Tactical verse principle
In verse theory, a verse principle is referred to as the tacting verse principle or, for short, tact metrics (from the Latin tactus "touch"), in which the tact forms the basic unit of the verse. It can be used as a specific form of accent Versprinzips be seen where the elevations defining characteristic is the verse.
A measure extends from one accentuation ( ictus ) to the next and is divided into the good or difficult part of the measure consisting of the accentuation (stressed syllable ) , followed by one or more lowerings (unstressed syllables) that form the bad or easy part of the measure . In contrast to the accenting metric in general, here - similar to the measure in music - the same duration is assigned to the measures.
Concept history
The basic assumption of the clock metric that the time interval between ictus and ictus is the same, with the ictus corresponding to the length in the ancient, quantitative metric and the emphasis in the accentuating metric, goes back to Karl Philipp Moritz , who in his attempt at a German Prosody equating time and meter, wrote in 1786:
“But the measure or the meter was once fixed by the natural length and brevity of the combined syllables, and was therefore the firmest basis on which the melody could be formed, since this meter or this measure itself was chosen to correspond to the content . [...] with the ancients the music of the verse was woven into the verse, with the newer it only hugs him from the outside. "
In 1802 Johann Heinrich Voss equated the measure and the foot of the verse and spoke of the "foot of the verse or the foot of the verse, which is also called measure in the language of the musician". But as early as the 19th century there were warnings against mixing musical and poetic-linguistic concepts. Wilhelm Hebenstreit wrote in 1843: "In poetry, however, where regularity and symmetry are the regulating rule, a measure of time is used, but not a clock."
Nevertheless, at the end of the 19th and beginning of the 20th century, Rudolf Westphal , Franz Saran and then above all Andreas Heusler, with his three-volume German verse history, developed a tact metric that was very much based on musical terms.
Heusler's clock metrics and notation
notation
Heusler has its own heavily on the musical for the representation of verse forms notation ajar metric notation developed. As in music, individual bars are separated from one another by bar lines (|). The verse always ends with a double bar line (‖). The prelude is sometimes used instead of × | also with . | (monosyllabic) or .. | (two-syllable) notated.
Heusler used differentiated symbolism for the duration of the individual syllables, whereby the unit of duration is the mora , which musically corresponds to a quarter note . There are the following symbols:
| character | Note value | Moren |
|---|---|---|
| └─┴─┘ | 1 ¼ | 5 |
| └───┘ | 1 | 4th |
| └──╴ | 3/4 | 3 |
| ── | 1/2 | 2 |
| x. | 3/8 | 3/2 |
| x | 1/4 | 1 |
| ◡ | 1/8 | 1/2 |
| ◠ | 1/16 | 1/4 |
However, only the symbols for two moras ( ── ), one more (×) and half more ( ◡ ) are used more frequently . The character ○ is used for syllables of indefinite length . Furthermore, to designate unpopulated bars (especially when sending) ^ is used as a symbol for a pause of more duration.
In the case of stressed syllables, a distinction is made between main accentuation, marked by an acute accent (e.g. × ́) and secondary accentuation , marked by a grave accent (e.g. × ̀).
Verse components
The well-known opening lines of poor Heinrich von Hartmann von Aue serve as an example :
- A knight so gelêret what
- × | × ́ × | × ́ × | × ́ × | × ́ ^ ‖
- since he was reading the books
- | × ́ × | × ́ × | × ́ × | × ́ ^ ‖
The first verse begins with an unstressed syllable. This part is called the prelude and includes all syllables up to the first major accent. The part from the last main elevation to the dispatch is referred to as closure or cadence , with different forms of cadence being distinguished (see below). The part of the verse between the beginning and the end forms the inside of the verse . Prelude, interior and cadence are the three verses at Heusler .
Bar series and bar gender
According to the tempo of a verse, Heusler differentiates between four bar gender :
- two-part or two-quarter time, e.g. B. | x́ x | or | x́ ◡ ◡ |
- three-part or three-quarter time, e.g. B. | x́ xx | or | ── ́ x | or | x x ◡ ◡ |
- four-part or four-four time, e.g. B. | x́ x x̀ x |
- heavy three-part or three-half cycle, e.g. B. | ── ── ── | or | ── ́ x ── ̀ x |
Since Heusler assumes that the German verse is basically four bars , the ideal types of certain verse forms correspond to these bar gender ( bar series in Heusler's terminology). The basic pattern of the Old High German long line corresponds to four-four time , as can be found, for example, in the Hildebrand's song:
- | x́ x x̀ x | x́ x x̀ x ‖ x́ x x̀ x | x́ x x̀ x ‖
The caesura separates the two half verses (front and back) of the long line.
The Middle High German rhyming verse corresponds to two- four time , as is found in many of the epic poems by Hartmann von Aues and Gottfried von Straßburg :
- | x́ x | x́ x | x́ x | x́ x ‖
Adjustments
However, it is by no means the case that the verses of the medieval poets always follow the scheme without further ado, as in the example given above. You can see it here:
diu adorned an adorned
that he jostled for five stunt
If you look at the second verse, the rhyme results in a main emphasis on the penultimate syllable, with regular alternation of stressed and unstressed metrics would then be:
- x | x́ x | x́ x | x́ x ‖
However, this only has three measures, which is why the last syllable is designated as a secondary accentuation and the penultimate one is made the so-called weighted accentuation, i.e. a double long stressed syllable. So it can be pushed into the penultimate measure and the last measure is filled with a pause:
- x | x́ x | x́ x | ── ́ | x̀ ^ ‖
If the opposite occurs, that there are not too few but too many syllables, an unstressed e at the end of the word can be elidated , which is marked by a point under the e, in the following example with "enworthẹ":
- sô en | wouldẹ er | strîtes | not ver | miten ‖
- ◡ ◡ | x́ x | x́ x | x́ x | ◡ ◡ ‖
Conversely, a weak initial vowel can also be deleted, which is called apheresis (example: “nû ẹnist”; “dô ịch”).
If elision is not possible, an accentuation can also be interpreted as two-syllable, unlike in the New High German verse, provided that the first of the two syllables is short and open. This is called a split in elevation . Example:
- daz | me the | sige be | lî | be ‖
- x | x́ x | ◡ ◡ x | ── ́ | x̀ ‖
Here, in the second bar, “sige” is understood as a two-syllable accentuation.
Conversely, subsidence splitting is also possible. Example:
- we | names in | sînem | lan | de ‖
- x | x́ ◡ ◡ | x́ x | ── ́ | x̀ ‖
Here, in the first measure, "nâ-" is the accentuation and "-men in" is the two-syllable lowering.
Despite the above-mentioned adjustments, the use of the scheme occasionally results in the situation that the prelude, which takes up excess syllables, becomes polysyllabic. Example:
- Dô si ze Ka | radi | gân | would be | come ‖
- ◡ ◡ ◡ ◡ | × ́ × | ── ́ | × ́ × | ◡ ◡ ‖
Or it happens that the prelude contains meaningful words that actually require emphasis:
- Êrec | told | told the | old ‖
- ◡ ◡ | × ́ × | × ̀ × | ── ́ | × ̀ ‖
cadence
The cadence plays an essential role in Heusler's system, as it has to match in rhyming verses. This correspondence then gives rise to the metrization of the closure and from there the cadence decisively determines the metrization of the verse as a whole. In Heusler's cycle metrics, it is first examined whether the last cycle is implemented or not and whether it bears the main emphasis. A distinction is made here:
- full cadence : cadence fills the last measure with the main tone syllable
- sounding cadence : cadence fills the last bar with a secondary syllable at most, main tone syllable in the penultimate bar
- Blunt cadence : last bar is not linguistically realized (paused), main tone syllable in the penultimate bar
Furthermore, differentiation is made according to the number of syllables and the form of the stress (male = main stress on a short syllable; female = main stress on a long syllable), so that 8 different basic types of cadence result:
| Basic type | Number of syllables | Emphasis | Scheme | example |
|---|---|---|---|---|
| full | monosyllabic | … | × ́ ^ ‖ | A knight so gelêret what × | × ́ × | × ́ × | × ́ × | × ́ ^ ‖ |
|
| two-syllable | male | … | ◡ ◡ ^ ‖ | And release yourself from it | × ́ × | × ́ × | × ́ × | ◡ ◡ ^ ‖ |
|
| Female | … | × ́ × ‖ | I praise got the sîner good, × | × ́ × | × ́ × | × ́ × | × ́ × ‖ |
||
| sounding | two-syllable | … | ── ́ | × ̀ ^ ‖ | Dienstman what he zẹ Ouwe | × ́ × | × ́ × | ── ́ | × ̀ ^ ‖ |
|
| three-syllable | … | × ́ × | × ̀ ^ ‖ | diu beautiful young diu laughing. × | × ́ × | ◡ ◡ × | × ́ × | × ̀ ^ ‖ |
||
| dull | monosyllabic | … | × ́ ^ | ^ ^ ‖ | the küneginne kunt × | × ́ × | × ́ × | × ́ ^ | ^ ^ ‖ |
|
| two-syllable | male | … | ◡ ◡ ^ | ^ ^ ‖ | with angry sites × | ── ́ | × ̀ × | ◡ ◡ ^ | ^ ^ ‖ |
|
| Female | … | × ́ × | ^ ^ ‖ | |||
Reception and criticism
Heusler's approach was followed many times into the 1970s and is still present in the field of German medieval studies. In the meantime, however, it is largely rejected as a schematization and standardization that is inadequate for the metrical phenomena. The criticism of Heusler is mainly based on three points:
- The term of time: The application of the term of time to all epochs of German poetry from the old German allusion to modern rhyme has no historical basis. Here, concepts are transferred from music that were only established in music itself since the 16th century. A mensural notation with the definition of time values for individual notes did not appear until the 13th century.
- Schematization: The four-bar scheme on which Heusler is based is indeed flexible due to the possibility of including pauses and assigning different time values to the syllables as required, but precisely because of this flexibility, the results appear as "possible attempts at a rhythmic interpretation, most of which are still historical today Correct cannot be opposed. ”Christian Wagenknecht thinks in a similar direction about Heusler's system:“… it even fits the [metrics] of German only if the assumption is that verses are 'speech with rhythm'. At best, they are when reciting - and in this respect the Heusler symbols aptly only describe certain presentation patterns. "
- Text criticism: It is felt to be extremely problematic, especially in the case of Middle High German texts, some of which have been corrupted by tradition, "to deduce metrical laws from texts that still require metric production". Likewise, it seems methodologically questionable to set up metric rules on the basis of texts that have already been revised in terms of metrics and text.
Outside of German German studies, Heusler's approach does not play a role.
literature
- Dieter Burdorf, Christoph Fasbender, Burkhard Moennighoff (Hrsg.): Metzler Lexicon literature. Terms and definitions. 3. Edition. Metzler, Stuttgart 2007, ISBN 978-3-476-01612-6 , pp. 752 f.
- Otto Knörrich: Lexicon of lyrical forms (= Kröner's pocket edition . Volume 479). 2nd, revised edition. Kröner, Stuttgart 2005, ISBN 3-520-47902-8 , p. 233 f ..
- Otto Paul, Ingeborg Glier : German metrics. 9th edition. Hueber, Munich 1974.
- Gero von Wilpert : Subject dictionary of literature. 8th edition. Kröner, Stuttgart 2013, ISBN 978-3-520-84601-3 , p. 810.
Web links
- Paul Sappler: Metrics (verse theory) of Middle High German , Tübingen (PDF).
Individual evidence
- ^ Karl Philipp Moritz: Attempt at a German prosody . Berlin 1786, p. 84 f., Digitized .
- ^ Johann Heinrich Voß: Time measurement of the German language. Königsberg 1802, p. 143 f., Digitized .
- ^ Wilhelm Hebenstreit: clock. In: ders .: Scientific-literary encyclopedia of aesthetics. Vienna 1843, p. 775, digitized .
- ^ Rudolf Westphal: Theory of the New High German Metrics. Jena 1870, digitized . 2nd, possibly edition 1877.
- ^ Franz Saran: Deutsche Verslehre . Munich 1907.
- ^ Andreas Heusler: German verse history. 3 vols. Berlin 1925–1929.
- ^ Hartmann von Aue: Erec v. 2434 f.
- ^ Hartmann von Aue: Erec v. 502.
- ^ Hartmann von Aue: Erec v. 514.
- ^ Hartmann von Aue: Erec v. 555.
- ^ Hartmann von Aue: Erec v. 1112.
- ^ Hartmann von Aue: Erec v. 1469.
- ^ Heinrich von Aue: The poor Heinrich . v. 1 f.
- ^ Heinrich von Aue: The poor Heinrich . v. 27 f.
- ↑ Friedrich von Hausen : I praise got der sîner güete . In: Karl Lachmann , Moriz Haupt : Des Minnesangs Frühling , 2nd ed. Hirzel, Leipzig 1875, No. VIII, p. 50, v. 19 f., Digitized version .
- ^ Heinrich von Aue: The poor Heinrich . v. 5 f.
- ^ Gottfried von Straßburg : Tristan , v. 3141 f.
- ↑ Hartman von Aue: Erec. v. 1162 .
- ↑ Hartman von Aue: Erec. v. 4061 .
- ^ Paul, Glier: German metrics. Munich 1974.
- ↑ Erwin Arndt: Deutsche Verslehre. 9th edition. Volk & Welt, Berlin 1984.
- ↑ Erwin Arndt: Clock. In: Klaus Weimar et al. (Ed.): Reallexikon der Deutschen Literaturwissenschaft. Berlin, New York 1997-2003.
- ^ Dieter Burdorf: Introduction to poetry analysis. 2nd edition Metzler, Stuttgart a. a. 1997, p. 76 f.
- ↑ Christoph Küper: Language and Meter. Tübingen 1988.
- ^ Paul, Glier: German metrics. Munich 1974, p. 20 f.
- ^ Paul, Glier: German metrics. Munich 1974, p. 21.
- ^ Christian Wagenknecht: German metric. A historical introduction. 5th edition Beck, Munich 2007, p. 26.
- ^ Ulrich Pretzel: German verse art. In: German Philology in Outline. Vol. 3, 1957, Col. 2366 f ..