punch

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The punch (ital. Stanza , "space" in the sense of thinking space to give), also: octave (ital. Ottava rima ), is a native of Italy strophic . A punch consists of eight endecasillabi and has the rhyme scheme [abababcc]; in German, the iambic five-lifter is used as verse .

Italian poetry

In Italy, Giovanni Boccaccio's punch was used and made famous in larger verses, Il Filostrato (1335) and Teseida (1341). Other famous and powerful works written in stamps are Ludovico Ariostos Orlando furioso (1516–1532) and Torquato Tassos La Gerusalemme Liberata (1574). As an example, the first punch of the first song:

Canto l'arme pietose, e 'l Capitano
Che'l gran sepolcro liberò di Cristo.
Molto egli oprò col senno e con la mano;
Molto soffrì nel glorioso acquisto:
E invan l'Inferno a lui s'oppose; e invano
s'armò d'Asia e di Libia il popol misto:
Chè 'l Ciel gli diè favore, e sotto ai santi
Segni ridusse i suoi compagni erranti.

In the German translation by Johann Diederich Gries :

I sing to the general and the pious weapons,
So the high grave of the Redeemer freed.
Much he carries out what the spirit and the poor have created.
Much he tolerates in gloriously bold strife.
And hell threatens fruitlessly,
Asia rallies fruitlessly , and Libya, ready to fight;
For God's grace leads to the holy flags
his companions home from crazy paths.

German poetry

The first great German punch epic was the verse transfer of Torquato Tasso's Gerusalemme liberata (1574) by Diederich von dem Werder . Further translations from Italian texts that emerged in the 17th century used the Alexandrian verse , the rhyming characteristic of the punch was not always taken into account.

The actual German equivalent of the Italian stanza came into use in 1774 with the 40 punches that Wilhelm Heinse added to his novel Laidion . Johann Wolfgang Goethe followed Heinse's model, and the form of the stanza used by these two poets became the main form of the German stanza. By the middle of the 19th century the punch was a respected and widely used form; after that, its importance slowly decreased. In the poetry of the 20th century, the punch played only a minor role.

shape

The main form of the German punch, created by Heinse and Goethe, consists of eight iambic five-cues with the rhyme arrangement [abababcc]; V1, V3, V5, V7 and V8 close feminine-unstressed, V2, V4, V6 close masculine-accentuated: wmwmwmww . As an example, the first punch of dedication in Goethe's Faust I :

You approach
each other again, swaying figures, who once showed themselves to the gloomy sight early.
Am I trying to hold on to you this time?
Do I still feel my heart inclined to that delusion?
You crowd yourselves! Well, then you may rule
As you rise around me out of mist and mist;
My bosom feels youthfully shaken
by the magic breath that surrounds your train.

Like Heinse, Goethe valued the caesura (or at least the word ending) after the fourth syllable.

The most exact replica of the Italian model contains exclusively feminine-unstressed closures : wwwwwwww . This is how many of the Romantics' stamps are built. As a late example, the first of Rainer Maria Rilke's wintry punches :

Now we are to
endure failed days long in the bark of resistance;
always defending us, never on the cheek
the deep feeling of the open winds.
The night is strong, but of such a distant course,
the weak lamp persuades linde.
Let yourself be comforted: Frost and harshness prepare
the tension of future receptions.

But there are also punches with exclusively male closures ( mmmmmmmm ) or alternating but masculine-emphasized closures ( mwmwmwmm ). Often all these forms alternate with one another in longer punch poems.

use

Following the Italian model, the punch was also used in German poetry in longer verse narratives, for example by Josef Viktor Widmann . But their significance as a lyric stanza is greater; it has also been used in drama.

Related forms

Forms developed from the punch or closely related to it are: Siciliane , Nonarime , Huitain and Spenserstrophe .

literature

  • Jakob Minor : New High German Metric. 2nd edition, Trübner, Strasbourg 1902, pp. 466–470.
  • Horst Joachim Frank : Handbook of the German strophic forms. Hanser, München & Wien 1980, pp. 661-663 and pp. 671-679.
  • Konrad Beyer : German Poetics , 1st volume. 3rd edition, Behr, Berlin 1900, pp. 550–558.

Individual evidence

  1. ↑ Torquato Tasso: The liberated Jerusalem, translated by Johann Diederich Gries, Weidmannsche Buchhandlung, Berlin 1855.
  2. ↑ Torquato Tasso: Gottfried von Bulljon or The redeemed Jerusalem, transferred by Diederich von dem Werder; Reprint of the first edition in 1626, edited by Gerhard Dünnhaupt , Niemeyer, Tübingen 1974.

See also