Focus Spring 1997.tif 11 Focus on Literatltr Graves, Robert. The Greek Myths: I. London: Penguin, 1960. Ranke-Graves, Robert von. GYlechiJche Mythofogie: Quelfen und Deulung. Reinbek: Rowohtt, 1960. Rothenberg, Ji-irgen. Giinll!Y GraH. Das Chaos In verbeS5erte~ Altsfuhnmg: Zellgeschichte ats Thema IIl1d Aljfgabedes Prosawerks. He!delberg: Carl Wimer, 1976. Said, Edward W. Aherword. Orienlalism. New York: Vimage, 1994.329- 352. _ . Omllralism. New York: Vintage, 1979. Weigel, Sigrid. MDer schielen de Blick: Thesen zur ,G:nese weibliche~ Schreibpraxis." Die verborgme Frau. Serhs Beurage zu. emer femt. llistischen LiceratuTWlSSenschajt. Hambu rg: Argument, 1988 . 83-\37. Topographien del' Ceschlechter: KlIlwrgeschlChtliche Sludull ZlIr Luera­ lilT. Reinbek: Rowohlt, 1990. Life under the Table: An Investigation into the T hemes and Insecurity in Gunter Grass's Die Blechtrommel Jennifer Marston William li mer Grass's linguistic masterpiece Die Blechlyommei is a com­ plex labyrinth of intertwining motifs. An individual analysis of the various Lhemes p resent in the work should there fore precede any holistic conclusions drawn. This seemingly overwhelming task can be facilitated through an in-depth examination o f the usage of certain lexemes which support the primary textual themes. As Noel L. Thomas remarks about t he novel's protagonist, "Osbr speaks the language o f doubt; the metaphorical language, despite Oskar and as it were unbeknown to Oskar, sometimes reveals more than the narra­ tor himself" (59-60) . Ralph Freedman asserts simi larly that "Grass's linguistic universe, which relies so much on descriptive words, point­ ing to things or impressions, conforms precisely to a narrative world in which the surface of external events-their ch ronology, their his­ tory-conceals an inner dimension" (56). It is clear that the utilization of language in Die Blechtrommel must be scrupulously considered in any productive anal ysis of the work. This investigation will focus specificall y on the lexeme Imler, in its fu nction as a prepositio n as well as a prefixoid, as it is employed in association with the themes of fear and insecurity in the novel. Gunter Grass utilizes terms of spat ial reference in Die Blechtrommel to indicate nO[ only concrete physical dimensions in the narration, but also to express Oskar Matzerath's longing for secu­ rity. The spatial preposition Ilnler is an essenti al starting po int for an anal ysis of t he extent to which Grass's language enha nces the theme of insecurity and fear in Die BlechtTOmmel. Physical1y being under something implies, at least partially, t hat one is protected from dan­ ger and less vu lnerable. H ence, the frequency of characters in the FOCI/son Liuratur Vol. .. , No.1 (1997) Foem on Literal1tr novel finding themselves underneath an object reinforces the theme of the individuals' need for sa fety and stresses their desire to be shielded from harm. As described in Duden's BedetlCUngYWOTleTbuch, the spa­ tial preposition unleT simply denotes "'die liefere Lage im Verhaltnis zu einem anderen Genannten." But when viewed in a figurative sense, lmter is extended to imply a certain dependence and even subord ina­ tion, as in the phrase "unter jemandem arbeiten." This figurative de­ notation is observed as Oskar reports a loss of control over his senses while ill, having seen and heard "allerlei unterm Fieber" (507). Thus, it would seem that weighing the polysemy of Imler, the habiwal dwell­ ing underneath other objects, could be regarded as a symbolic repre­ sentation of a lack of self-determination. The characters have linle, if any, control overtheir fates, a fact that is accentuated by the physical dimensions conveyed through the preposition unter. The local preposition unler is projective, as it is employed in the context of viewing an object In relation to something else from a certain point of observation, Through the repeated utilization of 1m leT, Grass projects the standpoint of the essentially powerless, insecure individual into his text. The narr:..tion begins with the tale of Anna Koljaiczek's skirts, a metaphor which resurfaces frequently through­ out the novel. Oskar's grandfather hides under Anna's mysterious layered skirts, one "Oberrock" and three "Unterr&ke" (10), thereby successfu lly avoiding capture by the German pol ice (14). This initia l ep isode involvi ng the skirts is associated with the fear of persecut ion, as Joseph Koljaiczek is described as the one "mj t der Angst unterm Rock" (14). The theme of fear and the search for a secure hiding place is introduced via the Koljaiczeks and becomes a thread woven through­ Out Die Blechtrommei, providing a common bond among the novel' s many characters. It should be pointed out, however, that the signifi cance of "un term Rock" extends further t han a mere symbol for the refuge sought by persecuted or frightened individuals. The location is also a site for sexual activity, as marked by Oskar's depiction of t be erotic pleasure or hi s grandmother. The "Unterrocke" themselves carry sexual connotat ions, as they can be translated not on ly as the skirts under­ neath the external one, but also as sli ps, items of lingerie. Oskar later informs the reader that his mother, Agnes Koljaiczek, was indeed conceived underneath the skirts of her mother at the ti me of her in- Insecurity in Grass's Die Bleehtrommel 15 terrogation by the German police officers (19). The combination o f unler in its literal and figurative senses underscores the dange r involved in this process of concept ion; Agnes is conceived "unter vier gleichfa rbigen Rocken , unter Qualm, Angsten, Seufze rn, Unler schriigem Regen und leidvoll betonten Vo rnamen der Heiligen, unter den einfallslosen Fragen und rauchgetriibten Blicken zweier Landgendarmen" (ibid.). The evel1l takes on fun her significance when one conside rs that Joseph is positioned under Anna during sexual in­ tercourse, as opposed to the tradi ti onal placement o f the woman un­ derneath the man. T his indicates the male's dependence on, and su b­ mission to, the femini ne figure-t he possessor of the womb. Oskar's mother Agnes resembles her father in that, as a child, she finds "im Versteck iihn liche Sicherheit . .. als Joseph unter den Rocken der Anna hnd" (24). Rather than her mother's skirts, how­ ever, Agnes seeks comfort elsewhere: "wenn sie nicht unter das Belt krach, dann steckte sie im Kleiderschrank , und wenn Besuch da wa r, saG sie unter dem Tisch und mit ihr ihre Kodderpuppen" (23-24). It is significant that Agnes is in no apparent danger when she feels the need to hide. This is indicative of a generalized !J.ck of individuals' security, regardless of the presence or absence of imminent peril. The urge to shield oneself from the outside world nlils deeper than a primi­ tive need for physical shelter; it is, fat her, an inherent yearning for emotional stability and security. Due to social norms that cause most people to ignore their natural instincts and fears in favor of anificial courage, Agnes eventually outgrows her need for hiding underneath tables and beds. Mature adults who are considered emotionally stable seek refuge on ly when they are in danger of physical harm or death; under normal circumstances, they do not hide unde r furniture or in closets. However, young Agnes, and later her son Oskar, demonstrate the inherent human instinct of seeking shelter. Just as t he conception of Oskar's mOlher is reponed in terms of the objects and conditio ns under which it too k place, the protagonist's birth is depicted as ha ving occurred "unler den Gliihbirnen" (46). He visualizes himself as being underneath an ob­ ject from the very start; hi s perspective does not allow for the idea that he is above, i.e. superior to, anyt hing. Oskar continues the family tradition wi lh his preference for remaining underneath tables rather than exposing himsel f ro the world. 16 Focus on Lileralltr As a three-year old, Oskar "-blieb unter clem T isch'" while his parents and Jan Bronski played skat (74). Oskar amuses himself by observing the risque under-the-table behavior of his mother and Jan Bronski, but more importantly, he associates existence under the table with a sense of well-being: "l ch [tihlte mich wehl unter der Tischplatte, im Windschanen des herabhangenden Tischruches" (75). As in the case of Agnes, there is no evident reason for Oskar to remai n under the table. He does so not out of immediate necessity, hut rather, due to a natural impulse. Oskar's resistance to exposure becomes even more apparent as he explains his inclination to spend time in the attic of the apartment building in which the Matzeralhs live: "Wah rend der H of fUr Oskar voller Gefahren war, bot ihm der Dachboden Sicherheit" (109). Once again, the need for security does not arise out of a life-or­ death situation; the "Gefahren" to wh ich he refers are nothing more than some taunting children. It is not the relatively harmless chi ldren, however, that cause Oskar to stay in the attic. Oskar is fl eeing from a much more menacing force, [hat of human pl ight. A conscious awareness of Oskar's own belief that ex istence underneath something provides protection and security is demon­ strated through his treatment of the sacred tin drum. H e tells about his concealmem of the drum during the confrontation with the gang known as "die Stauber": .. Als ieh aufstand, nahm ich das Blech, urn es vor weiteren Schaden besser bewahren zu konnen, an mi ch, unter den Kittel" (449). The importance that Oskar places on the drum, his li nk berween past and present, is h ighl ighted by his protective treat­ ment of it in this scene. H andh ng the drum as if it were a living crea­ ture, Oskar is dete rmined to provide it wi th the protection from the world which he cannot seem to find for himself. Oskar meets the midget Bebra, for whom he holds great re­ spect for a time, at a circus with his parents (131). Bebra's words of wisdom to Oskar upon th eir meeting also require analysis in light of projective prepositions and the theme of fear and insecurity: "Kleine Leute wie wir finden selbst auf iiberfiilltesten T ribiinen noch ein Platzchen. Und wen n nicht auf der Tribiine, dann unter der Tribu ne, aber ruemals vor der Tribune" (133). The "'Tribunen" to which he refers are those found at the Nazi propaganda-rallies. In the same chap­ te r "D ie T ribiine," Oskar secretly fo llows Alfred Matzeradl to one of these rallies, where he hides "'umer dem Rednerpult" (139). The par- Insecurity in Grass's Die BlechLrommel 17 lially enclosed area underneath the grandstands provides a re-Alm where Oskar can observe what is taking place. In his place underneath the crowd, however, he is nOt completely exposed and susceptible to the Nazi propaganda that is being presented in fro nt of them. After the death of the dwarf Roswitha, Bebra also associates t he space under­ neath the grandstands with secu rity: "Wir Zwerge lind Narren sollten nicht auf einem Beton tanzen, cler fur Riesen geslampfl und han. wurde! Waren wir nur unter den T ribunen geblieben, wo uns ni emand vermutete" (424). An importan t d istinction to be made between Oskar and Agnes is that Oskar, unlike his mother, never abandons his incli na­ tion for hiding in confined spaces. As an adult-inasmuch as he can be co nsidered as such- he no longer sits under tables. BUl in the chapter ent itled "1m Kleiderschrank ," Oskar encloses himself in the closet of Schwesler Dorothea (60()"12). F urthermore, he co nstantl y longs for the sanctuary underneat h his grandmot her Anna's sk irts. Later in life, as Oskar finds himself "'unter dem Eiffelturm," he imagines sitting si multaneously under Anna's four skirts (406). The skirts of his grandmother are also his "Fluchlziel" in l he final chapter of lhe novel (717). H isyearning to return to lhe warmth and safety of Anna's skirts, o r to concea l himself within lhe closet of a nurse, sug­ gests a psychological desire to return to the ult imate sile of prOtec­ tion, the womb. Th is inst inct man ifests itself often in Oskar's pursuit of enclosure; even when he sits under the table, he is at least partially enclosed because of the "'herabhangenden Tischtuches" (75). Oskar ex presses his own un certainty as he writes in the present tense, as a thiny-year old: Wer nimmt mich hem' linter die Rocke? Wer stellt mir cias T ageslicht und das Lampen licht ab? Wer gibt mil' den GerlIch jener gelblich zerflie6enden, leicht ranzigen Butter, die meine Grofimutter mir zur Kost linter de n Rckken stapel te, beherbergte, ablagerte und mir cinst zutei lte, damit sie mir anschlug, dam it ich Geschmack fand (201). Oskar's longing to rerum to lhe "womb" undernealh hi s grandmother'S sk irts is expressed through the verb uutertauchen: "Oskarwollte, soba ld er sie sah, sei n em GroBvater Ko lj aiczek na c heifern, bei ihr 18 Focus on Liceratllr untertauchen und, wenn moglich, nie wieder aune rhalb ihres Windschattens atmen mussen" (258). T he verb unteT(flUchen appears again in a combined literal and figurative sense later in the narration, as Oskar imagines a scenario in which he explains the story of Joseph Koljaiczek to Kurt, whom he considers his son (428-29). Oskar envi­ sions depicting Koljaiczek as a millionaire in America: "'D och manchmal geht er wieder zu Wasser, schwimmr zuriick, (aucht hier unter, wo er erstmals als Brandstifter Schutz gefunde n und seinen Teil zu meiner Mama spendete'" (429) . The image of Koljaiczek div­ ing "linter ein Holzf106'' for protection is repeated here (ibid.). Oskar's relentless, yet unsuccess ful , anempts w establish per­ manent security indicate his search for something that is nowhere to he found. It shows that its very existence is a mere illusion. T he sec­ ond chapter of the novel, "Unterm Flo~," signifies the uncertainty of taking cover under someth ing . In a fantastic story about Koljaiczek's attempt to escape his pursuers by swimming, Oskar reveals his own skepticism about the effectiveness of refuge under a raft. He informs the reader that he firmly believes that Koljaiczek "umer dem Flo~ seinen Tad schaffte" (3l-33) . This idea is elaborated upon further in the following chapter through Oskar's friend Gottfried von Vittlar's ironic exposition regarding the advantages and disadvantages of life on and under the raft: Jeh befinde mich auf dem Flof!. H iibsch ist es auf clem FloG. Miicken stechen mich, das ist listig . -Ich befincle mich UIIter dem FloG. Hiibseh ist es unter dem FloG. Keine Miicke stieht mich, das ist angenehm. Es llef1e sich, glaube ich , lehen mIter dem FloG, \Venn man nicht gleichzeitig die Absicht hatte, auf dem flaB weilend sieh von Miicken stechen zu lassen (36-37) . The absurdity ofViltlar's theatrics in this seene expresses th rough use of irony that life under the Flofi is actually much wo rse than life on top of it. The comparison is carried out through Grass's use of the preposition auf, which serves to indicate the conrrasting spatial di­ mension to unler. Considered figuratively, auf suggests a ce rtain con­ trol-being on top ofthings, so to speak. However, it is ap parent that there is ultimately little difference between the twO locat ions, 011 top of and underneath the raft, as evidenced by Vittlar's claim that it is Insecurity in Grass's Die BfechtfOmmei 19 "hiibsch" both "auf dem FloW' and "unter dem FloW' (36) . While liv­ ing underneath prevents annoying mosquito bites (comparable to the teasing chi ldren from Oskar's childhood), it also implies not living at all , but rather, drowning, as ascertained from Vittlar's association of Koljaiczek, the "Mann unter clem FlaB," with the "Ertrunkenen" (37). Through the presumable outcome of Koljaiczek's situation, the means of evading persecution by taking cover under something is proven to provide nothing more than a false sense of security. An examination of the term Uncerschiupf points further to the t heme of the impermanent nature of security. This implicit de­ rivative of the verb unterschliipfen is used by Grass on more than one occasion as a synonym for Venleck. In its first appearance in the text , Unterschlupfis connected with Joseph Ko ljaiczek's fear of exposure afte r his sexual encounter with Anna: "Schne!! knopfte er sich jene Hose zu, welche unter den Rocken offen zu lragen ihm Angst und ein grenzenloses Bediirfnis nach Unterschlupf geboten harren" (17). The prefixoid Unter- serves to semantically link tbe concept of Untenchlupf to the Unterr6cke of Anna Koljaiczek. In three other in­ stances, UnterschLupf refers quite literally to the li ving accommoda­ tions of the Koljaiczeks (lO, 33, 39). Given the implicat ions of the free morpheme miter as described above, Grass's lIsage of the word Unterschlupf appears to be a deliberate attempt to place emphasis on the characters' search for security. The defin ition o f the term con­ tains two elements that shed light on th is motif as well. Duden's Bedeulungsworterbltch defi nes Unlenchlupf as the "011., an dem man Schutz finder oder an dem man sich vOriibergehend verbirgl." Ac­ cording to this definition, one allegedly finds protection, exactly what Grass's characters are seeking, in an UnterschLupf The olher sign ifi ­ cant component of the definition is the term "voriibergehend." Resi­ dence in an Unterschlupfis a temporary condition, thus whatever pro­ tection it may offer is also on ly lemporary. Th is ilium in ales the con­ clusion that Oskar eventually seems to reach, that the quest for last­ ing security is a futile one. T he recurrent usage of Imter as a literal term of spatiality as well as in its figurat ive semantic role undoubtedly marks a hierarchy of sorts . A case in point is seen on Klepp Miinzer's wall, on which hangs a picture of Q ueen Elizabeth of England and a set of bagpipes: "Unter dem Bild hing an einem Mauerhaken ein Dudelsack" (623-24) . 20 Focus on Literalllr As a symbol of Scodand, the bagpipes exemplify the fusi on of the spatial-dimensional and t he metaphorical ramificatio ns derived from the morpheme lmter. In the case of the Matzeraths and th e other ch,ar­ acrerS o f the novel, they are all subordinates , and the po wer wilich fo rces them to remain oppressed is simply their insecurity and their fear of the human condit ion. An analysis of Grass's utilization of unter in Die Blechrromme/ reveals th e significance bestowed upon the motifs of fear and inse~u­ rit y. The application of this approach cnn be extended t? other 1,10 - guistic-thematic relat ionships within the text. As J. H arriS F redenck remarks, the lingu istic rea lity in Grass's texts is "more poweT~ul , c~r­ tainly more durable than the historical realityH (257). O n this baSIS, an in-depth examination of key lexical elements marks the init ial step in gaining insight into the distorted yet surprisingly believable reality von tlnten port rayed in Die Blechtrommel. Ohio State University Works Cited Frederick, J. Harris. "Linguistic Reality-llisLOrical Reality: Genet, CeJine, Grass.H Neohehcon I·U (1987): 257·73. Freedman, Ralph. "The Poet's Dilemma: The Narrat.ive Wo~lds of Gun~er Grass.H A Ciimer Grass Symposmm. Ed. Leslie A. Willson. AUStin: U of Tex3S, 197 1. 46-59 . G rass, Gunter. Die Blechtrommel. Werka llsgabe in zehu Biinden. Vol. 2. Ed. Volker Neuhaus . D:trmstaclt: Luchterhand, 1987. Thomas, Noel L. Crass: Ole Blechlromm el. London: Grant and Cmler, 1985 . ~llmer." Duden. Das BedeulungswOrterbuch: Wortbi/dung Imd \\Voruchatz. 1985 ,d. "Unterschlup£. '" Duden. Das &dellclIllgswOrterbllch: Wortb,/dll7lg 111m Wort· schatz. 1985 ed. "F riederike, Martha, Hilde": Christoph H eins 'Kleinaufnahmen' aus der deutschen Geschichte Maria Krol eins Ause inande rset zun g mil der Wec hse lw irkung von Gesc hichte, Gesc hiehtsschreibu ng und DichlU ng stein im Zentru m der Sekun&irl iteratur tiber diesen Auta r. Viele Aspe kte des Problems, wi e z.B. di e Frage nach cler Beziehung zwischen H eins Geschiclmauffassung, die in seinen 'chro nikalischen Aufzeichnungen ' besa nders deudich zu T age trin, und clem offi ziellen Geschichts­ entwurf cler marxistischen Geschichtsphi losophie in der DDR, blieben jedoch bis jetzt weitgehend unerforscht. Meine Arbeil versucht, das Problem am Beispiel der Gescbichte "Friederike, Mart ha, HilJe" Z ll untersuchen. Ausgehen mocille ich von Heins Defi nitio n des Begriffs Chron ik. Unter Chron ik versteht Hein ein Anei n anderreihen von 'Fakten ,' eine Bestands3ufnahme der ' Realitat,' au fgeze ichnet vo n einem sieh zu iil r distanziert verhaltend en AUlor. Sie soli einem Prorok 011 gleichen und saehli eh-niiclllern tiber das Vorgefundene berichten. "!eh empfinde den Beruf eines Schriftstellers als den ei nes Ber ichterst atters, e ines C hronist en . leh bin ein Schre ibe r vo n Chroni ken, mit literarischen Mi tteln natiirlich" (Hein, StaLin 203).1 Die Chronik soiliaur Hein keine personliehe lind mor,liische Wentlng oder Sinndeutung des AU lOrs e l1lhalten. 1'l i[ e inem so lchen Literaturkonzept protestiert Hein gegen eine cler Hauptforderungen, die his in die SOer Jahre an die DDR- Schrifmell er ges[ellt wurden. Es ist die Forderung, der Autor miisse eine An moralise he Instan z fiil" den Lese r sein, ihm Losllngen der dargestellten Prob leme anbieten und damit eine Literatur schaHen, die ei n Wegweiser is!.! 1m Gegensatz zu cler DOR-Literatu rkriti k ven ritt Hein die Ansichl , die Liter-.l.lu r miisse auf positi ve Beispiele verzichten. Oer Prediger ist ihm zufo lgc geradezu ein Gegensatz zum Chronislen. Focus 011 Liu ratur Vol.~, No.1 (1997)