Decime (verse)
A decime (from Spanish décima "tenfold") is generally a ten-line stanza form in Spanish verse theory . Mostly, however, thinks Décima the Germanized without addition and above all, tenth , namely the so-called the most common form Décima espinela , simply espinela called.
Spanish poetry
The décima appears in numerous forms and variants in Spanish poetry, in the Cancionero del siglo XV alone there are around 60 different forms of the ten-liner, many of which, however, are only represented in a few examples. Characteristic for all forms of the decima is a division into two semi-stanzas. There are three groups according to the form of this structure:
- décima antigua : asymmetrical construction (4 + 6 or 6 + 4 verses)
- copla real : symmetrical construction with two parts (5 + 5 verses)
- décima espinela : connection of decima antigua (4 + 6 verses) and copla real with a fixed rhyme scheme
Until neoclassicism, the décima always consisted of octosyllables . The eight-syllable has been used in Spanish since the sixth century. Arab poets in Spain continued the tradition and in the 15th century the short verse was also common in Castilian trobador poetry. The eight-syllable quatrain , as it is already in the roman stanza ( rhyme scheme [abab]) or in Redondilla (rhyme scheme[abba]) finds. Accordingly, the décima would consist of two quatrains, which were expanded by two additional verses. In the following examples, the colon indicates the pause, the inserted verses are in brackets.
Décima antigua
With the décima antigua there is a variety of rhyme schemes, which are best explained by the fact that a pair of rhymes can be inserted at practically any point. Older forms are two-framed (e.g.[abab: baab (bb)]) or three-string ([abba: acc (cc) a]), but these disappear almost completely after 1450 and four- (e.g. [abba: cddc (dd)], [abba: cddc (dc)]) and above all five-line forms (e.g. the form with a pause after the sixth verse [ab (c) ab (c): deed]).
Copla real
In the copla real ("royal stanza"), sometimes also called décima falsa ("false decime") or estancia real ("royal stanza / stanza"), the main feature is the division into two five-line half-stanzas. The rhyme scheme is almost arbitrary and it is not necessary that both half-stanzas have similar rhyme schemes. Up to 1450 three-rhyme forms were common, after that almost exclusively four-rhyme forms with two rhymes per half-strophe, which strongly emphasizes the structure and the copla real appears as the connection of two five-line lines , hence the term quintilla doble ("double quintilla ") which is sometimes used . It was not until the end of the 16th century that certain rhyme schemes began to dominate, namely with the same rhyme sequences[abaab: cdccd] and [abbab: cddcd] and with the dissimilar [ababa: ccddc] and [abbab: ccddc].
Décima espinela
Of the three forms of the Spanish décima , the décima espinela or simply espinela, named by Lope de Vega after Vicente Espinel , is the most successful and only form that has been used to this day.
Your rhyme scheme is[abba: accddc], whereby a pause is obligatory after the fourth verse, which at the same time marks the boundary of a unit of meaning, the espinela in semantic and syntactic terms resembles the 4 + 6 form of the décima antigua . From the rhyme scheme it can also be seen as a form of copla real ([abba (ac) cddc]), whereby the verses inserted in the middle have the function of a bridge, through which the two quatrains are connected with each other.
Various modifications of the espinela in meter and rhyme scheme since neoclassicism of the 18th century could be summarized under the name decima moderna , but they had no lasting effect. Due to the strict, fixed form, the classic espinela is comparable to the sonnet . The same goes for its continued popularity. In contrast to other forms of décima , the espinela lives on to this day in Spain, in Canarian folklore music and especially in Latin America, especially in music (e.g. in Cuban Son ) or in peasant poetry.
Many modern Latin American poets did their first exercises with espinelas , which are sometimes also extemporated . Poets of the Spanish Generación del 27 (generation from 1927) like Jorge Guillén or Gerardo Diego had a particular fondness for them.
As an example, an Espinela by Pedro Calderón de la Barca (from La vida es sueño ):
Cuentan de un sabio que un día
tan pobre y mísero estaba,
que sólo se sustentaba
de unas hierbas que cogía.
¿Habrá otro, entre sí decía,
más pobre y triste que yo ?;
y cuando el rostro volvió
halló la respuesta, viendo
que otro sabio iba cogiendo
las hierbas que él arrojó.
A more modern example comes from the Chilean singer Violeta Parra ( Volver a los diecisiete , 1966):
Volver a los diecisiete
después de vivir un siglo
es como descifrar signos
sin ser sabio competente.
Volver a ser de repente
tan frágil como un segundo.
Volver a sentir profundo
como un niño frente a Dios.
Eso es lo que siento yo
en este instante fecundo
German poetry
In German literature, the decime was mainly used in Romanticism , for example by August Wilhelm Schlegel ( The Language of Love ), Friedrich Schlegel ( The New School , Parody ), Ludwig Tieck ( When Lost in Deep Pain ), Joseph von Eichendorff ( Nachtfeier , Dichterfrühling ), August Graf von Platen ( To Goethe. Glossary ), Ludwig Uhland ( The reviewer , The night owls ).
As in Spanish poetry, the preferred form of poetry was the gloss . This is based on a quatrain, mostly borrowed from another source, whose individual verses then always form the final verse of all four stanzas. The rhyme scheme is often the classic Espinela, but there are also numerous variants. In meter, the rhythmically very varied eight-syllables in German were transferred to a rigid verse scheme of four trochies (so-called Spanish trochies ). Unlike in Spanish, male closures often appear .
As an example, the first stanza of a gloss by AW Schlegel ( Zwei Wise. Von Frau B * ):
Flowers, you are silent signs, that
sprout from green ground,
pour scents into the air,
so soften the heart to love.
Yet you may not reach
So the heart, the pain,
end all sorrow and moaning,
That you could
sway as thoughts In the green leaves:
Love thinks in sweet tones .
The underlined last line is the first verse of the glossed quatrain.
In post-romantic poetry, the decimal disappears from German poetry.
literature
- Rudolf Baehr : Spanish verse theory on a historical basis. Niemeyer, Tübingen 1962, pp. 212-221.
- Dorothy Clotelle Clarke: Décima. 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. 340 ( limited preview in Google Book Search).
- Dorothy Clotelle Clarke: Sobre la espinela. In: Revista de Filología Española Vol. 23 (1936).
- Dorothy Clotelle Clarke: The copla real. In: Hispanic Review Vol. 10, No. 2 (1942), pp. 163-165.
- JM de Cossío: La décima antes de Espinel. In: Revista de Filología Española Vol. 28 (1944).
- Horst Joachim Frank : Handbook of the German strophic forms. 2nd Edition. Francke, Tübingen & Basel 1993, ISBN 3-7720-2221-9 , pp. 705-707.
- Hans-Dieter Gelfert: Introduction to verse theory. Reclam 1998, p. 118 ff.
- Juan Millé y Giménez: Sobre la fecha de la invención de la décima o espinela. In: Hispanic Review Vol. 5, No. 1, pp. 40-51.
- Wolfgang Kayser: Small German verse school. Francke Verlag 1982, p. 59 ff.
- Otto Knörrich: Lexicon of lyrical forms (= Kröner's pocket edition . Volume 479). 2nd, revised edition. Kröner, Stuttgart 2005, ISBN 3-520-47902-8 , p. 41 f ..
- José María Micó: En los orígenes de la espinela. Vida y muerte de una estrofa olvidada: La novena. In: Romanistisches Jahrbuch Vol. 56. De Gruyter, 2005, pp. 393-410.
Individual evidence
- ^ Brian Dutton: El Cancionero del Siglo XV. 7 vols. Salamanca 1990-1992.
- ↑ José Carlos Delgado Díaz: The Folk Music of the Canaries. Publicaciones Turquesa, Santa Cruz de Tenerife 2004, ISBN 84-95412-29-2 , p. 134
- ^ August Wilhelm von Schlegel: Complete Works. Volume 1, Leipzig 1846, p. 146 .