Uplift rebound

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In verse theory the direct collision of two elevations (double elevation ), which creates an interruption in the rhythmic flow of the verse and is reproduced during the lecture by a short pause, is referred to as elevation rebound or high-tone hiatus .

It arises in the non-filling verse through the omission of the lowering (zero-syllable lowering), through anaclasis or on the border between two verses, when the first verse ends with a blunt cadence , i.e. with an accentuation and the following verse begins with an accentuation. An example of this is the Vagantenstrophe , in which the first and third verses end bluntly and the meter is trochaic , i.e. without an upbeat. In the table song of Goethe this sounds like this:

I grasped, I don't know,
Hímmlischés Behágen.

The uplifting rebound between “how” and “heaven” marks the line of verse here. The same applies to caesura and diheresis , regularly, for example, in the reproduction of the pentameter :

The éhorm Brúst ‖ does not stir it of the Stýgian Zéus
—◡ — ◡◡— ‖ —◡◡ — ◡◡—

Here the uplifting rebound occurs through the successive sequence of the two stressed words “breast” and “stir”, which marks the diheresis of the pentameter.

The elevation rebound has an essential function in the replica of the ancient Spondeus in German in places where a possible caesura is to be realized, for example at the caesuras of the hexameter :

Hear the oath | Zéus sélber, ‖ the thunderous God of Hére!
—◡◡ˌ— | —ˌ — ◡ ‖ ◡ˌ — ◡◡ˌ — ◡◡ˌ — ◡

In this example of the replication of a Homeric hexameter with a trithemimer as a secondary caesura, the stressed syllables “oath” and “Zeus” result in an uplifting impact.

literature

Individual evidence

  1. ^ Johann Wolfgang von Goethe: Berlin edition. Poetic works. Volume 1, Berlin 1960 ff., P. 85, online .
  2. ^ Friedrich Schiller : Nänie v. 2.
  3. Homer Ilias X, 329 (translation by Johann Heinrich Voß )