Schischyphusch or My Uncle's Waiter

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Schischyphusch or My Uncle's Waiter is a short story by the German writer Wolfgang Borchert . It is one of his early prose works and was first published in Benjamin in March 1947 . Magazine published for young people . Bernhard Meyer-Marwitz included them in the post-retired stories section of Borchert's complete works, which he published in 1949 by Rowohlt Verlag .

The short story is one of the unusually cheerful and humorous texts of Wolfgang Borchert and one of his most famous works. The meeting of two very different people who only have one thing in common is portrayed from the point of view of a little boy: they both lisp . The speech impediment initially leads to misunderstandings, but later to communication and friendship between the two fellow sufferers. The title refers to the Greek mythical figure Sisyphus , who both inspired the nickname of a waiter and symbolizes his fate. The second main character goes back to Borchert's real uncle Hans Salchow.

content

A young boy visits a pub with his mother and uncle. The latter is an imposing, self-confident man who has not lost his zest for life , despite his war injuries, a leg amputation and a penetration of the jaw , in which he lost part of his tongue and has been lisping ever since. The small, humble and assiduous waiter who serves you is of a completely different nature . But he too lisps due to an innate speech defect.

When the uncle places the order and the waiter repeats it, they both think they are aping from the other. While the offended waiter forbids the abuse, the amused uncle loudly demands to speak to the landlord. All the guests in the restaurant have long followed the argument, the increasing violence of which fills the boy and his mother with shame. Only when the waiter proves his speech impediment through an entry in his passport does the tension dissolve in a loud, compassionate laugh from the uncle, who in turn shows his war disabled ID card. The uncle orders a few rounds of Asbach , and the two fellow sufferers laugh and drink for minutes while the waiter utters the word "Schischyphusch" over and over again.

The uncle is the first to get serious again and asks what the exclamation should mean. The waiter then apologizes, embarrassed, for his inappropriate behavior. He explains that he has been teased with this nickname since he was in school because his classmates were amused by his pronunciation of the word "Sisyphus". Tears come to the uncle's eyes. Without a word he gets up and lets himself be led out of the restaurant, while the waiter remains at the table alone. Only when the boy whispers to his uncle that the waiter is crying does the uncle turn to him again and call him by his nickname “Schischyphusch”. He announces that he will return the next Sunday while the waiter waves goodbye with his napkin. A long-standing friendship emerges from the encounter, so that soon the uncle's family only speaks of his waiter.

background

According to Bernd M. Kraske, Schischyphusch or My Uncle's Waiter provides further evidence that Borchert's stories often have an autobiographical background and are based on the author's own experience. He had "set a permanent literary monument" to his uncle Hans Salchow in it. Salchow, Hertha Borchert's brother , had lost a leg in World War I and suffered a speech impediment from being injured in the war. After the war he worked his way up from clerk to owner of a company, speculated on his fortune until he lost it, worked his way up again and married a woman of dubious reputation, with whom he once again made his living. In the end he ran a restaurant on Niendorfer Strasse, which was known in Hamburg as a communist meeting place and was called the “Rote Burg”.

According to Claus B. Schröder, Salchow came back from the war with “unbroken courage to face life”. He was one of those natures "who dare to walk with only one leg, perhaps even more so to conquer the world". He had only just escaped death and did not want to miss anything from life. Salchow was not only a former owner of an automobile, a so-called gentlemen drivers , he was even one leg to the motorcycle racer and perverse among the middle classes as well as in those of the demimonde , "confident [...], affable, hard-drinking, cheerful, unique. A life made up. ” Peter Rühmkorf describes Salchow as an“ adventurous and colorful figure ”. His nephew adored the uncle, who was "cool and crazy about life". Bogdan Mirtschew sees the uncle on his mother's side as a substitute figure for his father, and he refers to another amputated figure in Borchert's work: the one-legged man from outside the door .

According to Gordon Burgess, the story itself goes back to a real event that took place in the Stoltenberg restaurant in Alsterkrugchaussee 459 in Hamburg-Fuhlsbüttel . However, no details are known about the exact date or the waiter. Borchert wrote the unusually cheerful text in 1946 after returning from the hospital, where his first lengthy prose story The Dog Flower was written. His parents encouraged the deprived actor to write. However, his mother always wanted to lead him to cheerful topics, as she feared relapses in health and could not bear Borchert's prison memories in The Dog Flower . Shortly after such a conversation, in which Hertha Borchert had demanded "something easy, something funny", the son presented her with the Schischyphusch manuscript with the words: "Here is your funny story."

Form and stylistic devices

Schischyphusch or My Uncle's Waiter is - like many short stories by Wolfgang Borchert that deal with childhood topics and in which family members appear, such as Die Kirschen or Der Stiftzahn - written in the first person. It is predominantly in the narrative tense of the past tense . The narrative is reminiscent of an anecdote and gives the impression of an actual event. Short, lingering passages are also used for this, after which the narrator has to pick up the thread again with phrases like “also” or “as I said”, and which support the image of an oral narration in the audience. The short story begins with an introduction that precedes the actual plot, although it is unusual that the title is already part of the story, as the opening sentence refers directly to it: "Of course, my uncle was not an innkeeper." The final section, as the uncle explains himself Turning to his relatives and thus back to the environment, points back to the starting point of the joint visit to the local pub, the narrative forms a kind of ring closure.

Despite the sudden introduction, which is typical of the genre of short stories , Kåre Eirek Gullvåg recognizes in Schischyphusch some features of a novel with internal and external plot that combine to create a shared experience. Horst Brustmeier separates between foreground and background plot. The former describes the encounter between the uncle and the waiter and is characterized by situation comedy , while the background plot contains the tragic conflict: the human longing for understanding and bonding. The tongue mistake serves as a leitmotif that sets the action in motion. The dialogue between the waiter and the uncle, who makes up the main part of the story, is designed with the means of counterpoint . At the climax there is a harmony of the different voices and moods of the characters before they are separated again. Like many other works by Borchert, Schischyphusch focuses on a single, decisive moment in the life of his characters. The open ending leaves its fate to the imagination of the reader.

Numerous stylistic devices typical of Borchert can be identified in the short story, in particular the “very idiosyncratic” neologisms as well as the chains of adjectives and adverbs according to Karl Brinkmann . Karl Migner sees this possibility of a brief, concise characterization of people or processes in Schischyphusch “taken to a certain extreme”. Brinkmann describes the use of hissing sounds in a similar way, precisely those sounds that are inexpressible for the two lisping protagonists, “increased to grotesque exaggeration”, whereby the speech error contrasts particularly with the Hamburg dialect in which Borchert grew up. To characterize the figures and their increasing excitement, Borchert repeatedly uses the stylistic device of the climax , for the increasingly smaller waiter also that of the anticlimax . Helmut Gumtau names “ Arno Holz's motor skills of word cascades” and “ sound images ”. The frequent alliteration and the increasing use of animal metaphors with alcohol consumption are striking .

interpretation

The waiter and the uncle

The Gourmand , painting by Henri Brispot (1846–1928)

The central characters of the story, the two “central figures”, as Horst Brustmeier calls them, are designed very differently. The waiter is a type . He symbolizes the person who is forced to serve by his job and who has to continually suppress his individuality. He has no name, and even his nickname “Schischyphusch” stands for someone who is struggling with his fate in general. On the other hand, the uncle is a certain, individual person who emerges from anonymity due to his family relationship. While the uncle has a “big, good-natured, broad brown face”, the waiter is described as “faceless”, that is, without any individuality.

The character of the two characters is also completely different and is contrasted again and again in the story. On the one hand it says: “Small, bitter, processed, disheveled, erratic, colorless, frightened, suppressed: the waiter”, on the other hand: “Broad, brown, grumbling, bass-throaty, loud, laughing, lively, rich, huge, calm, safe , full, juicy - my uncle! ”Although both are connected by the same speech defect, their contrast in dealing with their suffering is all the more evident. The waiter is depressed by his birth defect: "smiled at, laughed at, pityed, greeted, shouted at", he crawled into himself more and more every day. The uncle, on the other hand, does not even notice his speech impediment. The certainty of his own strength prevents him from suspecting that others might ridicule him. Accustomed to demanding respect for his stature and demeanor, he enjoys dealing with the waiter as a performance in which, according to Paul Riegel, he “reserves a leading role”. For Hansjürgen Verweyen , the Colossus of Rhodes and a kid face each other in the story .

According to Horst Brustmeier, two worlds collide between the two opposing figures, who have only one thing in common with their speech impairment. At the height of the argument, the uncle bridges the gap by taking the waiter's hands. The compassion of his fellow sufferer releases him from his previous existence, he becomes a "new person". Laughing, he enters the uncle's world, but all it takes is a moment of annoyance from his imposing counterpart, and the waiter feels himself relegated back to his old world and brushes aside the moment of communication with his napkin like a dream. When he learns the life story of his counterpart, it is the noisy uncle who suddenly becomes silent and silent. Now those tears come to his eyes that previously clouded the waiter's eyes. In the end, the two fellow sufferers come together again, the waiter wipes away his old life with his napkin, and the motif of laughter replaces the tears. Following the example of his uncle, the waiter for Gordon Burgess finds the courage to "lead a life with instead of despite tongue faults in the future."

The narrator and the audience

According to Theo Elm , the story is reported “from a remembered child's point of view”. Borchert often uses such a naive child's gaze in his work to show the absurdity of what is happening or to alienate the adult world from a view from below . In Schischyphusch , too, it is the perspective distortion of the child’s view that makes the gap between the huge uncle and the little waiter seem insurmountable, making the encounter between the two all the more surprising and touching. The mother is included in the child's world: "My mother and I were only there as extras". Both the boy and his mother can only follow what is happening without intervening in the process. Instead, they keep bringing the motif of shame into the story.

In fact, however, the little boy in particular is far more than an extra for the outcome of the story , even if he is not aware of it. It is he who becomes the decisive mediator and does not let the encounter between uncle and waiter end with the silent transfer of bills. When the uncle, embarrassed, turns to leave, it is the nephew's childlike, naive attention that draws his attention to the waiter's grief. Only through the final greeting does the friendship of the two fellow sufferers and the uncle's future protective role for his weaker brother manifest. And the audience, the visitors to the garden bar - according to Verweyen, the tragic comedy choir - whose eyes and ears follow the argument, are actually involved in the story. Over the years, they have all done their part to humiliate the waiter and exclude them from their community. In this sense, Riegel reads Schischyphusch like many works by Wolfgang Borchert as a "call to humanity and brotherhood".

Sisyphus motif and lack of language

Sisyphus by Titian

According to Horst Ohde, the speaking exercise "Sisyphus" not only earned the waiter his nickname, the myth of Sisyphus also symbolizes his lifelong, futile struggle. Just as the figure from Greek mythology is condemned to drag a boulder up a mountain of the underworld over and over again , which always rolls down at the end, for the waiter it is the "stone of language" to which he is bound and which he cannot cope with a lifetime. Borchert also mentions such a futile Sisyphean work elsewhere: in his prose text In May, in May the cuckoo shouted, he conjures up “this daring senseless courage for a book”, which a writer must have, although in the end he could do nothing more than “ Comment on the twenty thousand invisible pages, on the Sisyphus pages that make up our life, for which we don't know the vocabulary, grammar and symbols. ”Because, as it goes on,“ the last, the last, the words do not produce. ”Borchert is thus in the tradition of a language difficulty that predominated in post-war literature .

Gerd Neuhaus refers to the theological concept of meat , which Borchert's metaphors associate with the tongue as a “gigantic, misshapen flap of meat” and a “formless cyclopean mass of meat”. In both figures, "the tongue is too short in a very real sense to express what the will drives it to." So the encounter between the two fellow sufferers can ultimately only be broken and tragicomic. The promise of human unity, which in the end is destined to fail, can be compared with the curse of Sisyphus, from which Neuhaus only offers a religious way out. Hansjürgen Verweyen sees the theodicy problem in the background of Borchert's entire work in a similar way . Borchert approached the “problem of Sisyphus” “in terms of speech act theory ”: “The deepest wounding of humans is that they cannot adequately speak.” And he refers to a line of poetry by Karl Kraus : “I only have your ear , I already find my word ". For Horst Ohde, people come to recognize and understand one another in a non-linguistic way: through the tears in the eyes of the waiter and the uncle. It is the child's hint that breaks through the “oppressively silent image” of the departure and brings back the damaged language that breaks through in the uncle's final calls, accompanied by a defiant gesture of his cane towards heaven.

Humor and suffering

Schischyphusch or My Uncle's Waiter is an exception in Borchert's work, according to Gordon Burgess. She presented "a funny episode with a happy ending without a dark undertone", in which "the joy of laughing" is the focus. Anna-Maria Darboven found “amiable humor” and “real affirmation of life” in the story. For Horst Brustmeier, the “light and humorous tone” of the story, its “light-heartedness” and the conciliatory end can be traced back to the child's perspective, which does not recognize the underlying human tragedy , but also to Borchert's being, who is a lot stronger comedian and humorist than his work, which was shaped by the circumstances of the time, suggests. Not least the positive outcome distinguishes Schischyphusch from other works by Borchert, in which the humor often turns into satire , grotesque or black humor .

Helmut Gumtau, however, discovers not only “friendly humor” but also features of a “dramatic grotesque” and Horst Ohde some “abysmalness”. Schischyphusch Paul Riegel only appears “hilariously funny” when reading it superficially . In fact, he sees the story rather in a twilight of tragic comedy . And according to Hansjürgen Verweyen, the “classic undertones” of the story “make the truly tragic of a human fate in the midst of the blatant Dionysian environment all the more glaring.” Indeed, with the “ Schwank ” for Kåre Eirek Gullvåg, all problems arise in laughter. However, the text also brings tears of pity to the reader's eyes. According to Karl Brinkmann, the “power of humor” overcomes the suffering of the victim who has been humiliated by his environment and in the end lets him laugh at his own weaknesses.

Hermann Wiegmann considers Schischyphusch to be one of Borchert's “most touching short stories, but also characterized by a fine sense of humor”, which proves that the German author is “more passionate and shocking in his designs” than his American counterpart Ernest Hemingway . Peter Rühmkorf speaks of “loving participation in the humiliated and battered creature” on the one hand, but also of Borchert's cool “observer passion”, his “ability to track down weaknesses and to discover mental disharmonies”. The writer has always shown a "preference for people who fell grotesquely out of the framework of the civil order", be it that they suffered from defects or were excluded as so-called " black sheep ". He names, among other things, Beckmann with his gas mask glasses in Outside in front of the door , the homosexual Pauline in Our Little Mozart or the behaviorally disturbed prison inmates in The Dog Flower .

reception

At the First German Writers' Congress in Berlin in October 1947, Anneliese Wiener pointed out the young Wolfgang Borchert, who had recently published the “excellent novella” My Uncle's Waiter , “which was so unbelievably skilled” that she asked for a book to be published which Ernst Rowohlt agreed to. 60 years later Michael Töteberg spoke in the afterword of the new edition of the complete work of a "story that has meanwhile become classic". Theo Elm counts Schischyphusch or My Uncle's Waiter, along with Die Hundeblume , Die Kirschen and Die Küchenuhr, among “Borchert's best short stories”, which are characterized by typical characters, set-like scenes and a concise, laconic style. Hans Gerd Rötzer considers Schischyphusch and Das Brot to be “probably his best short stories”. Hermann Wiegmann, among Borchert's works, shows himself to be particularly impressed by Schischyphusch in addition to The Rats Sleeping at Night . In her classification of the German short story, Leonie Marx classifies it as a typical example of the "humorous short story", in which positive and negative elements are always in balance. Ludwig Rohner classifies them under the anecdotal type of short story.

Like other texts by Wolfgang Borchert, Schischyphusch also became school reading. According to Paul Riegel, the story is particularly suitable for reading aloud in class without being afraid of exaggeration, with the students responding strongly to the comic side of the story, its "wet and watery sh" and the hearty expressions. The Swiss writer Peter Weber describes in his novel Die Melodiellose Jahre his protagonist Oliver's experiences with a reading by Schischyphusch in class: “You read a section that wanted to overflow with linguistic creations and rhythmic duplications, the cheerfulness carried over itself, increased with every stumbling block . [...] The sentences touched the speech nerve. Suddenly, German was a vivarium. "

In 1981, Bayerischer Rundfunk produced the 25-minute short film Schischyphusch or My Uncle's Waiter, directed by Guy Kubli . Herbert Stass and Siegfried Wischnewski played among others . The Hamburg theater manufacturer staged Borchert's short story as a one-person play . Hans-Christoph Michel played under the direction of Michael Kaller . The world premiere took place on March 17th, 1999 in the Monsun Theater in Hamburg. Various actors read the text on recordings, such as Will Quadflieg (1959), Rolf Ludwig (1977), Günther Dockerill (1986), Marius Müller-Westernhagen (1988), Peter Striebeck (2001) and Hans Eckardt (2001).

Text output

  • Wolfgang Borchert: Schischyphusch or my uncle's waiter . In: The Complete Works . Rowohlt, Hamburg [a. a.] 1949, pp. 285-297.
  • Wolfgang Borchert: Schischyphusch or My Uncle's Waiter . In: The Complete Works . Adult and rev. New edition, Rowohlt-Taschenbuch-Verlag, Reinbek 2009, ISBN 978-3-499-24980-8 , pp. 407-420.
  • Wolfgang Borchert: Schischyphusch or My Uncle's Waiter . Atlantik Verlag, Hamburg 2016, ISBN 978-3-455-37034-8 .

literature

  • Karl Brinkmann: Explanations of Wolfgang Borchert's Outside the Door and The Dog Flower, The Three Dark Kings, This Tuesday, The Kitchen Clock, The rats sleep at night, Schischyphusch . King's Explanations Volume 299. Bange, Hollfeld 1985, ISBN 3-8044-0233-X , pp. 74-78.
  • Horst Brustmeier: The breakthrough of the short story in Germany. An attempt at a typology of the short story, presented in the work of Wolfgang Borchert . Dissertation, Marburg 1966, pp. 190–199.
  • Horst Ohde: "Because the last, the last, the words do not produce." Text connotations of the language difficulty in Wolfgang Borchert's work . In: Gordon Burgess, Hans-Gerd Winter (ed.): "Pack life by the hair". Wolfgang Borchert in a new perspective . Dölling and Gallitz, Hamburg 1996, ISBN 3-930802-33-3 , pp. 137-138.
  • Paul Riegel: Texts in German lessons. Interpretations . Buchners, Bamberg 1969, pp. 40-43.
  • Hansjürgen Verweyen : Message from a dead person? Responsible for faith rationally . Pustet, Regensburg 1997, ISBN 3-7917-1568-2 , pp. 34-39.

Individual evidence

  1. ↑ Wolfgang Borchert: The Complete Works . Rowohlt, Hamburg 1949, edition from May 1986, ISBN 3-498-09027-5 , p. 284.
  2. ↑ Wolfgang Borchert: The Complete Works . Rowohlt, Reinbek 2007, ISBN 978-3-498-00652-5 , p. 539.
  3. ↑ Bernd M. Kraske: Wolfgang Borchert. Life - work - effect . Böckel, Glinde 1996, ISBN 3-923793-16-2 , p. 50. Uncle's picture on p. 51.
  4. ^ Gordon Burgess: Wolfgang Borchert. I believe in my luck. Structure, Berlin 2007, ISBN 978-3-7466-2385-6 , pp. 24-25.
  5. ^ Claus B. Schröder: Wolfgang Borchert. The most important voice in post-war German literature . Heyne, Munich 1988, ISBN 3-453-02849-X , p. 37.
  6. ^ Peter Rühmkorf : Wolfgang Borchert . Rowohlt, Reinbek 1961, ISBN 3-499-50058-2 , p. 23.
  7. ↑ Bogdan Mirtschew: Delivered to the unspeakable. Crisis of existence and inner conflicts of the returning figure in the literary work of Wolfgang Borchert. In: Gordon Burgess, Hans-Gerd Winter (ed.): "Pack life by the hair". Wolfgang Borchert in a new perspective . Dölling and Gallitz, Hamburg 1996, ISBN 3-930802-33-3 , p. 180.
  8. ^ Gordon Burgess: Wolfgang Borchert. I believe in my luck. Structure, Berlin 2007, ISBN 978-3-7466-2385-6 , p. 24.
  9. ^ Gordon Burgess: Wolfgang Borchert. I believe in my luck. Structure, Berlin 2007, ISBN 978-3-7466-2385-6 , pp. 199-200.
  10. ^ Stefan H. Kaczyński: Typology and interpretation of the short stories by Wolfgang Borchert . Uniwersytet Im. Adama Mickiewicza, Poznań 1970, p. 143.
  11. ^ Alfred Schmidt: Wolfgang Borchert. Speech formation in his work . Bouvier, Bonn 1975, ISBN 3-416-01085-X , p. 41.
  12. ↑ a b Wolfgang Borchert: Das Gesamtwerk (2007), p. 407.
  13. ↑ Horst Brustmeier: The breakthrough of the short story in Germany. An attempt at a typology of the short story, presented in the work of Wolfgang Borchert . Dissertation, Marburg 1966, pp. 190, 193, 198-199.
  14. ↑ a b Kåre Eirek Gullvåg: The man from the rubble. Wolfgang Borchert and his poetry . K. Fischer, Aachen 1997, ISBN 3-89514-103-8 , p. 77.
  15. ↑ Horst Brustmeier: The breakthrough of the short story in Germany. An attempt at a typology of the short story, presented in the work of Wolfgang Borchert . Dissertation, Marburg 1966, p. 192, 199.
  16. ↑ a b c Karl Brinkmann: Explanations of Wolfgang Borchert's Outside the Door and The Dog Flower, The Three Dark Kings, This Tuesday, The Kitchen Clock, The Rats Sleep At Night, Schischyphusch . König's Explanations Volume 299.Bange, Hollfeld 1985, ISBN 3-8044-0233-X , p. 78.
  17. ^ Gordon JA Burgess: The life and works of Wolfgang Borchert . Camden House, Rochester 2003, ISBN 978-1-57113-270-3 , p. 211.
  18. ↑ Karl Brinkmann: Explanations of Wolfgang Borchert's Outside the Door and The Dog Flower, The Three Dark Kings, This Tuesday, The Kitchen Clock, The Rats Sleep At Night, Schischyphusch . King's Explanations Volume 299.Bange, Hollfeld 1985, ISBN 3-8044-0233-X , p. 77.
  19. ↑ Karl Migner: The drama "Outside the door" . In: Rupert Hirschenauer, Albrecht Weber (ed.): Interpretations of Wolfgang Borchert . Oldenbourg, Munich 1976, ISBN 3-486-01909-0 , pp. 24-25.
  20. ^ Alfred Schmidt: Wolfgang Borchert. Speech formation in his work . Bouvier, Bonn 1975, ISBN 3-416-01085-X , pp. 147-148.
  21. ↑ a b Helmut Gumtau: Wolfgang Borchert . Heads of the XX. Century. Colloqium, Berlin 1969, p. 56.
  22. ^ Alfred Schmidt: Wolfgang Borchert. Speech formation in his work . Bouvier, Bonn 1975, ISBN 3-416-01085-X , p. 164.
  23. ^ A b Paul Riegel: Texts in German lessons. Interpretations . Buchners, Bamberg 1969, p. 42.
  24. ↑ Wolfgang Borchert: Das Gesamtwerk (2007), p. 411.
  25. ↑ a b c d Wolfgang Borchert: Das Gesamtwerk (2007), p. 410.
  26. ↑ Horst Brustmeier: The breakthrough of the short story in Germany. An attempt at a typology of the short story, presented in the work of Wolfgang Borchert . Dissertation, Marburg 1966, pp. 190–191, 195.
  27. ↑ Wolfgang Borchert: Das Gesamtwerk (2007), pp. 409-410.
  28. ↑ Wolfgang Borchert: Das Gesamtwerk (2007), pp. 410-411.
  29. ↑ Karl Brinkmann: Explanations of Wolfgang Borchert's Outside the Door and The Dog Flower, The Three Dark Kings, This Tuesday, The Kitchen Clock, The Rats Sleep At Night, Schischyphusch . King's Explanations Volume 299.Bange, Hollfeld 1985, ISBN 3-8044-0233-X , p. 75.
  30. ↑ a b Hansjürgen Verweyen: Message from a dead person? Responsible for faith rationally . Pustet, Regensburg 1997, ISBN 3-7917-1568-2 , p. 34.
  31. ↑ Wolfgang Borchert: Das Gesamtwerk (2007), p. 415.
  32. ↑ Horst Brustmeier: The breakthrough of the short story in Germany. An attempt at a typology of the short story, presented in the work of Wolfgang Borchert . Dissertation, Marburg 1966, pp. 194–199.
  33. ↑ a b Gordon Burgess: Wolfgang Borchert. I believe in my luck. Structure, Berlin 2007, ISBN 978-3-7466-2385-6 , p. 25.
  34. ^ Theo Elm : "Outside the door": Historicity and topicality Wolfgang Borchert . In: Gordon Burgess, Hans-Gerd Winter (ed.): "Pack life by the hair". Wolfgang Borchert in a new perspective . Dölling and Gallitz, Hamburg 1996, ISBN 3-930802-33-3 , p. 273.
  35. ↑ Horst Brustmeier: The breakthrough of the short story in Germany. An attempt at a typology of the short story, presented in the work of Wolfgang Borchert . Dissertation, Marburg 1966, pp. 191–193.
  36. ^ Paul Riegel: Texts in German lessons. Interpretations . Buchners, Bamberg 1969, pp. 41-43.
  37. ↑ Wolfgang Borchert: Das Gesamtwerk (2007), p. 270.
  38. ↑ Wolfgang Borchert: Das Gesamtwerk (2007), p. 271.
  39. ↑ Wolfgang Borchert: Das Gesamtwerk (2007), p. 269.
  40. ↑ a b Horst Ohde: "Because the last, the last, the words do not give." Text connotations of the language difficulty in the work of Wolfgang Borchert . In: Gordon Burgess, Hans-Gerd Winter (ed.): "Pack life by the hair". Wolfgang Borchert in a new perspective . Dölling and Gallitz, Hamburg 1996, ISBN 3-930802-33-3 , p. 138.
  41. ↑ Gerd Neuhaus: “Everyone has to decide for themselves”. Belief responsibility between individual arbitrariness and unconditional truth claim . In: Reinhard Göllner (ed.): "It is so difficult to avoid the wrong path". Balance and perspective of the theological disciplines. Lit, Münster 2004, 31–32.
  42. ↑ Hansjürgen Verweyen: Message from a dead man? Responsible for faith rationally . Pustet, Regensburg 1997, ISBN 3-7917-1568-2 , p. 39.
  43. ↑ Horst Ohde: "Because the last, the last, the words do not produce." Text connotations of the language difficulty in the work of Wolfgang Borchert . In: Gordon Burgess, Hans-Gerd Winter (ed.): "Pack life by the hair". Wolfgang Borchert in a new perspective . Dölling and Gallitz, Hamburg 1996, ISBN 3-930802-33-3 , p. 137.
  44. ^ Anna-Maria Darboven: Wolfgang Borchert. The caller in a time of need . Goedel, Hannover 1957, p. 20.
  45. ↑ Horst Brustmeier: The breakthrough of the short story in Germany. An attempt at a typology of the short story, presented in the work of Wolfgang Borchert . Dissertation, Marburg 1966, p. 191.
  46. ↑ Karl Brinkmann: Explanations of Wolfgang Borchert's “Outside the Door” and “The Dog Flower”, “The Three Dark Kings”, “This Tuesday”, “The Kitchen Clock”, “The Rats Sleep At Night”, “Schischyphusch”. König's Explanations Volume 299.Bange, Hollfeld 1985, ISBN 3-8044-0233-X , p. 74.
  47. ^ Paul Riegel: Texts in German lessons. Interpretations . Buchners, Bamberg 1969, p. 43.
  48. ↑ Hansjürgen Verweyen: Message from a dead man? Responsible for faith rationally. Pustet, Regensburg 1997, ISBN 3-7917-1568-2 , p. 38.
  49. ↑ Hermann Wiegmann : And again the Thracian smiles. On the history of literary humor. Peter Lang, Frankfurt am Main 2006, ISBN 3-631-54727-7 , pp. 325–326.
  50. ^ Peter Rühmkorf: Wolfgang Borchert. Rowohlt, Reinbek 1961, ISBN 3-499-50058-2 , pp. 23, 26.
  51. ↑ Michael Töteberg : Afterword . In: Wolfgang Borchert: Das Gesamtwerk (2007), pp. 564–566.
  52. ^ Theo Elm: "Outside the door": Historicity and topicality Wolfgang Borchert . In: Gordon Burgess, Hans-Gerd Winter (ed.): "Pack life by the hair". Wolfgang Borchert in a new perspective . Dölling and Gallitz, Hamburg 1996, ISBN 3-930802-33-3 , pp. 267-268.
  53. ↑ Hans Gerd Rötzer: History of German literature . Buchner, Bamberg 1992, ISBN 3-7661-4140-6 , p. 398.
  54. ^ Hermann Wiegmann: Occidental Literature History . Königshausen & Neumann, Würzburg 2003, ISBN 3-8260-2572-5 , p. 575.
  55. ^ Leonie Marx: The German short story . Metzler, Stuttgart 2005, ISBN 3-476-13216-1 , p. 49.
  56. ↑ Ludwig Rohner: Theory of the short story . Athäneum, Frankfurt am Main 1973, ISBN 3-7610-7157-4 , p. 55.
  57. ↑ See for example Vocabulary Schischyphusch with a recommendation for grades 7, 8 and 9 on the Central Switzerland Education Server.
  58. ^ Paul Riegel: Texts in German lessons. Interpretations . Buchners, Bamberg 1969, p. 41.
  59. ^ Peter Weber : The years without melody . Suhrkamp, ​​Frankfurt am Main 2007, ISBN 978-3-518-41774-4 , p. 95.
  60. ↑ Achim Klünder (Ed.): Lexikon der Fernsehspiele / Encyclopedia of television plays in German speaking Europe. Volume 1: 1978/87. Saur, Munich 1991, ISBN 3-598-10836-2 , p. 529.
  61. ↑ Schischyphusch or My Uncle's Waiter on the website of the Theatermanufaktur Hamburg.
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