Schwank

Schwank is a German term, now also used internationally, which originally meant a practical joke. Presently it denotes a rather short humorous narrative, song, or play depicting a comical action. As opposed to the even shorter joke, it is more epic; and the point is not at the end but within the story. On occasions, there may be two or even three punch lines. There is, however, not always a strict borderline between schwank and joke. In the three volumes of The Types of International Folktales, schwanks are listed under the heading “Jokes and Anecdotes.” The present entry analyzes structure and style as well as the historical development of schwank and gives a summary of its predominant themes and motifs.

There has been discussion as to whether schwank is a real genre or just a possibility within any genre of folk poetry. In fact, practically all types of folktales can be converted into schwanks by adding a humorous element. In reality, there are many mixed forms, such as schwank legends and schwank fairy tales. Disclaiming that schwank is a genre and does not have stable structural or stylistic criteria, however, disregards the creative qualities of comicality. These materialize in its subject matter rather than its literary form or composition. It is the comical action that is in the center of the genre. In addition, schwank presents its contents straight, disregarding formal principles that other genres have to take into account. And, like the joke, it neglects all taboos, which made it widely unprintable during Victorian times. Thus, schwank can be justly regarded as a genre in its own right.

Schwank in the oral and also in the older literary tradition proffers a simple, straightforward style. It outlines persons and actions with few and concise descriptions. This is also the reason why in the secondary literature there are fewer treatments concerning the structure of schwank as opposed to fairy tales, which have a much more complicated form. As in other genres, the schwank plot is divided into opening situation, crisis, and solution. The more modern literary tradition, however, tends to lengthen the subject matter by adding new elements or by elaborating the story. The characteristic situation of a schwank is a contest between two parties, one of which wins the fight. The winner need not be the good one in a moral sense. He may be just somebody who is cleverer and employs a more effective ruse, but nevertheless carries the sympathy of the listeners or readers. Moral standards are thus frequently disregarded. Ruses are the crux of the matter. Pure entertainment rather than propagation of ethic principles or other didactic intentions are the aim of the genre. Notwithstanding these facts, on occasion a moral may be found at the end of a text—or perhaps with a wink during a recitation— to justify, for instance, a grossly sexual tale as suitable for print or rendering.

Hermann Bausinger has analyzed the structure of schwank, based on older interpretations. According to Bausinger, there exist three types of action, similar to the course of a sport

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