Phalacic verse

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Phaläkischer verse (also Phaläkischer Hendekasyllabus or, simplified, Hendekasyllabus ;. Greek Phalaikeion ; lat. Phalaeceus , hence Phaläkeus ) is in the ancient Verslehre one after Hellenic poet Phalaecus called elfsilbiges aeolian meter which a glyconic corresponds to which a catalectic iambic Monometer is adjusted. The metric scheme is:

—◡◡ — ◡ — ◡—

Ancient seal

The verse was used in the Greek poetry of Sappho , Anacreon, and Callimachus . In Latin poetry it appears in the 1st century BC. BC with Furius Bibaculus and Varro , is then the most frequently used meter in Catullus , also with Martial , Statius , Prudentius and Martianus Capella .

The base formed by the first two syllables is sometimes iambic or trochaic , mostly in Catullus and exclusively spondeic in Martial and Statius . The caesura is mainly after the sixth syllable (331 times in Catullus):

Cu̱i do̱no̱ lepidu̱m ‖ novu̱m libe̱llum

There is also a caesura after the fifth syllable (153 times):

Co̱rne̱li̱, tibi ‖ na̱mque tu̱ sole̱bas.

Failure of the caesura is rare (11 times).

In the 42nd Carmen, Catullus calls his phalacic verses and asks her for help. V1-V6:

Adeste, hendecasyllabi, quot estis
omnes, undique, quotquot estis omnes.
iocum me putat esse moecha turpis,
et negat mihi nostra reddituram
pugillaria, si pati potestis.
persequamur eam et reflagitemus.

In the German translation by Theodor Heyse :

You eleven silver, come to me, from all
places and ends, you all together!
An ugly bitch wants to fool me
and refuses to give up your
song tablets - if you suffer - open
! follow her to take hold of her that she gives away!

German poetry

The German equivalent of the ancient Phalacic verse consists of five trochees, the second of which is replaced by a dactyl ; the first trochee, like the last, is occasionally replaced by a spondeus in some authors. The metric scheme is:

- —◡◡ — — ◡—

The caesura after the sixth syllable, which is so common in Catullus, occurs less often, but it also marks an important point in the German Phalacic verse; Karl Wilhelm Ludwig Heyse notes: "The verse gains a lot of liveliness by observing the caesura". The rhythmic possibilities which the basis of the ancient verse provides are hardly realized in German verse:

It may alleviate the longing for long separation

◡ —— ◡◡ — ◡ — ◡——

Friedrich August Wolf , from Before a New Portrait of Goethe ; the base is iambic, "it likes".

The phalacic verse, according to Johann Heinrich Dambeck in his lectures on aesthetics , "fits with its moderate course for small poems of naive, joking and generally gentle feeling. It is a disapproving choice, on the other hand, if some use it for poems with heroic content, because he doesn't have enough strength for that. " In the German seal of Phaläkische verse has been used mainly in the second half of the 18th century in two ways: stichisch ranked or as part of a four-line usually stanza .

Punctual use

Dambeck's assessment is confirmed by the titles of the poems by various authors in which the Phalaekic verse is used in a stitched order: Nänie on the death of a quail ( Karl Wilhelm Ramler ), sending a bag to a woman ( Johann Nikolaus Götz ), Hendecasyllabus on Bürgers Death ( Klamer Schmidt ), To a violet ( Ludwig Hölty , set to music by Johannes Brahms ), To the graces and muses when Herr Gleim was sick ( Wilhelm Heinse ), The expelled swallows ( Friedrich Rückert ), Hendekasyllaben in the blue grotto ( Karl Woermann ), To the lost stick ( David Friedrich Strauss ). An Goeckingk ( Johann Heinrich Voss ) sounds stronger in tone ; the beginning:

What a witch, trained to ride to the Walpurg gala of
Master Satan on a goat and
stove fork;
to pour storms from her chamber pot with pleasure ; To banish
fleas and bugs, mice and rats in uncrossed houses of
pious people; To witch seedfields
Kahl; and at night
to milk the neighbor's cow through the rack, so that the cattle girl, full of amazement, pulls out
blood instead of milk:
What dripping-eyed, cross-eyed, faded, woman who has
long since become ripe for the gallows and wheel and rope and
pile of wood - invented the post horn,
...

The only four verses long To a Hermit ( Karl von Reinhard ) uses the verse epigrammatically , Fragment of Archilochus ( August von Platen ) deals with current political events; Friedrich von Matthisson's Milesian fairy tale is of a narrative nature, but sometimes seems involuntarily funny today ( anger sparked over the monster's night vision ). Wilhelm Waiblinger wrote songs to this degree in his poems from Italy in various places, including three songs from Sorrento . An excerpt from the second song:

Here on blooming rocks, which the evening
turns purple and the fresh sea wind cools,
Here in the eternal shadow of the lemon,
friend, breezes pure and mild breathe me,
As the gods drink them! Clear and bright
The clear sea
beckons you to swim, the shady, echoing grotto beckons. Like the soul that
I love in innocence, through the lovely eye,
the quiet bottom of the water shines calmly.
Even the pebble you see here, only rarely,
Similar to the modest wish of the inside,
A lovely shiver stirs this depth.

The self-referential verses come from Johann Gottfried Herder's adaptations of the works of Jacob Baldes :

Poor Hendekasylaben and iambia
and elegiac verses, this is our
reward: we are laughed at. One speaks to the poet:
“One approves of truth; One loves the vain. "

Strophic usage

Usually two Phalacic verses are followed by two more, usually differently structured verses. An example from Friedrich Gottlieb Klopstock , An Sie , third verse:

- —◡◡ — — ◡—
- —◡◡ — — ◡—
—◡ — ◡◡ — ◡
—◡◡ — ◡◡—

On the wings of rest, in the morning breeze,
Bright from the dew of the day that smiles higher,
With the eternal spring,
you come down the sky.

The caesuras of the two Phalacic verses lie behind the sixth syllable, as in the ancient model of Catullus. Friedrich Schiller wrote his only poem in inconsistent, German-ancient stanzas in this form: The evening , set to music (among others) by Johannes Brahms ; Johann Heinrich Voss used the stanza in An Goethe , Franz von Sonnenberg in Der Totenhain .

Occasionally the final verse of this stanza is extended by an anapest , as in Klopstock's For the King . Its 16th verse:

- —◡◡ — — ◡—
- —◡◡ — — ◡—
—◡ — ◡◡ — ◡
—◡◡ — ◡◡ — ◡◡—

Oh the joy of having lived before God!
Good deeds to be seen in full droves
! You follow,
young man, after him into the serious judgment!

Friedrich Matthisson adds a third verse of this kind and an Adoneus , as in Vauklüse , second stanza to the two introductory Phalaekic verses in several poems :

- —◡◡ — — ◡—
- —◡◡ — — ◡—
- —◡◡ — — ◡—
—◡◡—

Here lives the silence of the heart; golden pictures
rise from the clear darkness of the waters ;
The quiet Fittig of Blessing Spirits reigns at the source
.

This stanza is similar to the Sapphic stanza , in which the dactyl is not in the second but in the third foot of the verse in the first three verses. Karl Bernhard Garve defines the difference between the two stanzas as follows: "This stanza has a preference over the Sapphic in lightness and cheerfulness, but gives way to seriousness and a certain soft fullness of feeling". Herder wrote his poem Germany's honor in these phalacic stanzas based on a text by Catullus (Carmina 1,12) in Sapphic stanzas; significantly later examples are Kalypso and Die Wandlung by Friedrich Georg Jünger .

Matthisson's four-stanza poem Adelaide , which is identical to Vauklüse , was set to music by Ludwig van Beethoven .

Johann Heinrich Friedrich Meineke proceeds in a similar way to Matthisson , but who follows three Phalaekic verses with a pentameter (for an example see the pentameter entry).

August Apel fills the stanza of the Scolia rhythm in an antique way with fame and happiness . The first stanza:

- —◡◡ — — ◡—
- —◡◡ — — ◡—
◡◡ — ◡— | —◡◡—
—◡◡ — ◡—— | ◡◡ — ◡—

A thousand-
voiced praise may adore you, With a loud crashing roar of cannon power
and the sound of trumpets far into the land,
the heroes thunder, glory for victory, fought for in battle;

literature

Individual evidence

  1. ^ Crusius, Rubenbauer: Römische Metrik. Munich 1955, p. 103.
  2. Catullus Carmina 1,1
  3. Catullus Carmina 1.3
  4. ^ Theodor Heyse: Catullus' Book of Songs, 2nd edition, Hertz, Berlin 1889
  5. ^ Karl Wilhelm Ludwig Heyse: Brief Verslehre der deutschen Sprache, 2nd edition, Hahn, Hannover 1825, p. 130.
  6. ^ Johann Heinrich Dambeck: Lectures on aesthetics. Second part. Published by Josef Hanslik, Enders, Prague 1823.
  7. Herder: The ruins. Sibylline leaves by Jacob Balde . In: Johann Gottfried von Herder's entire works. [Dept. 2], Part 14 Terpsichore (1795). Cotta, Tübingen 1815, p. 370, digitized .
  8. ^ Karl Bernhard Garve: Der deutsche Versbau, Reimer, Berlin 1827, p. 183.
  9. Friedrich Georg Jünger: Complete Poems, Erker, St. Gallen 1974, p. 114 f.