Under the freedom tree

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Under the freedom tree is a novel by the German writer Clara Viebig . The main characters in the story that takes place in the Rhineland around 1800 are the robbers Johannes Bückler , known as "Schinderhannes" and Hans Sebastian Nikolai , a blacksmith from Krinkhof in the Eifel . In addition to the deeds of the two robbers and their gangs, Viebig traces the confusion of the post-revolutionary conditions from which the population suffers, but which gives the criminals a good opportunity to take advantage of the situation.

action

In the French-occupied Trier , the fourth 'Festival of the Founding of the French Republic' is celebrated in 1796 : "On the main market, also on the cathedral courtyard, in front of the justice building there is a freedom tree - young, slender oaks from the Eifel Heights." The people certainly do not benefit always from the blessings of political upheaval, but it suffers from the political, economic and social upheavals of a time that is full of "blood [...] in the Moselle and epidemic and hunger on both banks and little mercy." Trier can hardly come to terms with this situation, the younger ones consider it completely normal:

“They had never known life any other way: noise in the streets, detachments of French soldiers banging on the doors, carrying away on handcarts whatever firearms and cutting weapons were in the houses, and also taking with them whatever Individuals who had fled, as well as relatives and friends [...] left behind. Freedom, equality, fraternity - the death penalty for those who withhold something. "

The following narrative consists of three main threads with a few subplots. Numerous secondary figures specify the depicted image or observe it from a peripheral perspective, such as the soldiers, Jewish traders, farmers or the urban and rural population.

The first main line is about Johann Bückler , the Schinderhannes, who also describes himself as " Johannes Durchdenwald ", and his bride, the pugilist Julchen Bläsius. The fate of families during this time is reflected in the story of Julchen:

"My father was hanged on the right bank of the Rhine, my brother was beheaded on the left bank of the Rhine, I don't know from my mother that she is dead too, or is she sitting in the spinning house."

Hannes, who is known as a notorious robber, can be very “magnanimous”, especially towards his Julchen. He knows how to celebrate lavish parties, such as at the Kallenfels farm near Kirn in the Hunsrück , although he extorts protection money from the Jews in the area. He uses these to finance his celebrations and, above all, to comply with Julchen's wishes. Nevertheless, the relationship between the two is marked by numerous jealousies, because Hannes is also connected to Amie, the daughter of Butzliese, who runs a whore and stolen trade on the back wall of Trier Cathedral, from earlier times. Ultimately, however, Julchen, as the mother of his child, plays an important role in Bückler's life. She is also an antithesis to his mother, who finds the son's deeds abhorrent and repeatedly speaks to his conscience:

“Turn back, there is still time, you are still young, you can still be different. Have mercy, for your rest on earth and for my heavenly bliss! "

In the second narrative strand, the most important figure is Hans Bast Nikolai , the blacksmith and robber from Krinkhof near Bad Bertrich , who has also earned a reputation as a miracle doctor. The former wingman of the Kurtrier Guard hates the world since he was convicted of a love affair with his superior's wife. While the woman received no punishment for pretending that Hans Bast had done her violence, he had to run the gauntlet and was then dismissed in dishonor. This makes him a doubter:

“One step away from the path, you can never find your way back […] I don't give a damn what you call right - law and order. All of this was done by those who have to break and bite, and who are noble, who did not have to go to misery [...] They pointed at me with their fingers, whistled after me. I can still hear it! "

Hans Bast has a problematic relationship with his daughter Maria. He loved her mother little; In addition, the lonely Krinkhofer smithy serves as a shelter and starting point for raids by the so-called Moselle gang . Hans Bast therefore gives his daughter to Butzliese as a maid, an old friend with whom Bückler and his men also hang out. One night the Polecat Jakob, a band robber, kills an admirer of his revealing wife Anne in the house of the Butzliese. During a police check, Bückler is brought to safety by Maria through a hidden passage in the cathedral, not without her trying to get the girl to want her. But she successfully fends off.

Maria gives up her service in the dubious house and returns to her father. On the way to the Eifel , she is raped by General d'Aubray, who is in French service. The humiliated Maria finally finds an understanding friend in Martin, the son of the miller at Üßbach . At first as a maid of the mill and recognized by the mother despite her 'flaws', a tender love relationship develops, and after some hesitation Maria becomes Martin's wife.

A third narrative thread revolves around the figure of the justice of the peace Friedrich Adami, who exercises his office in Lutzerath . The official, who is particularly affected by the mischief of the robber gangs, reflects on the lack of legal certainty:

“Wasn't it bleak that at that time and in this country that was half French and half German, justice was being torn back and forth like a jumping jack? What was law today was overturned tomorrow. […] And how could a judiciary that was different in each canton take effect? Equal justice for all - so it was said - in the woods the French gentlemen slammed down the game, but the poor farmer, who, driven by hunger, caught a rabbit in his noose, was immediately put in chains. This created bitterness [...] Oh, it was now a time that could drive a person who loved order and morality crazy! "

Adami is engaged to the mayor's daughter Susette Gontard of Trier, but his intentions are thwarted by the carelessness of the engaged couple. Her relationship with d'Aubray is fatal. While Suschen decides to live in the monastery, Adami, in his disappointment, challenges d'Aubry to a duel. He escapes, disguised as the 'Marquis de la Ferrière', and also lets the regimental treasury go along. Adami, betrayed of his satisfaction, devotes himself more and more to capturing the Schinderhannes. His motive: “Oh, the people had come a long way, they no longer knew what was good and what was bad! The farmers encouraged the Bückler, the ladies told each other spicy anecdotes about him. "

Adami tries to find out Bückler's whereabouts from Hans Bast, although he can only guess at Krinkhofer's involvement in the gang system. His belief in freedom has been shaken; he hopes for an improvement through Bonaparte :

“The republic that planted the tree of freedom had knocked down the old, but the new it put in place for it had only loose roots. [...] if only a storm wind would come and blow down the tree of liberty with its loose roots! [...] People had never been less free. But in centuries to come the people would not understand the big word 'freedom'. And equality? One like the other drifted along in the greed for enjoyment - only therein was there equality. And brotherhood? Cain beat Abel to death - the dispossessed reached 'brotherly' for what the possessor had acquired through diligent work. "

The individual storylines are brought together when the fugitive d'Aubry has to let Hans Bast treat his horse, which has lame feet. Mary recognizes the wrongdoer and reveals his outrage to her father. Hans Bast seeks retribution and lures the false marquis into a trap of the Schinderhannes gang at Reiler Hals ; then he stabs his daughter's tormentor to death. Meanwhile, Bückler, dressed in the captured d'Aubry's uniform, lets himself be celebrated and entertained in Cochem as a marquis. Little did he suspect that Hans Bast was informing Adami about the murder of d'Aubry at the same time, but that Bückler was the murderer.

In connection with the unstoppable rise of Napoleon , vigilante groups are formed to seize the robbers. As a precaution, Hannes identifies himself as a traveling grocer under the name Jakob Ofenloch . The birth of his and Julchen's son, Hanneschen, does not prevent him from kidnapping the French dancer Cecile Vestris . A night spent together is violently ended by the jealous Julchen.

An attack by the Moselle gang on Üßmühle leads Maria to confide in Adami. This ultimately leads to the capture of Hans Bast and Bückler. The two robbers are brought to Koblenz and Mainz.

There is also a freedom tree in Koblenz that has suffered a lot:

"Now it has stood here for many years - [...] but the tree had not yet grown much larger. Even so, a grating surrounded it to protect it, children had climbed over it, useless hands had shaken the trunk - “Cockchafer fly!” - and had names carved into its bark. How sparse and withered its green already hung, limp on weak branches! [...] The poor tree, covered in dust on the dusty road, would perish. "

Johannes Bückler and Hans Bast Nikolai ultimately end up in Mainz and Koblenz under the gouillotine.

To the fabric

Clara Viebig explains that she got the inspiration for her historical novel from a hike to the Reiler Hals and the stories of her guide about the gangs there. Because of her interest in the psychology of criminal cases, however, she tended to divert her attention from Schinderhannes to Hans Bast:

“More than from the popular Schinderhannes, who knew how to secure sympathy through [...] his Rhenish humor, I was attracted by his counterpart Hans Bast, the dark blacksmith from Krinkhof, wooed in legend, who became a criminal because he was robbed of his honor would have."

Viebig worked through the existing source material with great care, but took the liberty of reworking the characters and plot with artistic intent.

Interpretative approaches

Beyond the robber story, Viebig devotes himself to the problem of guilt and the question: “Where does the crime begin?” In a confused, criminal time in which, in particular, marginalized social figures only had the option of a 'career' outside of social norms. As the fate of Bückler shows, there were no great prospects for the son of a skinner. The subject of guilt comes into focus when assessing the execution of Hans Bast, whose crime as avenger of his daughter's hardship is thoroughly motivated and understandable.

This theme unfolds before the historical panorama of the Revolutionary Wars and the pre-Napoleonic era, in which it robbed and plundered itself, "cozy under the tree of freedom, under the freest constitution in the world." The disappointment over the misguided values ​​of the French Revolution is summed up by Adami in the saying: "The goddess of reason had not taught reason, only unreason."

Design of the historical figures

Viebig's deviation from historical circumstances or her reshaping of the characters away from the stereotypes of the colportage novels did not always meet with approval. Apparently she disappointed her reading audience's expectations of the familiar image of the romantic, cruel robbers.

In her interpretation of the story, the writer understands the figure of Hans Bast as a criminal out of a lost honor, while Bückler is designed more as a bush thief and cheerful nature who can never completely emancipate himself from the admonitions of his mother and Julchen. Criticism is made insofar as Bückler is drawn too negatively, not least because of the always nagging or jealous Julchen, especially since the author has appended "a terrifying end" to each of his Eulenspiegeleien and pranks. As a result, Clara Viebig does not sufficiently appreciate “the qualities that made Hannes a folk hero”, after all he was “the most popular robber around 1800” in Germany.

Criticism is also made of the fact that Viebig did not produce a 'normatively valid narrative' in which the evaluations of people and circumstances are historically just. In particular, the design of the robber figures and the partially negative depiction of the figures of the Jews do not do justice to historical facts. In addition, the figure of Maria appears "so poetically constructed that it appears fairy-like unreal".

However, it should be noted that it is precisely this variation in the characters and their actions that defines the quality of Viebig's novels. The construction of the person constellations reveals that Viebig cleverly breaks with the common clichés about the Schinderhannes and his gangs and precisely because of this puts the entire known material on a new level.

In her detailed reflection on the shaping of history in historical novels of the 1920s, Gudrun Loster-Schneider states that Viebig shifts “motifs inter-figuratively” in order to “interpret them meaningfully” and thus break up any cliché. She also notes Julchen's change to criminality and the introduction of Bückler's mother figure, the division of the Butzliesen Amie figure into mother and daughter as well as the changed portrayal of Hans Bast is noted. Loster-Schneider sees this as motivated on the one hand in Viebig's endeavors to adapt the historical novel material on the one hand to the naturalistic theory and to "motivate serial violence genealogically or in terms of individual and family psychology." to break and refute traditional stereotypes. According to Viebig method, the mayor's daughter behaves "just as little role-conforming as the lower-class bailiff's daughter and robber bride", just as it makes sense that the 'murderer's daughter' and Jewish girl are "all the more norm-compliant".

The political discourse will also be broken up with the introduction of the figure of Adami. He had to admit that his character was worse than that of the loving miller's son Martin; Adami also behaves hardly better than Hans Bast, whom he has to have executed “for a murder that he himself would have been willing to commit in the regulated killing ritual of the duel.” The “enlightened, bourgeois humanist” recognizes his “own unsuccessful desire to kill” here "And in Martin" the morally superior, "then" Adami's identity collapses. "Viebig's narrative style, with" doubled [n] perspectives "and" 'disorderly narrative relationships, "is therefore specifically the" work of an ironic text subject. " , with which the writer takes a position "against the historical novels of the 'Conservative Revolution.'"

Viebig's poetry is also rated as "free from anti-French bias". The investigation of the robber literature through the ages, from the drama " The Robbers " by Friedrich Schiller to Schinderhannes, distinguishes Viebig's novel as "a singular phenomenon". In the case of a figure like Schinderhannes, who was often misused for nationalist or chauvinist purposes, Viebig "largely renounced enemy images" and placed "the transindividual and transnational French and German in the foreground". In 1922 this was "by no means self-evident" and testifies to the humanistic potential that Clara Viebig herself knows how to bring into a robber story.

Action and style

In reviews of the works, the plot of the novel is rated as “tight” and “written with ease”. It is a success, "to summarize a multitude of content-related elements narrative to a factual and meaningful whole."

Although the plot is "quite romantic", Viebig avoids the colportage-like of a hollow "adventure" precisely because of this. In addition, there are numerous dialogues, some with a dialect color, as well as monologues in experienced speech about the conditions of the time, which justice of the peace Adami in particular leads with himself. These and the successive take up of the tree of freedom, which is changing to the negative, give the novel a reflective dimension that leads away from the pure entertainment novel.

Interest in the Schinderhannes figure in the 1920s

With the design of the Schinderhannes fabric, Clara Viebig not only creates a historical story, but also refers to her present in the 1920s, also a post-revolutionary period. When studying the sources, she said, “a striking picture that shows more than a frightening affinity with our days” opened up. However, it leaves "the reader the trouble of drawing a parallel with the present time."

In addition to the references in the autobiographical testimonies by Viebig himself, the similarity of the historical circumstances at the time of Bückler and the creation of the novel in the 1920s and the French occupation of the Rhineland was pointed out early on. A parallel is that “the revolution […] tore down everything old”, but the new has “no roots”. According to this, Viebig's novel von Aust is described as her “strongest historical parable on the crises of early modernism”, as the writer “critically examines the present of the post-war period, revolution and the young republic”. In the drawing of the 'wild mess' of the gang system, she discovered in the “'collateral damage' of the new period of upheaval with an almost visionary talent a danger whose murderous future is imminent.”

reception

Viebig has raised the Schinderhannes material, which has long served as a model for the writing of non-literary entertainment works, "into the sphere of literature" and presented the "most valuable poetic treatment" of the material up to that point. In addition, they had revived the scientific work with the robber from the Soonwald.

Shortly after it was first published in 1922, interest in the novel was so keen that the novel was reprinted by the German Book Association and a year later by the DVA (1923). On the occasion of the millennium in the Hunsrück, excerpts appeared before interest waned. In addition to the editing of the material by other writers, the publication of the play Schinderhannes by Carl Zuckmayer in 1927 may have contributed to this. Apart from the fact that Zuckmayer portrays the main character as a sympathetic folk hero with a south-west German character, a play can be marketed to attract the public: In the same year the premiere took place in the theater, a year later the original was filmed.

An interest in Viebig's treatment of the material only arose again in the course of the Clara Viebig renaissance from 1997, when the novel was reprinted in sequels in the Rhein-Zeitung, reprinted twice by Rhein-Mosel-Verlag and set to music as an audio book in 2006.

expenditure

Print media

  • 1922: 1st – 10th Aufl., Stuttgart: DVA [384 pp.] (50 copies of the 1st edition were printed on handmade paper; drawn by the author).
  • around 1922: German Book Association: Berlin [372 pages].
  • 1923: Stuttgart: DVA, 11. – 15. Ed. [384 p.] (100 copies of the 2nd edition were printed on handmade paper; drawn by the author).
  • 1925: Excerpt from 'Schinderhannes and his mother', in: Hunsrücker Heimat. Fixed number of the Hunsrück narrators for the millennium, ed. v. Karl Wagner, Simmern: Böhmer (25-27).
  • 1925: Excerpt from 'Beim Schinderhannes', in: 1000 Years of Rhenish Poetry, ed. and a. v. Richard Wenz, Cologne 1925 (262–268).
  • 1997: Excerpts 'The Moselle Gang and the Schinderhannes', in: Chronik Hontheim with the districts Krinkhof, Wispelt, Bonsbeuren, ed. v. Manfred Aretz, Hontheim, undated (62-65).
  • 1997: A novel in 75 sequels, in: Rhein-Zeitung Koblenz from March 13 - June 25, 1997.
  • 1997: Briedel: RMV, 1st edition [263 pages].
  • 2003: Alf: RMV, 2nd unchanged. Ed. [263 p.].
  • 2003: Excerpt, title: 'Schinderhannes' in: Räubergeschichten, ed. v. Heiner Boehncke and Hans Sarkowicz, Frankfurt am Main: Insel (139–157).

Sound carrier

  • 2006: Daun: Radioropa audio book, spoken by Stefanie Otten.

Translations

  • 1922: Onder the vrijheidsboom! (Dutch. ›Under the Tree of Freedom‹), trans. v. JP Wesselink-van Rossum, Amsterdam: Meulenhoff [333 pp.].
  • 1924: совиное гнездо; Sovinoe gnezdo (Russian ›Under the tree of freedom‹; ›Owl's nest‹), trans. v. AJ Ostrogorskoj and N. Rudina Ostrogorskaja, Moscow: Petrograd [215 pp.].
  • 1926: Excerpt, title: Le forgeron de Krinckhof (French: ›Der Schmied von Krinkhof‹), in: La Revue Rhénane (Rheinische Blätter), mars-avril 1926 (50–53).
  • 1928: Sous l'arbre de la liberté (French: ›Under the freedom tree‹), transl. v. Joseph Delage, Paris: Attinger [319 pp.].

Individual evidence

  1. ^ Viebig, Clara: Unter dem Freiheitsbaum, Stuttgart: DVA 1922, p. 7.
  2. ^ Viebig, Clara: Unter dem Freiheitsbaum, Stuttgart: DVA 1922, p. 11.
  3. ^ Viebig, Clara: Unter dem Freiheitsbaum, Stuttgart: DVA 1922, p. 11.
  4. ^ Viebig, Clara: Unter dem Freiheitsbaum, Stuttgart: DVA 1922, p. 32.
  5. ^ Viebig, Clara: Unter dem Freiheitsbaum, Stuttgart: DVA 1922, p. 184.
  6. ^ Viebig, Clara: Unter dem Freiheitsbaum, Stuttgart: DVA 1922, p. 84.
  7. ^ Viebig, Clara: Unter dem Freiheitsbaum, Stuttgart: DVA 1922, p. 170.
  8. Viebig, Clara: Unter dem Freiheitsbaum, Stuttgart: DVA 1922, pp. 110–111.
  9. ^ Viebig, Clara: Unter dem Freiheitsbaum, Stuttgart: DVA 1922, p. 185.
  10. ^ Viebig, Clara: Unter dem Freiheitsbaum, Stuttgart: DVA 1922, p. 229.
  11. ^ Viebig, Clara: Unter dem Freiheitsbaum, Stuttgart: DVA 1922, p. 368.
  12. Clara Viebig: Clara Viebig about herself (translation of the 'Esquisseautobiographique' by Maria Lenz), in: Clara Viebig: Mein Leben, ed. v. Christel Aretz, Hontheim: Mosel Eifel 2002 (85-100), here p. 99. Viebig's interest in Hans Bast may also have its roots in the vicinity of Krinkhof to the health resort Bad Bertrich, which she frequently visits .
  13. See Josef Odenthal: Clara Viebig and the Schinderhannes, in: Düsseldorfer Heimatblätter “Das Tor”, 25th year, H. 10 1959, p. 190.
  14. Gottlieb Scheuffler: Clara Viebig, Erfurt, Beute 1927, p. 147.
  15. See Helmut Kreuzer: Schinderhannes - a robber around 1800 with Clara Viebig, Carl Zuckmayer and Gerd Fuchs, in: Suevica. Contributions to Swabian literary and intellectual history, Stuttgart: Heinz 2004, p. 181.
  16. Paul Friedrich: Clara Viebigs 'Unter dem Freiheitsbaum', in: Das literäre Echo, 25th vol. H. 7/8 of January 1, 1923 (Col. 407-410), here Col. 410.
  17. Viebig, Clara: Unter dem Freiheitsbaum, Stuttgart: DVA 1922, p. 368. In this context, Franz Carl Endres thinks that Viebig lumps civil liberty and arbitrariness into one pot, whereby “civil liberty and arbitrariness of murderous robbers are not one and the same” . Franz Carl Endres: Viebig, Clara: Unter dem Freiheitsbaum, in: Die Schöne Literatur, 25. Jg., H. 4, 1924, S. 137.
  18. See Paul Friedrich: Clara Viebigs 'Unter dem Freiheitsbaum', in: Das literäre Echo, 25th vol. H. 7/8 of January 1st, 1923 (Col. 407-410), here Col. 410, cf. also Scheuffler, who sees the designed Bückler as a “boyish boy”, while Hans Bast as “capable of a certain size”. Gottlieb Scheuffler: Clara Viebig, Erfurt, Beute 1927, p. 147. See also Josef Odenthal: Clara Viebig and der Schinderhannes, in: Düsseldorfer Heimatblätter “Das Tor”, 25th year, no. 10 1959, p. 190. On the historical figure of Hans and Maria Bast and others cf. Manfred Aretz: The Moselle gang and the Schinderhannes, in: Chronik Hontheim, ed. von der Ortsgemeinde Hontheim, Hontheim 1997 (58–65), here pp. 60–62; also Erwin Schaaf: Hans Bast Nikolai. Guard grenadier, blacksmith, robber - a character sketch, in: The Alftal in the present and history, 1994–1995 (37–40).
  19. Odenthal rates the figure of Julchen, a seductive authority for the worse, as drawn too negatively. See Josef Odenthal: Clara Viebig and the Schinderhannes, in: Düsseldorfer Heimatblätter “Das Tor”, 25th year, no. 10 1959, p. 190.
  20. Josef Odenthal: Clara Viebig and the Schinderhannes, in: Düsseldorfer Heimatblätter “Das Tor”, 25th year, no. 10 1959, p. 190.
  21. Helmut Kreuzer: Schinderhannes - a robber around 1800 with Clara Viebig, Carl Zuckmayer and Gerd Fuchs, in: Suevica. Contributions to Swabian literary and intellectual history, Stuttgart: Heinz 2004, p. 179.
  22. In this way Schaaf criticizes the work of Viebig. Erwin Schaaf: "Under the tree of freedom" - poetry and truth in Clara Viebig's novel about the robber system in the Eifel and Hunsrück around 1800, in: Yearbook District Bernkastel-Wittlich 2005, ed. from the district administration Bernkastel-Wittlich, 2005 (76–83), here p. 76 and p. 83.
  23. Erwin Schaaf: "Under the Tree of Freedom" - Poetry and Truth in Clara Viebig's novel about the robbers in the Eifel and Hunsrück around 1800, in: Yearbook District Bernkastel-Wittlich 2005, ed. from the Bernkastel-Wittlich district administration, 2005 (76–83), here p. 82.
  24. ^ Gudrun Loster-Schneider: Modernity, tradition and historical reflection in the historical novel of the twenties. Clara Viebig's 'Unter dem Freiheitsbaum', in: Yearbook on Literature of the Weimar Republic 1999/2000, Vol. 5 - Women in the Literature of the Weimar Republic, ed. v. Sabina Becker, St. Ingbert, Röhrig 2000 (215–251), here p. 223. See also: Gudrun Loster-Schneider: A 'Waterloo' of bourgeois gender myths: bad mothers, father (lands) less journeymen, daughters of murderers and genealogy of violence in Clara Viebig's 'Under the Freedom Tree', in: Cultural Link: Canada - Germany, ed. v. Beate Henn-Memmesheimer and David G. John, St. Ingberg: Röhrig 2003 (190–209).
  25. See Gudrun Loster-Schneider: Modernity, Tradition and Reflection of History in the Historical Novel of the Twenties. Clara Viebig's 'Unter dem Freiheitsbaum', in: Yearbook on Literature of the Weimar Republic 1999/2000, Vol. 5 - Women in the Literature of the Weimar Republic, ed. v. Sabina Becker, St. Ingbert, Röhrig 2000 (215–251), here pp. 224–225.
  26. ^ Gudrun Loster-Schneider: Modernity, tradition and historical reflection in the historical novel of the twenties. Clara Viebig's 'Unter dem Freiheitsbaum', in: Yearbook on Literature of the Weimar Republic 1999/2000, Vol. 5 - Women in the Literature of the Weimar Republic, ed. v. Sabina Becker, St. Ingbert, Röhrig 2000 (215–251), here p. 227.
  27. ^ Gudrun Loster-Schneider: Modernity, tradition and historical reflection in the historical novel of the twenties. Clara Viebig's 'Unter dem Freiheitsbaum', in: Yearbook on Literature of the Weimar Republic 1999/2000, Vol. 5 - Women in the Literature of the Weimar Republic, ed. v. Sabina Becker, St. Ingbert, Röhrig 2000 (215–251), here p. 228.
  28. ^ Gudrun Loster-Schneider: Modernity, tradition and historical reflection in the historical novel of the twenties. Clara Viebig's 'Unter dem Freiheitsbaum', in: Yearbook on Literature of the Weimar Republic 1999/2000, Vol. 5 - Women in the Literature of the Weimar Republic, ed. v. Sabina Becker, St. Ingbert, Röhrig 2000 (215–251), here p. 235.
  29. ^ Gudrun Loster-Schneider: Modernity, tradition and historical reflection in the historical novel of the twenties. Clara Viebig's 'Unter dem Freiheitsbaum', in: Yearbook on Literature of the Weimar Republic 1999/2000, Vol. 5 - Women in the Literature of the Weimar Republic, ed. v. Sabina Becker, St. Ingbert, Röhrig 2000 (215–251), here p. 237.
  30. ^ Gudrun Loster-Schneider: Modernity, tradition and historical reflection in the historical novel of the twenties. Clara Viebig's 'Unter dem Freiheitsbaum', in: Yearbook on Literature of the Weimar Republic 1999/2000, Vol. 5 - Women in the Literature of the Weimar Republic, ed. v. Sabina Becker, St. Ingbert, Röhrig 2000 (215–251), here p. 242.
  31. Erwin Schaaf: "Under the Tree of Freedom" - Poetry and Truth in Clara Viebig's novel about the robbers in the Eifel and Hunsrück around 1800, in: Yearbook District Bernkastel-Wittlich 2005, ed. from the district administration Bernkastel-Wittlich, 2005 (76–83), here p. 78 and p. 82–83.
  32. Helga Abret: Schinderhannes - a cross-border robber. A regional myth and its literary adaptations, in: The literary wren No. 1/2014 (15–22); here p. 19 f .; s. also the similar essay by Helga Abret on Schinderhannes in: Mediation et conviction, Paris: L'Harmattan 2007 (347–361), cf. also Hugo Aust: Clara Viebig and the historical novel in the 20th century - a sketch, in: Volker Neuhaus and Michel Durand: The province of the feminine. On the narrative work of Clara Viebig, Bern: Peter Lang 2004 (77–96), here p. 88.
  33. Erwin Schaaf: "Under the Tree of Freedom" - Poetry and Truth in Clara Viebig's novel about the robbers in the Eifel and Hunsrück around 1800, in: Yearbook District Bernkastel-Wittlich 2005, ed. from the district administration Bernkastel-Wittlich, 2005 (76–83), here p. 78 and p. 82–83.
  34. Gottlieb Scheuffler: Clara Viebig, Erfurt, Beute 1927, pp. 147–148.
  35. Charlotte Marlo Werner: Writing Life - The Poet Clara Viebig, Dreieich: Medu 2009, p. 144
  36. Erwin Schaaf: "Under the Tree of Freedom" - Poetry and Truth in Clara Viebig's novel about the robbers in the Eifel and Hunsrück around 1800, in: Yearbook District Bernkastel-Wittlich 2005, ed. from the Bernkastel-Wittlich district administration, 2005 (76–83), here p. 81.
  37. Gottlieb Scheuffler: Clara Viebig, Erfurt, Beute 1927, pp. 147–148.
  38. Clara Viebig: Clara Viebig about herself (translation of the 'Esquisseautobiographique' by Maria Lenz), in: Clara Viebig: Mein Leben, ed. v. Christel Aretz, Hontheim: Mosel Eifel 2002 (85–100), here p. 99.
  39. Clara Viebig: Clara Viebig about herself (translation of the 'Esquisseautobiographique' by Maria Lenz), in: Clara Viebig: Mein Leben, ed. v. Christel Aretz, Hontheim: Mosel Eifel 2002 (85–100), here p. 100.
  40. n.v .: untitled, in: Die Literatur, 28. Jg. 1925-26, H. 11, 1926, p. 685; also Gottlieb Scheuffler: Clara Viebig, Erfurt, Beute 1927, pp. 147–148: "The events are very similar to those of our time."
  41. Sascha Wingenroth: Clara Viebig and the women's novel of German Naturalism, Diss., Freiburg im Br. 1936, p. 88.
  42. ^ Hugo Aust: Clara Viebig and the historical novel in the 20th century - A sketch, in: Volker Neuhaus and Michel Durand: The province of the feminine. On the narrative work of Clara Viebig, Bern: Peter Lang 2004 (77–96), here p. 89.
  43. ^ Hugo Aust: Clara Viebig and the historical novel in the 20th century - A sketch, in: Volker Neuhaus and Michel Durand: The province of the feminine. On the narrative work of Clara Viebig, Bern: Peter Lang 2004 (77–96), here p. 87.
  44. ^ Hugo Aust: Clara Viebig and the historical novel in the 20th century - A sketch, in: Volker Neuhaus and Michel Durand: The province of the feminine. On the narrative work of Clara Viebig, Bern: Peter Lang 2004 (77–96), here p. 88.
  45. n.V., untitled, in: Die Literatur, 28.Jg. 1925-26, H. 11, 1926, p. 685.
  46. Josef Odenthal: Clara Viebig and the Schinderhannes, in: Düsseldorfer Heimatblätter "Das Tor", 25th year, no. 10 1959, p. 185.
  47. See Josef Odenthal: Clara Viebig and the Schinderhannes, in: Düsseldorfer Heimatblätter "Das Tor", 25th year, H. 10 1959, p. 185.