Diary 1946–1949

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Diary 1946–1949 is the title of a literary diary by the Swiss writer Max Frisch . As early as 1947, Atlantis Verlag published a forerunner entitled Diary with Marion with notes from 1946 and 1947, in which a puppeteer named Marion appeared several times. At the suggestion of the publisher Peter Suhrkamp , Frisch expanded this diary with entries up to 1949 and published it in September 1950 in the newly founded Suhrkamp Verlag .

In addition to personal and historical records , the diary contains numerous fictional texts that are considered to be the central sources of many materials and motifs in Frisch's main works. The diary contains early sketches for Frisch's dramas Andorra , Biedermann und die Brandstifter , Count Öderland and When the war was over, as well as for the novels Homo faber and Stiller .

content

The table of contents of the diary lists a total of 134 entries. In contrast, Meike Heinrich-Korpys counts 145 entries, each of which is introduced by a heading or time or place information. The time indications typical for the form of a diary were still missing in the diary with Marion and were added later for the diary 1946–1949 . In a conversation with Heinz Ludwig Arnold , Frisch described the diary as a “confrontation […] of fiction and fact” with the counterpoint of personal life. Later investigations often make a finer subdivision of the notes. This is how Gerhard P. Knapp differentiates:

  • factual texts or documentation of contemporary history
  • Reflections of the diary self on factual impressions
  • personal entries of the diary-self
  • poetological questions
  • fictional sketches

Klaus Müller-Salget emphasizes, however, that because of Frisch's personal spelling, the individual categories cannot always be clearly separated.

Julian Schütt names personal viewing as the central motif of the diary with Marion . Max Frisch describes his travels through Switzerland, Germany, Italy, Czechoslovakia, Austria, France and Poland. He answers the question “Why do we travel?” With the words: “so that we meet people who do not think that they know us and know us once and for all; so that we can experience once again what is possible for us in this life ”. In addition to the journey, the puppet show is a second important topic that runs through Marion's diary . The title character of the puppeteer Marion is, according to Walter Schmitz , a "Marion-ette", a play figure of the author. Located in a fictional small state called “Andorra”, she draws “an imaginative portrait of the artist in Switzerland”. Walburg Schwenke sees the diary form as the ideal form of expression for the interplay of biography and artistic work of the young freshness.

The diary also serves Frisch as a literary workshop and a reservoir of ideas for his works. Hans Mayer speaks of a “breeding ground for future novels and plays”. For example, the drama Andorra (1961) makes reference to the sketch Der Andorranische Jude , Biedermann und die Brandstifter (1958) to a burlesque text about political arson and opportunism. The drama Graf Öderland (1951) is a further development of the fragment Der Graf von Öderland and When the War Was Over (1949) a dramatization of the story Nachtrag über eine Liebe without linguistic expression. The novel Homo faber (1957) has a thematic forerunner in a so-called calendar story about coping with guilt for the death of one's own daughter, while the fairy tale Rip van Winkle in Stiller (1954) refers to the sketch about the attempted escape of the lawyer Schinz.

A programmatic text, which, according to Hans Jörg Lüthi, is of central importance for Frisch's work and his world of ideas, is entitled You shouldn't make a portrait and is further elaborated in the following sketch The Andorran Jew : “You shouldn't make a portrait for yourself, it is said by God. It should also apply in this sense: God as the living in every human being, that which cannot be grasped. It is a sin that, as it is committed against us, we commit again almost without ceasing - except when we love. ”Only in love is a person ready to perceive his fellow man openly and to accept it in his vitality. Without love, the openness is replaced by a finished picture that you create and into which you captivate your counterpart. This problematic of portraits remained decisive for Frisch's main works Stiller , Andorra and Mein Name sei Gantenbein .

History of origin

The diary form is considered the characteristic literary form of the author Max Frisch. In terms of both material and form, according to Rolf Kieser, it is the “nucleus of his entire later work”. In a conversation with Horst Bienek , Frisch confessed: "You could say that the form of the diary is peculiar to the author of my name". When asked about the preference for this shape, he drew the comparison: "I have no preference for my nose, I have no choice - I have my nose."

However, the discovery of the form that suited him was due to external circumstances: As a gunner in the Swiss Army , Frisch, who had rejected his early literary attempts as inadequate, could only write short notes in the free hours and thus wrote a loose sequence in the fall of 1939 related considerations under the title Leaves from the Bread Sack . Frisch also described the diary he started in 1946 as an “emergency form” that arose before, after and during his full-time work as an architect in his own architectural office. He felt the need to write, but “just didn't have the time for a big form”. So he wrote down the ideas for larger fabrics only in sketch form: "A Sunday writer, if you will."

In 1947 the diary with Marion was published by Atlantis Verlag . Frisch continued the recordings in August 1947, but his publisher Martin Hürlimann showed no interest in further published diaries. Instead, Frisch met Peter Suhrkamp at the premiere of Carl Zuckmayer's Des Teufels General in Frankfurt in November 1947, and he suggested that the diary be continued. Frisch revised the first part of the diary slightly and omitted some texts. In January 1950, Frisch submitted the manuscript of the diary, which was continued until 1949, to Suhrkamp Verlag vorm. S. Fischer a. When Suhrkamp and Bermann Fischer split up in April of that year , the publishers left the decision for their future publisher to the authors. Frisch decided on the newly founded Suhrkamp Verlag , which became his own publishing house. The diary 1946–1949 was published there in September 1950 as his first work .

expenditure

  • Max Frisch: Diary with Marion . Atlantis, Zurich 1947.
  • Max Frisch: Diary 1946–1949 . Suhrkamp, ​​Frankfurt am Main 1950.
  • Max Frisch: Diary 1946–1949 . In: Collected works in chronological order. Second volume . Suhrkamp, ​​Frankfurt am Main 1998, ISBN 3-518-06533-5 , pp. 347-755. Notes pp. 770-776.

literature

  • Meike Heinrich-Korpys: Diary and Fictionality. Signal structures of the literary diary using the example of Max Frisch's diaries . Röhrig, St. Ingbert 2003, ISBN 3-86110-335-4 .
  • Rolf Kieser: Max Frisch. The literary diary . Huber, Frauenfeld 1975, ISBN 3-7193-0491-4 .
  • Daniel de Vin: Max Frisch's diaries . Böhlau, Cologne 1977, ISBN 3-412-00977-6 .

Individual evidence

  1. ^ Meike Heinrich-Korpys: Diary and Fictionality. Signal structures of the literary diary using the example of Max Frisch's diaries . Röhrig, St. Ingbert 2003, ISBN 3-86110-335-4 , p. 105.
  2. ^ A b Daniel de Vin: Max Frisch's diaries . Böhlau, Cologne 1977, ISBN 3-412-00977-6 , p. 138.
  3. ^ A b Heinz Ludwig Arnold : Conversations with writers . Beck, Munich 1975, ISBN 3-406-04934-6 , p. 41.
  4. Gerhard P. Knapp: "The white between the words". Studies on the development and aesthetics of the literary diary of the modern age . In: Sprachkunst 28 (1997), pp. 291–319. After: Meike Heinrich-Korpys: Diary and Fictionality. Signal structures of the literary diary using the example of Max Frisch's diaries . Röhrig, St. Ingbert 2003, ISBN 3-86110-335-4 , p. 117.
  5. Klaus Müller-Salget: Max Frisch. Literary knowledge . Reclam, Stuttgart 1996, ISBN 978-3-15-015210-2 , p. 109.
  6. Julian Schütt: Max Frisch. Biography of an ascent . Suhrkamp, ​​Berlin 2011 ISBN 978-3-518-42172-7 , p. 357.
  7. ^ Meike Heinrich-Korpys: Diary and Fictionality. Signal structures of the literary diary using the example of Max Frisch's diaries . Röhrig, St. Ingbert 2003, ISBN 3-86110-335-4 , p. 117.
  8. ^ Max Frisch: Diary 1946–1949 . In: Collected works in chronological order. Second volume . Suhrkamp, ​​Frankfurt am Main 1998, ISBN 3-518-06533-5 , p. 369.
  9. ^ Walter Schmitz : Max Frisch: Das Werk (1931-1961) . Studies on tradition and processing traditions. Peter Lang, Bern 1985, ISBN 3-261-05049-7 , pp. 172-173.
  10. ^ Walburg Schwenke: Life and writing. Max Frisch - A production-aesthetic examination of his work . Lang, Frankfurt am Main 1983, pp. 202-204.
  11. Hans Mayer : The guilt of the blameless. "Diary 1966–1971" . In: Hans Mayer: Fresh and Dürrenmatt . Suhrkamp, ​​Frankfurt am Main 1992, ISBN 3-518-22098-5 , p. 132.
  12. Max Frisch: Collected works in chronological order. Second volume . Suhrkamp, ​​Frankfurt am Main 1998, ISBN 3-518-06533-5 , pp. 372-374.
  13. Max Frisch: Collected works in chronological order. Second volume . Suhrkamp, ​​Frankfurt am Main 1998, ISBN 3-518-06533-5 , pp. 556-561.
  14. Max Frisch: Collected works in chronological order. Second volume . Suhrkamp, ​​Frankfurt am Main 1998, ISBN 3-518-06533-5 , pp. 406-443.
  15. Max Frisch: Collected works in chronological order. Second volume . Suhrkamp, ​​Frankfurt am Main 1998, ISBN 3-518-06533-5 , pp. 536-537.
  16. Max Frisch: Collected works in chronological order. Second volume . Suhrkamp, ​​Frankfurt am Main 1998, ISBN 3-518-06533-5 , pp. 453-467.
  17. Max Frisch: Collected works in chronological order. Second volume . Suhrkamp, ​​Frankfurt am Main 1998, ISBN 3-518-06533-5 , pp. 723-749.
  18. ^ Meike Heinrich-Korpys: Diary and Fictionality. Signal structures of the literary diary using the example of Max Frisch's diaries . Röhrig, St. Ingbert 2003, ISBN 3-86110-335-4 , pp. 20-21.
  19. Max Frisch: Collected works in chronological order. Second volume . Suhrkamp, ​​Frankfurt am Main 1998, ISBN 3-518-06533-5 , p. 374.
  20. Hans Jürg Lüthi: Max Frisch. "You shouldn't make an image" . Francke, Munich 1981, ISBN 3-7720-1700-2 , pp. 7-8.
  21. ^ Rolf Kieser: Max Frisch. The literary diary . Huber, Frauenfeld 1975, ISBN 3-7193-0491-4 , p. 12.
  22. ^ Horst Bienek : Workshop discussions with writers . dtv, Munich 1969, pp. 26-27.
  23. ^ Rolf Kieser: Max Frisch. The literary diary . Huber, Frauenfeld 1975, ISBN 3-7193-0491-4 , p. 18.
  24. The deleted texts are listed in: Max Frisch: Gesammelte Werke in chronological order. Second volume . Suhrkamp, ​​Frankfurt am Main 1998, ISBN 3-518-06533-5 , pp. 770-776.
  25. Max Frisch: Collected works in chronological order. Second volume . Suhrkamp, ​​Frankfurt am Main 1998, ISBN 3-518-06533-5 , pp. 770, 776.