Glosa (art)

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The Glosa ( koine - Greek γλώσσα: language, tongue; Spanish. La glosa : the gloss , marginal note) is an artistic construction scheme in which the respective source material (text, melody) is reused and commented on. In Spanish, the author of a glosa is called glosador . In German poetry , the Glosa is also called a gloss .

Origin and basic idea

On the one hand, the Glosa is a form of poetry , the basic form of which arose in Spanish court poetry of the late 14th century and was continued into the 18th century. It is related to the Cantiga de amigo . However, its construction scheme, based on Spain and inspired by poetry, has also been used in musical works since the 16th century - and also called Glosa .

The central idea of ​​the Glosa is to deal with the formal and content requirements of other artists in the creative process. This is about the systematic reuse and expansion of the source material. This is understood in the sense of a homage or a constructive appropriation or creative processing. For this reason alone, it is still common today to name the originator of the source material.

The Glosa also found its way into other language areas , for example in Anglo-Saxon , Portuguese and Romanian . In the German states , the poem form was made known by the theorists of early romanticism August Wilhelm and Friedrich Schlegel . They saw it as a “particularly suitable form of expression for their art intention” : 62 because the original poem was increased to a higher power by the commentary. The romantic poets also used the gloss with parodic intent. Modern poets like Fernando Pessoa used the Glosa to problematize the romantic idea of ​​originality. : 13 The Glosa is still in use in postmodernism in free forms .

Structure of the lyric glosa

In its basic form, the Spanish gloss was made up of a four-line opening stanza (Spanish la cabeza : head) and four gloss stanzas ( gloss ):

  • The text of the opening stanza (also the motto ) was usually taken from another poet, for example a quartine or a stanza from longer poems. In Spanish poetry of the 16th and 17th centuries, the opening stanza was mostly a Redondilla mayor . The opening stanza set the theme of the Glosa and provided part of the following rhymes and the metric .
  • Each gloss strophe consisted of eight-syllable decimals . The last line of the glossy stanza was an unchanged line taken from the opening stanza. Depending on the rhyme scheme, two or more end rhymes of the glossy stanza related to the tenth line, for example:
[A 1 B 1 B 2 A 2 cdcdcaaeeA 1 efefebbggB 1 hihihbbjjB 2 klklkaammA 2 ]

In the English version of the Glosa, the iambic pentameter was common. The end rhymes of the sixth and ninth lines related to the tenth line inserted, e.g. B .:

[ABCD xxxxxaxxaA xxxxxbxxbB xxxxxcxxcC xxxxxdxxdD].

In a double gloss, the Cabeza line appeared twice in the gloss stanzas; B.[xxxxAaxxaA].

Sample texts

In the second part of Miguel de Cervantes' novel Don Quixote , Don Lorenzo reads a Glosa for a quartine by the poet Gregorio Silvestre Rodríguez de Mesa (1520–1569); here in German translation by Ludwig Tieck :

Was my war in is only one
I would be freed from all fear
Or would the time come
Whose what will be in the future.
gloss
How it all ended once
The good ended from happiness
Once turned to me abundantly,
It never came back to me
Sent neither big nor small.
For years now, luck ticket
I have to be kneeling before you;
Send me the goods down,
Because my being would be happy again
Was my war in Is only one.
No, I don't want any other pleasure
No joy, no delight
Not triumphs, no defeats,
Just to make me happy again
As it happened before.
Will you bring me, oh luck, so far
All suffering is alleviated,
Put out the embers in the heart
Will you soon eradicate my pain
I would be freed from all fear.
Absurd is just my desire
'Cause to bring the time to be
Once it has passed
No power can do that
No venture goes that far.
She flees to the past
Where she never returns
Who is mistaken who choose the wish
If only the time had been
Or would the time come.
Live a confused life
Sometimes in hope, sometimes in hesitation,
Means to float in bitter death,
Better to risk death right away
To give exit to his pain.
Ending would be good for mine
Misery; nevertheless it must not be
Because with better thinking
Gives me life to ponder
Whose what will be in the future.


At least seven glosses by various poets were written about a motto of Ludwig Tieck during the Romantic period. a. by August Wilhelm Schlegel and August von Platen-Hallermünde . Here is an example of Ludwig Uhland's reviewer :

Sweet love thinks in tones
Because thoughts are too distant
She only likes in tones
Beautify anything she wants.
Triangle
Most beautiful! You ordered me
To gloss over this topic;
But I say it bluntly:
This means losing time
And I'm sitting on coals.
Did you not love, proud beauties!
To mock even logic
Would I dare to prove
That it is nonsense to say:
Sweet love thinks in tones
I do understand the scheme
These absurd glosses
But such a tricky subject
Such enigmatic antics
Are a Gordian problem.
Still I do, my star!
I love this joy.
I rub my hands hopelessly
I will never finish
Because thoughts are too distant.
Leave, my child, the Spanish fashion!
Leave the strange triplets!
Leave the French sound method
The canzons and sonnets!
Stick to your sapphian ode!
Stay away from the aftermuse
The romantically sweet gentleman!
Float fragrantly, dance airily
Only in rhymes, assonances,
She only likes in tones.
Not in tones of such glosses
May poetry show itself;
In ancient verse colossi
Better stamp your dance
With Spondeen and Molossen.
Only in the hammer blow and roar
German-Hellenic Kamönen
Can she herself the old, sick,
Ugly thoughts
Beautify anything she wants.

Glosadores in Poetry (selection)

literature

  • “Die Glosse”, in: Georg Friedrich Heinisch and JL Ludwig, Theoretically Explained The Language Of Prose, Poetry And Eloquence, And Provided With Many Examples From The Writings Of The Best German Classics: A Language And Reading Book For Higher Educational Institutions And Families. Verlag der Buchner'schen Buchhandlung, 1852, pp. 522-524.
  • Hans Janner: “La glosa española. Estudio historica de su métrica y de sus temas ”, in: Revista de Filologia Española 27 (1943).
  • Hartmut Steinecke: “The writing styles of love. Poetry and love discourse in Hoffmanns Kater Murr ”, in: Entrepreneurship and Artistry: New ways of writing in German literature from Hoffmann to Heine . Erich Schmidt Verlag, 1998 ISBN 978-3503037957 pp. 59-74.
  • Jean Rahier: "Creativity, Spirituality, and Identity", in: Isidore Okpewho et al. (Ed.), The African Diaspora: African Origins and New World Identities . Indiana University Press, 2001 ISBN 978-0253214942 pp. 302-310.
  • Darlene Joy Sadlier: "Old becomes New: The 'Mote e Glosa'", in: An Introduction to Fernando Pessoa: Modernism and the Paradoxes of Authorship . University Press of Florida, 2009 ISBN 978-0813034492 pp. 10-14.

Web links

See also

Glosa (music)

Individual evidence

  1. ↑ "by the lexicographers borrowed (...) 'educate, define a word or comment on a passage' meant originally Glosa." John Milton Ward, The vihuela de mono and Its Music (1536-1576) . Unpublished dissertation, New York University, 1953 p. 53.
  2. ^ A b D. C. Clarke, "Glosa", in: Roland Greene et al. (Ed.), The Princeton Encyclopedia of Poetry and Poetics Princeton University Press, 2012 ISBN 9780691154916 p. 572.
  3. ↑ Deborah Lawrence, "Mudarra's Instrumental Glosas: Imitation and Homage in a Spanish Style," in: David Crawford and George Grayson Wagstaff (Eds.) Encomium Musicae: A Festschrift in Honor of Robert J. Snow . Pendragon Press, 2006 ISBN 978-0945193838 pp. 305-319.
  4. ↑ a b Glosa or Retruécano, Cabeza, Mote, text. Double Glosa (June 2, 2009) at: poetrymagnumopus.com, accessed on September 18, 2015 (English).
  5. ↑ Hartmut Steinecke, "The types of writing of love. Poetry and love discourse in Hoffmanns Kater Murr ", in: Entrepreneurship and artistry: New types of writing in German literature from Hoffmann to Heine . Erich Schmidt Verlag, 1998 ISBN 978-3503037957 .
  6. ↑ Darlene Joy Sadlier, "Old becomes New: The“ Mote e Glosa ”", in: An Introduction to Fernando Pessoa: Modernism and the Paradoxes of Authorship . University Press of Florida, 2009 ISBN 978-0813034492 pp. 10-14.
  7. ↑ Miguel de Cervantes, Don Quijote de la Mancha II (Edición del Instituto Cervantes, 1998) at: cvc.cervantes.es, accessed on September 18, 2015 (Spanish).
  8. ↑ Miguel de Cervantes Saavedra, life and deeds of the discerning noble Don Quixote of la Mancha . Berlin 1966.
  9. ↑ "§ 71 Die Glosse", in: A. Knüttell, The poetry and their genres. FEC Leuckart Verlag, 1863 pp. 327-328.