Tina or about immortality

The Mathildenhöhe with the wedding tower and academy is visible in both stories as the ironically described “Schlossberg” enthroned above the everyday city: During the day above the bustle and noise: “It was quiet and cool. I climbed the noble hill on tufted legs ”. And at night: “The diaphragm of the moon, see the flat pig's bladder, next to the wedding tower. / Downhill: a handcart bumped his old wife “Eberhard Schlotter designed this scene in his Tina cycle (see below).

Arno Schmidt's stories Tina or about immortality and Goethe and one of his admirers were written in 1955 and 1956 during his time in Darmstadt (1955–1958). With allusions to the author, they address the existence of man using the example of the transience of poetic fame from two different perspectives and accents.

Action overview

While Goethe is called back for a short stay in the world of the living and informed by the narrator on behalf of the Academy about changes and new achievements during a city tour, the basic situation in Tina is reversed: Two deceased writers - Christian Althing (pseudonym of Christian August Fischer ) and Tina Halein ( Kathinka Zitz-Halein ) - bring the protagonist into the underworld and guide him through the "Elysium".

The two narratives each have a framework for the main conversations.

Tina

(1) After getting to know Fischer in a pharmacy and his offer to visit the underworld (2), they meet Tina and take the elevator hidden in the kiosk advertising column downstairs. (3) Walk through the evening streets. (4) Fischer informs him about the city's condemned residents. (5/6) Night and morning with Tina in the "Bachelorette House" in "Inselstraße 42". (7) Lunch with Tina and Fischer. (8) Afternoon with Tina and an appointment to continue their relationship during their lunch breaks in the overworld.

Goethe

The narrative is written continuously without sections. After the prehistory with information about the dead poet tours, the first part of the tour through everyday life in the city begins, including the department store. The destination is the narrator's apartment. The poet's talk is reproduced on nineteen pages. Topics are writers' evaluations, public criticism, reception of Goethe's works in the present, presentation of the narrator's work, the historical development of Germany, future prospects, the salvation of mankind, progress and technology, “Pantex”, the all-seer. The second part of the city tour ends in the station restaurant with Goethe's disappearance. The minutes of the subsequent press conference are attached in tabular form.

Concepts of the Elysium

"Yes, man, have you still not noticed that you are in the Elysium ?" ! ”Asks Fischer the narrator after the first walk through the city. The term is used differently in literature, originally it referred to the island of the blessed at the end of the world, on which heroes who have been rewarded by the gods with immortality are allowed to live (see picture of Goethe's arrival in Elysium ).

Jean Paul, mentioned in both Schmidt stories, extends this idea in his last, unfinished novel Selina or on the immortality of the soul to all of humanity and localizes paradise in the second globe of the universe (rising bliss island). So much for the plot: The two befriended families Karlson and Wilhelmi who are interested in literature, art, philosophy and religion live in an idyllic Arcadian park landscape. You have invited Jean Paul to meet with him and a. to talk about the question of the immortality of the soul. Large parts of the novel are discussions between the author and Karlson's son Alexander about immortality of the soul, hypotheses of transmigration of souls and the "belief in annihilation" without heaven and hell. Both try to present their views in long theoretical deductions that include scientific speculations of the time such as magnetism . The background to these discussions is the concern for Karlson's second son Henrion, who is fighting for the freedom of the country in front of the fortress Napoli di Romania in Greece. Wilhelmi's daughter Selina and Henrion love each other. As “noble souls” they firmly believe in immortality. Selina's visions are evidence of this. She sees the badly wounded Henrion on the sickbed before letters arrive with the news.

Arno Schmidt probably knew Jean Paul's novel, the title variation suggests, as does Alexander's argumentation (“your local life to perpetuate”, your “flat land of reality”). Perhaps it is precisely the fragment's uncertain outcome and the controversial discussion about the topic that appeal to authors of the modern age such as Walter Kappacher ( Selina or Das Andere Leben ).

Tina and other tours through the underworld

While Jean Paul's protagonists think about an overworld without describing it in concrete terms, there is another literary tradition of modeling in connection with the motif: guidance through the underworld (Descensus motif: Descent into the realm of darkness) or the Elysium. The encounter with the dead gives the visitor insights into the past and future and thus experiences an expansion of consciousness that he passes on to the reader. Probably the best-known example is the Divine Comedy ( Divina Commedia ) by the Italian poet Dante Alighieri , written around 1307  : Virgil shows the visitor the ten circles of hell, which are funnel-shaped and terraced, and the sinners suffering from cruel punishments. He is accompanied up through the nine spheres of heavenly paradise by his virtuous lover Beatrice, who died at an early age.

In Schmidt's narrative as in other designs, e.g. B. from the time of existentialism , according to the original Greek myth of the underworld , this dichotomy does not exist. Rather, the residents continue their first life in a similar way: Tina wakes up after her death in a large hall where the new life is regulated: For example, like most of them, she chooses her young (early 20s) body. Waiting in a queue in front of a counter, she meets old friends, receives new papers, takes a bus to the train station, gets on a train, equipped with travel provisions, and lands at the place assigned to her, whereby the authorities take wishes into account when classifying them.

Schmidt's Elysium model differs significantly from the existentialist Hell Society Jean-Paul Sartre (German premiere 1949), which is not physically tormented by demons, as in Dante's Inferno, but takes on this task itself, as it is grouped according to the aspect of enmity is locked in a room (Hell is the others). In Tina's underworld, on the other hand, the authorities watch out for incompatibilities: “You could never, ever lock up Goethe and Bielschowsky. No, down here one is fair, but not unnecessarily cruel ”.

Schmidt's literary Elysium is anything but a shadowy world based on the ancient model, such as in Hermann Kasack's post-war novel The City Behind the Stream . The author was President of the German Academy for Language and Poetry in Darmstadt from 1953 to 1963 and wrote the decisive exonerating expert opinion in the pornography and blasphemy proceedings against Schmidt (see below). In his work, based on the model of the Comedia, the orientalist Robert Lindhoff comes as a temporary visitor to the underground, mine-like ruined city of the dead, meets his deceased, shadowy lover Anna and observes the mechanical, automatic, senseless circulatory activities of the ghostly beings.

It is quite different with Schmidt: The underworld is organized in a similar way to a modern pluralistic society based on the image of youth: People can move around freely: the giant cave cities, which are about a hundred kilometers apart, with their inhabitants sorted according to linguistic criteria, are connected to one another by underground trains connected. An allocation system regulates the supply: money was replaced by quota “promises”. However, since it is z. If, for example, payment in restaurants or shops is a matter of “verbal promises”, the unverifiable imaginary transfer is seen as a matter of trust. However, this does not lead to problems: The production of goods is secured, because most of them work voluntarily, as only employment makes their existence bearable. Gaps are closed by acquisitions from the upper world, with the help of liaison people like Fischer and Tina. In contrast to ancient models, this underworld is not a realm of shadows, but an artificial world designed by a committee and made possible by technology, an imitation of the natural model: daytime and seasonally regulated lighting, temperature and humidity, precipitation and mist seeping down from above in autumn, Wind cracks on corner houses for howling or whistling noises. There is also technology in the well-heated apartments: in Tina's hen house, a hands-free telephone system and wall flaps for prompt delivery, e.g. B. the preheated terry towels required after the shower.

However, the residents cannot endure this civilized and quite comfortable life as a permanent state. In Schmidt's narrative there is a sequence that is partly reminiscent of Kasack's novel: The city behind the stream represents an intermediate world, albeit a short-term one compared to Tina , in which the ghostly beings still have their body shape and their ability to remember, while at the entrance to the final realm of the dead dissolves its form in space. In Tina , on the other hand, existence between the worlds is linked to the memory of living people. As long as B. the books of writers are read as long as there are newspaper articles u. there are in the archives and at least the names are known, they are immortal. In this respect, the story has an analogy function : as a parable about the effect or ineffectiveness of literature. Contrary to popular belief, the artists (“Everything that has no name is happy”) are not at all interested in this continued life and, despite their permanently youthful body, have only one goal: to leave this apparent Elysium. They go through different phases: sexual activity, withdrawal to the hermitage, drunkenness with fits of rage and abuse, dull passivity, work ( Theodor Fontane and Karl Spitzweg : Apotheker) and hope for the end of the cycle of eternity. Above all, the successful artists suffer from their fame and curse their publishers, reviewers, interpreters, etc. Therefore everything that reminds of their poet's past life or could reactivate it (such as personal street names) is banned from the underworld, and for Omar, the Lit Alexandria Library, a statue was erected. The final dissolution after eradicating all traces of memory is celebrated with a happy, festive ceremony: The redeemed jumps down from marble steps into “nothing”, also in this point in contrast to the dissolution in space in Kasack's novel.

Goethe and one of his admirers

On his ink drawing of Goethe's Arrival in Elysium, Franz Nadorp translated the Greek term Elysion (the blessed) into an idealizing design in the style of the Nazarenes . Charon , the ferryman , brought Goethe to the island of the blessed . In Arno Schmidt's story Goethe and one of his admirers , the narrator declaims "with a rattling car voice, cerberus-covered Schüdderump" from An-in-law Kronos : "That the Orkus hears: we are coming / That right at the door / The landlord receives us friendly".

In the story of Goethe and one of his admirers, there is no longing to evade the fame of the poet, but the focus is on the intention to have readers during his lifetime and beyond death: Goethe is interested in his reception during his one-day stay, seeks in Schmidt's library about his works, asks about the best German-speaking authors after his death, asks the questions: “Do my works still live among the people?” And “Who do you think is the greatest German writer anyway?” And is about the declamation of Delighted in brother-in-law Kronos and the homage with an "angry = shameful [n]" kiss on the hand.

Correspondingly , in radio essays and newspaper articles, Arno Schmidt drew attention to writers who were wrongly forgotten in his opinion, such as Wieland , Klopstock , Oppermann, Meyen , Schefer , Johann Karl Wezel (e.g. in the Funk essay on July 1, 1959).

Accordingly, the narrator presents his efforts to help the dead colleagues. All these actions probably reflect the wish of most of the publishing poets to stay alive, at least in the Elysium of the readers, and this picture also corresponds to the self-portrayal of the narrator of both stories (“I was not a pleasant author - <not entirely unimportant> immediately flattered Vanity devil "," Schmidt "in the series of the best German-speaking authors after Goethe's death) and the poet's conversations in the Elysium published from the estate . Schmidt, however, gives a disillusioning diagnosis with regard to such an expectation in Goethe : One can be happy “when the intellectuals still know us!”. He is reluctant to show the guest the short, crooked “Goethe = Strasse” and roughly parodies the slogan of the muse city on the Darmbach (“The arts are blooming in Forzheim!”). He suspects that the 40-volume Goethe edition on display in the Bläschke antiquarian bookshop is an action by the academy aimed at the prominent visitor, which resides on the elegant “Schlossberg”.

The artist colony as a fly glass

The desires and possibilities of the poets are thus focused and presented in a parabolic-satirical way from two different perspectives in the two stories: the vanity of the artist society and reality. One explanation for the pessimistic assessment is perhaps Schmidt's tense personal and professional situation in 1954/55: his flight from Rhineland-Palatinate because of the blasphemy and pornography charges (because of seascape with Pocahontas ) and the difficulties in finding publishers for his books and himself and finance his wife. He got into an ambivalent position in Darmstadt:

For one thing, he was supported. The local court ruled the charges differently than in Trier and settled the matter after Kasack confirmed that Pocahontas was art and not pornography. His fellow writers tried to find commissions and include him in the artistic community. The journalist Georg Hensel described the Federal Republican - and especially the Darmstadt - cultural scene after 1945 in his biographical stories: After the Second World War, the city ​​made a name for itself as an art center in Germany with the seat of many literary institutions and societies (such as the German Academy for language and Literature , the PEN -Zentrum that Georg Lichtenberg - or Frank Wedekind -Gesellschaft). Gustav Rudolf Sellner's theater was reviewed in the national press across the country. The Kranichstein International Courses for New Music were internationally known. Eberhard Schlotter , who had picked up Schmidt's household effects in a truck and placed it in his studio, where his pictures robbed him of sleep, tried, as chairman of the New Darmstadt Secession, to promote painters and sculptors ( art in architecture ). Many artists chose the city of the muses as their place of residence and work. B. the writers Kasimir Edschmid , (Secretary General and Vice President of the PEN Center ), Ernst Kreuder , Frank Thieß , Hermann Kasack (President of the German Academy) and Gabriele Wohmann .

Schmidt's artistic formulations were recognized and there was interest in the new resident, because he would have added a fresh, avant-garde touch of color to the Darmstadt literary mosaic:

• The text design - e.g. Sometimes with recourse to expressionist language experiments: short sections that begin with groups of words printed in italics and use punctuation as an aid to stress ("Morning. Shy twilight: no!:"),
• the combination of colloquial expressions (“werdenu”, “´türlich nich”) both in direct speeches and in the comments with brash, affected-learned explanations (“Nietzsche has deviated from his <Eternal Return> quite a bit: he has long since plagued ! "),
• the intellectual use of technical terms and formulas ("apart from palimpsests and text conjectures", "<Rameau's nephew>: brilliantly translated"),
• unusual combinations of words ("whispering", "wriggling [...] his legs long", "howling exemplary", "delighted = indignant", "panting suspiciously annoyance, her five-digit pliers, bursting the envelope with it"),
• orgiastic language images in a sexual context ("chain panties flew up", "her hair was hanging from my head"),
• the connection of the author's world with the fictional plot: in Goethe traceable on the city map, in Tina in a refined arrangement in which Tina, who lives in the fictional underworld Inselstraße 42, arranges a rendezvous in the upper world with the narrator, presumably there, where the author A. Schmidt lives at Darmstädter Inselstraße 42.
• And overall the critical look at institutionalized authorities: his swimming against the current.

From a second perspective, influenced by Schmidt's insecure professional perspective, the Darmstadt artists' colony looked a little different. He could not finance his life with his books, but only with sideline jobs. Georg Hensel understood him well, because he had a similar decision to make and for financial reasons he chose journalism ( A long goodbye. The story of the death of an intellectual - his readers had forgotten him. Death had forgotten him ). Schmidt's correspondence with Schlotter, who illustrated Tina in 1963 , and the diaries of his wife Alice give an insight into the mood of the writer: Negotiations with Max Bill in Ulm for a position at the University of Design, founded in 1953, were unsuccessful . Rejections by publishers lead to considerations about emigration, for example to the GDR, or to resignation. Alice Schmidt reports that her husband wanted to burn his manuscripts and never have anything to do with literature again. In no other profession is the best performance so neglected and criticized in public so much: the chatter of colleagues.

He did not feel free in the one-room apartment at Inselstraße 42 in the Woogviertel (Am Darm), at the foot of the Schlossberg (Mathildenhöhe with the academies), envied Schlotter's friend, who was mentioned in both stories and who temporarily lived in Spain, for the Mediterranean weather and the Sight of the bathing mermaids while he froze on the intestines. In the confined space he could not concentrate, especially since writers, journalists and fans were always looking for a conversation and there was too much noise in the house. Alice Schmidt noted in her diary how difficult her husband was with the entire scene, and a. with the illustrious, self-confident circle of artists, she knew his private statements and evaluations and his fear of not being able to develop in such an environment. Schmidt summarizes his assessment in a letter to Helmut Heißenbüttel as "rather dead in the heath than alive in Darmstadt". For him, the Lüneburg Heath was something of a way out of Wittgenstein's fly glass .

Considered against this background of information, the situation of the Goethe narrator is very similar to that of Schmidt:

• The pornography accusation is reflected in the reference to Goethe's Erotica Romana ( Roman elegies ), which Schiller published in his literary magazine ( Horen ), which aroused the displeasure of the Duke and the Weimar court society: "If you wrote today: Here at this point:" the <Werther>; the epigrams and elegies; Prometheus on an Italian trip: you have long been on trial! As a defeatist; as an erotic; for blasphemy; Insult to political personalities! "

• The search for additional income and the trouble with the bureaucracy illustrates the procedure of the Goethe tour: After a long waiting time and wrangling with colleagues, after a brief official examination, after a short official examination, he is given the assignment by the academy's first chairman, who is actually responsible for the poet prince, due to hoarseness. The "more important details" follow: after negotiations with the cashier who called over, a payment of 63 marks 50 is granted, which the chairman increases "with a grand gesture" by 2 marks 50 from "some reptile fund". “Mission accomplished!” Reports the writer at the end in the station restaurant “militarily down the empty seat plate”.

• The comparison with the circulation figures of established colleagues and the search for a publisher could be projected onto the brief discussion with Goethe: On his “very victorious malice and Eckermann” comment “If you don't expect at least 1 million readers, you shouldn't even begin to write ”, the narrator replied confidently, with“ a <really good> writer ”this number would have to be spread over the next 500 years and consist of“ the best of the nation ”.

In comparison, if you look at the conclusion at the end of the Tina story, the conclusions here are probably related to the entire cultural-political scene in what was then West Germany: He recommends the best recipe for an earthly life (sarcastic-ironic, as Tina's addition makes it clear) : retreating to the village, stupidity coupled with sexual activity, doing well with the church, holding back one's opinion and avoiding great men. He adds bitterly: “Vote against writing = reading lessons; for rearmament: atomic bombs! ”Tina, however, has the last word, with her thoughtful comment that such a program is“ to the detriment ”of“ history for life ”.

literature

See also Arno Schmidt (section literature)

• Marius Fränzel: “This miraculous mixture”: an introduction to the narrative work of Arno Schmidt . Ludwig, Kiel 2002, ISBN 3-933598-54-0 .
• Josef Huerkamp: Satyr Leaps: Arno Schmidt with his capriccio "Tina or about immortality". Häusser, Darmstadt 1997, ISBN 3-89552-040-3 .
• Heiko Postma : The benefits and disadvantages of post-fame. A little circling around Tina plus some admiring side glances at Goethe. In: note box. 10, Yearbook of the Society of Arno Schmidt Readers. (Ed. Rudi Schweikert). Bangert & Metzler, Frankfurt 1991, ISSN  0176-7887 , pp. 123-133.
• Jan Philipp Reemtsma : About Arno Schmidt: Measuring a poetic terrain. Suhrkamp, ​​Frankfurt a. M. 2006, ISBN 3-518-41762-2 .
• Rudi Schweikert : From the poetic mixing jug. Something about Arno Schmidt's 'Tina or about immortality' and the structure of his world of ideas. In: note box. 10, Yearbook of the Society of Arno Schmidt Readers. (Ed. Rudi Schweikert). Bangert & Metzler, Frankfurt 1991, ISSN  0176-7887 , pp 135-148.
• Helge Svenshon: As a poor writer in Darmstadt. A walk through Darmstadt in the 1950s by and with Arno Schmidt. In: Architecture of the fifties - the Darmstadt master buildings. Krämer, Stuttgart 1998, ISBN 3-7828-4035-6 , pp. 228-231.
• Hans-Edwin Friedrich: "I was disrespectful enough." Arno Schmidt's examination of the post-war Goethe cult. (PDF; 161 kB)

Individual evidence

1. ↑ Arno Schmidt: Goethe and one of his admirers. In: Three stories. Fischer, Frankfurt a. M. 1997, p. 140. First published in the magazine Texte undzeichen, 3rd year 1957, pp. 232-264.
2. ↑ Schmidt, 1997, p. 135.
3. ↑ Arno Schmidt: TINA or about immortality. In: Three stories. Fischer, Frankfurt a. M. 1997, p. 130. First published in the magazine Moment , 2. Jg., 1956, No. 4, pp. 13–28 / Bargfelder Edition - Werkgruppe 1, Volume 2, pp. 165–187.
4. ↑ Arno Schmidt: TINA or about immortality. In: Three stories. Fischer, Frankfurt a. M. 1997, p. 99 ff. First published in the magazine Moment , 2. Jg., 1956, No. 4, pp. 13–28 / Bargfelder Edition - Werkgruppe 1, Volume 2, pp. 165–187.
5. ↑ Arno Schmidt: Goethe and one of his admirers. In: Three stories. Fischer, Frankfurt a. M. 1997, p. 131 ff. First publication in the magazine Texte undzeichen . 3rd year 1957, pp. 232-264.
6. ↑ Bernd Rauschenbach: My life?!: Is a continuum (biogram Arno Schmidt). Arno Schmidt - Bargfeld Foundation 2006.
7. ↑ Schmidt, 1997, p. 111.
8. ↑ Schmidt, 1997, p. 116.
9. ↑ Schmidt, 1997, p. 107.
10. ↑ Schmidt, 1997, p. 161.
11. ↑ Schmidt, 1997, p. 111.
12. ↑ Arno Schmidt 1997, pp. 111, 133.
13. ↑ Jean Paul: Selina or about the immortality of the soul. In: Werke Vol. 6. Hanser, Munich 1967, p. 1105 ff.
14. ^ Jean Paul, 1967, p. 1207.
15. ^ Jean Paul, 1967, p. 1107.
16. ^ Jean Paul, 1967, p. 1146.
17. ↑ Jean Paul, 1967, p. 1172 ff., P. 1191: "Body and Spirit"
18. ^ Jean Paul, 1967, p. 1137.
19. ↑ Jean Paul, 1967, pp. 1156 ff., 1215.
20. ^ Jean Paul, 1967, p. 1207.
21. ↑ Walter Kappacher: Selina or the other life. Dtv, Munich 2009.
22. ^ Elisabeth Frenzel : Motives of world literature. A lexicon of longitudinal sections of the history of poetry (= Kröner's pocket edition . Volume 301). 2nd, improved edition with an additional register. Kröner, Stuttgart 1980, ISBN 3-520-30102-4 .
23. ^ Dante Alighieri (translation by Hartmut Köhler): La Commedia / The Divine Comedy . I. Inferno / Hell. II. Purgatorio / Purification Mountain. Reclam, Stuttgart 2010, 2011.
24. ↑ Schmidt, 1997, pp. 117 ff.
25. ^ Jean Paul Sartre: With the doors closed. In: Collected Dramas. Rowohlt, Reinbek 1969, p. 67 ff.
26. ↑ Schmidt, 1997, p. 117.
27. ^ Hermann Kasack: The city behind the river. Suhrkamp, ​​Frankfurt a. M. 1947, 1956.
28. ↑ Schmidt, 1997, p. 109.
29. ↑ Schmidt, 1997, p. 109.
30. ↑ Schmidt, 1997, p. 109 ff.
31. ↑ Schmidt, 1997, p. 114 ff.
32. ↑ Schmidt, 1997, p. 102.
33. ↑ Schmidt, 1997, pp. 118 ff.
34. ↑ Schmidt, 1997, p. 108.
35. ↑ Schmidt, 1997, p. 125 ff.
36. ↑ Schmidt, 1997, p. 125.
37. ↑ Schmidt, 1997, p. 154.
38. ^ Johann Wolfgang Goethe: Complete poems, first part, p. 276 ff. In: dtv Gesamtausgabe, Munich 1961.
39. ↑ Schmidt, 1997, p. 150.
40. ↑ Schmidt, 1997, p. 151.
41. ↑ Schmidt, 1997, p. 153 ff.
42. ↑ Schmidt, 1997, p. 154.
43. ^ Arno Schmidt: Dya Na Sore. Conversations in a library. Stahlberg, Karlsruhe 1958.
44. ↑ Arno Schmidt: The knights of the spirit. From forgotten colleagues. 1965.
45. ^ Arno Schmidt: Messages from books and people. Vol. 1: On the literature of the 18th century . Vol. 2: On the literature of the 19th century . Fischer, Frankfurt a. M. 1971.
46. ↑ Schmidt, 1997, pp. 149 ff.
47. ↑ Schmidt, 1997, p. 104.
48. ↑ Schmidt, 1997, p. 152.
49. ^ Arno Schmidt: Text-critical edition of all works by Arno Schmidt (Bargfelder edition) Werkgruppe 1, Vol. 4. Suhrkamp, ​​Frankfurt a. M. 1988.
50. ↑ Schmidt, 1997, p. 153.
51. ↑ Schmidt, 1997, p. 167.
52. ↑ Schmidt, 1997, p. 147.
53. ↑ Schmidt, 1997, p. 140.
54. ↑ Georg Hensel: Lucky. Scenes from a life. Insel, Frankfurt a. M. 1994.
55. ↑ Fred Oberhauser, Axel Kahrs : Literary Guide Germany. Insel, Frankfurt a. M./Leipzig 2008.
56. ^ Hessischer Rundfunk (Ed.): Literature Land Hessen. The South. 2008.
57. ^ Karlheinz Müller: Literary walks in Darmstadt. Darmstadt 1993.
58. ↑ Hensel, 1994, p. 183 ff.
59. ↑ Schmidt, 1997, pp. 128, 143.
60. ↑ Schmidt, 1997, p. 152.
61. ↑ Schmidt, 1997, p. 151.
62. ↑ Schmidt, 1997, p. 160.
63. ↑ Schmidt, 1997, p. 119.
64. ↑ Schmidt, 1997, p. 128.
65. ↑ Schmidt, 1997, p. 123.
66. ↑ Schmidt, 1997, p. 112.
67. ↑ Schmidt, 1997, p. 112.
68. ↑ Schmidt, 1997, p. 150.
69. ↑ Schmidt, 1997, p. 116.
70. ↑ Schmidt, 1997, p. 117.
71. ↑ Schmidt, 1997, p. 118.
72. ↑ Schmidt, 1997, p. 121.
73. ↑ Schmidt, 1997, p. 127.
74. ↑ Schmidt, 1997, p. 128.
75. ↑ Hensel, 1994, p. 126.
76. ↑ Hensel, 1994, p. 213 ff.
77. ^ Arno Schmidt - Letter Edition Vol. 3: Correspondence with Eberhard Schlotter . 1991.
78. ↑ Eberhard Schlotter - the bottom line. Exhibition catalog. Kunsthalle Darmstadt 2011.
79. ↑ Alice Schmidt, Susanne Fischer (ed.): Diary from 1955. Edition of the Arno Schmidt Foundation. Suhrkamp, ​​Frankfurt a. M. 2008.
80. ↑ Schmidt, 1997, p. 128, p. 143.
81. ↑ Ludwig Wittgenstein: Philosophical Investigations. Critical Genetic Edition. Edited by Joachim Schulte. Scientific book society. Frankfurt a. M. 2001.
82. ^ Johann Wolfgang Goethe: Complete poems. First part. In: dtv Gesamtausgabe, Munich 1961, p. 241 ff.
83. ↑ Sigrid Damm: The life of Friedrich Schiller. Frankfurt a. M./Leipzig 2004, 211 ff.
84. ↑ Schmidt, 1997, p. 158.
85. ↑ Schmidt, 1997, pp. 135 ff.
86. ↑ Schmidt, 1997, p. 171.
87. ↑ Schmidt, 1997, p. 150 ff.
88. ↑ Schmidt, 1997, p. 129.