Asclepius verse
As Asklepiadeische verses in the ancient is Verslehre a group of four-line verse forms referred to, in essence, the two through the use of related chorjambischer versification are marked.
Asclepius verse
The first of the two meters, the small Asklepiadeus ( asclepiadeus minor ; in metric formula notation withas miabbreviated) consists of two six-syllable parts separated by a caesura . The first part consists of two longas followed by chorus iamb (—◡◡—), the second from chorus iamb followed by breve and a monosyllabic closure. So the metric scheme is:
- ——ˌ — ◡◡— | —◡◡ — ˌ◡ ◠
In the second meter , the great Asklepiadeus ( asclepiadeus maior ; abbreviatedas ma), another chorus iamb is added between the two parts of the small Asklepiadeus:
- ——ˌ — ◡◡— | —◡◡— | —◡◡ — ˌ◡ ◠
The meter was used by later grammarians after around 300 BC. Ionic-Alexandrian poet Asklepiades of Samos , living in the BC , can be proven much earlier. Already with Alkaios in the 7th century BC There is evidence, later in Hellenistic poets like Theocrit or Callimachus . The verse form appears both in lyric poetry and in tragedy and is used both as an engraving and in combination with other meter measures.
In the Greek authors, the verse is handled more freely, in contrast to the form given above. The beginning of the verse is aeolian , ie the first two elements of the verse show metrical ambivalence and form the so-called aeolian base (represented in metric notation by ○ ○ ), the second element in particular often appears to be replaced by a shortening . The caesura does not occur as regularly, sometimes it is omitted or does not always appear after the 6th element. So you have
- ○ ○ —◡◡ —— ◡◡ — ◡ ◠
as the Greek form of the little Asklepiadeus.
The verse of Catullus and Horace was introduced into Latin poetry . Especially by Horace, who boasts of having brought the Aeolian meter into Latin, the verse was used very often and brought into the classical form, especially with regard to the position of the caesuras.
Catullus, for example, like the Greek poets in the great Asklepiadeus, only has both caesuras in half of the verses, while in Horace they appear quite regularly. In Catullus ( carmina 30) and in Horace (next to I, 11 in Odes I, 18 and IV, 10) the great Asklepiadeus was only used as an engraving. In Prudentius it appears as part of a stanza formed from the 2nd glyconeus , the small and the large Asklepiadeus (gl/as mi/as ma) in the praefatio of his hymns .
Further examples of late and post-antique use of asklepiadic forms can be found in Hilarius von Poitiers , then in France with Pierre de Ronsard , in England with Philip Sidney ( Old Arcadia ), William Collins ( Ode to Evening ) and John Milton . In German poetry, there were replicas of the classic stanza forms by Klopstock , Hölderlin and numerous others.
Stanza forms
In the asclepiadic stanzas five, sometimes only three forms are differentiated, depending on whether the two monostitch forms (1st and 5th) are included or not. The first four forms consist of the small Asklepiadeus, 2nd Glyconeus and 2nd Pherekrateus , whereby the latter two meter measures can be regarded as shortenings of the small Asklepiadeus. The great Asklepiadeus appears only monostitch in the 5th form.
First asclepius stanza
The stanza is monostitch and consists of four small Asklepiadeen (4 × as mi). The scheme is:
- ——— ◡◡— | —◡◡ — ◡ ◠
- ——— ◡◡— | —◡◡ — ◡ ◠
- ——— ◡◡— | —◡◡ — ◡ ◠
- ——— ◡◡— | —◡◡ — ◡ ◠
As an example of this form, the first verses of the first Horatian Ode:
Maecenas atavis edite regibus,
o et praesidium et dulce decus meum:
sunt quos curriculo pulverem Olympicum
collegisse iuvat metaque fervidis
evitata rotis palmaque nobilis.
terrarum dominos evehit ad deos
hunc, si mobilium turba Quiritium
certat tergeminis great honoribus [...]
A conventional translation of these verses reads:
O Maecenas, comes from princes of old,
you my protective refuge, loving genius!
There are those who are delighted when
they gather dust in Olympia's path, and so the glowing
wheel bent over the target, the palm branch draws the
rulers of the world to the throne of the gods.
He is happy when the vacillating Quirite people strive to
swing up to triple honor
A much more unconventional replica of this Horatian poem comes from the Horatius travestitus by Christian Morgenstern , who translated it very freely as follows:
High protector and friend, nobleman from Gönnersheim,
what everything man does on his earth! ...
This sweeps across the racetrack on the bike, and
if the rubber tube does not burst, it goes through the finish line first.
What a day for the man when the Comité
awards him the medal, championship awards!
They are happy again when the crowd of voters
sends him to the famous buffet in our Reichstag.
Further examples of the use of the little Asklepiadeus in engraving are in Horace Carmina III, 30 and IV, 8, and it can also be found in the tragedies of Seneca and in late Latin poets such as Prudentius and Martianus Capella .
Second asclepiadic stanza
The stanza consists of three small asclepiads and a second glyconeus , which is created by the omission of the caesura and a chorus iamb (3 ×as mi / gl2). The scheme is:
- ——— ◡◡— | —◡◡ — ◡ ◠
- ——— ◡◡— | —◡◡ — ◡ ◠
- ——— ◡◡— | —◡◡ — ◡ ◠
- ——— ◡◡ — ◡ ◠
As an example, the beginning of the Horazi Ode I, 24:
Quis desiderio sit pudor aut modus
tam cari capitis? praecipe lugubris
cantus, Melpomene, cui liquidam pater
vocem cum cithara dedit.
The stanza form is only documented in Latin poetry in Horace and there in Odes I, 6; I, 15; I, 24; I, 33; II, 12; III, 10; III, 16; IV, 5 and IV, 12.
In German, the verse is usually reproduced with an unstressed second syllable. For example with Friedrich Gottlieb Klopstock in Friedrich the Fifth :
What king God over kings
With an inaugurating look when he was born,
saw from high Olympus, this will be a philanthropist
, and father of the fatherland!
Third Aspenic stanza
The stanza consists of two small Asklepiadeen, a 2nd Pherekrateus and a 2nd Glykoneus (as mi / as mi / pher2 / gl2). The scheme is:
- ——— ◡◡— | —◡◡ — ◡ ◠
- ——— ◡◡— | —◡◡ — ◡ ◠
- ——— ◡◡— ◠
- ——— ◡◡ — ◡ ◠
In Latin poetry again only in Horace and there in Odes I, 5; I, 14; I, 21; I, 23; III, 7; III, 13 and IV, 13. The following example from IV, 13:
Audivere, Lyce, di mea vota, di
audivere, Lyce: fis anus et tamen
vis formosa videri
ludisque et bibis inpudens
Pherekrateus and Glykoneus are connected by synaphy . Both verse forms can be interpreted as shortenings of the little Asklepiadeus. The glyconeus arises from the omission of a chorus iamb, the pherekrateus from this by further omission of a shortness.
This stanza form is by far the most frequently reproduced in German. Klopstock's Der Zürchersee is well known, especially its first verse:
Nice is Mutt he Na ture , dei ner He fin -making glory ,
on the river ren ver scatters , beauti ner a happy Ge view ,
the the big SEN Ge thanks en
Dei ner scoop clothes still a times thinks .
Another example is Ludwig Hölty's Die Mayacht , here the second stanza:
Se lig award I like then , FLÖ tends After ti gall ,
because your wife chen with you woh net in egg nem Nest ,
your em sing border Gatt en
Tau send wedding Liche Kiss e yields .
Compared to the example at Klopstock, Hölty shows in comparison the effort to reproduce the ancient meter as precisely as possible, in that the first two syllables approach the Spondeus ("Se-lig", "Weil Dein", "Ih-rem", " Thousand").
In Friedrich Hölderlin's case , the 3rd asclepiadic stanza after the Alkaic stanza is the most frequently reproduced, for example in Heidelberg , Socrates and Alcibiades and as here in the two- stanza poem Atonement :
Holy beings! I have
often disturbed you the golden
peace of the gods , and the more secret, deep pains of life.
You learned some from me.
O forget it, forgive! like the cloud there
Before the peaceful moon, I go there, and you
rest and shine again in your
beauty, you sweet light!
Another example would be Josef Weinheber's ode to letters .
In English, William Collins approached the stanza form in his Ode to Evening :
Now air is hushed, save where the weak-ey'd bat
With short shrill shriek flits by on leathern wing,
Or where the beetle winds
His small but sullen horn
The difficulties in reproducing this form of verse in English can be seen in the licenses taken, especially in the second verse. Milton says of his translation of the Horazische Ode I, 5, it is "Rendred almost word for word without rhyme according to the Latin measure, as near as the language will permit":
What slender Youth bedew'd with liquid odors
Courts thee on roses in some pleasant cave,
Pyrrha? For whom bind'st thou
In wreaths thy golden Hair [...]?
Fourth asclepiadic stanza
The stanza consists of two pairs of verses, formed by the 2nd glyconus and the small Asklepiadeus (gl2 / as mi / gl2 / as mi). The scheme is:
- ——— ◡◡ — ◡ ◠
- ——— ◡◡— | —◡◡ — ◡ ◠
- ——— ◡◡ — ◡ ◠
- ——— ◡◡— | —◡◡ — ◡ ◠
The stanza is found in Horace in I, 3; I, 13; I, 19; I, 36; III, 9; III, 15; III, 19; III, 24; III, 25; III, 28; IV, 1 and IV, 3. The following example from III, 19:
Quantum distet from Inacho
Codrus pro patria non timidus mori
narras et genus Aeaci
et pugnata sacro bella sub Ilio
In German poetry, this stanza copied, among other things, Josef Weinheber . His Song of the Man (1) , first stanza:
Wide seas of blood,
muffled singing roaring in your ears , storm around your forehead. The bay
gray of tears, the island kingdom viewed
from afar, only recognized closer and late in dreams.
For the engraving use of the pair consisting of the 2nd glycone and the small Aklepiadeus, see the article on the distich .
Fifth asclepiadic stanza
The stanza is monostitch and consists of four large Asklepiadeen (4 × as ma). The scheme is:
- ——— ◡◡— | —◡◡— | —◡◡ — ◡ ◠
- ——— ◡◡— | —◡◡— | —◡◡ — ◡ ◠
- ——— ◡◡— | —◡◡— | —◡◡ — ◡ ◠
- ——— ◡◡— | —◡◡— | —◡◡ — ◡ ◠
The Horazische Ode I, 11 is very well known, in which the phrase carpe diem , which has become a winged word, is found in the last verse:
Tu ne quaesieris, scire nefas, quem mihi, quem tibi
finem di dederint, Leuconoe, nec Babylonios
temptaris numeros. ut melius, quidquid erit, pati.
seu pluris hiemes seu tribuit Iuppiter ultimam,
quae nunc oppositis debilitat pumicibus mare
Tyrrhenum: sapias, vina liques et spatio brevi
spem longam reseces. dum loquimur, fugerit invida
aetas: carpe diem quam minimum credula postero.
Another Morgenstern translation as an example of a replica in German:
Don't ask questions! don't worry about the day!
Martha! don't go any more, please, to the stupid gypsy!
Take your lot as it falls! Dear God, whether this is the last year that
will see us together, or whether we
are getting old like Methuselah , just see: that, dear darling, is not in our power.
Have fun and enjoy the wine and confectionery as before!
Sighing makes me nervous. But that's it! All of this is a waste of time!
Kiss me m'amie! Today is today! Après nous le déluge!
literature
- Sandro Boldrini : Prosody and Metrics of the Romans. Teubner, Stuttgart & Leipzig 1999, ISBN 3-519-07443-5 , pp. 150 f., 155 f.
- Friedrich Crusius , Hans Rubenbauer : Roman metrics. 2nd Edition. Hueber, Munich 1955, pp. 104-106, 119-121.
- James W. Halporn , Martin Ostwald : Latin metric . Study books on classical studies, Vol. 8. 4th edition. Vandenhoeck and Ruprecht, Göttingen 1994, ISBN 3-525-25309-5 .
- James W. Halporn, TVF Brogan: Asclepiad. In: Roland Greene, Stephen Cushman et al. (Ed.): The Princeton Encyclopedia of Poetry and Poetics. 4th edition. Princeton University Press, Princeton 2012, ISBN 978-0-691-13334-8 , p. 90 f ( limited preview in Google book search).
- Otto Paul, Ingeborg Glier : German metrics. 9th edition. Hueber, Munich 1974, pp. 157-158.
- Gero von Wilpert : Subject dictionary of literature. 8th edition. Kröner, Stuttgart 2013, ISBN 978-3-520-84601-3 , p. 50.
- Christian Zgoll: Roman prosody and metrics. A study book with audio files . WBG, Darmstadt 2012, ISBN 978-3-534-23688-6 .
Individual evidence
- ↑ Cf. Ulrich von Willamowitz-Möllendorf: Hellenistic poetry in the time of Callimachos. Hildesheim 1999 (ND Hildesheim 1962, 2nd edition), p. 146f.
- ↑ Cf. Horace carmina 3,30,13ff., Princeps Aeolium carmen ad Italos deduxisse modos .
- ^ Friedrich Crusius , Hans Rubenbauer : Römische Metrik. 2nd Edition. Hueber, Munich 1955, p. 105.
- ↑ Prudentius praefatio
- ↑ Horace Oden I, 1 v. 1-8
- ^ German translation by O. Kreussler, [1] .
- ^ Christian Morgenstern: Horatius travestitus. A student fool. Schuster & Loeffler, Berlin 1897, p. 10, digitized .
- ↑ Horace Oden I, 24 v. 1-4
- ^ Friedrich Gottlieb Klopstock: Oden . Volume 1. Leipzig 1798, p. 87 v.1–4, online .
- ↑ Horace Oden IV, 13 v. 1-4
- ^ Friedrich Gottlieb Klopstock: Oden . Volume 1. Leipzig 1798, p. 82 v.1–4, online .
- ↑ Ludwig Hölty: The May Night v. 5-8. In: ders .: poems. Hamburg, 1783, p. 167, digitized & text .
- ↑ Friedrich Hölderlin: Complete Works. Volume 1. Stuttgart 1946, p. 248, online .
- ↑ William Collins Ode to Evening v. 9-12.
- ^ Henry J. Todd (Ed.): The Poetical Works of John Milton. Vol. 7. Oxford 1809 2 , p. 101 f., Digitized .
- ↑ Horace Oden III, 19 BC. 1-4.
- ↑ Josef Weinträger: Complete Works, Volume II, Müller, Salzburg 1954, p. 11.
- ↑ Horace Oden I, 11
- ^ Christian Morgenstern: Horatius travestitus. A student fool. Schuster & Loeffler, Berlin 1897, p. 20, digitized .