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23150 = = = Max and Moritz = = =
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23151 In German Eine Bubengeschichte in sieben Streichen , Max and Moritz is a series of seven illustrated stories concerning the mischievous antics of two boys , who are eventually ground @-@ down and fed to ducks .
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23152 = = = Saint Antonius of Padua and Helen Who Couldn 't Help It = = =
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23153 In Saint Antonius of Padua ( Der Heilige Antonius von Padua ) Busch challenges Catholic belief . It was released by the publisher Moritz Schauenburg at the time Pope Pius IX proclaimed the dogma of papal infallibility that was harshly criticized by Protestants . The publisher 's works were heavily scrutinized or censored , and the state 's attorney in Offenburg charged Schauenberg with " vilification of religion and offending public decency through indecent writings " — a decision which affected Busch . Scenes of Antonius accompanied by a pig being admitted to heaven , and the devil being shown as a half @-@ naked ballet dancer seducing Antonius , were deemed controversial . The district court of Düsseldorf subsequently banned Saint Antonius . Schauenburg was acquitted on 27 March 1871 in Offenburg , but in Austria the satire 's distribution was prohibited until 1902 . Schauenburg refused to publish further Busch satires to avoid future accusations .
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23154 Busch 's following work , Helen Who Couldn 't Help It ( Die fromme Helene ) , was published by Otto Friedrich Bassermann , a friend whom Busch met in Munich . Helen Who Couldn 't Help It , which was soon translated into other European languages , satirizes religious hypocrisy and dubious morality :
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23155 Many details from Helen Who Couldn 't Help It criticizes the way of life of the Kesslers . Johanna Kessler was married to a much older man and entrusted her children to governesses and tutors , while she played an active role in the social life of Frankfurt .
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23156 The character of Mr. Schmock — the name based on the Yiddish insult " schmuck " — shows similarities with Johanna Kessler 's husband , who was uninterested in art and culture .
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23157 In the second part of Helen Who Couldn 't Help It Busch attacks Catholic pilgrimages . The childless Helen goes on a pilgrimage , accompanied by her cousin and Catholic priest Franz . The pilgrimage is successful as later Helen gives birth to twins , who resemble Helen and Franz . Franz is later killed by a jealous valet , Jean , for his interest in female kitchen staff . The now widowed Helen is left with only a rosary , prayer book and alcohol . Drunk , she falls into a burning oil lamp . Finally , Nolte coins a moral phrase , echoing the philosophy of Schopenhauer :
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23158 Pater Filucius ( Father Filucius ) is the only illustrated satire of this period suggested by the publisher . Also aimed at anti @-@ Catholic taste and buyers , it criticizes the Jesuit Order . Kraus felt it was the weakest of all three anti @-@ clerical works . Some satires refer to contemporary events , such as Monsieur Jacques à Paris during the Siege of 1870 ( Monsieur Jacques à Paris während der Belagerung von 1870 ) . Busch biographer Manuela Diers declares the story " tasteless work , drawing on anti @-@ French emotions and mocking the misery of French people in Paris , which is occupied by Prussian troops " . It depicts an increasingly desperate French citizen who at first eats a mouse during the German siege , then amputates his dog 's tail to cook it , and finally invents an explosion pill which kills his dog and two fellow citizens . Weissweiler believes that Busch wrote with irony . In Eginhard and Emma ( 1864 ) , a fictional family story that takes place in the Charlemagne era , he criticizes the Holy Roman Empire and calls for a German empire in its place ; in The Birthday or the Particularists ( Der Geburtstag oder die Partikularisten ) he satirizes the anti @-@ Prussian sentiments of his Hanover countrymen .
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23159 = = = Critique of the Heart = = =
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23160 Busch did not write further illustrated tales for a while , and focused on the literary Kritik des Herzens ( Critique of the Heart ) , wanting to appear more serious to his readers . Contemporary reception for the collection of 81 poems was mainly poor ; it was criticized for its focus on marriage and sexuality . His long @-@ time friend Paul Lindau called it " very serious , heartfelt , charming poems " . Dutch writer Marie Anderson was one of few people who enjoyed his Kritik des Herzens , and even planned to publish it in a Dutch newspaper .
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23161 = = = Adventures of a Bachelor = = =
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23162 Notwithstanding the hiatus after moving from Frankfurt , the 1870s were one of Busch 's most productive decades . In 1874 he produced the short illustrated tale Diddle @-@ Boom ! ( Dideldum ! ) .
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23163 Following , in 1875 , was the Knopp Trilogy , about the life of Tobias Knopp : Adventures of a Bachelor ( Abenteuer eines Junggesellen ) , Mr. and Mrs. Knopp ( Herr und Frau Knopp ) ( 1876 ) , and " Julie " ( Julchen ) ( 1877 ) . The antagonists of the trilogy are not pairs of nuisances as with Max and Moritz or Jack Crook , Bird of Evil ( Hans Huckebein , der Unglücksrabe ) . Without pathos , Busch makes Knopp become aware of his mortality :
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23164 In the first part of the trilogy , Knopp is depressed and will look for a wife . He visits his old friends and their wives who he finds in unenviable relationships . Still not convinced that the life of a bachelor is one for him , he returns home , and without further ado proposes to his housekeeper . The following marriage proposal is , according to Busch biographer Joseph Kraus , one of the shortest in the history of German literature :
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23165 According to Wessling , Busch became skeptical of marriage after writing the story . To Marie Anderson he wrote : " I will never marry ( ... ) I am already in good hands with my sister " .
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108.36931610107422 39 WikiText2
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23166 = = = Last works = = =
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23167 Among Busch 's last works were the stories Clement Dove , the Poet Thwarted ( Balduin Bählamm , der verhinderte Dichter ) ( 1883 ) and Painter Squirtle ( Maler Klecksel ) ( 1884 ) , both of which focus on artistic failure , and indirectly his own failure . Both stories begin with a preface , which , for biographer Joseph Kraus , were bravura pieces of " Komische Lyrik " — German comic poetry . Clement Dove ridicules the bourgeois amateur poet circle of Munich , " The Crocodiles " ( Die Krokodile ) , and their prominent members Emanuel Geibel , Paul von Heyse and Adolf Wilbrandt . Painter Squirtle criticizes the bourgeois art connoisseur , who believes the worth of art is gauged by its price .
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23168 The prose play Edwards Dream ( Eduards Traum ) was released in 1891 , composed of several small grouped episodes , rather than one linear storyline . The work received mixed reception . Joseph Kraus felt it was the peak of Busch 's life 's work , his nephews called it a masterwork of world literature , and the publisher of a critical collective edition spoke of a narrative style that is not found in contemporary literature . Eva Weissweiler saw in the play Busch 's attempt to prove himself in the novella genre , believing that everything that angered or insulted him , and his accompanying emotional depths , are apparent in the story . The 1895 story The Butterfly ( Der Schmetterling ) parodies themes and motifs and ridicules the religious optimism of a German romanticism which contradicted Busch 's realistic anthropology influenced by Schopenhauer and Charles Darwin . Its prose is more stringent in narrative style compared to Edwards Dream . Both were not popular amongst readers , because of their unfamiliar style .
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23169 = = = Painting = = =
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23170 Busch felt his painting skills could not compete with those of the Dutch masters . He regarded few of his paintings as finished , often stacking them one on top of the other in damp corners of his studio , where they stuck together . If the pile of paintings became too high , he burnt some in his garden . Since only a few remaining pictures are dated , categorizing them is difficult . His doubts regarding his skills are expressed in his choice of materials . His ground was usually chosen carelessly . Sometimes he used uneven cardboard or poorly @-@ prepared spruce @-@ wood boards . One exception is a portrait of Johanna Kessler , on a canvas support measuring 63 centimetres ( 25 in ) by 53 centimetres ( 21 in ) , one of his largest paintings . Most of his works , even landscapes , are small . As Busch used poor grounds and colours , most are heavily darkened and have an almost monochrome effect .
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23171 Many pictures depict the countryside at Wiedensahl and Lüthorst . They include pollarded willows , cottages in cornfields , cowherds , autumn landscapes and meadows with streams . A particular feature is the use of red jackets , found in about 280 of 1000 Busch paintings and drawings . The muted or bright red coats are worn usually by a small figure , depicted from behind . The paintings generally represent typical villages . Portraits of the Kesslers , and a series of other portraits depicting Lina Weissenborn in the mid @-@ 1870s , are exceptions . A painting of a 10 @-@ year @-@ old girl from a Jewish family at Lüthorst portrays her as serious , and having dark , oriental features .
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23172 The influence of Dutch painters is clearly visible in Busch 's work . " Hals diluted and shortened ( ... ) but still Halsian " , wrote Paul Klee after visiting a Busch memorial exhibition in 1908 . A strong influence on Busch was Adriaen Brouwer , whose themes were farming and inn life , rustic dances , card players , smokers , drunkards and rowdies . He dismissed the techniques of Impressionism with its strong preoccupation with the effect of light , and used new colours , such as Aniline Yellow , and photographs , as an aid . The landscapes from the mid @-@ 1880s show the same broad brushstrokes as seen in the paintings of the young Franz von Lenbach . Busch refused to exhibit work even though he was befriended by many artists of the Munich School , which would have allowed him to do so ; it was not until near the end of his life that he presented his paintings to the public .
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23173 = = Themes , technique and style = =
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23174 Busch biographer Joseph Kraus divided his work into three periods . He points out , however , that this classification is a simplification , as some works by their nature can be of a later or earlier period . All three periods show Busch 's obsession with German middle class life . His peasants are devoid of sensitivity and village life is marked by a vivid lack of sentiment .
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90.54556274414062 70 WikiText2
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23175 From 1858 to 1865 Busch chiefly worked for the Fliegenden Blätter and the Münchener Bilderbogen . The period from 1866 to 1884 is characterized by his major illustrated stories , such as Helen Who Couldn 't Help It . These stories are different in theme from works of his earlier period . The life of his characters start well , but disintegrate , as in Painter Squirtle ( Maler Klecksel ) ; someone sensitive who becomes a pedant . Others concern recalcitrant children or animals , or make the great or significant foolish and ridiculous . The early stories follow the pattern of children 's books of orthodox education , such as those by Heinrich Hoffmann 's Struwwelpeter , that aim to teach the devastating consequences of bad behaviour . Busch did not assign value to his work , as he once explained to Heinrich Richter : " I look at my things for what they are , as Nuremberg trinkets [ toys ] , as Schnurr Pfeiferen [ worthless and useless things ] whose value is to be found not in its artistic content , but in public demand ( ... ) " .
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23176 From 1885 until his death in 1908 his work was dominated by prose and poems . The 1895 prose text Der Schmetterling contains autobiographical accounts . Peter 's enchantment by the witch Lucinde , of whom he regards himself a slave , is possibly in reference to Johanna Kessler . Peter , like Busch , returns to his birthplace . It is similar in style to the romantic travel story that Ludwig Tieck established with his 1798 Franz Sternbald 's Wanderungen . Busch plays with its traditional forms , motifs , pictures , literary topics and form of narration .
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23177 = = = Technique = = =
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23178 Publisher Kaspar Braun , who commissioned Busch 's first illustrations , had established the first workshop in Germany to use wood engraving . This letterpress printing technique was developed by English graphic artist Thomas Bewick near the end of the 18th century and became the most widely used reproduction system for illustrations over the years . Busch insisted on first making the drawings , afterwards writing the verse . Surviving preparatory drawings show line notes , ideas , and movement and physiognomy studies . The draft was then transferred by pencil on white @-@ primed panels of hardwood end grain . Not only was it hard work , but the quality of the printing block was crucial . Everything left white on the block , around Busch 's drawn lines , was cut from the plate by skilled engravers . Wood engraving allows a finer differentiation than woodcut and the potential tonal values are of almost the quality of intaglio printing , such as copper engraving . Sometimes the result was not satisfactory , leading Busch to rework or reproduce plates . The wood engraving technique did not allow for fine lines , which is why Busch 's drawing , especially in his illustrated tales up to the mid @-@ 1870s , are boldly drawn , giving his work its particular characteristic .
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23179 From the mid @-@ 1870s Busch 's illustrations were printed using zincography . With this technique there was no longer any danger that a wood engraver could change the character of his drawings . The originals were photographed and transferred onto a photosensitive zinc plate . This process allowed for the application of a clear , free pen @-@ drawn ink line , and was a much faster printing method . Busch 's use of zincography began with Mr. and Mrs. Knopp .
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23180 = = = Language = = =
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23181 The effect of Busch 's illustrations are enhanced by his forthright verse , with taunts , derision , ironic twists , exaggeration , ambiguity and startling rhymes . His language had an influence on the humorous poetry of Erich Kästner , Kurt Tucholsky , Joachim Ringelnatz and Christian Morgenstern . The contrast in his later work between comic illustration and its seemingly serious accompanying text — already demonstrated in his earlier Max and Moritz — is shown in Widow Bolte 's mawkish dignity which is disproportionate to the loss of her chickens :
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23182 Many of Brusch 's couplets , part of contemporary common usage , give the impression of weighty wisdom , but in his hands become only apparent truths , hypocrisy or platitudes . His use of onomatopoeia is a characteristic of his work : " Allez @-@ oop @-@ da " — Max and Moritz steal fried chickens with a fishing rod down a chimney — " reeker @-@ rawker " ; " at the plank from bank to bank " ; " rickle @-@ rackle " , " hear the millstones grind and crackle " ; and " tinkly @-@ clinket " as Eric the cat rips a chandelier from a ceiling in Helen Who Couldn 't Help It . Busch uses names he gives characters to describe their personality . " Studiosus Döppe " ( Young Bumbel ) has little mental ability ; " Sauerbrots " ( Sourdough ) would not be of a cheerful disposition ; and " Förster Knarrtje " ( Forester Knarrtje ) could hardly be a socialite .
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23183 Many of his picture stories use verses with trochee structure :
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23184 The overweighting of the stressed syllables strengthens the humour of the lines . Busch also uses dactyls , where one accented syllable is followed by two unaccented syllables , as in his Plisch und Plum , where they underline the pedantic and solemn words with which teacher Bokelmann educates his pupils . They create tension in the Sourdough chapter from Adventures of a Bachelor , through the alternation of trochees and dactyls . Busch often synchronizes format and content in his poems , as in Fips the Monkey , where he uses the epic hexameter in a speech about wisdom .
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23185 In both his illustrations and poems Busch uses familiar fables , occasionally appropriating their morality and stories , spinning them to illustrate a very different and comic " truth " , and bringing to bear his pessimistic view of the world and human condition . While traditional fables follow the typical philosophy of differentiating between good and evil behaviour , Busch combines both .
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23186 = = = Canings and other cruelties = = =
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23187 It is not unusual to see thrashing , tormenting and caning in Busch 's works . Sharp pencils pierced through models , housewives fall onto kitchen knives , thieves are spiked by umbrellas , tailors cut their tormentors with scissors , rascals are ground in corn mills , drunkards burn , and cats , dogs and monkeys defecate while being tormented . Busch has been frequently called a sadist by educators and psychologists . Tails that are burnt , pulled off , trapped , stretched or eaten is seen by Weissweiler as not aggression against animals , but a phallic allusion to Busch 's undeveloped sexual life . Such graphic text and imagery in cartoon form was not unusual at the time , and publishers , the public or censors found it not particularly noteworthy . Topics and motifs for his early work were derived from 18th- and 19th @-@ century popular literature , the gruesome endings of which he often softened .
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23188 Caning , a common aspect of 19th @-@ century teaching , is prevalent in many of his works , for example Meister Druff in Adventures of a Bachelor and Lehrer Bokelmann in Plish and Plum , where is shown an almost sexual pleasure in applying punishment . Beatings and humiliation are found in his later work too ; biographer Gudrun Schury described this as Busch 's life @-@ motif .
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23189 In the estate of Busch there is the note " Durch die Kinderjahre hindurchgeprügelt " ( Beaten through the childhood years ) , however there is no evidence that Busch was referring to himself . He couldn 't recall any beating from his father . His uncle Kleine beat him once , not with the conventional rattan stick , but symbolically with dried dahlia stalks , this for stuffing cow hairs into a village idiot 's pipe . Weissweiler observes that Busch probably saw canings at his village school , where he went for three years , and quite possibly also received this punishment . In Abenteuer eines Junggesellen Busch illustrates a form of nonviolent progressive education that fails in one scene , and caning in the following scene ; the canings that ensued indicate Busch 's pessimistic picture of life , which has its roots in the Protestant ethic of the 19th century , in which he believed that man is inherently evil and will never master his vices . Civilisation is the aim of education , but it can only mask man 's instincts superficially . Gentleness only leads to a continuation of man 's misdeeds , therefore punishment is required , even if he retains his unrepentant character , becomes a trained puppet , or in extreme cases , dies .
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23190 = = = Antisemitism = = =
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23191 The Panic of 1873 led to growing criticism of high finance and the spread of radical Antisemitism , which in the 1880s became a broad undercurrent . These criticisms saw a separation of capital into what was construed as " raffendes " ( speculative capital ) , and what constituted " constructive " creative production capital . The " good " , " native " and " German " manufacturer was praised by Antisemitic agitators , such as Theodor Fritsch , who opposed what he saw as " ' rapacious ' ' greedy ' , ' blood @-@ sucking ' , ' Jewish ' financial capitalism in the form of ' plutocrats ' and ' usurers ' " . Busch was thought to have embraced those stereotypes . Two passages are often underlined , one in Helen Who Couldn 't Help It :
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23192 Robert Gernhardt defended Busch by stating that Jews are satirized only in three passages , of which the oldest is an illustration of a text by another author , published in 1860 . He stated that Busch 's Jewish figures are merely stereotypical , one of a number of stereotypes , such as the " limited Bavarian farmer " and the " Prussian tourist " . Joseph Kraus shares the same view , and uses a couplet from Eight Sheets in the Wind ( Die Haarbeutel ) , in which profit @-@ seeking people are :
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23193 Although Gernhardt felt that Jews for Busch were alien , the Jewish conductor Hermann Levi befriended him , suggesting that Busch had a slight bias towards Jews .
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23194 = = Biographies = =
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23195 The first biography on Busch , Über Wilhelm Busch und seine Bedeutung ( About Wilhelm Busch and His Importance ) , was released in 1886 . The publisher Eduard Daelen , also an artist and writer , echoed Busch 's anti @-@ Catholic bias , putting him on equal footing with Leonardo da Vinci , Peter Paul Rubens and Gottfried Wilhelm Leibniz , and uncritically quoting correspondences . Even Busch and his friends were embarrassed . Literary scholar Friedrich Theodor Vischer attacked Daelen 's biography and called him the " envious eunuch of the desiccated Philistine " . After reading this biography Johannes Proelß posted an essay in the Frankfurter Zeitung , which contained many biographical falsehoods — as a response to this , Busch wrote two articles in the same newspaper . Published in October and December 1886 , the autobiographical essay Regarding Myself ( Was Mich Betrifft ) includes basic facts , and some description of his troubles ; analysts see within the essay a deep identity crisis . Busch revised his autobiography over the following years . The last such essay was published under the title From Me About Me ( Von mir über mich ) , which includes fewer biographical details and less reflection on bitterness and amusement than Regarding Myself .
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23196 = = Legacy = =
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23197 Busch celebrated his 70th anniversary at his nephew 's house in Hattorf am Harz . Over 1 @,@ 000 congratulatory messages were sent to Mechtshausen from around the world . Wilhelm II praised the poet and artist , whose " exquisite works are full of genuine humour and are everlasting for the German people " . The Austrian Alldeutsche Vereinigung ( Pan @-@ German Association ) repealed the ban on Der heilige Antonius von Padua . Verlag Braun & Schneider , who owned the rights of Max and Moritz , gave Busch 20 @,@ 000 Reichsmark ( around € 200 @,@ 000 or $ 270 @,@ 000 ) , which was donated to two hospitals in Hanover .
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23198 Since then , on the dates of his birth and death , he has been celebrated frequently . During the 175th anniversary in 2007 , there were numerous re @-@ publications of Busch works . Deutsche Post issued stamps depicting the Busch character Hans Huckebein — itself the inspiration for the nickname of the never @-@ built Focke @-@ Wulf Ta 183 German jet fighter design of 1945 — and the German Republic minted a 10 Euro silver coin faced with his portrait . Hanover declared 2007 the " Wilhelm Busch Year " , with images featuring Busch works erected within the city centre .
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23199 The Wilhelm Busch Prize is awarded annually for satirical and humorous poetry . The Wilhelm Busch Society , active since 1930 , aims to " ( ... ) collect , scientifically revise and promote Wilhelm Busch 's works with the public " . It supports the development of caricature and satirical artwork as a recognized branch of the visual arts . It is an advocate of the Wilhelm Busch Museum . Memorials are located in places he lived , including Wiedensahl , Ebergötzen , Lüthorst , Mechtshausen and Hattorf am Harz .
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