English Translation

.1 6 R 73/3 are said, that without knowing of Goethe's wise word in *Wilhelm Meister's Wanderjahren" (II l), we had experienced ourselves: "From music, paths of the same kind are running to ailen sides." Therefore, in that desire-educational institution, which presumeed to the poet, "the music of all thinkables was chosen as the element of our education". No, the music has never been a subject for us and never a dead end, but always the gateway to everything we wanted for an elevated Leban. I remember exactly, vie joined the folk song around l9lo aunmore the folk dance. How the Sohwänke of Hans Sachs revived again and the "Prince of Arcadia". How the Kasper first met with potato heads. How the circus with the simplest means entertained a large festival meadow. How Hans Hahne built his dshreslauf games from the remains of old customs in Halle. Like finally Max Jacob the Kasper a new way sprang out of the lowlands of the Rummelplatz to hardly guessed foe. Like the Singwoche, as an image of the desired and raised new life in our houses and neighboring chiefs, next to singing all these arts caught up again and stretched in front of their car. I wanted to mention all this - it would be a whole book. 1 So today I am content only with this example, with the Kasper, whose career I have had especially close under my eyes. Max Jacob will hardly remember one particular day, on which he would have decided to "save" the hand puppet game and "offer it to the German people" as "a means of first-class education" (which it is in reality!). No, the matter was quite different. I have to ask Max Jacob, when he is back from his Russian journey, once gonally when he will fall for the Kasper (not vmwecki). But I always know that much: The first Waltkraeg was to Enle, and Max Jaceb sat on the stress as a balance-sheet accountant, whom no one needed. So he, the Hesse from the Lahn Valley, started a business in Hartenstein (Trzgebirge) with arts and crafts, which at that time - you remember - was strongly demanded, and among them also with Kasporkopfen, which he moved from the old father house in Sternberg (Ostsudeten). The trade started well, but soon letters came: "The Kasper heads have arrived -thank you - well, But we don't know anything right to do with it. Don't you help us?" Max Jacpb could. But writing letters? That didn't help much. So there was nothing else left but to drive in and show the customers how to handle the dolls, and to pretend to them how the Kasper with his Leutan, the spectators wid the other wooden chefs, unjumps. Namely quite different than in the big acting. There the viewer artie sit, perhaps even in the dark, and their only action has to be limited to smiles, smiles and laughter, yawns, drowsiness, twilights, sleeping and, when the game is over, to handokäatschen. Quite different with the Kasper. He would be desperate if he had such a society in front of him. No, the Kasper waits for it and puts alkeo on that the Zusohauer just as vividly and vividly withapielen he himself knows that the ball flies over and over and hardly touches the ground. Now everyone knows why there are still so few good fuppen-spislers today, some who believe or spend themselves for it, do not raise that the Kasperspiel is not a smaller and sret quite not a child-squeaked play, but a special and genz own art, that therefore a piece intended for the big stage, when it should be created by the dolls, must be completely rethought. But Zveitens do not know these supposed or alleged puppeteers, that to the correct Kasperepiel among many endes knows enormously much spirit and to turn away, without nevertheless these sad guys, which