The Hollow of the Three Hills

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The Hollow of the Three Hills is a short story published in 1830 by the American writer Nathaniel Hawthorne and is considered to be his first published short story . There are two translations into German: The cave of the three hills (by Franz Blei , 1922) and The hollow under the three hills (by Hannelore Neves, 1977).

It is about a young woman who asks a fortune teller for information about the fate of her family. At their evening gathering in a valley in the forest, the fortune teller conjures up three apparitions (whether she is a witch ), which reveal the sins of the young woman and their consequences: she has abandoned her family, her parents are bitter, her husband in the madhouse, her child dead. This early story already shows many of the stylistic peculiarities and subjects typical of Hawthorne - complex symbolism, mysterious ambiguity, dark atmosphere, questions about the nature of sin, guilt, punishment and despair - which he and Poe and make Melville a prominent exponent of "dark" American romanticism .

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An hour before sunset meet a graceful, but desperate young woman and an old hag at a previously agreed place: one of three forested hills surrounding dark, barren valley, a putrid pond is located in the center, rot slowly in some tree trunks. At this point, the narrator reports, the prince of darkness is said to have often met with his lost souls to perform his “godless baptism ceremonies”. The young woman hopes to get information from the Vettel about the well-being of her loved ones who she has left behind in another country and promises to do everything that is asked of her (“if it's my death”).

The old woman makes the young woman kneel down, spreads a cloak over her face and mumbles “prayers” that are “not intended for heaven”. Soon other voices can be heard, first clearly, then again they seem to merge with the sound of the autumn wind. It is the voices of an old man and an old woman who speak sadly of a daughter, "who was hanging around, they didn't know where, who had dishonor with them and had left suffering and shame." After the voices have faded, she remarks Vettel grinning that the old couple seems to be having a "dreary and lonely time". The young woman is shocked that the Vettel has also heard the voices, but demands further information. Again the old woman mumbles monotonous words until screams, moans, sighs, rattling chains and the crack of a whip can be heard. Then a familiar male voice sounds, it tells of "a woman who has broken her most sacred vow, of an abandoned home and a broken heart." When this apparition has passed, the hag grins again and asks "Who would have thought it." Is it so funny in a madhouse? ”The young woman asks to hear just one more, her dear voice. This time, however, there is only the ringing of a bell, then the sound of measured steps, “as if mourners were walking behind a coffin,” and soon then various voices uttering curses against “the mother who sinned against the natural bonds of love, leaving her child and delivered him to death. "

When the noises have subsided, the hag nudges the kneeling young woman, but she does not stir. Giggling, she says to herself "That was a very enjoyable hour!"

Work context

The Hollow of the Three Hills is often referred to as Hawthorne's first short story. It first appeared anonymously on November 12, 1830 in the Salem Gazette . Ten days earlier, on November 2 of that year, the same newspaper published the text The Battle-Omen , also anonymously published , the authorship of which is also attributed to Hawthorne by many literary scholars. In any case, it appeared in a phase of life and work that Hawthorne's biographers often describe as “lonely years”: After graduating from college, he lived with his family in relative poverty, seems to have avoided social contacts and was disappointed in his writing ambitions. After the failure of his first novel Fanshawe (1828), he turned to the short story and remained true to this genre until 1850, when he finally mastered the novel form with The Scarlet Letter .

Around 1830 Hawthorne planned two collections of short prose texts, but could not find a publisher, and eventually destroyed his manuscripts. It can be assumed, if not certain, that The Hollow of the Three Hills was intended for at least the first collection (Seven Tales of My Native Land) , and perhaps also for the second (Provincial Tales) . The original context of the work is thus lost, which may well have led to false conclusions in the reception of the story; GR Thompson suspects that the stories of the Provincial Tales were related to one another in a dialogical structure.

In 1837 Hawthorne included the narrative in his first published collection of short stories, the Twice-Told Tales . The Hollow of the Three Hills appeared here as the fifteenth of a total of 19 tales of the first of the two volumes. Edgar Allan Poe highlighted the story in his review for Graham's Magazine (1842) as particularly successful. He praised the economy and effectiveness of the narrative ( Every word tells, and there is not a word which does not tell ); They evidently corresponded perfectly to his theory of the short story, as he formulated it a few years later in his essay The Philosophy of Composition . The literary scholar Dan McCall believes in Emily Dickinson's poem I Felt a Funeral to have identified direct references or allusions to The Hollow of the Three Hills in My Brain .

Interpretations

Narrative attitude

The Hollow of the Three Hills is a tale in which little happens; it is static, almost more of a sketch than a story - for Marius Bewley, for example, it represents a single “poetically evoked symbol”. Hans-Joachim Lang depicts it alongside the three early works The Battle-Omen , The Wives of the Dead and An Old Woman's Tale in a series of Hawthorn's “experiments with radical brevity”, all of which are characterized by a rather abrupt ending, sometimes even appearing incomplete. Your radicalism is also in the "resignation of the author's statements." If the characteristic of Hawthorne brooding about responsibility and guilt, sin and atonement, forgiveness and damnation is undoubtedly present and the story as qualities beyond the merely entertaining horror of ordinary showers literature has so makes the peculiarly objective, almost indifferent portrayal of the event by the narrator difficult for simple statements about what happened. The uniqueness of the story for Lang and Terence Martin is that their “morals” are not expressed: the fragmentary “visions” of family chaos, social exclusion and personal isolation in the midst of a “moral wilderness” are so impressive precisely because they remain uncommented.

It is narrative discipline that enables the ambiguity for which Hawthorne is famous. Much remains a mystery in the course of history. So it remains to be seen whether the young woman is just frozen or dead at the end of the story. It is also by no means established that occult forces are actually at work in the hollow, as the introductory sentence emphasizes that at the time of the action the "imagination of madness in real life" could take shape. A "realistic," psychological reading is thus not excluded, according to which the alleged witch only guesses and projects the inner fears and fears of the supplicant. The narrator says of the inmates of the insane asylum in the second apparition that their “own burning thoughts had long since become their exclusive world” - this too is a typical Hawthornian thought: the danger of solipsism , the self as a prison, as a “grave of the heart. "

Poe already pointed out a narrative peculiarity in his review: Hawthorne's decision to convey the “visions” through the ear and not through the eye, which gives the story a strange, dream-like, abstract character. In this respect, the narrative in An Old Woman's Tale has a counterpart in which a ghost procession goes on completely silently and is conveyed exclusively through the visible.

genre

The place and time of the action remain extremely vague: it takes place in an unspecified place “in those strange times when fantastic dreams and the imagination of madness still took shape in real life.” Terence Martin sees this as a variation of the formula “ It was once ... ": time is the place, a" neutral "scene, where the distinction between the real and the fantastic is abolished, just like in a fairy tale . The opening sentence of this early short story already points to the romantic understanding of art that Hawthorne formulated in his preface to the novel The House of the Seven Gables (1851): The author asks for artistic freedom beyond the strict precepts of truthfulness or plausibility in order to Truth of the Heart ”.

Unlike many of his best-known short stories ( Young Goodman Brown , The Minister's Black Veil ) or his most famous novel The Scarlet Letter , The Hollow of the Three Hills is not explicitly set in the puritanical colonial days of Massachusetts. Michael J. Colacurcio points out the possibility that the setting of the narrative alludes to the topography of the city of Boston , which was built on three hills, but considers this to be too unspecific; Hawthorne has not yet found his calling as chronicler of the "moral history" of New England in this early history. Carl H. Sederholm contradicts this interpretation and believes that the narrator's references to “those strange times” and the “gray tradition” made it clear that Hawthorne was interested in dealing with the past. It shows that the transmission and communication of the past, precisely through the academic historiography of the 19th century with its rational worldview, is inadequate - to understand history (especially that of New England) one must understand that the " superstition " that is ridiculed today was once established Had place as a category of understanding. History therefore has an irrational, “visionary” quality that finds no place in positivist historiography , but can be presented in literature.

A close relationship with the explicitly historical narratives exists through the prominent motif of witchcraft , which Hawthorne repeatedly forced upon himself, not least because of his family's involvement in the Salem witch trials . In addition, Ely Stock believes to make out a specific biblical subtext in the story - the story of the Witch of Endor ( 1 Sam 28.3–25  EU ), which Kenneth W. Staggs rejects as unconvincing. In any case, the motif is borrowed from the inventory of horror literature , of which Hawthorne makes ample use in his work. Occultism and magic are not the actual concern of Hawthorne, and so the narrator also refuses to judge whether the devil in the hollow is actually up to mischief, but only points out succinctly that the "gray tradition" wants it so; The word “witch” is noticeably not mentioned either, the fortune teller is just an “ old crone” .

The motif of the “ fallen girl ” points to another genre, the smiles of “sentimental” literature, whose authors (the market was dominated by women) Hawthorne later denigrated in a much-cited curse about the “damned mob of scrawling women”. It is precisely from the combination of these two genres that Hawthorne has opportunities to undermine sentimental clichés. Thus, Staggs out that the rather conventional sin of adultery in the sentimental literature usually expiated is by the protagonist " goes into the water ," Hawthorne sinner, however, clearly of damnation fall prey, as they are in the putrid water of the pond in the trough kneels. Your sin outweighs a mere breach of a social convention (marriage or the gender role in general ), but equates to a sin against nature and the cosmic order.

symbolism

Many interpretations of the story focus on the strongly symbolically charged setting of the story. Both Staggs and Clinton S. Burhans interpret it in their structuralist analyzes as a mythical symbol of a (disturbed) cosmic order. Burhans sees the symbolism of the story layered into a fully developed allegory and draws attention to the carefully worked out contrast between the beautiful and the ugly, youth and old age, growth and decay. It first becomes clear in the encounter between the young woman and the “withered” and “shriveled” old hag and soon afterwards, because the young woman is “affected by premature decay in the prime of years.” The decay of these two mortals is then associated with that of their natural environment; the young sinner dips “the hem of the robe into the pond” to receive the visions and thus becomes one with the hollow in which nothing grows but “brown October grass” and where only dead tree trunks rot. Burhans also recognizes a sexual symbolism here: the depression as a symbol of the mother's womb, just as sterile and fruitless as the adulterous relationship that drove the young woman to ruin. Another symbolic level, according to Burhan, is theological in nature and points to salvation and damnation: the sink appears as Hades or hell; the immersion of the robe in the putrid water is a reminder of the "godless baptism ceremonies" which the devil is said to have once performed at this very spot. The story ends with the sunset, which plunges the valley into complete darkness. The depression stands in contrast to the surrounding hills, which are densely forested and clad in a bright light by the setting sun. Burhans interprets it as a symbol of the Trinity , and its geometric regularity (the depression they enclose is “almost circular”) indicates the perfection of the natural order. That the young woman is damned becomes a certainty early in the story in this allegorical reading, namely at the moment when she looked up “to the edge of the hollow, as if she were considering whether she should return home without having achieved anything. But fate wanted it differently ”.

Staggs sees the number three as a leitmotif, if not as a structural principle of the story: the three visions successively clarified the individual, social and “cosmic” responsibility of the young woman and reflected a theologically connoted sequence of sentences purity-sin-atonement. As a classic (or Christian) symbol of perfection, it contributes to the mythical character of the story that Staggs brings out. In Hawthorne's work, however, the familiar topoi appear reversed: the hollow corresponds to a “ sacred center ”, like the navel of the world at Delphi - a place of hierophany , interface between the worlds of the sacred and the profane and therefore also the seat of a famous one Oracle . But this actually "holy" place is desecrated in Hawthorne's story: the devil is the godfather of the baptismal ceremonies that take place here , and the prayers that are said here are "not intended for heaven". Instead of growth and wisdom, this place only produces decay and death.

Sin and guilt

Other commentators are more cautious with such far-reaching "cosmological" interpretations, but also see the young woman's guilt as being more serious than mere adultery. Michael J. Colacurcio points out that the burden of guilt becomes more and more heavy as the story progresses: he believes that the focal point of the story has been identified at the moment when the young woman is surprised to find that the old hag is the “visions "Not only conjured up, but also partaking of it (" 'So you heard it!' She cried, and a feeling of unbearable humiliation triumphed over despair and fear "); the inner torment of the soul becomes all the more painful through the shame towards others. The young woman only commits her worst sin in the course of history when she decides to break the barriers of “natural” knowledge and to acquire knowledge that is not her own. Her willingness to do everything for this, including surrendering to diabolical powers, shows a variation in the fabric of the fist in the story .

David Downing sees the story less dramatized the individual guilt and condemnation of the young woman than rather that of a society. Like a lens, the hollow in its center focuses not only on the suffering of the young woman, but also that of her embittered parents, her insane husband, the nameless voices of the funeral procession, and therefore her entire culture, if not humanity; their voices not only merge into one another, but also become one with those of the autumn wind, they are all equally marked by decay. Hawthorne may have had in mind the puritanical image of man with his belief in innate depravity , man's nature necessarily corrupted by original sin, but ultimately it becomes clear that this is a man-made hell full of unfaithfulness, insanity, curses and the Brutality is. Hawthorne is describing a culture of which he intuitively feels that it brings great suffering to people.

Hans-Joachim Lang criticizes such speculative interpretations as ahistorical; they did not take into account the traditional Christian ideas of evil in general and the devil in particular, which Hawthorne's story also presupposes. The devil is therefore not only implicitly present at the rendezvous between the young woman and the witch; the narrator assures that the two in the hollow "could not be observed by any mortal"; but the devil is not mortal. For Lang, the biblical knowledge that the devil is the “father of lies” ( Jn 8:44  EU ) is essential for understanding the story - there is no reason to assume that the three visions are the truth about the fate of the family of the young woman announce, the opposite is the case. The young woman had lost hope and faith and so “went to the devil” - not (only) in the sense of a haunted story, but in the actual, theological sense.

Alison Easton points out that the story offers not only no narrative, but also no ethical denouement . The reader could hardly conclude with the conviction that the young woman had received her just punishment, because that would mean making common with the witch who has the last word in the story. Like the reader, women are trapped in the same conventional value system that cannot excuse their wrongdoing; the moral conflict remains unresolved for them as for the reader.

reviews

The judgments about the quality of the narrative differ noticeably. In contemporary criticism, Poe saw the story as an outstanding example of Hawthorne's special abilities ("an excellent example of the author's peculiar ability"). Furthermore, he formulated in his assessment of the story: "Every word tells , and there is not a word which does not tell ". This statement represents the highest distinction Poe has to bestow as a literary critic.

Similarly, Burhans takes the story as evidence that Hawthorne found mastery in his first story; similar to Staggs, who sees here a triumph in the density of the atmosphere, unmatched by much better known stories such as Young Goodman Brown and My Kinsman, Major Molineux . Colacurcio does not seem to have succeeded because of its all too unspecific subject matter, little more than an aesthetic finger exercise, and Neal Frank Doubleday also sees the story at best as a journeyman's piece and does not honor it in his monograph on Hawthorne's early stories. For Lea Newman, too, the narrative is too abstract and too diffuse to be “effective” as literature. More recently, however, it has often been decided to be ahead of its time, precisely because of its peculiar experimental structure, and to conform to modern or postmodern concepts of short stories.

Regardless of quality judgments, there is consensus that this early story (unlike the first novel) anticipates the later Hawthorne in terms of style and theme; In the canon of his stories, however, The Hollow of the Three Hills occupies a rather marginal position.

literature

expenditure

The first edition of the Twice-Told Tales can be found digitized in the Internet Archive :

The modern standard edition of Hawthorne's works is The Centenary Edition of the Works of Nathaniel Hawthorne (edited by William Charvat, Roy Harvey Pearce et al., Ohio State University Press, Columbus OH 1962-1997; 23 volumes). The Hollow of the Three Hills can be found in Volume IX ( Twice-Told Tales , 1974). Many of the numerous anthologies of Hawthorne's short stories include The Hollow of the Three Hills , which is a widely read edition

  • Nathaniel Hawthorne: Tales and Sketches . Edited by Roy Harvey Pearce . Library of America, New York 1982.

The first edition of the Twice-Told Tales can be found digitized in the Internet Archive :

There are two German translations available:

  • The cave of the three hills . In: Nathaniel Hawthorne: The Wedding of the Dead . German by Franz Blei . Südbayerische Verlagsanstalt, Munich / Pullach 1922 ( digitized for the Gutenberg-DE project )
    • also in: Nathaniel Hawthorne: The Forces of Evil: Eerie Tales . German by Franz Blei. Deutscher Taschenbuch Verlag, Munich 2014, ISBN 978-3423143004 .
  • The hollow under the three hills . German by Hannelore Neves:
    • also in: Nathaniel Hawthorne: The Heavenly Railway. Stories, sketches, forewords, reviews . With an afterword and comments by Hans-Joachim Lang . Winkler, Munich 1977. ISBN 3-53806068-1
    • also in: Nathaniel Hawthorne: The Pastor's Black Veil: Eerie Tales . Winkler, Munich 1985. ISBN 3-538-06584-5

Secondary literature

  • Clinton S. Burhans, Jr .: Hawthorne's Mind and Art in "The Hollow of the Three Hills" . In: The Journal of English and Germanic Philology 60: 2, 1961. pp. 286-295.
  • Michael J. Colacurcio : The Province of Piety: Moral History in Hawthorne's Early Tales. Duke University Press, Durham NC 1984. ISBN 0822315726
  • David Downing: Beyond Convention: The Dynamics of Imagery and Response in Hawthorne's Early Sense of Evil . In: American Literature 51: 1, 1980. pp. 463-476.
  • Paul K. Johnston: Nathaniel Hawthorne's Triple Thinking in The Hollow of Three Hills . In: The Nathaniel Hawthorne Review 23: 2, 1997. pp. 1-16. (1997)
  • Hans-Joachim Lang : Poets and punchlines. On the American narrative of the 19th century . Palm & Enke, Erlangen 1985. (= Erlanger Studies 63)
  • Lea Bertani Vozar Newman : A Reader's Guide to the Short Stories of Nathaniel Hawthorne . GK Hall & Co., Boston 1979. ISBN 0816183988
  • Prabhat K. Pandeya: The Drama of Evil in "The Hollow of the Three Hills" . In: The Nathaniel Hawthorne Journal 1975. pp. 177-181.
  • Carl H. Sederholm: Hawthorne's Gray Tradition: Reading History and the Supernatural . In: Prism (s) 12, 2004. pp. 39-54.
  • Kenneth W. Staggs: The Structure of Nathaniel Hawthorne's' Hollow of the Three Hills . In: Linguistics in Literature 2: 2, 1977. pp. 1-18.
  • GR Thompson : The Art of Authorial Presence: Hawthorne's Provincial Tales . Duke University Press, Durham, NC 1993. ISBN 0822313219

Web links

Wikisource: The Hollow of the Three Hills  - Sources and full texts (English)

Individual evidence

  1. ^ Donald Clifford Gallup: On Hawthorne's Authorship of "The Battle-Omen" . In: The New England Quarterly 9: 4 December 1936. pp. 690-699; but is missing in the edition of Tales and Sketches for the Library of America, which Roy Harvey Pearce provided .
  2. ^ Nelson F. Adkins : The Early Projected Works of Nathaniel Hawthorne . In: Papers of the Bibliographical Society of America 39, 1945. pp. 119-155.
  3. ^ Gary Richard Thompson: The Art of Authorial Presence , p. 60.
  4. ^ A b Edgar Allan Poe: Hawthorne's Twice-Told Tales ( Memento of October 17, 2011 in the Internet Archive ) . In: Graham's Magazine , May 1842. pp. 298-300.
  5. ^ Dan McCall: "I Felt a Funeral in My Brain" and "The Hollow of the Three Hills" . In: The New England Quarterly 42: 3, 1969. pp. 432-435.
  6. ^ Marius Bewley: The Eccentric Design: Form in the Classic American Novel . Columbia University Press, New York 1959. p. 143.
  7. ↑ Hans-Joachim Lang: Poets and Pointen , pp. 89-90.
  8. ^ David Downing: Beyond Convention , p. 463.
  9. ↑ a b Terence Martin: Nathaniel Hawthorne (Revised Edition) . Twayne, Boston 1983. pp. 44-45. (= Twayne's United States Authors Series (TUSAS) 75)
  10. ↑ Hans-Joachim Lang: Poets and Pointen , pp. 89-90.
  11. ^ Gary Richard Thompson: The Art of Authorial Presence , p. 61.
  12. ↑ Michael J. Colacurcio: The Province of Piety , pp. 42-43.
  13. ^ Alison Easton: The Making of the Hawthorne Subject . University of Missouri Press, Columbia 1996. p. 16.
  14. ↑ Michael J. Colacurcio: The Province of Piety , p. 46.
  15. ^ Carl H. Sederholm: Hawthorne's Gray Tradition . Pp. 45-46, 48-49.
  16. ↑ Ely Stock: Witchcraft in "The Hollow of the Three Hills" . In: American Transcendental Quarterly 14: 1, 1972. pp. 31-33.
  17. ↑ Kenneth W. Staggs: The Structure of Nathaniel Hawthorne's "Hollow of the Three Hills," p. 17.
  18. ↑ Michael Dunne: Hawthorne's Narrative Strategies . University Press of Mississippi, Jackson 2007. p. 32.
  19. ↑ Kenneth W. Staggs: The Structure of Nathaniel Hawthorne's "Hollow of the Three Hills" , passim, summarized on pp. 15-16.
  20. ↑ Clinton S. Burhans, Jr .: Hawthorne's Mind and Art in "The Hollow of the Three Hills" , pp. 287-289.
  21. ↑ Clinton S. Burhans, Jr .: Hawthorne's Mind and Art in "The Hollow of the Three Hills," pp. 289-290. The interpretation in Paul G. Buchloh is essentially similar: The representation of nature in Nathaniel Hawthorne's stories . In: Paul Gerhard Buchloh (Ed.): American stories from Hawthorne to Salinger. Kieler contributions to English and American studies, Vol. 6, Karl Wachholtz Verlag, Neumünster 1968, pp. 89–111, here pp. 99 and 103 f. Buchloh emphasizes the emblematic meaning of the colors green and brown in the valley as a symbolic drawing of the "dangerously lurking den of sin [s]", while the three hill tops themselves "in the mathematically exact initial description [...] for the one in the 'hollow." ' people who are in a position to embody inaccessible heights ”as“ emblems of the divine Trinity ”.
  22. ↑ Kenneth W. Staggs: The Structure of Nathaniel Hawthorne's "Hollow of the Three Hills" , pp. 8-11.
  23. ↑ Kenneth W. Staggs: The Structure of Nathaniel Hawthorne's "Hollow of the Three Hills" , p. 4.
  24. ↑ Michael J. Colacurcio: The Province of Piety , p. 45.
  25. ^ William Bysshe Stein: Hawthorne's Faust: A Study of the Devil Archetype . University of Florida Press, Gainesville 1953. pp. 55-57.
  26. ^ David Downing: Beyond Convention , p. 465.
  27. ^ David Downing: Beyond Convention , p. 464.
  28. ^ David Downing: Beyond Convention , p. 468.
  29. ↑ In the original: In the spot where they encountered, no mortal could observe them ; Hannelore Neves translates mortally as "human soul ."
  30. ↑ Hans-Joachim Lang, Poeten und Pointen , pp. 93–95.
  31. ^ Alison Easton: The Making of the Hawthorne Subject . University of Missouri Press, Columbia 1996. p. 17.
  32. ^ Edgar Allan Poe: The Complete Works of Edgar Allan Poe. Edited by James A. Harrison, New York 1902 (Virginia Edition), Vol. XI, p. 112, italics in the original. Also online Poe's Review of Twice-Told Tales on Wikisource [1] . See also the post-doctoral thesis by Franz H. Link on Poe's judgment : The narrative art of Nathaniel Hawthorne · An interpretation of his sketches, stories and novels . Carl Winter Universitätsverlag, Heidelberg 1962, without ISBN, p. 33 f., And Hans-Joachim Lang, Poeten und Pointen , p. 86. As Lang emphasizes there, Poe exemplified his literary theoretical conception of the “tale proper” in 1842 , especially with Hawthornes Performances in The Hollow of the Three Hills .
  33. ↑ Clinton S. Burhans, Jr .: Hawthorne's Mind and Art in "The Hollow of the Three Hills," p. 295.
  34. ↑ Kenneth W. Staggs: The Structure of Nathaniel Hawthorne's "Hollow of the Three Hills" , passim, summarized on pp. 15-16.
  35. ↑ Michael J. Colacurcio: The Province of Piety , p. 42.
  36. ^ Neal Frank Doubleday: Hawthorne's Early Tales: A Critical Study . Duke University Press, Durham, NC 1972. p. 58.
  37. ↑ Lea Bertani Vozar Newman: A Reader's Guide to the Short Fiction of Nathaniel Hawthorne . GK Hall, Boston 1979.
  38. ↑ For example: Farhat Iftekharrudin: Preface . In the S. (Ed.): Postmodern Approaches to the Short Story . Praeger, Westport, CT 2003. S. ix.
  39. ↑ Hans-Joachim Lang: Poets and Pointen , p. 95.
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