16 Ibid., p. 27; Eng., p. 34. Lichtenstein’s book did not appear until 1973. In the foreword to his monograph, Erwin Lichtenstein comments that Grass, in his own latest book, refers “to accounts and news reports as well as much factual material that he had from me.” And he continues: “The reader of Diary of a Snail will find my information expressed in the chapters of Günter Grass’s book tracing the final period of the history of the Jews in Danzig” (E. Lichtenstein, Die Juden der freien Stadt Danzig under der Herrschaft des Nationalsozialismus, Tübingen, 1973, p. viii). We have here a clear indication that there had been no research by local historians into the fate of the Jewish communities on the German side, and that little had changed in the state of affairs deplored by Jean Paul as “Christian neglect of the study of the Jews.”
17 Günter Grass, Katz und Maus, Reinbek, 1963, p. 35; Eng., Cat and Mouse, tr. Ralph Manheim, London.
18 See “Rede auf Hermann Broch,” in Elias Canetti, Aufzeichnungen 1942–1948, Munich, 1969, p. 159f; Tagebuch einer Schnecke, p. 153; Eng., p. 223.
19 Walter Benjamin, Ursprung des deutschen Trauerspiels, Frankfurt, 1963, p. 166; Eng., The Origin of German Tragic Drama, tr. John Osborne, London, 1977, p. 152.
20 Tagebuch einer Schnecke, p. 155; Eng., p. 223.
21 Ibid., p. 81.
22 Heinrich Böll, Der Zug war pünktlich, Munich, 1972, p. 34; Eng., The Train Was on Time, tr. Leila Vennewitz, London, 1970, p. 28.
23 Tagebuch einer Schnecke, p. 155; Eng., p. 96.
24 Ibid., p. 70; Eng., p. 97.
25 Ibid., p. 37; Eng., p. 49.
26 In Tagebuch einer Schnecke (From the Diary of a Snail), Grass tells his children: “It’s true: you’re innocent. I, too, born almost late enough, am held to be free from guilt. Only if I wanted to forget, if you were unwilling to learn how it slowly happened, only then might words of one syllable catch up with us: words like guilt and shame; they, too, resolute snails, impossible to stop” (p. 13; Eng., p. 13). The most notable feature of this passage is the less than convincing logic of the last couple of lines.
27 Tagebuch einer Schnecke, p. 130; Eng., p. 188.
28 Ibid., p. 189; Eng., p. 274.
29 Ibid., p. 203; Eng., p. 294.
30 Wolfgang Hildesheimer, Tynset, Frankfurt, 1965, p. 30.
31 Ibid., p. 39.
32 Ibid., p. 46.
33 Ibid., p. 155f.
34 Act I, scene 1.
35 Franz Kafka, Briefe an Felice, Frankfurt, 1967, p. 283.
36 Quoted from F. P. Wilson, Seventeenth-Century Prose, Cambridge, Eng., 1960, p. 45.
37 Ibid., p. 27.
38 Sir Thomas Browne, Hydriothapia. Urne-Burial; or, A Brief Discourse of the Sepulchrall Urnes lately found in Norfolk, London, 1658. In The Prose of Sir Thomas Browne, New York and London, 1968, p. 281.
39 Tynset, p. 185.
40 See Ursprung des deutschen Trauerspiels, p. 164; Eng., p. 150.
41 Hamlet, Act IV, scene 5.
42 Tynset, p. 87.
43 Theodor W. Adorno, Ästhetische Theorie, Frankfurt, 1970, p. 66.; Eng., Aesthetic Theory, tr. Robert Hullot-Kentor, London, 1997, p. 39f.
44 Tynset, p. 186.
45 Ibid., p. 79; Hamlet, Act I, scene 5.
46 Tynset, p. 265.
47 Ibid., p. 14.
48 Wolfgang Hildesheimer, “Brief an Max über den Stand der Dinge und Anderes,” in Manuskripte. Zeitschrift für Literatur 76 (1982), p. 44.
49 Lucifers Königreich und Seelengejäidt: Oder Narrenhatz. In acht Theil Abgetheilet … Durch Aegidium Albertinum, Fürstl.: Durchclass="underline" in Bayrn Secretarium, zusammen getragen, Munich, 1617, p. 411 (quoted in Ursprung des deutschen Trauerspiels, p. 156).
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