GIRARDI, Alexander (1850–1918), popular actor and operetta singer in mainly comic roles, highly regarded by Kraus: 490.
GLAWATSCH, Franz (1871–1928), singer, first Bogdanowitsch in →Franz Lehár’s The Merry Widow: 31.
GLÜCKSMANN, Heinrich (1864–1946), dramatist and journalist, dramaturg in →Volkstheater (1910): 44, 45, 507.
GOD PRESERVE (Gott erhalte Franz den Kaiser), Austro-Hungarian national anthem, music by Joseph Haydn and original text by Lorenz Leopold Haschka (1797), revised by Johann Gabriel Seidl, Gott erhalte, Gott beschütze/Unsern Kaiser, unser Land! (1854): 54, 56, 255, 346, 384, 486f, 493, 497.
GOETHE ALLUSIONS: 107f, 149, 158, 296, 332, 478, 485;
I, 6: “though the juice bubbles madly in fermentation”, says Mephistopheles (in Faust Part One, line 6813), “it finally does produce a wine”, 66;
I, 6: “Time’s humming loom”, a further platitudinous reference to Faust Part One (lines 508–9), implying that this will create “the living raiment of the divine”: “So schaff’ ich am sausenden Webstuhl der Zeit/und wirke der Gottheit lebendiges Kleid”, 66;
I, 29: “Goethe’s Iphigenie may not yet have escaped into Esperanto”: Kraus regarded Iphigenie auf Tauris (1786), in which the heroine’s “pure humanity” enables her to escape from the barbarians, as the epitome of German classicism: 149;
II, 13: For reasons explained in the Translators’ Afterword, Wordsworth’s “To Daffodils” has been substituted as equivalent for what Kraus regarded as “the nation’s most sacred poem” (F 454–56, 1): “Über allen Gipfeln/ist Ruh,/In allen Wipfeln/Spürest du/Kaum einen Hauch;/Die Vögelein schweigen im Walde,/Warte nur, balde/Ruhest du auch” (“Wanderers Nachtlied”, 1780)—“O’er all the hill-tops/Silence reigns,/In all the tree-tops/There remains/Scarce a breath of air./The woodland birds fall silent, too,/Just wait, ’til peace envelops you,/And sleep without a care” (“Wanderer’s Night Song”): 373f, 593.
II, 18: “Wasn’t it Schiller who said: Life’s for the living, so plunge right inside”: 210. Our rendering does less than justice to Frau Funk-Feigl’s garbled words “Wie sagt doch Schiller, bitte greif nur herein ins volle Menschenleben”—. Her quotation actually derives from Goethe: “Greift nur hinein ins volle Menschenleben!” (Faust Part One, line 167). Moreover, she substitutes “herein” for “hinein”, a solecism construed by Kraus as a sign of Austro-Jewish insecurity. See the erudite commentary on a passage from Die Fackel of June 1913 (F 376–77, 33) in Agnes Pistorius, Ein Lexikon zu Karl Kraus (pp. 202–4).
III, 4: Travesties of “Wanderers Nachtlied”: “Unter allen Wassern ist—‘U’”—“There, in the deep, is lurking—‘U’!”; “Über allen Kipfeln ist Ruh”—“No one’s baking the croissants today, the bakers are all asleep in the hay” (II, 13): 373f; “Wanderers Schlachtlied”, “Wanderer’s Battle Song” (also II, 13);
III, 40: “We’re proud of Schiller, make quite a fuss, and Goethe, too, was one of us”: Goethe’s heartfelt eulogy in “Epilog zu →Schillers Glocke”, a decade after death robbed him of his collaborator, is here appropriated by a rabid nationalist: 296;
III, 46: “leaving a trace of his immortal mission”, adapted from the “Spur von meinen Erdentagen” passage expressing the dying hero’s vision of constructive toil amidst a free people in Faust Part Two (lines 11583–86): 317;
IV, 36: “The fate of man, how like the wind!”—from “Gesang der Geister über den Wassern” (1779)—“Song of the Spirits over the Waters”: 402;
IV, 36: “if the Germans hadn’t escalated submarine warfare, they would have called on the hero of Goethe’s play to force England to its knees”—an allusion to the ineffectual hero of Egmont (1787), set in the Netherlands at the time of the revolt against Spanish tyranny: 402;
V, 2: “Knowst thou the heart’s desire” (“Nur wer die Sehnsucht kennt”)—“Mignon’s Song”, set to music by Franz Schubert, from Goethe’s novel Wilhelm Meisters Lehrjahre (1795–96): 421;
V, 54: “At the end was — the Word. Having killed the spirit, the printed word had no alternative but to bring forth the Deed”: In Faust Part One (lines 1224–37) the hero attempts to translate Greek logos from Saint John’s Gospel. Dismissing “the Word” as inadequate, he settles for “the Deed”, committing himself to a post-Christian “Faustian” vitalism: 513.
GOLDMANN, Paul (1856–1935), Berlin correspondent of →Neue Freie Presse: 351ff.
GOMPERZ, Philipp von (1860–1948), banker, witnessed assassination of his friend, prime minister →Stürgkh: 34.
GORIZIA (German: Görz, Map D4), town on →Isonzo, Austrian since 1814, disputed with Italy (1916–18); scene of fierce fighting, evacuated by Austro-Hungarian army in sixth battle of →Isonzo (August 1916), retaken October 1917: 252, 334.
GORLICE (Map F3) in Polish →Galicia. Battle of Gorlice-Tarnów, a Russian disaster (May 1915), initiated offensive of Central Powers against Russia and reoccupation of Galicia: 129, 252, 359, 420.
GRABEN (Plan C3), site of →Plague Column: 167, 173, 238, 316f, 486.
GREY, Edward (1862–1933), Viscount (1916), British foreign minister (1905–16), instigator of Triple Alliance, failed to reconcile Austria-Hungary and →Serbia in 1914: 80, 87, 220, 308, 370.
GRINZING, beyond →Gersthof, where the north-west fringe of the city meets the Vienna Woods, archetypal location of “Heurige” (wine gardens and restaurants selling new-vintage wines): 174, 196.
GRODNO (Map G1), under Russia since 1795, taken by Central Powers (September 1915): 279.
GRÜNER, Franz (1887–1917), Austrian art historian, close friend of Karl Kraus, killed in battle: 510f.
GRÜNFELD, Alfred (1852–1924), composer and pianist: 233.
HAAS, Baron Philipp von Teichen (1859–1926), ennobled carpet manufacturer. His wife, Hedwig, Baroness von Waechter, was an amateur actress and writer: 236.
HABSBURGERGASSE (Plan C3), behind →Hofburg: 65, 66.
HADRAWA, possibly Joseph Johann (1869–1950), popular poet and songwriter: 33.
HAESELER, Count Gottlieb von (1836–1919), Prussian generaclass="underline" 271.
“HAIL TO THEE IN LAURELS CROWNED” (“Heil Dir im Siegerkranz”), royal anthem of Prussia and unofficial national anthem of German Empire (1871–1918), music (to melody of “God Save the King”) by Heinrich Carey (c. 1690–1743)/Balthasar Gerhard Schumacher (1755–c. 1802) and text by Heinrich Harries (1762–1802): 300, 313, 525.
“HALF ASLEEP”, sonnet by Kraus in →Die Fackel, F 474–83 (May 1918): 478.
“HAPPY, HAPPY FOLK ARE WE” (“Jessas na, uns geht’s guat”), song, music by Johann Sioly (1843–1911) and lyrics by Alexander Hornig (1885–1947): 219.
HARDEN (Witkowski), Maximilian (1861–1927), founder of Berlin weekly Die Zukunft (The Future, 1892), confidant of Bismarck; initially pro-war, converted to pacifism; erstwhile adviser and friend to Kraus: 78, 132, 427, 485.
HARRACH, Count Franz von (1870–1937), →Franz Ferdinand’s chamberlain: 38, 121.
HARTMANN’S, restaurant on →Kärntnerring (Plan C4), beside the →Opera: 32.
HAUBITZER (howitzer), play on names, alluding to the painter and war artist Carl Leopold Hollitzer (1847–1942): 118.
HAUS, Baron Anton von (1851–1917), Admiral of the Fleet, led attack on Italy’s →Adriatic coast in May 1915: 176.
HAYMERLE, Baron Franz von (1874–1917), Austrian diplomat, based in Berlin at the outbreak of war: 345ff.