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35,802 | 0 | Busch did not write further illustrated tales for a while\1 and focused on the literary Kritik des Herzens \1Critique of the Heart\1\1 wanting to appear more serious to his readers\ | [
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35,802 | 1 | 1 Contemporary reception for the collection of 81 poems was mainly poor\1 it was criticized for its focus on marriage and sexuality\1 | [
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35,802 | 2 | His long-time friend Paul Lindau called it " very serious\1 heartfelt\1 charming poems "\1 Dutch writer Marie Anderson was one of few people who enjoyed his Kritik des Herzens\1 and even planned to publish it in a Dutch newspaper\ | [
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35,806 | 0 | Notwithstanding the hiatus after moving from Frankfurt\1 the 1870s were one of Busch 's most productive decades\1 | [
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35,806 | 1 | In 1874 he produced the short illustrated tale Diddle-Boom\1 \1Dideldum\1\1\1 | [
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35,807 | 0 | Following\1 in 1875\1 was the Knopp Trilogy\1 about the life of Tobias Knopp\1 Adventures of a Bachelor \1Abenteuer eines Junggesellen\1\1 Mr. and Mrs. Knopp \1Herr und Frau Knopp\1 \11876\1\1 and " Julie " \1Julchen\1 \11877\1\1 | [
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35,807 | 1 | The antagonists of the trilogy are not pairs of nuisances as with Max and Moritz or Jack Crook\1 Bird of Evil \1Hans Huckebein\1 der Unglücksrabe\1\1 Without pathos\1 Busch makes Knopp become aware of his mortality\1 | [
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"O",
"O",
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... |
35,808 | 0 | In the first part of the trilogy\1 Knopp is depressed and will look for a wife\1 | [
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] |
35,808 | 1 | He visits his old friends and their wives who he finds in unenviable relationships\1 | [
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35,808 | 2 | Still not convinced that the life of a bachelor is one for him\1 he returns home\1 and without further ado proposes to his housekeeper\1 | [
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] |
35,808 | 3 | The following marriage proposal is\1 according to Busch biographer Joseph Kraus\1 one of the shortest in the history of German literature\ | [
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35,808 | 4 | 1 | [
"1"
] | [
"1"
] | [
"NUM"
] | [
"LS"
] | [
0
] | [
"root"
] | [
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35,809 | 0 | According to Wessling\1 Busch became skeptical of marriage after writing the story\1 To Marie Anderson he wrote\1 " I will never marry (\1..\1 | [
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35,809 | 1 | I am already in good hands with my sister "\1 | [
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] |
35,811 | 0 | ### \1 | [
"###",
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] | [
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] | [
"SYM",
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] | [
"NFP",
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] | [
0,
1
] | [
"root",
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] | [
"O",
"O"
] |
35,813 | 0 | Among Busch 's last works were the stories Clement Dove\1 the Poet Thwarted \1Balduin Bählamm\1 der verhinderte Dichter\1 \11883\1 and Painter Squirtle \1Maler Klecksel\1 \11884\1\1 both of which focus on artistic failure\1 and indirectly his own failure\1 Both stories begin with a preface\1 which\1 for biographer Jose... | [
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"... |
35,813 | 1 | 1 Clement Dove ridicules the bourgeois amateur poet circle of Munich\1 " The Crocodiles " \1Die Krokodile\1\1 and their prominent members Emanuel Geibel\1 Paul von Heyse and Adolf Wilbrandt\1 Painter Squirtle criticizes the bourgeois art connoisseur\1 who believes the worth of art is gauged by its price\1 | [
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35,814 | 0 | The prose play Edwards Dream \1Eduards Traum\1 was released in 1891\1 composed of several small grouped episodes\1 rather than one linear storyline\1 | [
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35,814 | 1 | The work received mixed reception\1 Joseph Kraus felt it was the peak of Busch 's life 's work\1 his nephews called it a masterwork of world literature\1 and the publisher of a critical collective edition spoke of a narrative style that is not found in contemporary literature\ | [
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35,814 | 2 | 1 Eva Weissweiler saw in the play Busch 's attempt to prove himself in the novella genre\1 believing that everything that angered or insulted him\1 and his accompanying emotional depths\1 are apparent in the story\1 | [
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35,814 | 3 | The 1895 story The Butterfly \1Der Schmetterling\1 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\1 Its prose is more stringent in narrative style compared to Edwards Dream\1 Both we... | [
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35,816 | 0 | ### \1 | [
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35,818 | 0 | Busch felt his painting skills could not compete with those of the Dutch masters\1 | [
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35,818 | 1 | He regarded few of his paintings as finished\1 often stacking them one on top of the other in damp corners of his studio\1 where they stuck together\1 | [
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35,818 | 2 | If the pile of paintings became too high\1 he burnt some in his garden\1 | [
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35,818 | 3 | Since only a few remaining pictures are dated\1 categorizing them is difficult\1 | [
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8,
6,
6,
6,
6,
8,
8,
13,
8,
8,
10,
13,
0,
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] | [
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] | [
"O",
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"O",
"O",
"O",
"O",
"O",
"O",
"O",
"O",
"O",
"O",
"O",
"O"
] |
35,818 | 4 | His doubts regarding his skills are expressed in his choice of materials\1 | [
"His",
"doubts",
"regarding",
"his",
"skills",
"are",
"expressed",
"in",
"his",
"choice",
"of",
"materials",
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"1"
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"skill",
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"in",
"his",
"choice",
"of",
"material",
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"1"
] | [
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"ADP",
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"PUNCT",
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"IN",
"PRP$",
"NN",
"IN",
"NNS",
",",
"CD"
] | [
2,
7,
5,
5,
2,
7,
0,
10,
10,
7,
12,
10,
14,
7
] | [
"nmod:poss",
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"aux:pass",
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"obl",
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"nmod",
"punct",
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] | [
"O",
"O",
"O",
"O",
"O",
"O",
"O",
"O",
"O",
"O",
"O",
"O",
"O",
"O"
] |
35,818 | 5 | His ground was usually chosen carelessly\1 Sometimes he used uneven cardboard or poorly-prepared spruce-wood boards\1 | [
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"was",
"usually",
"chosen",
"carelessly",
"\\1",
"Sometimes",
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"used",
"uneven",
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"poorly",
"-",
"prepared",
"spruce",
"-",
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5,
5,
5,
0,
5,
5,
10,
10,
5,
20,
20,
16,
16,
14,
20,
19,
17,
20,
10,
22,
5
] | [
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"O",
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"O",
"O",
"O",
"O",
"O",
"O",
"O",
"O",
"O",
"O",
"O",
"O",
"O",
"O",
"O",
"O",
"O",
"O",
"S-CARDINAL"
] |
35,818 | 6 | One exception is a portrait of Johanna Kessler\1 on a canvas support measuring 63 centimetres \125 in\1 by 53 centimetres \121 in\1\1 one of his largest paintings\1 | [
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5,
5,
5,
0,
7,
5,
7,
7,
13,
13,
13,
5,
13,
16,
14,
14,
17,
20,
14,
23,
23,
14,
23,
23,
27,
14,
27,
32,
32,
32,
28,
5,
33
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"O",
"B-CARDINAL",
"E-CARDINAL",
"O",
"O",
"O",
"O",... |
35,818 | 7 | Most of his works\1 even landscapes\1 are small\1 | [
"Most",
"of",
"his",
"works",
"\\1",
"even",
"landscapes",
"\\1",
"are",
"small",
"\\1"
] | [
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"RB",
"NNS",
"NN",
"VBP",
"JJ",
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] | [
10,
4,
4,
1,
7,
7,
4,
7,
10,
0,
10
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"nmod",
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] | [
"O",
"O",
"O",
"O",
"O",
"O",
"O",
"O",
"O",
"O",
"O"
] |
35,818 | 8 | As Busch used poor grounds and colours\1 most are heavily darkened and have an almost monochrome effect\1 | [
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] | [
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12,
5,
3,
7,
5,
3,
12,
12,
12,
0,
14,
12,
18,
17,
18,
14,
12
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] | [
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"O",
"O",
"O",
"O",
"O",
"O",
"O",
"O",
"O",
"O",
"O",
"O"
] |
35,819 | 0 | Many pictures depict the countryside at Wiedensahl and Lüthorst\1 | [
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"pictures",
"depict",
"the",
"countryside",
"at",
"Wiedensahl",
"and",
"Lüthorst\\1"
] | [
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] | [
2,
3,
0,
5,
3,
7,
5,
9,
7
] | [
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] | [
"O",
"O",
"O",
"O",
"O",
"O",
"S-GPE",
"O",
"S-GPE"
] |
35,819 | 1 | They include pollarded willows\1 cottages in cornfields\1 cowherds\1 autumn landscapes and meadows with streams\1 A particular feature is the use of red jackets\1 found in about 280 of 1000 Busch paintings and drawings\1 | [
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"... | [
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8,
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27,
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33,
33,
30,
37,
37,
37,
33,
39,
37,
2
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"O",
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"O",
"O",
"O",
"O",
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"S-CARDINAL",
"O",
"S-CARDINAL",
"S-ORG",
"O",
"O",
"O",
"O"
] |
35,819 | 2 | The muted or bright red coats are worn usually by a small figure\1 depicted from behind\1 | [
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6,
4,
2,
6,
8,
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0,
8,
13,
13,
13,
8,
16,
13,
13,
19,
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16,
19
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"O",
"O",
"O",
"O",
"S-CARDINAL",
"O",
"O",
"O",
"O",
"S-CARDINAL"
] |
35,819 | 3 | The paintings generally represent typical villages\1 Portraits of the Kesslers\1 and a series of other portraits depicting Lina Weissenborn in the mid-1870s\1 are exceptions\1 A painting of a 10-year-old girl from a Jewish family at Lüthorst portrays her as serious\1 and having dark\1 oriental features\1 | [
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... | [
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55,
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51... | [
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... |
35,820 | 0 | The influence of Dutch painters is clearly visible in Busch 's work\1 " Hals diluted and shortened (\1..\1 but still Halsian "\1 wrote Paul Klee after visiting a Busch memorial exhibition in 1908\1 A strong influence on Busch was Adriaen Brouwer\1 whose themes were farming and inn life\1 rustic dances\1 card players\1 ... | [
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... |
35,820 | 1 | He dismissed the techniques of Impressionism with its strong preoccupation with the effect of light\1 and used new colours\1 such as Aniline Yellow\1 and photographs\1 as an aid\1 | [
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] |
35,820 | 2 | The landscapes from the mid-1880s show the same broad brushstrokes as seen in the paintings of the young Franz von Lenbach\1 Busch refused to exhibit work even though he was befriended by many artists of the Munich School\1 which would have allowed him to do so\1 it was not until near the end of his life that he presen... | [
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"B-ORG",
"I-ORG",... |
35,822 | 0 | ## \1 | [
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] | [
"##",
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] | [
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"SYM"
] | [
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"NFP"
] | [
0,
1
] | [
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] | [
"O",
"O"
] |
35,824 | 0 | Busch biographer Joseph Kraus divided his work into three periods\1 | [
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] |
35,824 | 1 | He points out\1 however\1 that this classification is a simplification\1 as some works by their nature can be of a later or earlier period\1 | [
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] |
35,824 | 2 | All three periods show Busch 's obsession with German middle class life\1 | [
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] | [
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12,
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4
] | [
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] |
35,824 | 3 | His peasants are devoid of sensitivity and village life is marked by a vivid lack of sentiment\ | [
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] |
35,824 | 4 | 1 | [
"1"
] | [
"1"
] | [
"NUM"
] | [
"LS"
] | [
0
] | [
"root"
] | [
"S-CARDINAL"
] |
35,825 | 0 | From 1858 to 1865 Busch chiefly worked for the Fliegenden Blätter and the Münchener Bilderbogen\1 | [
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] |
35,825 | 1 | The period from 1866 to 1884 is characterized by his major illustrated stories\1 such as Helen Who Couldn 't Help It\1 | [
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] |
35,825 | 2 | These stories are different in theme from works of his earlier period\1 | [
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"O",
"O",
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"O",
"O",
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] |
35,825 | 3 | The life of his characters start well\1 but disintegrate\1 as in Painter Squirtle \1Maler Klecksel\1\1 someone sensitive who becomes a pedant\1 | [
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"O",
"O",
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] |
35,825 | 4 | Others concern recalcitrant children or animals\1 or make the great or significant foolish and ridiculous\1 | [
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] |
35,825 | 5 | The early stories follow the pattern of children 's books of orthodox education\1 such as those by Heinrich Hoffmann 's Struwwelpeter\1 that aim to teach the devastating consequences of bad behaviour\1 Busch did not assign value to his work\1 as he once explained to Heinrich Richter\1 " I look at my things for what the... | [
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... |
35,826 | 0 | From 1885 until his death in 1908 his work was dominated by prose and poems\1 | [
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] |
35,826 | 1 | The 1895 prose text Der Schmetterling contains autobiographical accounts\1 Peter 's enchantment by the witch Lucinde\1 of whom he regards himself a slave\1 is possibly in reference to Johanna Kessler\1 Peter\1 like Busch\1 returns to his birthplace\1 | [
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"O",
"O",
... |
35,826 | 2 | It is similar in style to the romantic travel story that Ludwig Tieck established with his 1798 Franz Sternbald 's Wanderungen\1 Busch plays with its traditional forms\1 motifs\1 pictures\1 literary topics and form of narration\1 | [
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"O",
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"O",
"O",
"O",
"O",
"O",
"O",
"O",
"O... |
35,828 | 0 | ### \1 | [
"###",
"\\1"
] | [
"###",
"\\1"
] | [
"SYM",
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] | [
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] | [
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"O",
"O"
] |
35,830 | 0 | Publisher Kaspar Braun\1 who commissioned Busch 's first illustrations\1 had established the first workshop in Germany to use wood engraving\1 | [
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35,830 | 1 | 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\ | [
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"O",
"O",
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"O",
"O",
"O",
"O"
] |
35,830 | 2 | 1 Busch insisted on first making the drawings\1 afterwards writing the verse\1 Surviving preparatory drawings show line notes\1 ideas\1 and movement and physiognomy studies\1 | [
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35,830 | 3 | The draft was then transferred by pencil on white-primed panels of hardwood end grain\1 | [
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"O",
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"O",
"O",
"O",
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] |
35,830 | 4 | Not only was it hard work\1 but the quality of the printing block was crucial\1 | [
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"O",
"O",
"O",
"O",
"O",
"O",
"O",
"O",
"O"
] |
35,830 | 5 | Everything left white on the block\1 around Busch 's drawn lines\1 was cut from the plate by skilled engravers\1 | [
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"O",
"S-CARDINAL"
] |
35,830 | 6 | Wood engraving allows a finer differentiation than woodcut and the potential tonal values are of almost the quality of intaglio printing\1 such as copper engraving\1 | [
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"O",
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"O",
"O",
"O",
"O"
] |
35,830 | 7 | Sometimes the result was not satisfactory\1 leading Busch to rework or reproduce plates\1 | [
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"O",
"O",
"O",
"S-ORG",
"O",
"O",
"O",
"O",
"O",
"O"
] |
35,830 | 8 | The wood engraving technique did not allow for fine lines\1 which is why Busch 's drawing\1 especially in his illustrated tales up to the mid-1870s\1 are boldly drawn\1 giving his work its particular characteristic\ | [
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"... | [
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3,
4,
7,
7,
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0,
10,
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7,
7,
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] |
35,830 | 9 | 1 | [
"1"
] | [
"1"
] | [
"NUM"
] | [
"LS"
] | [
0
] | [
"root"
] | [
"S-CARDINAL"
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35,831 | 0 | From the mid-1870s Busch 's illustrations were printed using zincography\1 With this technique there was no longer any danger that a wood engraver could change the character of his drawings\1 | [
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] |
35,831 | 1 | The originals were photographed and transferred onto a photosensitive zinc plate\1 | [
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"transferred",
"onto",
"a",
"photosensitive",
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11,
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"O",
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"O",
"O",
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"O"
] |
35,831 | 2 | This process allowed for the application of a clear\1 free pen-drawn ink line\1 and was a much faster printing method\1 Busch 's use of zincography began with Mr. and Mrs. Knopp\1 | [
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] |
35,833 | 0 | ### \1 | [
"###",
"\\1"
] | [
"###",
"\\1"
] | [
"SYM",
"SYM"
] | [
"NFP",
"NFP"
] | [
0,
1
] | [
"root",
"discourse"
] | [
"O",
"O"
] |
35,835 | 0 | The effect of Busch 's illustrations are enhanced by his forthright verse\1 with taunts\1 derision\1 ironic twists\1 exaggeration\1 ambiguity and startling rhymes\1 | [
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"\... | [
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28,
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"O",
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] |
35,835 | 1 | His language had an influence on the humorous poetry of Erich Kästner\1 Kurt Tucholsky\1 Joachim Ringelnatz and Christian Morgenstern\1 | [
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] | [
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] |
35,835 | 2 | 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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"O",
"O",
"O",
"O",
"O",
"O",
... |
35,835 | 3 | 1 | [
"1"
] | [
"1"
] | [
"NUM"
] | [
"LS"
] | [
0
] | [
"root"
] | [
"S-CARDINAL"
] |
35,836 | 0 | Many of Brusch 's couplets\1 part of contemporary common usage\1 give the impression of weighty wisdom\1 but in his hands become only apparent truths\1 hypocrisy or platitudes\1 | [
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"... | [
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] |
35,836 | 1 | His use of onomatopoeia is a characteristic of his work\1 " Allez-oop-da " — Max and Moritz steal fried chickens with a fishing rod down a chimney — " reeker-rawker "\1 " at the plank from bank to bank "\1 " rickle-rackle "\1 " hear the millstones grind and crackle "\1 and " tinkly-clinket " as Eric the cat rips a chan... | [
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... |
35,837 | 0 | Many of his picture stories use verses with trochee structure\ | [
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35,837 | 1 | 1 | [
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] | [
"NUM"
] | [
"LS"
] | [
0
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35,838 | 0 | The overweighting of the stressed syllables strengthens the humour of the lines\1 Busch also uses dactyls\1 where one accented syllable is followed by two unaccented syllables\1 as in his Plisch und Plum\1 where they underline the pedantic and solemn words with which teacher Bokelmann educates his pupils\1 | [
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"O"... |
35,838 | 1 | They create tension in the Sourdough chapter from Adventures of a Bachelor\1 through the alternation of trochees and dactyls\1 Busch often synchronizes format and content in his poems\1 as in Fips the Monkey\1 where he uses the epic hexameter in a speech about wisdom\1 | [
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... |
35,839 | 0 | In both his illustrations and poems Busch uses familiar fables\1 occasionally appropriating their morality and stories\1 spinning them to illustrate a very different and comic " truth "\1 and bringing to bear his pessimistic view of the world and human condition\1 | [
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"... |
35,839 | 1 | While traditional fables follow the typical philosophy of differentiating between good and evil behaviour\1 Busch combines both\1 | [
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35,841 | 0 | ### \1 | [
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35,843 | 0 | It is not unusual to see thrashing\1 tormenting and caning in Busch 's works\1 | [
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] |
35,843 | 1 | Sharp pencils pierced through models\1 housewives fall onto kitchen knives\1 thieves are spiked by umbrellas\1 tailors cut their tormentors with scissors\1 rascals are ground in corn mills\1 drunkards burn\1 and cats\1 dogs and monkeys defecate while being tormented\1 Busch has been frequently called a sadist by educat... | [
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"S-PERSO... |
35,843 | 2 | Tails that are burnt\1 pulled off\1 trapped\1 stretched or eaten is seen by Weissweiler as not aggression against animals\1 but a phallic allusion to Busch 's undeveloped sexual life\1 | [
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] |
35,843 | 3 | Such graphic text and imagery in cartoon form was not unusual at the time\1 and publishers\1 the public or censors found it not particularly noteworthy\ | [
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] |
35,843 | 4 | 1 Topics and motifs for his early work were derived from 18th- and 19th-century popular literature\1 the gruesome endings of which he often softened\1 | [
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... | [
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] |
35,844 | 0 | Caning\1 a common aspect of 19th-century teaching\1 is prevalent in many of his works\1 for example Meister Druff in Adventures of a Bachelor and Lehrer Bokelmann in Plish and Plum\1 where is shown an almost sexual pleasure in applying punishment\1 Beatings and humiliation are found in his later work too\1 biographer G... | [
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"... |
35,845 | 0 | In the estate of Busch there is the note " Durch die Kinderjahre hindurchgeprügelt " \1Beaten through the childhood years\1\1 however there is no evidence that Busch was referring to himself\1 | [
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3,
3,
7,
5,
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9,
7,
11,
9,
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11,
11,
11,
17,
9,
21,
21,
21,
17,
23,
21,
26,
26,
7,
28,
26,
32,
32,
32,
28,
34,
32,
36,
26
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"O",
"O",
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"S-CARDINAL"
] |
35,845 | 1 | He couldn 't recall any beating from his father\1 | [
"He",
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"any",
"beating",
"from",
"his",
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4,
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4
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"O",
"O",
"O"
] |
35,845 | 2 | His uncle Kleine beat him once\1 not with the conventional rattan stick\1 but symbolically with dried dahlia stalks\1 this for stuffing cow hairs into a village idiot 's pipe\1 | [
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"O",
"O",
"O",
"O",
"O",
"O"
] |
35,845 | 3 | Weissweiler observes that Busch probably saw canings at his village school\1 where he went for three years\1 and quite possibly also received this punishment\ | [
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35,845 | 4 | 1 | [
"1"
] | [
"1"
] | [
"NUM"
] | [
"LS"
] | [
0
] | [
"root"
] | [
"S-CARDINAL"
] |
35,845 | 5 | In Abenteuer eines Junggesellen Busch illustrates a form of nonviolent progressive education that fails in one scene\1 and caning in the following scene\1 the canings that ensued indicate Busch 's pessimistic picture of life\1 which has its roots in the Protestant ethic of the 19th century\1 in which he believed that m... | [
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"S-PERSON",
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"O",
"O",
"O",
"O",
"O",
... |
35,845 | 6 | 1 | [
"1"
] | [
"1"
] | [
"NUM"
] | [
"LS"
] | [
0
] | [
"root"
] | [
"S-CARDINAL"
] |
35,845 | 7 | Gentleness only leads to a continuation of man 's misdeeds\1 therefore punishment is required\1 even if he retains his unrepentant character\1 becomes a trained puppet\1 or in extreme cases\1 dies\1 | [
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] |
35,847 | 0 | ### \1 | [
"###",
"\\1"
] | [
"###",
"\\1"
] | [
"SYM",
"SYM"
] | [
"NFP",
"NFP"
] | [
0,
1
] | [
"root",
"discourse"
] | [
"O",
"O"
] |
35,849 | 0 | The Panic of 1873 led to growing criticism of high finance and the spread of radical Antisemitism\1 which in the 1880s became a broad undercurrent\1 | [
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11,
18,
18,
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18,
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28,
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"B-DATE",
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"O",
"O",
"O",
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"O",
"S-CARDINAL"
] |
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