TRANSLATION

The Structures of Everyday Narration

Translator's preface

On September 17, 1986, Hermann Bausinger

turned sixty and his colleagues and students
both in Germany and abroad honored h'm not
i
with one but with two Festschriften. The
publication of two separate Festschriften is
indicative of Bausinger's tremendous impact
as a person and scholar on the international
community of folklorists, and this despite
the fact that only very little of his work
has been translated to date! 1986 also
marked the twenty-fifth year since Bausinger
publighed Volkskultur in der technischen
Welt. This work illustrated that folk
culture is not a thing of the past, doomed
to extinction with the onslaught of
technology. "Structures of Everyday
Narration" appeared three years prior to the
publication of Volkskultur in der
technischen Welt and in many ways can be
regarded as a precursor of that work. This
essay highlights the continuity and
evolution of narrative themes and structures
in a modern world no longer bounded by
traditional narrative genres and contexts.
It took decades for this analytic insight to
be accepted by European folk narrative
scholars--indeedthere are many who
continue to disregard contemporary modes of
narration in favor of traditional genres.
In the United States, however, where the
socio-cultural conditions conducive to some
of the "classic" European genres, such as
the folktale, scarcely existed, there was a
growing interest in everyday, conversational

(c) Folklore Forum 20:1/2 (1987)

 Stein

narration. This interest culminated in the

"'
coining of a new genre the "personal
experience narrative. Indeed, of all
Bausinger's work, "Structures of Everyday
Narration" is probably most frequently
quoted by American folklorists. The
translation of this seminal article,
therefore, is long overdue. With this
translation, we hope to provide American
folklorists with an English translation of
this important essay and to extend a belated
birthday wish to the author.

1. Jeggle, Utz, Gottfried Korff, Martin Scharfe and Bernd JUrgen

Warnecken, eds. Volkskultur in der Moderne (Hamburg: Rowohlt.
1986); and Jeggle, Utz, Wolfgang Kaschuba, Gottfried Korff, Martin
Scharfe, and Bernd JUrgen Warnecken, eds. Tubinner Beitrlge zur
Volkskultur vol. 29. (Tubingen: TUbinger Vereinigung fur
Volkskunde, 1986)

2. Hermann Bausinger, Volkskultur in der technischen Welt.

(Stuttgart: Kohlhamner. 1961). A second, revised edition appeared
in 1986.

3. Sandra K.D. Stahl, "The Personal Narrative as Folklore," Journal

of the Folklore Institute 14 (1977): 9-30, and idem, "The Oral
Personal Narrative in its Generic Context," Fabula 18 (1977): 18-
39.
 by Hermann Bausinger

Translated by Mary Beth Stein

with Regina Bendix

Every narrative researcher knows the delight

--surpassingthe mere pleasure of discovery--
which a true storyteller can evoke, a bubbling
fountain in a sparse landscape whom one may
encounter to this day. Researchers from all
countries report unanimously how quickly contact
is established and how warm the rapport is, for
frequently not only the researcher is happy to
have found a narrator, but the narrator is
pleased to have found an attentive listener.
Precisely this reciprocity contributes to the
delight. I don't know whether every researcher
has felt the uneasiness which is the necessary
complement to this delight. The reason that the
narrator so willingly opens up to the researcher
often derives from the fact that the narrator's
audience has declined over the years. Through
his interest, the researcher reconstructs a past
situation. There is certainly no wrong in this,
and everyone knows the rich findings such inter-
est has promoted to date. However, behind all
this the question about contemporary narration**
and the narrative as an effective force in con-
temporary folklife looms uneasily and urgently.
One can answer this question by pointing
to the fact that the fairy tale continues to
play a significant role at least in the nursery.
One can also point to various accounts of modern
legend formation, which could certainly be fur-
ther ac umulated through comprehensive obser-
E
vation. Developmental psychology maintains that
a child, faced with difficult obstacles or a
frightening situation, reverts to earlier stages

(c) Folklore Forum 20:1/2 (1987)

10 Bausinger

of development. Such "regression" occurs also

in the thought and behavior of adults. It can
be repeatedly observed how the logical attitude
of individuals is broken in critical situations,
and how that is articulated in his stories. To
light come not merely harmless rudiments, rather
the often very strong magical notions. The
extent to which the latest stages of development
can meet and correspond with the earliest can
only be ind'cated here: the "fragmentary form"
3
of a legend can be very similar to its Urform;
the anthropomorphic conceptions of demons and
revenants can signify the humanization of the
legend; they can, howeve5, also go back to the
earliest stages of myth. The surrealist joke is
hardly distinguish ble from the animal tale in
f:
its external form. Such examples illustrate the
problems and correlations that should perhaps be
examined under the topic of "magic and technol-
ogy," which however, lead to fundamental anthro-
pological questions as articulated in the title
of Arnold Gehlen's most recent work, "Primitive
Man and Civilized Culture."
As powerful as such regressions may be, they
are nonetheless only understandable as anom-
alies, albeit tradition-oriented,group specific
anomalies. The notion of anomaly is used here
in its theoretical, rather than evaluative
sense. The researcher, who records such
attitudes and expressions, understands them as
deviations from the norm, as exceptions in the
everyday. At this point one should ask whether
it would be worthwhile to examine this "every-
day." In costume research the inclusion of
everyday dress has opened important avenues of
research. Even if we should not expect such
advances in narrative research, it would appear
to be advisable to also consider everyday
narrative. The important, festive emphases
which pervade fairy tale and legends are the
same as those marked by the Sunday costume;
however, they determine very little of the
Folklore Forum 20:1/2 11

continuous everyday of the folk.

Brief references to narrative forms outside
the traditional genres are occasionally found in
folklore scholarship. Mathias Zender notes:
"Today the travels which one has undertaken play
an important role in conversation. Stories from
one's military period, however, were very
popular at all times." "Today [people] occasion-
ally tell stories they have read--not only
fairy tales and humorous tales, but also
novels." "Many have traveled quite a bit ?round
the world, this is told and politicized."
Robert Petsch mentions everyday narratives,
which he labels "con uctor stories" after an
f
expression by Unold. Andre Jolles combines all
these stories under the designation "memorabile"
(not casus, as Petsch indicates!). Jolles
attempts to give these narratives a common
designation a d assigns them to G istes-
beschlft igungga with the factual.
9
Geistesbeschlftigung with the factual means the
understanding of facts as facts, whereas the
other forms which are products of the Geistes-
beschlftigung with facts relate them more to the
metaphysical. The concept of the factual is
well chosen, for it more or less includes this
lack of connection, and it emer es at a time--
Q
regardless of the circumstances --inwhich the
dismantling of metaphysics began. Nonetheless,
this designation is unsatisfactory; or it is
satisfactory only where the researcher is
content with the opinion of Valery on modern
literatu e: "Modernity contents itself with
tia
little." Meanwhile the literary historian can
measure the modern and classical periods,
although he will not believe he has provided a
sufficient characterization if he labels them
non-classical. Thus here, too, we have to
continue seeking the sense and variety of that
which Jolles terms memorabile and which he
perceives as growing out of a Geistes-
beschlftigung with the factual.
12 Bausinger

Jolles sees only one single Geistes-

beschaftigung at work in the memorabile.
However, he also makes the attempt to trace the
Geistesbeschgftigung responsible for other forms
into the world of the factual. Thus he believes
that, "the simple form of the legend" is present
in that section of the newspaper which is exclu-
sively dedicated to the reporting of sports; for
if "sports records" are not a "wonder in the
sense of the Middle Ages," then they are a
"wonder in the sense of an accomplishment, which
had previously not been achieved, which appeared
to be unattainable and im ossible and which
B
confirm an active power." The topic of record
and wonder requires some evaluative annotations;
however, the basic idea is significant, which
allows Jolles to draw a correlation between
legends and sports reports. It follows that
Geistesbeschtlftigungen that led to other
traditional narrative forms also persist in
contemporary, everyday narrative.
"Thef-6is a Geistesbesch!lftigung,"writes
Jolles, "in which the world is constructed as
a family, in which the world in its entirety is
conceptualized in terms of race, kinship, or
blood relationship." This Geistesbeschtlftigung
still effsts, less so in the sparse "kinship
legend" than in the frequent discussion of
family relationships. From the outsider's per-
spective, a group of people can converse for an
unbearably long time about who is whose nephew's
child, how this nephew's child is related to the
branches of other families--as is often the case
in villages--andhow they converge with
branches of one's own family. The world is
constructed as an organic structure in such
discussions, although such conversations clearly
do not constitute actual narratives.
Even the Geistesbeschtlftigungen that lead to
other narrative forms are still effective in the
domain of the factual. The living reference to
the factual, to the factual as factual, appears
Folklore Forum 20:1/2 13

to be more thay2a mere Geistesbeschgftigung.

Werner Spanner is correct in recognizing that
novel and film have, to a great extent, replaced
the fairy tale. He concludes that, "a psycho-
logical impetus, which strives to conquer the
reality of the world, no longer finds room in an
already existing narrative form and creates, in
that it remains the same, new forms. If that is
possible, then yet another motive must be oper-
ative at the birth of narrative forms: it is the
cultural-historical general situation of the
narrating class." The "cultural-historical
general situation" changes the 'reality' of
mankind and creates a new collective attitude.
The turn toward the factual is one such perva-
sive mental attitude. It modifies even the
individual Geistesbeschtlftigungen, the basic
orientation and "spiritual impulse" of which
nonetheless remain the same. As C.G. Jung once
approximately defined "archetypes" as "dominant
structures of the psyche," so too is the
Geistesbeschgftigung a type of spiritual
dominant structure. Jung writes expressly that
the manfgestations of the archetype can
change. In the same manner manifestations oS
one and the same Geistesbeschgftigung are
apparently capable of change due to a change in
the collective mental attitude. We should
therefore be able to approach everyday narration
of our own time period as well, if we take the
traditionally structured narrative forms and
their underlying Geistesbeschtlftigungen as our
point of departure.
Present day reality, that is the world of the
factual, offers no fairy tales. However, as
parts of the fairy tale derive from reality, so
are such parts still to be found in reality.
Here one should think not so much of individual
special motifs, such as trees blossoming in
winter or "roasted ducks," supposed to have
14
plummeted in a storm when hit by lightning.
This resembles indeed a fairy tale motif, but in
14 Bausinger

this case is not a motif; it does not advance

the plot but is rather an absurd special
instance. Rather one should think of short
sequences of motifs, events which take a
surprisingly happy turn. An older boy tells the
following story :

When my father was in the war, they all had horses at one time. Now
all the others had new horses, only my father had received an old one,
and the others ridiculed him. But he said: "Just laugh!" And then
during an attack all at once the other horses started in fear and
jumped into a waterhole, and many drowned. Only my father's horse
continued to run as if nothing had happened.[l51

Perhaps this story is reminiscent of one's

own war experiences and their rendition in
narrative; it is the happy ending after the
impending danger which often appears to make
such an experience worth telling in the first
place. It is the "economy of wish fulfillment,"
which Paul Groth identified as an essential
feature of the fairy tale, the thought that
"happiness is only felt fg proportion to its
contrast to misfortune." The same thought
prevails in the story about a rich factory
owner, which one can often hear in Swabian
Zillertal: When he left home, he had only one
small bundle. The father pressed a golden
twenty mark piece in his hand, but he was so
excited that he dropped it. It rolled into a
crevice in the floor. Then a carpenter had to
come and saw out a piece of the floor, because
otherwise the father had nothing more to give
his son than a tarnished penny. Today this
story often concludes with a jump across cen-
turies; the factory owner has a (very success-
ful) firm, employing over three thousand
workers. Precisely this type of short bio-
graphy--if this designation is not too preten-
tious--illustratesthe structural relation of
such stories to the fairy tale. Their material-
ist nature in no way stands in contrast to the
Folklore Forum 20:1/2 15

fairy tale; for in the fairy tale, too, materia+

gain is often the actual content of happiness.
One may therefore also consider the many stories
of unforseeable material success in this
category.

There was t h i s l a b o r e r - - I don't know where t h i s was, b u t it was a long

time ago--yeah, he had j u s t p u t up something, t h e n t h e window pane
f e l l in. Now n a t u r a l l y he cursed and raved, b u t while he was s t i l l
c u r s i n g , h i s wife came i n and s a i d , "You won a thousand marks i n t h e
l o t t e r y . " Now o f course he was pleased.

Even in this simple story the happiness is

contrasted to the previous misfortune which is
not further explained, and which is expressed in
a blind motif, as it were.
All of these stories may have actually
occurred. The Geistesbeschtiftigung, the inner
perspective, which used to lead to the form of
the fairy tale, would then be effective as a
principle of selection: it can in fact be
observed that such happy events are preserved
more gladly and longer in a person's narrative
repertoire than others, which do not lend them-
selves to this inner form. It is, however,
entirely questionable whether the stories really
happened as they were told. Among the parabl-
esque Stories About Mr. Keuner, Bertolt Brecht
has one with the title, "If Mr. K. loved a
person" :

"What do you d o , " Mr. K. was asked, "when you love a person?" "I make
a d r a f t o f him," s a i d Mr. K . "and s e e t o it t h a t he i s s i m i l a r t o i t . "
"Who? The d r a f t ? " "No," s a i d Mr. K . " t h e man."[lb]

One may take this story as evidence of

Brecht's desire for revolutionary change, which
pervaded even intimate human relationships.
However, this story says much more: it points to
an epistemological problem which touches also
upon our question. In fact we do transform
everything that we love, or in other words
16 Bausinger

everything that we are thoroughly engaged in.

We shape it according to a draft--whichwe have
preconceived--ormore frequently--accordingto a
draft which is prescribed within us. The
Geistesbeschgftigungen are precisely such
drafts. They provide the forms, in which we
fashion and order the events and stories. Thus
in reality only parts of the happy occurrences
actually occurred; in part we trans rm them
into the fabulous in the narration.
f 9 This is
perhaps most apparent if we think of a self-
experienced story, which led through several
dangerous situations to a happy ending, such as
a war experience with a good ending or even a
narrowly averted car accident. In no way is it
only the boastful braggart who exaggerates the
perils beyond the actual event. Even the
language itself provides an abundance of words:
"just then," "almost," "hardly" as well as
exaggerations within folk speech such as "a
millimeter wide." These words give the
narrative the abstract precision of the "just
barely successfy~,"as identified by Ltithi in
the fairy tale.
It has often been said that in many ways the
movie has assumed the role of the fairy tale.
Hans Arnold compares fairy tale and film in
great (tftail in his work "The Magical Element in
Film." He identifies a similar course of
events, a similar character through the prim-
itive wish for a world as it should be, a
similar type of person, and--withoutusing the
term--the one-dimensionality,which prevails in
film as well as in fairy tales. Berendsohn's
broad definition of the fairy tale as "a love
story with hindrance
union of the couple"
5 2 which ends with the final
includes many films as
well.
We appear to stand at a point in which a
continuous psychological need that had previ-
ously been articulated in storytelling is now
satisfied by a representation coming from
Folklore Forum 20:1/2 17

outside of narration. To speak of a Geistes-

beschlftigung would make little sense as such
representations require no formative inter-
vention. At a closer glance, however, the
evaluative distinction between passive attitude
and active creation proves to be premature and
inadequate. Indeed in many cases young people
live through film and do not have the oppor-
tunity to project beyond it. Karl Bednarik has
pointed to this in his study of today's young
workers and has entitled one of his chapt55s
"the culture realm of the movie theater." The
identification, however, in no way prevents
articulation through a particular Geistes-
beschlftigung. On the contrary, even this case
appears to suggest that intensive interest
changes the object of that interest, as Brecht's
short story illustrated. This becomes apparent
when one analyzes narrative adaptations from
films. Such adaptations are by no means scarce
and constitute a significant portion of everyday
narrative. They often depict the characters,
who are often quite "round" and complex in the
film, a?&simple, flat, and strictly opposi-
tional. One speaks of "a wicked woman" or a
man "who helped everyonev--theone-dimensional
delineation of character is thoroughly
reminiscent of the fairy tale.
The similarity between film and fairy tale is
evident in the depiction of love relationships
as well. Max LClthi wrote about the fairy tale
that "courting and marriage play a large role in
the fairy2gale, but they have no real erotic
element." This is also the case in the
narratives of happy occurrences. The happy
wedding is frequently reported; the erotic,
however, is too subtle and is essentially told
only in those situations in which it is simul-
taneously ridiculed, as in the schwank or joke.
Love relationships constitute a large part of
films, but when retelling the story, the average
filmgoer condenses it to "the two were really in
18 Bausinger

love with each other."

In such retellings the Geistesbeschiftigung,
which once gave rise to the fairy tale, is thus
effective in shaping a happy occurrence or
however we want to name the stories with that
type of structure. Hence this Geistes-
beschiftigung would not reflect simply a
principle of selection, but an energy which
continues to exert a creative and shaping
influence. It appears to be even more deeply
ingrained as an actual category of perception.
In other words, there appears to be a type of
"fairy tale thought" with which we approach
those facts of reality that we are unable to
perceive in any way other than through the
lenses of this Geistesbesch3ftigung. A perfect
example of this is the situation before an exam.
Even though experience contradicts such expec-
tations, the period after passing the exam is
instinctively expected to be a non plus ultra
happiness and despite all earlier rational
considerat3gn is expected to become a permanent
condition.
The euphoric thoughts of happiness would
therefore be a category of perception. Although
the concept of the factual would suggest that
this factual element is something inalterable
and objective, closer examination indicates that
it is subject to internal creative laws as to
where it is perceived, and in particular where
it is narrated. Even the theory of poetic
naturalism is forced to recognize an unavoidable
subjective factor. One thinks of Zola's obser-
vation: " A w o r k o f a r t i s a corner
9 $ nature
seen via a particular temperament." We attempt
to understand this "temperament" as an ordering
principle. Thus we move along the paths that
Ernst Cassirer took in expanding Kant's categor-
ical system or that Dilthey introduced into
literary studies by characterizing literature as
the "organ of world understanding." The concept
of "inner form" is useful, for the external
Folklore Forum 20:1/2 19

distinction between form and content is sus-

pended in favor of an integration, which does
not allow lgr distinction without doing harm to
the whole. This involves an elementary theme
of narration, of speaking, of comprehension--so
elementary that it may appear banal. However,
it is by no means superfluous. The many
attempts to analyze the fairy tale, which
neglect the grounding of the fairy tale in a
fundamental Geistesbeschilftigung and therefore
often ar ve at absurd conclusions, are evidence
of this.
5 6
In his study of folktales and folktale
narrators, Franz Heyden identifies the "narrow
horizon of the narrator" as conditional for the
viability of the tale.

For as soon as the horizon of the people surpasses the narrow

boundaries of a limited possibility, the wide world of reality steps
in place of the previous fantasy world that began already at the edge
of the next forest. And as the belief in the fairy tale world
disappears, the need to narrate from it dies and the traditional
fanciful images are repressed by colorful pictures of reality.[301

What we are attempting to illustrate is a

certain lawfulness in this process of repres-
sion, which is indispensible to understanding
Heyden's provocative, yet thoroughly correct,
statement. The narrowness of horizon in no way
appears to determine and accompany the fairy
tale alone. The entire trinity of traditional
narratives--fairytale, legend, schwank--derive
from a world which is marked by its comprehen-
sibility, its closeness, its depth. The unknown
and the feeling of being at the mercy of others
--not only strangers but above all supernatural
powers as well--beginat the border of the
close, familiar sphere. The fairy tale may
adopt the foreign; it bears the colors, forms
and customs of foreign countries, but is unable
to order this foreignness. In the fairy tale
there is the desire that yearns to leave this
20 Baus inger

closeness. However, the adventure of the fairy

tale does not lead into carefully registered
foreign areas as does a travel report. Instead
it leads plainly into the otherworldly, magical
world that nonetheless stands on the same level
as the world of the everyday. The schwank
seizes the most extreme possibilities of a
humorous nature, possibilities, too, of one's
own confined existence. The legend is situated
on the border of one's own close area, from
where it confronts the outside world. The
narrowness in the narrative is overcome in this
way: through the confrontation with powers of
the depths, through the escape in the other-
worldly, and through the poetic extension of
humorous possibilities. However, this narrow-
ness is not eliminated. A great deal has
remained from the "original bipartition of the
world that distinguishes everything else outside
of thegfamilial and familiar home as second-
rate."
The historical development, however, results
in the outgrowing of this closeness and the
retreat of traditional narrative forms. Lothar
Brixius surmises for the legend

that toward the end of the last century superstitious attitudes have
ventured forth more openly. They even defined the image of community,
before being contaminated by the suddenly expanded vision brought
about by technology and transportation.[321

The knowledge of the "real" world and of "real"

relationships in this world has been expanded in
connection with technology and transportation.
The way and manner in which even simple people
today experience events on the other side of the
earth illustrates the universality, however
vague, of world consciousness. Korea, Algeria,
Budapest--allare tremendously close. There is
no longer a "remote and distant Turkey."
However, not only the experience of feeling
threatened has been shifted to the "real" world.
Folklore Forum 20:1/2 21

A general "leveling" has set in, which for the

time being need not mean a devaluation. If the
close, familiar world was previously integrated
into the metaphysical world, it now achieves its
wholeness in breadth. This development cannot
bypass narrative without a trace. It has long
been acknowledged that "folkloric narration in
essence . . . communicates to the folk community
the experience of a supernatural world r53ching
into real, familiar life circumstances." In
addition, another task is increasingly ascribed
to the narrative: to tell of the laws and of the
diversity of the phenomena of the natural,
"real" world.
The realistic development allows the report
to pass by the story. In earlier times the
point at which the unknown began was not that
far from one's familiar surroundings and could
only be reached in narrative. In this way each
report rapidly developed inty4a story. However,
reality in the new worldview is much more
precise, and there are many institutions which
have the responsibility of reporting the events
of this reality. Even oral exchanges occur much
more frequently on the level of the report.
This is due to the fact that showing interest--
that is sympathy corresponding to one's
responsible position--isno longer as narrowly
bounded as in previous times.
After a short while, however, each report is
open to narrative fashioning, namely as soon as
an event has enough import of its own--which
most often means that it is recent--and is not
merely interesting as an historical fact. For
this reason there is still folk narrative. Even
though one experience report today follows upon
the heels of another, there still exists folk
narrative surpassing the merely descriptive
report. The descriptive report rarely belongs
to the traditional narrative genres, although it
is governed by a similar orientation.
As we discovered the happy occurrence to be
 Baus inger

the successor of the fairy tale, it is now worth

asking what has become of the legend or more
precisely: Which form represents the Geistes-
beschgftigung in the world of the factual that
among other circumstances leads to the legend?
We cannot turn to Jolles in identifying the form
of this Geistesbeschxftigung, for his chapter on
legend is oriented toward the ancient saga and
can almogg only hold true for the "clan
legend." Moreover, the harmless expression,
legend, is in no way common where the legend
thrives. Designations such as "ghost stories"
and the like or just plain "stories" step into
its place and often allow the dark powers of
these stories to be forgotten. We could offer
the following characteristics: a Geistes-
beschaftigung underlies the genre of the legend
in which the world is divided according to
inside and outside, familiar and foreign, in
being safe and at the mercy of others, the here
and beyond. It is a Geistesbeschxftigung which
watches the boundaries between these two spheres
in order that the outside, the foreign, the
helplessness, the beyond, and the "other" are
not forgotten in one's own sphere, and that it
cannot be harmed by these otherworldly powers.
Even this definition does not limit the
legend to the discussion of supernatural powers.
The other, the foreign, the threatening, that
which one feels powerless in the face of, need
not be demons. For example, stories about a
runner amuck were told for a week long. The
experiences underlying the stories were similar
to old werewolf legends; feelings of helpless-
ness prevail in a similar manner. The difference
is that only the werewolf is associated with
supernatural powers. The runner amuck is sick,
crazed, and mad, but there is no attempt to find
a supernatural reason for this. The following
story with the title "Gruesome Rumor" appeared
in the Schwgbische Zeitung from January 27,
1956 :
Folklore Forum 20:1/2 23

The rumor of a t e r r i b l e murder i n Ravensburg c i r c u l a t e d and continues

t o spread n o t only i n t h e comnunities of Ravensburg, Tetnang, and
Saulgau, b u t a l s o i n Wangen. I t i s s a i d t h a t t h e c h i l d of a family
t o r e a f i f t y mark b i l l . I n a f i t of rage t h e f a t h e r suddenly chopped
o f f t h e c h i l d ' s hands. The mother i n her d e s p a i r d i d n o t know what t o
do and f l e d i n shock. As a r e s u l t t h e second c h i l d , which t h e mother
was bathing a t t h e time of t h e i n c i d e n t , drowned i n t h e bathtub. Even
with two corpses, t h e rumor-mongers f e l t t h a t t h e r e was n o t enough
blood. They knew y e t t h a t t h e mother hanged h e r s e l f a s she came home
and saw t h e consequences of h e r d e s p a i r . The old experience was
confirmed: Nothing can be so unbelievable t h a t it i s n o t b e l i e v e d .

This story corresponds quite closely to a

36
newspaper legend reported by Hermann Krfigler,
with the difference that the latter reports it
as an actual occurrence, while the former warns
of a rumor. In this case as well, it is the
fantastic, the unbelievable which apparently
makes the story worth telling. For example, the
story that frequently emerges about the small
child ocked in a pig sty and dismembered by the
3)
pigs, which is only slightly modified in John
Steinbeck's St. Katy, belongs to this category.
We can collect these stories, which are the
successors of the legend, under the category
terrible occurrences. In the word 'terrible'
what is 'not right' is unified in its double
meaning (as the wrong and as that which suggests
the supernatural--justas one says of a haunted
place that it is not "right" there). It is the
unlimited--theadmirable and damnable that
surpasses the norm. In speaking of the occur-
rence, rather than the narrative, we indicate
the proximity of such narratives to the actual
reality from which they derive and are fostered.
Clearly, these stories are not new. Even in
the Grimrn legend collection, Hermann Schneider
has found "some stories, ybich have no super-
natural characteristics." And even among all
kinds of humorous anecdotes ( ! ) in Montanus'
WegkUrtzer there is the story "Adam Stegmann
24 Bausinger

strangles his two children," dating back to a

true occurrence on April 10, 1556. Such stories
were also common in broadsides and ballads. In
his novella Goethe summarized their meaning with
the following observation: "The good people want
to be intimidated so that they can later feel
how wonderful and laudable it is to breathe
freely." However, such gruesome stories not only
frighten and evoke pleasure merely in reaction,
but maintain in themselves a peculiar pleasure,
due to their excess, outrageousness, and
madness. Willy Hellpach has examined the
question of why evil is such an "ineradicable
object of human interest" from a sociopsychol-
ogical perspective. He noted that above all "it
is the fact of evil for which desire craves, and
that means for proof of 5Qe grim realization of
unlimited imaginations." It is the unconscious
experience of one's own possibilities which
makes the terrible occurrence so popular. This
can also be seen in a harmless way in the many
stories about various kinds of betting. Betting
challenges the limits of human potential. The
experience is essentially the same for the
highest or lowest bet; even when it only
revolves around whether it is possible to
consume fifty cents of yeast followed by three
glasses of beer, or drink an enti~gbottle of
wine and in addition eat a mouse.
In both cases, the person who wagered the bet
dies, and that, too, is an important ingredient
of such stories. The limits of one's potential
thereby only appear to be extended. In reality
they remain stationary, and the experience of
safety within one's limited potential joins the
experience of the "grim realization of unlimited
imaginations." Montanus supplements his account
of Stegmann's crime with a moralistic judgment
as was the style of the time. Today it is cus-
tomary for the bipartition of the gruesome and
moral to be less abrupt. Instead the moralistic
commentary pervades the entire narrative. Riehl
Folklore Forum 20:1/2 25
points to the frequengy of the "Story of the
Ungrateful Children." Stories about the
torture of animals are also frequent in which
the animal torturer finally receives his punish-
ment. Though precisely here it is sometimes
apparent that the torture is described with a
peculiar type of pleasure.
An obvious moralistic judgement and warning
is embedded in the following story:

There was also a man who played the lottery and he apparently gave the
wrong house number. Now the notice was sent to a butcher that he had
won I don't know how many thousands of marks. The man grabbed his
cleaver and destroyed the entire butcher shop, all the while shouting
"I don't have to work anymore!" Only later did he find out that his
neighbor, not he, had won.

This story constitutes the counterpart to the

previously cited happy occurrence. As the
former expressed the "economy of wish fulfill-
ment," this latter occurrence obtains its
peculiar character through an economy of
misfortune. Stories about lottery winners who
meet with misfortune shortly after their fortune
are abundant: the happy winner gets drunk and
doesn't notice that his three-year-oldchild
runs away and drowns in a pond, whereupon he
commits suicide. The winner buys a motorcycle
and has an accident shortly thereafter. Or
fortune and misfortune are condensed in a single
moment: a woman is told that she has won first
prize and the sudden announcement causes her to
die of a heart attack. The following announce-
ment ran in the newspapers as well:

A poverty stricken Algerian named Mustafa bought a lottery ticket in

Paris, in final desperation. He had a learned man read him the list
of drawings as he could neither read nor write. He was half crazy
with delight when he found out that he had won half a million francs.
A businessman lent him money so that he could buy a decent suit. In
order to prove that his impoverished days were now over, he set his
old rags on fire and danced joyfully around the fire. Only when the
26 Bausinger

rags were e n t i r e l y burned did i t occur t o him t h a t he had l e f t the

l o t t e r y t i c k e t i n the pocket o f h i s o l d pants. Now he does n o t know
how t o pay f o r t h e new s u i t .

It has been proven that this occurrence, which

follows the same pattern, also entered into oral
tradition.
As with all realistic narratives, the under-
lying Geistesbeschgftigung of the terrible
occurrence expresses itself more in the selec-
tion, embellishment, and formulation of actual
occurrences than in the free invention of such
events. For the most part, the stories are read
in and developed from the large number of
reports, which are offered new daily. In
specific instances, however, one can assume a
free formulation, as in the example of gruesome
war stories that are in circulation in multiple
form. Typically it is rare that the situation
on the front serves as the basis for such
stories, for the gruesome is practically a
matter of course on the front. There are no
terrible occurrences there because the entire
life and events exceed the usual. Therefore,
conditions which could be found in one's own
village are frequently depicted: an old woman
with whom one is quartered; a hairdresser who
has cut one's hair. The outrageous, however, is
concealed in the everyday. The old woman has
hidden a long knife under her apron and can only
be overpowered with effort. The hairdresser
slits the soldier's throat with his razor and
throws the body into his cellar.
Demons become less frequent, but the out-
rageous and dangerous are still concealed in the
everyday. This is expressed almost symbolically
in the following narrative, which is exception-
ally widespread and continues to be localized:

There was a man who was driving through a f o r e s t with an ambulance. A

nun, who had a very sweet f a c e , was standing there and waved
i n d i c a t i n g that she wanted a r i d e . He picked her up and then n o t i c e d
Folklore Forum 20:1/2 27

as he drove on that she had thick and hairy hands. He stopped and told
her to get out and push because something was broken. And as she was
outside, he laid on the gas and drove directly to the police. There
the nun's two suitcases were opened; there were a pair of very long
knives still covered with fresh blood.

The lovely face and the nun's habit are no

guarantee for security either: danger, a big
and hairy hand, reaches everywhere out of the
everyday and seemingly harmless. The terrible
occurrence conjures up danger. At the same time
danger is exorcised and averted.
In contrast to the fairy tale and legend, the
schwank has always stood closer to the factual
world. It draws, of course, upon the super-
natural, but usually only when measuring it
4 3
against the factual n order to reveal its
disproportionality. Thus, the humorous
occurrences--aswe must label them in order to
be consistent--arenot a late development, but
rather a continuous characteristic of the
schwank. The ransition from schwank legend to
schwank story
4 5
was and is fluid. The schwank
stories compiled by Aarne-Thompson in the Tale
Type Index are also continually revitalized, not
as signs of an old tradition, but on the basis
of their occurrence in reality. An example is
AT 1361, "The flood." New humorous occurrences
replace the old schwank about the expected
flood, as happens and will always happen when
the end of the world is expected. In the last
century, the south Swabian doctor, poet, and
folklorist, Michael Richard Buck, recorded such
events i-p4a dramatic schwank, "The Brbller is
Coming." When prophecies about the near end of
the world circulated in Germany a few years ago,
one could note similar reactions everywhere,
which quickly became the subject of narratives
and have remained part of the narrative
treasures of many communities to date.
A certain development has certainly occurred
in the realm of the Geistesbeschaftigung
28 Bausinger

creating the schwank as well. However, before

we address this we should characterize once more
from this perspective the development of the
legend to terrible occurrence and the close
correlation between the two. There are Schwhke
which at first lead straight into the realm of
the legend and then suddenly take a turn and
yield to the realm of the ludicrous. To this
category belongs the complicated and colorful
story, which tells of a girl crossing a bridge
when suddenly a black hand reaches out of the
waters and the cry "Who will make my hand
clean?" is heard three times. Final&xathe
answer is also called out. "Persil!" To this
category also belongs the story, which is wide-
spread among soldiers, of a soldier who is
quartered in an old castle. In the night he
sees a ghostly white hand emerge from under his
covers repeatedly. Finally he grabs for his
revolver, shoots, hits, and screams. He had
shot his own foot. As in this case with a
legend, so the terrible occurrence can conclude
humorously in other cases, whereby the border
between legend and terrible occurrence is not
always easy to determine. Popular and well-
known are the types of jokes which, without
specific details, nonetheless tell with gruesome
clarity, for instance, of someone found under a
bridge with his tongue cut out. Only once the
listener has shown signs of believing the horror
and frightfulness of this occurrence does the
explanation follow that it was about an old
shoe.
The schwank has always la~ghingly~yegated the
believing imagination of the legend. Peuckert
correctly maintains that the schwank i
younger than the legend or fairy tale.
$gnatThis
appears to challenge our distinction between
mere Geistesbeschlftigung and the overlapping
mental attitudes. It seems to indicate that the
world of the factual is not new, but rather one
possible perspective which has always existed.
Folklore Forum 20:1/2 29

Although this is correct, the emphases have

shifted to such an extent that one may speak of
a different mental attitude. Many true legends,
which originate today next to the terrible
occurrence, reveal that the "surreal" can invade
the world of the factual. That is the counter-
part to the invasion of "rational" thinking in
the earlier attitude, as is manifest in the
schwank.
The humorous narrative has also undergone a
certain development, which one can best charac-
terize as the path from the schwank to joke. An
exhaustive delineation of the differences is not
possible here. Only the most prominent shall be
pointed out, namely that the joke is shorter
than the schwank. Whereas the schwank indulges
in colorful description and history, the joke is
generally short and told in the present tense.
This development points to the social conditions
outlining and shaping the world of the factual.
The comprehensible world of the past offers
people a specific place and a uniform history in
which they can become integrated. The world of
the factual is no longer comprehensible and, to
a certain extent, puts the encounter in the
place of the community, a contemporary and
singular phenomenon in place of the historical,
traditional, spatial, and spiritual community.
Urban sociology has clarified these circum-
stances most lucidly, illustrating how the
social life of urban people is disintegrating
into many partial encounters, to which the
individual tyither can nor may give himself
completely. However, today's everyday
narratives are told in the context of such
relatively brief encounters.
Social psychology is in the process of
dissolving the myth of the shapeless mass and
illustrating that organized groups are formed
even in a rapidly changing society theb is no
longer so closely bound to tradition. Folklore
also has a similar task. It must attempt to
30 Bausinger

trace instances of order in the seemingly

chaotic confusion of today's everyday life, and
find traditional bonds in the seemingly disinte-
grated folk culture that is accessible only
through fashion. This is also the purpose of
this study. The responsibility which folklore
bears in this regard is evident in the fact that
its findings are not only accepted in general by
culture critics, but also adopted by scholars of
neighboring disciplines in their works. Paul
BOckmann writes:

The living narration of stories and one's own experiences disappears

from public view, as does social singing and dramatic play. One turns
on the radio and is then sentenced to passivity when earlier one had
to develop one's own initiative and thereby transmit living narrative
further. It is this one phenomenon which concerns not only the
folklorist but must also alter the relationship of man to language and
fiction, and threaten his ability to find himself in representational
imagery. [ 4 9 1

Just as the widespread and exclusively negative

image of the decay of storytelling was capable
of influencing the attitudes of this German
scholar, the opposite in thought and observation
is perhaps also possible, namely that in all the
confusing haste of motion and change, patterns
that stand in a long and great tradition appear
to have survived. That these patterns are
subject to the law of "diminishing returns,"
however, does not distinguish them from the more
significant literary forms.
Many observations and efforts are still
needed in order to clarify the picture. A
"higher mathematic of form" should also be
50a
developed, corresponding to that of Walzel.
Above all, it would be important to conduct
corresponding studies in other language areas.
In light of the German narratives, it would be
logical to begin with the trinity of fairy tale,
legend, and schwank, which other narrative forms
either closely resemble or from which they
Folklore Forum 20:1/2 31

recede as insignificant. 51 As far as the

transmission of narrative motifs is concerned,
one knows today that one should generally figure
on a world-wide dimension. The overall style of
narration, too, appears to exhibit strong simi-
larities, regard$&ss of regional or national
characte stics. Despite many preliminary
53
studies, the extent to which uniform generic
terms can be developed, however, has not yet
been adequately clarified.
Nonetheless, the structures, models, and
patterns which have been touched upon here
appear to be so deeply rooted that they may be
active everywhere, perhaps resulting in
different genres. Perhaps further insights
could be reached if a psychiatrist were to
report about the pathological borderline cases
of narration and the related worldview. The
normal is often better understood from the
perspective of the abnormal, and precisely a
study which examines the everyday should be
grateful for such help. Above all, it appears
to be imperative that the narrative scholar not
underestimate the everyday, but rather attempt
to collect, classify, and understand everyday
narrative in the same way as traditional
narrative.

Notes

*"Strukturen des allttlglichen ErzBhlens" originally appeared in

Fabula 1 (1958): 234-254. We wish to thank both Hermann Bausinger
and the editors of Fabula for granting permission to translate this
essay.

**Translator's note: The German word ErzBhlen is a substantive

noun of the verb erzBhlen (to tell or narrate). Whereas ErzBhlung
translates as "narrative" (the thing), Bausinger's use of ErzBhlen
(the act of the thing) stresses the active element of everyday
storytelling, i.e. the act rather than the thing.

1. See, for example, Ingeborg Weber-Kellermann. "Berliner

 Bausinger

Sagenbildung 1952," Zeitschrift fur Volkskunde 52 (1955): 162-170.

2. Regarding this concept, see Lothar Brixius, Erscheinunnsformen

des Volksnlaubens. (Halle: Niemeyer, 19391, p. 16.

3. See Lutz Rehrich, Die dbonischen Gestalten der schwlbischen

VolksUberlieferun&. Typed Diss. TUbingen 1949, p. 176; and
Bausinger, Lebendines Erzlhlen. Typed Diss. TClbingen, 1952, p.
120.

4. Recent historical-philosophical writings, e.g. those of

Troeltsch and Toynbee mark an obvious meeting of the beginning and
late period. To a certain extent they recommend the return to myth
once the boundaries of historical understanding have been reached,
so that history as past would again pass over to history as story,
to the invention of 'fiction.' See in this regard Ernst Robert
Curtius, Europlische Literatur und Lateinisches Mittelalter. Second
Edition. (Bern: Francke, 1954), p. 17.

5. Mathias Zender, VolksmBrchen und SchwBnke aus der Westeifel.

(Bonn: Rehrscheid, 19351, p. xv-xxii.

6. Robert Petsch, "Wesen und innere Form des Volksmlrchens,"

Niederdeutsche Zeitschrift far Volkskunde 15 (1937): 10.

6a. Translator's note: Geistesbeschlftinung. Jolles' term

referring to the mental or spiritual processes which underlie and
shape narrative genres, is difficult to translate into English.
William Templar and Eberhard Alsen have employed "occupation of the
intellect" in their translation of this term in Kurt Ranke,
"Einfache Formen" (Journal of the Folklore Institute vol. 4 no. 11.
Although correct in its literal sense, this phrase made for an
undesirable clumsiness. We have therefore opted to keep Jolles'
original term in this translation.

7. Andre Jolles, Einfache Formen. Second Edition. (Halle: Niemeyer,

1956): 165-80; see particularly p. 175.

8. In 1756 the Berlin pastor Spalding translated Tatsache with the

English word 'fact' seventeen times in a theological treatise. See
TrUbners Deutsches W6rterbuch vol. 7 (Berlin: de Gruyter, 19561,
p. 23.
Folklore Forum 20:1/2

8a. Cited by E.R. Curtius (see ft. 4), p. 25.

9. Andre Jolles, Einfache Formen, p. 48.

10. Ibid., p. 60.

11. See Will-Erich Peuckert, Deutsches Volkstum in Mllrchen und

Saxe. Schwank und Rtltsel. (Berlin: de Gruyter, 19381, pp. 130-
135.

12. Werner Spanner, Das MBrchen als Gattung. (Giessen: Kindt,

1939). p. 34.

13. C.G. Jung, Symbolik des Geistes. (Zurich: Rascher, 1948). p.

374 (footnote 1).

14. Dunn, "North Carolina." See Stuttnarter Zeitung of May 15,

1954.

15. For dialect version and verification of the narrative see

Bausinger, Lebendiues Erztlhlen.

16. Paul Groth, Die ethische Ha1tun.q des deutschen VolksmHrchens.

(Leipzig: Eichblatt, 1930), p. 48. Also printed in Form und Geist
vol. 16.

17. See Adolf Bach, Deutsche Volkskunde. (Leipzig: Hirzel, 19371,

p. 380.

18. Bertolt Brecht, Versuche 27/32. (Berlin: Suhrkamp, 1953),p.152.

19. As the expression marchenhaft (like a fairy tale or fabulous)

is only popular in German slang, it is used only sparingly here.
Otherwise one could speak of a "fairy tale like-occurrence" or a
"fairy tale-like story." The same is true for the expression
sa~enhaft(legend-like or incredible), which is used in slang most
often for adverbial emphasis. [Translator's note: Bausinger's point
in this passage is lost somewhat in the translation, for the
English translation of the German verbs does not adequately
illustrate the relation of these colloquial expressions to their
generic origins.]
34 Baus inger

20. Max LUthi, Das europlische Volksmlrchen. (Bern: Francke,

19471, p. 41 and 64.

21. Hans Arnold, Das Ma~ischedes Films. Typed Diss. MUnchen, 1949.
Its subtitle reads "Ein Beitrag zum Problem der Wirksamkeit
magischer EinflUsse in der Gegenwart unter besonderer
BerUcksichtigung des Films." See in particular pp. 219-253.

22. Walter Berendsohn, Grundformen volkstllmlicher Erzlhlerkunst in

den Kinder- und Hausmlrchen der BrUder Grim. (Hamburg: Gente,
19211, p. 35.

23. Karl Bednarik, Der junge Arbeiter von heute - ein neuer TYE.
(Stuttgart: Kilpper, 1953), p. 37.

24. In Aspects of the Novel, E.M.Forster distinguishes between

"round characters" and "flat characters."

25. Max LUthi, "Mlrchen und Sage," Deutsche Vierteljahresschrift

fur Literaturwissenschaft und Geistes~eschichte25 (1951): 168.

26. The wedding is a similar imaginary conclusion to the fairy tale

in our reality. The psychiatrist knows numerous cases of
depression which arise imnediately after marriage and which have
their psychological basis in this attitude. In terms of the past,
one should point above all to the chiliastic movements, whose ideas
were to a great extent rooted in a type of "fairy tale thought."

27. Emile Zola, Die Gesellschaft: Realistische Wochenschrift fur

Literatur. Kunst, und 8ffentliches Leben I1 (1889): 670.

28. For the crucial definition of "inner form" in recent literary

criticism see, for example, Paul Bbckmann, Formgeschichte der
deutschen Dichtung. (Hamburg: Hoffmann und Campe, 1949), pp. 1- 69.

29. Compare the debate over such attempts at an interpretation in

Paul Delarue, "Le Conte de 1'Enfant a' la queue du loup," Arts et
Traditions populaires (1953): 33-58; and Bausinger, "Aschenputtel:
Zum Problem der MBrchensymbolik," Zeitschrift fur Volkskunde 52
(1955): 144-55.
F o l k l o r e Forum 20:1/2

30. Franz Heyden, VolksmBrchen und Volksmlrchenerzlhler: Zur

literarischer Gestaltung des deutschen Volksmlrchens. (Hamburg:
Hanseatische Verlagsanstalt, 1922). p. 81.

31. Leo Weisgerber, Die Entdeckunn der Muttersurache im

euro~lischenDenken. (LUneburg: Heliand, 1948). p. 36. It should
also be noted parenthetically that that which is situated "outside"
is by no means always considered second-rate. The fairy tale and
legend are proof of this.

32. Lothar Brixius, Erscheinungsformen des Volksglaubens, p. 74.

33. Gustav Hagemann, "Zur Lebensform der deutschen VolkserzBhlung,"

Zeitschrift fur die deutsche Bildung 14 (1938): 160.

34. The expression "new view of the world" should be allowed here,
although it should certainly be examined, along with Heidegger,
whether "the time of the view of the world" did not actually begin
only with the changes to which this article refers. See the essay
of the same title in the collection: Martin Heidegger, Holzwege.
(Frankfurt am Main: Klostermann, 1950).

35. See footnotes 9 and 10.

36. Sudetendeutsche Zeitschrift far Volkskunde 6 (1933): 217. Dr

Dieter Narr has informed me that it also appears in the second
edition of Barack's Zimnerischen Chronik vol. I1 (Tubingen: Mohr,
1881). p. 174. As an additional reference see Alois Siegel,
Lichter am Lebenswen: Aus unserer hernebrachten VolksfrUmnigkeit.
(Karlsruhe: Badenia-Verlag, 1953), p. 98.

37. See Gerhard Gesemann, "Soziologische und psychologische

Zusamnenhlnge in der Sagenforschung," Zeitschrift fur VUlker-
psychologie und Soziolonie 4 (1928): 33.

38. Hermann Schneider, Die deutschen Sagen der BrUder Grim.

(Leipzig, Wien and Stuttgart: no year or publisher given), p. 4.

39. Willy Hellpach, Sozialpsycholonie. Ein Elementarlehrbuch fur

Studierende und Praktizierende. Third Edition (Stuttgart: Enke,
1951). p. 201.
36 Baus i n g e r

40. Both according to stories from Schwabsberg, in county Aalen,

West Germany.

41. Wilhelm Heinrich Riehl, Die burnerliche Gesellschaft, vol. 2 of

Die Naturneschichte des Volkes als Grundlage einer deutschen
Sozialpolitik. (Stuttgart and Tubingen: Ebda, 1854). p. 59.

42. Alone the schwank-fairy tale claims a special place. See here
and for the following Bausinger, "Schwank und Witz" in Studium
Generale.

43. For a comparison see Hugo Moser, Schwkibischer Volkshumor.

(Stuttgart: Kohlhamner, 1950), pp. 399-406.

44. Heinz-Eugen Schramn, Michael Buck als Mundartdichter.

(Stuttgart: Verlag des Schwlbischen Albvereins, 1956), pp. 150-62.
[Translator's note: BrOller is dialect for 'flood.' The reference
is drawn from a local dialect drama in which an underground spring
that erupts every few years is considered by local residents to be
a bad omen. Personal comnunication with author.]

44a. [Translator's note: Persil is a German brand of cleanser

similar to Ajax.]

45. See Kurt Ranke, "Schwank und Witz als Schwundstufe,"

Festschrift fur W.E. Peuckert. (Munchen: 1955), pp. 41-59.

46. Will-Erich Peuckert, Deutsches Volkstum in Mlrchen und Sane,

Schwank und Rltsel. (Berlin: de Gruyter, 1938), p. 168.

47. See Elisabeth Pfeil, "Fremdheit und Nachbarschaft in der

Grossstadt," Studiwn Generale 8 (1955): 121-126, in particular the
reference to Georg Simnel on p. 122. In addition, see Willy
Hellpach, Mensch und Volk der Grossstadt. First Edition.
(Stuttgart: Enke, 1939). p. 74.

48. See Peter HofstBtter, "Gruppendynamik: Kritik der

Massenpsychologie," Rowohlts Deutsche Enzyklopkidie Nr. 38.
(Hamburg: Rowohlt, 1957).

49. Paul BOckmann, "Der Beitrag der Literaturwissenschaft zu

unserer Zeit," Die Samnlung (1952), p.190.
Folklore Forum 20:1/2

50. See Ernst Robert Curtius, p. 395.

50a. [Translator's note: Oskar Walzel was a Germanist whose work

"Gehalt und Gestalt im Kunstwerk des Dichters," Handbuch der
Literaturwissenschaft (Wildpark-Potsdam, Athenaion, 1924) greatly
influenced post-war literary studies in Germany. In this work he
addresses the interdependence of form and content in verbal art.
Personal comnunication with author.]

51. Aside from the fairy tale, legend and schwank, Peuckert's
fundamental work names only the riddle in its title. See also
Bausinger, "Sage, Mtlrchen, Schwank," Der Deutschunterricht 8
(1956): 37-43.

52. The filler words such as "of course" which are repeated
extensively in Richard Dorson's account of stories of a Greek-
American family are one such example, for they also shape the
stories in this country. See Dorson, "Tales of a Greek-American
Family on Tape," Fabula 1 (1957): 114-43, esp. 124.

53. C.W. von Sydow's fundamental treatise, "Kategorien der Prosa-

Volksdichtung," should be mentioned here. See Volkskundliche
Gaben: John Meier zum 70. Geburtstan darnebracht. Harry Schwebe,
ed. (Berlin and Leipzig: de Gruyter: 1934). pp. 253-268.