Selbstmord mit Messer und Gabel (German Edition)

As Barbara Korte further argues: Many works dealing with the presence, significance, and use of body language in literature and the arts which began in the eighteenth century are related to contemporary NVC research. Studies of gesture in narrative literature, such as Karl Sittl's Die Gebarden der Griechen und Romer began in Germany and were profoundly influenced by cultural history.

They complemented the cultural gestures of the Greeks and Romans, and of Medieval Europeans being compiled concurrently in folklore, folk psychology, and comparative linguistics. When the emotions of literary characters are expressed through body language, they reveal more clearly their importance to the portrayal of etiquette and ceremony in medieval society. In more recent times, namely, prior to the Second World War, a racist ideology marked various German studies on cultural aspects of body language. With the collapse of Germany in the marked decrease in German studies of literary body language The emphasis is mine.

See Korte, Body Language 18ff. As the disciplines of sociology and social psychology continued to develop in the seventies, modern NVC research in North America and Britain also began to carve out its own terminology. A decade later, however, NVC terminology began to gain acceptance in German literary criticism, thereby gradually displacing its former dependence on the traditional and rather vague usage of "gesture" and "posture.

Although body language had previously been studied mainly as an expression of feeling, NVC research now highlights the importance of non-verbal interaction between characters in a fictional text. Previously unrecognised forms of NVC have now moved out from under the vague term "gesture" into the sights and the awareness of the literary critic. It could even be argued that the recognition of the role of haptic touching behaviour such as kissing, embracing, caressing, hand holding, hitting etc. NVC classification systems, while useful, need to be adapted for literary interpretation and criticism.

In social life, the majority of human interaction and communication occurs non-verbally. NVC research has also benefited enormously from sociological and social-psychological studies. These have shown the role of non-verbal behaviour in human interaction is potentially multi-layered. In literature, the non-verbal behaviour described by the author enables the reader to arrive at conclusions regarding the thoughts, feelings, personal characteristics, and attitudes of the characters in a fictional text.

Their social status and the social roles they perform are not only revealed but offer insights into the power relations that exist between them. Even the slightest hint of attraction and repulsion between fictional characters are revealed through an author's description of their non-verbal behaviour. Verbal utterances are also regulated by NVC. In fact, the verbal message can be contradicted, complemented, or even substituted by the reaction of the observer of the speaker's body language.

Korte has provided a useful classification framework for recognising NVC forms and roles of body language in literature. In relation to the situation in which it takes place, these forms of body language also require what Korte calls a special "functional class" indicative of its literary effectiveness.

The aim of defining various classes of NVC in the literary text is significant because of its ability to intensify meaning and to convey messages. Moreover, if Marcel Mauss is correct, "techniques of the body,"32 such as the learned everyday actions of walking, standing, sitting, or eating, are culture-specific.

Korte also includes touching, spatial relationships, and body movements gestures such as nodding, raising a hand, waving an arm, 3 0 See, for example, Margaret Atwood's Utopian novel The Handmaid's Tale in which the lack of touch is portrayed as unbearable and isolating. Also see Moshe Barasch's study of body language in Giotto's paintings. The "functional" classification embraces bodily activities that Korte defines as displays of emotion, "externalizers," "illustrators," "emblems," and "regulators.

Korte complements these two categories which are heavily dependent on the ordinary non-verbal competence of the reader, with an open catalogue of questions. These questions help to provide a more satisfactory and balanced interpretation of the body's presence in the narrative text. Barbara Korte identifies three areas with questions that deal with the presentation, and the literary functions and effects of body language in the narrative text. Two other areas dealing with the writer's concept of body language, in relation to genre, author, and period, as well as the three mentioned above, will now be briefly summarised.

What is the frequency and distribution of body language within the text? What is the semantic content, and the semantic clarity or vagueness of the non-verbal signified? What is the distinctiveness of the non-verbal signifier? Secondly, how is an example of body language "filtered" through language and narrative transmission. Is it foregrounded via linguistic means, narrative mode, the structure of narrative transmission, or visual perspectivization?

Thirdly, what role does body language as an element in the action, as an indication of mental states, as an indication of interpersonal relationships, as a means of character definition and identification, authentication, or dramatisation, play in the constitution of fictional reality? Is the body used as an image, or in the development of a theme? Does body language in the narrative text, in the process of narrative transmission, establish contrasts or correspondences among characters? Is body language intended to achieve a particular effect in the reader?

Fourthly, is the use of body language determined by a specific concept? Fifthly, to what extent is the use of body language determined by genre, author, or period? Korte's critical framework focuses, therefore, on the usefulness of body language not only as a signifying system for the literary text, but also as a means of enhancing, in a myriad of ways, its meaning and effects. It fills a need since previous analyses of this sort have not been completely successful in relating body language to literature.

Korte's critical approach serves as a much needed efficacious tool for critical literary analysis. Moreover, it reveals body language and its meaning in literature by opening up and describing an area of the literary narrative which may have previously been neglected. Body language, once decoded, has the potential to provide new insights into familiar texts. These new insights may even contradict the meanings transmitted in words and other signalling systems within the narrative. It is this potential that makes it a very promising theoretical approach for interpreting the role and significance of war-damaged bodies in Boll's early writings.

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The question before me now is two-pronged: Can a social theory of the body be fruitfully applied to Boll's early writings? If so, will it, with the use of body language as an analytical tool provide deeper insights into these works? Korte, Body Language I will also try to explain why Boll's references to the human body are often in direct contrast to those promulgated by Hitler and the Nazis. Many people have asked me, rather quizzically, if Boll wrote about the body34 or for that matter, much about the Jews. My answer is an unequivocal yes to both these questions.

For me, the human body as both a subjective, "lived," shared experience, and as an alienated object is ever present in Boll's writings. He appears to have presented his views on the body for close analysis on almost every page of his prose. Yet, very few critics have either recognised them or found them worthy of an extensive discussion.

How is this possible? Perhaps, in the light of the German people's weariness of Nazi body propaganda, Boll's attempt to present his views on the subjective, lived human body was at times too subtle. What is indisputable, however, is that Boll's concept of the body and what it means to be human is a complete rejection of that promoted by the Nazis. More than three decades after the war, in a interview with the journalist Hans-Peter Riese, Boll himself suggests that his views on what it truly means to be human is still waiting to be discovered among the words of his narrative prose: Boll had also admitted: It is possible, therefore, that Boll may have taken the underlying importance of the human body in his work for granted, expecting that his readers with a little imagination would recognise it.

If so, has the body been too well hidden? In my opinion, however, the opposite is true. Boll's attention to all aspects of the lived human body is so obvious that it has effectively escaped detection. Whichever proves to be the correct explanation, the role of the body in Boll's work is too important to ignore. Perhaps Boll did not see the need to continually spell out the role of the body in Nazi ideology. Of course, all forms of Expressionist art depicting the "open" imperfect body were in complete contrast to the Nazi writings on the "closed" perfect body.

This will be more fully developed in the next chapter. If, in fact, the discourse of the body, and therefore his views on humanity, seemed to Boll simply too obvious to have to "spell them out," then the task before me is to reveal them and their importance for a better understanding of his works. The most effective tool for this task must provide interpretations to the numerous bodily signs and codes in his narratives.

It is for this reason that I will employ the theory of literary body language as an indispensable analytical tool. Dieter Wellershoff, Boll's editor in the seventies, at his home in Cologne, during an interview which he kindly granted me on August For example, Boll recounts that even when his mother was warned in , in the midst of the victory and splendour of the Third Reich, to tone down her negative rhetoric, she continued to defiantly fight with her eyes: IAnother example of the profound importance of body language for Boll goes back to his school days.

In these two examples taken from his personal life and experiences, Boll shows that he fully recognised the potential of non-verbal behaviour to speak volumes, and he would introduce many such incidents of NVC into his prose. This obvious reliance on body language to convey the "real" story beneath illusory words, actions, and events shows why it is so important to locate and then analyse it in Boll's work. Not to do so, may be to miss half if not the whole story.

His intense feelings about the war, the Nazi regime, and the suffering and injustice they brought upon human beings are all present in his early writings. Following Nietzsche, Hugo von Hofmannsthal advises that one must hide the intensity: Boll, too, has long since been aware of this old adage. In his review of Carl Amery's Das Konigsprojekt. Im Walde'" Man mufl This again drives home the importance of Boll's at times too well "concealed" use of body language in his writings.

The decision to deal with Heinrich Boll's early fictional work opened up the opportunity for me to take advantage of "new" works which, although written in the forties and early fifties, were finally published only in the eighties and nineties. Another advantage is the opportunity to understand better why these posthumous works were not published when they were first written. More than just the fact that they treat the topic of the Second World War, these works present Boll's perhaps more outspoken views regarding Hitler, the Nazis, the Jews, anti-Semitism, acts of treason, insubordination, cruelty, desertion and cowardice.

In addition, such works also focus on the destroyed and damaged bodies left in the aftermath of the war. With the German currency reform of , Germany was on the rise again, economically, industrially, and socially. The Nuremberg War-Crimes Trials were over and the "denazification" program was in full swing. It is therefore understandable that relatively few Germans wanted to remember or to be reminded about how it had been back then in the Third Reich. Using what he called his "X-ray" eyes, Boll reported what he saw during that infamous era.

The reader must also make the effort to look beneath the surface of events and "superficial" descriptions of individuals in his texts in order to arrive at the reality Boll is trying to convey. The sign posts are everywhere. To read and interpret them, we must pay close attention to the "bodies," whole or damaged, that appear with great frequency on the pages of his texts.

It is a task that will be made easier if we first familiarise ourselves with the political and social atmosphere that pervaded the period before, during and after the Third Reich. Heinrich Boll, even as late as , expressed similar sentiments in an interview with Herbert Hoven: Mir fallt auf, dafi die meisten einen Autor, ob der Goethe heiBt oder Fontane oder ein Gegenwartsautor ist, nicht aus der Zeit heraus kommentieren, in der er seine 14 Biicher geschrieben hat. Die Zuriickversetzung in der Zeit der Entstehung, in die politische, gesellschaftliche, weltpolitische und innenpolitische Situation geschieht sehr selten.

Die Zeitlichkeit eines Autors [ The ubiquitous presence and pall of the Third Reich and its consequences fill the author's writings, especially his earlier works, some of which were only first published from the Boll archive in the last two decades. Boll's comment in a written interview published in the Kolner Stadt-Anzeiger May Die Tatsache, daB die Konzentrationslager, Hitler und alles, was mit diesem Namen verbindet, kaum oder nur selten zum literarischen "Stoff' wurden, laflt sich einfach begriinden: Das Gruselspiel war ja kein Spiel, es ist durch Hilsenrath wirklich geworden, und es hat sie ja wohl doch gegeben - oder?

Timing, according to Boll, is often everything. With regard to familiar texts and his more recently appearing unpublished earlier works, perhaps now35 is the ideal time to revisit that painful era with, if you will, fresh, scrutinising, "X-ray" eyes. It is essential, therefore, in order to achieve a fair analysis of Boll's own writings, that the author and his early prose be carefully studied in the context of the Third Reich and the restoration years. The contemporary discourse of the body provides a fascinating point of departure for such an investigation of Boll's early prose as a discourse of war-damaged bodies.

This is particularly important since, as Anne Geddes Bailey declares: On 14 December , after a year of negotiations, an agreement between surviving victims and German industry and government has finally been reached to compensate survivors in the amount of 5. For more details on the agreement, see cnn. In contrast, violence in fascism was used, literally and figuratively, to 'cleanse' humanity of the crippled and broken, in order to make an abstract and metaphoric perfection real" Bailey, Aesthetics of Fascism 9.

The discussion of Heinrich Boll's early prose, in the present study, will be based on selections made from the following list of works which includes their date of publication and date of origin. Der Zug war punktlich Wanderer kornmst du nach Spa Erzahlungen ; , Wo warst du. I have chosen these texts since they all deal either directly or indirectly with Nazism and Boll's reaction to it. The Structure of the Thesis The thesis will consist of eight chapters. Chapter I introduces the present study. Although freely borrowing from my research on sociological theories of the body, I will not be bound by them.

Chapter III will focus on Boll's early biography, especially as it unfolds during the Third Reich and reflects or rejects the contemporary discourses on the body. In addition, I will adapt the four categories: Each of these chapters, with the help of the theoretical tool of body language, will analyse selected works and characters drawn from Boll's early prose i.

It is a process that will be aimed at identifying the indicated body type and revealing its importance for Boll's views on humanity. Chapter VIII will summarise the findings of the dissertation and point to future areas of study and scholarship. Investigated from several perspectives, a rich tapestry of the contemporary narrative discourse of the body will emerge that will serve as an indispensable foundation for an analysis of the role of the body in Boll's writings.

These perspectives will shed light on the various discourses on the human body in the first half of the twentieth century by reflecting changes in the political systems, as well as those that followed the Industrial Revolution and its aftermath, the labour movements, and the job market, the economy, financial institutions, issues of health, culture, and education, the predominance of science, especially biology and genetics and the military. In addition, the National Socialist's revival of duelling, the impact of wars, the growing women's movement, various art forms sculpture, and architecture; literature, and films , sports, See Frank "Sociology of the Body" 54 ff.

Although none of these can be discussed at great length, it is hoped that a sense of the times, that is, in which Heinrich Boll lived as a student, soldier and citizen, and its effect on him and his contemporary society will emerge and inform his writings. All these streams of body discourses eventually empty into the insatiable, fanatic desire for the perfect Aryan body and the Nazis' claim of the birth of a superior race which, at the same time, denounced everything else as unworthy of life.

In addition, relevant aspects of Boll's biography will be discussed in Chapter III in the light of this, as well as its role in shaping his own view of humanity. This is essential since during the first thirty-two years of his life, Boll witnessed Germany's ruling government change from a monarchy to a republic, to a totalitarian dictatorship, to occupations by the allies, and finally to a divided Germany. In this regard, the concept of the body politic, that is, of the body as metaphor and metonym, will provide relevant insights for my discussion of the political and societal milieu which form the backdrop for Boll's early works.

I will also search out the submissive, "docile" bodies demanded by Hitler and his military personnel. My research and analysis will also investigate the theme of discipline from the perspective of Boll, both as narrator and soldier. The soldier's disciplined body is of necessity one which either freely, or through coercion, submits itself to the will and orders of another who is a representative of an institution. The bodies of soldiers, sports figures both professional and amateur , workers, students, religious enthusiasts, entertainers, all shaped and re-shaped through the rigorous practice of specific body regimes and drills, whether self-inflicted or inflicted on them by others, are just some examples of disciplined, controlled bodies.

Foucault's theoretical writings on the disciplined body will be a useful analytical tool. In addition to the strict body regimes, however, individuals are also subjugated through the power of writing. To be looked at, observed, described in detail, [ The disciplinary methods reversed this relation, lowered the threshold of describable individuality, and made of this description a means of control and a method of domination. It is no longer a monument for future memory, but a document for possible use.

By focusing on the disciplined body of the soldier and Boll's use of body language, I expect to reveal Boll's emphasis on the importance of the role of the body and his sustained demand for the dignity of human beings under any circumstances. During Hitler's rule, the everyday existence of German citizens became highly orchestrated. Through his use of propaganda and the staging of numerous festivals and sporting events Hitler skilfully created an artificial world that looked extraordinarily real to Germans from 17 all walks of life.

The "mirroring" bodies discussed in Chapter V are reflections of this deceptive world of make believe. For example, Colonel Bressen, a character in Boll's war novel Wo warst du. In other words, the Colonel's physical appearance and behaviour reflect the tastes and values of the class to which he aspires. However, it is a class that only exists in the "Scheinwelt" of the Third Reich. It simply does not exist in his contemporary world. The Colonel assures himself of satisfaction by "seeing" his desires already fulfilled in everything he observes and does.

His mirroring body is therefore a closed, self-centred body. Boll's treatment of body language, especially noses, in Wo warst du. Hakennase" reveals that the Nazis' understanding of the "perfect" Aryan body is more often a case of "Schein" rather than "Sein. It was this image of an elite race that increasingly came to dominate the German world of economics and politics. In the decades leading up to and including the duration of the Third Reich, those who believed in this racial ideology showed nothing but contempt for mankind. In this regime, nakedness became an outward symbol of the god-like superiority and "Schonheitsideal" that must be aimed for, and for which, real, living men had to sacrifice their bodies.

In a macabre twist of fate, the political history of the body is here intricately tied to the intellectual history of the body. In his writings, Heinrich Boll's choice of narrative themes are: These themes demonstrate the importance of community and communication for him and his fellow Germans in a world shattered by the war.

In ChapterVII, I will identify and investigate "Communicative Bodies" in terms of discourses, institutions, and the physical nature of the body. In contrast to the closed, dissociated, "disciplined" and "mirroring" bodies, and the negatively associated dominating body, the "communicative" body is positive, open, and willing to associate and share itself with others. In this series of lectures at the University of Frankfurt, Boll clearly makes the distinction between the words "Gebundenheit," i. For Frank Finlay, any consideration of Boll's legacy for contemporary literature must recognise that he: Rationality An understanding of this difference between his use of the words "Gesellschaft" and "Gebundenheit," therefore, is important for a better understanding of the pre-war, war, and post-war era that Boll captures in his writings.

Moreover, because they need recognition in one form or another, regardless of their current condition, they remain open to all possibilities, and have the right to be flexible and spontaneous. Und sagte kein einziges Wort. In these works, the communicative nature of Boll's characters is revealed through his use of literary body language, and the motifs of "Zartlichkeit'V'Gebundenheit" and of the hand. This chapter provides a good opportunity to reflect upon the centrality of the hand in Boll's writing, an aspect which has not yet been fully recognised or explored by many Boll scholars.

In Chapter VIII, I will summarise the findings of my thesis and suggest directions for further research stemming from the work begun here. The aim of my dissertation, therefore, is to bring Boll's writings into the current discourse of the body. In fact, in Boll's early prose we can trace the changing fortunes of the supposedly new, perfect, beautiful, and inviolable human beings that the Nazis tried at all costs to create and to present to the German nation and to the world.

Boll also portrays their horribly mutilated bodies as they lie wounded, dying or dead in their own blood, or rather in "Fiihrerblut. In addition, Boll describes their mutilated, suffering, and lonely bodies lying in field hospitals, and also as cowards and deserters fleeing from the enemy and their own military police. His images are a far cry from those spewed out by the tireless Nazi propaganda machine. When the Third Reich bubble finally burst at the end of the war, civilians and soldiers who survived the carnage, returned home without fanfare and glory to widespread devastation.

His ability to to criticise his fellow Germans not only emphasises his ambiguous relationship with them but also allows him to show his deep affection for his fellow men. Hilmar Hoffmann Die heutige Zeit arbeitet an einem neuen Menschentyp, ungeheure Anstrengungen werden It is one that begins with sublime ideals of beauty and the dignity of man in the German Classical Period, only to degenerate into unspeakable acts of man's inhumanity to man in the Third Reich.

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But it is precisely this story, with all its twists and turns, as well as all its high and low points, that becomes both background and thematic material for Heinrich Boll's early prose. It is a tale, therefore, that must be told. Although this chapter aims to provide a comprehensive look at the concept of this body, one that could simultaneously engender both fascination and violence, it can in no measure presume to be exhaustive in its scope. A brief introduction of Hitler's interpretation of the body politic will lead off the discussion.

In addition, it will facilitate a better understanding of Boll's early prose as a discourse of war-damaged bodies. Hitler's Drive to Reconstitute Germany's "Body" Chapter IPs first epigraph, "Die Summe der gesunden Korper konstituiert den gesunden Volkskorper, ein Politikum der obersten NS-Kategorie," will be a useful point of departure for a discussion of how Hitler and his part members viewed the role of the individual body in relation to the body politics of a new, whole Germany.

For the Nazis, therefore, the most important political issue was that all healthy bodies of the new state should collectively constitute the healthy national body. In the national propaganda of a twentieth century Germany ruled by Hitler's National Socialist regime, the concept of the body of the individual was therefore represented as being synonymous with Germany's body.

Individuals constituted the body of the German warrior state. Hitler referred to Germany as a "German warrior" under attack in the First World War on all sides by its enemies: Hitler and others blamed the eventual defeat of the German warrior on a stab in the back administered by revolutionaries, Jews and striking women on the home front.

It is still considered to be a classic about the fascist consciousness per se. Hitler, who felt that he had the political mandate and the foolproof plan to accomplish this job, embraced Richard Walther Darre's "Blut und Boden"40 policy. After a successful plebiscite, the Saar region was officially turned over to the Third Reich on March 1, On September 29,, the Third Reich, in agreement with the Czech government, acquired 10, square miles of Sudetenland, and thereby immediately increased its population by three and a half million.

On March 12, , through annexation, Austria became a part of the Third Reich, and on March 15, , military forces of the Third Reich occupied the Czech part of Czechoslovakia. Bohemia and Moravia were then declared German protectorates. By , Hitler's expansion plan was well underway. Klaus Theweleit summed up Hitler's drive to heal and reassemble Germany's dismembered body in this way: Osterreich muBte "angeschlossen" werden, angenaht, und nun los auf den Osten, Bdhmen, die Tschechoslowakei, Polen Kdrper-Protektorate, beherrscht von "Schutz-Staffeln" Deutschland beginnt seinen schutzenden Krieg Das Land According to Klaus Theweleit, because of the Nazis' "Unverletzlichkeitsphantasie" propaganda, millions upon millions of Germans allowed themselves to be driven into the Second World War conflict Das Land However, the beautiful "Schein" of invulnerability soon became the horrific "Sein" of the vulnerable flesh and blood of members of Hitler's "super-race" as they lay injured, mutilated and rotting on battlefields and in towns and villages reduced to rubble.

Hitler, in soundly rejecting the Weimar democratic system of government, proposed a folkish state that would be completely free of the parliamentary principle of majority rule. He proposed instead a state in which the "Personlichkeitsprinzip" would take precedence. For him, "der volkische Staat" should only have advisory bodies standing at the side of the elected leader 4 0 Richard Walther Darre, a close friend of Himmler from his student days in the League of Artamanen, was the proponent of "Blut und Boden" blood and soil mysticism.

As the author of several publications on biological determinism which gained him the reputation as an expert in "human breeding," he eventually became the head of the "SS Rasse und Siedlungs Hauptamt" in Dane glorified German farmers as the remnant of the true Nordic race, seeing them as the future source of Germany's racial elite See Ziegler, Aristocracy See also Jensen, "Blut und Boden" Soweit sie dabei unserem Volkskorper fremdes Blut zufuhrten, wirkten sie mit an jener unseligen Zersplirterung unseres inneren Wesens, die sich in dem - leider vielfach sogar noch gepriesenen - deutschen Uberindividualismus auswirkt" It was Hitler's intention, therefore, to right these wrongs through the vigorous implementation of R.

Darre's racial policy of "Blut und Boden," one that would purify the German race and restore lost land, add new land, and also create more space in which the "new" race could flourish. That all decision-making was to be the exclusive privilege of the responsible leader was based upon Hitler's understanding of the Prussian army's winning principle: Moreover, Hitler demanded that the National Socialist movement immediately reflect these ideas within its own organisation and also be prepared to place the perfected body of the state at its service. In other words, the body politic, with Hitler as the head and everyone else serving him, expected complete authority and blind obedience from its "subjects.

After its unconditional surrender, Germany's "master race body" was again dismembered, first into sectors and zones, and then, in , into the two large political blocks of West Federal Republic of Germany and East German Democratic Republic Germany. Unification would not officially occur until Eine Reise durch das deutsche Nationalgefuhl , the German writer Peter Schneider cynically explained how Romanian or Russian Germans could prove their German identity. His pertinent comments are uncomfortable reminders of the race and body discourses of the Third Reich.

For example, Peter Schneider writes: Eine Freundin aus Rumanien, die fliefiend Deutsch spricht und mehrfach als Dissidentin verhaftet worden war, konnte den zustandigen deutschen Beamten nicht von ihrem Deutschtum iiberzeugen. In hellem Zorn fragte sie, ob sie sich etwa darauf berufen musse, da!

Ein solcher Nachweis ware hilfreich, erhielt sie kiihl zur Antwort, Die Nazi-Vergangenheit eines Verwandten, die man in jedem anderen Land der Welt lieber verschweigen wurde, ist offenbar in der Bundesrepublik immer noch fur Privilegien gut. Mittellage Hitler, himself, made his views on "Deutschtum" very clear. It is obvious that he clearly believed that a Germanisation process based on linguistic integration would be catastrophic.

Es wird aber doch niemand einfallen, in der rein auBerlichen Tatsache, daB diese verlauste Volkerwanderung aus dem Osten meistens deutsch spricht, den Beweis fur ihre deutsche Abstammung und Volkszugehorigkeit zu erblicken. What then determined a person's claim to his or her "Deutschtum?

The "Volksstaat" or people's state reserved the right to determine the race and nationality of every subject. According to Hitler, the "Staatsbiirgerrecht" could only be solemnly bestowed upon a male German subject after he had been racially educated and had had his blood purity as an Aryan confirmed, and had also completed his physical education and his 22 compulsory military service. For the present study, however, especially informative and rich in well-documented sources is Klaus Wolbert's Die Nackten und die Toten des "Dritten Reiches" His historical and political insights into the nude sculptures of the Third Reich provide a useful introduction to the German brand of fascism.

Klaus Wolbert's research shows how the classical body ideal historically becomes altered and appropriated by the National Socialist regime. The eighteenth-century German classical archaeologist and art historian J. Winckelmann, in contemplating "new" directions for architecture and sculptures, called for the imitation of the Greek standard of beauty. In an era in which intellectuals, the nobility, and emerging upper classes yearned for a return to Hellas, the recently excavated Roman copies of Greek sculptures and art had instilled in him a sense of simple nobility and subdued majesty.

Winckelmann rejected late Baroque and Rococo sculptures as being too sensuous. For him, although beauty was received through the senses, it was only through reason that it became recognised and understood. In tracing the reaction of other eighteenth-century German intellectuals to the Greek ideal of beauty, Klaus Wolbert pointed out that in Laokoon , Lessing also argued that nothing surpasses the beauty of the naked human form.

In addition, he noted that although Goethe acknowledged the dignity of human beings as incontestable, he also favoured an autonomous image of humanity. Schiller, according to Klaus Wolbert, understood the concept of "Schonheit" to be the means by which the sensual man arrived at form and thinking. In the classical aesthetic, beauty and nudity were synonymous Nackten Also writing in that era, Georg Wilhelm Friedrich Hegel, the naked human body was no longer a condition of the classical ideal. Rather, arms, hands, and the position of the legs, to the exclusion of the organs necessary for the maintenance of the body, e.

Moreover, for him, naked sculptures have no claim to a higher sense of beauty, or for that matter, to a greater sense of moral freedom and purity. The law will allow immigrant children to hold dual nationality till the age of twenty-three at which time they must decide which passport they will keep. According to a BBC's Berlin correspondent, Caroline Wyatt, the new law "should help counter racism and help integration, giving the children of immigrants a real stake in Germany's future. In addition, it is also available FTP: Under Germany's current citizenship law, dating back to , children bom to foreigners in Germany are not eligible to become German citizens.

Wann auch immer ich solche Bilder malte, fragte mich meine Frau: Was sind deine Probleme? Niemand will diese Bilder haben. Und so war eine Balance da, und so sind Bilder, die offensichtlich nicht thematisch mit den Kriegsjahren verbunden sind, sind sie doch verbunden. Zum Beispiel, wenn Sie sich hier umdrehen. Sehen Sie dort das Bild an der Wand? Das Quadrat kommt aus einem andern Bild her, das Sie unten vielleicht gesehen haben, und das ist das Krematorium — Ofen.

Das ist sozusagen die seelische Genesis dieses Bildes. Deswegen hatte ich Ihnen unten gesagt, dass eine Verbindung besteht zwischen Bildern und meinem Interview.

Jemand anderer mag sagen: Siehst du nicht soundso? Man malt sich immer selbst, es ist…jeder Maler, der nicht fotografisch etwas herstellt, malt sich selbst. Viel mehr so heutzutage, als in alten Zeiten. Sie haben ja gesagt — das war auch ein Teil Ihrer Antwort —, dass Sie in Wien gelebt haben, in Prag gelebt haben, in Paris gelebt haben, kurz in Kanada waren, jetzt sind Sie schon seit geraumer Zeit in den Staaten. Zum Beispiel habe ich herausgefunden, dass mein Tschechisch gar nicht mehr so gut ist, wie ich glaubte. Ich spreche heute viel bequemer Deutsch, als…oder Englisch bin ich am bequemsten.

Nicht ein Problem…weil mir Worte fehlen. Ich habe kaum die Gelegenheit, Tschechisch zu sprechen. Ich habe wahrscheinlich mehr Deutsch mit Ihnen gesprochen, als in den vorhergehenden zehn Jahren. Solche Sachen genau zu beschreiben, ist etwas kompliziert. Mit wem ich auch spreche…mit manchen Leuten ist das sehr, sehr einfach.

Zum Beispiel Elisabeth Strobl. Innerhalb zehn Minuten war die Verbindung da. Ich hatte keine Verbindung mit Wien, vorher, keine seelische Verbindung mit Wien. Und…meine Idee, oder der Begriff Wien war viel, viel komplizierter und wurde erst festgenagelt, als ich nach Wien kam. Und da waren dann Probleme, wo eine konkrete Situation, die vorher mehr oder weniger theoretisch war.

Ist sehr interessant, ich bin in Prag aufgewachsen, und ich kenne Prag so gut wie ich auch irgendein Land kenne — oder eine Stadt kenne. Wir fuhren in …ist es [19]81? April…nein, Oktober bestand der erste Transport von Juden aus Prag. Ich habe mir gedacht, wenn…ich wollte damals Rebecca zeigen, wo ich aufgewachsen war, wo ich in die Schule ging, wo wir gewohnt hatten, und Daniel war damals vier Jahre alt.

Dachte mir, ja, ich nehme ihn mit nach Prag. Und so fuhren wir nach Prag, und [19]91 war schon nach dem Fall der Kommunisten. Niemand zahlte, wir mussten unsere eigenen Reisekosten aufbringen, und habe mir gedacht, naja, warum nicht. Ich zeigte Rebecca Prag, ich kenne Prag sehr gut. Und heute sage ich, ich habe keine Notwendigkeit, nach Prag zu gehen. Irgendwie ist es nicht mehr meine Heimatstadt, es war nie meine Heimatstadt, aber es ist nicht die Stadt, in welcher ich aufgewachsen war.

Wenn mir jemand die Kosten bezahlt, nach Prag zu gehen, und mir einen guten Grund gibt, warum ich nach Prag fahren sollte, sage ich: Prag ist irgendwo im Hintergrund, wiederum: Irgendwo ein Teil meines Funktionierens ist, mich innerhalb des Raumes, und in der Zeit zu orientieren. Wo komme ich her, wohin gehe ich, warum bin ich da, und nicht dort? All diese Sachen spielen herein. This is an Austrian Heritage Collection interview with Mr. Und lebten im Wesentlichen in Prag, von dann bis zum Anfang des Krieges. Dazwischen waren noch andere Ereignisse, aber angefangen hat es in Wien. Da waren sechs Onkel…drei Onkel und drei Tanten.

Und jeder hatte ein anderes Geschick. Manche wurden vom Krieg eingeholt, zum Beispiel in Holland. Zwei Onkel waren in Holland…Tanten. Meistenteils konnten nach, was damals noch nicht Israel war…war damals noch Palestine …entfliehen, und wir waren…wir, die Taussig Familie — ich muss das noch korrigieren. Ich war als Friedrich Arthur Taussig geboren.

Und das war das Ende meiner offiziellen Erziehung. Die ersten Medizinen, die wirklich halfen, waren Sulfa-drug [mein: Mein Vater heiratete nicht nach Mutters Tod. Wir wohnten zuerst in Vaters Haus. Weinberge…sozusagen hinter dem Museum. Diese Familie war sehr, sehr nett, sehr lieb. Die Frau war eine Witwe, sie stammte aus der Schweiz. War eine gute…ich war gut aufgehoben, sowohl als auch mein Bruder. Die Familie blieb eine Einheit, obwohl wir nicht in…mit meinem Vater in derselben Wohnung wohnten.

Ich war von ihm gut instruiert, und gut unterrichtet. Ich wusste…wir sprachen Sachen…obwohl ich damals noch ziemlich jung war, wusste ich…war ich politisch sehr, sehr wach, oder gut informiert. Sachen, die vorgingen, wurden besprochen. Philosophie, Ethik…ich habe von meinem Vater eine gute philosophische Basis bekommen, so, dass wenn der Krieg dann in seinem vollen Angriff da war, hatte ich gar kein Problem. Und die Dummheiten und Schlechtigkeiten des Nazi-Regimes waren mir gut bewusst. Ich war mir dessen nicht so bewusst, es war ganz einfach dort.

Ich spreche nur in ganz groben outlines …soll ich weitersprechen? Wir wurden aus der Schule herausgeworfen, und unterrichten war verboten. Und es war sozusagen ein geheimer Unterricht. Viele Sachen habe ich leider nie gut erlernt. Nach dem Krieg habe ich das sozusagen wieder ein bisschen aufgefangen. Nein, das ist das falsche Wort. Der Mann hatte ein…das Gut der Grafen Lobkowitz gepachtet. Folglich war alles auf…per board. Eines Tages…mein Vater war sehr, sehr gut informiert…kam jemand, sagt: Welchen wollen Sie sprechen?

Und hat mich angespitzelt, angegeben bei der Polizei, und die haben mich dann erfasst. Und zweimal…an zwei verschiedenen Daten. Sozusagen eine Woche inzwischendurch. Ich erinnere mich sehr schwach an diese Zeiten. Ich habe wirklich keine Ahnung, was es war. Das war offiziell das Lager Linden bei Deutsch-Brod. Die meisten waren in den Zwanzigern. Ich war noch nicht ganz achtzehn, als ich in das Lager kam. Und das Lager wurde liquidiert, das sind…die Liquidation des Lagers ist eine andere Geschichte. Es sei denn, dass ich von den Lagerereignissen betroffen wurde. Und Auschwitz wurde geschlossen.

Wir waren…ich war in einem Transport, der in einen Zug verladen wurde. Und in eines der Lager, welche alle Kaufering Nummer eins, zwei bis dreizehn hatten, und waren Arbeitslager, offiziell, um unterirdische Hangars oder Fabriken zu bauen. Ja, das war schon Ende [19]44, Anfang [19] Garantierter Tod innerhalb von drei, vier Monaten.

Kaufering Vier wurde dann…war sozusagen offiziell ein Krankenlager — offiziell. Die meisten Leute konnten nicht mehr gehen. Und aus dem Lager herausmarschieren in einen Zug. Und das gelang mir auch. Dann irgendein Bonze sagt: April war ein schwerer Winter. Und die haben das angegriffen, wussten nicht, wer da drin war, und haben den Zug ziemlich schlecht beschossen. Der Zug kam fast zum Stehen, und ich sprang heraus, und warf einem Freund von mir — Tommy Mandel —, der in dem…irgendwo erscheint…denn ich brauchte jemanden, um aufzustehen, ich konnte vom Boden nicht alleine aufstehen.

Wahrscheinlich, weil es Teil des Lechfeldes war. Tommy Mandel und ich. Und Tommys Mantel, oder das gestreifte Pyjama, war mit durchgeschnitten. Und dann wussten wir nicht, wie zu gehen…wohin zu gehen. Wir haben…ich wusste, da auf der einen Seite war ein Wald. Ich wusste nicht, wie tief der Wald war. Eine Sache, die man lernt, ist Geografie.

Im Augenblick, wo man wo ankommt, das erste: Was ist die geografische Situation, wenn man weglaufen will? Aber, ich wusste da ist ein Wald. Auf der anderen Seite war das Lechfeld. Eine Schwemmebene vom Fluss, und damals noch mit Schnee bedeckt. Und waren unter dem Kommando eines, wie ich zu sagen pflege, alten Herrn, der 60 Jahre alt war, vielleicht.

Und gaben uns in ein anderes Lager ab. Haben uns gefangen, waren sehr…der alte Mann hat gesagt: Dort bin ich befreit worden, von Amerikanern. Und damals wog ich 35 Kilo. War ziemlich knapp am Sterben. Dann war ich weiterhin hospitalisiert, und eventually nach Prag gebracht, noch auf einer Tragbahre. Und in Prag war ich hospitalized. Kurze Strecken, nicht hospitalisiert. Das war eine wilde Zeit…ich traf in Prag niemanden an. Folglich hat man automatisch gesagt, das waren alles Kriegsgeschichten, und wir haben damit nichts zu tun. Und bin mit falschen Papieren nach Paris gefahren.

Meine Muskeln waren noch nicht ganz funktionierend. Und in [19]46 habe ich Angst…erst einmal habe ich geheiratet, [19] Sie haben die Daten auf dem Papier, das ich da aufgeschrieben habe. Wir waren in der Friedlgasse. Sie war meine Freundin in Theresienstadt, einander zu heiraten war ganz logisch. Und ich war mir nicht bewusst, wie schnell das…herausgekommen ist, sozusagen der bessere Teil der Weisheit, und mit…sind mit falschen Papieren nach Frankreich abgefahren. Wir haben das den ganzen Krieg lang gemacht, falsche Stempel hergestellt.

Das ist es, was es war. Und ich habe da Sachen aufgesammelt, ob…ganze Geschichte, so Karten hergestellt, als ob. Warum meine Frau mitfuhr? Ich brauchte jemanden, um mir zu helfen, in Frankreich. Und bin eingewandert…in Paris angekommen, dort sofort zu einer anderen Person gekommen: Das war vor dem Marschallplan.

Speise…nein, Speisekarten ist falsch. Sie wissen, wovon ich spreche, ja? Und wohnte in einer Villa. Und…solange jemand in diesen Villas war, sind die nicht ausgeraubt worden. Und einen herrlichen Ausblick. Heutzutage tausende von Dollars pro Woche, wahrscheinlich.

Wir wollten damals in die Vereinigten Staaten ziehen. Meine erste Frau hatte einen Onkel hier, der vor dem Krieg ausgewandert war. Die haben die Emigration nach Israel finanziert. Mein Job beim Joint war, Nummern zu sammeln, that is … data zu sammeln. Oh, nicht so wichtig. Das war sozusagen meine heroische Zeit, weil ich da wirklich mit der ganzen illegalen Immigration nach, was damals noch Palestine war — British Palestine —, verbunden war. Wir sind dann hierher gekommen.

Man hatte hier ein paar kleine Jobs, und haben angefangen…selbst in Prag war ich…angefangen in Theresienstadt, war ich an Kunst interessiert. Habe Zeichnungen gemacht, viele meiner Zeichnungen — alle meine Zeichnungen — sind verloren gegangen. Wie ich nach Auschwitz abgeschoben wurde, gab ich eine Schachtel mit meinen Zeichnungen [an] jemanden…die Person, das…eine zweite und dritte Person, alles verschwunden.

Ich bin dem nachgegangen, [19]91 in Prag…versucht etwas zu finden, aber funktionierte nicht. Alle vier in einem Kibbuz in Israel. Kibbuz Givat Haim Ichud. Und wir fuhren dorthin in den [19]80er-Jahren, und beschrieb[en], was da war. Wir haben in einem Folder…waren vier Zeichnungen, die nicht identifiziert waren. Meine Sachen, nicht unterschrieben. Dann habe ich in Paris weitergemalt, und in Paris auch in zwei Schulen gegangen, ohne was dort gelernt zu haben, in den Schulen. Das waren miserable Schulen. Und da war nicht…kein Platz um wirklich was herzustellen. Kamen [19]52 hierher, und hatten keine Jobs.

Angefangen…was war der erste Job? Und habe auch wirklich meinen Lebensunterhalt als Maler geschafft. A [Ein] jeder kann malen! Das ist, wo die Kunst ist. Die hat meine Sachen verkauft. Nach dem Krieg hatte ich herausgefunden…nicht herausgefunden…wurde es offensichtlich, dass meine Frau psychologische Probleme hatte. Sie war, was wir heute bipolar nennen, also manic-depressive , und war ein…sehr, sehr komplizierte Ehe.

Es kam zu einem Punkt, wo ich sie ganz einfach nicht alleine lassen konnte. In der Hinsicht war es gut, dass ich ein Maler war. Denn ich habe zuhause gearbeitet. Ein lieber Mensch, ein guter Mensch, aber ganz einfach sehr, sehr krank. Nicht nur sie, sondern auch ihre Schwester.

Und ich glaube, dass das eine biologische Grundlage hat, denn selbst die Mutter, Adele Horner, die Mutter von Stella, welche ich in Theresienstadt noch traf, und die ich auch kannte. Ich glaube, dass da ein biologischer Bestandteil ist. Das war [eine] sehr, sehr schwere Ehe. Und starb an Krebs.

Safety I/O Modules

In [19]92, na [nein], [19]82, ich traf Rebecca in einer… meeting. Ich habe Rebecca geheiratet. Rebecca ist [19]47 geboren, ich bin [19]23 geboren. Sind 23 Jahre, 24 Jahre Zeitunterschied. Und, dass jetzt, nach all den Jahren, von KZ [Konzentrationslager], und dann zwei Personen, die manic-depressive waren…ich sage: Wie Herrgott in Frankreich.

Meine Frau macht es dazu. Was auch immer ich an Bildern verkaufe, ist wirklich sozusagen Nebeneinkommen. Ich spreche mit Kindern, auch wenn sie siebzehn, achtzehn Jahre alt sind, die sind an anderen Sachen interessiert. Ich habe mich sozusagen umgesattelt, und habe gesagt: Und das ist nun auch meine Stellung zurzeit. Aber ich will Fragen haben von den Leuten. Jetzt werde ich mal schnell Englisch sprechen. There is no such thing as Jewish art. Und ich lebe sozusagen in den Tag hinein, male, spreche, halte das Haus in Ordnung.

Ich sage ja, ich mache nur vier Sachen im Haus: This is part three of an Austrian Heritage Collection interview, with Mr. Beide lebten in Prag. Adolf Taussig war in Prag geboren. Er starb neun… in Prag geboren. Die waren meistenteils Juden. Dann kam das Toleranzpatent von Joseph II. Es ist eine komplizierte Geschichte der Prager Juden. Leicht verschiedene permissions …Bewilligungen. Diesen und jenen Beruf zu haben, hier oder dort zu wohnen, da diese oder jene Schule zu besuchen. Jiddisch war zu der Zeit schon fast komplettem…Absterben ist das falsche Wort, aber wurde nicht mehr gebraucht.

Denn Jiddisch, als ein Dialekt des Deutschen, hatte drei Sektionen. Die westlichen Altsetzer, dann das Mittel…das heute wesentlich Deutschland ist, und Osten. Der Osten war in slawischer Gegend, und sprach noch das Mittelhochdeutsch, das in Elsass, und in der Mitte, gesprochen wurde. Aber in einer, sozusagen, isolierten Gegend. Folglich hatten die eine andere Entwicklung. Prag, da es im Wesentlichen…das Jiddisch in Prag war Deutsch-basiert, aber war so nahe dem richtigen Deutsch, dass sozusagen die Unterschiede verschwanden. Es hat ihm nicht lang gedauert, um mit einem seiner Kollegen das aufzubauen.

Englische Textilien wurden nach Afrika, wurden nach Indien verschickt. Er war ein altmodischer viktorianischer Mann. Mit einem steifen Kragen, immer sehr formell, und ein typischer pater familias: Jenny Taussig, war geborene Lederer. Seine Religion, das ist a [eine] andere Geschichte. Und wie kam ich…ja: Das war nicht eine der Synagogen, die von den Nazis verbrannt wurde…in Prag wurden keine Synagogen verbrannt. Das war ihr Gebiet. Domain ist ein englisches Wort, alright. Schriften, mit Medaillen, mit… medals. In der Tschechoslowakei machte man sich damit nicht… one did not boast.

Die Familie war nicht arm, war auch nicht reich, so im besseren Mittelstand. Ich bin mir dessen nicht ganz genau bewusst, aber wir hatten gute, wertvolle Teppiche. Ich wusste, dass sie wertvoll waren. Eine der Sachen, an die ich mich mit viel Freude erinnere, sind musikalische Abende.

Das war noch altmodisch, und ich erinnere mich an eine Situation, wo jemand sagt: Was ist die Telefonnummer von soundso, und sie hat das sofort gewusst. Dann konnte man die Musik wegnehmen, und sie konnte das wiederholen. Nicht eine alte Dame, eine alte Frau. Wie weit, wie tief. Wie stand er politisch? Und die Antwort war: Ich erinnere mich nicht an Details, nur eben diese eine Tatsache. Mein Vater…eine Zeit lang hatten wir Leute, nannies. Wie nennt sich das auf Deutsch? Hat irgendwie nicht funktioniert. Hin und wieder in deren Wohnung. Wir wurden dann, mein Bruder und ich, bei einer Familie in…es ist falsch zu sagen, Kost und Logis…hatten bei einer anderen Familie gelebt.

Das war ein Teil von deren Einkommen, nehme ich an. Die haben alle sehr, sehr nah voneinander gewohnt. Mein Vater nahm dann auch eine kleine Wohnung, alles sozusagen innerhalb von ein, zwei Blocks. Die Familie, in der ich untergebracht war…sowohl ich, als auch mein Bruder…waren gemischte Familie.

Mein Vater hatte eine kleine Wohnung nahebei, weil er wahrscheinlich sein Privatleben haben wollte. So ein Konrad Heinlein war ein Schurke, ein Nazi. Noch eine kleine Nachfrage zu dem: Das hat zwei…das Eck, es war ein Eckhaus, Foschova damals noch. Die Familie, die Schweizer Familie, die waren auf Foschova Nicht weit entfernt, alles innerhalb…bequeme Distanz, die zogen dann um.

Ich kannte den Mann, der starb, bevor wir dort einzogen. Das war wahrscheinlich ein Fall, wo jemand…der Mann, Basche war der Name. Und die war nicht da. Und es war da auch ein Kindergarten, vorher, an den ich mich kaum erinnere. Er hat das erste Jahr unterrichtet. Und dann kam ein Mann, der ein Genius war und dessen Name ich mich gerade nicht erinnern kann.

Prager Deutsch sprechende Leute waren zwei Kategorien. Das war ein deutsches Gymnasium. Und selbst das Stephansgymnasium war sehr nah. Wir hatten ein Bild davon daheim, das zweite Fenster von links. Daran erinnere ich mich noch. Die Familie meiner Mutter habe ich in einem der notes beschrieben, welche ich Ihnen eine Kopie gegeben habe. Meine Erinnerungen als Kind sind wie eines kleinen Kindes…sind etwas schwach.

Ich erinnere mich an die Friedlgasse, das war Friedlgasse 49, wie viel wir dort gewohnt hatten, wie viel Platz wir hatten. Es war sozusagen ein Residenzgebiet, und ich erinnere mich, nie einen Laden gesehen zu haben. Ich war wahrscheinlich im Laden, aber ich erinnere mich gar nicht daran. Als ich in Wien ankam…irgendwo fand ich es angenehm. Aber davon wusste ich wirklich sehr, sehr wenig.

Ich habe das mit einem der Onkel nach dem Krieg besprochen. Zweien sogar, nicht dreien, but zwei Onkeln…zwei von den Dreien. Und irgendwie waren die: Starb noch unter der Monarchie. Nun wussten die wahrscheinlich selbst nicht viel, denn die Onkel und Tanten waren alle junge Leute damals.

Meine Mutter war geboren. Wenn er starb, am Anfang des Krieges, war sie noch ein junger Teenager. Und wie Sie wissen, hat man Kindern in Europa wenig finanzielle Information gegeben. Anna Herzog stammt aus einer einfachen Familie, aus Joachimsthal. Irgendwie blieben dann noch Verbindungen mit Karlsbad. Anna Herzog war eine praktische, energische Person. Sechs Kinder aufzubringen, nachdem die Familie alles verloren hatte, brauchte einen kind of Energie, die man heute wahrscheinlich auch noch findet, aber seltener.

Mit eiserner Faust hat sie die Familie zusammengehalten. Sie hatte einen Mann aus Prag geheiratet, und fuhr weg. Das war sozusagen das…die erste Regel gebrochen. Ich war damals in Paris. Und [19]47, als die mich fanden, und ich die Familie fand, fuhr ich nach Utrecht — damals lebte der Onkel Alfons in Utrecht. Der in Utrecht lebte, und einer der damals noch in Holland lebte. Sie war schon eine alte Dame, damals. Eine alte Dame, eine alte Frau, wirklich schon etwas senil, nicht ganz beisammen, und hatte eine junge Frau, jemand der sozusagen sie von…alle 24 Stunden lang beobachtete.

Und die Energie der Anna Herzog beeindruckt mich sehr. Das ist geschickt, gern zu haben, sechs Kinder aufzuwachsen. Jedes der Kinder ist erfolgreich gewesen. Und ich versuche heute noch herauszufinden, was war die Motivierung. Irgendwo unterhalb der Sachen, die ich geschrieben habe, ist The Herzog Family. Dort finden Sie alle die Details.

Nun, in [19]48 brach…war der Krieg zwischen Arabern und Israelis. Und war dort ein erfolgreicher businessman , und hat gesagt: Er war es, der sie aus Wien nach Holland brachte, auch dort in Holland half, sie unterzubekommen…das ist eine andere Geschichte. Aber auch eine Illustration unseres Zeitalters. Dass man Wohnorte, seelische Verbindungen, und politische Verbindungen sehr leicht umtauschen kann. Wissen Sie, wo das Kloster war? Welches Kloster das war, wo Ihre…untergebracht war? Wenn sowas existiert, mein Vater war es. Die Generation von [Franz] Kafka.

Und er bewegte sich in diesen Kreisen. Und wiederum…als der Krieg ausbrach, war ich noch nicht sechzehn Jahre alt. Folglich ist meine Einsicht in die Generation second-hand. Das wird etwas kompliziert. Es hat uns nie an etwas gefehlt. Weder Essen, noch Kleidung, noch…Theater und Konzerte.

Mein Vater war wahrscheinlich bei… inclination , Neigung…ein Soziologe. Alle diese Schriften sind verschwunden. Samstag, nachmittags, oder sonntags, war mein Vater da. Das war seine Zeit mit uns. Als ich in Theresienstadt ankam, war er schon dort. Ich wurde nach Auschwitz abtransportiert im Herbst [19]44, worauf auch er [19]44 im Herbst abtransportiert wurde, und hat Auschwitz nicht…starb in Auschwitz.

Leute wie Kafka sind sozusagen…bin mit denen aufgewachsen. Ich konnte alles lesen, mein Vater hatte keine Regel, dass Kindersachen oder…Sachen, welche Kinder nicht lesen sollten, sollten irgendwo versteckt werden. Kam nicht in Frage. Wenn ich es nicht verstehe, gut, lerne etwas. Politisch war er…auch er fing an als Sozialdemokrat, in Prag. Ich erinnere mich an einen Mann, der…ein Gitarrenspieler, der oft Gitarre gespielt hatte. Und irgendwann kam es auf, dass ich die Internationale nicht gewusst habe.

Und der Mann war sehr…sagt er: Deutsch und Tschechisch sprechend. Nicht nur, um sie zu bekehren, Katholiken zu werden — Gott verbitte es, sollten es Protestanten werden. Und die Juden Prags waren gespalten, zwischen Tschechisch sprechenden und Deutsch sprechenden. Kafkas Familie, die waren wahrscheinlich Tschechisch sprechend.

In Prag hat sich das sogar im Kleinen abgespielt. Ich ging in eine Deutsch sprechende Volksschule, mein Bruder in eine Tschechisch sprechende. Ohne, dass das irgendwie ein Familienkonflikt gemacht hat. Aber sozusagen das Tschechisch der einfachen Leute. Gutes Tschechisch wurde nur von Nicht-Tschechen gesprochen. Eine ganz schmale Schicht von Tschechen sprach erstklassiges Tschechisch. Darunter auch die Juden. I am going now…ich gehe jetzt. Do steh ich der hanzel Un bredig wie en omshell Kommt en maus, un sput mich a.

Bn kolb is ken zlegen buck En zlegenbuck la ken kalb. Meine predig ist ha lb Halb iHt meine predig. Mein bauch ist sehr ledig Sehr ledig Ists mein bauch. Melne mitzf 1st rau Rau ists meine mltze Mein b ruder heist Pritze Frlze heist mein bruder En schwein Ist kein luder En luder Ist keln ichwein So soil meine predig all seln. AUe meil e wertzhaua. Relta, Telta, geult, Atle -stun e melll, Relta. Die kuh die hot en elder, En elder hot die kuh, Vun led der niacht mer achuh, Sehuh macht mer von ledder, Dte gans.

Der uchs der hot en schwanz, Kn achwanz hot der uchs, Der edelman hot en kutch. Alle kiilch hot en edelman. Wo mann drln laschleren kann. Schlof kmdchein schluf Der dawdy heet die schlof Die mommv is a! Lieve mammy bubble-stock Wu wid do naus? Uf der bergr eppel esse Wann annerer leit zu mittag esse. Esse mir zu morge; Wann annerer kinner spiele gehne Stehn ich an der wieg Die wieg mach trip, trop Da steckt mei klaner dick sock. Anna Marie Wu wid do hie? Uf der berg eppel esse Wann du zu meim schertzel kumst Dann biets ihm gute morge Sagt ich wer noch frisch un g'sundi Er breicht net fer mich sorge.

Wann annere made zum danza gehna Dann bleib ich an der wieg steh Die wieg macht knick, knock Na schlof do klaner dick sock. Eens, zwee, drei Hicka, hocka, hei Zucker uf der brei PefCer uf der speck Hahna geh weg Oder ich schlag dich in der dreck. Eens, zwee, drei Hicka, hocka, he!

Zucker uf der brei Salz uf der speck Hahne geh weg! Eins, zwei drei Butter auf der brei! Schmaltz un speck Hans koarth geh aweg! Ene bene Taflelband Eenechen. Ene, dene, din ten fass Qeh In die achul un leme wass Wenn du waa gelemet haat ICommst du helm und aagst mir das Elna, zwel, drei. D'r 5nar hi3t yuslit d'r klip g'sani. Yes, head yes, head, yaw kdp. Hflch sel'm hot 'r nimi g'prOwert zu brediehS. Augustus Smith once wanttd to begin preaching.

So he tried in the barn oa a hogsbead, and began to preach on the text: After that he never tried to preach. We Sr wOkir w5rS is hflt ar g-sawt: Feter Mordy once git drunk, and fulling asleep, fell front bis horse. As be awoke he said: If I am Peter Mordy I lost a horse. If I am not Peter Mordy, I have found a bridle. D'r mond w6r yusht 5m ufgaa nn wOr im firshta farti'. D'no bQt 'r sei pulwar bOrn ftns bSrn fflni mond g'hSukt. As he loaded lo shoot a deer, be did not know where be should quickly put his powder horn The moon was just rieing and waa in its first quarter.

Then he hung his powder horn on one of the borne of the moon. But aa the moon became full the sign dropped off. No we de ahrot Ola rum gin kumi is er Ola in de h'a g'gjumpt. Nusbickel, once upon a time, met a flock of partridge! When the shot came around he jumped up, so that they passed underneath him. Then he ehot into the limb from below so that the limb Bplit open, and the pigeons got fast with their feet. Bo ue still lost them. Do shits rrum f tin hous zu hous, winshft 's Neiyor 'aw ud sbesA fflr dar.

On Christmas we usually give gifts to our frienda. The ohildren receive ChriatmaB presents. The children await him. Sometimea Belsnickel comes and frightens them. He throws chestnuts around, and when the children run to pick them up, he hits them witb a whip. Coming of New Year and the departure of the old is an- nounced by shooting. Those shooting go from house to bouse, , present their New Year's wishes and shoot before the door. At Easter people have Elaster eggs. Then tbey pick eggs with each other. The one breaking the other's egg gets it. If you meet some one you ask: On Ascension Day no work is done.

Church services are held every where. Many people believe that if they work on that day, lightning will strike their bouse. Although that is superstition, yet we ought to keep the day holy. The Fourth of July ia also celebrated. LOtwirg frSlika wirft ahbotyora g'mflcht wfliw fel eb'I bttt. De Oniri shnla 6b']. Apple butter parties are made in the fall if the apples ara plentiful. The boys and girls come together in the evening and a young man and lady stir, or take care of the kettle, and put wood on the fire. The rest peel apples. Fifteen to twenty neighbors come together and mow grass.

At about ten o'clock they have a good supper, and there is no lack of something to drink. Quilting parties are made by the women when they have a quilt to make. The ladies are invited and sew at the quilt in the afternoon. A good supper is prepared, and when it gets dark the boys in the neighborhood come together and have pleasure till late at night.

Sometimes they dance if they have any one to play the violin. Corn husking parties are made in the fall. When it is moonlight they are made in the evening, otherwise in the afternoon. If a girl finds a red ear she is usually kissed, and then they laugh. In the evening they have amusements after the husking is done. Moving in spring is also a pleasant time. Sometimes there are as many as twenty wagons. The boys and girls make it suit so that they get together on one wagon while driving. When they get to the place they set up the stoves and beds, make dinner and have a good time till late at night.

Ow6ts w6r 6l3 'n dons. An'r hiit de geik g'shbeelt f6r 'n fib f 6rs paar. D'r Lindsay hdt aei sho aw Ola piuilich dOrt g'hdt. BattalioD used to be a great time. During the day they drilled and paraded aa Mlffieis are drilled for war. The drum and fifes were played vail tbey marched to the beating of the bass drum. They e 8o eager for daaciug that the fiddler could hardly get id.

They would place the fips on his knees and some he in Ilia mouth, and played on the whole time. Thus battalioK WftS a great time, and much pleasure for the people of that time. DCa wor gros'r g'ahbfis. At home they played Ude and seek, plumsack, blind-man's-buff, figraill, croasmill, riDgmilt, cat's head, goose foot. Bat ball waa played much like our Wae oall, except that they had a soft ball.

In shooting ball one took the ball and ran after the others till he had hit them all. Deer was about the same, except that they called themselves deer and ran around in the woods. King playing was much as our ring playing to-day. To play blue bird they all had ttm names of birds and one had to guess which one was the bliM bird.

To play hide and seek they would all hide and one bad to seek the others. They took an old towel, turned and twisted it with a knot at the end, and sat on m, bench, when one had to find it behind them. A good deal of lashing was done till it was found. The boys used to have a hole in the ground, and one would lay in the baH.

Then the rest ran away. If omm was hit he had to take the ball and if one missed he was out. Hop, Step and Jump. Appewonee of the eouatr; when ttaej arrived. De blQkheis'r hen 's mgnslit dal yusht 'n abtflk g'h5t, un uf 'm shbeich'r, wo d'r wind dQrclig'pifa un d'r 'slina neigObloni, hSn Sis de kin'r g'shlofil, d'r dawdi un de mOmi 6w'r IiSh er Mt hunS in d'r wflndahtub g'hOt.

Seli kiu'r, wo bei rou'r kOsht un in d'r roft nawdoor ufgilwftchsa sin, hSn de firc'hl'rlichft ahtSrka mgn'r un krCft- icha weibsleit g6wa, wo m'r 5ls de Olta ndch d'rffln f rzaU hart ; un a61 wawri de leh, woo uns'r lOud t'fln d' 'EnglCn'r hen lifilt'il frei fechia, Un grawd so leit hflt's g'numil fOr dt 'Englii'ha zu IgdVa un'r d' umabtSuda, we se wawri. Fel hSn ka drSshdSu g'hftt, well ka hord um d'r wag wnwra. D'r bilda in d'r shei'r wawr h5rt zfima gSblOtsht un do druf hSn se de frucht mit d' fleg'l gfidrOsha.

Appearance a few jeara later. They had nothing escept their strong arms, trust in God, industry and patience, and economic and hardworking wives, which assisted everywhere and helped to endure severe hardships. How our forefathers in the start helped themselves, no one can now fully imagine. Those old people, of whose names we now read on the old tomb- stones in our cemeteries, and who are now yonder in the eternal home, with eertainly more beautlftil houses, barns, fields and gardens than we have here, to them we owe many thanks.

They were the people who, out of nothing, in great poverty and want, prepared the pleasant blooming surroundings in our part of the State, wherein their posterity now live as the birds in hempseed. At that time — it was in the years from to — the people around here had no houses as we have now. Oh, dear me, what buildings! The first settlers,- who came from the old country and nearly all from the Palatinate were in our com- munity throughout what we would call squatters. They selected apiece of land, builtonitaloghouse and began to clear and cultivate as though they owned the land.

At that time great complaint was brought to the Governor at Philadelphia, that the "Dutch" everywhere took the best land and were dan- gerous. Afterwards they got patent deeds for their land and paid from ten to fifty pounds per hundred acre?. They built four walls with a roof over it and had raised grain and cattle, they built log barns, raised fruit trees from the seed, and thus one after another had great hardships. The log houses mostly were only a story high, and on the top floor, where the wind whistleo through aad the snow blew in, the children used to sleep. Father and mother had their bed on the first floor.

And sDch people it took to whip the English under the circum- Mances. When we now go through our community and aee the beautiful fields and meadows, the splendid homes and large hams, with all kinds of out-buildings and many imple- ments, we can hardly believe that things were so in olden times.

In place of our good plows, harrows, rollers and culti- ndors, they had plows with wooden mould boards with which they skinned over the land, and harrows with wooden teeth, or they dragged a limb of a tree across the field after they had sowed it. Otherwise they worked with hoe and hand. Just think of tlie old sickle and scythe, and compare them with tbe present machinery, to see the wonderfbl improvement. Many had no threshing floor, because there were no boards. The bottom of the barn was stamped hard, and there they thrashed their grain with flails.

To clean grain they sifted it through wooden sieves, and took it up on a high scaffold and threw it down on sheets when the wind was blowing strongly. There is no people on the face of the earth, which has, tiiroughout such good houses and barns, everything so handy, 1 dean and neat as the Pennsylvania Germans.

As heretoforal Mid, we should not forget where all this comes from. Just then and thera buj of bim. And soon are forgotten. You tbink he m " ' We shnoufl 'r un we blost 'r dilch. From day to day must hang. Beshur 19 la sei buk'I ro.

Heinrich Boll's early prose : a discourse of war-damaged bodies - UBC Library Open Collections

It is certain that his bock is sore, ajfkars sei shuld'r shwuvis un b1o. Suth, no doubt, is the case. Pilgr's Progress spcalts much of me Ctirislian — and just the very nsme Walks yet before our eyes: And then stole his picture. The notion does not leave my mind. No one ean take it from me. Tet that is not much to me, I have another thing in view— The peddler is a type. For every man his trouble has. And upon his back hangs fast, Just as with wax and seal.

We journey all together. At last there falls the bundle down. Then we peddlers have sold out. If then Jew peddlers many be, And gladly cheat some one: I seo A Christian is a peddler too. Vd yeU kiUDt f ergnegii, de burU'r sia tra. D'r Mm' I woont do in d'm beisli uf 3rd; De kin'r sin biiiirf. Now the clock strikes six — attention give, How the boys are coming up the street, Just as the soldiers from a hot battle — The day's work is ended —: The wife smiles already, holds the door with her hand, Breakfast is ready, everything well prepared.

The children are jumping because full of joy. And kiss their father, outside of the door. Now here with the soap and the water right warm, Entirely different skin is shown on the arm. The shirt is ironed and all things look new, And now comes content, the hearts are all true. Heaven lives here in this house upon earth ; The wife is industrious and honor is worth ; The children obedient, they go to school.

All things are in order and work according to rule. With music and paper and the evening prayer, I should like to know for what more you could wish, To pass the time by, with children at home — Whoever waifls more is pitiable alone. Now it strikes six again — he gets out of bed. And soon there is a busy life in the house ; And ere the whistle down on the shop blows, He has his coffee, and his basket is filled.

Here they come again — a small army — They walk so lively — I like to see them. Henninger, Ex-Senator, fun Lechaw. D'r shtem doot 51es fur de leit, Sel is ynslit wos ich man ; Un won m' r aigets he wil ga, Don fawrt m'r in d'r tran. Everything is very handy fixed In the present good times, No one need exert himself, Unless he is insane. Steam does everything for the peopldy That is just what 1 mean ; And when we want to go some plaoe, We then ride in the train.

They used to walk all the way From five to fifty miles, A few, who were somewhat richer, Went upon horseback. This was the style in olden times, Walking was no disgrace ; How we used to trot along. That is understood by you. There are dro-ned up gentlemen. Some black and some whila. A preacher rils nol far away. He nitikee a Inn; face.

The train goes wonkier fully fast. Woe rast des duch d'r shtawb. How it i-aises the dual. For a pretty good joke. Then a bad accident takes place. Everything is all excitement, The women faint away. The men are in terror. The engineer whistles frightftilly ; The engine rushes on, Now it runs against an old cow— What a shock it gives her. Such a shock we are not used to. It makes us deaf and dumb ; Some take a somersault, And don't get quite around. Others stand on hands and feet And hold fast to the floor. Each one wishes he was at home, Out of this great danger.

So gat dSs fawra uf der Iran, Thus goes riding on the train, Ich has es orich sha, 1 call it very nice, M'r grikt kSn kupwa fun der hits, You get no headache from the heat, Un aw ka' shteif a ba. And neither stiff legs. M'r kawft sei tikSt f orna nous You buy your ticket in adyance D'no is mer 51 0.

Then yon are 0, K. Un wuns' hast "Tickets if you And when they say, "Tickets, if you please," please,' if Don racht m'r 'n ewa 'he. Then you just hand one over. I city, Mci success is kumma so shdorik un Success cnme to me so fast and And the lawyers were sorry tluA. Icb bawb gmw'd g'gukt we 'n Ded-jMy education wasn't quite up to mj clittbes labem "dude. Im Congress bawb icb so fel geld g'uiuclit And then 1 mn for Congress.

Icb Wiiwr net zufritta mit mein'm But then I was'nt satisfied with mj pt, office, D'no bin ich grawd nous nucb Eng-;So I went straight to England. Un but mich appoint des sbii! In d lond do hasa ses: JAnd you will make money like haj. Ufg sets fun Shdudent Kopenbavcr. Ich Wat ich hot 'n bouarei 'On Tulp5nh5iken grick, Don dar icli kefor shesa ga, ]ui aesgrumberii shdik. And niggar b acv hi gs. De raiiwa uf de wadsa bam, The caterpillars on the wheat trees, D'r iiorich hinkel-flo.

The liairy chicken tica. Won icb 'n bou'r war. AVith paris green and shot gun Would 1 get after them. Ich g ick m'r'n shmerkas koo 'N hof. Pe hinkel holt ich in d'r kicb,! And cochin shanghai sheep. Ich bou uf mein'r bouarei 'N rotes shweitzser hous ; Ich moch mei gonsar gorda rum Un sa'n mit woluis nous. Ich kawf m'rn grosa bouarei Dot druna on d'r shdod, Un such m'r'n grosa deitsha fraw- De hut aw fel farshdond, Be bint ken blech in era hor Un kumt net so gros rous. Un won se aw 'n bis'l dut, Ddn mocht's yo gawr niks ous.

And won't go about so higb— And if she would a little. It would not matter at all. Die letscht Load Heu! Die Suss hot alles ei'gericht: Die Uhr schteht schtill — awwer net die Zeit ; Is es now marrige odder heit? Es macht nix aus — so ganz allee Lieblich umarmt. The last load hay! Now, boys, hurrah I Drive in the barn and let it stand Till Monday morningjearly.

Indeed I This evening nothing more will be done: Wash the feet at the wateringtrough; Black the boots — accursed bother I My corn hurts me again — My boots are entirely too small — Oh, misery! Well, boots or not — I must go In town to pretty Sue! The clock baa itoppad — bat ihe time has act ; Ih it now lAmairow or lodij f li iloesD't matter — all alooe, Sweetly encircled.

Ab, must I go? Die iah bo lisb hah. Die alte Schtininie sin vt-rballt, Docb durcb niei Seel nocb inimer fiiesse Die liewe Lieder — nie net alt! Scbtiinmt ei', ihr ScbwoMcbtere un ibr Brii. Tbey flow through tbe soul and body 60 holy and yo Sabbath full Metbiuks tbe choir is just yelling them. No Sunday can be holy to me If tbe congregJition dots not sing. A few of the old melodies. Sbtwetz, icb gae nimmy welder. Awer, ich darraf der now net sawga Wass de secrets fun meini g'fengniss sin. Ich kent der 'n shtory derfu fertzaila, So OS 's garingshta wardt Deer di sale uf reisa dait ; di yoong's bloot kalt freera; Die tzwae awga ous 'ni kup rous gooka maucba we fireiche shtama, Un di hohr uf 'm kup grawd nuf shtcUa, We dicky, shteify si-barshta.

Awer ich darraf s net du Os ich 's sawg tzu ora fun flaish un bloot. Un now, hurrich I hurrich! Wann dn yeamohls ebbas fun deim dawdy gadenkt husht I H. Now Hamlet, horrich wass ich der sawg ; Es war ous gevva os ich g'shlofa het in meim bomgorda. Un OS 'n shlong on mich gacroddled waer, Un het mich dote gabissa. Sell war de shtory im gonsa lond, Awer de very shlong os di dawdy dote gabissa hut, Trawgt ollaweil deim dawdy si crone uf 'm kup!

Yusht noch ea wardt iuaner: Da sell but mich ob g'Sied, ua icb bio aw gntwd druf g'shnopt, Va mit all meina aioda noua g'ghtept in de ooner weU Unprepared un unbakored! Now mind, du moosht sstiaructian nammo, So farrj well. Du wohnshi druTYa in der Talley, net so? You reside up in the Yalley I believe? Yaw, dort hob ich shun sheer txain johr g'wohnt, on Ich Ha heit yoosbt rooner cooma for tzu sana weaga a wennich bisnees.

Yes, I have lived there for now nearly ten years, and I just cams down to-day to see you about some business. Mack, was is de noddoor fun der bisness? Mack, what is the nature of the business? Wann is ar g'shtorwa?

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When did he die? De woch for der letsht is ar g'shtorwa. He died week before last. Hut ar feel property hinnerlussa? Well yaw, ar hut si baueri, un bender, un notes nn aw aa ordlich grosser shtock uf der baueri. Well yes, he left his farm, and some bonds and notes, and a good deal of stock on the fcinn.

And who is going to admiuister? Mack, di beshter wnig is im arshta plotz mcr amohl an retainer fun tzwonsich dawler gevva, un sell gebr. Mack, your best way is in the first place to pay me a tainer of twenty dollars, and that will enable me to act professionally in the matter. Retainer I — Luss moal sse, sell maincd denk ich, an lawyer's fee?

Yaw, now fershtse ich 's. Well, doh sin de tzwonsich dawler. Yes, now 1 understand. Well, here is twenty dollars. From ''Uarbaughs Hurfp," bj Idi bin in liiinnert lleiser g'wett, Vun. Un alles was sie Len. Wis heemelt micli Jo iilles a'! JDie Schwalmo schkippe iwwer's Feld, Die vedderscht is die beech t!

Sell is en Schwalmc-Nescht. Die Junge leie allweil schtill, Un schlofe alle fescht. Ja alles dess is noch wie's war Wo ich noch war en Buh ; Doch anner Dings sin net meh so, For alles dhut sich ennere do Wie ich mich ennere dhu. Dort seller, wo lofletters schreibt Un seller, wo sie Schpuchte treibt, Un seller Kerl wo lacht. Wer Ruhls verbrecht, der nemmt die Schletr. Odder verlosst die Schul. Inwennig, urn der Offe rum HockQ die kleene Tsohaps. Mit all was mer so sage kann. Gar kreislich schiepisch 'gukt!

Oh wu sin nau die Schieler all, Wo hawe do gelernt? Mei Herz schwellt mit Gedanke uf, Bis ich schier gar verschtick! Eennt heile, 's dhut m'r nau so leed, 1 Un doch gebt's mir die greeschte Freed, Dess Schulhaus an der Krick. To-day it is just twenty years, Since I began to roam ; Now, safely baek, I stand once more, Before the quaint old school-house door, Close by my father's home.

Tve been in many houses since, Of marble built, and brick ; Though grander far, their aim they miss, To lure my heart's old love from this Old school-house at the creek. I've traveled long and traveled far, Till weary, worn and sick ; How ve y ks M all that I have founds CompMd with scenes to lie around This school-house at the creek. How home-like is this spot to me! I stand, and think, and gaze! The buried past unlocks its graves, While memory o'er my spirit waves The wand of other days.

The little creek still idles bv, With bright and playful How ; And little fish still sport and glide. Where yon low elder shades the tide, As they did long ago. The white-oak stands before tlie door, And shades the roof at noon; The grape-vine, too, is fresh and green ; The robin's nest I — Ah, hark? The swallows skip across the mead — The foremost one is best! And, look ye at the gable there, A house of stubble, mud, and hair — That is the swallow's nest!

The young are very still just now — They all are sleeping sound ; Wait till the old with worms appear, Then you the liungry cry shall hear From mouths that lie around! These scenes are as they were of yore, Though void of former glee ; But I have changed! No more smiles cut on me! I stand, like Ossian in his vale. And watch the shadowy train! Now joy, now sadness me beguile. There was the Master on his stool. There was his whip and there his rule— I seem to see it all.

For all the scholars, large and small, Are under equal rule ; "Which is quite right — whoever breaks The Master's rules, a whipping takes. Or leaves at once the school. Full many a weary back gets sick, In that old school-house at the creek, And feels most woeful sore! With all these drawbacks, that was still A well conducted school ; For Master such, in vain you look. Who cyphers through the Ainsworth book, And never skips a rule! That he was cross, I must confess: He whipped us through and through ; But still most wholesome rules observed ; Who felt the rod, the rod deserved — According to his view!

At noon-day, when the school left out, AVe had of sport our fill ; Some play the race, some houses wall, Some love a stirring game of ball, Some choose the soldier drill. The large girls sweep ; the larger boys— What mischief they are at! And whilst he thumped and pried about. We thrust the terms ol treatj out, Demanding him to sign I The treaty signed — the conflict o'er, Once Masternow were we!

Echo sad, "Ooijd bye 1 Goodbye! Hot'r, ols leis, a bissel g flucht. Des hot'n nord als Nachts getruwelt, Nord hot'r a'h gebeet, Un g'heilt un g'sad'r dhet browiere For'n Parre — g'wiss ichleeb — schtudiere, Wan' 8 net waer for die Mad ; Bis naechschtmohl das m'r Mosch hen gesse, War Sind un Truwel all fergesse. Es Kleed allee, macht net d'r Mann. Warum hot's so fiel junge Kerls Die nimme schaffe wolle?

Es isch net ehrliok un net recht, Ich kan's gar net f r schtee: Ansohtat dafo hen mihr Frschpreohe, Das gut sin wan sie net ferbreche. I still remember the old dish Made entirely from pewter, Right in the middle of the large table And heaped up AiU, a whole lot — What do you think was in it? Fanber asked a blfsaing at tbe tabic, And tben ve were nil quiet ; Jake coulil hardl; wait. Bat until we bave miisb again HiB sin and trouble waa all forgotten. And how cold was the milk!

No matter how cold the milk The mush was just as hot. The old kind of gentlemen are scarce And I know why it is ; Pride with many young people Makes them appear great, to-day, But to-morrow they are in rags. You big fool, what do you mean? Clothing alone doesn't make the man. Why are there so many young fellows Who dont want to work any more? Many of them have weak eyes, Others have weak stomachs — And so it goes. They are ashamed to eat sourkraut and schpeck And they eat nothing but sweet meats.