letters only became richer in content and more frequent due to the distance between the author in Gomaringen and the publisher in Stuttgart. Based on these letters, Schwab wrote the second and third parts in the winter of 1837/38 and 1838/39, respectively, and submitted the manuscripts on May 20, 1838 and March 26, 1839, respectively. For each volume he received a fee of 550 guilders , which corresponded to almost half of his previous year's salary as a teacher (1200 guilders).

Statements by the author on content, presentation and sources

In the foreword to the first part (September 1837) Schwab described the purpose and drafting principles of his collection of sagas in detail. For the youth, who are “at the beginning of their classical education”, he wanted “the most beautiful and meaningful sagas of classical antiquity” in the words of the “ old writers and preferably [the] poets simply and stripped of the brilliance of artistic representation, but where always possible to retell in their own words ”. At the same time, he wanted to avoid giving his readers any historical, geographical or scientific knowledge that went beyond aesthetic enjoyment or "even using the myths as a vehicle for a moral teaching course". The moral content of the myths should emerge from the narrative itself and their “inadequacy compared to the revelation of Christianity ” should at best be explained by an educator.

Schwab also stated that he removed “everything offensive” in the retelling “and therefore safely excluded all those legends in which inhuman atrocities are told, which only excuse a symbolic explanation, but which are presented as a story - as those of the youth these legends must still apply - could only make an outrageous impression on them. But where our higher concepts of morality reluctant or even in antiquity as immoral and unnatural recognized conditions (as in the Oedipus legend ) in one of their Total direction hochsittlichen myth could not be concealed, believes such to have indicated in a way the editors of these legends, which causes the youth neither to spin out ignoble images nor to brood curiosity. "

In the foreword to the second and third volumes, Schwab commented in more detail on the selection principles and sources of the retelling. For the Trojan War , which comprises the entire second volume, Schwab mainly used the late antique Troy stories by Dictys Cretensis and Dares Phrygius , Homer's Iliad and Quintus from Smyrnas Posthomerica (plus further pretexts by Sophocles , Euripides , Pindar , Horace and Virgil ). For the stories of the last Atrids , the wanderings and homecoming of Odysseus, and the Aeneas saga, Schwab referred to the Attic tragedians Aeschylus , Sophocles and Euripides, to Homer's Odyssey and to Virgil's Aeneid (which he greatly shortened).

expenditure

Cover picture of the first volume (1838): Perseus saves Andromeda from the sea monster. Engraving after Paolo Veronese

The three volumes of the first edition were published in 1838, 1839 and 1840 by Verlag S. G. Liesching in both bound and paperback . They were set in Fraktur and contained only a few illustrations (each a cover picture in lithography ).

After the first edition was sold out, Schwab prepared the second (improved) edition in early 1845, which appeared in 1846. Schwab did not experience the rise of the work to a classic of children's and youth literature, as he died in 1850 after a short illness.

The third edition was published by Liesching in 1854. Shortly afterwards, the publisher sold the work to Bertelsmann- Verlag in Gütersloh , where dozens of new editions were made of the most beautiful sagas of classical antiquity . The fourth edition appeared in 1858 with the place of publication Stuttgart. From the fifth edition (1862) the place of publication was Gütersloh. The sixth to tenth editions appeared from 1866, 1868, 1870, 1873 and 1874.

Binding of the 14th edition (1882)

The content of the collection remained the same in the first ten editions and was only changed slightly in the following editions. The grammar school teacher Gotthold Klee (1850-1916) was responsible as editor from the eleventh edition (1877). For the first time in the 14th edition (1882), Klee implemented extensive changes to the work: He standardized the spelling and spelling of person names and place names, which in earlier editions were arbitrarily written in Latin, Greek or Germanized form. Klee enforced the spelling of proper names that was customary in German-speaking countries at that time and was adapted to Greek, for example "Aineias" instead of " Aeneas ", " Heracles " instead of "Hercules", " Zeus " instead of " Jupiter " and " Thebes " instead of "Thebe". In addition, Klee added his own additions to the retelling:

In addition, Klee increasingly pointed out connections or different variants of the myths in footnotes .

Cover picture by Oscar Woite for the edition by Bertram Grimm (1883)

Shortened and complete licensed editions of the collection were published by other publishers as early as the 19th century. For example, the Berlin elementary school teacher Fritz Werdermann published a two-volume edition of the sagas in the Berlin publishing house C. J. Leo under the pseudonym "Bertram Grimm" in 1883 . Werdermann removed some (in his opinion offensive) chapters and added others. For the "benefit (s) of a young reader" he added references to the chapters, although these were not always correct. Although Werdermann's edition was not the only edition, it had ten editions by 1910.

Complete editions continued to appear in Bertelsmann Verlag (33rd edition, 1909) and in other publishers. At the beginning of the 20th century, the Leipziger Insel Verlag commissioned the young Germanist Ernst Beutler (1885–1960) with a new edition that presented the legends of classical antiquity without later additions as an “exact and unchanged copy of the last hand edition” (1846) . Beutler concluded the two volumes of text with an epilogue in which he briefly outlined Schwab's life and work, emphasized the importance and quality of his legends of classical antiquity and indicated some examples of Schwab's handling of his Greek and Latin sources. In the following year (1910), John Flaxman 's drawings on legends of classical antiquity were published to supplement the volume , and for the first time the drawings were reproduced true to the original (without additional contrasting effects, shading or coloring). The Insel Verlag edition was reprinted several times (print run 1937: 32,000 copies) and formed the basis for several new editions after the Second World War , some of which were taken over by Beutler's epilogue or published under their own names.

Another lavishly edited complete edition was “Complete Edition” published by Ernst Finckh Verlag in Basel (1913, 2 volumes). The archaeologist Ernst Pfuhl wrote an introduction to this edition and selected Greek vase pictures and other pictorial works ( sarcophagus reliefs , murals ) as illustrations. This Basel edition was also expanded to include four additional chapters written by Albert Hartmann, a grammar school teacher from Basel. This edition was followed by the “second complete Basel edition”, which was published by Amerbach-Verlag in 1948 (3 volumes) and was edited by the archaeologist Karl Schefold . In the anniversary year of 1938, Bertelsmann Verlag had previously achieved a circulation of 214,000 copies.

In the period after the Second World War , various abridged and linguistically redesigned editions were created that adapted the extensive and stylistically sophisticated work to the reading habits of young people. These include, for example, the editions of Richard Carstensen (first 1954 in Reutlingen, Enßlin & Laiblin; 37th edition 2001), by Hans Friedrich Blunck (first 1955 in Stuttgart, Loewe; revised by Burkhard Heiland) and by Josef Guggenmos (first in 1960, Ravensburger Buchverlag , numerous new editions).

The total number of published (complete and abridged) editions of Schwab's most beautiful sagas of classical antiquity is difficult to estimate. The bibliography Children's and Youth Literature in Germany 1840–1950 counts 107 editions for the reporting period, some of which have multiple editions. The Germanist Marek Hałub recorded 40 editions in the years 1945–1990. In an unpublished bibliography, Konstanze Erker recorded 329 editions of Gustav Schwab's sagas of classical antiquity for the years 1838–2015 .

content

For his retelling, Gustav Schwab primarily selected hero myths to which he ascribed a “magic over (the) spirit (of youth)”. He included only a few myths of the gods, such as the creation of man by Prometheus , the flood story of Deucalion and Pyrrha or the conflict between the young Dionysus and Pentheus ; on the other hand he left aside the pranks of young Hermes or the robbery of Persephone as well as a multitude of metamorphosis myths .

Schwab divided his collection into three volumes, which he subdivided into individual (counted) “books” based on ancient literary works. Each book consisted of several (not counted) chapters and sub-chapters. Depending on the scope, a myth telling comprised either a chapter, an entire book or - in the case of the Trojan War - an entire volume. The book and volume division was abandoned in later editions, especially outside the Bertelsmann publishing house. The following table of contents is based on the first edition from 1838–1840.

First part (1838): Smaller sagas

Second part (1839): The sagas of Troy from its construction to its fall

Third part (1840): The last tantalids. Odysseus. Aeneas

  • First book: The last tantalids
    • Agamemnon's family and house
    • Agamemnon's end
    • Agamemnon avenged
    • Orestes and the Eumenids
    • Iphigenia at Tauris
  • Second book: Odysseus . First part
  • Third book: Odysseus. Second part
    • Odysseus comes to Ithaca
    • Odysseus with the Shepherd
    • Telemachus leaves Sparta
    • Conversations at the sow herder
    • Telemachus is coming home
    • Odysseus reveals himself to the son
    • Events in the city and in the palace
    • Telemachus, Odysseus and Eumaios come to the city
    • Odysseus as a beggar in the hall
    • Odysseus and the beggar Iros
    • Penelope before the suitors
    • Odysseus mocked again
    • Odysseus alone with Telemachus and Penelope
    • The night and the morning in the palace
    • The feast
    • The competition with the bow
    • Odysseus discovers the good shepherd
    • The revenge
    • Punishment of the maids
    • Odysseus and Penelope
    • Odysseus and Laertes
    • The turmoil in the city of Athena was stilled
    • The victory of Odysseus
  • Fourth book: Aeneas . First part
    • Aeneas leaves the Trojan coast
    • Italy is promised to the refugees
    • Storm and wanderings. The harpies
    • Aeneas on the coast of Italy . Sicily and the Cyclops Beach . Death of the Anchises
    • Aeneas to Carthage devious
    • Venus consoled with Rome by Jupiter . She appears to her son
    • Aeneas in Carthage
    • Dido and Aeneas
    • Dido's love beguiles Aeneas
    • Aeneas leaves Carthage on Jupiter's orders
  • Fifth book: Aeneas. Second part
    • The death of the Palinuro . Landing in Italy. Latinus . Lavinia
    • Lavinia promised to Aeneas
    • Juno fuels war. Amata . Rotation . The hunt of the Trojans
    • Outbreak of war. Aeneas seeks help from Euander
    • The shield of Aeneas
    • Rotation in the Trojans' camp
    • Nisus and Euryalus
    • Repulsed storm of rotation
    • Aeneas comes back to camp
    • Aeneas and Turnus fight. Turnus kills Pallas
    • Rotus saved by Juno. Lausus and Mezentius slain by Aeneas
  • Sixth book: Aeneas. third part
    • armistice
    • People's Assembly of Latins
    • New battle. Kamilla falls
    • Negotiation. Attempted duel. Breach of peace. Aeneas treacherously wounded
    • Aeneas healed. New battle. Storm on the city
    • Turnus faces a duel and succumbs. The End

Illustrations

The furnishing of the most beautiful sagas of classical antiquity with illustrative images corresponds to the aesthetic expectations and technical possibilities of their time. In the first edition, each of the three volumes had a cover picture (as a monochrome, simply contoured lithograph ): the first part with an outline drawing for Paolo Veronese's painting Perseus saves Andromeda (around 1576–1578), the second part with engravings based on drawings by John Flaxman : Achilles grinds Hector's corpse and Odysseus kills the suitors . In the following editions, the illustrations were made more vivid with additional shading and contouring. Other illustrations were also added, for example an engraving based on the painting by Guido Reni for the second edition : Hercules kills the Lernean snake (1620).

The effect of the various illustrations can be compared using the example of the cover picture for volume 1:

  • Original of the engravings: the painting by Paolo Veronese

  • First edition (1838): Anonymous engraving without shading

  • Fourth edition (1858): Engraving by Andreas Schaufele with shading and a more elaborate background

From the 1880s onwards, the first editions were added with specially made, colored illustrations. The arrangement by Fritz Werdermann ("Bertram Grimm", 1883), for example, contained four color original lithographs by the Silesian painter Oscar Woite :

  • Meleager, Atalante and the boar hunt

  • Perseus and Andromeda

  • Heracles subdues Kerberus

  • Jason and Medea steal the Golden Fleece

John Flaxman's drawings on legends of classical antiquity (selection)
VII. Pandora opens the vessel in which sufferings and evils were locked
VIII. The golden age
XXVIII. The monsters of theogony
XXXV. The underworld, the realm of Hades
XXXIX. Briseis, given to the heralds by Patroclus
XLIII. Aphrodite, leading Helena from the wall into the room
LI. Hector and Aiax, separated by the heralds
LVI. The Eris, sent to the ships by Zeus
LXIX. Achilles fighting the river god
LXXII. Achilles dragging Hector's corpse
LXXIII. The Paris judgment
LXXVII. Zeus, Athena and Hermes, advising Odysseus' return home
LXXX. The suitors surprise Penelope as she unties at night what she has woven during the day
LXXXV. Leukothea , handing Odysseus the veil of salvation
XCVI. Scylla and Charybdis
CIV. Odysseus recognized by Eurycleia
CVII. The end of the suitors
CXI. Hephaestus with Kratos and Bia, Prometheus captivating
CXXII. The seven princes, swearing down to Thebes
CXXIX. Clytaimnestra on the corpses of Agamemnon and Kassandra, the choir mourning its king
CXXXII. Elektra, recognizing her brother by a robe she has woven
CXXXVIII. The Erinyen overturning the criminal

Other tendencies can be seen in the complete editions that appeared shortly before the First World War . The issue of Ernst Beutler in Insel Verlag (1909) had no illustrations. In 1910, Beutler brought out a volume with John Flaxman's drawings on legends of classical antiquity as a supplement . It was the first complete edition of all Flaxman drawings with antique subjects (on the works of Hesiod, Homer and Aeschylus). When reproducing the drawings, Beutler tried to adapt them to the first publications as true to the original as possible and to eliminate later additions (such as stronger contours and shading).

Commons : John Flaxman's Drawings on Legends of Classical Antiquity  - collection of pictures, videos and audio files

The Basel publishing house Ernst Finckh took a different approach in its complete edition (1913): The equipment of the volume was entrusted to the recently appointed archeology professor Ernst Pfuhl , an expert in ancient art archeology. To illustrate the myths, Pfuhl selected various ancient works of art (reliefs, wall paintings and vase pictures), which were embedded as photographic reproductions in appropriate places. The cover picture was a color reproduction of Arnold Böcklin's painting Odysseus and Polyphemus .

  • Cover picture: Arnold Böcklin, Odysseus and Polyphemus

  • Illustration to Medea and the Peliads ( sarcophagus relief )

With the inclusion of ancient art, the first Basel edition was not only the model for the second Basel edition, overseen by Karl Schefold (1948), but also for the English translation (1946). The philologist Werner Jaeger , who worked as Pfuhl's colleague at the University of Basel from 1914 to 1915, furnished the edition with black and white reproductions of Greek vase pictures.

Editions with original illustrations also appeared in the 20th century. In the series of colorful youth books (Reutlingen: Enßlin & Laiblin) a partial edition with Hercules exploits with color lithographs by Arpad Schmidhammer was published in 1921 .

A partial edition of the Argonaut trip with original lithographs by Richard Seewald (Berlin: Propylaen-Verlag 1923) is of particular artificial value .

In the period after the Second World War , editions were published with illustrations by Willy Widmann, Emil Zbinden and Stefanie Harjes .

reception

The most beautiful sagas of classical antiquity were praised by the literary press when they were first published. Their great success in bookselling in the 19th century matched their popularity. Schwab's method of processing, his approach to the ancient sources set a precedent, and when Heinrich Wilhelm Stoll published a similar collection of ancient myths in 1862, he gave references to the underlying ancient texts for each chapter. Also with the title of his book Die Sagen des classischen Anterthums. He drew on stories from the old world from Schwab's collection and thus combined the title of the previous work by Karl Friedrich Becker .

The importance of the work as popular reading for children and young people was recognized during Schwab's lifetime, as shown not only by the second edition, which appeared after six years, but also by its inclusion in school libraries and the early inclusion of individual chapters in textbooks (as early as 1838 in the collection Fairy tales and legends by Heinrich Apel, London: P. Rolandi) and the (anonymous) translation of the entire collection into Swedish , which appeared in seven volumes in the years 1839–1841 (Stockholm: L. J. Hjerta ).

The success of the most beautiful sagas of classical antiquity was largely based on the presentation of extensive material from a variety of different sources, the content of which is faithfully reproduced in an appealing and uniform manner. The editor Ernst Beutler praised Schwab's achievement with the words: "Only when you consider the confused variegation of the templates that Schwab has translated, only then do you really understand the wonderful coherence of the lecture in which the legends are reproduced." The merit of the legends of classical antiquity lay in the appropriation of Greek mythology, which corresponded to the humanistic understanding of education and was nourished by the idea of ​​the German-Greek "kinship" of philhellenism .

Schwab's retelling was hardly noticed by the philological experts. Significant is the verdict of Ulrich von Wilamowitz-Moellendorff , who wrote in his popular 1905 depiction The Greek Literature of Antiquity : “It is a shameful sign of the lack of judgment of Classicism that Schwab wrote this poem [meaning the Posthomerica of Quintus von Smyrna ] was able to base his retelling of the sagas. ”In contrast to this assessment, there is the respect that writers and cultural workers have for Schwab's retelling. No less a person than Hermann Hesse recommended Schwab's saga book repeatedly as the best (German-language) introductory reading for Greek mythology. In a review of Beutler's edition in 1910, he wrote: “Here we can walk harmlessly and undeterred by the quarrels and fouls of the philologists in the land of the Greeks and Trojans and read about the anger of Achilles and the misfortune of Icarus in good German without notes or comments. The Swabian poet, whose poems we have put aside and forgotten, experiences in this beautiful book of legends, which every Latin student should own and know better than the big or small Plötz , a completely unsophisticated, noiseless, comfortable immortality, which some even the somewhat overindulgent poet uncle even has When Hesse compiled a library of world literature in 1929, he named Schwab's legend book as the best available compendium on ancient mythology, following on from the essential Greek and Latin authors. At the same time, the literary critic Walter Benjamin judged Schwab's retelling as the final (epoch-making) completion of the German-language saga and the codification of Greek myth as part of the humanistic educational canon .

Many writers owed Schwab their first encounter with the world of ancient myth. In an autobiographical fragment published for the first time in 1952, Rudolf Borchardt wrote : “I could read very early and had books that were read up early. One of my first memories is my anger at having to put my book down to show myself with my siblings in front of guests; those were the 'legends of classical antiquity' of the good old Schwab, my whole world, my inexhaustible bliss, at the same time the only world that I owned completely to myself and whose names and terms did not resonate in the mouths of those around me. So I pronounced all the names incorrectly and only later found out that it was not Heléna and not Antilóchus. ” Ernst Jünger , Elias Canetti , Franz Fühmann and Günter Kunert remembered their reading of the sagas in a similar way . Georg Klein especially emphasizes the impressive effect of Schwab's drastic depictions of violence, which the author (unlike the erotic ) did not find offensive.

The interest of literary studies in Schwab's legends of classical antiquity aroused in the 1970s on the part of children's and youth literature research . Daniela Evers (2001) and Maria Rutenfranz (2004) carried out in-depth studies of the content and intention of the collection, examining not only the quality of the text and the narrative but also the function of retelling in the bourgeois educational canon.

Translations

Outside of the German-speaking area, Schwab's collection began to spread at different times. The complete Swedish translation, published 1839–1841, did not get past the first edition. When Schwab asked his publisher Liesching about the possibility of an English and French translation, the latter reacted wait-and-see. There were no further translations during Schwab's lifetime.

In the years 1903–1906 a complete Dutch translation was published in three volumes (by Nellie van Kol , Rotterdam: Maserreuw & Bouten). Shortly thereafter, a partial Russian translation appeared in 1907 (by N. Swetnickaja, Moscow: I. Knebel), the second and third editions of which were published in 1912 and 1916. The Russian poet Marina Ivanovna Zwetajewa (1892–1941) used this translation for her drama Fedra and entered the compliment in her personal copy: “A book for a lifetime” ( книга на всю жизнь ).

The first English translation was created on the initiative of German emigrants during the Nazi era . The publisher Kurt Wolff suggested it around 1942 in collaboration with the philologist Werner Jaeger, who emigrated in 1936, and had it carried out by Olga Marx and Ernst Morwitz . The translation was published in 1946 by Wolff's Pantheon publishing house in New York under the title Gods and Heroes. Myths and Epics of Ancient Greece with a detailed foreword by Jaeger. The illustrations (based on Greek vase pictures) were chosen by the emigrated archaeologist Hans Nachod . This edition, in which the retelling of the Aeneid was tacitly omitted, experienced several new editions and is still available in bookshops today.

Transcriptions into other languages ​​also appeared in the 1940s and 1950s. A full Spanish translation by José Goñi Urriza was published in Buenos Aires in 1949 (Santiago Rueda publishing house; paperback Mexico: Berbera Editores 2008). Your title Dioses y héroes. Mitos y épica de la antigua Grecia corresponds to that of the English edition. Another Spanish translation, independent of the aforementioned, was published by the translator Francisco Payarols in 1952 with a foreword by the philologist Eduardo Valentí Fiol (Barcelona: Editorial Labor); it was reprinted several times. Also in 1952 was a 3-volume complete translation into Serbo-Croatian from the pen of the Yugoslav philologist and grammar school teacher Stjepan Hosu (Zagreb: Mladost, several reprints until 1989). The first complete translation into Russian in two volumes was published by Kinderbuchverlag Berlin in 1955.

From 1957 to 1996 there were selected translations into Finnish (by Arnold Laurell and Werner Anttila, Hämeenlinna: Karisto 1957), Dutch (by Lydia Belinfante and Sophie Ramondt, Bussum: van Dishoeck 1958; as well as after Richard Carstensen's text edition by JK van den Brink , Utrecht / Antwerp 1959), Slovak (from Štefan Koperdan, Bratislava: Mladé Letá 1958) and Lithuanian (from Antanas Žukas, Vilnius 1961). Both a Turkish and a Macedonian edition were published in Skopje (by Fetih Süleymanpaşiç, Nova Makedoniya Yaymevi 1965 and Radmila Bastik, Naša Kniga 1978). A Serbian translation by Jovan Maksimović was published in 1996 (Novi Sad: Serkl).

Translations of the complete work have also been published in Slovenian (by Fran Bradač , Ljubljana: Mladinska Knjiga 1961), in Japanese (3 volumes, by Sumi Nobuo, Tokyo: Shiromizu sha 1966; several reprints), Portuguese (3 volumes, by Luís Krausz and Hildegard Herbold, Rio de Janeiro: Paz e Terra 1974; several reprints), Chinese (from Cao Naiyun, Nanjing: Yilin Chubanshe 1995; as well as from Gao Zhongfu, Beijing: Guāngmíng rìbào chūbăn shè 2001) and Italian (from Stefano Di Natale, Roma : Newton & Compton 2003).

literature

expenditure

First edition in 3 volumes

  • Gustav Schwab: The most beautiful sagas of classical antiquity. According to its poets and storytellers . 3 volumes, SG Liesching, Stuttgart 1838/1839/1840. Available online at the German Text Archive : Volume 1 , Volume 2 , Volume 3

Last hand edition

  • Gustav Schwab: The most beautiful sagas of classical antiquity. According to its poets and storytellers . Second, revised edition, 3 volumes, SG Liesching, Stuttgart 1846

complete edition in 2 volumes

  • Gustav Schwab: Legends of Classical Antiquity . Ed .: Ernst Beutler. Insel-Verlag, Leipzig 1909 ( archive.org ).

Processing (selection)

  • Gustav Schwab (retold by Richard Carstensen ): Greek legends. The most beautiful sagas of classical antiquity . dtv Verlagsgesellschaft, Munich 1998, ISBN 3-423-70314-8 .
  • Gustav Schwab (retold by Josef Guggenmos): The most beautiful sagas of classical antiquity . Ravensburger Buchverlag, Ravensburg 2006, ISBN 3-473-35261-6 .
  • Gustav Schwab (edited by Hans Friedrich Blunck and Burkhard Heiland): The most beautiful sagas of classical antiquity . Loewe Verlag, Bindlach 2015, ISBN 978-3-7855-8275-6 .

Audio books and radio plays

Shortened or edited recordings

  • Frank Engelhardt, Joachim Kerzel, Michael Schanze: Classic legends retold for children (Theseus defeats the Minotaur / Odysseus' wanderings / The legend of Hercules / The battle for Troy) . Audio Media Verlag, Munich 2009, 4 CDs, approx. 215 min., ISBN 978-3-86804-081-4

Unabridged recordings

Research literature

  • Daniela Evers: The most beautiful sagas of classical antiquity . On the meaning and function of the adaptations of ancient mythological narratives in children's and youth literature of the 19th century (=  Mannheimer Studien zur Literatur- und Kulturwissenschaft . Volume 25 ). Röhrig, St. Ingbert 2001, ISBN 3-86110-282-X , p. 111-142 .
  • Daniela Evers: A “pre-school higher education”: Gustav Schwab's work “The most beautiful legends of classical antiquity” . In: Stefan Kipf (ed.): The ancient world outside the lecture hall (=  ancient culture and history . Volume 4 ). Lit, Münster u. a. 2003, ISBN 3-8258-6852-4 , pp. 69-76 .
  • Jonathan Groß: Ancient myths in a Swabian guise . Gustav Schwab's legends of classical antiquity and their ancient sources (=  reception of antiquity . Volume 6 ). Vandenhoeck & Ruprecht, Göttingen 2020, ISBN 978-3-946317-43-2 .
  • Marek Hałub: The literary work of Gustav Schwabs (=  Germanica Wratislaviensia . Volume 101 ). Wrocław 1993, ISBN 83-229-0845-8 .
  • Maria Rutenfranz: Gods, heroes, people . Reception and adaptation of ancient mythology in German children's and youth literature (=  children's and youth culture, literature and media . Volume 26 ). Lang, Frankfurt am Main 2004, ISBN 3-631-50860-3 .

Web links

Commons : The most beautiful sagas of classical antiquity  - collection of images, videos and audio files
Wikisource: The most beautiful sagas of classical antiquity  - sources and full texts

Individual evidence

  1. ↑ Gustav Schwab: The most beautiful sagas of classical antiquity. According to its poets and storytellers . First part, Stuttgart: SG Liesching 1838, pp. VI – VII.
  2. ↑ Gustav Schwab: The most beautiful sagas of classical antiquity. According to its poets and storytellers . First part, Stuttgart: SG Liesching 1838, p. VI; Third part, Stuttgart: SG Liesching 1840, S. V.
  3. ↑ a b c Jonathan Groß: Ancient myths in Swabian garb . Vandenhoeck & Ruprecht, Göttingen 2020, ISBN 978-3-946317-43-2 , p. 32-33 .
  4. ↑ Joachim Kaiser: The book of 1000 books: authors, history, content and effect . Harenberg Verlag, Dortmund 2002, ISBN 3-611-01059-6 , p. 979 .
  5. ^ Karl Klüpfel: Gustav Schwab. His life and work . Brockhaus, Leipzig 1858, p. 302-303 .
  6. ↑ Jonathan Groß: Ancient myths in Swabian garb . Vandenhoeck & Ruprecht, Göttingen 2020, ISBN 978-3-946317-43-2 , p. 24 .
  7. ↑ Jonathan Groß: Ancient myths in Swabian garb . Vandenhoeck & Ruprecht, Göttingen 2020, ISBN 978-3-946317-43-2 , p. 58; 205 .
  8. ↑ Jonathan Groß: Ancient myths in Swabian garb . Vandenhoeck & Ruprecht, Göttingen 2020, ISBN 978-3-946317-43-2 , p. 26-27 .
  9. ↑ Jonathan Groß: Ancient myths in Swabian garb . Vandenhoeck & Ruprecht, Göttingen 2020, ISBN 978-3-946317-43-2 , p. 27-28 .
  10. ↑ Gustav Schwab: The most beautiful sagas of classical antiquity. According to its poets and storytellers . First part, Stuttgart: SG Liesching 1838, pp. VI – VII.
  11. ↑ Gustav Schwab: The most beautiful sagas of classical antiquity. According to its poets and storytellers . First part, Stuttgart: SG Liesching 1838, p. VII.
  12. ↑ Gustav Schwab: The most beautiful sagas of classical antiquity. According to its poets and storytellers . First part, Stuttgart: SG Liesching 1838, pp. VII – VIII.
  13. ↑ Gustav Schwab: The most beautiful sagas of classical antiquity. According to its poets and storytellers . Second part, Stuttgart: SG Liesching 1839, pp. VII – X. Third part, Stuttgart: SG Liesching 1840, pp. V – VII.
  14. ↑ a b Jonathan Groß: Ancient Myths in Swabian Garb . Vandenhoeck & Ruprecht, Göttingen 2020, ISBN 978-3-946317-43-2 , p. 30 .
  15. ↑ Jonathan Groß: Ancient myths in Swabian garb . Vandenhoeck & Ruprecht, Göttingen 2020, ISBN 978-3-946317-43-2 , p. 30-31 .
  16. ↑ For example Manfred Lemmer in the 3-volume paperback edition published by Insel-Verlag Frankfurt am Main 1975 ( Insel Taschenbuch 127).
  17. ↑ Jonathan Groß: Ancient myths in Swabian garb . Vandenhoeck & Ruprecht, Göttingen 2020, ISBN 978-3-946317-43-2 , p. 31-32 .
  18. ↑ Maria Rutenfranz: gods, heroes, people: reception and adaptation of ancient mythology in the German children's literature . Lang, Frankfurt am Main 2004, ISBN 3-631-50860-3 , p. 129 .
  19. ^ Aiga Klotz: Children's and youth literature in Germany 1840–1950 . tape 4 . J. B. Metzler, Stuttgart 1996, ISBN 3-476-00705-7 .
  20. ↑ Marek Hałub: Gustav-Schwab-Bibliography 1945-1990 . In: Suevica . tape 6 , 1991, pp. 151-168 .
  21. ↑ Quoted from Jonathan Groß: Ancient myths in Swabian garb . Vandenhoeck & Ruprecht, Göttingen 2020, ISBN 978-3-946317-43-2 , p. 32 .
  22. ↑ Gustav Schwab: The most beautiful sagas of classical antiquity. According to its poets and storytellers . First part, Stuttgart: SG Liesching 1838, pp. VII – VI.
  23. ↑ Daniela Evers: The most beautiful sagas of classical antiquity . On the meaning and function of the adaptations of ancient mythological narratives in children's and youth literature of the 19th century (=  Mannheimer Studien zur Literatur- und Kulturwissenschaft . Volume 25 ). Röhrig, St. Ingbert 2001, ISBN 3-86110-282-X , p. 176 .
  24. ↑ Gustav Schwab: Legends of classical antiquity. Second volume . Ed .: Ernst Beutler. Insel-Verlag, Leipzig 1909, p. 503 ( archive.org ).
  25. ^ Ulrich von Wilamowitz-Moellendorff: The Greek literature of antiquity . Ed .: Paul Hinneberg (=  The culture of the present . Volume VIII ). 3. Edition. Teubner, Stuttgart, Leipzig 1912, p. 286 .
  26. ↑ Quoted from Hermann Hesse: A literary history in reviews and essays . Ed .: Volker Michels (=  Hermann Hesse. Writings on literature . Volume 2 ). Frankfurt am Main 1970, p. 258-259 .
  27. ^ Hermann Hesse: A literary history in reviews and essays . Ed .: Volker Michels (=  Hermann Hesse. Writings on literature . Volume 2 ). Frankfurt am Main 1970, p. XXXI .
  28. ↑ Walter Benjamin: The Arcadian Schmock (=  collected writings . III: Criticisms and reviews). Suhrkamp, ​​Frankfurt am Main 1972, p. 187-189 .
  29. ↑ Rudolf Borchardt: Orpheus in the Tiergarten. Childhood in Berlin and the first three books . In: The time . No. June 25 , 19, 1952 ( zeit.de [accessed January 11, 2020]).
  30. ↑ Jonathan Groß: Ancient myths in Swabian garb . Vandenhoeck & Ruprecht, Göttingen 2020, ISBN 978-3-946317-43-2 , p. 34 .
  31. ↑ Georg Klein: Trash & Blessings 77 Desired texts . Rowohlt, Reinbek near Hamburg 2013, ISBN 978-3-498-03566-2 , p. ? .
  32. ↑ Jonathan Groß: Ancient myths in Swabian garb . Vandenhoeck & Ruprecht, Göttingen 2020, ISBN 978-3-946317-43-2 , p. 32-33; 315-316 .
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