By Timur Vermes
Sommer 2011. Adolf Hitler erwacht auf einem leeren Grundstück in Berlin-Mitte. Ohne Krieg, ohne Partei, ohne Eva. Im tiefsten Frieden, unter Tausenden von Ausländern und Angela Merkel. sixty six Jahre nach seinem vermeintlichen Ende strandet der Gröfaz in der Gegenwart und startet gegen jegliche Wahrscheinlichkeit eine neue Karriere - im Fernsehen. Dieser Hitler ist keine Witzfigur und gerade deshalb erschreckend actual. Und das Land, auf das er trifft, ist es auch: zynisch, hemmungslos erfolgsgeil und auch trotz Jahrzehnten deutscher Demokratie vollkommen chancenlos gegenüber dem Demagogen und der Sucht nach Quoten, Klicks und "Gefällt mir"-Buttons. Eine Persiflage? Eine Satire? Polit-Comedy? All das und mehr: Timur Vermes' Romandebüt ist ein literarisches Kabinettstück erster Güte.
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Xxiv-xxvii, and J. Dover Wilson's edition (NS), 1966, pp. Ixxiv-lxxxii. 3 See the summary and discussion, pp. 2 - 4 above. 95. Shakespeare: A Survey, 1925, p. 117. The Merchant of Venice 24 is presented in a favourable light. Indeed, the very strength and authenticity of Antonio's feelings may be at the root of the uneasiness that many critics express about Bassanio. The story of Giannetto, then, could have appealed to Shakespeare first and foremost as the portrayal of a friendship and only secondarily as the story of Ansaldo's escape from the Jew.
There was also a similar law in England, as the audience very well knew. 3 Our normal human reaction here is again satisfaction. Shylock has got what was coming to him. Yet there swiftly follows a no less spontaneous misgiving. Like Angelo in Measure for Measure, Shylock has willed more evil than he has performed. Because our sense of right decrees that he ought not to die, the equivalent of equity, the mercy of the Duke, in the end overrules statutory law. But there are conditions to the Duke's pardon, and here a modern audience's responses are likely to differ widely from those of an Elizabethan one.
We watch with mounting satisfaction as first Morocco and then Arragon makes the wrong choice of casket ; all is progressing according to the folk-tale pattern in which the third contender always wins. By contrast, the scenes in Venice build up our concern for Antonio ; we expect Bassanio to gain Portia and her fortune, but can he do so in time to save his friend ? Finally these rising hopes and fears converge with vivid dramatic effect in the beautifully orchestrated scene of Bassanio's success.
Er ist wieder da by Timur Vermes