By Erich Kästner
Going to the Dogs is decided in Berlin after the crash of 1929 and earlier than the Nazi takeover, years of emerging unemployment and monetary cave in. The moralist in query is Jakob Fabian, “aged thirty-two, career variable, at the present advertisements copywriter . . . vulnerable center, brown hair,” a tender guy with a good schooling yet completely condemned to a low-paid activity with out protection within the brief or the lengthy run.
What’s to be performed? Fabian and pals make the easiest of it—they visit paintings notwithstanding they are laid off at any time, and within the evenings they visit the cabarets and take a look at to make it with women at the make, the entire whereas creating a lot of sharp-sighted and sharp-witted observations approximately politics, lifestyles, and love, or what should be. no longer that it makes a distinction. employees retain wasting paintings to new applied sciences whereas businessmen hold busy earning profits, and everybody who can is going out to bop golf equipment and intercourse golf equipment or engages in marathon bicycle occasions, seeing that as long as there’s wish of working into the correct individual or (even) doing the perfect factor, well—why stop?
Going to the Dogs, within the phrases of introducer Rodney Livingstone, “brilliantly renders with tangible immediacy the final frenetic years [in Germany] prior to 1933.” it's a e-book for our time too.
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Extra resources for Going to the Dogs: The Story of a Moralist
Rohde 1925: i. i—68; Sourvinou-Inwood 1995: 10—107; Johnston 1999: 7—16; Clarke 1999; Albinus 2000: 21-97. 2 See Richardson 1985^: 50—i; Johnston 1999: 7—9. 3 Burkert 1985$: 196. For the link between (frpeves and corporeality, see //. 99—104. For the link between (frpeves and consciousness, see Od. 493 5 (Teiresias is the exception who proves the rule). To regain consciousness, the dead had to drink blood, regaining corporeality: Od. 153. If consciousness depends on corporeality, then the decision whether (f)pev€s means 'wits' or 'midriff (see Richardson 1993: 178) may not be critical.
2 0. 8 Inscr. a 'he wrote the ode, Didymus says, for all three of them [Alkimedon, Timosthenes, Melesias]'. 111 See Irigoin 1952: 30—50; PfeifTer 1968: 181 8. 'Hellenistic filter': Rutherford 2001: 5—6. 112 See Harvey 1955; Rossi 1971; Galame 1974; Rutherford 2001: 4 6 , 90—1. Introduction 23 nine distinct genres (eiSrf): Hymns, Paeans, Dithyrambs, Processional Songs, Maiden-songs, Dance Songs (Hyporchemata], Encomia, Dirges, and Epinicians. 113 In assigning poems to a particular genre or to a particular book within a given genre, the Alexandrian editors faced difficult choices.
Differentiation in the status of the dead appears especially in mystic 44 Xen. Cyr. 17 22 (note 17 but more confidently at 22 45 On uncertainty regarding one's fate after death, see Rudhardt 1958: 122. Dem. 87 rpOTTO) TLVL TOV vvvl yiyvo^€vov Trpdy/jiaTOS aLadr)aw. Isoc. 42 47 plat. Menex. 248b7-8 Mikalson 1983: 79. v. VI. 49 Gf. Xen. Cyr. ' consol. adApoll. i2ob Gf. too P. 101 aKovovTL Trot, 'they 50 hear, I suppose'. Gf. Aristot. ^Vnooai8—21. 52 An example from a non-mystical context occurs in Euripides' Alkestis, where the chorus console the death-bound Alkestis with the words, 'farewell; may chthonian Hermes and Hades receive you kindly.
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