What is not in the dictionary

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What is not in the "Dictionary" was a 1931 to 1955 in the Piper Verlag published Munich book series by a total of seven volumes, which feuilletonistisch approach selected German dialects and the Low German language. The series titles were provided with black and white illustrations by well-known book artists and, apart from the last title and the half-linen binding, with bindings based on designs by Walter Trier.

By the time it was discontinued, it was only a small series of 7 volumes that shed light on German dialects and the local culture associated with them. A glossary is usually included at the end of the volume . They can therefore be used more or less as small dictionaries. The series title Kölsch von Kuhlemann , initially planned as Volume II , did not appear. The following series titles then moved up in the numbering.

Described dialects

Saxon

In 1931, following the motto of the alternative travel guide What is not in “Baedeker”, also published by Piper Verlag , the first volume in this series was published. Hans Reimann, who in addition to Das Buch von Frankfurt, Mainz, Wiesbaden had also written the volume about his hometown Leipzig in the travel guide series, now appeared as an author with Sächsisch in this series and, with this title, again primarily represented the trade fair metropolis , now from a linguistic point of view. With the introductory chapter he wanted - with a twinkle in his eye - to encourage people to learn their native dialect, which is particularly famous for its use of consonants that deviates from standard German , and also offered reading exercises. In addition to the Saxon cuisine , his favorite words and linguistic anecdotes, Reimann touches on Halle in Saxony-Anhalt , outside the Saxon heartland , with its urban dialect Hallisch and the special Halloren language.

Berlinerisch

In the following volume from 1932, Berlin connoisseur Hans Ostwald gives an entertaining insight into the vocabulary, grammar and pronunciation of the everyday language of the German capital city at that time, whereby the pictorial "Berlinerisch" was spoken mainly by members of the Zille milieu . Ostwald paid visits to sports and entertainment venues, some of which are still popular, such as the six-day race , the horse racing tracks in Hoppegarten and Karlshorst , the AVUS or the Wannsee lido , in order to capture the dialect culture, but it also goes to dance halls, the boxing ring or in traffic under the road after. Are described u. a. specific word creations, such as " Knorke ", or the special tendency of Berliners to abbreviations, which emerged from the acceleration of everyday life from the end of the 19th century, some of which, like "jwd" (pronounced: jottwede), are still used, and others like the "Knif" (out of the question), which was used exaggeratedly in the 1920s and therefore even found its way into a hit text by Marcellus Schiffer , "Please, don't say 'Knif' to me", is completely out of use again Have disappeared. The then President of the Prussian Academy of the Arts , Max Liebermann , who was famous for his Berlin tongue, has a special anecdotes chapter .

Bavarian

With the III. The volume is introduced by the writer and playwright Joseph Maria Lutz, who came from Pfaffenhofen an der Ilm in Upper Bavaria and was actually a trained farmer, into the language of his home region. In the first chapter he apparently provides study instructions for this, only to then determine that the stranger can ultimately only manage to understand Bavarian. The following sections introduce old Bavaria, its places and language - supplemented by proverbs and idioms - as well as its equipment and tools. A whole chapter is then devoted to Bavarian beer with its diverse specialties such as Salvator , Paulaner or Weihenstephan , including a brief outline of the history of the art of brewing. With the Bavarian menu , recipes for a good two and a half dozen regional dishes are delivered, true to the not only Bavarian idiom "Eating and drinking keeps body and soul together". There are u. a. Liver dumplings , pork knuckle or steamed noodles to choose from. When visiting a farmer's wedding, the reader gets to know Bavaria and its customs from a very special side of their lives. At the end of the book there is a reminder of the end of human life, in which Lutz reports “About proper Bavarian death” and “About the beautiful corpse”. An index and the dictionary, which is obligatory for the other series titles, are missing from this volume.

Low German

With Volume IV, published in 1934, Fritz Specht tries to work out the characteristics of the Low German language. It is rooted in the landscapes of northern Germany, which are quite different in terms of location and population, with important Hanseatic cities located on the North and Baltic Seas. As a result, it has a wide range of variation, which Specht draws attention to. But the author also addresses the loss of importance of Low German, not least since the fall of the Hanseatic League , whose lingua franca it was and which was now spoken predominantly in rural areas and mostly by speakers with a rather low educational horizon. Finally, after a foray, woodpecker gives u. a. through grammar and vocabulary of Low German as well as the Hamburg Missingsch a little insight into the bakery and kitchen of his home region.

Viennese

After an introductory text on the relationship between the Viennese and their dialect, the Viennese , Sassmann expands on his analysis of the Viennese vowel and the “decadent consonant”, whose pronounciation can be varied depending on the speaker's mood. Sassmann deals with the use of the dialect itself in almost twenty chapters of his “Wiener Lesebuch”, the framework texts of which are in High German for concise everyday scenes, such as driving the tram , dealing with craftsmen or visiting a post office. In contrast to the other volumes, which only offer small samples of the word stock in their glossaries, Wienerisch , published in 1935 as Volume V of the series , for which Anton Kuh was initially intended as the author, comes up with two dictionaries. On 70 pages, the respectable “Viennese Dictionary”, which is also provided with extensive pronunciation tips, provides a considerable excerpt from the special vocabulary of the Viennese. After a few small samples from the old Viennese of the 19th century, which had largely faded when the book was published, it is followed by the “Viennese crooks , shopkeepers and whores language” on another 10 pages . The book concludes with a comprehensive list of sources, but without creating a direct link to the relevant text passages through footnotes. Nevertheless, it offers a reliable guide to laypeople who delve deeper into dialect research.

Swabian

The penultimate volume "Schwäbisch" was written by Josef Eberle, due to persecution, under the pseudonym "Sebastian Blau". For this title, published in 1936, Dr. Owlglass (i.e. Hans Erich Blaich) provided. Eberle goes into the brief description of the development of Swabian, "which was once 'ûf and ab' in the empire as the finest language" and later until the appearance of the big names Schiller, Hegel , Schelling and Hölderlin at the beginning of the 19th century, so much disdain had learned in German-speaking countries back to the Hohenstaufen . He then provides the geography of the little country where the Alemannic Swabian belonging dialect is spoken, and defines the three types in his view of the Swabian: the "Swabian high German" of educated, commonly spoken in the cities "Honoratiorenschwäbisch" and the actual dialect that can be found in rural areas. On the basis of many dialogues, anecdotes and excerpts from literature, Eberle works out the characteristics of the dialect that is considered to be “lazy”, slow and cumbersome, but also - due to the tendency towards the diminutive “-le” - as a cozy dialect that is interspersed with many nasals . He devoted special chapters to a. Stuttgart , viticulture and the Swabian celebration and festival calendar. As expected, recipes for Maultaschen , Spätzle in many variations or onion cakes can be found in the obligatory explanations of Swabian cuisine . A little language lesson and a ten-page pocket dictionary round off the foray into Swabian, which Eberle believes can only be learned from his mother or never.
After several positive reviews in Stuttgart newspapers, the Württembergische Presse issued a general ban on this title from mentioning or discussing the book. Regardless of this, recommendations continued to appear in the rest of the German Reich and in the German foreign press to read this description of the Swabian character.

Silesian

“Schlesisch” (VII), cover: Willibald Krain

The series ended in 1937 with Will-Erich Peuckert's "Schlesisch". His blurb listed the previous six volumes under “So far appeared”, without indicating that the series ended with this title. This suggests their planned but unrealized continuation. In terms of content, “Schlesisch” follows its predecessors. A geographical sketch "Schles'sch", in which Upper Silesia , which was ceded to Poland after the First World War as a result of the Versailles Treaty , was highlighted, illustrates the area of ​​distribution of the dialect. In the chapter devoted to the description of the Silesian language, in addition to word formation , pronunciation and grammar, the special influences of Latin , French and Polish in the vocabulary are shown. The author's forays into the everyday life of the Silesian and the landscape he inhabits, including its capital, Wroclaw , are kept largely in dialect . The famous regional dish " Silesian Kingdom of Heaven " is described clearly. Finally, in the final chapters, Peuckert opens the book of names of famous Silesians. a. Jakob Böhme , Gerhart Hauptmann or Otto Julius Bierbaum - and he sheds light on the group of authors committed to dialect poetry, which begins with Andreas Gryphius and to which from later times a. a. yet Holtei , Robert Roessler or Marie Oberdieck should join.

Equipment, editions and sales prices

The equipment was similar to that of the series Was nicht im “Baedeker” (cover design, illustrations and cover variants) that appeared from 1927 onwards . Again, Walter Trier provided most of the cover designs for the bright yellow covers (up to Volume VI), which were printed in English or in red or yellow full linen with the publisher's signet on the front cover, head color cut and dust jacket . There were no more pure cardboard volumes in the series itself, as the spines of the travel guide series had not proven to be robust enough. However, the brochures were also sensitive and the linen covers are often missing the fragile yellow dust jackets. Up to Volume VI, the title of the series and the name of the author are given on the front in black print and the volume name, which was designed in Sütterlin script for “Low German”, in red script or block letters . In 1937, the third edition of the penultimate, most successful series title "Schwäbisch" was added as a new variant, a red half-linen cover with head color cut but without a dust jacket, as this had to be dispensed with after Trier's emigration in 1936. There is also such a binding variant of the volume “Wienerisch” from 1935, which also suggests binding after Trier's emigration and was used again in the 2nd edition in 1955.

The books and catalog of the German National Library do not provide any information on the size of the respective first edition. The numbered subsequent editions only allow conclusions to be drawn about the first editions for two titles. Since this amounted to 5,000 copies each, it stands to reason that the starting print runs for all volumes in the series were generally at this level. In the parallel series “What is not in the 'Baedeker'”, the two new publications from 1930 were only printed in this number in view of the global economic crisis , which had led to a slump in sales on the book market.

While the first volume, “Sächsisch”, still cost 4.80 RM in the red linen cover and 3.80 RM as a paperback, the following volumes only cost 4.50 RM and 3.20 RM respectively.

Row
number 		author title illustrator Envelope design Cover motif Year of issue
Circulation in thousands 		Pages
(additional advertising) 		DNB
catalog
(Link)
I. Hans Reimann Saxon Karl Holtz Walter Trier 2 men in conversation in front of the gable wall 1931: 1st - 5th 188 (4) [1]
II Hans Ostwald Berlinerisch Rudolf Grossmann , Heinrich Zille , Karl Arnold Market women, traffic lights at Potsdamer Platz , Schupo with shako , Berlin brats 1932: 1st - 5th 203 (1) [2]
1950: 6.–NN. -
III Joseph Maria Lutz Bavarian Karl Arnold , Paul Neu Hiker and woman in traditional costume in front of an alpine panorama 1932: 1st - 5th 254 (2) [3]
IV Fritz Specht Low German Heinrich Eduard Linde-Walther , Marie Hager , Martin Piper , Erich Wilke Pier with lighthouse , fisherman with net and boat on the beach 1934: 1st - 5th 270 (1) [4]
V Hanns Sassmann Viennese Alfred Gerstenbrand , Carl Felkel Music-making quartet in front of St. Stephen's Cathedral 1935: 1st - 5th 251 (1) [5]
no dust jacket - 1935: 1st - 5th
Half linen (later binding rate) 		251 (1)
1955: 6.–NN.
Half linen 		251 -
VI Sebastian Blau
(d. I. Josef Eberle) 		Swabian Alfred Hugendubel , Helmut Muehle , Reinhold Nägele , Martin Piper, Alfred Reder , Willy Widmann Walter Trier Shepherd with dog and herd in conversation with a Swabian in front of a hilly landscape 1936: [1. – 5.] 224 [6]
1936: 6-9 [7]
NN NN [1937]: 10-12. -
no dust jacket - [1937]: 10-12.
Half linen 		-
VII Will-Erich Peuckert Silesian Willibald Krain u. a. Willibald Krain See picture 1937: [1. – 5.] 240 [8th]

Row advertising

Brochure "The cheerful German tribal mirrors" for all series titles (1937 [?])

In addition to the reference to the other series titles on the dust jackets of the individual volumes or in the related series "What is not in the Baedeker" using excerpts from newspaper reviews , the publisher also published separate illustrated brochures for the book series.

Reprints out of sequence

  • Swabian

After the Second World War , the volume “Schwäbisch” experienced a revised and slightly shortened new edition in 1946, for which a publishing license had been granted by the American occupation forces. The revision, which the author completed according to the preface on St. Stephen's Day in 1945, was due to the events of the war , so that in particular the chapter about Stuttgart, which was badly damaged by the war , had to be rewritten. The bindings, now also in orange or red cardboard tape, have been printed with the words “Schwäbisch” and a traveler in front of a stylized train instead of the publisher's logo . The dust jacket, unchanged in terms of motif, shows Walter Trier as the designer for the first time. In the foreword the author briefly goes into the publication history of the volume and cites a positive review by the Schweizer Thurgauer Zeitung from 1937 on the first edition from 1936, which attested the book a clear distance from the blood-and-soil mysticism that was rampant at the time .

  • Silesian

Obviously due to the great demand, not least from the displaced , the band "Schlesisch" enjoyed several new editions. The 6th to 10th thousand appeared in 1950 as an "expanded" edition - but the number of pages was only 201 - still with the Piper Verlag in linen binding with the Wroclaw Town Hall on the book cover and dust jacket; There were then further editions from other publishers.

Follow-up editions from other publishers

  • Bavarian
In 1950 Callwey Verlag brought out Lutz '"Bayrisch" (new title spelling) in a "2nd, expanded" edition. In fact, the gray linen-bound edition only comprised 244 pages. A couple in traditional Bavarian clothes was depicted on the dust jacket . In 1969 the volume “Bayrisch” was published by Scheffler Verlag in a revised, again shortened version and with a new blue and white cardboard cover with the Bavarian lion as the cover image.
  • Low German
Fritz Specht's “Plattdeutsch” was also available in a new version in 1969, now shortened to 190 pages and with illustrations by Christian Lothspeich. The design of the cover corresponded to the “Bavarian” volume, but the Bavarian heraldic animal was replaced by a fur seal , a mermaid and a bottle chip. A new edition of this version was published in 1980 by Societätsverlag , which Heinrich Scheffler took over as director in 1970.
  • Saxon
The Connewitzer Verlagsbuchhandlung in Leipzig put 1995 ahead of a photomechanical reprint of the book "Saxon" in an edition of 3,000 copies.
  • Swabian
Beginning in 1951 with the first edition, the Rainer Wunderlich Verlag Hermann Leins , Tübingen and Stuttgart, re-published the title “Schwäbisch”, now under the title “Wouldn't the Swabians also be people…?” In a total of six editions until 1981. After that The Stuttgart-based Deutsche Verlags-Anstalt printed another three editions from 1985 to 1994. The title, together with “Schlesisch”, should be the most successful band in and out of the series.
  • Silesian
"Schlesisch" appeared without a year, probably in 1962, in a brochure with only 175 pages, but with the original cover drawing, first by Bergstadtverlag Wilhelm Gottlieb Korn and then again in 1985 by Würzburger Verlag Weidlich again with the original page number from 1937, but that Image of the Wroclaw Cathedral taken from the volume on the now white dust jacket.

Web links

Individual evidence

  1. ↑ The book series ended with the last published title Schlesisch in 1937 on the front page. In 1950 and 1955, however, the second edition of Berlinerisch and Wienerisch appeared in the original sentence and thus with the old series designation in the front cover.
  2. ↑ The “Kölsch” volume was announced in several volumes of the series “What is not in the Baedeker” and “What is not in the dictionary” on the attached advertising pages.
  3. ↑ See the entry in Wiktionary .
  4. ↑ See the advertisement for the following volumes in the series in Saxon .
  5. ^ Sebastian Blau: Schwäbisch , Piper Verlag, Munich 1936, p. 12
  6. ^ Sebastian Blau: Schwäbisch , Piper Verlag, Munich 1946, p. 7
  7. ↑ a b c d So far, no covers have been found in the half-linen volumes of the series.
  8. ↑ Prices according to DNB.
  9. ↑ Numbers in italics are not backed up by information from the publisher or library.
  10. ↑ The unpublished title Kölsch (II) by Johannes Theodor Kuhlemann will be announced here.
  11. ↑ Both the back title of the linen cover and the front title of the dust jacket show the spelling Ba yr isch , which differs from the book title .
  12. ↑ In the book title itself, the first name was mistakenly spelled Hans . In contrast, the dust jacket including the blurb show the correct spelling of the author.
  13. ↑ The illustrator is only mentioned by name up to Volume V, “Wienerisch”, from 1935 on the cover with his signature “Trier”. Due to his emigration in 1936, the signature of the volume “Schwäbisch” from the same year was deleted and for the volume “Schlesisch” (VII) from the following year the volume's illustrator had to be commissioned to draw the cover illustration. The yellow basic color and the title in red and cursive were retained, so the change of designer was not immediately noticeable.
  14. ↑ a b The number of copies is based on the information in the second edition.
  15. ↑ It remains to be clarified whether dust jackets with the drawing by Walter Trier were placed around the linen bindings of this edition. This may not have happened again because of Trier's emigration in 1936.
  16. ↑ a b The new edition now belongs to the new, name-like series of the Scheffler Verlag "As it is not in the dictionary", which in 1960 with the volumes "English" by Arthur Steiner and "French" by Paul Medina (revision: Rose Medina) Drawings by Günther Stiller was opened. In addition to the aforementioned foreign languages ​​"Italian", "Spanish" and " New Greek ", she also presented other German dialects, namely "Kölsch", " Hessian " and " Austrian ".
  17. ↑ See the history of the Societätsverlag on its publisher's website .